#All the others are fairly straightforward but then you get to Dee and it's like a therapy session lol

[justin-chapmanswers]

Justin, if you don't mind me asking. Will be there more "Inanimate Answers"? (It's ok if you dont answer)

Answering another one of these separately because my brain had a little brain-thought. Noggin-whispers. Skull-wiggles.

Exit Interviews! Like today's! Are similar! To Inanimate Answers! Mayhaps't've??

For some background, for Blueberry's I arranged the questions in order and had Barry improvise answers. Then I used those responses to write transitional phrases for our interviewer, Yellow, whose dialogue was mostly scripted. Then with Fan's, I arranged the questions again, but then Brian and our interviewer, Absolute Legend Mickel™, completely improvised their interview on the spot. Then maybe Adam did some light improv for Lifering? OJ's was very scripted, but in a fairly straightforward question-answer way.

Aaaaand, to get the present, Since Box's bizarre Exit interview, Brian and I have been writing them out together, with occasional guest writers, such as Dee helping a lot for Clover's. And here the goal of each of them is to not only find fun answers to the viewer's questions, but to also either find a real core to a contestant's story and help them re-ground themselves post-show, like for Tea Kettle and Cabby, or to shed some more light on a character by having them have an affect on an interviewer who needs to learn a lesson, like for Lifering (in the Box Exit), Clover, and Goo.

And this was always the mentality of Inanimate Answers! Just in a new form. Sometimes Apple needs to learn a lesson from Justin+Santa, sometimes Justin needs to learn a lesson from Balloon. And, in both shows, zaniness ensues. I'm still laying out viewer questions, and getting to use them to craft a little story that explores character not only through those questions, but also a culmination of what those questions mean to the character. It's fun!

One plus for the Exit Interviews is that I get to craft an interviewer who works as a strong foil for the contestant. Dr. Fizz is the perfect target to be driven crazy by Lifering, Bryan as an Interviewer was written to have insecurities that only Clover could help with, and now with today's Goo Exit, I knew for a long long time I wanted to create an interviewer for Goo who would be entirely opposed to Goo's silly existence.

On the flip-side, getting to write the very very bizarre character of Inanimate Answers Justin is veryyyy fun. I do think he fits best when placed next to Knife, whom Justin was created to bounce off of. Not to say that Justin doesn't work next to the other contestants on Inanimate Answers, but I remember when I decided I wanted to do Balloon next that I realized that the core couldn't just be the comedy of Balloon being annoyed by Justin's zaniness, because Balloon natural wouldn't react as strongly as Knife. So, that's when we started exploring different types of cores of an episode, such as showing Justin in the wrong and needing Balloon to help show him the light. Or Justin and Bow who get along surprisingly well, and it becomes about their chemistry. Or Justin being able to easily spot the underlying insecurities Apple has and having a deep dive into the root of those.

Aaaaand after writing all that, I'm missing Inanimate Answers more haha.

But! Exit Interviews are always a delight, as well. And I very much hope that y'all have a fun time as I and the team play around with different fun ideas to play with the question-answering, whilst've still trying to make mainline eps as frequently as possible. Wish us luuuuuck.

Aaaanyway I'm really happy with the Goo Exit Interview. Gettin' all gooey thinking about it. Hope you enjoy! And lemme know what y'all think on Inanimate Answers vs Exit Interviews (vs Fan Features??)!

[eddycurrents]

BPRD: Hell on Earth ~ The Exorcist - “The Exorcist” - Chapter One

Story: Mike Mignola, Cameron Stewart, & Chris Roberson | Art: Mike Norton | Colours: Dave Stewart | Letters: Clem Robins

Originally published by Dark Horse in BPRD: Hell on Earth #140 | April 2016

Collected in BPRD: Hell on Earth - Volume 14: The Exorcist | BPRD: Hell on Earth Omnibus - Volume 4

Plot Summary:

After chasing down a cultist for information and ending up in a confrontation with Berith, Ashley Strode follows a lead to a small nigh abandoned town founded by cultists, where children have been going missing for months.

Reading Notes:

(Note: Pagination is in reference to the chapter itself and is not indicative of anything found in the issue or collections.)

pg. 1 - This one has me a bit confused. “Fifteen months later” than what? Is it fifteen months after Exorcism? Based on what we get in the story, it’s definitely not fifteen months after the events that follow. Now, I checked my copy of the individual issues and the caption is different there. There it’s just “Central Oregon”, so I would guess in relation to the previous arc. It’s somewhat unclear.

That being said, it’s otherwise a nice creepy opening. With a kid being lured away by a toy seemingly operating on its own.

pg. 3 - Really quite like this humour. Also, why do they always run? Where do they think they’re going?

pg. 4 - Apparently this guy is a magickal dumbass. Who in their right might tattoos numerous goetic sigils on to themselves? That’s just asking to be owned by your demons.

pg. 5 - This is Enochian that Trent here is spouting. To be specific, this is part of the Ninth Key from Dee and Kelley’s Forty-Eight Angelical Calls from amongst their various Enochian workings that yielded the Tablet of Union. I’m not rightly sure what it has to do with Berith, though. Berith is a duke of hell, part of the Ars Goetia, not an angel. This is mixing two systems that aren’t really cognate.

Even then, in his invocation, he’s basically stating, “A mighty guard of fire with two-edged swords flaming, have set their feet in the West, and are measured with their ministers.” It’s a fragment of something that’s used for something else entirely.

Granted, Trent has a mixture of different systems and alchemical symbols written on his walls and body, so we could still chalk it up to magickal dumbass. I mean, he is setting himself on fire, so it would make sense that he’d confuse angelic invocation with demonic evocation.

And I’ve spent entirely too long trying to reconcile why a comic character would be using the wrong system.

pg. 6 - Nice to see the sword again. Also, unlike Andras and his beautiful white plumage, Berith is looking a little worse for wear as a duke of hell. Hell’s definitely fallen on hard times.

pg. 7 - I do really like how we switch perspective between the spiritual and physical planes here. Especially when Trent is on fire in the physical plane.

pg. 8 - Berith definitely doesn’t seem to want to go back to Hell. Seeing what’s going on in Hellboy in Hell, you can’t really blame him.

Now, this ring with Berith’s sigil. THAT makes sense. It’s a little more elaborate than a more usual pantacle, but it makes sense for a working.

pg. 9 - It’s nice to see a relationship again. Even if it does look like a random bar pick-up, after Kate’s latest disastrous romance, there’s been little for any of the agents.

pg. 11 - This is kind of convenient. What are the odds that Ashley would just so happen to pick up someone who grew up in the place that she’s looking for?

pg. 12 - That is a lot of missing kids. Including the kid that we saw in the opening.

pg. 13 - I never get tired of that joke.

pg. 16 - Bartenders are always a great source for information. And when they’ve got pictures of the owners and the town that give out further clues.

pg. 17 - I like how Mike Norton has been laying out these pages, and the thick jagged panel borders. It gives it a different feel from many of the other BPRD stories. Almost like we’re on the fringes of this world.

Also, two more dumbasses.

pg. 18-19 - Just great action here. One seasoned agent against two larger opponents with bats and she nicely mops the floor with them.

pg. 20 - This is funny. Also, true. The average practitioner of any kind of magick, even fringe societies like you see here in this cult of Berith, tend not towards human sacrifice. Even when there is, it’s not what you’d normally think. I love the incredulity the brothers have.

pg. 22 -  ♫ There's a light over at the Frankenstein Place ♫

Final Thoughts:

As it’s presented here, it’s not noticeable at all because one chapter just rolls into the next one. When published in individual issues, though, there was a four year break in between Exorcism and The Exorcist. That can definitely lead to missing or even forgetting a character, losing details and such, just as many are possibly wondering what exactly did happen with the UN liaison that we saw still in Exorcism.

Any way, it’s basically been four years since we saw Ashley Strode in a leading bit like the previous chapter, so it’s interesting to see what’s changed, how she’s become a more confident and assured exorcist, and is essentially kicking ass and taking demon names. We also get a fairly straightforward explanation for why she’s not been in the main stories, working alone out in the field, but it feels like this story is possibly going to change that.

It’s also nice to see Mike Norton brought into the fold here of BPRD artists. He has a style that fits the same tone that Cameron Stewart initially established, excelling at mixing demons and badass women.

d. emerson eddy said he needed some exercise, not that he needed to be exorcised, Papa please call off the priests.

[timeflies1007-blog]

Doctor Who Reviews by a Female Doctor, Season 4, p. 3

Midnight: Davies has written a lot of epic, sometimes overblown stories, but this relatively quiet piece of terror is easily his most impressive, and it gives us more insight into the Doctor than perhaps any other episode in his time as showrunner. The supernatural presence in this episode is never defined or explained, but it never stops being terrifying. In general, the episode’s minimalism works sublimely well—the lack of spectacle and setting allows us to focus on the characters and the fear that they feel. Fear has rarely been more palpable on this show, especially in the long, chilling sequence of repeated language, and Alice Troughton’s magnificent direction and Tennant’s sublime performance keep the tension building for the entire episode. It’s one of the scariest episodes the show has ever done, but in spite of how frightening both the unknown presence and the panicking humans are, the episode isn’t completely without hope, and the pieces of light make this very dark episode much more meaningful than the straightforward piece of horror that it would otherwise have been.

The Doctor behaves here as he generally does—he’s interested in the people around him, he enjoys their company, and he’s determined to protect everyone once the danger becomes evident. If Donna had been with him, she might have balanced out his know-it-all tendencies enough to make his efforts to take charge more palatable, but on his own, the Doctor is a giant spectacle of brilliance and heroism, and some of the episode’s effectiveness lies in its understanding that in a moment of crisis, these qualities are less comforting than one might think. The Doctor doesn’t just fix problems, he does it with a flourish, and this draws attention to his personality in a way that can make him feel like part of the terror rather than a way of fighting it. I’m still not a huge fan of the depiction of Luke in the Sontaran episodes, but his bratty insistence on his own cleverness provides an interesting piece of context for the Doctor’s assertion that he should be in charge because he’s clever. The Doctor is by far the smartest and most capable person on board, but his assertiveness does come across as off-putting and perhaps inappropriate here; in the middle of a genuine panic, there are few things more terrifying than seeing someone who seems far less frightened and confused than he should be. He doesn’t really do anything wrong here; he’s had far worse moments of arrogance and narcissism at various points in the show, and he responds rationally and intelligently to the threat. He’s so busy being the hero, though, that he’s rarely seemed less human, and the lack of a human companion by his side makes this all the more dangerous.

I definitely miss Donna in this episode, but I get why this story required her absence, and I think it’s kind of awesome that she decided to sit out an adventure in favor of relaxing and enjoying herself. The need for drama means that we only really see the more thrilling pieces of the Doctor’s travels, but I’d definitely like to think that he and his companions at least occasionally put their feet up and have a margarita. Because this is mostly a companionless story, the minor characters have especial importance, and they’re an absolute triumph. I was surprisingly attached to Sky Silvestry, in spite of the fact that she becomes possessed so early in the episode that we get very little time with her actual personality. Everyone else is unusually well-rounded for one-episode characters, with the one exception of the Hostess. She is far less defined and generally easy to ignore, which makes her act of self-sacrifice all the more dramatically satisfying. She’s a startling savior, given that she’s spoken very little in the episode and has reacted far less vehemently than anyone else around her. We might have expected the more knowledgeable Dee Dee to be the one to figure things out, or even Jethro, who seems frustrated by his parents’ unwillingness to listen to his ideas. The Hostess has been a pretty unremarkable presence for the rest of the episode, and, as the Doctor remarks after she is dead, we never even learn her name. She listened, though, to the Doctor as he engaged in small talk at the start of the journey, and that’s enough to let her know how the alien presence is working even when all of the theorizing of the other characters completely fails. There have been many highly distinctive, memorable personalities on this show, but I love that we get an act of heroism here from someone who has otherwise faded into the background—this creates a surprising ending, but more importantly, it creates a brilliant disruption of the horrifying portrait of human nature that appears throughout the episode.  

A story like this definitely runs the risk of becoming so angsty and dark that it’s just unpleasant to watch, but I think it mostly avoids this. It’s definitely bleak, and I will say that this is not an episode that I’ve rewatched a lot—certainly less so than any of the other episodes near the top of my list. This is why, although I can definitely understand seeing this as the best episode of the reboot, for me it’s maybe sixth or seventh best, because there are other episodes that are about as brilliant and that I just like watching more than this one. Still, in spite of the bleakness, the episode ends on an intriguingly specific moment of redemption. This is partly because of the Hostess’s stunning moment of self-sacrifice, but what also really interests me about this moment is the fact that the Doctor is essentially saved by the quirks of his own self-expression. The scene makes it very clear that the Hostess realizes what has happened only when Sky begins to say the Doctor’s catchphrases: “Allons-y!” and “Molto bene!” These are generally presented as fun little pieces of dialogue, not as items of especial importance, but here they take on much more significance. The Doctor’s ego is definitely on display in this episode, and he makes clear that his status as the smartest person in the room is constantly on his mind, but it’s the tiny sparks of personality that wind up mattering here. There’s something really beautiful about having a voice so distinctive that it’s recognizably yours even if it’s been taken by force, and it’s a fitting tribute to the Doctor that it’s not his cleverness or courage that makes the difference in the end, but rather his unmistakable uniqueness. A+

Turn Left: Well, one episode after the Doctor gets a pretty clear message that his assumption that he is the world savior at all times can be obnoxious and frightening, we learn that if the Doctor wasn’t here to save us, we’d be in a terrifying dystopia within about a year and all of reality would start to disappear shortly thereafter. I still love the incisive look at the Doctor’s ego in “Midnight,” but we maybe could have followed it up with a little bit less of a validation of that ego. Anyways, the Doctor-less world is a fascinating concept, and it lets us have an entire episode focused on Donna. Some fans consider this to be among the best episodes of the reboot, and I definitely think it is one of the best ideas, but it switches with frustrating rapidity between brilliance and mediocrity, making it difficult to enjoy even the unequivocally good parts.  

           The structure of the episode is one of the items that alternates between stupidity and near-perfection. I do find the ways in which we learn of the deaths of the show’s major characters to be genuinely chilling. The fairly quiet portrayal of these events, generally conveyed through brief announcements on the news, makes for a much more heartrending sequence than what would result from a flashier depiction of the deaths. Hearing characters like Martha and Sarah Jane being killed off in a couple of sentences, as if they barely matter, is just so shocking that the deaths are very alarming, even though we know that this is an alternate universe and everything will probably go back to normal soon. The actual shape of the story doesn’t work quite as well for me, although I do love that it resolves the “something on your back” line from “The Fires of Pompeii.” The beginning has a weirdly Orientalist vibe—“Donna is attacked after naively trusting a mysterious, sinister Asian fortune-teller” sounds like the kind of story you’d expect to find in about 1897. The idea of the Trickster is interesting, but a lot of his abilities get explained on The Sarah Jane Adventures, which makes this episode a bit difficult to follow if you haven’t seen that show. In general, I really like the way that Davies creates links between Doctor Who, Torchwood, and Sarah Jane, but usually it’s possible to understand this show even if you don’t watch the spinoffs, and I’m not sure that that’s the case here. Still, the plot is more than anything else an occasion for us to watch a different version of Donna interacting with Rose, so a few moments of confusion are all right.

           This is the episode in which Rose finally returns properly, after several miniature cameos throughout the season. I loved those brief appearances, which I thought were a stellar way of hinting at what was to come, but her actual return is underwhelming to the point that I sort of regret the entire decision to bring back the character. It makes sense that she is different from the Rose that we knew in seasons One and Two, as this shows the impact of working for Torchwood and of living with her loss of the Doctor. I fully understand making her more serious—and, really, I wanted them to show her changing more than she did in Season Two—but there isn’t much of an effort to make that work for the character here. If we had seen a more gradual change across Season Two, this would be more believable, but she just seems like a completely different character; aside from the brief moments when she remembers how great the Doctor’s hair was and when she first watches Donna enter the TARDIS, there’s so little of Rose’s personality here that it just feels like they cast Billie Piper in a different role. Even The Moment in “The Day of the Doctor” has a little bit more of Rose’s personality, and that is literally not Rose at all and is just an interface using Rose’s image. She doesn’t get anything interesting to do here; I love that she has clearly gotten really good at her job, but in this episode, she basically turns up, tells Donna the information that she needs to know, and then vanishes, while being annoyingly and sort of needlessly cryptic. She uses some of the Doctor’s language (“I’m sorry. I’m so sorry”) but she doesn’t have anything that reminds us of her own character, and even the Serious Rose angle goes back and forth between seeming like an awesome professional woman and putting on a weird affect that makes her look like she’s been drugged. I really find Piper’s performance odd here, but I’m assuming that Davies or the director told her to play the character like this because Billie Piper is a stunningly fabulous actress and she could have done so much better than this. On the one hand, regardless of the portrayal of Rose herself, we do get two women saving the world together, which is great. (In general, this is one of the most female-centric episodes of the reboot; Wilf and the Italian neighbor get a fair amount of screen time, but the other major characters are basically all women.) On the other hand, this is the first sustained return of Rose after her departure, and it’s a lot less great that for much of the episode, she’s just a plot device, and kind of an irritating one.

           In spite of the attention given to Rose and to the numerous character deaths, Donna is the star here, and even when I’m not thrilled about what the episode is doing with the character, it’s wonderful to see her get so much screen time. I’ve heard this referred to as the episode in which Donna stops being a joke, but I don’t think this is true at all, as she’s been a non-joke since the end of “Pompeii” at the latest. It is an interesting shift for the character, though, in that we finally get to see her in ordinary circumstances for an extended period of time; between her departure with the Doctor at the end of “Partners in Crime” and her return at the conclusion of “Journey’s End,” the Sontaran two-parter is the only time that Donna visits home, so even with an alternate universe and alternate Donna, this episode provides an important piece of context for a character who uses the TARDIS to escape from ordinary life more than any other companion. Granted, “ordinary” has taken on a new meaning here, as the world has collapsed into a dystopian mess, but we see her in a lot of situations that don’t involve dealing with the supernatural. Brief as they are, it’s nice to get scenes of Donna going out for drinks with her friends, singing “Bohemian Rhapsody” with her housemates, or railing against her employer as he fires her. It’s a little frustrating that we get this kind of material only in an alternate universe episode, as it still just leaves us with the idea that this is what Donna’s everyday life would have looked like if her life had been quite different from what it was; still, the episode conveys her sadness and hopelessness beautifully, and it is definitely the best portrayal of her relationship with her mother. The situation they are in is so terrible that Sylvia’s tendency toward complaint has more depth than it usually does, and this makes her into much less of a caricature than she is in other episodes. The episode doesn’t sugarcoat the problems between these two—Sylvia makes clear that she’s basically given up on her daughter—but their difficult relationship is nuanced and believable, and ultimately very moving.

           This episode lets us see more of the flaws that Donna had mostly overcome even by the earliest episodes of this season. In the absence of the Doctor, her tendencies toward self-centered shallowness haven’t been challenged, and it’s interesting to see more of those qualities here, although I think that one scene might go too far. I like the scene in which she just keeps yelling about her own problems while the hospital gets transported to the moon, but I’m less pleased with the scene that depicts her as somehow not realizing that immigrant labor camps are a problem until Wilf points out the obvious to her. The former scene works because lots of people tune out the suffering of others that they see on the news. Donna is definitely being portrayed as self-centered and callous here, but she’s taking on those qualities to a degree that seems believable and doesn’t make her look like a psychopath. There’s a difference, though, between ignoring the misfortunes of strangers on the news and being completely oblivious to the pain of your friends when they’re standing in front of you, and I just don’t buy that she would be quite this disengaged, even in a giant dystopia in which lots of different terrible things are happening. She thinks her housemate is loud, but she does seem to like him, and having people she knows being rounded up on a wagon and taken to forced labor camps on the grounds that they are immigrants is a pretty big thing to overlook. She does get upset about it once Wilf starts talking about “the last time,” but she swallows her neighbor’s cheerful lies about the labor camps being all right so easily that she comes across as having the awareness of a six-year-old. My concern here is that it makes the change that the Doctor produced in her seem bigger than I assumed it was. The general impression that I get of Donna is that she has quite a lot of natural empathy, courage, and generosity, but she felt like she had so little control in her life that she didn’t really make use of those qualities as much until the Doctor awoke those feelings in her and made her try harder. This scene makes it look like the Doctor basically gave her a new brain, or at least implanted some qualities in her that hadn’t existed prior to their meeting, and I would prefer to stick with the idea that the Doctor brought about an awakening in her and not a total personality transplant.

           I’m also conflicted about her act of self-sacrifice that returns us to the show’s normal universe. Part of my issue with this is that the season has by this point leaned too hard on the notion that good people die protecting the Doctor. I get why this is here, because it’s going to come up in the finale, but of the past six storylines, this is the fifth to resolve things through the structure of “The Doctor is dead/about to die but someone [takes his place on the exploding Sontaran ship/jumps in front of the gun/takes the fatal charge of the library computer in his stead/throws herself out the airlock/jumps in front of a van] so that he can live.” It reads more as an attempt to build a theme than as an inability to think up a wider range of endings, but this should be a really big moment for Donna, and I think the impact is diminished by the fact that we’ve seen similar actions in so many recent episodes, especially since the scenes in “Midnight” and “Forest of the Dead” were so brilliantly done. In spite of the repetition, her moment of sacrifice is very dramatically effective, but I like it less the more that I think about it. The Donna who travels with the Doctor has been shown to be smart, compassionate, resistant to being told what to do, and good at making connections with people. She’s valuable because of who she is, and what her heart and mind bring to their adventures together. The version of Donna that we meet in this episode has a tremendous moment of embracing death for the good of the world, and she does show some quick thinking in figuring out what needs to happen, but ultimately she is valuable because her corpse causes a helpful traffic jam. It’s not even the case that she’s doing something useful and gets killed while doing it—what the story needs is a body in the right place on the road, and she allows her own body to serve that function. Her death is very meaningful here, but in the rest of the series, her life has value, and while this episode ostensibly lets Donna find a sense of heroism without the Doctor’s help, it winds up emphasizing how much her personal growth depended on the Doctor’s influence. It’s not unreasonable to suggest that Donna was fundamentally altered through her travels with the Doctor, but this episode is sometimes celebrated as an empowering vision of how Donna would have been amazing even without the Doctor, and to me this ending doesn’t really manage that.

           Sacrificing your life in order to protect a different version of yourself is an interesting psychological scenario, although the time constraints of wrapping everything up in one episode means that we don’t get to go into this very much. I can imagine that if you were feeling hopeless and valueless, news of another you running around helping to save the world would be an odd thing to experience. It might be thrilling to learn of a better version of yourself, but it could also be immensely frustrating to look around at your actual circumstances and see how different they are from this vision of your ideal self. It’s a fascinating concept, but the episode doesn’t quite have time to go into the complexities of her feelings about this. The story’s conclusion makes clear that AU Donna values the version of herself who travels with the Doctor more highly than she values herself, although the degree to which this is a world-saving act of self-sacrifice versus a somewhat self-interested attempt to take on the better version of her own life is unclear. The relationship between the two Donnas is also unclear to me; Rose denies the notion that AU Donna will simply become proper Donna, but she is able to remember the phrase “Bad Wolf” at the end, which suggests that at least some of AU Donna’s consciousness transferred into the primary Donna’s mind. I’m possibly just looking for more of a metaphor than the story is actually trying to depict, but I keep feeling like I should be able to understand more about actual Donna on the basis of what we see of her alternate self, and I never really get much insight into her beyond a general sense that she’s a good person whose life would have been much worse without the Doctor in it.

           I’ve spent a lot of time talking about problems in this episode, which might make this review reflect more negativity than I feel; in spite of my dislike of this episode’s approach to Donna, she still gets some great material. I’m not sure if a companion has ever been given as much of an emotional range to work with in a single episode, and Tate conveys the characters feelings—her hopelessness about life, her panic and terror about her role in events, her occasional moments of enjoyment in spite of everything—in a tremendously detailed, utterly believable performance. I wish that we had been given a more coherent vision of what it would be like for Donna to find some of her best qualities without the Doctor’s assistance, but there are moments in which Davies gets things exactly right, like this exchange between Wilf and Donna: “You’re not going to make the world any better by shouting at it.” “I can try.” B+

The Stolen Earth: I find it difficult to evaluate this episode, because it sets up a lot of plot developments that I wind up hating, but they don’t really go awry until the next episode. I really liked this one the first time I saw it, and I do think that it’s mostly very good, but after watching “Journey’s End,” my frustration with that episode spoils some of my enjoyment of the setup that this episode provides. Taken on its own, though, this is an exciting piece of television with a lot of lovely guest appearances, so it’s not really fair to criticize it for a subsequent episode’s problems.

           In some respects, the huge cast is a limitation of this episode, because there are just SO MANY characters that it feels like we can’t spend enough time with any of them. Watching an episode starring The Doctor, Rose, Martha, Donna, Captain Jack, Gwen, Ianto, Jackie, Mickey, Wilf, Harriet, and Sarah Jane sort of feels like being a puppy when lots of humans come into the room; you want to rush over to someone and wag your tail in excitement, but there are so many humans that it’s easiest to just sort of run around in circles. Even if the episode does pull in slightly too many directions, though, they’re mostly very good directions. Martha continues to be a much better character this season than she was in the previous one, and the episode does a great job of creating tension about how long it would take for anyone to notice that Rose is back on Earth. (Rose continues to demonstrate the skills she has honed in the parallel universe, but she seems like herself again, which makes the previous episode’s weird portrayal of the character even stranger.) My favorite return, though, is that of Harriet Jones, which goes a long way toward remedying the awfulness that happened with her character in “Christmas Invasion.” I don’t know if this was the plan all along or if this was a response to criticism of that episode, but she gets back all of the dignity and integrity that “Christmas Invasion” took away from her, and she’s just marvelous. I’m sad to see her die, but I love that she is given a thoughtful, brave, heroic death that totally redeems her from the earlier nonsense.

           There are some really lovely moments of plotting here, in which we find out what has been going on with the various missing planets mentioned throughout the season and why the bees have been disappearing. Davies has woven these ideas into the fabric of the season in a really understated way, and they come together beautifully here. He’s really very good at introducing details like this without telegraphing that they’re going to play a major role in the seasonal arc—both this and the early pieces of the Harold Saxon storyline are set up with impressive subtlety. We also get to see the Shadow Proclamation and the return of the fabulous Rhinoceros Police, so there’s plenty of great material to enjoy in this episode.

In spite of my enjoyment of most of the plot here, it does feel like the storyline that’s taking shape here is a massive departure from the rest of the season. The strong character work in many episodes has given this season a sense of intimacy, and the delights of the Tenth Doctor/Donna pairing have created a consistent sense of fun, although the last couple of episodes already started the movement away from that. Season finales tend to be big and epic, so that’s unsurprising here, but the focus on so many different characters and the sudden raising of the stakes makes this feel disconnected from most of the episodes that came before it. Still, it’s a solid piece of setup, and the final moments, in which the Doctor is shot down by a Dalek just as he finally sees Rose again, create a terrific cliffhanger. A-/B+

Journey’s End: Oh, good grief. About nine million things happen here, and a lot of them are absolute nonsense, but the frustrating thing is that the episode is occasionally brilliant, so we get a tantalizing sense of what this episode might have been like if the good elements had been grounded in a more believable story. Part of the problem is the continuation of the previous episode’s tendency to seem much bigger than the season’s storyline can support. The placement of details about disappearing bees and planets has been impeccable, but while the season has been superb at conveying the necessary exposition in a subtle manner, it has done nothing to prepare for the tone that this finale takes. Both of the next two season finales also work with crazy plots and extreme emotional intensity, but in both cases something of that tone is established at the start of the season and continues to make appearances throughout the season, so that by the time we reach the finale that energy makes sense. Here, the plot just feels like it’s overflowing from its container; I quite like the idea of a reality bomb, but if you want me to believe that by making a bunch of planets into a big space diorama and then pressing a button the Daleks can wipe out not only this universe but also all other universes as well, you really need to prepare for a story of that magnitude, and the relatively small-scale feel of much of this season doesn’t do that at all.  

In addition to seeming at odds with the tone of the season, this episode also draws upon previous seasons to an unfortunate degree. The plot is essentially this: the Daleks have been trying to destroy the universe, as they do, and the Doctor is trying to stop them. There’s a possibility of defeating the Daleks through major violence, like destroying the Earth, but the Doctor is against it because he is a man of peace. Just when it looks like the Doctor has failed and the universe is in great peril, it turns out that the Doctor’s companion, who has gone off in the TARDIS without him against her will, has unknowingly absorbed a huge amount of abilities that vastly exceed anything she has ever been able to do before. She turns up at the last minute and saves the day, her “just so human” qualities combining productively with her new powers, thus explaining a phrase that was brought up earlier in the season and creating an awesome moment in which the ordinary, working-class woman saves the world. Unfortunately, her body can’t take this influx of power for long, and so it has to be removed from her, and sadness ensues. I liked this plot when it was called “The Parting of Ways,” but this episode takes the framework from that finale and exaggerates it until it ceases to be enjoyable.

This show has repeated concepts plenty of times, and it usually works, because the constant recasting means that we can take a concept from a previous episode and see how it works differently with a new Doctor or companion. This many recycled elements in one episode, though, is just too much, and once again it doesn’t quite manage to give Donna the moment she deserves. On the one hand, I do really love the reveal of the human-Time Lord metacrisis; it’s fantastic to see Donna be the hero for a while, and after saving the world she makes the Daleks spin around, which is hilarious. There’s also a nice reference to her time as a temp, as she makes use of her quick typing skills. Unlike Rose as the Bad Wolf, she retains much of her personality even when she has acquired her new powers, and her moment of triumph is an absolute delight. On the other hand, there’s been so much attention to the idea that Donna really is special, even if she doesn’t quite believe it, and I don’t think that centering her moment of triumph on a retread of something Rose did three seasons ago conveys that specialness. After “Turn Left” concluded with her act of sacrifice that mimicked the actions of many other characters in this season, this episode really needed to give her something unique to work with, and in that sense it completely fails. I also think that Donna’s triumph is a little bit too reliant on luck. In “The Parting of Ways,” it was definitely a fortunate coincidence that Rose happened to take on godlike powers just when the Daleks were about to win, but her determination to return to the Doctor, her speech about learning a better way to live, and her collaboration with Mickey and Jackie in getting the TARDIS to open really make it seem like her absorption of power is a direct result of her own choices and values. Donna takes on new abilities here because she was in the right place at the right time, and so while it remains lovely to watch her take charge, it seems a bit unearned. (There’s also a lot of nonsense from Dalek Caan about predestination and external controlling forces, and it’s unclear to me exactly how much of a role that played in this season, but I don’t like it.) Her temp abilities (100 words per minute!) may have been useful, but she wouldn’t have been able to do any of what she accomplishes here if the metacrisis hadn’t poured a lot of knowledge into her head. It’s fun to watch her succeed, but Donna doesn’t become great so much as she has greatness thrust upon her, and I would be more satisfied by this development if Donna’s actual values and abilities played more of a role.

           This storyline does allow for some very good things. Dalek Caan’s involvement is sort of interesting, even if it is explained so quickly that it doesn’t make as much of an impact as it could. In addition to sort of enjoying Donna’s moment of world-saving, in spite of my reservations about it, I also love what this episode does with Martha, whose reluctant but determined effort to use the Osterhagen Key is one of the most compelling pieces of the episode. I was constantly aggravated by the third season’s focus on her jealousy of Rose, but when she finally learns of her predecessor’s return, she simply says “Oh my God, he found you!” and looks genuinely happy for the Doctor. It’s a small moment, but a really beautiful one, and an indication of how much better the writing has been for Martha this season. I also really love the scene in which all of the characters fly the TARDIS together in order to tow the Earth back to its proper spot; yes, it’s cheesy, but it’s awfully sweet. Even if I’m frustrated with some of the ways in which the characters are used here, this really is a marvelous ensemble of people, and seeing them together is a nice reminder of how many supremely likeable figures Davies has created for us.      

           I would also say that some of the things that the episode tends to get criticized for don’t strike me as all that bad. The Doctor regenerating into himself does make the previous episode’s cliffhanger look like a pretty contrived piece of drama, but the regeneration energy and its effect on the severed hand are important later in the episode, so I can see the value of this development. It sort of messes with the rules of regeneration as we’ve come to understand them, but it’s a pretty ambiguous process anyways, so I don’t think it’s inexcusable to shift them a bit here. The severed hand itself is a particularly good piece of plotting, as Davies has been building this into the narratives of both this show and Torchwood across several seasons. I’m not even as troubled by Donna’s memory erasure as some people are. The complaints against this tend to take the form that the Doctor removing her memories even while she is directly saying, “No, no, no” has a sort of rape-like quality to it, as he is completely ignoring her wishes about how to deal with her body and mind. I can see this, but I can also understand why the Doctor would feel like he should act in this way. She could be seconds away from dying, and so there isn’t time for him to get into an argument with her about why it’s better for her to live, and I can imagine the Doctor’s desperation to avoid bringing her corpse home to Wilf. It absolutely should be her choice, but while I think this is a problematic moment, the Doctor is making a decision that I can imagine a decent person making in a moment of crisis, so it’s a dark scene that avoids making him into a monster. It also is a genuinely tragic ending to Donna’s story—probably the saddest thing this show has done that doesn’t eventually get reversed. Having her save the world but retain no memory of it is an awful fate for someone who enters the show with very little self-esteem, and her reversion to her former more callous self is just heartbreaking. The erasure of her memory is wonderfully acted by both Tate and Tennant, and even if I have some doubts about this as an ending for Donna I am really moved by the whole sequence. Her casual goodbye to the Doctor at her home is probably the saddest moment of the entire episode, and it’s one of the few things in this episode that at least partly seems like it is tragic because of what it means to her and not because of what it means to the Doctor.

           This is an unfortunately rare thing in an episode that turns basically everybody else (and sometimes Donna too) into ways of understanding the Doctor’s guilt and loneliness. What I am most bothered by is what Davies does to poor Rose. She does get some gorgeous scenes early in the episode, especially the moment in which she takes the Doctor’s hand while it looks like the TARDIS is being destroyed, but her final scene is appalling. I don’t object at all to having her wind up with the Doctor clone, but the manner of getting them together is just so awful that I can’t imagine what anyone was thinking. Rose Tyler has always been fiercely determined to make her own choices about her life. The Doctor sent her away at the end of Season One, and she used a big truck to pull the TARDIS open in order to get back to him. She winds up being taken to the parallel universe at the end of Season Two, but when the Doctor first sneaks one of the universe-travel devices around her neck and sends her there, she comes right back. Even when she has landed in the parallel universe, she keeps trying to return to him. She has fought so hard to be able to make her own choices about her life even in seemingly hopeless situations, which is why it’s so odd to watch her care so little about her own agency in her last moments on the show. I get that the gaps between universes are closing and so there isn’t time for a lot of discussion, but the Doctor could have at least asked her what she wanted to do. Instead, he just takes the TARDIS right to the parallel universe and then, once they’re there, he informs her that she’s going to help the banished Doctor clone to get over his inner violence, but it’s ok because they can date. She very briefly objects to this on the grounds that the Doctor clone isn’t the man that she knew, but it takes about four seconds for her to go along with the plan, and having the two Doctors repeat the conversation from the end of “Doomsday” so that the clone can say “I love you” doesn’t take the place of giving Rose the chance to think about what she wants. The whole sequence comes across as extremely manipulative and creates the sense that our Doctor is refusing to say he loves her just to make sure that Rose follows the plan. I also assume that the entire notion of banishing the clone to this parallel world is a similar ruse, as the Doctor has committed genocide before, and so the only reason to banish him is to create the circumstances necessary for Rose to stay in the parallel world. (Or maybe he does genuinely think that the other Doctor is truly dangerous? I honestly can’t tell what his ethical position is here.) She looks a bit cruel for kissing the other Doctor in front of him, and he looks awfully controlling, especially since he scampers while they’re kissing instead of saying goodbye. I can’t believe that Donna was on the Doctor’s side here; the Donna we’ve had all season would be shouting at the Doctor and probably throwing sand at him at this point. I get that the Doctor is being all noble and this solution is probably best for Rose in the long run, but he works so hard to force the resolution that Rose gets to play only a very small role in determining her own future. He interferes with Donna’s decision-making in a moment of crisis in which she was otherwise about to die, but he takes charge of Rose’s life when, even with the clock ticking, there was enough time to give her more of a choice—and she doesn’t even seem to mind. Rose Tyler is one of the most beloved characters in the history of this show, and one of the biggest reasons why the reboot became so successful, and she deserved a much better ending than one that essentially involves saying “I don’t have to care about my autonomy anymore, because the Doctor can be my boyfriend now!”

           This isn’t the only way in which this episode comes across as disrespectful toward its female characters. Davros is mostly wasted here, as he is really just used to tell the Doctor to feel bad about himself, but the most irritating thing about his function in this episode is that he asks the Doctor and, implicitly, the audience, to see the other characters almost entirely in terms of what they reveal about the Doctor. Martha’s principled, quietly determined consideration of destroying her own planet in order to save the rest of the universe, Sarah Jane’s acquisition of the Warp Star, and the efforts of all of the other returning companions all become ways of reminding the Doctor that he can’t shake the association with violence. The Doctor does try to defend them, saying that they’re trying to help, but the episode seems to take Davros’s critique pretty seriously. The montage of guilt, in which the Doctor remembers the deaths of numerous (mostly female) characters from the past few seasons, is even worse.  I don’t usually find this show to be particularly bad in terms of fridging, although it does happen on occasion; there are plenty of female characters who die, but the show isn’t excessive about it, and many of them die in ways that are meaningful to their own stories and not just methods of propping up the Doctor’s narrative. The montage of character deaths, though, essentially digs up the corpses of a lot of women and chucks them into a giant freezer. Even beautifully done scenes, like the deaths of River and the Hostess, suffer from being placed into a montage of reasons for the Doctor to feel guilty, removing these deaths from the narratives of those characters and presenting them as stepping-stones in the Doctor’s moral journey.            

The Doctor has plenty of flaws, and this version of him arguably has more than some of the other regenerations. He has a tendency to be narcissistic, arrogant, and oblivious to other people’s feelings. He’s still a wonderful, charming, admirable hero, but these flaws are there and it usually works well when people point them out. The fact that people sometimes die in proximity to him is not really among these flaws—there are occasional exceptions, like “Human Nature,” but it’s usually the case that if the Doctor wasn’t around, a lot more people would die. It also isn’t really a problem that he takes smart, brave people and gives them the ability to fight back against evil beings who are trying to destroy the whole of reality. I don’t get the sense that Sarah Jane, Martha, and the rest are being needlessly violent, they’re just trying to be practical in a fight against literally the worst thing that could possibly happen. Granted, Davros is not exactly someone you’d expect to have spot-on moral advice, but the show and the Doctor seem to believe pretty strongly in his words, and this means that the show has to embrace the notion that the ways in which many of its major figures have developed in recent years basically just serve as reasons to be skeptical of the Doctor. There isn’t any meaningful sense of doubt on the part of the characters themselves—Martha, for instance, gets some fascinating material throughout the episode, but there’s never any real attention to her potential concerns about the kind of person she’s become as a result of the path that the Doctor put her on. Nobody else’s feelings matter much here; the Doctor has a moment of tremendous moral doubt, and everyone else just gets pulled in as an illustration of that guilt.

And then we get the mass exodus of people, which is done in the most annoying way possible. Sarah Jane’s nice comment that the Doctor acts lonely but actually has a huge family just winds up becoming tragically ironic, and it takes forever, and the last twenty minutes feel like a never-ending epilogue. The whole episode is just weirdly structured, like going to an  ABBA concert and then having Coldplay come out to do an encore that’s half as long as the rest of the concert. What feels like the climax of the story occurs well before the end, and then we get another one, sort of, and even if pieces of it work well the whole thing is just a mess. Eventually, we get to the end, and the Doctor is being sad and lonely in the rain, and it makes a great meme but I don’t think there’s anything in the world that isn’t a symbol of the Doctor’s guilt and grief at this point; the Earth basically just exists as a large-scale reminder that he has flaws, without any sense that the Doctor is aware of what his actual bad qualities are or how he could fix them. There are a lot of amazing characters in this episode, but in the end, they’re just ways of breaking the Doctor’s hearts, and Davies has never done a bigger disservice to the genuinely lovely world he created than this. C

[yasunope-blog]

Motivational Songs For Kids of All Ages

fíha tralala Motivational Songs are good for the brain, physique and spirit in children of all ages. If you are like me, a child staring at forty, listening to motivational tracks provides me that considerably essential select-me-up in the center of the working day transforming my entire mood, bringing me to my toes, and inviting me to dance. And far more importantly, for my individual youngsters, motivational songs educate valuable lifestyle lessons that will conjure up strong reminiscences for many many years to arrive. A music is motivational if it has a constructive and encouraging message. For case in point, lyrics like "You can get it if you genuinely want, but you ought to consider," suggest ideas of determination and challenging function. On the other hand, some tracks may have an upbeat rhythm that frees the head and moves the physique...like in the topic music from the Rocky series "Gonna Fly Now". That invigorating horn arrangement, along with that rock guitar solo, oh and that string motion are so effective it gives you that little thrust, the added strength to get up and go. Even university lecturers discover that the correct songs assists facilitate finding out by creating a fascinating environment and energizes functions for children. It can also enable them to enhance their consideration, enhance their memory, launch rigidity, and so considerably additional. How cool is that? As a mom of 2 modest little ones, I also discover that motivational tunes give them positive sayings that you would not be embarrassed to listen to them repeat or sing together to. Subsequently, for mother and father, motivational lyrics develop into phrases of wisdom to use when instructing young children about the "trials and tribulations" of lifestyle that Princess Tiana sings about in "Virtually There" (SEE Below). Basically, they get the job done just like inspirational quotations do. But, since they have the capacity to get trapped in the listener's head and repeat into oblivion, motivational music are that a lot a lot more effective! The good news is, motivational music can be identified in all genres and from an array of artists previous and new, well-known and not so popular. Though there are so many to pick from, in this article are just a couple of I have released my kids to. These are in no unique order. one. "Intensify the Beneficial" sung by Dr. John, is a hugely stylized variation of the outdated common that was highlighted in the film The Mighty Ducks. This one particular leaves them singing along to some extremely excellent phrases of knowledge that have been at first written by Harold Arlen who was noted to have been influenced by a church sermon he had heard with the similar title. two. "You Can Fly! You Can Fly! You Can Fly!" is a beloved Disney traditional tune from Peter Pan. Its charismatic "aged university" allure is nonetheless refreshing after all of these several years. 3. "We Did It!" from Dora the Explorer series is simply a celebration of achievement. It has an undeniably infectious beat and generally delivers you to your ft to dance. four. "Going for walks Tall" by Ziggy Marley and that includes Paul Simon, is a new catchy tune created in the custom of his father's optimistic lyricism. There is an significant lesson staying taught in this article, and is completed in this sort of a cute way that it is destined to turn into a strike! 5. "Tomorrow" sung by Alicia Morton from the Authentic Broadway Solid Recording of Annie. I can remember these lyrics staying there for me developing up, and hope other youngsters discover them as equally encouraging. six. Though "Zip-a-Dee-Do-Dah" sung by James Baskett isn't really a favored however amongst my kiddies, Grandma loves it and each and every time we are in the auto, that is her 1st ask for. Possibly I should have picked the Miley Cyrus variation...which sales opportunities me to... seven. "The Climb" by Miley Cyrus is the one the three-yr-outdated enjoys best. There is a good concept in this a single, as well. But, I don't even feel she cares! It is Hannah Montana! eight. "All Star" by Smash Mouth is a late nineties basic with a fantastic message so wholesome it has currently been featured in many flicks, commercials, and "very best of" compilations and in no way will get old. Not only does it deliver you to your feet, but it fills your kids' mouths with some good text that can boost self-esteem and inner self-confidence. nine. "Three Small Birds" by Bob Marley is a reggae vintage that also hits house for so many persons..."Don't fret 'bout a matter...every single minor thing's gonna be alright." Who won't require to here that from time to time? It truly is a excellent tune for young children and surely has lyrics to live by. ten. "My Favored Points" by Julie Andrews is initial and foremost constantly a great vocal work out! She hits these notes and retains them as prolonged as only she can. But in her rendition of this well-known regular, she clearly delivers a excellent option to any individual emotion down in the dumps...Make a record of your preferred things. Pull them out when you need them, and enable it work miracles on your mood. Fantastic notion! 11. "Nearly There" by Anika Noni Rose from Disney's new The Princess and the Frog film is so very good it was nominated for an Academy Award this 12 months. It can be so straightforward to sing along to, all the whilst relaying an important concept about willpower. How quite a few times have you required a tune like this to enable you continue to be motivated when nearing the finish line? The important matter to bear in mind is that by taking the time to do a small finding and deciding on of what they hear to, just like they keep track of what they view, mother and father can regain some electrical power to control the strategies and pictures that penetrate their children's minds. In addition, by feeding them with optimistic strategies and images by audio, mothers and fathers can system their youngsters to grow to be more robust, more impartial, and prosperous people. Fairly cool, huh?

[101tarnations-blog]

Motivational Tracks For Youngsters of All Ages

víla ella Motivational Tracks are fantastic for the mind, overall body and spirit in young children of all ages. If you are like me, a kid staring at 40, listening to motivational songs offers me that a lot needed decide-me-up in the center of the day transforming my whole mood, bringing me to my ft, and inviting me to dance. And more importantly, for my own little ones, motivational songs instruct beneficial life lessons that will conjure up highly effective memories for quite a few a long time to appear. A track is motivational if it has a constructive and encouraging information. For illustration, lyrics like "You can get it if you actually want, but you ought to attempt," advise concepts of willpower and really hard operate. Even so, some songs may possibly have an upbeat rhythm that frees the intellect and moves the body...like in the concept music from the Rocky collection "Gonna Fly Now". That invigorating horn arrangement, along with that rock guitar solo, oh and that string movement are so potent it offers you that minor press, the more strength to get up and go. Even college teachers come across that the proper songs aids facilitate mastering by making a appealing atmosphere and energizes pursuits for youngsters. It can also support them to enhance their focus, improve their memory, release tension, and so substantially a lot more. How cool is that? As a mom of two modest little ones, I also come across that motivational tunes give them optimistic sayings that you will not be ashamed to listen to them repeat or sing alongside to. Subsequently, for mothers and fathers, motivational lyrics become words and phrases of wisdom to use when training little ones about the "trials and tribulations" of daily life that Princess Tiana sings about in "Just about There" (SEE Below). Basically, they get the job done just like inspirational quotes do. But, given that they have the skill to get stuck in the listener's head and repeat into oblivion, motivational tracks are that much much more potent! Thankfully, motivational music can be discovered in all genres and from an array of artists previous and new, well-liked and not so common. Even though there are so a lot of to opt for from, listed here are just a number of I have launched my youngsters to. These are in no certain purchase. one. "Intensify the Optimistic" sung by Dr. John, is a extremely stylized variation of the outdated normal that was highlighted in the film The Mighty Ducks. This just one leaves them singing along to some very great words of knowledge that were initially composed by Harold Arlen who was described to have been encouraged by a church sermon he had read with the similar title. 2. "You Can Fly! You Can Fly! You Can Fly!" is a beloved Disney common tune from Peter Pan. Its charismatic "previous university" appeal is even now refreshing immediately after all of these several years. three. "We Did It!" from Dora the Explorer series is basically a celebration of accomplishment. It has an undeniably infectious defeat and generally delivers you to your feet to dance. 4. "Going for walks Tall" by Ziggy Marley and showcasing Paul Simon, is a new catchy tune published in the tradition of his father's optimistic lyricism. There is an essential lesson becoming taught below, and is completed in this sort of a adorable way that it is destined to turn into a strike! five. "Tomorrow" sung by Alicia Morton from the Original Broadway Cast Recording of Annie. I can remember individuals lyrics being there for me increasing up, and hope other children discover them as similarly encouraging. six. Despite the fact that "Zip-a-Dee-Do-Dah" sung by James Baskett isn't a favorite nevertheless among my kiddies, Grandma enjoys it and just about every time we are in the car, that is her initially request. Possibly I must have picked the Miley Cyrus variation...which potential customers me to... seven. "The Climb" by Miley Cyrus is the a single the three-calendar year-aged enjoys ideal. There is a fantastic message in this one, way too. But, I do not even assume she cares! It really is Hannah Montana! eight. "All Star" by Smash Mouth is a late nineties traditional with a fantastic message so healthful it has by now been featured in many movies, commercials, and "ideal of" compilations and under no circumstances will get previous. Not only does it convey you to your ft, but it fills your kids' mouths with some excellent words and phrases that can increase self-esteem and internal self esteem. nine. "Three Tiny Birds" by Bob Marley is a reggae vintage that also hits house for so many men and women..."Never fret 'bout a issue...each and every very little thing's gonna be alright." Who will not require to listed here that from time to time? It is a good track for young children and definitely has lyrics to live by. ten. "My Beloved Points" by Julie Andrews is first and foremost usually a excellent vocal exercise routine! She hits these notes and retains them as prolonged as only she can. But in her rendition of this common regular, she plainly provides a excellent remedy to any individual emotion down in the dumps...Make a listing of your favorite points. Pull them out when you need to have them, and enable it function miracles on your mood. Fantastic plan! 11. "Nearly There" by Anika Noni Rose from Disney's new The Princess and the Frog film is so excellent it was nominated for an Academy Award this yr. It truly is so straightforward to sing alongside to, all the although relaying an essential concept about resolve. How numerous times have you essential a tune like this to support you keep inspired when nearing the end line? The critical point to keep in mind is that by having the time to do a minor selecting and choosing of what they listen to, just like they watch what they enjoy, dad and mom can regain some electricity to control the ideas and photographs that penetrate their kid's minds. In addition, by feeding them with positive tips and images by tunes, parents can plan their little ones to grow to be stronger, much more impartial, and successful persons. Fairly awesome, huh?

[distastefultbh-blog]

Motivational Tracks For Little ones of All Ages

Miro Jaroš Motivational Songs are very good for the thoughts, physique and spirit in little ones of all ages. If you are like me, a kid staring at forty, listening to motivational songs offers me that a lot wanted decide-me-up in the center of the day transforming my complete temper, bringing me to my feet, and inviting me to dance. And far more importantly, for my very own youngsters, motivational tunes educate precious daily life classes that will conjure up potent memories for many several years to occur. A track is motivational if it has a constructive and encouraging information. For instance, lyrics like "You can get it if you actually want, but you have to try," propose strategies of resolve and really hard operate. Nevertheless, some music could have an upbeat rhythm that frees the head and moves the body...like in the theme song from the Rocky sequence "Gonna Fly Now". That invigorating horn arrangement, along with that rock guitar solo, oh and that string movement are so highly effective it provides you that tiny press, the further electricity to get up and go. Even university instructors find that the appropriate songs can help aid learning by generating a attractive ambiance and energizes actions for children. It can also assist them to enhance their awareness, enhance their memory, release rigidity, and so a lot a lot more. How interesting is that? As a mom of 2 small children, I also find that motivational music give them beneficial sayings that you will not be humiliated to hear them repeat or sing along to. Subsequently, for mother and father, motivational lyrics turn into text of wisdom to use when educating little ones about the "trials and tribulations" of lifetime that Princess Tiana sings about in "Just about There" (SEE Below). Generally, they work just like inspirational quotations do. But, because they have the capacity to get caught in the listener's head and repeat into oblivion, motivational tunes are that significantly a lot more highly effective! Luckily, motivational music can be identified in all genres and from an array of artists outdated and new, well known and not so well-known. Although there are so several to opt for from, right here are just a couple of I have released my young children to. These are in no specific get. 1. "Intensify the Positive" sung by Dr. John, is a hugely stylized edition of the previous regular that was featured in the movie The Mighty Ducks. This a single leaves them singing alongside to some quite great words of wisdom that have been at first composed by Harold Arlen who was reported to have been inspired by a church sermon he had read with the identical title. two. "You Can Fly! You Can Fly! You Can Fly!" is a beloved Disney classic tune from Peter Pan. Its charismatic "previous school" attraction is nonetheless refreshing immediately after all of these a long time. three. "We Did It!" from Dora the Explorer sequence is simply a celebration of accomplishment. It has an undeniably infectious beat and generally provides you to your toes to dance. four. "Going for walks Tall" by Ziggy Marley and featuring Paul Simon, is a new catchy tune created in the tradition of his father's constructive lyricism. There is an significant lesson becoming taught right here, and is done in these kinds of a lovable way that it is destined to turn out to be a hit! 5. "Tomorrow" sung by Alicia Morton from the First Broadway Solid Recording of Annie. I can remember all those lyrics becoming there for me increasing up, and hope other youngsters locate them as equally encouraging. 6. Although "Zip-a-Dee-Do-Dah" sung by James Baskett isn't a favorite yet amongst my kiddies, Grandma enjoys it and each and every time we are in the auto, that is her very first ask for. Probably I ought to have picked the Miley Cyrus model...which qualified prospects me to... seven. "The Climb" by Miley Cyrus is the just one the 3-calendar year-old enjoys greatest. There is a wonderful concept in this one particular, far too. But, I do not even think she cares! It can be Hannah Montana! eight. "All Star" by Smash Mouth is a late nineties basic with a good concept so healthful it has already been showcased in a great number of motion pictures, commercials, and "very best of" compilations and in no way gets outdated. Not only does it bring you to your toes, but it fills your kids' mouths with some excellent terms that can increase self-esteem and inner self esteem. nine. "A few Very little Birds" by Bob Marley is a reggae traditional that also hits house for so numerous persons..."Really don't worry 'bout a point...each tiny thing's gonna be alright." Who doesn't want to below that from time to time? It truly is a great tune for young children and absolutely has lyrics to dwell by. ten. "My Preferred Points" by Julie Andrews is first and foremost often a excellent vocal exercise routine! She hits people notes and holds them as prolonged as only she can. But in her rendition of this popular standard, she obviously delivers a great solution to anybody feeling down in the dumps...Make a listing of your beloved things. Pull them out when you need them, and permit it work miracles on your mood. Fantastic notion! 11. "Practically There" by Anika Noni Rose from Disney's new The Princess and the Frog movie is so excellent it was nominated for an Academy Award this 12 months. It can be so straightforward to sing alongside to, all the whilst relaying an essential information about determination. How several periods have you wanted a tune like this to help you keep inspired when nearing the complete line? The essential factor to recall is that by using the time to do a very little selecting and deciding on of what they listen to, just like they watch what they watch, parents can regain some electric power to handle the strategies and photos that penetrate their kid's minds. Moreover, by feeding them with positive tips and illustrations or photos through audio, moms and dads can method their little ones to turn out to be more robust, additional unbiased, and effective people. Fairly great, huh?

[babywizarddream-blog]

Science EBooks

Actually individuals who enjoy the time reading books all may sometimes get also chaotic to sit lower around the settee and commit a couple of hours making use of their nasal inside their fresh that is preferred. Dee, Liz(sure, The Liz), Lydia, Claire, Amedea are all wonderful attained females who permit themselves to be mistreated by their guys. It made he had, enticed a sighing sound since it floated to the ground, like it also. Also gods of all that is enjoy and legitimate and sacred and insatiable audience and amazing guides, thank you for this book's living! Flawlessly understand inside a guide or inside their catalogue, using regular selection, title and option brands; steer to some specific site inside a book and variety publications by publisher inside the collection. Yet again he thought Diona Brownish was not just like the other ladies his pal dated and with a need certainly to place her as farout of his brain as you are able to they switched on his pc to begin with operating through the countless emails which anticipated them. There's another listing on Goodreads using the proper concept (Lifetimes: The Wonderful Strategy To Explain Death to Kids), but also for some reason this inappropriate listing provides more scores mounted on it. So when themselves is, concerned by one delivered for creation's major process, while the author is with the second procedure, his task becomes useless. In is listing printing textbooks of 2013 out-of- of the 100 most sought-after, Craze is graded higher at number two, than any novel that was other general. Only get the app and signal into your Amazon accounts to Access all your acquired textbooks. When I stated progress in the first-half of the year were retarded because of individual problems and my authentic career taking on a lot of my period and power (we benefit an AAA games corporation and we released our newest game per month back, thus up until that was produced I was operating all hours, causing short amount of time regarding Preparing Simulation). Most prosperous experts who have composed bestsellers get based at the very least a number of their books on something which offers occurred to them (or someone close-to these) in real life. Like a kid my teacher read the Five Asian Bros to your category and that I loved it. I was simple and did not recognize how wrong this book was. Here is the single purpose I read in the Kindle app — a components Kindle is owned by me regarding examining in bed or outdoors, and syncing is not fairly dispensable to that. To vote beside each guide there's an url vote regarding this guide clicking it and your ballots will add that book together. Furthermore, it's entirely another encounter to learn a guide resting inside the library. It clicks and manufactured vintage place before Telltale ditched all-the puzzles in favour of branching paths and zombies. Adler views their upcoming in its request product and in books, although Scribd will still include individuals functions. Inspired by woodcuts that are medieval and 1700s scrolls in the Era of Development, the sport is so lovely it will likely be hard to tear your eyes away. Please verify that any links you distribute qualify as free, appropriate audio downloads.” iLounge doesn't take any obligation for verifying the legality of the websites or solutions shown, and motivates many consumers to be mindful before accessing and revealing another individual's audio online. And sure, the complete book (my first) was created around the iPad or perhaps the iPhone, as was 90PERCENT of a non fiction concept I'm working on (the images and images are impossible to make on iOS). Purchase textbooks that mixture imagination for older children using science or old subjects. She has no thought what she is in for with this specific female when Margaret is called upon a popular creator, by Winter, ahead and publish her biography. The pegs are increased in the second-stage of initiation when Tris and corporation should go through extremely lifelike hallucinations of the worst doubts to understand to overcome them (because the genuine explanation of bravery is conquering oneis fear being bombarded by massive parrots). Apple made technologies that was sophisticated straightforward, an incredibly struggle as the Mark Prentice of Gartner believes, and specific customers honored it accordingly. Do http://blogpourhomme.fr/les-problemes-derection-de-la-raison-ce-quils-sont-et-les-solutions-possibles/ know what the problem is in case you study Wonderful Oblivion. And when you havenever, it's not too soft to determine. The purpose of fifty,thousand words in one single month indicates you've to make ONE,667 every day, that will be hard sufficient to suit around a sociable lifestyle, review plus perform before you actually start fretting about just how long a new should be. In interviews, he comes down like a sensible, solemn man (if a little bit of an instructional dweeb) that has an infatuation for puzzles, aged artwork and conspiracy hypotheses, but in addition as being a person who has no thought how to giggle at herself. Political reporter Michael Hastings died sadly in 2013, but he put aside this first book about the earth of writing. You shouldn't be thus dramatic.” He said as myself uncomfortable in a bored strengthen that frustrated me constantly. Electronic stamping has opened up the likelihood of printing-on-demand, until after a purchase is obtained from the purchaser wherever number publications are printed,. Yes, most of US recognize that one from Good-Will Tracking, as well as out of each and every politically-minded bookstore clerkis display of examining that is recommended . My mind.” an expression she only lay there dumbfounded was never said by My mama was n't merely crossed by it. I figured for MONEY 39.99's cost there is no way this battery was made out of aluminum that was real. the British Islands can be landed everywhere in by him and create a book from the jawhorse. There isn't any milieu they can't get the suspend of: the cathedral close, the cabin that is Irish, the mansion. And Huntley is not simply as ugly and swee I had been initial drawn to this book from the ATTRACTIVE address! Nevertheless Amazon-held competitor Clear features a monthly account, a system that offers consumers entry to a certain variety of textbooks monthly with respect to the fee is relied on by it. I - can notice logic in christmas-gift objects being updated within the Tumble, and maybe it is bad-luck Skylake is barely getting trustworthy that end of the season. Where most industry homes release books regarding quick consumption, many scholarly editors take a notably extended see, wanting to acquire the impossible battle obsolescence. You're able to successfully take this design as the main subject material for Wuthering heights and then you can certainly inter associate the preceding idea with this specific someone to include tart if you intend to allow it to be additionally intriguing,. In Boston, in which he stated 300 pages of his subsequent novel manuscript were lost, Ellison expert an important property fire at his house in 1967. The majority of it's at-once Panglossian and melioristic: certainly, specialists declare, there's no discussing the impact of text on the codex's whole culture; less report publications are increasingly being offered, libraries fold, bookstores continue to shut, as-well. Well-meaning people can quickly destroy a childis love of examining: stop these reading what they appreciate, or give them deserving-but- dreary textbooks you want, the twenty- first century equivalents of novels that is Victorian. Sofar i've kinda enjoyed it when i came in having minimal objectives, but with all the ongoing state this Visual New is in, i can't suggest it, particularly since its earlier accessibility along with the tale is unfinished and wont be finished regarding another year, making reviewing it hard because i cannot definitely claim in case a history is truly goodenough depending on an unitary chapter alone, irrespective of how intriguing i observed it. Since the games that began a whole era, marketed 23.64 million copies globally, and made so many people fall with Pokémon deeply in love , Pokémon R /T/YMCA are likely the top sport for a few.

[eddycurrents]

For the week of 16 April 2018

Quick Bits:

Amazing Spider-Man #799 sees some surprising revelations and developments, as Spider-Man’s extended network tries to take on the Red Goblin, who has turned his attention to Harry and his family. This issue does a great job of ratcheting up the tension as we dive headlong into the final confrontation in the next issue.

| Published by Marvel

Antar: The Black Knight #1 is the beginning of a retelling of the history and legend of the warrior and poet Antarah ibn Shaddad, brought to us by Nnedi Okorafor and Eric Battle. I know that many probably aren’t familiar with Islamic poetry, let alone pre-Islamic Arabic poetry as part of the Mu’allaqat, so it’s especially nice to see this presented here. The art from Battle, with colours by Jason Scott Jones, is great.

| Published by IDW

Avengers #689 is technically the penultimate issue of “No Surrender”, but this is the extra-sized special spotlighting the Avengers throwing everything they have left at the Challenger and Grandmaster, and showing who has all the cards. This is big, with great art from Pepe Larraz and David Curiel, and a really nice circling back around for narration from Lightning.

| Published by Marvel

Avengers: Back to Basics #4 concludes the second two-part story focusing on a time in the Avengers’ past, as seen through the eyes of Ms. Marvel using a virtual reality device. I really like how this series has been structured, with the framing story with Ms. Marvel and then the view of the historical inset. Also, so far this has featured some of Peter David’s best humour I’ve seen for awhile. 

| Published by Marvel

The Ballad of Sang #2 is more balls to the wall action, with Sang being hunted down by a coked-up “rock and roll” biker gang. It’s completely over the top to the point of near absurdity, but Ed Brisson and Alessandro Micelli are still making this high octane fun.

| Published by Oni Press

Black Crown Quarterly #3: Spring 2018 spends a lot of its time building up the neighbourhood, centrally with a tour in “Ghost Walk with Me” from Tini Howard and Phillip Bond, but also in two other comics stories and the continuing “Tales from the Black Crown Pub” feature. It’s interesting how the locations in the respective comics being published are used here to populate this fictional world, like a shared universe that only intersects with its buildings. There’s also an interview with Howard about and a preview for the forthcoming Euthanauts by her and Nick Robles. And a short from David Barnett and Martin Simmonds that looks integral to Punks Not Dead.

| Published by IDW / Black Crown

Black Hammer: Age of Doom #1 begins the next chapter in Jeff Lemire and Dean Ormston’s epic, essentially turning the premise on its ear as it goes from Lucy searching for her dad and the missing heroes to the “missing” heroes searching for Lucy. Given where Lucy ends up when she claims to have figured everything out, it certainly makes me wonder where and what the farm happens to be.

| Published by Dark Horse

Cable #156 takes a slip into the past/future with an untold adventure set during the time period of the last Cable series when he and Hope were hopping through time, trying to stay one step ahead of Bishop, who was trying to kill them. Aside from establishing more of the father/daughter bond between the two of them, this also looks to be showing us Hope’s first encounter with Cable’s techo-organic nightmare in the form of Metus. I love how Lonnie Nadler and Zac Thompson are mining Cable’s past to build this story. Also, as with the first issue in the arc, Germán Peralta and Jesus Aburtov’s artwork is stunning.

| Published by Marvel

Critical Role: Vox Machina - Origins #6 brings to a close this mini, hopefully with more to come. I love the regular Critical Role broadcast and it’s nice to see the Vox Machina campaign and characters brought to life, as it were, in a different medium. Matt Mercer, Matthew Colville, Olivia Samson, Chris Kawagiwa, and Chris Northrop did a great job of adapting them to the comics medium and told one hell of a story, with a great feel for the actors’ voices, too. 

| Published by Dark Horse

The Damned #9 gets us back to new material, presenting a fairly straightforward heist of the proceeds of a demonic gambling parlour. Naturally it’s not going to turn out to be that simple.

| Published by Oni Press

Daredevil #601 begins the next stage in Charles Soule’s upheaval of Daredevil’s status quo, with Mayor Fisk fighting for his life in the hospital, the Hand waging war on New York City, and Matt Murdock finding himself in a position of power. Mike Henderson and Matt Milla provide some really nice art.

| Published by Marvel

Evolution #6 is ostensibly the end of the series first arc, but there’s not much concluded. There are a few transitions for our focus characters, but it’s mostly more slow going through the outbreak. It’s nice to see outside confirmation that Abe (and by extension everyone else) isn’t insane or, at least, isn’t imagining the bug. And the art from Joe Infurnari, with Jordan Boyd, is gorgeous.

| Published by Image / Skybound

Giants #5 ends the series with the moral lesson of friendship and humility over greed and aggression. It’s been a good series, with some great storytelling by the Valderrama brothers.

| Published by Dark Horse

Her Infernal Descent #1 is an interesting take on Dante’s Inferno, with a grieving mother descending into hell with William Blake as her guide. Zac Thompson and Lonnie Nadler have this first issue rife with literary and pop culture allusions and cameos, much like Dante utilized characters and people from his time in the original poem, adding an interesting level of Easter egg finding. The art form Kyle Charles and Dee Cunniffe also presents an interesting aspect to the storytelling. I love the choices for the pages with nine-panel grids.

| Published by AfterShock

The Highest House #3 brings the Lord and his family home, allowing for more intrigue among the land, and Moth to become smitten with the Lord’s daughter. The artwork from Peter Gross and Fabien Alquier is simply gorgeous. I’ve been saying this since the first issue, but the way that Gross lays out his pages is spectacular. Each page is a treat to see how he’s incorporated bits and pieces of the House’s architecture, making it feel like an ever-present character, much like how Mike Carey presents Obsidian’s voice to Moth.

| Published by IDW

Infidel #2 sees Aisha try to find a reasonable explanation for seeing the ghosts, finding out from her doctor that her anxiety meds can possibly cause hallucinations. It’s also nice to see Aisha and Leslie try to mend their differences, Pornsak Pichetshote is doing a great job of building these characters.

| Published by Image

Infinity 8 #2 sees Agent Keren’s situation go from weird to worse, as she continues to rebuff the advances of a lovestruck alien, now having to deal also with a homicidal one, all while trying to figure out the mystery of the necropolis and keep the ship from exploding due the attack of other insane Kornaliens. Beautiful artwork again this issue from Dominique Bertail as he really gets to show off some weird and wonderful design amidst the necropolis.

| Published by Lion Forge / The Magnetic Collection

Infinity Countdown #2 is more punching over the Infinity Stones, or at least the Power Stone, with little more beyond that. It’s pretty at least. Aaron Kuder does a great job with the main sequence of the Guardians battling the Chitauri and the Raptors, while Mike Hawthorne and Terry Pallot carve out Adam Warlock’s quest for the Soul Gem, all beautifully coloured by Jordie Bellaire.

| Published by Marvel

Iron Fist #80 brings the tie-in to Damnation to a close, along with the series itself. I’ve really enjoyed Ed Brisson’s take on Danny Rand, first with Mike Perkins and here with Damian Couceiro, so I’m sad to see it end, but it does so on a high note. 

| Published by Marvel

James Bond: The Body #4 is another great issue in this series. I like how Aleš Kot has structured the series and each story within it, how it has been focusing on both the theme of the titular body parts, as well as how each part contributes to the whole. It’s a measured, thoughtful approach to James Bond and it adds a nice depth that is often missing in some incarnations. It’s also nice to see more Eoin Marron art. I loved his work in Centipede and he shows here that he’s just as suited to more grounded character work.

| Published by Dynamite

Jughead: The Hunger #5 has Jughead’s problems in Riverdale come to a head when he finds out that difficulties just escalate when you try to run from them. Despite the downcast and brooding feel, there’s still some time for humour in Frank Tieri’s script.

| Published by Archie / Archie’s Madhouse Presents

Kick-Ass #3 is where it seems that it’s going to start going wrong for Patience as she finally comes face to face with some true opposition. I like how Mark Millar is fleshing out this new aspect of his world, making Patience’s family feel important, even as we find out a new dangerous wrinkle. There’s also the continuing idea that there truly are no heroes in this story, just varying levels of criminals.

| Published by Image

Lazarus #27 takes us back to the “Conclave” arc, showing us what happened following Jonah’s leap into the North Sea. It’s interesting to see how torture and nearly dying seems to change a person. The quiet moments really allow Michael Lark’s (with Tyler Boss and colours by Santi Arcas) art to breathe.

| Published by Image

Lucy Dreaming #2 is more glorious madness from Max Bemis and Michael Dialynas. The story is funny as Lucy comes to terms with her parents’ mad science and her own newfound ability to lucid dream in very strange ways and the artwork is beautiful.

| Published by BOOM! Studios

Optimus Prime #17 is a bit of a mindfuck. Since the reappearance of Onyx Prime at the beginning of this arc, John Barber has made it feel like there was something ominous and somewhat hinky going on. That feeling was well-deserved and it shines through this issue.

| Published by IDW

Optimus Prime #18 is a retelling of the history of the Primes, with the new perspective revealed in the previous issue. This sort of revisiting of Transformers lore definitely aids in the idea that this incarnation is going to be ending soon.

| Published by IDW

Rough Riders: Ride or Die #3 gets into some interesting territory as Houdini traverses the afterlife in order to figure out the problem with the Buck Rider, Madame Coffey and the potential oncoming zombie apocalypse. Patrick Olliffe’s art has been great throughout all of the Rough Riders books, but I wanted to point out that some of the layouts this issue are particularly impressive.

| Published by AfterShock

Rumble #5 is glorious. John Arcudi, David Rubín, and Dave Stewart take us back in time to Rathraq’s battles with the Esu in order to show us an allegory about the true meaning of friendship and sacrifice to close out this arc. Rubín’s art just consistently seems to be transcendent. 

| Published by Image

The Spider King #3 is packed with more incredible artwork from Simone D’Armini and Adrian Bloch. Like Andrew MacLean’s Head Lopper, there’s a visceral quality to the style of the angular characters, crazy hair, and smooshed noses that just lends itself completely to this kind of violent and crazy mash up of science fiction and Viking action.

| Published by IDW

Star Trek: Discovery - Succession #1 continues on in the mirror universe following the end of the first season of the television series. As such, it’s pretty dark, with the usual backstabbing, in-fighting, and plotting, but the new Emperor takes it to a new level of evil and crazy with a plan for the complete genocide of non-human races. Kirsten Beyer and Mike Johnson also throw some somewhat unexpected familiar faces at us.

| Published by IDW

Star Wars: Poe Dameron #26 jumps ahead in the timeline to The Last Jedi era, with a flashback story filling in the hole of how Poe survived Jakku. I don’t always like it when ancillary media fills in what some consider plot holes, which in many cases are just the story moving on past trivial details, but this one wasn’t necessarily trivial, even if the real life answer was just something like “we really like Oscar Isaac”. Either way, Charles Soule does a good job of bringing an explanation here into an entertaining story and Angel Unzueta’s likeness game is on fire.

| Published by Marvel

Superb #9 serves as a capstone to the second arc, with Abbie giving an analysis of Kayla and Jonah, before the revelation of who she’s talking to in order to set up the next stage. Despite being an end, it actually serves as a pretty decent jumping on point, giving a detailed, if biased, explanation of the characters and what’s going on.

| Published by Lion Forge / Catalyst Prime

Tales of Suspense #104 is the pretty awesome conclusion to what has been a great story. It’s full of the humour and oddity that Matthew Rosenberg has been bringing to the story since the first issue, plus the added depth that only Bucky seems to understand that this has never been about them.

| Published by Marvel

TMNT Universe #21 has a main feature from Paul Allor, Mark Torres, and Ronda Pattison that continues the plight of the Triceratons, following their attempt to return to Earth in the main book, as they try to come to an accord with the Utroms. Naturally, it’s slow going and doesn’t seem to be working out so well.

| Published by IDW

Transformers: Lost Light #17 drops many hints that all is not what it seems in the Afterspark, with weird shenanigans going on as Rodimus tries to return to the land of the living and Nautica investigates the area. There’s some great humour throughout the issue, and it’s always interesting to see James Roberts delve into the metaphysical and philosophical realms of Transformers lore.

| Published by IDW

Usagi Yojimbo: The Hidden #2 goes deeper into Usagi and Ishida’s investigation of the two strangers who appeared murdered in the streets. It’s interesting to see Stan Sakai tackling the religious and political aspects here, within the framing of what’s becoming a traditional Ishida mystery.

| Published by Dark Horse

Weapon H #2 concludes Clay’s battle with the Ur-Wendigo, with a little help from Doctor Strange as a guest star. Greg Pak seems to be approaching this title in an old school Marvel way and it’s a nice change of pace. I’m also really enjoying Cory Smith and Morry Hollowell’s art.

| Published by Marvel

The X-Files: Case Files - Florida Man #1 officially starts IDW’s new approach to the X-Files license after a kind of soft launch last year with JFK Disclosure. Essentially a series of mini-series from various creative teams, this first one brought to us by Delilah S. Dawson, Elena Casagrande, Silvia Califano, and Arianna Florean. It’s a decent set up, with Dawson going heavy into the more humorous aspects of Mulder and Scully, tapping heavy into the feel of the offbeat episodes. It makes for an entertaining story and the art keeps it relatively light.

| Published by IDW

Other Highlights: 30 Days of Night #5, Amazing Spider-Man: Renew Your Vows #18, Assassinistas #4, Black Panther #172, The Crow: Memento Mori #2, Curse Words #13, Death of Love #3, Descender #29, Diablo House #4, Encounter #2, The Further Adventures of Nick Wilson #4, Ghostbusters: Crossing Over #2, GI Joe: A Real American Hero vs. The Six Million Dollar Man #3, Incredible Hulk #715, John Wick #2, Kong on the Planet of the Apes #6, Mage: The Hero Denied #8, Mata Hari #3, Mighty Morphin Power Rangers #6, Moonshine #9, Ms. Marvel #29, Ninjak vs. the Valiant Universe #4, Punks Not Dead #3, Quantum & Woody! #5, Skyward #1, Star Trek: Boldly Go #18, Star Wars Adventures #9, Star Wars Adventures Annual 2018, Venomized #3, Warframe #4, Wasted Space #1, Weapon X #16, Xena: Warrior Princess #3

Recommended Collections: Black Monday Murders - Volume 2, Dark Ark - Volume 1, Elephantmen 2260 - Volume 6, Luke Cage - Volume 2: Caged, Ninja-K - Volume 1, Phoenix Resurrection, Punisher: Platoon, Royal City - Volume 2: Sonic Youth, Runaways - Volume 1: Find Your Way Home, Spider-Gwen - Volume 5: Gwenom, Underwinter - Volume 2: Field of Feathers

d. emerson eddy thinks that you should just take a bite, just go all in.