#Battle For A Three Dimensional World

[smbhax]

Battle for a Three Dimensional World, 1982. Jack Kirby cover pencils, Mike Thibodeaux inks.

Info from Grand Comics Database

[dunmeshistash]

Interview to celebrate the opening of the Ryoko Kui Exhibition

About Delicious in Dungeon: Story making

Q1. Your first long-running series has lasted for about 9 and a half years. Has it been different from your previous experience drawing short stories?

A1. Compared to short stories, the series has been easier because the same characters appear each time. But I was surprised to find that I got tired of drawing the same characters too many times.

Q2. You have said before that the overall structure of the story was decided before serialization began, but how much of that had you communicated to your editor? Also, what kind of communication did you have during the series production?

A2. The goal was something we discussed and had decided on from the beginning. The goal itself was simple, but the path to get there was more difficult and took longer than imagined.

Q3. Regarding the overall story concept and development, did you write out or put anything down in writing (such as the plot)?

A3. I did, but it was simple.

Q4. Did you come up with the dishes based on the monsters you wanted in the story? Or did you come up with the monsters based on the dishes?

A4. It depended on the story, but usually the story came first followed by the monsters or food. I feel like that was most often the order.

Q5. As you progressed in drawing the series, what elements of the characters, story, or world expanded or grew in the most unexpected way?

A5. Nothing particularly unexpected perhaps. When I used to draw web manga, I tended to think up inconsequential settings. So, from the beginning I tried to restrain myself as much as possible and not expand too much. I was surprised when my editor said "Let's expand it more," in the second half of the series.

Q6. "Delicious in Dungeon" starts with a relatively simple setting, but as the series and the labyrinth exploration continues, the map slowly expands little by little in the readers' minds. It becomes more three-dimensional, revealing the secrets of the world, and taking on a multilayered structure. Are there any sources that you used as a reference, or which influenced you in creating this multilayered structure?

A6. A long time ago, when I was working on my personal web manga (fantasy), I drew it however I wanted, thinking that "Only people who can read this will read it," but I regularly received feedback that it was "unreadable", so I tried to make it as easily. accessible as possible.

Q7. The series combines many elements, including "fantasy", "gourmet", "battles", and "puzzle solving", but I think it's also important that it is a "comedy" which makes people laugh. Could you let us know if you have a creative commitment towards depicting humor?

A7. My hopes are that I can make it fun for people to read.

[page 5]

About Delicious in Dungeon: Drawing manga

Q1. Please tell us about the drawing tools you currently use, both digital and analogue.

A1. In terms of analogue tools, I use a light box, a G pen, a round pen, and a brush pen. And for digital, I use CLIP STUDIO PAINT and a Wacom LCD tablet. Screentone pasting is always done on the computer, so ultimately it all ends up as a digital manuscript.

Q2. Do you have any rules or reasons for using digital and analog separately?

A2. I'm always looking for ways to draw better and save time, so the exact approach is probably different for almost every chapter. Personally, I feel that analogue methods create more appealing lines, but I feel like digital saves time, so maybe I'll do a digital rough sketch and do the inking by hand… I might have been using a G pen, and maybe I'll try out a turnip pen, or this time I'm short on time so I'll draw it entirely digitally, but with digital I can redo it over and over, so maybe analogue is still faster, and so on and so forth. I'm indecisive in this way and so haven't developed a consistent process.

Q3. I understand that you prepare 3D data for your assistants to draw the backgrounds. What kind of data did you make for "Delicious in Dungeon" ?

A3. You could call it 3D, but it's not a proper model, just something to help with the rough sketching. I line up cubes to share the perspective and sense of scale, and they use it as a reference.

Q4. At the beginning of the series, the characters and backgrounds were somewhat simply drawn, and it seems like they became richly detailed over the progression of the story. What was your intention behind using these different styles?

A4. It's simply that my technique isn't stable. I thought I'd put a lot of effort in at the start. I remember being confused when my editor asked me to add more in to the drawing, and I wondered "Where…?"

Q5. Thinking about the food, were there any menu illustrations that you were particularly satisfied with, or which you struggled with?

A5. I've never liked my own food illustrations. But the times when I read other people's manga and thought "That looks delicious," I think it's been more an influence of the movement, the staging, and the situation than the drawings.

Q6. For the world maps and the terrain of each continent, did you refer to any maps of the real world? I feel like the shape of the 'island' is similar to the shape of Fukuoka Prefecture or Kyushu.

A6. I didn't reference any specific geography, but I did try to put thought into things like whether a developed city would be near a river or the sea, and what the coastline would look like. I'm pleased if it feels similar to a real place, because it means my interpretation was pretty accurate.

About Delicious in Dungeon: Other

Q1. Which is your favorite monster?

A1. Nightmare.

Q2. I'm sure you have received a lot of feedback from readers in countries and regions outside of Japan. Please tell us if there was anything from them that made you happy, was unexpected, or which made a lasting impression on you.

A2. When you play foreign games, there are times when you think "Why did they translate it into Japanese like that?" But having been on the side of having something translated, I've realized some things are unavoidable, or endless, and there are many things that don't matter either way from the author's perspective, so it was interesting.

About Ryoko Kui's short story collections and herself

Q1. Dragons are a consistent and important motif in your work. Was there any particular work or experience which inspired this? Also, are there points about drawing dragons which you find interesting or have had to work hard on?

A1. It's less about liking dragons, and more that I'm interested in the worlds in which dragons exist. When I draw dragons, the depiction in itself has a sweet feeling to it. I have never had a pet reptile, so I don't have a very good understanding of them.

Q2. Unomiya University in your story "The dragon's school is on top of the mountain" has a Faculty of Dragons, Department of Environmental Studies, and Department of Technology Studies, and a Faculty of Veterinary Medicine. If you were to enroll in the university, which department or faculty would you like to enter?

A2. I probably wouldn't be accepted….

Q3. The collection includes a short story staged as an essay manga. Are you a fan of essay manga? Please tell us about any genres of essay manga that you like.

A3. I love all kinds of essay manga. I read them often.

Q4. If you were to make your own game, what kind of game would you like to make?

A4. I prefer being a player when it comes to games.

Q5. When did you first start drawing illustrations (doodles)?

A5. I don't exactly remember when I first drew a picture, but I think I started drawing manga around the fourth or fifth grade of elementary school. in my notebooks and had my friends read them.

Q6. What is the most fun part about drawing manga?

A6. Every part is fun and hard in its own way.

Q7. Please tell us if there is anything you "just can't stop no matter what".

A7. My procrastination habit.

Q8. Could you please tell us if there's something you want to draw now?

A8. I've been working continuously since the serialization, so I'd like to take about 2 to 3 months to just draw whatever I want.

[burntoutdaydreamer]

3 Steps to Improve Your Characters and Make Them Three-Dimensional

So I don’t have a process for creating/developing characters (to me the process is intuitive to the point where I wouldn’t even know how to explain it), but I do have a process for revising characters that just… fall flat, for whatever reason. 

I like to get to know my characters by throwing them into a bunch of different situations and seeing how they react, but sometimes that’s not enough. In these cases I need to go back to the drawing board and figure out how to make them not feel like a cardboard caricature of the role I need them to fill. Here’s the process I use, and it involves three key questions to understand what makes your character tick.

1) What is this character’s fundamental belief- either about the world or themself?

2) Where does this belief come from?

3) How does this belief hinder them, and are they capable of growing past it?

Alright, here’s what the process looks like in action. 

Let’s say I have a character I need to flesh out for my story.

Character A is a middle aged coffee shop owner and the protagonist of her story. The central conflict of the story revolves around trying to save the family run coffee shop she inherited from her father when he passed away, which has recently fallen on hard times.

What is this character's fundamental belief?

Character A believes that the world is an inherently good and fair place. She believes that good is always rewarded and bad is always punished, even if the timing isn't always perfect. As such, she strives to live a virtuous life, putting as much good into the world as she possibly can. While she understands that even good people can face hard times, she believes that in the long term, if things don't work out, it'll be because she didn't put in the work needed to turn things around.

Where does this belief come from?

Character A grew up in a solidly middle class household with good parents that treated her well- rewarding her for good work, and fairly punishing her for misdeeds. Her parents gave her everything she needed, but also expected her to work hard for the things she wanted. She also had the experience of watching her father build a successful business through hard work and by building strong connections with the people in town. If we want to push this further, we could also say that this belief was reaffirmed by watching her brother ruin his own life, squandering all his money and goodwill with those around him on failed get-rich-quick-schemes and outright scams that landed him in jail.

How does this belief hinder them, and are they capable of growing past it?

Let's say that Character A recently hired a barista who seems perfect for the job. Strapped for help, she gets him started right away before getting the results of his background check. When the results come in, she finds out that he is on probation and was recently released from jail for a violent crime. Shocked, she fires him. Believing that people who end up in jail always deserve it, she can't see past her initial prejudices. As a result, her coffee shop suffers from the loss of her new star barista.

Some time goes on, and Character A encounters the barista again, and learns more about the circumstances that landed him in jail (maybe he was falsely convicted, maybe he was battling psychosis, maybe the violent act was done to prevent a loved one- anything that makes her question her initial assumptions). He then confesses that he is struggling to provide for himself and his family because no one will hire him because of his criminal record. Character A comes to realize that her belief isn't completely true, and that the world isn't entirely fair. Though it takes a lot of inner work to do so, including coming to terms with her privilege, she eventually accepts this, and revises her beliefs. She decides that even though the world isn't fair, people have the responsibility to make it fair.

She decides to re-hire the barista she fired. After doing everything she can to make things right with him, she proposes an idea she wants his help with. Together, they transform her family business into a joint coffee shop and community rehabilitation center. In addition to selling coffee, they also launch a program to provide resources to recently incarcerated individuals looking to reenter society. They'll host weekly events on job interview coaching, alcoholics anonymous, motivational speeches, group therapy, opportunities to connect with open-minded employers, and more. Their promotion of this new program enables them to secure funding from local patrons and public grants, and customers are willing to pay for more expensive coffee with the knowledge that that money will be put to good use.

Additionally, if we want to go with the brother in jail backstory, we could have this ending be an opportunity for her to reconnect with him and maybe even repair their relationship as she gets to see him in a new light.

Main Takeaways

And there you have it!

You can use this process on any character- protagonist, antagonist, side character, etc. By grounding your character's motivations and development in their beliefs, you can easily introduce depth and internal conflict while keeping everything connected to the themes and plot driving your story.

Depending on your character's role or your story's plot, the belief can be wide reaching and complex (such as a philosophy or ideology), or specific and personal (such as having to do with their self-esteem). Either way, it should always be tied to their personal experiences or observations. This doesn't necessarily mean a tragic backstory. It could be, but I encourage you not to make this your default way of creating character depth. A mundane but grounded and sincere motivation will always be more compelling than cheap, dark shock factor.

Generally, protagonists with happy endings and villains with successful redemption arcs are capable of moving past their beliefs, while tragic heroes and antagonists aren't, and this failure is usually the source of their downfall. Keep in mind that even if characters do move past their old beliefs, it will always be a difficult thing to do. It will require them to confront their own mistakes, biases, and emotional wounds, and require both internal and external work in order to fix whatever their old beliefs have damaged.

Hopefully this guide will help you approach your characters from a different perspective. Feel free to share any insights.

Happy writing y'all!

[guiltygearwiki]

The crusades are a major part of Guilty Gear’s story, and yet I feel like we know next to nothing about them.

So what is everything we know about the crusades? Is there enough content to form a decently sized timeline of the events during the crusades?

It is kind of ironic that we know so little about the Crusades despite how important they are to the world of Guilty Gear. I did my best to put together a timeline for the crusades, followed by some fun facts about them:

2074: Justice destroyed Japan, which is what is considered the start of the Crusades. Very shortly after the destruction, Justice controls an army of Gears and declares war on humanity. 

The UN formed the Sacred Order of Holy Knights the same year.

2103: Sol saves Kliff from a Gear. While both are affiliated with the Holy Order, it is an event we know happens in the Crusades. Kliff was 6 years old at the time

2115: Kliff was made the Commander of the Holy Order, we know this was not long after he joined, but we do not have an exact time for when he joined.

2127: Testament joined the Holy order against Kliff’s wishes. We know they were adopted sometime before this but are never given a year.

2128: Testament dies. They are taken by some organization (it's not very clear which) and turned into a Gear.

21XX: During an unknown year, Kliff single handedly battles the Hydra in London, severing three of its heads and four of its limbs before the Order sealed it. The Hydra never died and simply stayed sealed outside of London until the events of Lightning the Argent.

2161-2162: Ky’s mother is Killed by Gear. (I did the math for this one.) He meets Kliff and insists on joining the fight. Kliff tells him to survive for five years and then he can join.

2167: Ky joins the Holy Order at the ripe age of 10.

2172: Kliff convinces Sol to join the Holy Order and he is placed under Ky’s command. Sol joined to gain more information on Gears. Sometime during this year Ky challenges Sol to a duel, which Ky loses. 

Sol earns the nickname “God of War” during this time

2173: The Battle of Rome occurs. It was considered one of the deadliest battles in all of the Crusades.

Ky’s battalion (if that is the correct word) originally was called in as support.

Weird timeline stuff happens here that I will go into more in fun facts.

There's some conflicting information on some bits of it between the Xrd Short Story and the CD Drama, but we know for a fact both Sol and Ky were involved in the battle at one point or another.

Later in 2173:  Sol steals the Fireseal and leaves the Holy Order. He defeats Ky who tried to stop him, and later talks to Kliff, who allows him to take the weapon, saying he was going to give it to him anyways.

Even later in 2173: Ky is promoted to commander of the Holy Order and given the Thunderseal. He was 16.

2175: Sol fights Justice, leading the rest of the Order able to seal her in a dimensional prison, ending the Crusades. The order is disbanded.

Important note: Kliff fought Justice multiple times. It can be assumed in many places in the timeline.

Now for some fun facts!

It was tradition for Holy Order soldiers to carve words that are important into their belts. The ones we see are “Hope”, “Free”, and “Sacrifice.”

Ghost stories were apparently told by soldiers.

The Fireseal and The Thunderseal specifically were treasured by the Order and held in its HQ.

The HQ was in Paris.

 Saint George the Dragon Slayer was popular with Order soldiers. He was a real saint!. (LTA)

Order soldiers wore pendants used for communication and information storage. (LTA)

Members of the Holy Order were divided into platoons based on ability. (LTA)

The Magic Support Platoon we know was for recovery and Defense

Playable characters who were in the Holy Order include: Sol, Ky, Leo, Kliff, and Testament.

Soldiers could claim pensions after the war. (LTA)

Ky originally died at the Battle of Rome before I-No and Asuka changed the timeline

I-No was at the battle of Rome but Key doesn't remember. It's unknown if Sol does.

This lead to a timeline where Sol lead the Holy Order

If you want to read any of the stories outside of the games that elaborate on the Crusades they can be found here:

Guilty Gear XX Drama CD Red Script

Guilty Gear XX Drama CD Black Script

Guilty Gear Xrd Special Episode: A Brief Respite

Guilty Gear Series Story Digest Comics

Unfortunately… Guilty Gear Xtra

-Dunium

[kirbyofthestars]

a fairly detailed kirby oc ask meme

🪐 (Saturn) - What planet are they from? Is it in Gamble Galaxy, Another Dimension, the Mirror World, the New World, or somewhere else? Where do they live now?

🧃 (Juicebox) - What species are they? What’s their biology and physiology like? Do they differ in any way from a ‘typical’ member of their species?

⚔️ (Crossed Swords) - What weapon(s) do they wield or specialize in, if any in particular? Any special properties? Do their weapons have names or epithets? [e.g. MK’s Galaxia, Morpho’s Doomblade]

🪄 (Magic Wand) - Are they capable of wielding magic? Is it a learned skill, or is it innate? What sorts of spells can they cast? Do they possess any magical items or artifacts? [e.g. the Dimensional Mantle]

💫 (Shooting Star) - If they were to wish on a clockwork star, like Galactic Nova or Star Dream, what would they wish for?

🪽 (Wing) - Can they fly, hover, or levitate? Is it through natural means or artificial means? If they have wings, what do they look and feel like?

🥘 (Stew) - Do they have any favourite foods or comfort foods? What are their eating habits like? If absorbed by the Cook ability, what healing item would they summon?

🧋 (Boba Tea) - Come up with a Kirby Café item themed around your OC! It can be a savoury dish, a drink, a dessert, or something else entirely.

☀️ (Sun) - What’s their morning routine like? Do they take a lot of time getting ready in the morning? How do they groom themselves? What are they having for breakfast?

🌙 (Moon) - Is your OC a particularly light or heavy sleeper? Somewhere in-between? Do they take naps?

🍅 (Tomato) - If Kirby absorbed them or their attacks, what Copy Ability [or Abilities] would he get? Alternatively, if they themselves are capable of using the Copy Ability, do they have a favourite?

⚡️ (Lightning Bolt) - Which Power Effects [Blizzard, Bluster, Sizzle, Splash, Zap] would their attacks grant? Do they have any particular weaknesses or resistances, elemental or otherwise?

🎶 (Music Notes) - Do they play any instruments? What kind of leitmotif and/or battle theme would they have? Are there any songs you associate with them?

💌 (Love Letter) - How easy are they to befriend? Are they more of a social butterfly or a lone wolf?

💥 (Collision) - What’s your OC’s combat style like? Do they adhere to any particular code of honour or ethics in a fight, or are they totally unfettered by that sort of thing?

⚙️ (Gear) - Do they have any knowledge of, or connections to, the Ancients? What do they think of them?

⚖️ (Scales) - On the subject of a certain someone’s lengthy rant; is your OC moreso on the side of magic or science? Somewhere in-between? Do they incorporate the two together in some way?

🍨 (Ice Cream) - The Invader Armour undergoes a drastic transformation depending on its pilot. If they were to wield it, what appearance would their mech take on? What abilities would it have?

🪞 (Mirror) - What would their Mirror World counterpart be like? If they are a Mirror World counterpart, what traits of theirs are reflected? Do the two of them get along?

🐛 (Caterpillar) - What are your OC’s greatest fears, and why? How do they act or react when they’re afraid?

💼 (Bag) - Inventory check! What items does your OC typically carry around with them? What do they carry them in?

🔮 (Crystal Ball) - Out of all the treasures in the Great Cave Offensive, Kirby is letting your OC pick one from his stash to keep! Which one do they pick, and why?

♟️ (Pawn) - Does your OC get possessed easily, or do they have the willpower to fight back against any possible attempts? Have they been possessed before?

🕸️ (Spiderweb) - Create a bouquet inspired by your OC! It can be based on their colour palette, flower language and symbolism, whatever they like best, or any combination of the three.

💜 (Purple Heart) - If they were corrupted by the Jamba Heart, which negative traits of theirs would be amplified?

🩷 (Pink Heart) - If they were a Dream Friend, what would their moveset be like? How much HP do they have? Would they be a strong attacker, or would they take on more of a support role?

🦁 (Lion) - If they were an animal — that is, of the Earth / Shiver Star / New World variety — which animal would they be? If they already are an animal, what real-life species or subspecies are they most similar to?

🕰️ (Clock) - What would a Dreamy Gear version of them look like? What sort of accessories would they have? What kind of role do they play?

🛡️ (Shield) - Which Clash role would your OC pick - Sword Hero, Hammer Lord, Beam Mage, or Doctor Healmore?

🦋 (Butterfly) - Does your OC ‘fear the reaper’, so to speak? If they fused with Morpho Knight, what sort of form would they take on?

🍒 (Cherry) - Out of all of the Dream Friends [Kirby included], which ones would they get along with the most? The least?

🥀 (Wilted Rose) - Do they have a Soul form? What would it look and act like? How much control over themselves do they have? Is it still possible to save them, or are they too far gone?

[literaryvein-reblogs]

Some Fantasy Characters

Your story can be situated within any of the many fantasy fiction subgenres (such as high fantasy, speculative fiction, epic fantasy, young adult, and urban fantasy), but ultimately, the cast of characters in your fantasy novel will likely conform to similar archetypes. Here are the most common types of characters found in fantasy writing:

The hero: The hero is the single most important character in any fantasy story—they must undertake the quest and defeat the villain. Heroes can take many forms in fantasy books. Sometimes a hero is a fighter, ready to take on zombies, warlocks, or warlords with skill and enthusiasm. Heroes can also be antiheroes—a reluctant protagonist who needs to be convinced to inhabit their role as a hero (such as Tyrion Lannister from A Song of Ice and Fire by George R.R. Martin). Examples of a hero include Frodo Baggins (The Lord of the Rings by J.R.R. Tolkien), Bilbo Baggins (The Hobbit, also by Tolkein), Roland Deschain (The Dark Tower series by Stephen King), and Buffy Summers (from the show Buffy the Vampire Slayer).

The villain: In fantasy novels, the villain functions as the primary antagonist to the hero. Fantasy authors often write these characters to directly personify the forces of evil. In many fantasy series and graphic novels, these character types are often magical overlords who command vast armies. Oftentimes, the villain was not always pure evil, and their backstory explains how they turned bad. Examples of a villain include the White Witch (Chronicles of Narnia by C.S. Lewis) and Ursula (The Little Mermaid).

The mentor: The mentor is one of the most important and memorable characters in the fantasy genre. The mentor is often a wise, elderly figure (such as an old wizard or shaman) who educates the main character and gives them the training and information necessary to save the world and triumph in the battle of good vs. evil. Mentor figures help the hero understand their true powers for the first time. Examples of a mentor include Gandalf (The Lord of the Rings), Aslan (The Chronicles of Narnia), and Obi-Wan Kenobi (Star Wars).

The sidekick: In fantasy literature, the sidekick serves as a trusted confidant and steadfast supporter of the main character. This fantasy character is often the best friend of the protagonist, and their undying loyalty plays an integral part in the completion of our hero’s mission. Sidekicks often feel like real people from the real world, even if they exist in a fantasy world of mages, sorcerers, and magical powers. When the main character falls on hard times, the sidekick is there to remind them of their humanity, goals, and the stakes of their mission. Examples of a sidekick include Samwise Gamgee from The Lord of the Rings, Sir Kay (Legends of King Arthur), Willow Rosenberg (Buffy the Vampire Slayer).

The henchman: Henchmen exist to do the dirty work of the main villain. They are functionally the sidekicks of the main villain, and though they usually lack the villain’s intellect, they make up for it in brawn. Examples of henchmen include Boba Fett (from Star Wars), orcs and the Uruk-Hai (Lord of the Rings).

An alternate hero: In fantasy novel writing, the alternate hero occupies a space somewhere between protagonist and sidekick. Though they are not the primary focus of the story, they are also singularly focused on defeating the villain and resolving the conflict, just like the protagonist. The alternate hero has their own backstory, subplots, and stakes in the central dramatic question in order to make them compelling characters in their own right. An example of an alternate hero is Aragorn (The Lord of the Rings).

The love interest: The love interest is a common trope when writing fantasy stories, used to help show the human side of the protagonist. When writing characters like the love interest, give them rich three-dimensional backstories and compelling wants and desires. If they exist merely as a plot device for your protagonist, audiences are likely to find the character shallow and boring. An example is Buttercup (The Princess Bride by William Goldman).

The monster: The monster or evil creature is an otherworldly being (often some kind of undead reaper or fantastical beast) whose primary mission is to destroy and spread evil. These creatures cannot be reasoned with, and there is no spark of humanity waiting to be coaxed out. These are seemingly unstoppable killing machines and are often the most intimidating obstacle in your protagonist’s journey. An example of a monster is Cthulhu (from H. P. Lovecraft’s cosmic horror stories).

Source ⚜ More: References ⚜ Writing Resources PDFs

[infiniteeight8]

You are worth fighting for

World building got me again. 😂 Not quite long enough for a cut, though. I think.

-

Stephen has been held by the Dhitead for a month when a contingent of guards comes to fetch him. His heart sinks. There’s only two possible reasons for him to be removed from his cell: either a champion has stepped forward to fight for him, or they’ve decided he’s not worth the trouble to continue holding. There’s no one who qualifies as a champion; the Dhitead recognize only magic as a valid style of combat, and while Wong would normally fight for his return, Kamar-Taj has a treaty with the Dhitead that forbids it. There are no loopholes—Stephen has had more than enough time to study it in his cell, and he’s sure of that—and the treaty is too valuable to risk over a single life.

Stephen understands that.

But when his captors bring him above ground, they lead him away from the Council chambers where he’d expected to learn his fate and towards the champions’ arena. When he arrives, Stephen hardly notices as they force him to his knees and fasten his chains in place, because the champion standing for Stephen is Tony.

For a moment Stephen wonders if Tony has somehow sweet-talked the Dhitead into accepting physical combat. He’s wearing a sleek, stripped down version of his armor. No helmet, no gauntlets, no missiles, but Stephen isn’t putting it past Tony to have somehow built weapons into this version. Except that the Dhitead champion is one of their sorcerers. Not their best, but certainly a senior Master.

Tony meets Stephen’s gaze and smiles, but Stephen can see the uncertainty he’s trying to mask. Stephen’s mouth goes dry; he wants to warn Tony off, but speaking now would only make things worse.

When the gong rings, Tony raises his hands and mandalas bloom from his palms.

Stephen stares as Tony engages the Dhitead champion. His magic echoes the armor more often than not, but Stephen recognizes the spells he’s working from. His movements are sharp, efficient, but not fluid in the way they become when they’re second-nature. Stephen wishes he could enjoy the sight of Tony wielding raw dimensional energy, but despair taints the experience. Tony is clearly a novice, and for all that he’s fighting well, he falls back from the Dhitead Master again, and again.

He lasts eight minutes. Remarkably long for a novice against a Master. Tony sprawls on the ground, and Stephen’s eyes burn. The Master raises a hand—

“Hold!”

The Master freezes, Stephen’s head whips around to find the Dhitead Marshal standing. “Approach,” he commands. The Dhitead Master immediately turns and comes to attention before his leader. Tony takes a moment longer, but eventually levers himself up off the ground, brushing the dust away as he approaches.

The Marshal turns to Tony. “A valiant combat,” he says. “But a doomed one. How long have you been training?”

Tony lifts his chin. “Three weeks.”

“So little time. Did you think our sorcerers so weak?” The Marshal tilts his head.

“Not at all,” Tony says. “But I didn’t know how much time I had, and I wasn’t willing to risk waiting.”

“You made a valiant effort,” the Marshal says, and nods. “In acknowledgement of your devotion, I will release the prisoner to you, despite your loss.”

The relief is so intense, Stephen all but falls into Tony’s embrace. “You could have been killed,” he whispers, and clenches his eyes shut against the thought. “You shouldn’t have—”

Tony pulls back and cups Stephen’s face in his hands. “You’re worth fighting for,” he says sharply. “No matter the battle.”

All Stephen can do is kiss him.

[galehowl]

in the darkest night, guiding stars

Some rambling about Tailmon's and Caedemon's complicated relationship in Aurora below~

Tailmon and Caedemon are two of some of the oldest Digimon aligned with both their own and mankind in Aurora, and their relationship goes far back to the very genesis of the Digital World.

As Huanglongmon's creations and members of the Archangels, both of them served them and the four Great Beasts as guardians of their world, alongside the other eight of their kind. For thousands of years, they were the guiding light for all the other Digimon to look up to, until Lucemon's betrayal, and the other six Archangels siding with him. Having discovered what would later become known as the Dark Area - an eldritch, mysterious and volatile dimension existing apart from the Digital and human worlds, yet intertwined with them - he chose to keep it secret, and, in time, his own desires, made worse by the influence of the Area, made him turn against his world and creators. The six others that succumbed to it all the same chose to follow their leader, and nearly laid waste to the Digital World by breaching the dimensional walls and unleashing the Area upon it, but were ultimately stopped by the remaining three Archangels, the world's inhabitants, and Huanglongmon's ultimate sacrifice to seal the Dark Area away, along with the traitors.

Ophanimon perished in those battles, but was reborn in the far future, though without memories of her past.

It was the actions of mankind that called her to action once more, and what awakened Caedemon from his eternal slumber deep within the Dark Area. It was when humans, upon discovering its existence, breached it in an attempt to take control of its powers and Caedemon himself - and sealed the fate of both worlds.

Caedemon, like his brethren, was never meant to be awakened, and Tailmon was mortified upon eventually figuring out the identity of the decaying beast. In her eyes, rightfully, not only was he a traitor, but also even alone a serious danger to both worlds, having become part of the Dark Area itself, but he was also absolutely not fit to be a Tamer's Digimon, especially to a child.

Caedemon initially also did little to soothe her concerns, even with her disdain and suspicions for him obvious, as he exhibited a selfish, troubled and nihilistic personality, caring little for their own kind, and consistently questioning whether or not humanity is even worth saving, with all they've learned about it - a big contrast to her more optimistic outlook on things, a love for all living beings, and a desire to seek out good in everyone, even to the detriment of herself and others.

Though they do eventually mend their once broken friendship, it takes a long time for things to get better, and a lot of change ( namely for Caedemon ) for them to find a way to complement each other in working together - two beings plucked from past long gone - to guide both worlds into a better future.

[mmavverickk]

I personally have always felt that, on Jason's end, the rivalry he bad with Percy was done to like meet the expectation of his role S a son of Jupiter. He doesn't even know how to have a genuine rivalry because he's all in his head.

I dunno I might be talking outta my ass

i understand how it comes across that way. honestly, that's probably how rick wrote it. "well these two are kids of the big three, gotta put some tension there."

he clearly didn't think about percy and jason as three-dimensional characters that could have a rivalry grow naturally between them. he thought a rivalry would just be a flat plot point and made something up.

the rivalry should have been jason trying to fill percy's shoes at CHB for months, and still falling short because he's not thinking of percy as a person who can't be replaced rather than just an empty leadership role that needs to be filled.

the rivalry should have been jason learning that percy became praetor after spending less than a week total at CJ—he was literally on a quest 90% of the time. no matter how much he helped in the battle at the end of the book, jason wouldn't think he'd truly earned his position. earning a praetorship, jason would think, takes years of work, not a week.

the rivalry should have been percy remembering how bitter he really is towards the gods as he recovers his memory, percy realizing that CJ deadass has an entire child army, fully sanctioned by the adults in new rome, and realizing that those adults are just as bad as, if not worse than, gods who would send children on life-threatening, world-saving quests, and the only person he can really take that repressed anger and bitterness out on is jason.

the rivalry should have been jason hearing how flippant percy is when talking about these deities that they're meant to worship, how much he insults them and how impertinent he can be without consequence, and he simultaneously envies how much percy's able to get away with and hates how disrespectful he is.

we should have seen roman leader jason, groomed from his toddler years by the legion and lupa herself, who leads a structured, militaristic camp that prioritizes the safety of the many over the safety of the few, bashing heads with greek leader percy, who went from being an outcast to growing into leadership because he wanted to save as many people as he could.

we should have seen jason's envy of the fact that percy had a mother. we should have seen jason's jealousy over how much percy's father loves and values him. we should have seen jason's heartbreak that this self-important, standoffish, disrespectful jerk has the brotherly relationship with thalia that jason's desperate to have.

we should have seen so much more of these two characters that made them seem less like legendary heroes and more like the traumatized teenagers they are.

[loredrinker]

The Distinct Eras of Solas's Existence

Solas’s life isn’t one-dimensional. He’s lived through three distinct eras of existence, each defined by transformation and struggle. What draws me to his story time and again is the tension between detachment and connection, immortality and change, and the weight of eternal choices.

Because Solas has lived through such vastly different phases of existence, each has forced him to adapt, rethink his perspectives, his morality and confront the consequences of his actions.

This constant cycle of transformation and resilience is why I believe he is capable of change.

I'm looking at his journey through 3 eras of his existence: 

Pre-Veil: Becoming a man (lyrium crafted) and living before creating the Veil.

Uthenera: Veil newly created. Centuries of slumber and existence in the Fade. 

Post-Veil: Waking in modern Thedas, reengaging with the world, joining the Inquisition, and culminating in Veilguard. 

First off: this post isn’t about the concept of Solas learning what it’s like to have a body for the first time. While I’m sure that experience was equal parts traumatic and exhilarating, that’s a post for another day. 

I’m also steering clear of the horrors and wars of Solas’s Pre-Veil existence - we already know he suffered terribly, made devastating choices, and carries immense regret. The blood on his hands and the weight of those decisions are undeniable. 

Lastly, I’m not entertaining the idea that Mythal had him bound or wielded some magical power (like a geas) to control him (you can read more here). To me, that narrative diminishes the complexity and the writers say you can interpret it how you want. I see their bond as one rooted in duty, loyalty, and complicated and twisted by shared choices. Every awful thing they endured and enacted together only deepened their connection, forged in the fire of mutual commitment and consequence. It's still a chain in it's own right, but a different kind.

Long post below. Everything below the cut is my imagination and interpretation.

Pre-Veil (Roughly 8,000-10,000 years – Time with the Evanuris / Rebellion Wars) 

I’m certain Solas’s time in Elvhenan wasn’t solely defined by war and rebellion. He served as Mythal’s second-in-command, likely handling battles and strategies, but he was also immersed in politics and court intrigue. His role was probably a combination of strategist, diplomat, and advocate for fairness and balance among the elven people. 

We know he enjoyed life in the courts, as he reveals at the Winter Palace in Inquisition: 

"I do adore the heady blend of power, intrigue, danger, and sex that permeates these events." 

He wasn’t just an observer of Elvhenan’s grandeur; he thrived in it. Heady - intoxicating. With a core essence of wisdom, Solas would have fully embraced the era’s philosophical debates, artistic endeavors, groundbreaking inventions, and empire-building. When he refers to “our great cities” and “our deepest mysteries” during his confrontation with Elgar’nan, he speaks as being a part of Elvhenan’s beauty and innovation - not separate from it.  

Solas’s Independent and Rebellious Nature - Hot Blooded and Cocky

Solas was far from a submissive figure, even in service to Mythal. He was independent, rebellious, and stubborn - “unmanageable, even by Mythal’s reckoning.” (I love this line from Elgar’nan. Even Mythal, who knew Solas best, was scratching her head at times because she couldn't control him – and also why I don’t buy the geas concept.) This fierce individuality is one reason the Evanuris gave him the name Fen’Harel. 

A Sensual and Spiritual Man 

Solas strikes me, based on the games, as someone deeply connected to life (how could you not be when you see spirits as people too), both spiritually and sensually. His conversations in Inquisition and Veilguard hint at an appreciation for the world’s beauty and experiences. He loved dancing (Inquisitor: Do you have any interest in dancing? Solas: A great deal…), savored food and drink, and created beautiful art and music. This isn’t someone detached from his physical form or the material world - he immersed himself in its richness. 

A man who composes music and paints intricate frescoes, full of symbolism and emotional depth, usually has a vibrant inner life – which makes sense for wisdom.  His art and creations are tools for reflection and introspection, ways to process his choices and regrets. But where did this come from? Did he learn these skills from a spirit? Was he taught by a wise elf or an inspiring companion? I love the mystery of these glimpses into his life - they humanize him and add layers to his character. 

Solas wasn’t a solitary figure either. He built connections beyond the Evanuris - with spirits, other elves, and likely even lovers (Ghilan’nain, anyone?). Far from being a lone wolf, he seems to have been actively engaged in the cultural, social and political dynamics of his thousands of years. His relationships, creations, and experiences paint the picture of a man tied to life, even as his long painful journey eventually pushed him toward isolation. 

Witnessing the Fall of the Evanuris 

But life in Elvhenan wasn’t all beauty and splendor. Solas witnessed firsthand how power corrupted even those who began with noble intentions. He saw the Evanuris rise to tyranny, and the defeat of the Titans - a major regret of his - became a foundational moment. While it enabled the empire’s growth and stunning cities, it came with immense moral cost to Solas. 

The Rebellion and Isolation 

Solas eventually reached a breaking point. When the Evanuris’ tyranny became unbearable - when they wouldn’t listen, not even Mythal - he walked away. He forged his own path, leading a rebellion to free the elven people. 

During this time, his relationships likely narrowed. He tells Rook it took him centuries to build bonds during this time (but he still built them). Playing a long game of strategy and sacrifice required isolation, though key connections, like Felassan, remained. Mythal’s murder drove him into despair, and he became even more isolated, pouring himself into planning the ritual that would change everything. 

The Creation of the Veil 

The Veil was a desperate solution to stop the Evanuris and the blight, but something went horribly wrong. It didn’t just destroy the world he knew - it reshaped reality. The Veil severed the Fade from the world, altering existence forever. And for Solas, it left him shattered. His physical body remained in the world he destroyed, while his spirit/mind retreated into Uthenera. 

Uthenera: The Dreaming State (3000+ years) *In Trespasser Solas says he lay unconscious for millennia, millenia is multiple thousands)

During Uthenera, his long "dark and dreaming" sleep, Solas existed in a liminal, dreamlike state - a place between worlds.

It’s striking that he entered Uthenera at the exact moment the Fade was severed from the physical world. The mental fortitude required to withstand such a monumental shift and prevent his total annihilation - or even a psychological collapse - speaks volumes about his strength. Solas’s power is undeniable, but for me, this also confirms that he is a deeply reflective man, one who cultivated a strong mind to endure such force, isolation and emotional cataclysm. (All New Faded for Her - now I must endure - again.)

I initially wrote about his activities during this time, but his claim of being unconscious in a dark, dreaming sleep suggests he was largely unaware of the world around him. Rather than delete it, I've left it in below but this more recent post shows my changed thoughts.

From this vantage point, he could witness the catastrophic aftermath of his actions: the loss of elven immortality, the severing of the Fade from the physical world, and the corruption of spirits into demons. He saw the rise of humans, the fall of empires, and the continued oppression of his people. Each new event added to his layers of guilt and grief. If the Fade reflects emotion, can you imagine Solas’s overwhelming feelings during this time? His emotions would have rippled through it, shaping the dream realm itself.  In the Fade, Solas remained detached, able to observe and reflect without directly engaging in the chaos of the broken world. He likely encountered the demons and maddened spirits born of his actions, forcing him to navigate this unfamiliar, broken Fade.  Perhaps this is where his greatest fear - dying alone - began to solidify. Without the complexities of relationships or the challenges of the waking world, his isolation left him emotionally detached and vulnerable to increasingly rigid thinking. After centuries of war and rebellion, his retreat to Uthenera may have offered recovery, but it also severed him from the connections that had once grounded him in “humanity”.  It’s assumed that during this time, Solas began to shape his plans to tear down the Veil – to fix his mistake. It also seems that it’s during this period at some point that Felassan reconnected with him, leading to yet another tragedy. Unlike Solas, Felassan had lived in modern Thedas for a time. He had built relationships, forged bonds, and seen the value in the world as it was. He urged Solas to give this new world a chance. But Solas, entrenched in his painful guilt and unable to let go of his vision, refused - killing his friend and brother-in-arms, adding yet another layer of grief and regret to his already growing burden. I wonder - Solas killed him in this detached state, in a highly emotional Fade state - could Solas have killed him physically face to face? 

For Solas, time in the Fade didn’t march forward as it did for mortals. What probably felt like yesterday to him was ancient history to the rest of the world. This disconnection from the flow of time would only deepen his sense of detachment, a gap he could only begin to bridge when he awoke in a world utterly changed from the one he remembered. 

So eventually he does wake up – a year before the Inquisition. 

Post-Veil: Modern Thedas – 14-16 years (Inquisition to Veilguard) 

When Solas woke up in modern Thedas, it was a world that had moved on without him - alien and unrecognizable. The magic he revered was now feared, spirits were seen as monsters, and elves were fragmented and oppressed. It was a rude awakening, and Solas had no choice but to reengage with life, relearning how to "be human" in a world so far removed from the one he knew - in a world that he broke. 

Solas initially tried to reconnect with the Dalish, but they rejected him (interesting how one of his first actions upon awakening was to seek connection...hmm). Then came the disaster at the Temple of Sacred Ashes, Corypheus, and the Anchor. Suddenly, Solas had a path: join the Inquisition, study the Anchor, observe the one who wields it, and figure out his next move - all while avoiding personal entanglements. 

Fail. 

Connections in the Inquisition 

Despite his best efforts to remain detached, Solas formed bonds with the Inquisition’s members, particularly the Inquisitor (in my world, low approval doesn’t exist for me but I won’t torment you either with my Solas Lavellan love).  

The exact timeline of the Inquisition is debated. While most agree it spans 1.5–2 years, there’s also an old fantastic post by @threestories that argues for closer to 4–5 years (complete with a detailed spreadsheet and timeline goodness). Either way, it’s plenty of time for Solas to weave himself into the lives of those around him – and for them to sneak their own ways in. 

During this time, Solas wasn’t an aloof observer. He shared meals, debated philosophy, laughed, argued, and played cards and continued painting. He fought alongside people like Blackwall, Iron Bull, and Cole, relying on them for survival. Solas is not the powerful being he once was. Weakened, he’s forced to navigate the world in a more vulnerable state. I believe this humility provides him with new insights and forces him to see value in collaboration and diversity once again (reflections of Elvehnan). 

The messy, imperfect beauty of life began to creep back into his perspective. Living and fighting beside mortals for this period of time forced Solas to confront the reality of their fleeting but rich experiences. It wasn’t something he could experience in the detached safety of the Fade. If romanced, his love for the Inquisitor only deepens his inner conflict, tearing him between personal connection and his mission. (He possessed knowledge beyond any mortal, yet even the Dread Wolf could not foresee what it would mean to fall in love - sorry, couldn't help myself).

Yet, despite these connections, he remained steadfast in his mission. After Corypheus’s defeat, Solas leaves. But he wasn’t quite done; he wanted the Inquisitor to know the truth of who he was. Two busy years followed, leading to one final reunion - a moment where we see a shift in Solas’s perspective. His relationship with the Inquisitor was important enough that Solas set this whole thing up. There was a part of him that would love to be turned away from his path, but not yet.  

The Decade of Isolation 

After Trespasser and his final goodbye to the Inquisitor, Solas retreated into a new kind of isolation - active but distant. For ten years, he worked through agents, manipulated events, and positioned himself for his ritual to tear down the Veil. This period seemed to harden him. If he was in love, he made the painful decision to try and sever that bond, he forced Cole to forget him so Cole wouldn’t follow him - Solas hardened his heart to a cutting edge, and put that pain to good use.   

And then, he killed Varric. 

The act wasn’t premeditated - it might even be argued as accidental - but it wasn’t without weight. Solas never intended to kill Varric, and we see the regret flicker in his expression, his eyes turning down for a moment. Yet, the symbolism of that moment is striking. If Varric embodies persistence - whether it’s the refusal to give up on life, friends, or hope - then his death by Solas’s hand reflects the cost of Solas’s mission. In hardening his heart, he’s cut away the very persistence Varric represented. 

But then came Rook.

Conduits and Catalysts

Forced to interact with Rook and the team, much like he was forced to interact with the Inquisitor and the Inquisition, Solas once again found himself entangled in the lives of others. What makes Rook interesting to me is their role as a conduit. While Solas is trapped in the Fade prison, Rook becomes his connection to the outside world. For someone who had been isolated again for a period of time, being compelled to engage with another person is significant.

Rook and Solas's conversations may seem simple at first, but they force Solas to talk, to reflect, to bring up memories, people, and choices he thought he had left behind. Regardless if he's lying to Rook, these conversations would stir things up for him, peeling back the layers of detachment he has built. They compel him to think about his past, his connections, and his mistakes - reminders of life beyond his mission.

When Solas finally escapes the Fade prison, he doesn’t retreat back into isolation. Instead, we find him fighting alongside the people of Minrathous and then eventually Rook and the team. While his goal remains focused - defeating Elgar’nan and tearing down the Veil - he’s participating in life again.

Even amidst the chaos of battle, Solas can’t help but connect. He talks with the team, echoing the camaraderie of his time in the Inquisition. In one of my favourite moments, he and Emmrich share a brief but mutual appreciation of spirits - on a battlefield, no less. It’s a small yet powerful reminder: no matter how much Solas tries to harden himself, connection finds him. And maybe, just maybe, he still seeks it.

If Solas’s experiences prove anything, it’s that he struggles to stay detached.

Solas’s Shifts 

The bonds Solas formed through his long life were personal. Sure, anyone can argue they weren’t, pointing to his lies and the secrets he kept while plotting the entire time. And yes, he absolutely had an agenda. But whether you played a high- or low-approval Inquisitor, Solas admits he grew fond of the mortal people in the Inquisition. These connections gave him new perspectives on this modern world, connections forged through the shared intensity of battle and survival, and filtered through his reflective, intellectual, and philosophical nature. 

And no, I don’t believe the Inquisitor alone could have swayed him from his path. His growth wasn’t tied to a single relationship or event. While his time with the Inquisition may seem insignificant compared to his millennia-long existence, it planted the seeds of change. I maintain that the foundation for his change was established in Inquisition. As I’ve said before in this post, his eventual shift at the end of Veilguard wasn’t an overnight revelation but the accumulation of these disruptions to his worldview (warning, that post is totally Solavellan). Rook, as a conduit and mirror, brought their own voice as well as the voices of Solas’s past back into focus, reflecting and reminding him of what he had learned.  

By the end of Trespasser, Solas went from planning total destruction to preparing a host of spirits to preserve as much life as possible in Veilguard. You can call him a liar if you want, still question this morally grey choice, but this is a fascinating shift to me.

Enter Sola's Fourth Era

And now, we stand on the edge of Solas’s fourth (and likely not final) era of existence. How will he step into this stage? As a broken, beaten man forced into submission? Or as a man of wisdom, finally able to see another way forward?

This is why, for me, the only ending that feels true to Solas’s arc (as I see it) is the Atonement ending and the only one that exists for me. It aligns with his defining trait: choice. It offers him the agency to forge his own path, just as he did when he walked away from Mythal and the Evanuris.

Whether Solas enters this stage alone or with his heart is up to the player, but the ending feels significant regardless. He returns to the Fade, not in the detached slumber of Uthenera, but with his eyes wide open - awake, active, and ready to face what comes next.

And yes, I’m a sucker for redemption stories.

A Journey of Growth 

The Inquisitor once called him a terrible liar of the heart, and I think it speaks to the core of who he is: wisdom seeking connection. At his heart, Solas is driven to reflect, connect, and understand - even when those impulses clash with his mission. 

Solas’s life isn’t a straight line, nor is it defined by detached indifference. Instead, we see a complex web of relationships, regrets, and moments of growth. His post-Veil life shows us that even an immortal can be shaped by the mortal world. While his immortality makes change slow, it doesn’t make it impossible. Every person he lets into his life - whether reluctantly or intentionally - leaves a mark. Figures like Felassan, the Inquisitor, Cole, Varric, and Rook all serve as mirrors, reflecting his flaws and his potential. That's the beauty of relationships - we are all reflections of each other.

For Solas, change isn’t the result of one grand revelation. It’s a slow, deliberate process, shaped by his experiences, choices, those around him and the experiences they shared together. If his journey proves anything, it’s that even the Dread Wolf isn’t bound by fate. 

[dcdreamblog]

What can you tell me about the Hero Of the Beach, more commonly known as Flex Mentallo? And by extension the others like him, like the Fact for example.

Now. I am gonna say some stuff. And everyone is just going to have to accept that stuff that I say. Because it true, and it attested, and its really, REALLY weird as just about anything having to do with the Doom Patrol is after their resurrection if you start scoping out the details. This one could turn your head into Klein Bottle if you let it so I'm just gonna deliver the down low and we're all gonna be cool about it ok? Ok.

(An old comic book advertisement, showing Flex Mentallo and his "Book of Muscle Mystery") Flex Mentallo originally wasn't real, he originally was barely a character. Created as an ad campaign in the back of comic books from the 1960s to hawk a cheap book of bodybuilding "secrets" along the lines of the iconic Charles Atlas ads from around the same time. The ads weren't well remembered because of their sketchy nature, they were a knockoff of a quickly discredited idea and the very unclear nature of the ad's origin means that a lot of its real world details are lost in the shuffle. UNTIL, those ads were seen by a young boy named Wally Sage (yes, the rockstar) who was inspired by them, Mentallo becoming an artistic muse for young Sage even long after the original ads were out of print. The 'problem' is that Wally Sage was unknowingly a VERY powerful metahuman with the ability to bring his unconscious muses to life. The rest of the beings that surrounded Mentallo, like The Fact as you mentioned, were also hazy remembrances of old comic book ads brought to life by Sage's abilities. No one can say for sure where or when Mentallo popped into existence as a three dimensional being as real as you or me only that it DID happen. Mentallo was then captured by a group called the Men from NOWHERE. The Men from NOWHERE are an organization who shows up in the margins of history but is impossible to pin down, they seemed to be some kind of post war attempt to return the world to "normalcy" via information control and even slight reality alteration. Their mandate was of course shattered when the resurgence of superheroes brought the extranormal into undeniable and daily reality, and their remnants have been thoroughly dismantled through clashes with superheroes like the Doom Patrol. Mentallo was freed from their control and ever since then has existed in an inexplicable spot. He seems to dip into and out of objective reality at random intervals, battling metaphysical and avant garde threats on the margins of logical reality, a task he has more than once roped the Doom Patrol into. Some theories posit that he exists, in full or in part, as a being of what some scholars have proposed calling "The Unhuman Multiverse" connecting him to artifacts like the H-Dial but ALL of that is VERY controversial and VERY cutting edge scholarship and I am in no way certain I understand it. The basic idea is that our "observable multiverse" might only be one infinite facet of an even more infinite system of worlds in which even the notions of physics, space time and observable reality break down past our direct observations. That the vast, vast majority of the multiverse might be made up of realities where some basic facet of our 3 Dimensional existence doesn't apply. In this case Mentallo may exist in a "world" in which fiction is "real" and reality is "false" though of course the obvious insanity of that statement makes it clear that what we're proposing is an idea that we can't actually express in our universe which is basically what the theory proposes. Mentallo and his fellows were brought into our observable reality and now are either transported between them by some outside factor, can transport themselves at will or exist in both spaces simultaneously SOMEHOW because we are reaching the parts of multiversal metaphysics were the difference between math and philosophy is SEMANTIC. For now, he's a really hot guy in a leopard speedo who sometimes pops in to borrow our weirdos for adventures I am SURE are important in a way that would make a lot of sense if you were high, falling asleep, or both.

[smbhax]

Illustration by Jack Kirby

[magical-illune]

I just beat Kirby's Return to Dream Land (Deluxe) for the first time, and damn

DAMN

That felt GREAT!

I'd like to talk about my experience with the endgame, if you don't mind...

The day before, I'd gotten quite frustrated with the long, challenging levels in the final world. It really was a Dangerous Dinner! I got all three done, but I was mad at myself for once again having to skip a dimensional rift segment and just for struggling so much in general. Everyone says Kirby games are easy -- baby games, even -- but I can still have a hard time with them. Actually, Kirby games' so-called easiness make them the only platformers I can actually beat by myself. My reflexes and hand-eye coordination are absolute shit. I struggle with pretty much any game that involved dodging or the like, I knock things over and drop things and bump into everything all the time, I make so many typos whether I'm using a phone or an actual keyboard... As a wee child, I had to go to physical therapy to, among other things, learn how to button a shirt...

Look, what I'm saying is that I'm really, REALLY bad at platformers, and I adore Kirby games for being platformers I know I can play. But I was just so frustrated at myself for being bad at a "baby game" that I didn't take on the boss that day.

Today, I woke up feeling much better, and earlier this afternoon, I picked up my Switch, determined to beat the final boss.

(as a note, I didn't have the Helper Magolor thing on, I never have, but I do like to take a souvenir energy drink with me into every level)

First, I took on Landia with the Wing ability. I love Wing, so that was great right off the bat. And Landia would split into four, giving me more targets, so thank you, Landia! I beat it my second try, with a shred of health left. Instead of a triumphant jingle, a dance, Kirby just stood there, and Landia lay motionless on the ground as the screen faded to black.

And as I watched the following cutscene, something occurred to me: Kirby gained nothing from either of the Halcandra boss battles. There was no ship part to be taken -- the bosses were just in the way of Magolor's plans (and, well, attacking us lol). And on that note, Kirby and his friends never really got anything out of beating the five bosses on Popstar, either. We were just helping Magolor fix his ship. We went through level after level and ran through collapsing dimensional rifts and fell into pits and were crushed by walls and swallowed by giant eels while frantically swimming away from giant floaty spike balls and died and died and died all to help Magolor, and how did he repay us? By turning on us, vowing to conquer our home!

I thought about this as I did that awesome Another Dimension shooter bit. I love shooter segments, so it really pumped me up for the final fight! And by the time I'd reached Magolor himself, I was out for blood.

It took me two tries, but I kicked his ass in the end, and it felt incredible.

Take that, Magolor! With the power of friendship, this spear I found, and lots and lots of violence, I have defeated you and saved Planet Popstar!

I know this post was all over the place, but I just wanted to say what a wonderful time I had with this game, even when I was frustrated. I love Kirby games so much :D

Now I'm so psyched for the Magolor Epilogue!!

[lebuc]

America's Gulf

* the abstractions & distractions should be swept into the corner pocket of that nine-ball, rote role call & response docket

*

lit tunes are playing for the rocketed cooking up hemlocked recipes not fit for humans to be filed under “YOU don’t get to tune in”, laid prone at the feet of the cosmic seat where flutes are piffling & trumpets bleating for men-o’-war in work-study - meeting & deleting all that's good - which should always bear repeating;

*

whipping up their custard of humble pie to be served to us chained-in diners who didn’t pass the muster - why? because our heads are still reined-in by faux saviors'singing, while praises are a'pinging * from head spaces of mental cases:

media-ted incremental changelings with their party-sickles dangling across the board-walking it through (& we can't collect $200 passing go…) to retain our citizen's hard-earned articles at any cost-cutting & head-butting

*

& we’ll have to resign to be assigned a reservation at the loyalty testing station, where we'll sit & cogitate on our role as the cog-au-vin plate served up daily by the billions - slaving, twerking at the privilege of the millioned;

collecting, disrespecting, self-protecting, world-neglecting, claiming godhood while genuflecting, to baal-istical statistics & paramilitary mystics in lipstick.

*

when will we come to realize & gaze upon the writing on the wall-eyed wally of the airwaves, for weebling wobblng people falling down blind alleyways like sheeple,

going where you lead 'em, as long as they think you’ll feed 'em into the slaughterhousing five-point-a-gon & on & on & on & on, beat don’t stop til they say it’s done;

but the battles seem to go on & on, maybe cause they can’t be truly won-dimensional, two-dimensional, three-dimensional, four - (more years…)

...sick and tired of all mention of this sick & tiring war at/of America's Gulf. * 3/14 - 2/25 (remixed reblog) - lebuc - America's Gulf

[badgalsasuke]

Kishimoto Naruto Exhibition Opening Interview King's Brunch (May 2nd, 2015)

LINK OF THE INTERVIEW ON VK

LINK OF THE INTERVIEW ON YOUTUBE (lower quality)

In 2015, in commemoration of Naruto reaching its finale there was an exhibition of it where 3d figures, original artwork and merch where all in display. For its opening Kishimoto granted an interview to variety show King's Brunch from TBS, where he talks about the series, Boruto the movie and the exhibition itself.

Please watch the video as you read the transcription to get a better understanding of what's being said.

Male host: Today I would like to introduce to you the hit manga Naruto, which has touched the hearts of young people and even the elderly, not just in Japan, but all over the world.

Female host. We spoke with author Masashi Kishimoto about the appeal of Naruto and its new developments.

Narration: With a total circulation of over 200 million copies, Naruto has been loved by people all over the world since it began serialization in Weekly Shonen Jump in 1999. The main character is a dropout ninja named Uzumaki Naruto, who trains hard with his friends every day with the goal of obtaining the title of the strongest ninja, Hokage. As he grows, Naruto overcomes many challenges and learns secret ninjutsu techniques. In the process, he learns the importance of life, and the secret of his birth is revealed. What will happen in the final battle with Sasuke, who is like a brother to him but also a rival?

The first Naruto exhibition, which condenses the 15 years of the Naruto era that was sadly completed last November, is being held at Roppongi Hills. This time, we had the honor of meeting Masashi Kishimoto, the creator of Naruto.

(1:12-1:17) Text in the screen says: Masashi Kishimoto's Naruto Exhibition to celebrate the end of the series Mori Arts Center Gallery (52F, Mori Tower, Roppongi Hills) Until June 28th

Interviewer: First of all, thank you very much for serializing for 15 years. Kishimoto: Thank you very much, I'm exhausted. Interviewer: Exhausted?… I think this Naruto exhibition encapsulates 15 years of work, and this is precisely Naruto's first appearance scene, isn't it? Kishimoto: That's right. Interviewer: It's so perfect, it's like it's been taken straight out of the manga.

Kishimoto: This three-dimensional effect is really impressive, and I've never seen anything like it in real life. Since I only draw in manga, I was honestly surprised and happy to see something like this come to life in three dimensions.

Narration: The Naruto exhibition, which can be enjoyed in a grand worldview, was supervised by Kishimoto himself. The exhibition also features the junior Naruto and Sasuke characters, created specifically for the exhibition. In addition, there are over 150 precious original drawings of famous scenes, including the original drawing of the 700th episode, the final episode of the series, which will be exhibited in its entirety, bringing the scene to life, and videos that can only be seen at the exhibition, making this an exhibition where you can experience the 15-year history of Naruto to the fullest.

(2:24-2:28) Text on the screen says: Over 150 original drawings.

Narration: After the commercial break, Kishimoto-san talks about the production and about a new project.

(2:50-2:56) Text on the screen says: What's next. The inside story of "NARUTO" production& what's the new project?

Narration: Naruto boasts a total of 200 million copies shipped worldwide, and now at Roppongi Hills, the first Naruto exhibition is being held, where you can experience the 15-year history of the series. We spoke to Kishimoto-san about the appeal of Naruto, which continues to fascinate people around the world even after the series has ended.

(3:07-3:10) Text on the screen says: Masashi Kishimoto's Naruto Exhibition to celebrate the end of the series Mori Arts Center Gallery (52F Mori Tower, Roppongi Hills) Until June 28th.

Interviewer: What parts of Naruto do you personally relate to, Kishimoto-san? Kishimoto: Well, it was mostly me. No matter what I did, I was always a bit clumsy, I wasn't particularly good at studying, and I wasn't really good at sports either, I guess. I played baseball, but I barely made it to the regular lineup and once made it to the finals. During the tournament, everyone got pumped up and we were all excited to go, but the coach called me over and substituted me out. So, while sitting alone on the bench, I felt the disparity between the earlier excitement and my performance, and I had this sense of inferiority. I think I projected that onto Naruto, which made it very personal for me.

Narrator: In this work, where captivating characters like Naruto and Sasuke continuously appear, what did Kishimoto-san keep in mind when depicting each of them?

Kishimoto: It's about individuality. I try to give each character their own unique personality. I also try to change the shape of the eyes as much as possible, which is especially difficult for female characters. I always end up with characters with cute faces that look similar, so that was difficult. Interviewer: What is the difference between Naruto and Sasuke's eyes? Kishimoto: Naruto is surprisingly fox-like, so I imagine his eyes as slightly slanted, big and powerful. Sasuke has a large, intense gaze, and although both boys have a sharp look, I was particular about depicting his eyes as having a fierce, piercing quality. I focused on those aspects when drawing them.

Narrator: Just like the characters, when talking about Naruto, the fast-paced ninjutsu and battle scenes are indispensable. The origins of the creation of these scenes lie in the following.

Kishimoto: I really like watching movies and I am quite influenced by them. To be honest, anime has had a big influence on me; I was really influenced by films like Akira. Additionally, the way things are presented in Ghost in the Shell and the cool directing techniques in it also had a big influence on me. There's also quite a bit of influence from Jackie Chan, Bruce Lee, and Jet Li. In Jackie Chan movies, they often use something called double action, where they just do a single punch, but they change the camera angle to show it. I thought it would be cool to try something like that in manga.

Narrator: Double action shows a single action from various angles and sizes, enhancing the impact and emphasizing the movement.

Kishimoto: For me, it's essential to have fun serializing something for a long time. I've been enjoying it in my own way and have been influenced by it.

Narrator: The Shadow Clone Technique, a skill Naruto excels at, appeared in the first episode of the series. Even at first glance, it seems like it would be a lot to draw.

Kishimoto: I showed a huge number of clones in the first episode because I desperately wanted readers to get to know the character of Naruto. I wasn't thinking about the future at all; it was a life-or-death situation for a newcomer to get votes in Jump. If I had known it would continue for 15 years, I probably wouldn't have done it. But I put my all into each chapter, doing everything I could. Without that, it would have been really difficult to succeed in Jump.

Interviewer: Have you ever wanted to run away?

Kishimoto: Strangely enough, I didn't. I'm not trying to sound cool or anything, but many of my first-time seniors had run away and the editors were looking for them with their eyes bloodshot, so I didn't run away. I thought that even if I ran away, I would be found anyway, so I didn't run away.

Narrator: And two new projects related to Naruto have started. First, a short-term serialization began in this week's release of Weekly Shonen Jump. It's a next-generation story featuring Naruto's son Boruto and Sasuke's daughter Sarada.

Kishimoto: There’s a character named Sarada Uchiha, and we’re focusing on her character. If you watch closely, you’ll see that everything is interconnected and it’s quite interesting, so please look forward to it.

(8:07-8:14) Text on the screen says "BORUTO: NARUTO THE MOVIE" Friday, August 7th, Toho cinemas nationwide

Narrator: In addition, a film starring Naruto's son Boruto, for which Kishimoto himself is the producer, will be released in August called Boruto: Naruto the Movie.

Boruto: Damn you, you old man! I'm going to change this era! I have no intention of losing!

(8:25-8:29) Text on the screen says: I can't draw anything better than this! -Masashi Kishimoto.

Interviewer: It was a shocking statement. "I can't write anything better than this".

Kishimoto: I'm at my limit. The character Naruto is one that I have deeply empathized with and drawn, and even the characters in the movies were created in a state where I could empathize with them immensely. I often say, "I think it's interesting," but please watch it because it is interesting, not just because I think so! Really.

Male host: Naruto was a reference to Kishimoto-san. But when you say Naruto fans, you think of Kana-chan and Yu-chan, but do you know anyone else? Have you read it?

Fan 1: I've read it. My brother told me about it, so it did have an influence on me. Male host: Are you two really into it?

Fan 1: These two are really into it. Fan 2: Naruto is a textbook on life.

Male host: I stopped buying Jump serialization about three or four years ago, so I haven't read it in a few years, until the end of last year. So I'm still looking forward to it. What do you think about the series? Fan 2: The more you read Naruto, the more you realize it's a work filled with family love, friendship, and so much love, teaching us many things. I grew up alongside Naruto and the ending was quite shocking, but Boruto will show us a new story, so there is still a lot to look forward to.

Female host: It's also really charming. Naruto is just so filled with love for all the characters. I think this is the first manga that made me cry so much. Tears come from the bottom of my heart.

Male host: But what got you into those kinds of shonen manga in the first place?

Fan 2: I was influenced by my older brother into reading them, but while reading Naruto together, I cried for the first time over a manga. It's that moving.

Male host: Naruto is a bit of an underdog character, but he always puts in a lot of effort and his friends help him out, and he keeps growing. He's not just a cheerful character; he has a dark side too, which is a big part of what makes this work so appealing. I think you might enjoy that aspect a bit. So, Mahon-sensei, please share today's scene with us.

Mahon-sensei: Yeah, everyone is so passionate about it, right? When I talk to Naruto fans, they really can't stop talking about it, and among those conversations, here's a snippet from today. "What I want to know is not the easy path, but how to walk the difficult one."

Naruto's iconic scenes and lines are really straightforward. Among them, there's this one where Naruto, aiming to become the strongest ninja Hokage, hits a wall. At that moment, a man who also aimed to become Hokage stands out, but Naruto says, "That's not how it is." When we see that, we can't help but think that when we hit walls in our own life goals, whether they're big or small, we want to try our best like Naruto.

Fan 3: I want to work hard for our generation. Male host: Really? Fan 3: I know that Dattebayo is Naruto's catchphrase. Male host: So that's what it was. Unintelligible Fan 3: And chakra. I know that they have chakra. Male host: There's no easy way out, you have to read it from the first volume to the last.

Fan 3: I'll take the difficult path, true to myself.

Male host: I would like to see you on the road. Thank you very much.

Mahon-sensei: Thank you very much.

[rebeccalouisaferguson]

Cover Star｜A sincere conversation with Rebecca Ferguson, from "Mission: Impossible" to "Dune": "If there was a pause button in life..."

Over the past few years, we've been immersed in the eyes of Rebecca Ferguson. She is "Lady Jessica", the mother of Paul, the protagonist of "Dune 2", and "Agent Ilsa" in the "Mission: Impossible" movie series. Her charm that is not limited by frames makes every character more real and three-dimensional.

In the cold winter, we flew to London to meet Rebecca Ferguson. There was an especially warm smile in the studio. She had a sense of relaxation, sitting casually on the stacked tires, but she was also like a small flame, burning the wonderful thoughts in her mind. In front of the camera, she carefully stretched her figure and carefully selected the look she liked. With a mini racing track laid out on the ground, Rebecca Ferguson created a different sense of tension and story.

From ballet to stunts

We will always remember that in 2014, Rebecca Ferguson hid the fact that she was afraid of high-altitude stunts while filming "Mission Impossible: Runaway Nation." Tom Cruise was surprised later, "She never told anyone! She trained for it and completed it full on" However, in the face of these past events, he asked her if she agreed that she was a person who "decided to do whatever she did." The kind of person who arrives? Rebecca Ferguson replied that she doesn’t like to oversimplify or emphasize her own behavior. “I also don’t like to have a predetermined impression of myself because it may lead to self-aggrandizement (laughs). I think most people I work with also have the same traits. ! When they want to achieve something, they always give it their all, not at the expense of others. I hope it’s a process that’s kind, considerate, and exciting.”

Born in Sweden to a British mother, Rebecca Ferguson graduated from Adolf Fredrik's Music School, a well-known music school in Stockholm. At the age of 15, she participated in the soap opera "Nya Tider". She also studied ballet, jazz and funk at the Royal Swedish Ballet School, tap dance, etc. Her diverse exploration of art since she was a child seems to have given her an "artist" eye, and perhaps a bit of an artist's temperament. Her heart is like a jumping note, and she can always talk about any topic; her attention to details also injects countless inspiration and boldness into the photos.

life pause button

After Rebecca Ferguson worked in Sweden for more than ten years and gave birth to her first child, her name gradually became known to the world. In 2013, she played Elizabeth Woodville, the controversial queen of King Edward IV of England during the Wars of the Roses, in the BBC historical drama The White Queen. This English-language debut earned her a Golden Globe nomination. Since then, she has become one of the busiest stars in Hollywood. The third film in the Mission: Impossible series she starred in premiered in 2023. For months, fans discussed the poignant battle of her character Ilsa Faust; the subsequent dystopian series starring Rebecca Ferguson The first and second seasons of "Silo" premiered on Apple TV+, during which time the craze for "Dune: Part 2" broke out. Compared with the growth story of Timothée Chalamet, we seem to be more often deeply attracted by the mystery, elegance, beauty and strength (and exquisite veil!) of the protagonist's mother Lady Jessica. Since the battle of wits in the first movie The fierce physical fight is still unforgettable!

Recently, she announced her participation in the movie version of "Peaky Blinders", co-starring Cillian Murphy, the protagonist of the British period crime drama. Ask her what else she wants to challenge in her career? "There is nothing I want to change, but I will always think about challenges and chasing dreams. I have never been on the stage, and I also want to do some theater work. This is my biggest wish now, and it may also be my biggest fear. !”

The theme of the February issue of "Harper's BAZAAR Taiwan" is about F1 racing and speed. I am curious about what she hopes to "fast forward" to the ending experience? "Absolutely not! I don't want to fast forward at all! I think time goes by fast enough already. If there was an option to rewind, I would rather have that - or press the pause button - to pause time and feel my surroundings. Maybe we can revisit some of the moments to let us know we’re not at the end yet.”

Naughty, Libra, maternal, mobile, practical in building dreams, artist, etc., we wrote a character sketch of Rebecca Ferguson; and then through her sincere answers, there was an interesting collision of souls.

Fashion is a language

Rebecca Ferguson (RF): I don’t know, maybe both? I think my answer is, we learn over time. We learn by making mistakes, and we grow by listening to and observing others. At the same time, I like people and I like to communicate! If the other person is interesting and smart and makes me feel smart too, the conversation is interesting, or if the other person is challenging in some other way, that's also engaging. But I'm not always witty, sometimes I'm naughty and sometimes even rude, which isn't really good.

HB: You are a fashion icon on the red carpet, but we also want to know about your personal style and experience. Has your daily fashion changed because of the crazy costumes you wear? Or has it changed as a result of becoming a mother and entering a different stage of life?

RF: I think life is fluid and we change with it. What's important to me is comfort, although not necessarily to the standards of fashion. But fashion is in some ways an expression of identity and how we want to be seen; on certain occasions, it is also important to present yourself in a certain way. But on other occasions, like when I go to work, I usually wear fitness clothes with a big hat and T-shirt on top. When the weather is cold, it’s more casual. Even so, I will wear cool sneakers and some very colorful socks! I still left my mark, I was still me. Of course, working with different stylists has also changed me, some experiences have been great, but others have also made me realize what doesn't work for me. Fashion is really like a language, right? For example, working with my current stylist, Tom Eerebout, he takes me into some areas that I really like, and the whole process is wonderful. I discovered that I loved fashion and expressing myself through clothing and accessories.

HB: In early interviews you talked about a childhood full of creativity and memories, such as dancing, music, modeling, and gymnastics. Can you share with us how you explore your passion? Have these experiences shaped who you are today?

RF: I explored my passion through the job opportunities I was offered. I will use my past physical experience if needed! For example, when I was filming "Mission: Impossible," those dance and physical training helped me shape the character. As for another question, I think everything in life influences everything; everything we do is filling up the "backpack in life", whether it is good or bad experiences, and these experiences ultimately shape us.

HB: Can you share with us what is the best and worst thing that has ever happened to you in the entertainment industry?

RF: To be able to be a part of the entertainment industry, have a place here, and have a workspace to express myself, to be able to do all of that consistently; and to be able to make enough money to take care of myself, take care of my family (more than put food on the table), work It also makes me feel fulfilled and satisfied...it's really great. Of course, there are a lot of not-so-good things, but I'm at a very good peak at the moment, so I prefer to emphasize the positive things.