#Comics are fictions and a power fantasy...i start treating it like that and that actually made it more easier to accept these stories more

[dalishious]

The Sanitized Lore of Dragon Age: The Veilguard

Tevinter is the heart of slavery in Thedas. This lore has been established in every game, novel, comic, and other extended material in the Dragon Age franchise to date that so much as mentions the nation. But in Dragon Age: The Veilguard, when we are finally able to actually visit this location for the first time… this rampant slavery we’ve heard so much about is nowhere to be found. It’s talked about here and there; Neve mentions The Viper has a history of freeing slaves, as does Rook themselves if they choose the Shadow Dragon faction as their origin, for example. But walking down the streets of Minrathous, you’d never know. Because Dragon Age: The Veilguard, for all its enjoyment otherwise, has one glaring issue: It’s too clean.

The world of Thedas is full of injustices. Humans persecute elves, fear qunari, and belittle dwarves. Mages of any race are treated like caged animals in most places. The nobility is corrupt. Although, Dragon Age has not always handled these injustices well, mind you. Many, many times I’ve found myself frustrated with moments that just feel like a Racism Simulator. But what makes it worth it, is when you can actually do something about it. These injustices are things that a good-aligned character strives to fight back against, maybe even for very personal reasons. Part of the power-fantasy for many minorities is that this fight feels tangible. I cannot arrange the assassination of a corrupt politician in real life, but I sure can get Celene Valmont stabbed to death in Dragon Age: Inquisition, for example. Additionally, these fictional injustices can be used to make statements on real life parallels, like any source of media. For example, no, the Chant of Light is not real, but acting as a stand-in for Catholicism, through a media analysis lens we can explore what the Chant of Light communicates on a figurative level.

When starting Dragon Age: The Veilguard and selecting to play as an elf – this should be unsurprising to anyone who is familiar with my bias towards them – I was fully prepared to enter the streets of Minrathous and immediately get called “knife-ear” or “rabbit”. But this did not happen. I thought perhaps it was just a prologue thing, but returning to Minrathous once again, there was not a single shred of disapproval from any NPC I encountered that wasn’t a generic enemy to fight. And even the generic enemies, the Tevinter Nationalist cult of the Venatori, didn’t seem to care at all that I was a lineage they deemed inferior before now. This is a stark difference from entering the Winter Palace in Dragon Age: Inquisition and immediately getting hit with court disapproval and insults. Are we now to believe that Tevinter has somehow solved its astronomical racism and classism problems in the ten years since the past game? Or perhaps are we to believe all the characters who have demonstrated Tevinter’s systemic discriminatory views were just lying or outliers? Because it makes absolutely no sense at all for this horribly corrupt nation to not have a shred of reactivity to an elven or qunari Rook prancing around. But here were are, and not a single NPC even recognizes my character’s lineage. And because this is so different from every single past game, it feels weird.

As an elf, you have the option to make a comment about how “too many humans look down on us” in one scene early in the game. You can also talk to Bellara and Davrin, the elven companions, about concerns that people won’t trust elves after finding out about the big bad Ancient Evanuris… but this is presented as if elves don’t already face persecution. It’s all so limited in scope that it could be all too easily missed if you are not paying very close attention, and coming into the game with pre-existing lore knowledge.

All this made it easy to first assume that the developers simply over-corrected an attempt to address the Racism Simulator moments. And if that was the case, than I would at least give credit to effort; they did not find the right balance, but they at least tried. However, the sudden lack of discrimination against different lineages in Dragon Age: The Veilguard is not the only sanitized example of lore present.

In Dragon Age: Origins, Zevran Arainai is a companion who is from the Antivan Crows; a group of assassins. He discusses in detail how the Crows buy children and raise them into murder machines through all kinds of torture. The World of Thedas books also describe how the Antivan Crows work, echoing what Zevran says and expanding that of the recruitment, only a select handful of those taken by the Crows even survive. When you start Dragon Age: The Veilguard as an Antivan Crow, you immediately unlock a re-used codex entry from the past, “The Crows and Queen Madrigal”, that says the following:

“His guild has a reputation to uphold. They are ruthless, efficient, and discreet. How would they maintain such notoriety if agents routinely revealed the names of employers with something as "banal" as torture.”

Ruthless, efficient, and discreet. Torture is banal. This is what the Crows were before Dragon Age: The Veilguard decided to take them in a very different direction. The Antivan Crows in this latest game are painted as freedom fighters against the Antaam occupation of Treviso. Teia calls the Crows “patriots”. And while I can certainly believe that the Crows would have enough motivation to fight back against the Antaam, given that it is in direct opposition to their own goals, I cannot understand why they are suddenly suggested to be morally good. They are assassins. They treat their people like tools and murder for money. Even as recent as the Tevinter Nights story Eight Little Talons, it is addressed that the Antivan Crows are in it for the coin and power, with characters like Teia being outliers for wanting to change that. It makes the use of the older codex all the more confusing, as it sets the Antivan Crows up as something they are no longer portrayed as.

I personally think it would have been really interesting to explore a morally corrupt faction in comparison to say, the Shadow Dragons. Perhaps even as a protagonist, address things like the enslavement of “recruits” to make the faction at least somewhat better. (They are still assassins, after all.) Instead, we’re just supposed to ignore everything unsavory about them, I suppose…

We could discuss even further examples. Like how the Lords of Fortune pillage ruins but it’s okay, because they never sell artifacts of cultural importance, supposedly. Or how the only problem with the Templar Order in Tevinter is just the “bad apples” that work with Venatori. I could go on, but I don’t think I have to.

It is because of all this sanitization, that I cannot believe this was simply over-correction on a developmental part. Especially when there is still racism in the game, in other forms. The impression I’m left with feels far deeper than that; it feels corporate. As if a computer ran through the game’s script and got rid of anything with “too much” political substance. The strongest statements are hidden in codex entries, and I almost suspect they had to be snuck in.

Between a Racism Simulator and just ignoring anything bad whatsoever, I believe a balance is achievable; that sweet spot that actually has something to say about what it is presenting. I know it is achievable, because there are a few bright spots of this that I’ve encountered in Dragon Age: The Veilguard too. For example, some of the codex entries like I mentioned, and almost all the content with the Grey Wardens thus far. It is a shame there is not more content on this level.

Dragon Age: The Veilguard is overall still a fun game, in my opinion. But it’s hard to argue that it isn’t missing the grit of its predecessors. The sharp edges have been smoothed. The claws have been removed. The house has been baby-proofed. And for what purpose?

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[damian-lil-babybat]

I was expecting for Jon to ask permission and consent first from Jay before doing a move or declaring romance-tinted intentions to Nia, if this is what it is (like what a respectful poly relationship woud do)...I mean what's wrong if he got this conversation with Jay, instead? That would be 100% better imo. Same outcome, more respectful & honest to boot. But I guess they didn't do that, orz

Guys, I don't know if I'm reading too much into it but isn't this kinda cheating? Because this seems to me Jon is getting romantically involved with Nia. Because you really can't tell me this is just "friendship".

They might not be doing anything severe but being emotionally involved with someone, in a romantic way, is still cheating.

Help idk maybe im exaggerating 😭

[tuxedosaurus]

Back when I was on Twitter I noticed a trend among some X-Men fans there. X-Twitter, if you will. But first some long Marvel backstory.

Wanda Maximoff, aka The Scarlet Witch, is a longstanding Marvel character, prominent Avenger, and one of few Romani comic characters.

She was also a crucial character in the crossover House of M. She had suffered a mental breakdown caused by unaddressed trauma and mental illness, and seemingly used her magical powers to alter reality as a result. It’s revealed by the end that Magneto and Quicksilver, her father and brother, manipulated her fragile mental state to create the reality they wanted, where mutants like them ruled the world. Still in that state and betrayed by her family, Wanda lashes out at them and removes the source of their actions by depowering mutants across the globe while restoring reality.

Wanda is treated terribly both by the writer of this story and her family, manipulated into doing wide reaching things when she literally could not be responsible for her own safety, much less others’.

Since then, Wanda recovered and helped restore powers to the mutants who lost them in the story Avengers vs X-Men. She didn’t have to, but she’s a good person so she did it anyway. She also found out that Magneto is not her biological father, and thus her powers are not mutant-based.

Recently, the X-Men created a mutant-only country called Krakoa. Krakoa was written as critique of isolationist groups from the start, clearly being a cult and ethnostate. One of the cult things they did was HEAVILY demonize Wanda for House of M, making her a bogeyman to mutant kids as “The Pretender” and making her name a derogatory term. You would think that X-Men fans would use context clues to see that this was obviously bad. Unfortunately they did not.

X-Twitter LOVED ignoring all the intentional problems with Krakoa, and quickly started calling Wanda “Pretender” in real life. They were fully calling for her death and calling her derogatory terms. Obviously, this is a fictional world & character, and being directed at a real person would be way worse. But I still think the ease of which X-Twitter fell into fictional propaganda that demonized a mentally ill woman of color is VERY worrying.

X-Men comics historically have had problems showing actual diversity, and X-Twitter disregarded Wanda’s status as a real-life minority to prop up their fake “homo superior,” and shut down anyone who disagreed. I’m frankly scared by that quickness to otherize and dissonance to reality, so caught up in a fantasy that anyone with an opinion they didn’t share is deemed bad, so caught up in a fantasy that they’ll attack a real minority to prop up that fantasy.

Idk how to end this beyond saying… don’t go on Twitter, X-Men fans are often stupid and crazy, stay conscious of reality, and be kind.

[sokkastyles]

Hi,

I've liked your takes on Azula. Personally, while i like her as a character (specifically as an antagonist), i've never really liked Azula. Perhaps that's why i have trouble picturing what a redeemed Azula would actually look like. I was wondering if you had any ideas on what kind of person Azula would be, post some kind of redemption.

Hi, and thank you!

As far as liking Azula, the way you describe feeling about her is how you're supposed to feel about her. She's a good character, but she's not supposed to be likeable as a person. Something that I think is a problem in fandom culture is that people get caught too much in character likability. To me it's a really weird way of looking at fiction, but it's oddly common in fandom spaces, the idea of whether x character is someone you would want to be friends with or date in real life, when most characters are not meant to be interpreted that way, they're meant to be interpreted as part of a story. Azula isn't a likeable person, but that's okay because she isn't supposed to be, and she's not auditioning for my friendship or anything, she's a fictional antagonist in a story, and she does her job.

On your question about a redeemed Azula and what that would look like, this is a really interesting question, and I feel like most people who talk about this get it wrong. I see a lot of sad baby Azula who feels immense guilt over her actions. On the flip side I see "redeemed" Azula who never feels remorse for anything and continues to treat the people around her like garbage, but they have to put up with her because she's "redeemed" now. I also see a lot of people proposing a redeemed Azula who gets to be a mary sue wish fulfillment fantasy - she is the most powerful bender, the most intelligent, funnier than Sokka (an actual take I've seen) and all around better than everyone. Which is a weird take on redeeming a character for whom one of their primary flaws as a villain was thinking that they were better than everyone.

To start thinking about redeemed Azula and what she would be like as a person, look at Zuko's redemption arc. One of the best ways to redeem a character and keep them recognizable is to take those flaws that made them a villain, and portray how they can also be virtues.

For example, one of Zuko's primary established traits early on is his dogged determination. It was one of the things that made him a villain, but it's also one of the things that pushes him towards redemption and building a new identity for himself. His ability to endure and get back up again helped him through his struggles even when it was hard, even when he had to give up a lot of what previously drove him and search for a new drive.

One of Azula's primary traits as a villain is her intelligence and quick wit. She is hypercompetent and ambitious. She's extremely observant and uses those skills to manipulate things to her advantage. I said long ago that I'd love to see an Azula redemption that takes those skills and refocuses them on something that leads her towards a path of goodness. One of the things that happens in the comics is that she notices that Zuko is struggling with being fire lord. She tells him in "The Search" that he doesn't really want it, and there is some truth to that. She's able to pick up on something true about his character because she knows him so well, and like previously, she's able to use that to manipulate him.

But what if she were able to use those powers of observation for good? What if, instead of manipulating people, she were able to use her ability to understand people and what motivates them to help them? There's only so far you can understand other people before you start to empathize with them, and it's hard to hate people if you really understand them.

I imagine Azula post-canon, struggling with the new world she finds herself in, not sure of her own identity. She starts out with trying to pick up the pieces of her old life. Zuko is fire lord, but she knows exactly where his reign is going. She was always able to think three steps ahead of him. He can't see the enemies in his own council. She knows exactly whose ear she would have to whisper in to bring her brother down. But along the way she can also see so many other possibilities opening up. Zuko would succeed in getting this new ruling passed if only he realized what this certain councilman wanted. She tells him so one day just because she's bored, and to both of their surprise, Zuko actually ends up taking her advice, and it works. Of course, Azula didn't want that to happen, it's just that she could have if she'd wanted to. But after that, Zuko eventually makes her a part of his council, and the more he trusts her with information, the more she buys into it just to see what would happen. Eventually Azula finds herself committing acts of kindness just because she can. She can see all the possibilities so easily, how to improve or destroy someone's life at a whim, and this amuses her. A curious thing starts to happen, though. The more Azula ends up, sometimes despite her own judgement, helping others, the more she finds that people actually like her. They come to her for advice. A young woman comes to her one day asking how she can get a certain powerful nobleman who her family wants her to marry to leave her alone. He is wealthy and well-connected, but she has heard rumors that he is disrespectful and aggressive to women. This man, he has secrets as well, and Azula knows exactly what strings to pull to get this man removed from Caldera's court permanently.

Along the way, the more Azula realizes about the people around her, the more she starts to see through her father's bullshit. The more she starts to build relationships with others, the more she realizes how empty the relationship with her father was. In fact, her father was the one keeping her isolated all along.

Eventually, she becomes a force to be reckoned with in her own right, except now she has something else to fight for and has also learned not to take herself so seriously. She doesn't strive for perfection anymore, but she's still known to be ruthless to those who cross her or those she cares about, and will have a biting word for those she dislikes. She would be fiercely protective of the new network she created for herself.

I also don't like the redemption scenario of Azula the hermit who goes off and does her own thing. There is some truth in the idea that redemption doesn't necessarily mean forgiveness from the ones you've hurt, but I don't see Azula being happy alone. One of Azula's main flaws is thinking that she's better than everyone else, and her tragedy is that she ends up alone. Her redemption, therefore, has to come through living for others. Isn't that what redeems all of us in the end?

[cartoonus-maximus]

I've been seeing a weird amount of posts lately from comic bros being mad about nothing, actually. They see one incredibly un-serious panel and they start frothing at the mouth, acting like one single joke made in a some random issue of "Overpowered Heroic Antihero Man" in the '90s is single-handedly responsible for the industry's downfall.

And it's like... friends. This is a superhero comic. They are inherently silly. They can be used to tell serious stories, tapping into topics such as drug addictions, PTSD and other mental struggles and illnesses, domestic terrorism, and so on. Superhero comics can be used as vessels to tell serious stories and that's great, but that's not what they are at heart.

Superhero comics are incredibly un-serious and extremely silly. Some of the flagship guys are a dude who unironically dresses as a bat and fights clowns, a guy who sticks to walls and throws fourth-grade level humorous quips at his enemies, characters dressed like American flags so you know they're American, and characters who are aware that they're fictional characters and regularly break the fourth-wall.

I'm not saying these things are bad. In fact, these are things that I personally really like about the genre - that you have the ability to take an incredibly silly premise and tell a story with it. It's great.

But you can't treat the medium like a single piece of wacky humor is the worst thing to ever happen to it. I mean, have you seen the Golden Age comics? The medium was built on wacky humor.

Basically, superhero comics were largely born out of some young mens' personal power fantasies, with lots of quippy humor, characters with silly personalities and powers, and, whether you like it or not, the medium has largely stayed silly. If that makes you unhappy because for some reason you've been suffering under the delusion that comics are serious, well-written literary masterpieces, and that liking them makes you cool... you picked up the wrong hobby.

[adarkrainbow]

An introduction to my Fables posts

(This is a rewrite of my original intro post about Fables, because after some try-outs and testings I finally found how I wanted to make my posts about this comic book series).

“Fables” is a comic book series by Bill Willingham (and Mark Buckingham, who was the main artist). It started in 2002, and ended in 2015 at 150 issues - but not before giving birth to a dozen of various spin-off series, as well as a very popular video game (whose fame got its own independance apart from the comics): “A Wolf Among Us”. 

I will talk about it right off the bat: Fables is a divisive comic series. It is divisive because some people do not like Bill Willingham or his personal social and political views - and there is a debate as to how much of them he placed in his comic-book series. It is also divisive because some people feel somewhere in the middle of its run the series’ quality downgraded heavily, and what was a great comic devolved into someone contrived, cliche, nonsensical or edgy for the sake of it. It is divisive because it has some... very divisive characters. 

But there is one thing that cannot be denied: this series is a landmark in fiction, and cannot be ignored. It is one of the great titles and best-sellers of DC’s “Vertigo”, putting it on the same shelves as Sandman, Hellblazer, Swamp Thing or Doom Patrol. It even had two crossovers, one with “The Unwritten”, another wth Batman himself! It was one of the great works of urban fantasy and “fairytale fiction” of the 2000s, which had a great influence on how both genre are treated today. It won several Eisner awards. And its success is so great the main series was re-started not so long ago, and a sequel to the game “A Wolf Among Us” is in the works. 

I remember when I discovered “Fables”. Until now I only knew of “shared fairytale universes” and “fractured fairytales” throughout things such as “The 10th Kingdom” or “Once Upon a Time” - both actually related to Fables, as The 10th Kingdom was one of “Fables” primary inspirations (alongside “Into the Woods”), while “Once Upon a Time” was born of a failed attempt at adapting “Fables” into a television series. When I first started reading it, it was like a shock, a revelation. Everything I liked about the 10th Kingdom and OUaT, but in a darker, more serious and adult tone, with this typical “Vertigo” feel to it, the feel of a “literary comic”. I devoured the entire series in one go or so - it took several summer months, but I just read through it. At first I was there for the story but after a moment I wans’t even carried by it anymore - it was like a weird fever dream where all sorts of fictional worlds crashed together in a splash of beautiful art. 

And this is one of the things that marked me and struck me with Fables - one of the reasons I am constantly drawn back to this series and why I want to make posts about it. Fables is a living encyclopedia - or rather a gigantic illustrated bibliography. The shocking thing with Fables is the amount of fictional characters, worlds and references in it. Willingham did a massive, extensive research to create an entire multiverse of fairytales and nursery rhymes - it has more characters than any other fairytale world I know of, and it made me discover many MANY stories I didn’t know about. It isn’t even just fairy tales and nursery rhyme, but also more modern literary work, and various poems, and myths and legends. It is a MASSIVE monster. 

Anyway - all of that to say summer is coming, and for me summer is the Fables seasons. I always read the issues during summer and I associate its mad magic with the long hot days. And so I plan on making several posts about it. I will avoid talking about the divisive topics below - because I have not the expertise or knowledge to actually truly speak about them, but also because I want merely to focus on the cultural references and on the powerful things, the reasons “Fables” was adored, famous and beloved in the first place. 

[adjit]

3 6 12 :3

3. What were your top five books of the year?

MMMMM picking a top 5 is hard. To be clear, I only keep track of the new novels I read, not rereads or any other forms of fiction (comics, manga, webnovels, webcomics) and I'm not a super prolific reader, so I'm only coming in with about 30 books read this year. So I'm kinda gonna fudge this one.

That being said I did actually read the Murderbot Diaries this year (in January) so I could just list those. I won't but I could.

Anyway. I barely read new books so none of these are even new this year but they're NEW TO ME.

So, dubious if this is a top 5 of the year, but 5 books that I read and enjoyed this year, in no particular order:

Network Effect by Martha Wells (I can list one Murderbot, as a treat), A Memory Called Empire by Arkady Martine, A Marvellous Light by Freya Marske, The House in the Cerulean Sea by TJ Klune, and Piranesi by Susanna Clarke.

This year I've been working my way through queer scifi/fantasy, getting recommendations based on those, and then recommendations based off of those, so almost all of my reads have been along the same lines. I want to try to change it up more next year but it is what it is I'm having fun.

6. Was there anything you meant to read, but never got to?

I never really plan that far ahead tbqh. I have a lot on my tbr pile but it's all kinda "sometimes in the future...". There are 3 books I'm still finishing, but...hopefully will finish before the year's end (Dark Heir by C.S. Pacat, These Are Not The Trinity Papers by Vale Zalecki, and A Closed and Common Orbit by Becky Chambers).

And I'm waiting for my holds to come in on The Loop by Jeremy Robert Johnson, A Power Unbound by Freya Marske, and The Final Empire by Brandon Sanderson. Actually that last one you recommended to me 2 years ago and I'm still working on it. So I think that's the real answer here. I'M WORKING ON IT this time in audiobook form.

12. Any books that disappointed you?

Tomorrow, and Tomorrow, and Tomorrow hands down. It was...fine, I didn't dnf or anything, I just deeply deeply disliked the main character that the narrative hinged on being universally beloved, so it kept pissing me off. That doesn't mean that the book wasn't good but it was super hyped up before I started it, so expectations were high and it felt like a letdown.

[immaturityofthomasastruc]

Do you any suggestion for Super Sentai?plz

*cracks knuckles*

Well first off, if anyone wanting to get into Super Sentai watched Power Rangers growing up, I’d check out the series whatever season you watched was adapted from to see how things went there in comparison to how they were in the United States. So if you grew up with the original Mighty Morphin’ Power Rangers, watch Kyoryu Sentai Zyuranger. If you don’t know what the Sentai the season you grew up with is called, I’d check out RangerWiki, which provides a lot of information on both franchises.

I’d also recommend checking out a few episodes of the very first Super Sentai entry, Himitsu Sentai Gorenger. Not all 84 episodes, mind you, but I’d just watch a few to see where Super Sentai got its roots from, because the team football attack gets referenced a lot further down the line. Yes, you read that correctly.

But for individual seasons for beginners, it’s harder for me to answer. Super Sentai has varied aesthetically and tonally across its 45 year run. Some shows are dark and gritty, while others are light-hearted and goofy. Some shows have a vehicle motif, while others use animals for a motif. So the seasons I’m going to talk about will cover all kinds of tones and themes across the years. I also haven’t seen every single entry, so these are the ones I’ve seen that I recommend for beginners.

Denshi Sentai Denziman (1980-1981, 51 Episodes)

Centuries ago, the evil Vader Clan conquered and decimated the Denzi Civilization. In the modern day, the talking dog IC awoke from his slumber when the Vader Clan began their invasion of Earth. So IC recruits five people to become the Denzimen to defend their planet and stop the Vader Clan once and for all.

The first three seasons of Super Sentai were very experimental, but Denziman was where Toei started to get an identity for Sentai down. Not only would the black visors and sculpted mouthpieces become a staple for Sentai’s (and by extension, Power Rangers) suit designs, but this was also the first season to really start a few Sentai traditions. It was the first season to have female villains, the first to use a transformation device for the heroes, the first time the monsters grew to fight the team’s giant robot.

The Denzimen, while not really going through any character development, are still very likable characters, especially Denzi Blue/Daigoro (played by legendary tokusatsu actor Kenji Ohba). The villains are also a lot of fun, a real improvement from the first three villain groups, who were all basically Earth-based terrorist organizations and/or death cults. The Vader Clan is full of villains who are just as entertaining to watch as the heroes, especially Queen Hedrian, played by the late Machiko Soga, who would later go on to play Witch Bandora, the character Rita Repulsa is adapted from in Power Rangers. There’s not that much of an ongoing for most of the series, and it can get pretty goofy at times, but it’s still a really good show.

Choushinsei Flashman (1986-1987, 50 Episodes). 

Five infants are abducted by the Reconstructive Experiment Empire Mess to use as test subjects for experimentation, but are saved by benevolent aliens from the Flash Solar System. They all spend the next twenty years in the system developing their combat skills and special powers until they decide to head back to Earth to fight Mess themselves as the Flashmen, despite the warnings of their alien caretakers.

The 1980s are usually referred to by fans as Super Sentai’s golden age, with a string of great seasons thanks to famed writer Hirohisa Soda. Flashman is no exception. While Denziman tended to have more stand-alone episodes, Flashman is more story-driven. Later on, there’s a really dark plot twist that I don’t want to give away. Admittedly, some of the special effects can be dated to showcase the Flashmen’s powers in addition to stock footage being reused a lot, but the action and camerawork are still fast-paced and rarely do the fight scenes get boring.

The villains are the kind you love to hate, and their actors all give great performances, especially the late Unsho Ishizuka (the Japanese voice of Professor Oak) as Great Emperor La Deus. This is easily one of the darker Super Sentai entries, but if you don’t mind that, I highly recommend it.

Choujuu Sentai Liveman (1988-1989 49 Episodes). 

At an academy for the finest minds in the world, three of the students feel their talents are being wasted on designing a satellite to conduct scientific research. They soon join up with Great Professor Bias, leader of the Armed Brain Army Volt, who takes them all under his wing as his students and generals. Before they leave, they kill two students, leaving their three friends traumatized. Two years later, Volt begins its plan to conquer Earth, but the three friends of the two victims developed their own technology to fight them as the Livemen in the two years since they last saw their former classmates. Bias’ students have developed their own abilities through mutating their bodies, starting a conflict between some of the most intelligent youths in the world while figuring out what Bias’ evil plan is...

Some Sentai fans consider this to be even darker than Flashman at times due to the themes discussed. Unlike earlier seasons, the heroes have a more personal connection to the villains, and act as foils to them in terms of morality. The show also has some surprisingly deep themes at times, deconstructing the harsh standards the Japanese have for education and the effects they can have on people. Seriously, the main villain, Great Professor Bias, sets up a competition for his generals as a way to advance his plans, treating it like a high academic honor. 

This series also has some amazing special effects for the time. This was the first Sentai series to have an animal motif, so they go all out by using one of the most complicated models for his giant robotic lion, a stunning innovation for special effects. It was also the first series to introduce the gimmick of combining two robots, which is a genius marketing tactic when you think about it, motivating kids to buy both robots to combine them. Even putting those technical aspects aside, this is still one of the most iconic Super Sentai seasons, and a must-watch for beginners.

Choujin Sentai Jetman (1991-1992, 51 Episodes)

An elite soldier is chosen for a top-secret military project meant to turn him into the leader of a team of supersoldiers called the Jetmen. After he gets his powers, the satellite base is attacked by the Dimensional War Party Vyram. Not only are the four remaining “Birdonic Waves” meant to empower the rest of the Jetmen scattered across Earth, powering four civilians instead, but the soldier’s fiance is killed in the process. So he has to recruit the rest of the Jetmen and form a competent team to stop the Vyram from conquering their dimension.

A lot of Precure fans view Heartcatch as the best series in the entire franchise, and many Sentai fans view Jetman the same way. It was a huge success in ratings and toy sales, which actually helped to save Super Sentai from cancellation after the disastrous sales and ratings of the previous series, Chikyuu Sentai Fiveman. It also had some elements that made it stand out from earlier Sentai seasons. While I’ve talked about how Marinette was forced to become Guardian against her will while the show doesn’t acknowledge it, this show actually does point out that almost the entire team is a group of civilians with no combat experience. Earlier episodes are not only spent assembling the team, but also training them to better fight the Vyram and pilot their giant robot.

The series introduced a love triangle for three of the Jetmen, and while controversial among fans, was very popular with Japanese mothers, who were rumored to find Gai/Black Condor very attractive and begged Toei to not kill him off. The love triangle, while arguably one of the weakest parts of this show (but still better written than the Love Square), was part of the main theme of the team being more conflicted, showing they weren’t all best friends all the time.

This extended to the Vyram, who also tended to fight with each other over their plans to conquer the Earth. Sure, there was the occasional villain in earlier seasons who tried to overthrow the big bad, but this was the first time we had a whole group of villains trying to one-up each other. The best way to describe the Vyram is if the cast of It’s Always Sunny in Philadelphia were supervillains who were still competent at their jobs.

The series is also incredibly dark, and is often seen as the darkest Sentai has ever gotten. There’s a lot more violence and blood than usual, and a lot more onscreen deaths that aren’t just limited to the villains. Humans are actively killed or hurt in the crossfire, and it shows just how painful this war is. And because of all of that and many other reasons, this is seen as the peak of Super Sentai. If you have to watch a single Sentai series, watch Jetman.

Ninja Sentai Kakuranger (1994-1995, 53 Episodes)

During Japan’s Sengoku Era, a team of five ninja sealed away the leader of an army of Youkai, rendering their kind powerless. In the present day, one of the few surviving Youkai tricks two bikers, who are actually descendants of two of the ninja in the past, into undoing the seal and giving all of the Youkai their powers back. Another descendant of the ninja recruits them into taking on the legacy of their ancestors to fight the Youkai, becoming the Kakurangers.

The 1990s were when Super Sentai was starting to delve more into fantasy elements rather than just science-fiction, and also started to take on a more light-hearted tone. Kakuranger is no exception. It’s a lot more goofy than the other entries, even using comic book-style graphics during its fight scenes. There’s also a narrator who appears to explain the history of the Youkai of the week, a detail I really like. While this show is still unashamedly goofy, it still gets more serious in the second half, but never loses its comedic moments entirely.

Like with Jetman, Kakuranger shows the reality of drafting two civilians to fight a war against the supernatural, with only one of the first three Kakurangers knowing how to fight. That Kakuranger in question, Tsuruhime/Ninja White, is easily one of the best Sentai heroines of all time. Not only was the first female and non-Red to lead a Sentai team, but she was only fifteen years old while the other Kakurangers were in their twenties. Marinette could learn a lot from her, and no, that’s not an insult. Tsuruhime is a complete badass, and a team-up with Ladybug would be the coolest thing ever.

What was I talking about? Oh yeah, watch Kakuranger.

Kyukyu Sentai GoGoV (1999-2000, 50 Episodes)

The demonic children of the Grand Witch Grandiene begin causing natural disasters to bring destruction to Earth in order to revive their mother. In response, five rescue workers who also happen to be siblings are recruited by their estranged father to become a team dedicated to saving lives from the Psyma Family’s actions.

Did anyone ever watch Rescue Heroes as a kid? Imagine that show, but with the intensity turned up to eleven. This show is epic, with amazing action and some of the coolest giant robots in Sentai history. One of their robots is a giant train armed to the teeth with guns. Even putting aside the action, this show does a great job at highlighting all the dedication rescue workers have to their jobs by showing a lot of rescue scenes in addition to having GoGoV fight the Psyma. It even teaches the audience about firefighters from Japan’s Edo Period. There’s really not a lot of shows that explain what rescue workers were like in the past, which shows just how invested this show is in teaching people about rescue workers.

While this wasn’t the first Sentai series to feature a team of siblings (the first being the aforementioned Fiveman), I think it managed to capture the dynamic best. Family is a key theme of the series, with the healthy relationship between GoGoV contrasting with the more toxic environment the Psyma Family has.

This is easily one of the most action-packed Sentai series ever made. It is literally Fire Force twenty years before that anime premiered, and it is AWESOME.

Tokusou Sentai Dekaranger (2004-2005, 50 Episodes)

In the not-too-distant future (Next Sunday, A.D.), the universe has come together to the point where Earth has made contact with several intelligent alien civilizations. However, intergalactic arms dealer Agent Abrella starts to help out the extraterrestrial criminals on Earth, called Alienizers, by providing technology and giant robots to them because he enjoys profiting from crime, and dreams of a world without the police. In response the organization Special Police Dekaranger, or S.P.D., brings together a team of officers to apprehend the Alienizers.

You want to see space cops doing space cop stuff? Then this is the show for you. Admittedly, this isn’t the most story-driven show, but is instead carried by its characters, who go through a lot of development. The Dekarangers have one of the best team dynamics in Sentai history. All of them are very likable characters, and it’s a lot of fun to see them interact. But the best character in the show goes to the Dekarangers’ boss, Doggie Kruger/Dekamaster, a dog alien who becomes a Dekaranger himself, labeling himself The Watchdog of Hell. That has to be the coolest title any superhero has ever had. Dekamaster is another one of the greatest Super Sentai characters ever, taking down a hundred goons in his first battle by himself.

I haven’t even gotten to Agent Abrella, one of the coolest Sentai villains of all time. He’s obsessed with profit and chaos, and he’s easily one of the most sadistic main villains compared to his predecessors. He isn’t some evil emperor who wants to rule the world. He just wants to raise hell and make a quick buck from it. He’s also voiced by Ryusei Nakao, the Japanese voice of Frieza from Dragon Ball Z. That’s another appeal of Sentai, the voice talent. A lot of big-name voice actors have voiced characters, like Mao Ichimichi and Kotono Mitsuishi. Hell, the currently ongoing Kikai Sentai Zenkaiger has Yuki Kaji of Attack on Titan fame voicing one of the main characters.

Dekaranger is easily one of the most popular Sentai seasons out there, as it has a lot of additional material. Not only did the Dekarangers get a theatrically released film like many other seasons before it, they teamed up with two separate Sentai teams, some of them cameoed in the anniversary series Kaizoku Sentai Gokaiger, they got a reunion movie ten years after its finale, four of the Dekarangers guest starred in another Sentai series two years after that, Uchu Sentai Kyuranger, which served as a prologue to a team-up with another Toei hero, Uchuu Kenji Gavan, and then that led into the Dekarangers cameoing in another Kyuranger movie meant to be an epilogue to that series.

Yeah, this is why I haven’t talked about the Sentai movies in this post. You don’t have to watch any of these unless you really enjoy Dekaranger, which you should at least check out. It’s slow at times, but it’s still a lot of fun.

Engine Sentai Go-Onger (2008-2009, 50 Episodes)

The Banki Clan Gaiark have traveled from their home dimension of Machine World and chosen Earth as their new home, but they have to pollute the planet to serve as an ideal living space for their kind. In response, sentient animal-themed vehicles called the Engines choose five humans to partner up with, the five humans in question becoming the Go-Ongers.

Unlike most of the shows I talked about, Go-Onger is incredibly goofy, and I love it. The characters are all incredibly likable, both the Go-Ongers and the Engines. While Sentai had touched upon the idea of treating the mecha as sentient beings, this was one of the earliest series to actually have their partners talk, leading to some interesting character dynamics. The villains are also really fun to watch. While they’re about as competent as Team Rocket at times, there are moments where you actually feel bad for them, especially towards the end of the series.

It’s also really funny. Granted, comedy is subjective, so you may not find the same things as funny, but there are a lot of funny moments in this show, all helped by the actors giving amazing performances. Go-Onger can get extremely wacky at times, like in Episode 31. I’m not going to say what happens, you should watch it for yourself.

What makes the humor really work unlike the last attempt at a comedy-focused Sentai, Carranger, it didn’t really feel mean-spirited by portraying the heroes as idiots by claiming to be “parodying” Sentai. Yes, the Go-Ongers can be dumb at times, but they still take their jobs seriously when they’re not goofing around. There’s not really much I can say about Go-Onger other than it being a bunch of dumb fun. If you’re in the mood to start off with something more light-hearted, I’d check it out.

Samurai Sentai Shinkenger (2009-2010, 49 Episodes)

For centuries, generations of samurai have waged a war against a race of demons from the underworld called the Gedoshu. After their leader was temporarily sealed away for several years, the Gedoshu begin another invasion of the surface while trying to flood the Sanzu River, which grows through human misery. In response, the current generation of samurai, the Shiba Clan, assemble to fight the Gedoshu as the Shinkengers.

This was actually one of the first Sentai seasons I ever watched, as my first Power Rangers season was Samurai. And yeah, while Samurai is a really bad adaptation, I’m here to judge Shinkenger on its own. Admittedly, there are a lot of qualities that can be chalked up to cultural differences, like the whole honor code samurai have and certain plotlines you’d see in a jidaigeki film. The Shinkengers themselves are all very likable characters, and you can really relate to their struggles of being forced into this war (again, handled a lot better than what’s going on with Marinette). All of them have different responses to their situation. Some of them dedicate themselves to wholeheartedly following their lord (Takeru/Shinken Red) or being more vocal in their hatred of their duties.

The villains are also really interesting. Sure, the big bad is pretty boring, but the side villains are just so twisted they really steal the show. Takeru/ShinkenRed gets a rival who serves as a perfect foil to him, representing the idea of why one fights. Even the concept of the Gedoushu is pretty terrifying. Demons from another world hellbent on causing misery to flood our world with their water, which I must point out, is deadly to humans. They’re not my favorite villain group, but they’re a close second.

There’s also some clever plot twists that happen late into the series that I don’t want to give away. Sure, you might have a hard time getting used to the Japanese culture at first, but Shinkenger is still a great series.

Kaizoku Sentai Gokaiger (2011-2012, 51 Episodes)

The Zangyack Empire invades Earth and because of their army reaching across the universe, they become the greatest threat the planet has ever had. In response, the previous thirty-four Sentai teams unite to fight them. They succeed, but the attack they used to wipe out the battle fleet stripped them of their powers. A few years later, a group of space pirates come to Earth in search of “The Greatest Treasure in the Universe”. While the pirates couldn’t care less about stopping the Zangyack, they still have to deal with them while searching for the treasure, which is somehow connected to the previous thirty-four Sentai teams. Also, the pirates form their own Sentai team, the thirty-fifth Sentai team in particular, the Gokaigers, who have the ability to TRANSFORM INTO ANY OF THE PREVIOUS SENTAI TEAMS.

For Super Sentai’s 35th anniversary, Toei wanted to go big this time. While the previous two anniversary seasons only had movies that paid tribute to Sentai as a whole, this was the first season where the anniversary aspect was in the premise alone. 

The interesting thing is that the series was changed last-minute, and it was totally for the better. See, in March of 2011, Japan’s Tohoku Region was devastated by an earthquake registering at a 9.1 on the Richter scale. To this day, it was the largest earthquake ever recorded in Japan’s history, and that’s not even getting into the tsunami it caused the same day. What does this have to do with Gokaiger? In response to the tragedy, several tokusatsu stars including Super Sentai alumni took to social media to encourage kids to stay positive, and even asked some of Gokaiger’s showrunners if they could reprise their roles in an episode. Originally, there were going to be some cameos from past Sentai heroes, but it would only be limited to the ones whose powers would upgrade the Gokaigers’ giant robot. After this, there were a lot more cameos from Sentai alumni in the latter half of the series. Out of Gokaiger’s 51 episodes, 24 of them were tributes to past seasons. And that’s not even getting into all of the cameos in the movies too.

This was another one of the first Sentai seasons I ever saw, and it really helped me get into the franchise as a whole. It manages to explain things to people who haven’t seen certain seasons, while paying tributes to said seasons and making clever homages older fans will understand. Admittedly, the show does spoil the endings of the older seasons like Liveman and Jetman, so keep that in mind before starting this one.

Even outside of the tributes, the Gokaigers are some of the most memorable characters Super Sentai’s had in recent years. While they aren’t exactly evil, they start off not really interested in protecting Earth and care more about getting the Greatest Treasure in the Universe. The only reason they fight the Zangyack in the first episode was because their lunch was interrupted. A team of anti-heroes in Super Sentai hasn’t really been done before. Even then, there’s an interesting dynamic where some of the Gokaigers have more of a moral conscience than the others. And as the series goes on, they start to care more about protecting the Earth, even if they don’t admit it.

It’s just a really good show, and even if it isn’t your first, I’d check it out.

Zyuden Sentai Kyoryuger (2013-2014, 48 Episodes)

When the alien entity known as Deboss invades Earth during the prehistoric era, another bird-like alien named Torin empowers several dinosaurs into the mighty Zyudenryu to fight off the invading force. After a brutal final battle, Deboss was sealed away, but his army of followers was still growing. In response, Torin started to recruit several humans throughout time into the modern day to become the Kyoryugers.

While Gokaiger was the first Sentai I ever watched, Kyoryuger was the first Sentai I watched every week as it aired, so it has a special place in my heart despite its middling reputation. Yeah, Kyoryuger has been criticized for starting the trend of Red Senshi stealing all the screentime, and while that can easily be applied to later entries like Shuriken Sentai Ninninger and Kishiryu Sentai Ryusoulger (the latter basically made Red and Gold the only ones to pilot the giant robots while the others watched), I don’t think it's as bad as everyone says it is.

There is just an amazing cast of characters here. It’s the first Sentai to be composed of ten rangers (while Dekaranger also had ten, three of them were just one-offs), and it does a really good job at balancing them all out. Yes, Daigo/Kyoryu Red does get a handful of power-ups and can be the focus at times, but the other characters all have their own distinct personalities and are just a blast to watch. I’d honestly recommend watching a few episodes of this show to get an idea on how to do an ensemble cast. If I end up doing the whole “tokusatsu has better toy tie-ins than Miraculous” thing, expect me to talk about how Kyoryuger introduces its new characters and giant robots.

And then there’s the soundtrack. Oh my God, the soundtrack. Sentai tends to have banger songs for their seasons, and Kyoryuger is no exception. “Vamola! Kyoryuger”, “Solid Bullet”, “Kyoryu Gold! Iza!”, “Yuuki Bakuretsu”, “Chou Shinka! Kyoryu Beat”, “Houkou! Bragigas”, and “Senkou no Brave”. So many of these songs are incredibly catchy, and I haven’t listed all of them. The show has a bit of a music motif, so it makes sense for there to be a lot of insert songs.

The one major flaw I have to point out is that you kind of have to watch the theatrical movie (which is only slightly longer than an average episode), in order to understand some of the plotpoints for the season’s endgame, but other than that, it’s still a really good season to start off on.

Mashin Sentai Kiramager (2020-2021, 45 Episodes)

The Dark Empire Yodonheim attacks the planet Crystalia, with the king’s brother betraying him and siding with the enemy. The kingdom’s princess is sent to Earth to recruit five warriors to fight the Empire. The chosen five all possess “Kiramental”, a way of weaponizing their imagination, which they use to defend the Earth’s radiance.

Precure fans might remember this being the season where Cure Star met the Red to promote the latter’s season (actually referring to Cure Star as his sempai), and I can kind of see why. A lot of fans have jokingly compared this season to Precure because of the gemstone motif and focus on creativity, with Juru/Kiramai Red acting like a Pink Cure according to some of the comments I’ve seen in Sentai discussion forums.

This is the most recent season to finish as of this post, and it’s already gotten a lot of praise in terms of writing, characters, story, and managing all of these during the COVID-19 Pandemic and having to adapt to losing five episodes in the process. The characters are very likable, the Red is one of the better ones in recent years with him being more timid compared to the more hotheaded ones, and the villains are also amazing, and some of the best in recent years. Episodes can range from funny to tragic to just plain awesome in terms of writing, with seemingly innocent filler episodes being the source of major bombshells and plot twists. 

Honestly, there’s not much I can really say about this show other than check it out for yourself.

But these are just my recommendations. If you do some research and see a season you like, I’d go for it. If anyone else wants me to do these for Kamen Rider and Ultraman, I’d be happy to.

Sorry this took so long.

[bogkeep]

hmmmmmmmmmm maybe i’ll write an Introspective Musing Post about my relationship to religion and their depiction in stories because i’ve pondering about this topic lately

so for those who are reading this and DON’T know what’s been going on...  there’s this webcomic i fell in love with some years ago, about six years actually, that depicts a post-apocalyptic fantasy/horror adventure set in the nordic countries. it had, and has still, some very uncomfortable flaws regarding racial representation, and the creator has historically not dealt very well with criticism towards it. it’s a whole Thing. my relationship with this comic has fluctuated a lot, since there are a lot of elements in it i DO love and i still feel very nostalgic about, and like idk i felt like i trust my skills in critical thinking enough to keep reading. aaand then the creator went a teensy bit off the deep end created a whole minicomic which is like... a lukewarm social media dystopia where christians are oppressed (and also everyone is a cute bunny, including our lord and saviour jesus christ). which is already tonedeaf enough considering there are religious people who DO get prosecuted for their faith, like, that’s an actual reality for a lot of people - but as far as i can tell, usually not christians. and then there’s an afterword that’s like, “anyway i got recently converted and realized i’m a disgusting human being full of sin who doesn’t deserve redemption but jesus loves me so i’ll be fine!! remember to repent for your sins xoxo” and a bunch of other stuff and IT’S KIND OF REALLY CONCERNING i have, uh, been habitually looking at the reactions to and discussions around this, maybe it’s not very self care of me but there’s a lot of overwhelming things rn and it’s fantastically distracting, yknow? like, overall this situation is fairly reminiscent of the whole jkr thing. creator of a series that is Fairly Beloved, does something hurtful, handles backlash in a weird way, a lot of people start taking distance from Beloved Series or find ways to enjoy it on their own terms, creator later reveals to have been fully radicalized and releases a whole manifesto, and any and all criticism gets framed as harassment and proving them right. of course, one of them is a super rich person with a LOT of media power and a topic that is a lot more destructive in our current zeitgeist, and the other is an independent webcomic creator, so it’s  not the same situation. just similar vibez ya feel as a result of this, i have been Thinking. and just this feels like some sort of defeat like god dammit she got me i AM thinking about the topic she wrote about!!! i should dismiss the whole thing!!! but thinking about topics is probably a good thing so hey lets go. me, i’m agnostic. i understand that this is a ‘lazy’ position to take, but it’s what works for me. i simply do not vibe with organized religion, personally. (i had the wikipedia page for ‘chaos magic’ open in a tab for several weeks, if that helps.) i was raised by atheists in a majorly atheist culture. christian atheist, i should specify. norway has been mostly and historically lutheran, and religion has usually been a private and personal thing. it turns out the teacher i had in 7th grade was mormon, but i ONLY found out because he showed up in a tv series discussing religious groups in norway later, and he was honestly one of the best teachers i have ever had - he reignited the whole class’ interest in science, math, and dungeons and dragons. it was a real “wait WHAT” moment for my teenage self. i think i was briefly converted to christianity by my friend when i was like 7, who grew up in a christian family (i visited them a couple times and always forgot they do prayers before dinner. oops!), but like, she ALSO made me believe she was the guardian of a secret magic orb that controls the entire world and if i told anybody the world would burn down in 3 seconds. i only suspected something was off when one day the Orb ran on batteries, and another day the Orb had to be plugged in to charge. in my defense i really wanted to be part of a cool fantasy plot. i had no idea how to be a christian beyond “uuuuh believe in god i guess” so it just faded away on its own. when i met this friend several years later, she was no longer christian. i think every childhood friend of mine who grew up in a christian family, was no longer christian when they grew up. most notably my closest internet friend whose family was catholic - she had several siblings, and each of them took a wildly different path, from hippie treehugger to laveyan satanist or something in that area. (i joined them for a sermon in a church when they visited my town. my phone went off during it because i had forgotten to silence it. oops!) ((i also really liked their mother’s interpretation of purgatory. she explained it as a bath, not fire. i like that.)) i have never had any personal negative experiences with christianity, despite being openly queer/gay/trans. the only time someone has directly told me i’m going to hell was some guy who saw me wearing a hoodie on norway’s constitution day. yeah i still remember that you bastard i’ve sworn to be spiteful about it till the day i die!! i’ve actually had much more insufferable interactions with the obnoxious kind of atheists - like yes yes i agree with you on a lot but that doesn’t diminish your ability to be an absolute hypocrite, it turns out? i remember going to see the movie ‘noah’ with a friend who had recently discovered reddit atheism and it was just really exhausting to discuss it with her. one of these Obnoxious Atheists is my Own Mother. which is a little strange, honestly, because she LOVES visiting churches for the Aesthetic and Architecture. we cannot go anywhere without having to stop by a pretty church to Admire and Explore. I’VE BEEN IN SO MANY CHURCHES FOR AN ATHEIST RAISED NON-CHRISTIAN. i’ve been to the vatican TWICE (i genuinely don’t even know how much of my extended family is christian. up north in the tiny village i come from, i believe my uncle is the churchkeeper, and it’s the only building in the area that did not get burnt down by the the nazis during ww2 - mostly because soldiers needed a place to sleep. still don’t know whether or not said uncle believes or not, because hey, it’s Personal) i think my biggest personal relationship to religion, and christianity specifically, has been academic. yeah, we learned a brief synopsis of world religions at school (and i remember the class used to be called ‘christianity, religion, and ethics’ and got changed to ‘religion, beliefs, and ethics’ which is cool. it was probably a big discourse but i was a teen who didnt care), but also my bachelor degree is in art history, specifically western art history because it’s a vast sprawling topic and they had to distill it as best they could SIGHS. western art history is deeply entangled with the history of the church, and i think the most i’ve ever learnt about christianity is through these classes (one of my professors wrote an article about how jesus can be interpreted as queer which i Deeply Appreciate). i also specifically tried to diversify my academic input by picking classes such as ‘depiction of muslims and jewish people in western medieval art’ and ‘art and religion’ when i was an exchange student in canada, along with 101 classes in anthropology and archaeology. because i think human diversity and culture is very cool and i want to absorb that knowledge as best as i can. i think my exchange semester in canada was the most religiously diverse space have ever been in, to be honest. now as an adult i have more christian friends again, but friends who chose it for themselves, and who practice in ways that sound good and healthy, like a place of solace and community for them. the vast majority of my friends are queer too, yknow?? i’ve known too many people who have seen these identities as fated opposites, but they aren’t, they’re just parts of who people are. it’s like... i genuinely love people having their faiths and beliefs so much. i love people finding that space where they belong and feel safe in. i love people having communities and heritages and connections. i deeply respect and admire opening up that space for faith within any other communities, like... if i’m going to listen to a podcast about scepticism and cults, i am not going to listen to it if it’s just an excuse to bash religion. i think the search for truth needs to be compassionate, always. you can acknowledge that crystals are cool and make people happy AND that multi level marketing schemes are deeply harmful and prey on people in vulnerable situaitons. YOU KNOW???? so now’s when i bring up Apocalypse Comic again. one of the things i really did like about it was, ironically, how it handled religion. in its setting, people have returned to old gods, and their magic drew power from their religion. characters from different regions had different beliefs and sources. in the first arc, they meet the spirit of a lutheran pastor, who ends up helping them with her powers. it was treated as, in the creators own words, ‘just another mythology’. and honestly? i love that. it was one of the nicest depictions i’ve seen of christianity in fiction, and as something that could coexist with other faiths. I Vibe With That. and then, uh, then... bunny dystopia comic. it just... it just straight up tells you christianity is literally the only way to..?? be a good person??? i guess?? i’m still kind of struggling to parse what exactly it wanted to say. the evil social media overlord bird tells you the bible makes you a DANGEROUS FREETHINKER, but the comic also treats rewriting the bible or finding your own way to faith as something,, Bad. The Bible Must Remain Unsullied. Never Criticize The Bible. also, doing good things just for social media clout is bad and selfish. you should do good things so you don’t burn in hell instead. is that the message? it reads a lot like the comic creator already had the idea for the comic, but only got the urge to make it after she was converted and needed to spread the good word. you do you i guess!! i understand that she’s new to this and probably Going Through Something, and this is just a step on her journey. but the absolute self-loathing she described in her afterword... it does not sound good. i’m just some agnostic kid so what do i know, but i do not think that kind of self-flagellating is a kind faith to have for yourself. i might not ever have been properly religious, but you know what i AM familiar with? a brain wired for ocd and intrusive thoughts. for a lot of my life i’ve struggled with my own kind of purity complex. i’ve had this really strange sensitivity for things that felt ‘tainted’. i’ve experienced having to remove more and more words from my vocabulary because they were Bad and i did not want to sully my sentences. it stacked, too - if a word turned out to be an euphemism for something, i could never feel comfortable saying it again. i still struggle a bit with these things, but i have confronted these things within myself. i’ve had to make myself comfortable with imperfection and ‘tainted’ things and accept that these are just, arbitrary categories my mind made up. maybe that’s the reason i can’t do organized religion even if i found one that fit for me - just like diets can trigger disordered eating, i think it would carve some bad brainpaths for me. so yeah i’m worried i guess! i’m worried when people think it’s so good that she finally found the correct faith even if it’s causing all this self-hate. is there really not a better way? or are they just trusting she’ll find it? and yeah it’s none of my concern, it’s like, i worry for jkr too but i do not want her within miles of my trans self thANKS. so like, i DO enjoy media that explores faith and what it means for you. my favourite band is the oh hellos, which DOES draw on faith and the songwriter’s experience with it. because of my religious iliteracy most of it has flown over my head for years and i’m like “oh hey this is gay” and then only later realize it was about god all along Probably. i like what they’ve done with the place. also, stormlight archive - i had NO idea sanderson was mormon, the way he writes his characters, many of whom actively discuss religion and their relationship to it. i love that about the books, honestly. Media That Explores Religion In A Complex And Compassionate Way... we like that i’ve been thinking about my own stories too, and how i might want to explore faith in them. most of my settings are based on magic and it’s like, what role does religion have in a world where gods are real and makes u magic. in sparrow spellcaster’s story, xe creates? summons? an old god - brings them to life out of the idea of them. it’s a story about hubris, mostly. then there’s iphimery, the story where i am actively fleshing out a pantheon. there’s no doubt the gods are real in the fantasy version of iphimery, they are the source of magic and sustain themselves on slivers of humanity in exchange. but in the modern version, where they are mostly forgotten? that’s some room for me to explore, i think. especially the character of timian, who comes from a smaller town and moves to a large and diverse city. in the fantasy story, the guardian deity chooses his sister as a vessel. in the modern setting, that does not happen, and i don’t yet know what does, but i really want timian to be someone who struggles with his identity - his faith, his sexuality, the expectations cast upon him by his hometown... i’m sure it’s a cliché story retold through a million gay characters but i want to do it too okay. i want to see him carve out his own way of existing within the world because i care him and want to see him thrive!!! alrighty i THINK that’s all i wanted to write. thanks if you read all of this, and if you didn’t that’s super cool have a nice day !

[prettywordsyouleft]

To Be Continued - Part 4

Summary: As an author, you had created Brian Kang for your current trilogy series to represent the ultimate man that everyone would love, along with Charli Evers - your female protagonist. What you hadn’t expected was for him to find a way out of the story and begin shaping up your world instead

Pairing: Brian Kang x female writer (ft. Park Sungjin)

Genre: writer au / romance / fantasy

Warnings: fictional characters coming to life / a bit of angst here and there / Sungjin as a cop (or does that only affect me?) >_>

Word count: 2262

Preview | 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | Epilogue

When you eventually came around again, you let out an immediate giggle when you found yourself on your living room’s couch, a pair of concerned eyes peering down at you. They widened with your sudden noise, blinking some to try and figure out why you had laughed.

“The hallucinations are continuing,” you mentioned with another laugh, this time sounding more desperate than the first.

“I’m really here, though.”

“Of course, you are.” Sitting up, you flinched when Brian’s hand reached out to help you do so, your focus snapping down to where he had touched you. It had felt normal, as if a human had supported you just now.

But this wasn’t humanly possible. No one ever in the history of mankind had written a novel and their characters came to life!

… Had they?

“Stop overthinking it,” Brian mentioned, observing you carefully.

“Do you read thoughts too?”

“No.”

“Then I truly did well to create you as someone who can pick up on most moods and emotions,” you replied, nodding again as you chuckled. You then clasped your face within your hands and whined loudly. “I’m going insane!”

“You will go mad if you keep this up,” Brian pointed out, and you peeked through your hands, stilling from your dramatic outburst. Staring at him, you lowered your barrier slowly and took him in.

There was no plausible explanation for how this had happened. And yet, you were there when it did. Nothing made sense, aside from how well your description had brought Brian to life. You marvelled the man over, instinctively reaching out to touch the mole on his neck. Directing your gaze up to his, Brian tipped his head with encouragement.

“Keep exploring,” he urged. His permission seemed to snap you out it, your hand returning to your lap hastily. Brian sighed. “This wasn’t how I imagined our first meeting.”

“No?” you asked, a little detachedly. Your mind was still whirling at a fast pace over all of this.

Could you have come across this man before in your life and subconsciously modelled your character off of him? That still didn’t explain how Brian had gotten into your home in the first place. You were grasping at straws here, trying to rationalise the situation.

Even if you were a dreamer by nature, this was something else.

“Should I explain how I came to exist?” Brian offered, and you nodded once before holding up your hand to stop him.

“Wait. I need to some supplies first!” you announced, getting up with a bit of a wobble and headed back to your office. Snatching your phone and a pen and paper off the desk, you dashed back into the living room, where you stopped suddenly, Brian staring back at you.

He’s still here, you thought to yourself in disbelief, walking at a much slower pace back to the couch Brian now sat cross-legged upon. You eyed him warily as you sat down.

Looking at your supplies, Brian smirked. “What are you planning to do?”

“Take some evidence,” you answered, quickly snapping a photo with your phone’s camera. Brian was disorientated, leaning away from you as you took another two.

“Can’t I at least prepare for the photos first?”

“Don’t go giving me any crap about needing to present your best side. The Brian Kang I created doesn’t have one. He looks good all over,” you muttered, opening the gallery and clicking through the photos you had taken. Even if the pose was awkward, he still looked handsome.

You laughed incredulously once more. He actually appeared in them. After inspecting them as well, Brian rolled his eyes. “I’m not a ghost. Of course, I’d appear in them.”

“Okay,” you said, opening up the voice recording app on your phone and placed the device between you both. Brian shot you a look of annoyance, and you challenged it back as you picked up your pen and paper. “Now, you can start.”

“I think I began to have conscious thoughts at the end of Encounter,” he admitted, and you scribbled down the title of your first novel with him, circling it for effect. You blinked away from your note-taking to look up at him.

“What do you mean? Conscious thoughts?”

“Well, you’re the writer, aren’t you?” Brian smiled, and you tried not to become too captivated by how perfect it was. “I’m not supposed to do anything unless you direct me to, right?”

“Sometimes the story seems to write itself, but I’m still in some control of it.”

He nodded. “The end of the story meant there was nothing else for me to do. Whilst I was frozen in place, my mind continued. Why did everything stop there? Who was I and why couldn’t I continue to live through all this?”

“You had thoughts like that then?” Brian nodded, and you let out a shaky breath. “Woah.”

“Then you must have started Captivated because, for some time, I was too busy fighting my way through to Charli. However, it would be during the scenes where I wasn’t present that I would find myself wondering why I was chasing her around. Just who was she to me? Even though I could move, and my reactions felt sincere, I couldn’t fathom why it had to be her. My life was already hard enough, and yet I was forever looking towards a girl who came from another world than I had.”

You smiled fondly. “Charli Evers is the daughter of a conglomerate in power of changing the nation. Meanwhile, you’re her bodyguard from a less than desirable background.”

“Let’s not visit my dark past right now, shall we?” Brian mentioned with some unease, and you nodded before you gasped. Brian frowned. “What?”

“You really do know the story!”

“When are you going to stop freaking out over my existence? Don’t you want the so-called proof?” he wondered with an impatient tone, causing you to snap your mouth shut. Brian sighed before continuing. “As I waited for scenes to change, I realised I couldn’t understand my world at all. Why did I have such a troubling back story? Surely, if I were real, no one would have faced what I had in one lifetime, let alone in ten years of my life.”

You didn’t quite meet his eyes then, looking at his shirt button that was undone to avoid the accusing tone that was laced within his latter sentences.

“And of all the men in the world, why was Charli so drawn to me?”

“That’s how star crossed lovers work, Brian,” you told him in a quiet voice. He merely scoffed and you gaped at him. “Look, I’m sorry that for you to be seen as a troubled protagonist I gave you some hard experiences but this is my story and it’s loved by thousands around the world.”

“Really?!” he asked as his eyes shot open, soon shaking his head. “The outside world is really strange.”

“You’re telling me,” you mumbled as you looked him up and down again. Brian cocked his head to the side, and you waved him off to carry on.

“It was then when I started to try and find ways not to do as I felt I had to. And there were a couple of times where I succeeded.”

“The gala!” you mentioned, and Brian smirked with acknowledgment. “I had such a hard time reshaping my plans because you stubbornly wouldn’t seem to get into the right mood!”

“That’s when I realised the people around me weren’t real.”

“They’re very much so real in that world!” you countered, and Brian shot you an unamused look. You glowered at him. “I haven’t worked hard all year as I have for you to sit here and say my characters aren’t realistic!”

“I didn’t mean they weren’t realistic, simply that they’re what you just called them, characters.”

“Be careful, you’re one too,” you grumbled, and Brian clapped his hands together. You gaped at him once again. “You do that when you want to keep Charli on topic! Are you treating me like her right now?!”

“You’re going off on a tangent. I offered you my side of things, and you’re too busy trying to defend people who don’t even know what they really are.”

“I once watched a TV series about characters in a comic book coming to their senses,” you murmured, turning pale. “How did that end again?”

“Y/N.” Glancing up at Brian, he shot you a comforting smile. “Please let me finish before you start trying to find ways to blow this out of proportion.”

“Because talking to you right now and being in your presence is completely logical.”

“I’ll ignore your sassy remark,” he warned and cleared his throat. “I started to grow aware of your presence. As if you were in the background of each moment pulling all the strings. I yearned to know more about you, and sometimes I would hear you talking to yourself about the scene you were struggling with.”

“You heard me?”

Brian nodded. “Quite often over the last couple of months, I believe it’s been.”

“How did you find your way to getting out here and helping me when I was sick?”

“Admittedly, I guessed there was at least a script somewhere controlling us. Then you got sick and left your computer on. It was the first time you had left the document open like that.”

“So let me guess. Whilst I slept, you found a way to find the script, realised there was another world outside of yours and reached out for it.”

“You called me out, Y/N.”

“Okay, now we’re really getting to the implausible here.”

Brian didn’t react to your disbelief. Instead, he stared at you in earnest. “Don’t you remember? You wished for me to help you take you to bed.”

“You… picked up on that?” you breathed out incredulously, and Brian couldn’t help but allow some amusement to curl up his lips further.

“Dream men are just that, Y/N. Brian Kang would never exist in this world,” he recited as if he had heard it in the past. Your hands rose to your mouth when you realised you had said that. Brian grinned. “Be careful about what you wish for, Y/N. Looks like I can exist in this world after all.”

You needed some fresh air, and after telling Brian so, you dashed out into your backyard, blinking rapidly when you realised how late into the night it was. Staring up into the inky world above, you tried to find some clarity within your situation.

Brian, in some form, seemed to exist. And he had not only looked after you when you were ill but had been messaging you somehow from within your computer. The document seemed to change because of his influence and all of this had started with your lack of energy to follow your usual pattern of shutting down the device at the end of the night.

Glancing back towards your house, you shivered. Had you left it open earlier, could there have been a chance Brian would have somehow come through the screen then?

“The concept of him coming out of such a small laptop is laughable,” you told the universe above, and yet it didn’t show you any signs to debunk the evidence you had either.

Although you were troubled and had so many more questions for the man inside your home, there was a sense of comfort that came the longer you spent your time with him. You had done so for countless months so far as his writer, and after the initial shock of the situation, you realised he felt like a home to you.

You then gasped noisily. Could this have happened with Jinyoung in Destined too, had you let it? Were all your characters out there holding different truths than the ones you had given them or was Brian the only one?!

Marching back inside, you walked into your office and opened up the first Destined document. And then you raised your hands to the heavens and nodded firmly. “Come out, Park Jinyoung!”

“What on earth are you doing?” a voice called from the doorframe, and you squealed with fright, stumbling over your desk chair and reached out for the table to save yourself. Brian’s hands quickly encircled your waist and pulled you upright, breathing heavily after moving to your side so fast to save you.

Staring up at the man who held you, you searched his face for signs of this being a trap. Perhaps the warning bells were muted in your mind the longer you appreciated Brian. He truly was the biggest self-indulgence you had succumbed to. And as you took him in for the umpteenth time tonight, you realised he was incredibly dangerous for you.

There was a reason you had dreamed him into existence in the first place. He was the person you had wanted to fill your world. And now that he was here, physically here, and holding you, some of the parts in his story didn’t need to add up anymore.

“You okay, Y/N?”

“You saved me,” you spoke, and Brian nodded.

“I wouldn’t let you fall if I could stop it,” he told you, his lips spreading out into the most beautiful smile you had ever witnessed in your life before.

You knew in that moment that you would blur every line there was to make sure Brian Kang didn’t go back to wherever he had come from.

You wanted him to hold you like this forever.

_________________

Part 5

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[itsclydebitches]

YYH Recaps: Koenma Appears

Welcome to episode two, everyone! Before we get to the recap proper, I want to continue down Nostalgia Lane for a moment. Remember how last time I mentioned a Hiei bookmark I used daily back in middle school? Well, I tore through an old "treasure box" I created as a kid (a collection containing everything from a shark tooth to a small book on witchcraft. You know, the important things every child needs) hoping to find it... but I didn't. It's a hard life we lead.

However, I did find some other YYH relics that I thought you all might enjoy seeing. Behold — and, if you'd like, laugh at — my collection:

First up is a picture of young Toguro and Genkai that I wanted to use as my bookmark, but found that it was too wide. For the record, I didn't (and still don't) care about Toguro much, he was just the byproduct of finding a cool Genkai picture. Not shown is the back of the image with the names of my classmates because I made them all sign this along with our yearbook.

God bless my friends for putting up with me.

Second is a collection of very pretty trading cards that I ordered from god only knows where. I have vague memories of not finding any at my local comics shop and convincing my mom to let me order on The Olde Internet. Did I want the trading cards to trade them? Absolutely not. They exist to sparkle and make my heart happy.

Finally, I've saved what is perhaps the best for last. Now, you have to understand that grade to middle school age Clyde did not have the education that she would receive later on, which includes a knowledge of the ephemeral nature of fanworks and the importance of accurate record keeping. What this means is that I have absolutely no context for this. No author, no explanation... just the image itself.

Was this a standalone fanart? A part of a fic? Some specific request or just the will of the artist? I cannot answer these questions. I tried a reverse image search (which is, admittedly, the extent of my tech skills) and you know what the single hit I got was? "Fiction." Thanks, google. So yeah, I can only assume that my child self considered Kurama giving a de-aged Hiei a bubble bath adorable enough to save, but the artist wasn't important enough to jot down for future viewing. Sorry about that, mystery artist. And, as should go without saying, if anyone does know where this came from please let me know! Though I suspect that this is a case of a YYH-specific site closing down and the fanworks getting lost along with it. That happened a great deal before the age of AO3 when volunteers decided to put their time and talent towards saving fanworks of all sorts... 

But enough of all that. Let's get to recapping!

As we established last episode, Yusuke and Botan are on their way to the spirit world to kickstart Yusuke's ordeal. Watching this after over a decade of consuming other media, I really appreciate that Yusuke acts like a human person and asks lots of questions about this. When Botan is cryptic for the sake of the audience — we're going to see "the person" who can explain everything — Yusuke is justifiably like, and what person would that be?? I mean, this is also a way to establish basic facts for the viewer and it simultaneously feeds into Yusuke being someone who is difficult for the sake of being difficult — "If someone wants to say something, they should come to me!" — but it's just nice to see a character who doesn't accept cryptic BS because the story needs them to. If Botan gives an unclear, but ~dramatic~ explanation, Yusuke is going to call her out on that.

So she explains that they're going to see King Yama and Yusuke is all whoa whoa whoa, there's royalty involved? Suddenly, he's not so adamant that they come to him. 

Botan tries to reinforce this rare spark of humility and demands that Yusuke be on his best behavior from here on out.

Pff. Yeah right.

But “he can send you to oblivion forever if he wants to!” is a suitable enough threat to cow Yusuke for now. Which is interesting considering that a few hours ago he was happy to accept hell as his rightful ending. Granted, we could argue that there's a big difference between hell and oblivion — a character may not be afraid of punishment in the same way they are a lack of existence — but I'd say this ties more into Yusuke's development at the wake. Now that he's accepted that people care for him and that he should strive to return to them, the threat of having it snatched away actually means something. Even if that line is otherwise positioned as a comedic moment.

Botan flies them through a portal where we see the River Styx below and Yusuke comments on how big everything is. At first I was like, "What are you talking about? You were just flying over some major city in fictional Japan, wasn't that big too?" but this line makes more sense when they reach the palace and you realize that yeah, it's big. As in, the camera blurs while tilting down its length to show how insanely tall it is. Yusuke and Botan are tiny gnats at the gate's entrance.

"Oh man, what a pad!" Yusuke says and sure, that's one way to look at it lol.

Botan announces that she has a "new arrival" and the gates open for them, but so far there's no one else around. One part of me wants to question the time and budget put into this scene because shouldn't there be, like, thousands of people? Even just waiting outside? The idea that this is the hub of the underworld and that Botan is responsible for ferrying all the souls, yet she is guiding just this one (1) dude for a solid day is, from a world building perspective, kind of nuts. But beyond the need to develop Botan as a character (she can't be a part of the story if her job is treated realistically, with all the endless work that entails), I think this choice functions rather well from an atmospheric perspective too. Meaning, this moment is supposed to be rather tense for Yusuke. He just died, just found out the afterlife exists, just discovered a desire to get his life back, and is now about to meet a King who can toss him into oblivion if he's rude — which Yusuke always is. So this is a Very Dangerous Moment and their relative isolation feeds into that. As does the setting. Yusuke flinches back from the hallway, saying that it looks like a giant throat, so he is now literally walking into the belly of the beast. 

Suddenly, the size of the palace isn't an indicator of awesome wealth, just general intimidation. Also, check out the spikey purple mountains in the background and the harsh reds of the scene, especially compared to the soft yellow of the river. All of it is designed to create an, "Oh shit" reaction in both Yusuke and the audience.

Yusuke's image of King Yama matches these surroundings:

Oh wait! Wrong character ;)

He's massive, red, shadowed, and poses a formidable threat. And how does Yusuke deal with threats? By fighting them! Even those he can't hope to beat. Remember, this isn't a situation where Yusuke has any power here, but he still desperately holds onto the possibility that he might. What if he gets off a punch on King Yama's nose? Then goes for his eyes? Yeah, that'll work! 

Overlooking the fact that it absolutely would not — Yusuke's fantasy conveniently skips how he escapes Yama's clutches — what exactly is Yusuke hoping to accomplish here? Somehow take over the entire underworld? Escape as a ghost and live out his afterlife in hiding? We don't know and that's because Yusuke doesn't know. He doesn't think ahead, he just obeys this instinct to fight. An instinct that, crucially, overrides everything else. Botan has already told him that all Yusuke needs to do is be polite and everything will be fine, but it's not even that Yusuke believes that he can't achieve that; that he knows himself too well and, fearing a slip, starts planning for a potentially inevitable confrontation. There are simply no plans outside of battle plans. Yusuke just hears about someone vaguely intimidating and his brain jumps straight to, "How do I beat him in a fight?" no matter the odds, or that other options are readily available to him. Again, much of YYH's characterization occurs though its comedy, so outside of the general humor of witnessing this fantasy, it actually does a stellar job of reinforcing precisely who Yusuke is. In life the only thing he had going for him was his ability to fight. It was his one joy, his one skill, arguably the one good thing he did if we frame those reflexes as "saving" the kid... so is it any wonder that fighting dominates his every thought? It's all he knows.

And, as we'll see down the line, that single-minded obsession is very useful to the spirit world.

For now though, Yusuke finishes his absurd plans to take down King Yama and Botan asks what in the world he's muttering about back there. Which is an unintentionally hilarious line because by the end Yusuke is not muttering, but full on shouting. Botan. How did you not hear him?

Not important. They reach the next door and we get our first inkling that all is not as Yusuke (and we) expect when Botan leans into an intercom to say that they've arrived. Tech in a fantasy spirit world? This feels not only out of place, but rather... mundane? That's the point. When the doors open Yusuke expects his super scary monster, but gets... a whole lot of monsters that aren't scary at all!

The underworld is run by various demons (or ogres), though their looks are contrasted with the harried office worker personalities they've got going on. Someone is running by with a comically tall stack of papers. Someone else is shouting into a cell phone. The first two demons we see cross paths, looking like they're about to punch one another, just as Yusuke expects... except they're just dramatically getting out of the other's way, worried not about the hierarchy of this realm, but the fact that someone is behind schedule. The nerve!

"This place is a madhouse!" we hear somehow shout and yeah, that's the joke. The afterlife is just as chaotic, overworked, and — ultimately — boring as any human office. For all the strangeness of seeing hundreds of demons, this is familiar.

Which, alongside Botan's bubbly nature contrasting assumptions about the Grim Reaper, is one of the first instances of YYH undercutting the viewer's expectations in terms of looks. No one entirely looks the part they play in this tale and if you're trying to teach people to look past surface characteristics... there are worse ways to do it. Horrifying creatures with horns and sharp teeth? Nah, they're just chill dudes trying to do their job. Cutesy girl who looks like she belongs in a mall reading magazines? Nah, she's the Grim Reaper. Terrifying delinquent with a spine-chilling reputation? Nah, he makes faces at kids and saves them from cars.

Of course, the "nah" isn't accurate either. These are monsters with horns, Botan is a cutesy girl, and Yusuke is a delinquent with that reputation. The message isn't so much that people look like Thing A, but get to know them and you'll discover they're actually Thing B, it's the idea that you can be A and B (and C, D, E...) simultaneously. People — or rather, seemingly simple archetypes — can, in fact, embody multiple characteristics at once.

We'll get our third example in just a second.

Yusuke makes a comment about this being the "dead people stock exchange" — accurate — and Botan leads him to a more ornate door past all the desks. It's clear they've arrived at King Yama's office, since she's bowing and formally presenting him to... someone. Yusuke looks around for the giant beast he's imagined, only for a tiny voice to hail him from the ground.

Looks are deceiving!

“This is Yusuke Urameshi and he’s honored to meet you." Botan knows what's up. She knows Yusuke isn't going to express anything of the sort without some prompting. Too bad he's busy cracking up at this apparent child running the show. Side note: Yusuke has a fantastic laugh.

He even goes so far as to accuse Botan of lying to him.

“Why would I lie about such a thing?!”

“Why would the spirit world be run by a toddler?”

It's true! That’s a legitimate question! I love that Yusuke asks questions. The "toddler" goes on to explain that he's actually the "mighty Koenma," son of King Yama, though he's lived fifty times as long as Yusuke, "so watch your mouth." Assuming Koenma knows and/or remembers how old Yusuke is — fourteen — and is good at math, that puts him at seven hundred years old. He looks good for his age!

"And in addition to knowing the secrets of the universe," he says, "I am quite potty trained."

You've gotta love Koenma.

Yusuke's attitude changes drastically once they get down to business. Koenma produces an egg, saying that Yusuke's ordeal is to hatch it and face what comes out. The hatching part isn't difficult, all he needs to do is keep it on his person. The challenge is in the fact that this egg will feed off his spirit energy and that energy in turn will change what kind of creature develops. If his spirit is wicked and cruel, so will be the beast and it will devour Yusuke upon hatching.

However, if his spirit is good and kind, the beast will become a sort of guardian, guiding him back to his living body.

Note though that throughout this conversation the egg is always a "beast." It's a "monster." It's not necessarily intentional, but there's a strong bend towards the negative here in the description that really emphasizes the whole "ordeal" aspect. Koenma briefly reassures Yusuke that he can remain a ghost if he prefers, but he's already made up his mind. Despite another threat of being lost to a void — this time through spiritual digestion — Yusuke takes the egg almost without hesitation.

He regrets it later though.

"I can't believe I did that."

Can we blame him? I'd be nervous about some egg feeding off the energy of my soul too and I'm a former, almost straight A student (damn you, math) with no life-altering regrets and a general desire to put as much good into this world as I'm able. I’m boring. But what if those occasional, mean little thoughts you have add up? What if the prejudices you're still unlearning stack against you? Does the egg care about what you do, or only how you feel about the act? This sort of test would eat me alive!

Maybe literally. 

Good thing Yusuke doesn't have time for an existential crisis!

Just as he's beginning to regret this decision, Botan points out that it won't matter if he passes if he doesn't have a body to return to. Now, why wouldn't he have a body? Maybe because his mom is set to cremate him tomorrow.

Whoopsie.

Yusuke is, understandably, distraught. We get another excellent exchange:

“Botan, is there any way for ghosts to communicate with living people?”

“Yes.”

“SO ARE YOU GONNA TELL ME?”

I swear, Yusuke is the only smart protagonist. I mean, he's dumb as a sack of bricks at times, but that's neither here nor there. Bless this fictional boy for reacting like an actual person. 

Botan explains that people are more attuned to the spirit world when they're asleep, so Yusuke can deliver a message to someone in their dreams. Seems easy enough. They first head to Atsuko, but find that she's raging drunk and nowhere near sleep. 

"You fool!" she yells. "No one gave you permission to die!" Atsuko continues to yell about how plenty of people survive car accidents, so why couldn't you? "Were you mad at me, Yusuke? Didn't I raise you right?"

Botan comments on how sad the display is. Yusuke's response?

“The only thing that’s sad is now she’s got one more excuse to act that way."

Y'all, that's some mature shit for a goofy shonen anime. Yeah, Yusuke recognizes that, while she's obviously heartbroken, his death has just given her another reason to do what she's been doing for years: drinking herself into a stupor. Toss in Atsuko putting the blame on Yusuke — "No one gave you permission to die!" — plus the belief that she did do a good job — "Didn't I raise you right?" — and it paints a rather bleak picture. This is by no means an uncommon theme. Negligent parents, whether they're framed that way or not, are pretty common in shonen series, but it's still rather jarring to re-watch this as an adult and go, "Oh. The situation’s like that." It's honestly a lot when you remove it from YYH's otherwise humorous, casual context.

Yusuke heads to Keiko's next and finds her sound asleep, commenting on how her room looks more "girly" than when they were kids. Check out that smile!

He's about to try and deliver his message, but Keiko is in the midst of a nightmare. “She’s crying… what’s wrong?”

Oh my god. Remember how I just said Yusuke is also the densest protagonist around? Example A right here. You just died, you fool! You just saw Keiko collapse at your funeral. What do you think is wrong??

We get a peek at Keiko's dream where she is — shockingly! — thinking of Yusuke. He's far out of reach, walking away and unresponsive to her calls. Keiko soon trips and Yusuke disappears completely.

Luckily, she has the real thing at her bedside. Yusuke tries talking to her and at first it's unclear if this supernatural stuff is really working. That is, until Keiko murmurs about how heavy he is.

Reassured, Yusuke delivers his message that Keiko needs to help Atsuko pull herself together and, most importantly, call off burning his body. We get this very soft and pretty background to establish their yet unspoken feelings for one another, though Yusuke gets close with, “I’m coming back. I don’t want to see you cry anymore" as he brushes her tears away. Aww.

Keiko wakes, thinking at first it was just a dream, but no, "I'm sure I felt it."

The next morning she heads to Atsuko's to explain the dream, only to first hear that Atsuko had a dream too, this one about Yusuke "living in some other world full of ogres and he kept knocking them down until he became their leader." It sounds absurd, of course, but it brings Atsuko some comfort to think of her boy in a place like that and Keiko backs down. Right, she'd only had a comforting dream too.

Now, there are two important parts to this exchange. The first is that this is an excellent example of how you let the characters drive the story, rather than forcing the characters adhere to the plot you've come up with. Meaning, in the latter situation, our cast would have needed to have their personalities twisted and the viewer's suspicion of disbelief tested to give Yusuke what he needs: a sleeping family member willing to believe his message. But it absolutely makes sense for Atsuko to be drunk rather than sound asleep, so Yusuke can't rely on her. Likewise, it absolutely makes sense for Keiko to be asleep, but not believe the dream once she's woken up. After all, how many times have we been persuaded by something in the dead of night only for things to look more logical and less likely in the morning? The characters act both like themselves and like people who do normal, people-ish things, which means that Yusuke runs into more conflicts. That's good! It not only raises the tension and stakes — now he has less than a day to convince someone — but makes his inevitable success feel that much sweeter. A less well written show (cough-RWBY-cough) would have had the characters change their personalities, behave in unlikely ways, or just come up with a sudden, contradictory solution because Yusuke needs to keep his body. Instead, Yusuke actually has to work for that within the bounds of the rules established and the likeliness of each plan succeeding. The first one fails? Move onto plan #2.

Second, this dream of Atsuko's has some cool implications within YYH's world. Meaning, we're about to learn in just a moment that some people are naturally more aware of the supernatural than others, even when they're not asleep. We'll also see down the line that spiritual awareness tends to run in families... so perhaps Atsuko possesses more than the average mother? I'm not saying it's necessarily intentional on the author(s) part, but we can choose to read this dream as evidence of spiritual awareness — true insight into the world Yusuke was just in and the fantasies he'd had about conquering it — rather than just a coincidental joke for the viewer. After all, Yusuke gets his own spiritual awareness from somewhere...

(Okay, so there's totally another, canonical reason for that, but we can have both!)

So, as Yusuke puts it, “This dream business isn’t gonna cut it.”

“There’s always the final method," Botan says.

“You always this vague?”

I am literally living for these interactions.

Botan explains that the more extreme form of communication is possessing a living person, but there are two rules attached: it has to be someone you know and the vessel has to be someone who is quite spiritually aware, as discussed above. Atsuko isn't a contender because the story hasn't acknowledged that she might be sensitive, that's just my own headcanon now. Yusuke outright says, “In that case I’m screwed. There’s no one like that!"

Cut to good old Kuwabara.

At first it looks as if he's just oh so conveniently sensing a spirit right when the audience has learned he has this power, but in reality it's Yusuke and Botan flying behind him that sets it off. Again: this show is pretty good about keeping things internally consistent, rather than making choices because That's Just How Stories Work, I Guess. Kuwabara's friends note that he's acting strangely and I love this detail that apparently one of the guys is new to their group because the other two need to explain that this is the "tickle feeling." Ever since Kuwabara was a boy he's been able to sense the dead around him. Some nice, some... not so nice.

He looks directly at Yusuke — even though he's not able to see him — and declares that what's following them is “A puny low-level ghost, like a haunted racoon or something.”

I'd support Yusuke's anger more if he hadn't just exclaimed his surprise that Kuwabara serves a purpose 😂

Yusuke is pissed enough though to proclaim that he won't do it, nuh-uh, no way is he possessing this guy's body. Botan's response is one of my FAVORITES in the WHOLE SERIES:

"Here's my impression of Yusuke: look at me, I’m burning!”

Literally 75% of this series is just about a found family sassing one another and I love it.

Obviously this helps Yusuke remember his priorities and he grudgingly agrees to the plan. Botan prepares Kuwabara's body somehow — idk, spiritual magic or whatever — and warns Yusuke that he only has an hour to find someone and warn them because a human body can't handle possession any longer than that. Sure. I buy it.

So Yusuke takes control and please ignore the incredible ethical issues here. The show will never acknowledge them again. 

He blurts out, “Hey, check it out! I’m inside Kuwabara, feeling smooth!"

Istg I don't remember the series being this unintentionally gay. I don't even ship Yusuke/Kuwabara and I'm digging the possibilities here lol.

Back on track, his friends drag him with, “Looks like he’s back to normal” because again, 75%. What's not normal though is Kuwabara (Yusuke) suddenly charging down the street to leave them behind. He heads straight to the restaurant where Keiko's parents work, demanding to see her. They're rightly concerned about this stranger barging in and screaming for their daughter.

Upon asking who he is/why they should tell him, Yusuke makes his biggest mistake: “Because it’s me, you guys, I’m Yusuke!”

Obviously the time limit and raw emotion of knowing who he is has outweighed the knowledge that, you know, no one would believe that. Yusuke has spent the last two days bopping around as a ghost and familiarizing himself with some of the afterlife's insanity. The knowledge of what's normal for everyone else — AKA, not dead boys appearing in strangers' bodies — is not at the forefront of Yusuke's mind.

So, Keiko's parents react accordingly! The father in particular is disgusted by this claim, going so far as to threaten Yusuke with his knife and outright insult Kuwabara's looks: “Yusuke was never ugly like you… we were close family friends with that boy!" His wife chimes in that this kind of joke is particularly heinous on the day of his funeral. Between Atsuko drunkenly blaming Yusuke for his death and Mr. Takenaka grieving for what he might have been, this is one of the few times we see someone just sad for Yusuke's passing, exactly as he was and without regrets or criticism. "We were close family friends with that boy" paints a nice contrast to the delinquent persona Yusuke was cultivating.

As he's thrown out of the restaurant he says, “We should have special passwords for times like this!” Fun fact, my family does! Well, not this exact situation lol. I was given a password as a child to memorize in case my parents ever needed to send someone else to pick me up or interact with me in any way. If the stranger didn't know the password, I was to kick up a fuss. I rest easy with the knowledge that this password would not doubt assist me if I was ever in Yusuke's position!

With Keiko's parents a bust, Yusuke starts sprinting to everywhere she frequents with the hope of running into her. Or at least he tries. 

Yusuke is suddenly waylaid by a group of nameless teens with a bone to pick with Kuwabara. And you know what? I like it. I wonder how much of my praise stems from coming off of RWBY Volume 8, but it's just so nice to watch a story where the plot — simple as it is — hangs together. We've established that Kuwabara is a street fighter. Last episode we watched him start a fight with Yusuke. Yusuke is on a time limit. Now Kuwabara's tendencies have created a new hurdle for Yusuke!

Needless to say, Yusuke kicks butt, even in Kuwabara’s body. 

As one guy is passing out he says, “Man that hurt! I didn’t think anyone could throw punches that hardcore except Yusuke Urameshi."

Yusuke: “Darn, giving Kuwabara a good name." LOL

You think this challenge is finished though? Nah. Over the course of about half an hour Yusuke encounters a comical number of people trying to get even with Kuwabara. 

As always, I like the nods towards this writing decision to help justify it, with Yusuke wondering how Kuwabara has pissed this many people off. If you want to pull off something that has a low chance of happening, it can help to give the characters a "Seriously?" moment. If both they and the audience are on the same page over how ridiculous this situation is, the audience is more likely to accept it once the character does.

By the time Yusuke escapes his hour is nearly up. However, thanks to some coincidental plotting, he spots Keiko's friends just across the street! 

YYH does a decent job of making its characters feel like they have their own lives outside of what's immediately happening on screen and we get a good example of that here. We pick up the girls' conversation partway through, both of them worried about Keiko's state of mind and, given that we'll see in a second that Keiko was in the store with them, it implies that something happened to reignite this worry. They're off enjoying their day, doing their own thing, there was an event we're not privy to, and now we catch the response to that. It just helps make the characters feel more well-rounded even though they are, at their core, one-dimensional background characters who don’t even have names yet.

Case in point: the one girl is still concerned with their image. "People are starting to say things!"

Yeah, your friend's childhood friend just died. Hopefully they're saying, "Poor thing."

Anyway, Yusuke runs up to ask where Keiko is only for both girls to run away screaming. Turns out his face is messed up from the numerous fights and Keiko's friends are easily scared. 

Luckily, Keiko comes out just a second later and Yusuke is faced with the challenge of how to convince her in, oh, about five minutes. Remember, we've already established through Keiko's parents that just saying, "I'm Yusuke" doesn't work. That's why he hesitates. It's not just drama for the sake of drama, he's stuck.

“I’ve known her my whole life, there must be something between us that only I would do!”

Yeeeeaah. About that 😬

Suddenly inspired (I suppose that's one way to put it...) Yusuke runs up behind Keiko and grabs her breasts. “Keiko, nice uniform! They’re so squishy!”

It goes without saying that, like flipping her skirt up, this isn't okay. More specifically, the problem lies in the story framing this as a joke for the audience, something to laugh at despite Keiko's discomfort, rather than the concept of two childhood friends actually be that comfortable with one another. But, as already established, this is one of the more ehhhh aspects of Yusuke's characterization that, luckily, will mostly disappear as the story goes on.

Note though that the show clearly wants us to think highly of this. Not just as a "joke," but as a smart solution to his problem and more evidence of their inevitable relationship — the background becomes the same soft, bubbly background we saw during their dream conversation. And, admittedly, it does work. Keiko instinctively slaps Yusuke hard enough to knock him to the ground and he starts laughing, saying that he doesn't care what anyone on the street says, she hits the hardest.

What I do like about this is that the assault isn't the only thing Keiko bases her faith on. Not only has she already had the dream, we get to see Yusuke from her perspective, showing all the mannerisms she picks up on by superimposing Yusuke's real body over Kuwabara's. Indeed, she says as much: “I knew it was you from the first time you spoke…and it’s not just your stupid gags, or how you laugh. There are ways you move and speak that in a hundred years I wouldn’t forget."

Catch me crying in this club!

Knowing she believes him and that he's almost out of time, Yusuke reiterates his message: please don't burn my body and also keep Mom on track. Only, you know, it's phrased far better than that lol. As he speaks, both Yusuke's and Kuwabara's voices overlap until the latter grows fainter and only Yusuke's voice remains. His body too. It's a nice touch, avoiding the awkwardness of Keiko having this moment with a stranger, even if that is what's happening on some level.

“I know I’ve been a bum to you at times, but please wait for me."

His hour up, now we can get the awkwardness! Kuwabara comes out of his weird trance thing to find Keiko crying against his chest. Wow, he thinks, this girl must be really into me! 

God, to have the confidence of Kuwabara.

Of course, Keiko quickly realizes it's not Yusuke anymore and slaps him too for cuddling her closer. My favorite thing is that when she does this a crowd INSTANTLY appears. I mean they TELEPORT in. We needed an audience for Kuwabara's shame and YYH delivered, all logic be damned.

“Um, sorry about that!” Keiko yells as she runs away, because she's a good person who recognizes that weird spirit things just went on and Kuwabara isn't actually to blame.

“No, that’s okay. I probably deserved it," Kuwabara responds because he's also a good person and I didn't appreciate him nearly as much as I should have as a kid.

Keiko runs all the way to Atsuko's place where she finds her dressed for Yusuke's funeral. She blurts that Yusuke might still be coming back and Atsuko goes, "He already has." Turns out she opened his coffin to "smack him one more time for leaving me" — yikes — and found that his heart had started beating again, just as Koenma said it would. 

Being in a shonen anime, they apparently decide to just trust Keiko's message rather than, idk, taking him to a hospital or something.

The camera tilts up to show that Yusuke has been watching all this, including that both women break down again and comfort one another. Aww. How heartwarming.

What's less fuzzy though is this mysterious egg. Yusuke takes another look and finds that it has developed a heartbeat too, presumably in time with his body's. He theorizes that he did decent things today, right? But Botan (teasingly) points out that he did beat up a lot of other kids. Rather than getting angry, Yusuke remains uncharacteristically pensive, emphasizing the magnitude of what this means for him. He's got to get it right.

No pressure or anything! We'll have to see how Yusuke balances his karmic scales in the next episode. Until then, I'll try not to put all my TV time into Star Trek: Voyager :D 

See you then!  💜

[runolllo-fanboygirl]

---------------------------------

I'm going to start by clarifying that these are messages I got in response to my post here /// LINK /// After this, I'm not replying to messages about this kinda thing in a long time. Talking about sexualization and such other topics is important but I'm not in a state to be made the center of it. Please, don't come to my inbox asking for discourse, go and create your own posts if you want to raise awareness or vent.

And now to answer to these new asks:

FIRST OF ALL: while I love the way Murata draws men, robotic stuff, monsters... I actually HATE the way he draws ladies! I prefer their proportions in the OPM anime and games. Murata is literally SO BAD at drawing women compared to the level of expertise he has drawing men, and it's all ‘cos he keeps drawing ladies "the h0rny way". We all know this, let's move on.

"He's drawing all the monster girls sexualized" Did the fact that Manako's genre reveal deconstructs the trope "the default is male" totally go over your head? That Psykos's reveal as a woman running the whole MA was a big deal for this same reason as well? There are a bunch of female monsters… you just assume they're all male unless you see big b00bs and then complain about that very fact. They literally made a whole point about this specifically!

"He changed Mizuki's shorts to p4nties to please fanboys" I liked the shorts better too (just because I find her whole character design a bit more balanced that way) so that change bothered me as well, but the "p4nties" are actually standard athletic wear for competition. Shorts are not. Technically, she’s drawn more accurately now.

"Sports Bras don't work that way he just wants to draw b00bs" neither do the shirts and bodysuits the guys are wearing. You can see all their muscles and manb00bs and cr0tch lines, just as much as with Fubuki and Tatsu's hero outfits and Mizuki's top.

"But when the boys are drawn that way, it's not to please the ladies, it's male power fantasy" THERE IS NO HETEROSEXUAL MALE POWER FANTASY BULLSHIT THAT CAN POSSIBLY EXPLAIN THE WAY MURATA DRAWS GAROU, FLASH, SONIC, STINGER AND SOME OF THE OTHER GUYS. The fact is that the way he draws eye candy of them appeals to other collectives other than the cis het men and he knows exactly what he's doing. Period.

"He constantly draws sexualized art of Mizuki to please the fanboys" Why exaggerate so much? This is simply not true. She's a woman in athlete wear, most of the time she's either standing up talking or fighting, no weird angles or anything. There is like 1 sexy cover of her, the back cover with all the girls in bikinis and then that infamous watermelon sequence. That's all the sexualization you are talking about.

"Mizuki only gets so much screen time because of how much p0rn of her there is" oh yeah Mizuki got a grand total of, like, *drum roll* 1 chapter and a half dedicated to her! Wow! Which is NOTHING taking into consideration how dense Garou's arc is and the fact that they will need at least 2 seasons of the anime to finish it.

But think about this: OPM desperately needed more female presence, in special with the prospect of finishing Garou's arc in the anime. Making anime is hard and COSTLY. Most of the people who is going to watch the anime haven't read the manga and they'll be like "what the heck there are no female characters in this anime for like 3 seasons?" and there is no team that's going to risk it working with such prospects. We know why.

Of all the expansion that Garou's arc got in the manga adaptation (and later in the anime), one of the most sensible and balanced decisions was to add more ladies. They put all those monster ladies for season 2, and then for season 3 we get Manako and Mizuki having some strong presence, Shadow and Kamaitachi there a bit in the back too. It benefits the pace and balance of both the manga and the future season 3 so immensely because Fubuki, Tatsumaki and Psykos take a LOOONG while to be relevant during Garou's Arc… in special with all the filler the manga put in between (but all that filler is of the S-Class boys getting development and a reality check which is kinda important too lol).

Point is: the screentime Mizuki got was VERY necessary to balance things in between of all the relentless Garou fights and the boys being boys. Sure Mizuki is beautiful and sexy and all, but really EVERYONE was waiting for a new female character that was relevant, likeable, fun… and on top of everything, it's so rare to see a strong 2m tall girl in fiction in general, not even just anime. Everyone got instantly excited about her because she's exactly what we needed AND MORE. And sure, people draw p0rn of her like they do with most other popular characters, what did you expect.

"The ladies are always more sexualized-" YES, in the OPM manga, the ladies are a little more sexualized than the men –but not by much AND not during plot stuff. By that I mean that most of the so called "sexualizing the girls" happens in the covers, back covers and promotional art very exclusively, and not during the story itself. HOWEVER, a lot of the sexy men bits do happen during the story, curiously.

 In the anime though, there is almost zero ladies fanservice (which makes sense since there is almost no female presence in the first 2 seasons anyway). Yet it's full of naked dudes, sometimes for a good reason, but mostly just so we can look at them being sexy and silly.

 I personally don't care if the man candy and ladies fanservice is not perfectly even in Murata's manga adaptation, because there is enough of both in his work, as well as other official OPM stuff like the anime and games to bring a very nice balance in the s3xy department.

 "The way the women are dressed-" Most of the background ladies are wearing skirt uniforms and shit, but all the relevant ladies primarily dress in nothing you can call "sexualized" except for maybe Tatsumaki with her strong leg game. To recall:

 Lilly wears the same as the men of the Blizzard Group; Twin Tail just dresses like a jester; Mizuki is the first to show so much skin, but she's still wearing real standard competition wear for athletes. All the other sportwomen (Hornet and Swim) and martial artists (Shadow, Suiko, Lin Lin) wear standard clothes for their respective professions too. Sure we've seen Shadow wearing some, uh, ninja bikini thing under her ACTUAL work clothes, but for actual fights she's fully dressed and surprisingly not stuffed in a tiny nylon bodysuit that rips like stocking, like all the ninja men in the series do lmao.

Fubuki and Tatsumaki are, like, the only ones wearing dresses and they can because they use psychic powers anyway. Fubuki doesn't even show ANY skin, ever! She just happens to have big b00bs! Kamaitachi is the other one wearing a "skirt" but it's similar to what Japanese martial artists would wear, too.

So, again… all this sexualization we are talking about is not even happening anywhere except in Murata's covers and some promotional art. ONE is famous for treating ladies very fairly, even if Murata tries very hard to exploit the sexy out of every single of the ladies ONE creates. All these ladies have their own agenda and personality that have nothing to do with being pretty or f*ckable. In fact, in-universe, no one ever mentions if the heroines are beautiful or sexy and no one ever talks about liking them for those reasons (except for Lilly and Erika who are gay for Fubuki and Tatsumaki respectively, amazingly enough no hetero characters mention it). I think the first time we've ever seen a relevant character talking about dating another relevant character is when Suiryu told Saitama and Suiko to date (but Suiryu is the resident h0rny fuckboy of the series, if someone was going to say something so stupid for all the wrong reasons, it was going to be him).

For being an adult series, a seinen that parodies shonen tropes and all, OPM is seriously very tame in the sexy ladies department. For this series, the sexy is just a luxurious accessory, just one more little thing. It's always pretty weird when people get so angry and disappointed about a new sexy girl cover or a couple of compromising panels, like they don't know what to expect.

 "He only draws that way to please the h0rny fanboys" Murata IS a h0rny fanboy himself and draws shit that appeals to him as much as he feels he’s allowed to insert in the series. Please remember he's the insane fanboy that reached up to ONE to beg him to continue One Punch Man and offered to make a manga adaptation to promote OPM.

From the moment Murata started drawing OPM, the tone of the manga was set and never changed: lots of blood and guts, comical and non-comical nudity, irreverence, sexy angles, Genos ripping his shirts off, ninjas in body suits that rip like they are nylons… people in shirts, tanktops and dresses so tight you can see all their muscles, boobs and even belly buttons whether they are men or women or otherwise… h0rny chapter covers, stupidly h0rny monsters…

Just reading the manga to the point where Genos and Mosquito Girl first appear, you know what you are in for with OPM. I don't know what some fans are expecting to see in OPM next, but I'm going to take a wild guess here and say: you should expect more of the same.

 At the end of the day, the manga is Murata's work with ONE, and if he likes drawing h0rny ladies more than boys, that's how things are! This is just 2 guys with their passion project. I don't expect of them the same as if there was a bigger team with a big budget behind the series, like it happens with many games and shows. In this last case, I would be a lot stricter about all this, because with more resources you're expected to do better things.

[duhragonball]

I think I’m just gonna ramble a bit-- nothing earthshaking-- so here’s a nice, unrelated picture of Cooler to set that up.

I managed to get through Camp Nano in April with about an hour to spare.  I’m still frustrated with my pacing, because I’ve gotten pretty good at finishing the November writing goals with time to spare, but I always end up falling behind on the shorter goals I try to do during the rest of the year.   July is up next, so I’m kind of hoping I can turn this around by then.  

April was difficult all over, so I’m trying to use May to chill the fuck out.    Somehow I find that hard to do.  Like if I’m relaxing, I just get bored or feel unproductive.  That’s one reason I’m writing this post.    I just want to get some thoughts out of my head so I can move on.

For whatever reason, I got sucked into watching YouTube videos about the Nostalgia Critic and his various blunders from 2012 to present.   That sounds pretty sad now that I write it out, because I never followed the guy that closely, so I keep forgetting the hellacious filming schedule discussed in the Change the Channel movement happened years earlier, and the movies themselves were ridiculed as debacles, so it’s not just one bad year, more like nine or ten.   Anyway, watching all of this has given me some stuff to think about.  

I think I first heard about the NC when he started doing that “feud” with the Angry Video Game Nerd.   They did some videos together teasing a crossover, and then they finally went through with it, and it wasn’t terrible, but I had no idea who the other guy was.    It was like Batman teaming up with some indie comics character you never heard of.  Batman doesn’t need the rub.   From the beginning, I got the sense that Nostalgia Critic was the one driving this concept.  Once I heard about Channel Awesome and all these YouTube reviewers crossing over with each other, I was sure of it.  

Looking back on it all, I get the sense that NC has never really had much of a creative agenda.   His early work involved “reviewing” movies by playing long clips of them to recap the plot, and then making some snarky commentary.  Not the worst format, except he kept getting copyright strikes from YouTube, which was why he started his own website to host his videos.  Over the years, it feels like people have begun to recognize the flaw in that format.  Past a point, you’re not really “reviewing” anything.  It’s more like an MST3K style thing, only shorter and less authorized.  

Years ago, I used to read this site called “The Agony Booth”, which sort of did the same thing but in text.   Before YouTube really got going, the only way to lambast a movie or TV episode properly was to meticulously describe it in prose, with the occasional screenshot here and there.   Nostalgia Critic probably represents a point where people realized they could do the same thing in video form, except it starts to cross the line from commentary to something else.   Siskel and Ebert never did a blow-by-blow synopsis of a movie.    Reviewers like the Agony Booth crew did, because they were often discussing old material, and couldn’t show it to you or assume that you had seen it yourself.   A lot of NC’s early stuff was the same deal, where he’d recall something from his childhood and rewatch it to see how it holds up in the present.  So I’m sure a lot of his content covered old, out-of-circulation things.   But he’d do more recent stuff too, and the attitude surrounding YouTube at the time was that you could pretty much do whatever you wanted as long as you kept it under ten minutes. 

Anyway, the Channel Awesome thing looked like an alliance of similar YouTube reviewers, and they kept appearing in each other’s stuff, and then they did the anniversary movies, which were basically “mega crossovers” with all of them appearing together in the same... story, I guess?   At the time, I wrote the whole thing of as a masturbatory power fantasy.   Comic books did crossovers like these all the time, and YouTube seemed to have hundreds of “reviewers” and “personalities” who would put on silly costumes and carry toy weapons like they were about to fight Thanos instead of discussing the ALF cartoon.   The second Channel Awesome movie was about high fantasy tropes, and the third one was a space opera, so that seemed to support my assumption.

From watching all these videos about the movies, though, it looks more like each one was mostly about the Nostalgia Critic talking all his “friends” into another one of his kooky schemes, and they all just sort of go along with it, even though they know him to be a self-centered jerk.   Then the third one ends with NC quantum-leaping out of the story itself and meeting Doug Walker, the guy who writes and plays the character.   They try to sell the audience on the idea that NC had some sort of character development across the three movies, and he decides to sacrifice himself to save the day or something.   This was touted as the finale for the character.   Except it turned out later that Doug Walker wasn’t just playing a self-centered jerk, he really was a self-centered jerk, because he treated the others like crap during the filming and didn’t tell any of them that he was killing off their website’s top draw.

That leads into Demo Reel, the series Doug Walker introduced to fill the void.   From what I’ve seen, it sure looked like he wanted/expected this to be a big hit, and he killed off his biggest meal ticket to make this happen.  But everyone hated it.  I think the pilot episode asks the question “What is Demo Reel?” about three times.   Each time, the answer makes less and less sense.   “Demo Reel” the show is about a studio named “Demo Reel”, run by Donnie DuPre, a self-centered jerk who seems to think there’s big money to be made in plagiarizing movies.   The whole thing is just a flimsy plot device to explain why Doug Walker and two other actors would bother making a no-budget parody/re-telling of three Batman movies smooshed together.   There’s no real-world or fictional reason for three people to do this, it’s just that Doug Walker wanted to make a YouTube video about Batman, but he didn’t want to use the NC format, and he couldn’t just talk over a Batman movie without getting in trouble with Warner Bros.   And I guess just... dressing up like Batman and making jokes needs some sort of context, so that’s where the Demo Reel concept comes in. 

What really annoys me is that Demo Reel has this “mockumentary” thing going on at the same time, so you end up watching their parody movie and the scenes where they make the parody movie, and you get these interview segments where they talk about talking about making the parody movie.   It’s like “The Office” except every character is completely delusional.   They’ve all convinced themselves that this is a really good idea, and I guess the joke is that this is a really stupid job and they must be pretty stupid to work at it.   

No one knows where Demo Reel was originally headed, because it was so reviled by the audience that it got cancelled in five episodes, ending with the revelation that Donnie DuPre was the Nostalgia Critic all along, in some sort of amnesiac state.    Or maybe that was the plan all along, I’m not sure which scenario would be dumber, honestly.   New Coke was a sincere effort to phase out the original Coca-Cola formula, but it was such a failure that everyone thinks it was a brilliant ploy to make consumers appreciate the original.   So who knows?

Anyway, this started the next phase of NC, where he would just remake scenes of whatever movie he’s covering that week, a la Demo Reel.    I don’t know if that’s just a strategy to avoid YouTube copyright strikes, or a stubborn refusal to give up the core concept of Demo Reel, or what.  Then he got around to Pink Floyd’s “The Wall”, and everyone crapped on that, big time.   I haven’t seen the original movie or his “review”, but from what I gathered, Doug

a) basically did a shot-for-shot remake of the movie, only shorter and cheaper.

b) spent the whole video lambasting the movie and the band for making it.

c) offered his parody songs for sale on iTunes, calling them a “love letter to Pink Floyd.”

The big question is: Why did he put so much work into making the thing when he had so little to actually say about it?   There’s no clear opinion expressed about the movie, even though the video is supposed to be a “review”.   He kind of acts like he thought “The Wall” was okay, but the parody lyrics read like the awkward part of a celebrity roast.   Why go to all this trouble unless you really love or absolutely despise “The Wall”? 

Eventually, I started to figure out that this guy really just doesn’t have much to say.   He wants to make videos, make movies, make reviews, but it doesn’t seem like there’s any real opinion or thought that he wants to express.   I was watching him freak out over the credit card scene from “Batman and Robin” and thought “Are you that upset over Batman having a credit card?”   That’s not even in the top twenty dumbest things in that movie.   Sure, it’s worth a snide remark, but not much more than that.  But he’s “doing a character”, and the NC’s whole schtick is to flip out over stuff like that.  

Except it’s not a character, because NC is just Doug Walker wearing a stupid hat, right?  In the movies, NC’s whole persona is that he’s a self-centered jerk who treats his friends like a personal army, and the real Doug Walker was doing the exact same thing off-camera.    Donnie DuPre was another “character”, wearing a different hat, only whoops, he’s the Nostalgia Critic too.   And even if he wasn’t the same guy, his persona was... you guessed it, a self-centered jerk who treats his friends like a personal army.  

There was this whole era on YouTube where it seemed like all these “content creators” were trying to adopt silly gimmicks.    I’m guessing the Angry Video Game Nerd started the trend, because he dressed up in a white button-down shirt with a pocket protector and glasses.   He looked like a stereotypical nerd, you see.  And he’d drink a particular kind of beer, and lose his temper and set Nintendo cartridges on fire, because AVGN was a character.   You watch James Rolfe being himself and he’s a whole other person, always smiling and talking about horror movies and filmmaking, because that’s what the real guy is about.   There’s a separation there.  

I think that was the disconnect.   A lot of these YouTubers saw James Rolfe playing the Nerd and just assumed the secret was to rant and rave about some topic, and he used a Nintendo Zapper to shoot a pickle monster once, so dressing up like a Power Ranger in a trenchcoat didn’t seem like a bridge too far.  Well, no not if you’re trying to make a movie or tell a story.  If all you want to do is talk about Star Wars, you should probably keep it simple.  I think one of the consequences of Nostalgia Critic’s fall from grace is that modern YouTubers are more grounded.   I’ve watched a lot of Jenny Nicholson videos and she’s pretty funny and animated, but she’s not trying to be a charicture of herself.  She’s just this lady sitting on her bed surrounded by porg dolls.  It works a lot better.   

I used to watch the Game Overthinker unironically.   Does anyone remember Moviebob?  Well once upon a time he wasn’t completely bonkers.   The GO series was reasonably well done and uncomplicated... until the dude started appearing on camera and introducing “characters” and storylines that killed whatever point he was trying to make in his video essays.   Then I started watching him ironically, and then I sort of stopped caring about him altogether, and then he pissed away whatever goodwill he had.   I can’t help but feel like he might have been better off just staying behind the camera, or if he had to be on-screen, just sit on a bed with a bunch of Mario dolls or whatever. 

The fad of YouTube personality as wannabe superhero got me thinking of the whole “Mary Sue” and “self-insert” thing.   They’re really poorly defined terms, and they’ve been overused in so many unfair criticisms that I don’t think they make much sense anymore.    When I first got into fanfic, I saw a lot of people simply writing themselves into their stories.   That’s what a self-insert was.    You literally inserted yourself in the story so you could tell Wolverine to his face that his haircut looks stupid, or whatever you wanted to say to him.    I always found this idea infuriating, because I know who Wolverine is, but this other guy telling him off is a complete stranger, and why should I care about him?   Why should Wolverine care? 

One response to that problem would be to present your self-insert like a bigger deal than you are.   You could put yourself in this story and not only talk to Wolverine, but give yourself an elaborate backstory, where you’re a high-ranking S.H.I.E.L.D. agent, and you and Logan go way back, etc., etc.   But that’s a tricky proposition, because if you’re doing it right, you’re just inventing a new character with the same name as you.    Or you can overdo it and make the character too big a deal, at the risk of outshining the other characters.    The Mary Sue concept originated from this, with Star Trek fanzines getting all these story submissions about young, super-talented ensigns who join the crew and immediately win over Kirk, Spock, and McCoy. 

The dirty little secret of character creation is that every character you write is a self-insert or an author surrogate, to some degree.   You can have one that’s meant to be your alter ego, the one who’s based on you and tends to react the way you would in a similar situation.  But you’re writing all the other characters too, and deciding what they think and say and do, so to a certain point they also think a lot like you do, whether you meant for them to or not.  The trick is not to be super-blatant about it, or to revel in the creative freedom to break the fourth wall.   Readers hate that stuff, because they don’t know you well enough to get the joke.   

That’s the advice I’ve always had at the ready in case anyone ever asked me.   But, watching all this stuff about the Nostalgia Critic has made me realize that it applies from the other direction.    It’s very easy to say you’ve created a character, distinct from yourself, only for it to turn out to be more of a reflection of you than you intended.   I can’t tell if Doug Walker is self-aware or not, but it seems like the joke with all his “characters” is that they’re extremely selfish and shallow, and yet he seems to also be selfish and shallow.  So is he aware of this, and he’s trying to exaggerate his flaws for his characters?  Or does he just not realize that he’s telling on himself every time he plays these roles?   Or does he think everyone is selfish and shallow, and that this is just boilerplate information, like blinking and wearing shoes?

I’ll pick on myself, because it’s handier to do so.   I’ve made a bunch of original characters over the years, some that were supporting players, and others who were designed to be big deals.    One of my villains was this bitter misanthrope, and eventually I realized that I was a lot more like him than the outgoing group of buddies that he was trying to oppose.    That hit me and I’ve been trying to figure out what to do with that ever since.  

I wrote a butler in my Hellsing fic, basically an anti-Walter based on Marcus Brody from the Indiana Jones movies.   He was clueless and couldn’t stand the sight of blood, and he was really old, so he told the vampires that if he ever had a heart attack and dropped dead on the job that they shouldn’t pass up the free meal.   Is that me in there?   I tend to think a lot about the world moving on without me, and my own obsolescence.   I just didn’t think I was tapping into that when I wrote the character.   I wouldn’t even bring it up, except I liked writing the guy so much, and that’s the main thing I remember about him.  

A lot of my villains in Luffa are representations of things that I’d like to see punched, because Luffa is an unapologetic Mary Sue Self Insert.    I made her all these other things that I’m not: brave, a woman of color, a good cook, a charismatic lover.   But fuck that, this was all just a ploy to keep people from noticing any resemblance to me and my imaginary punching agenda.   But the villains hold all these shitty attitudes and shitty behaviors, things which I consider to be wrong but sometimes catch myself turning a blind eye to.   Jealousy, greed, fear, resentment, and so on.  

You end up putting a lot of yourself into your writing, there’s really no way to avoid it.  The only real trick is to disguise it a bit so it looks like a story instead of just an essay or an autobiography.   I think that’s where some of the YouTube personalities got it wrong, because they would try to tell a story AND write an essay at the the same time, and that’s tough to pull off.   One of the big things that came out of that whole Channel Awesome document was this problematic scene in “To Boldly Flee” where Linkara has been replaced by a cyborg duplicate, and he converts Lindsey Ellis into a cyborg, and someone hears all these suggestive noises and thinks they’re having rough sex.   It’s awkward anyway you slice it, but it gets even worse because it’s basically the real Linkara and Lindsey Ellis.    Their “characters” are so poorly distinguished from the real people that there’s no other way to describe it.  

Also, one of the most salient points I picked up from watching all these commentary videos is that real people can’t have character arcs.   You can’t just stick Filmdude and Captain Snark and Filmdudette and Movie Sniffer and The Comics Complainer all into the same scene and expect anything important to happen to any of them.   They can’t learn anything or grow in any appreciable way during the story, because they’re real and the story is fictional.  The only “character” to their roles are the bit where they review pop culture stuff, which might as well be non-fictional, so why bother?  Even if I’m wrong, and there really is a more complete fictionalized version of everybody in the Channel Awesome Trilogy, the waters are so muddied that you can’t make sense of it. 

And that’s the real danger of leaning too hard into putting a 1:1 replica of yourself into your stories.  Stephen King can be a bus driver in one of his movies, and Stan Lee can be a bus driver in Avengers 3, but if Stan Lee just started kicking the shit out of Ultron it’d be confusing, especially for people who didn’t know who he was.  And if Joss Whedon started kicking the shit out of Ultron, it’d be even worse, because he’s not as well-known as Stan Lee.   You’re better off making up a guy like Thor or the Hulk who can do it for you, and then putting just enough of yourself into those characters that you won’t get caught.  

At least, that’s how I see it.  

[aion-rsa]

How Alias Anticipated Modern Superhero Storytelling

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J.J. Abrams’ spy drama Alias, which turns 20 this week, was a lot of things: high-octane action-adventure series, twentysomethings relationship drama, occasional National Treasure homage. It was also, surprisingly, a spiritual predecessor to today’s hyper-saturated superhero movie and TV universes: A preternaturally gifted fighter, Sydney Bristow (Jennifer Garner) inhabits comic-book-esque alter egos to infiltrate secret missions related to ancient artifacts and promised immortality, all while ensuring that her nearest and dearest don’t know how many times she’s saved the world—or which side she’s really on.

Like the series’ MacGuffin-generating Nostradamus figure Milo Rambaldi, Alias has proven to be somewhat prophetic itself about what makes for the kinds of superhero stories that land today. With some 20th-anniversary hindsight, let’s look back at what made Sydney’s story so super and what lessons Abrams’ ridiculous(ly fun) series can still impart to the current crop of superhero sagas.

The Secret Identity as Kiss of Death

The highest priority that spies and superheroes share is that they cannot get made—that is, have their identity as a larger-than-life individual linked to their “normal” selves. They must always keep their personal and professional personas separate, lest they risk losing the people who know both sides of them. Alias establishes this difficult lesson in the first half hour of the pilot, when Sydney reveals her true work (she thinks SD-6 is just a covert branch of the CIA) to doctor fiancé Danny, only for him to blab about it later and get bloodily taken out in their bathtub. It’s the first time that SD-6 treats its sweet protégée harshly, making clear the consequences of her actions should she open up to anyone else in her life. And then she defects to the CIA, which will be a death sentence for her if SD-6 ever finds out.

Yet beyond the specter of grisly assassination, what the series really digs into is Syd’s growing ethical dilemma about being a double agent where it concerns the actually good people at SD-6, primarily her longtime partner Dixon (Carl Lumbly) and sweetly awkward Q stand-in Marshall (Kevin Weisman). It would be too easy if the series were only about her getting long-game revenge on SD-6 director Arvin Sloane (Ron Rifkin); the real conflict comes from Sydney lying to Dixon’s face on every stakeout, knowing that he still thinks he’s working for the good guys and she can’t ruin that fantasy for him without potentially turning him into collateral damage.

Similarly, the moments in which Sydney’s two (or three) lives begin to collide have other heartbreaking consequences: While the scene in which her best friend Will (Bradley Cooper cast as the friendzoned buddy, amazing) gets kidnapped and sees Syd saving him, is one of the decade’s best laugh-out-loud moments, it also leads to Will going into the Witness Protection Program. His life ends, in a sense, because Sydney couldn’t keep everything compartmentalized. And we haven’t even gotten to the awful fate that befalls her best friend Francie (Merrin Dungey)…

What Alias Predicted: The beating heart (or arc reactor) of many a superhero story is this tension between selves—which means that the big reveal of a secret identity has to be carefully timed and deliberately presented. It’s as emotional as Peter Parker’s (Tobey Maguire) mask getting ripped away when he saves the subway car of people in Sam Raimi’s Spider-Man 2, as big as Spider-Man: Far From Home doxxing that Peter Parker (Tom Holland) in a commentary on fake news, or as pure and simple as Tony Stark (Robert Downey, Jr.) outing himself as Iron Man in the very first installment of the MCU. You cannot unring that bell, so it better be a memorable moment.

What Superhero Stories Can Still Learn: Rev the secret identity stakes back up! Captain America: Civil War ably took on the game-changing Marvel Comics arc of the same name by having heroes collectively unmask, and movies like Spider-Man: Far From Home are still playing out those ramifications. But mostly we see the dangerous ramifications of heroes doxxing themselves, without really digging into the strain for heroes to constantly have to lie about the things that truly matter to them.

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Campy Disguises and Clever Aliases

If you’ve watched Alias or were even vaguely aware of it, no doubt the first thing you envision is Sydney in black leather and bright red hair, a.k.a. her iconic look from the pilot. Her non-SD-6-sanctioned, under-the-radar disguise (impersonating Will’s sister) displays her ingenuity and establishes the series’ brand: attention-grabbing hair paired with increasingly ridiculous outfits, from chain mail waitress ensembles to rubber dresses. She’s played punks, rich bimbos, alluring businesswomen, escorts, and all manner of female personas upon which her marks would project their assumptions—all of which belied her true strength and cunning.

Even when future episodes riffed on the color wheel with teal, magenta, purple, and good old-fashioned blonde wigs, it was still within a clear spectrum established on that pivotal mission, when she channels a silly girl who cares more about the color of her hair than her safety, only to pin her torturer with the same chair to which she’s bound.

What Alias Predicted: I would hazard a guess that Natasha Romanoff’s first appearance in 2012’s The Avengers—a seemingly helpless redhead tied to a chair, about to be nastily interrogated—was a nod toward Sydney’s triumphant pilot mission. What’s more, despite the first ten years of the MCU leaning toward sleek costumes, later phases (like WandaVision‘s cheeky Halloween callbacks) have realized that they can embrace the bold colors and campy designs of the comic-book source material.

What Superhero Stories Can Still Learn: Better to lean into the bold colors and campy designs of the comic-book source material than to go for more sleek and cool. WandaVision did this, albeit cheekily and using the excuse of Halloween, but the nod toward Scarlet Witch’s original outfit was well received. Because any superhero can look cool in leather, but only the standouts can rock color.

Rambaldi Artifacts, Immortality, and Clones

While replicating the romantic dramas of Felicity, Abrams was also playing with early iterations of his signature “puzzle box” narrative style: The pilot has Sydney chasing after the mysterious Mueller device, which turns out to be… a floating red ball… which bursts into water the moment she tries to remove it. That head-scratcher of a device is only one of many inventions belonging to Milo Rambaldi, a fictional Renaissance-era philosopher whose sketches and writings all pointed toward the ultimate endgame: immortality. You know, just normal spy thriller things.

The series saw Sydney and co. chasing after all manner of Rambaldi MacGuffins, from a clock to a kaleidoscope to a music box to flowers that either demonstrated proof of eternal life (by never wilting) or amped up human aggression. Through all of this, it becomes clear that Sloane helped found SD-6 in order to collect all of Rambaldi’s artifacts and capture immortality for himself—even and especially at the cost of people like his daughter, Sydney’s half-sister Nadia Santos (Mía Maestro).

Before we get more into Rambaldi’s prophecies about the sisters, we can’t forget the parallel fever dream of the series: clones! Or, rather, secret agents genetically modified to look like anyone—which means everyone is a suspect. This constant paranoia quickly got out of hand on the series, but its first reveal was perfect TV drama: There’s not an Alias fan who doesn’t remember “Francie doesn’t like coffee ice cream” and the complete devastation that followed—the knock-down, drag-out fight that destroyed Sydney’s apartment just as badly as Danny’s death, but also Sydney’s heartbreak upon realizing that her best friend was already long dead.

What Alias Predicted: The Infinity Stones themselves are less interesting than in various superheroes’ personal connections to them: Loki (Tom Hiddleston) tempted by the tesseract in Thor: Ragnarok; Star Lord (Chris Pratt) and the Guardians of the Galaxy channeling their friendship to withstand the effects of the Power Stone; Wanda Maximoff’s (Elizabeth Olsen) stages of grief as she copes with trying to keep the memory of Vision (Paul Bettany) alive even without the Mind Stone. In short: grounding the most out-there plotlines in the personal ensures they will always land.

What Superhero Stories Can Still Learn: Ground the most bonkers of plotlines in the personal, and they’ll always land.

The Chosen One and the Passenger

This is when the Rambaldi business started getting less National Treasure levels of charming and more outright weird. Turns out the team wasn’t just recovering a treasure trove of artifacts, but also Rambaldi’s prophetic writings—including the mysterious “Page 47,” which featured a drawing of a woman known as the Chosen One… who bears quite the resemblance to Sydney herself. That would be easy enough to dismiss as a strange doppelgänger coincidence, but then comes the reveal of “Project Christmas”: When Syd discovers that she didn’t just stumble into the spy life on her own, but was actually trained as a sleeper agent from childhood, it only amplifies her fears that she has no true agency over her life.

Further Rambaldi writings center Sydney and Nadia into predestined roles as the Chosen One and the Passenger: supposed foes who are fated to clash, with one dying. Nadia getting injected with “Rambaldi fluid” in order to tap directly into the long-dead man’s consciousness (contained within another artifact known as the Sphere of Life) only earns her some nasty apocalyptic visions. But despite their genuine friendship that comes from bonding over their fucked-up childhoods, Sydney and Nadia are forced into that preordained confrontation when the latter is injected with a compound that reduces her to a mindless killing machine… all while a giant red ball is hovering over a city in Russia, because why not. Even after Nadia dies, and is brought back to life, then dies again, with her ghost haunting Sloane as he finally attains immortality, she remains a presence on the series.

There are certainly echoes to Black Widow and how it handles Natasha and adoptive sister Yelena’s (Florence Pugh) strained reconciliation after the older sister got out of the Red Room while the younger was still caught in its web. Their bickering banter about vests and poses, their differing memories of their false childhood, and their respective feelings of abandonment are what elevated Black Widow’s standalone outing—and made it even more tragic, on multiple levels, that this was the only time we would see the two of them in a movie together.

What Alias Predicted: Sister stories are gold! The Rambaldi storylines would mean nothing if they didn’t hinge on a tragically preordained confrontation, just as the MCU’s Red Room depiction seemed overdone until it was presented within the context of multiple generations’ differing experiences with its bloody legacy.

What Superhero Stories Can Still Learn: More stories about sisters! With Nat dead not long after she and Yelena had just started to bond again, it’s vital that Yelena’s future MCU appearances show her still grappling with the little time they got together.

After all, the best superhero stories are the ones that can feel just as fresh now as they did 20 years ago.

Alias is currently streaming on Amazon Prime Video.

The post How Alias Anticipated Modern Superhero Storytelling appeared first on Den of Geek.

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[thedailyvio]

Every now and then I feel bad for giving 0 context for anything, so gonna quickly summarize my story stuff under the cut

The Traveler’s Found (TTF)

Skye, Gill, Marth, Kydin, Leo, Kira, Krieg, Heiwa, Narcissa, Sebastian, Vadim, Bahemek, Xenon, etc

TTF is hard to summarize because it has 10 story arcs and they all lead into the other, but the plot begins with ‘A wizard terrorist attacks the king of Hou’lu sending two girls on a quest to stop him’ which sounds so simple doesn’t it -sobs-

 Very adventure, political intrigue, slice of life elements

They basically travel all over the world, and I’ll quickly summarize what that’s like by listing each countries major influences

Hou’lu: Italian Renaissance, China

Sunobor: Medieval Germany, Japan, Inuit

Haldon: Folk Mexican, Folk Italian

Lavynna; Byzantine, some inspo from India to structure of things?

Gehinna: Ancient Hebrew

Parappa: Egypt-Germany

North Desert: Russia-Arabic

Harpies (more a tribe): Maasai

TTF of them all gets the most complicated but very incrementally, so it’s the hardest to express much on. But they get a cool hard magic system based on 10 elements so

Also TTF dragons are sentient, intelligent, and morally complex

—

The Miyoré Schism

A prequel to ttf by about 900 years

Faolan, Mien, Enlai, whatever I name the girl, Jiao

The plot here is a bit simpler

What happens when the one who pulls the blade only those Chosen by God can touch is among the race of people thought to be destined to serve?

This focuses largely on the Sha’li of East Hou’lu. As a race they have very distinct white hair, pale skin, and red eyes. At this time in history, monster taming was very common as well, so most the characters have a family or personal monster. Sha’li also have an ability to become “invisible” but in actuality they are lowering their ‘presence’ or ‘noticibility’ to all non-Sha’li

This story draws largely from Tibet for its aesthetics

—

Kingdoms

Ariella, James, Charles, Kiba

I have uprooted a lot about this story and not yet relayed it, but so far

A girl who wanted to become a soldier but was refused strikes out on adventure to do what she can for her country on her own- but to her chagrin gets a tag along

This story likely will have a soft magic system, and is definitely still based on Victorian and Japanese aesthetics. It’s actually a specific era of Japanese history but I can’t remember which. Possibly 16th c?

Despite this, it’s a low tech world.

Most fantasy type creatures/races do show up in Kingdoms, unlike my other stories

Dragons exist in Kingdoms but are universally evil and nobody has ever killed one

—

Magic and Cannons (MnC)

A wip name still

Cusick, Agathe, Romana, Kordell, Levi, Maureen, Ames, Sung-jin

I’m still figuring put the plot to this honestly, but the first bit is definitely

‘A narcissistic man is captured as a PoW and must find a way to escape’

There’s just three countries of any importance to this world, and it’s much less whimsical in nature than the others, being closer to reality in some ways, and having a lot more tech. Though it vibes as subtly cartoony in how characters have slightly exaggerated aspects to their personalities and behaviors.

Delemar is the country Cusick is from and is based on Wild West in many ways, they’re a very independent people which can be good and bad, they also give no hecks about safety and are pretty wild in general

Choson is where Romana is from and they are much more interested in normalcy and order, which can be both good and bad. They prefer reptiles and fish as pets to mammals actually, which feels important to mention. If you know much about history, I suppose it’s clear they draw a lot from Korea for aesthetics.

Choson is also a very mixed population in terms of race, which Delemar is very much not.

Kievan is where Agathe hails from and is based on Russia. In each case I tried sticking to 1850s-1900s ish for my influences of these countries, though socially they are very diff.

Kievan has an affinity for wine and is the only country that appreciates using electricity for power. They have harsh winters, especially compared to the other two countries which tend to be more tropical in climates. Kievan is less developed so far, but they tend towards legalism there, and while that can be bad, they are also the one not involved in a pointless war, so

MnC is what I call glasspunk, Delemar and Choson rely on ‘reactions’ for their energy sources, which I can only explain as ‘you know how if you mix two volatile liquids, they could explode? They harness the energy from such things’

This is possible because their magic system is a type of alchemy which has allowed them a lot of reactions not available to us, and with this they’ve been able to get treated glass which is nearly indestructible, great for containing anything they need.

Magic is still something within the individual, but in MnC the extent of what it does is change the properties of whatever you’re touching with your hands. If you specialize in using this and inventing things based off of things with changed properties, you’re called a mage.

MnC has a lot of strange tech this way, including trains, vehicles, customizeable guns, staves that through weird tech stuff can have sort of elemental effects, etc.

Electricity is not compatible with reactions btw, because it can cause them to explode outside of when they’re meant to, kinda like smoking by a bunch of canisters of gasoline, it might be a lil risky. So societies that use reactions do not use electricity and have things in place to get rid of it, and societies that use electricity don’t use reactions. Combining them can get cool tech, but is inherently risky.

oh whoops I went off there, huh. Oh well it’s not seen as often as the other types of societies/magics I listed so

Dragons in MnC are animals (technically wyverns?) and have been domesticated to be work animals. No fire breath but they do have a strong venom, I think a neurotoxin type?? And the insides of their mouths are orange 👀 oh and the domesticated ones are reflective like mirrors ish

—

Children of the Little Mine (CotLM)

Geno

This is the only one I plan to make a novel, because it’s set in 1950′s-1960′s New York City and I don’t care about those aesthetics at all

I don’t have it planned out very far for plot, but basically a gremlin thief boy of 17 has a strange ability to manipulate how gravity effects him, and seemingly nobody else in the world has this. But one day during a break and entering situation, Geno finds another boy with an ability, and from there they decide to try sticking together a bit to figure out why, and maybe put together a heist against a mafia boss in the mean time (two stealy boys)

This is very close to being historical fiction aside from abilities, which are /extremely/ rare in this world. I’m very inspired by Artemis Fowl and A Separate Peace for tone, and plan to have middleschool boys as my target audience. Though I love fantasy and such, this one’s still a bit close to my heart anyways

Anyways literally nobody asked for this I just do this to myself. I seriously wanna start practicing comic making skills, but I can’t do that too much for a daily thing when I can usually put in an hour at best. I’m trying to find a sweet spot for it all, but it may yet be awhile before I can post literally anything that sheds light on who the heck any of the chars I post are.

I want to though, and I’ve been running this blog for years now, so best to assume it’ll get there someday. I have still written a lot and planned out things, so progress still happens behind the scenes. Aside from the last few months but that’s not uncommon for this time of year. If you actually read this, thanks euchjsd I don’t think many will, but having it here makes me feel a bit better

[johannestevans]

A lot of the time, coming from the fanfiction community, there crops up a similar stream of discussion.

If you’re not familiar with fanfiction, it’s normally made up of stories and narratives about already published works — BBC Sherlock is fanfiction of Arthur Conan Doyle’s Sherlock Holmes, as is House M.D., or Elementary, for example. When I talk about fanfiction here, I’m not talking about mainstream fanfiction that’s sold for a profit, but about the online community.

The online members for most fandoms dedicated to one kind of media or another are often in thousands or the hundreds of thousands, if not the millions for very popular works like Supernatural or Harry Potter.

By their nature, fanworks of any kind — be they art, comics, fanfiction, fanvideos, et cetera — are built around the enjoyment of creators and consumers within the fandom.

People write things that they find enjoyable. For some people, that does mean creating full-length novels with typical novel-esque beats throughout, but it can mean vignettes or short stories focusing on particular emotions during or after certain scenes within the canon (original) media; it might mean a smutty interlude; it might mean an alternate version of the canon where certain things go differently; it might mean rewriting stories or creating new stories within that universe where different characters become romantically or sexually involved.

I see a lot of people use the word “indulgence” with fanfiction — it’s “not serious”, it’s “self-indulgent”, it’s “just for fun”. Fanfiction is often treated as something very non-serious and silly, even by those of us that write it.

But when people talk about why fanfiction isn’t like mainstream books, a few differences are cited.

People often talk about the subtle difference between fanfiction and mainstream fiction, in how it’s written — outsiders tend to say “written like fanfiction” as an insult, and it’s usually a subtle way to derogatorily say that they dislike that the characters in the work aren’t straight, or to say it isn’t “serious” enough, but within the community, when we talk about something being written “like fanfiction”, we usually mean that the characters feel fleshed out and three-dimensional; that there’s more focus on slice-of-life and domestic interludes between characters; that there are more queer romances; that unexpected characters are used as the protagonists… I could go on.

There are hundreds of things I love about reading fanfiction that I rarely find in mainstream fiction, but a lot of these things are thought of as “bad writing”.

Too many character details, or too many slice-of-life details, aren’t relevant to the plot. The thing is, who cares about the plot?

For me, when I read anything, I read it because I care about the characters — if I don’t like the characters, or I’m not invested in them, the plot couldn’t matter less. I’m perfectly content, even outside of a romance, for a whole book’s “plot” to only really be about the characters’ relationships.

Where does one find that, reading published works? How does one search for it?

I’ve become more and more frustrated because of how mainstream published works are categorised: YA, Thriller, Romance, Humour, Mystery, Fantasy, Sci-Fi…

None of those genre categories tells me how the book is written. None of them tells me what sort of characters I can expect; none of them tells me what the tone of the work is; none of them tells me how realistic they are, or how gritty.

In fanfiction, we search for characters we already know from the original canon — we even search for pairings of particular characters we know, because we’re interested in those dynamics specifically. Until you start reading a published work, you have no realistic idea of what sort of characters are in it.

Why?

On one of the biggest fanfiction websites, Archive of Our Own, we often search for tropes or tags we personally like. Some people might search for particular kinks when they’re searching for explicit works — they might search for biting, or bondage, or something else, but people use the tag search for all kinds of other things. You might search for whump, if you’re interested in an exploration of a character getting hurt and their emotions surrounding it; you might search for particular centuries or settings; you might search for particular focuses, such as Power Dynamics, Complicated Relationships, Found Family, Emotional Manipulation, Baking, or anything else.

Sure, there are tags when you search for published works, but often they’re just warnings or subgenres — there’s no option to cross your search between a handful of tropes or tags you’re interested in, and you can’t get too specific. The only way you can do that is asking on a forum and hoping other people have recommendations.

The biggest difference between fanfiction and mainstream fiction is that fanfiction is based on what people actually want to read and create. Mainstream fiction, weirdly, is not. It’s based on what people want to buy, and what they are able to sell.

Why is this?

Why is my only option when reading mainstream fiction to pick through a whole list of things in a vague genre, and hope that it matches the sort of tone I’m interested in, has the kind of tropes I like, and that the characters are actually interesting?

I become so grumpy when I think about the publishing industry, because it’s an industry that’s based on profit — people talk about it making sense to only want to sell books that are “profitable”, but books are only profitable, really, because marketing is the only way a book can sell. If a big publisher puts a lot of money into marketing a book, it will probably sell.

I think about the big trend in supernatural romances that started after Twilight came out, because suddenly, publishers were willing to publish them. We talk about “trends” in the publishing industry, but trends are really only dictated by the publishers and their marketing departments.

There are definitely people who are only interested in reading what’s popular, because that’s natural human curiosity, but I think that most people like what they like, and I think that it being simplified down to genre makes it really difficult for people to find what they do like.

How different would it be, buying books and reading them, if we could search based on particular character archetypes we liked in protagonists or other characters; if we could search based on the kinds of humour we liked, not just search for humour and hope for the best based on friends’ recommendations; if we could search for tropes we love, and find books that use those tropes well?

Based on that model, how much would change in the difference between traditionally published and self-published works, I wonder? How much would be revealed in what the core of what readers want to read, and would there be a big difference in what they want to read, and what publishers think sells?

I know some authors tag their works with Ao3-style tags, and I think I might start doing that myself in the front or back matter, but I do wish some websites really allowed for you to search by different tags and cross-search with them, so you could really narrow down what was available in the search.