#I also saved a copy of my sketch. so I might do this again later with my normal process too!

[merklins]

Experimenting with rendering styles BY WAY OF DOCZEN AND DRAWING MEMES!!

[joycew-art]

Someone asked what my process was to make the Rickbot comic, so I thought I'd make a separate post to show it. The process was kinda all over the place and spread over many months from December 2022 up till June 2023, so I'll try my best to make it understandable. And if you have any questions feel free to ask them!

The idea

So it all started with the idea of; What if Rickbot came back? And then the idea immediately made me think of two things;

How would Rickbot react?

Why is he brought back?

Which ended up with these two scenarios in my mind;

A. Rickbot awakens and he's not happy B. Rick tells the reason he's activated again

These were the very first scenes that started it all.

So then the question became, how do I go from point A to point B?

I would take moments from the show as reference for how they would act in these scenarios. And I'd take inspiration from manga and other comics of how I wanted the dialogue to flow and what the comic layouts would look like. In this case I knew a lot of dialogue would be involved cause these guys talk a lot! But I also didn't want the panels to feel too crowded and rushed so I limited myself to the amount of dialogue per panel.

Right now I'm writing it down like it was very planned, but for me this was often a very subconscious thing I did. I just thought up scenarios while I was taking walks or daydreaming in the shower etc. And sometimes these very specific moments would pop up that I would write down or draw out later.

I would make mini thumbnails of how I wanted the pages to go and write the dialogue next to it. At this point I'm mainly thinking of what I want characters to say and how I want the story to flow. Sometimes I make multiple versions of the same scenario to see how it flows better.

At times I even only write down dialogue and then make the thumbnails for them later. I have a tiny a6 sketchbook for little thumbnails and ideas like this. These were often moments were I didn't know where I wanted to take the comic yet, so I would separate the two to keep it more organized for myself.

As you might have noticed, not everything is the same in the final comic. I always fine-tune or change stuff up as I go. Sometimes things don't flow as well as I thought they did or some dialogue feels awkward or unnecessary.

Sketching

Once all the pages were planned and I have a good idea of how the story would go I opened a new Clip Studio Paint file and used the comic feature to set that up.

I would then copy the thumbnails I made in the page files and exported a thumbnail draft of the whole comic and 'read' through it to see how it flowed.

After I was satisfied I finally started sketching the pages.

Most of the pages stayed the same from the thumbnail, aside from some poses or expressions here and there. But I would also change up stuff I wasn't satisfied with.

For example, initially the Prime panel looked like the left one, but I didn't like how the pose flowed with the text balloons. There was a lot of empty space as well. So I decided to redo it to the one on the right.

Even now for the final version I'm thinking of resizing Rick a bit more. These kind of changes just happen throughout the process.

The backgrounds

I knew the comic would only take place in the garage, so to save myself a lot of time I decided to make it in 3d.

First I decided to sketch out the four walls of the garage as planes;

Then I imported those in Blender. I did some simple 3d modeling to get the basic shapes for the counters and the cabinet et voila! 3d sketch version of the garage!

I know this is a very watered down explanation, but trying to explain how I did it would take a whole new tutorial. And there are many other ones out there that explain it much better than I could. I was lucky that I already have some Blender experience cause of past works I've done for school and stuff.

But if you got the time to delve into it I would recommend it! For this here you only need to know the basics. Also Blender is free to download :)

This has saved me a lotttt of time drawing the same backgrounds over and over again!

Cover

Lastly I did the cover. That one has also gone through multiple versions. I had a vague idea of what I wanted, but I wasn't happy with the execution so I redrew that one as well.

So that's the whole process so far. I do I wanna continue the comic once I got the energy to work on it again. Gonna do some test pages first to see what kind of rendering I wanna go for. Not sure if'll be in black and white, color or a combo...we'll see.

I hope this helps! And if you have any questions don't be afraid to ask them.

[talesfrommedinastation]

Author's Note: The Indigenous Future

 I would be remiss if I did not mention the indigenous elephant in the room within ‘Far Past the Ring’.

As you might have gathered, much of the background of both Medina Station and the three original characters are deep within First Nations/American Indian backgrounds*. 

(left to right: Dr. Sjael Drummer, Camina Drummer, and Dr. Tanke Drummer)

I have written both Sjael and Tanke Drummer as being of mixed Ojibwe descent through the Drummer side of their family, as is their cousin, canon Expanse character, Camina Drummer (Cara Gee, her actress, is Ojibwe First Nations, though whether or not Camina is in the show is not confirmed). Additionally, Timon Chapelle, Tanke’s husband, is of mixed-Metis descent as well. More about the land practices of Medina Station and the indigenous heritage it is drawn on can be read in my previous piece on the matter. 

While researching for this work, I dug into the local history of the land I live on, which, coincidentally, is the unceded land of the Anishinaabe people. I am a settler, but I take deep pride in the place that I reside. I find it a responsibility as a citizen of my country to do so. 

(The region of the various Anishinaabe peoples, taken from Wikipedia. The author is not going to directly tell you where they are personally located)

As you might have guessed, the Kind Man (a form that the Protomolecule has taken in order to communicate with both Omega and James Holden) uses the form of Tanke and Sjael’s deceased father, Dr. Aki Drummer. 

(Image: Dr. Aki Drummer, drawn by the author in a quick sketch)

Aki is a Belter man of Ojibwe descent, who, while his story is not fully explored in this piece, does recall and use his heritage to better understand the nature of the humans that he serves as a physician, and later on, the Protomolecule uses to better understand the humans creating contact with each other from across the stars. 

The Kind Man also tells Omega the story of the Legend of the Bluebonnet, which comes from the Comanche tribe of Texas, another American tribe who made the prairies of the United States their home for time immeasurable. The Kind Man mentions that, although he is not Comanche, he understands the story. The tale is a legend of a young girl’s sacrifice to save her prairie home and her people ... .the story that Omega will find herself repeating at the end of ‘Far Past the Ring’. 

(Image from 'The Legend of the Bluebonnet', by Tomie DiPaola. copyright Puffin Books)

The Kind Man also repeatedly uses a word in Ojibwe, one that, when I heard its meaning from James Vukelich (Ojibwe-Turtle Mountain) made me stop, write it down, and listen to his podcast episode again. I immediately knew this word would become a part of the story.  

(If you can, please give his work a listen. He is a wonderful speaker.) 

That word is Gidinawendimin, one word that means, ‘we are all related’. Vukelich goes into detail about how it is not only the people, but the animals, earth, water, all of life around us. And I could not help but think–”Holy hell, this is the thesis of the story.” 

So, why am I rambling on about all of this? 

Because indigeneity has its role in our future, and I tried my best to not only reflect that in this story, but because I staunchly believe in it as well. 

The Belters are the people who helped build the solar system in ‘The Expanse’. They worked and lived in space to the point where many of their bodies can not survive normal gravity. Throughout the series, they face issues regarding access to water, air, and so many things that we often take for granted. They are seen as less than human in their own native environment of the Belt, and are often discriminated against by citizens of planets like Earth and Mars. 

Additionally, in the Star Wars universe, the clones are copies of a man from Mandalore, portrayed by an indigenous actor, and whether or not their indigeneity is canon in the show, I prefer to see it as such.

I want to be under the impression that, like in the real world, the dehumanization of indigenous peoples has irreparable damage to culture and heritage, to say nothing of the social bonds between people. 

This is known as intergenerational trauma, and is explained beautifully here in a video from Australia. 

Fiction can be a powerful metaphor. In this case, this trauma rings through the clones within the Star Wars universe, and if they survive into greater society, will be a burden that their people will carry. Their descendants. The clones were people bred to serve one purpose, that of violence and war, and expected to be expendable machines, not as humans. They were stripped of culture, family, and heritage, and find themselves broken and lost when their use to the government is no longer sustainable.

It also isn’t lost on me that another character played by an indigenous actress–the incomparable Bobbie Draper, played by Samoan-Kiwi actress Frankie Adams–suffers a similar fate in The Expanse. She’s used by her government and tossed aside. But Draper rallies, finds camaraderie in others, and is able to be part of a team that saves the universe.

She, like some survivors of systematic abuse, is able to help others navigate through the challenges of finding oneself again thanks to her own experiences. This is especially seen in her friendship with Hunter in Far Past the Ring, whose own trauma comes out in painful paranoia, anxiety, and rage that almost destroys everything he loves. 

When common grounds are found, and alliances are made, a powerful voice of continuity and fortitude can be forged. With that, challenges, enemies can be fought, battled, and won. With friendship and the strength of rebuilding and reconnecting with culture–and respecting those of indigenous people–we can move forward. 

We are all related. 

I wrote all of this on the eve of September 30th, the National Day for Truth and Reconciliation in Canada, the country that brought us The Expanse.

(Taken from National Day for Truth and Reconciliation and Orange Shirt Day - Waterloo Region District School Board (Waterloo Region District School Board)

This day is to commemorate the thousands of children of indigenous heritage who were taken from their homes, stripped of their culture and heritage. Many of them never came back to their families and homes. Thousands died.

It is only in recent history that this is acknowledged. 

Similar instances also occurred in the United States, Australia, and countless other nations where indigenous people and their cultures were seen as an alien threat. They were not seen as fellow men, but as a part of the land that needed to be eradicated, controlled, and wiped out.

But survival happened. Still happens.

I hope that is reflected here, in a fictional story about the future…where the descendants of indigenous people use their skills and culture to push their people forward in our solar system.

Who forge friendships and alliances, who work to heal their trauma with the strength of their fellow man.

Who work together to stop a terrible empire from destroying their home. 

I am a settler in the United States on the shores of Michigami, but I am a firm believer that the future of humanity lies within indigeneity. We will not reach the stars without it. 

I have humbly done my best to reflect that in this story.

Miigwich. 

More information can be found here:

National Day of Truth and Reconciliation: https://www.canada.ca/en/canadian-heritage/campaigns/national-day-truth-reconciliation.html

James Vukelich’s website: https://www.jamesvukelich.com/ 

Ojibwe Rosetta Stone: https://www.culture.aanji.org/language/ojibwe-rosetta-stone/ 

*=I use both terms here, as the Ojibwe/Anishinaabe people, as well as the Metis, are located in both the United States and Canada. Cara Gee herself is Canadian.

[glass-warehouse]

NICHOLAS VINTEREN

oh god i did it. i'm gonna need a shirt that reads; i'm an artist! ask me about my hand! and then on the back, SPOILERS: it hurts.

anyway here is my MC just before it all goes to shit. something something peacock feathers symbolising pride something something the height of pride before a fall—you get me?

BONUS!!!: here is a shitpost i drew as a real insight into how i felt for about 35% of the process.

You don't have to read this if you don't want to. This is my rant and criticism space, it's really more for me. Thanks 7 years of conditioned behavior.

I considered this piece abandoned a few months ago. Just as I was starting the first pass of shading I saw a massive error. I'm pretty vigilant with my layers, keeping copies in case I need to go back and fix something, but I thought I was all done and dusted. Ready for the next stage. So I had no backups. At this point I'm too far in to easily fix it without making a huge mess and it was a massive motivation killer. I couldn't stop thinking about it and I didn't want to continue, so I left it.

Months later I came back, the work I hadn't finished was perfectly fine, I thought it looked good. I decided that I was going to finish the piece even if it killed me even with the mistakes. It happens to all of us. And man I am so happy I continued.

I could've kept going on it to be honest, but I had to put a stop somewhere. There are problems, things I wish I had or hadn't done, but for what it is I'm damn pleased with myself. So I'd say it was a success :)

The last 45 minutes were spent on the background (look too close and I'll kill you). There wasn't even going to be one before then. Glad I stuck out the extra time even though I was fucking exhausted and ready to have my hand completely crushed by a large object.

Around 75% of the way done I notice that my auto-saves are causing my laptop to freeze. I know hefty files can do this but it's only a full body drawing, not what I'd consider hefty. Well it turns out that past me thought so highly of this piece, before it was even a sketch, to have it be in 4K RESOLUTION. That shit is crisp as hell, drink in all that clear detail, so long as Tumblr doesn't nuke it from orbit. (Future me here to say that yep, it got nuked. Guess I'll be the only one who gets to see it in high def, just what I wanted lmao 😒)

It sucks even more because I'm noticing the lack of clarity on another piece I'm doing, but I 1. don't need 4K quality and 2. my laptop can't take that level of a beating every time CSP auto-saves. Yeah I could turn off auto-saves but that feels like just asking for trouble.

Also yeah, I'm doing one for Hebe. It won't be as detailed as this piece because, unfortunately, that ability is on cooldown. Doesn't mean I won't try my hardest regardless, I just fear what might happen to me if I try that again too soon. I don't want another 3 month long shutdown. (As I write this I'm literally at the same point in her piece as I was with this one just before I gave up, lol)

[erroramended-blog]

Here’s a (partial) process pic for that last piece. It was a heck of a time to make, so that gives me a great opportunity to talk about the process in depth down below!

So the initial idea was that I wanted to explore color and emotion. I wanted to try to depict a panic attack with big bright colors and shapes. So of course I picked Hunter as my victim.

At point one I just did a very quick initial sketch, and at point two I threw some color behind it. Just getting the idea down. Sort of like thumbnailing. Just getting a visual I can reference to see where I wanted to go with this.

At point three I went back to the show and looked at how the character acts and what he does when upset, then used that to explore posing and expressions in point four. (I’ve got shots from one ep up there, but I looked at multiple.)

Clenched teeth, wide eyes, raised shoulders, curled fingers. He digs his hands in his hair. His breathing gets loud and uncontrolled. He shakes sometimes, curls up, and hides his face. I was initially attached to an open mouthed expression because I wanted to try to get a sense of that uncontrolled breathing, but I couldn't make it work. So I went with clenched teeth and later decided that I might be able to indicate trouble breathing with his hand positioning. I have him reaching for his throat in the final sketch. (Side note. These aren’t all the sketches / versions. These are what I thought to save while sketching. I do like looking back on the process so I end up saving a lot of it, but by nature of the work, a lot of it gets drawn over, erased, or otherwise destroyed.) Looking back, if I were to change anything, I maybe would have gone for a more claw like finger positioning on that hand. I did have one sketch where he was grabbing at his chest, but I’ll be honest, I didn’t want to deal with the fabric folds on that one. I also think it maybe would have visually distracted from his face, which is where I wanted the main focal point to be.

I also wanted to try and get a sense of him shaking. I tried to indicate that with the wiggly lines off his shoulders in some of the sketches and with the yellow spikes, but that also was another point I just couldn't make work and had to let go. Though I did try to capture a little of that in the eyes.

I tried a few different eye positions. Looking up, looking down, looking away, looking at the audience. Ultimately I wanted him looking at nothing to give the sense that in that moment he’s not seeing, his in his head, he’s freaking out. So his eyes are pointed off into the unspecified distance.

I liked the scratchy lines for his eyes. It added to that idea of him not really seeing in that moment, and those tightly spaced, heavy contrast vertical lines can kind of have, like a vibrating visual effect. Opinions may vary, but I think that helps give off the idea that he’s shaking.

Anyway, moving on to point five, I took the sketch and started thinking about over all colors and composition again. I was a big fan of the orange and yellow, so I moved on to line art.

Back to the image from the top. Pretty straight forward, just line art, flat colors, then I used overlay and multiply layers to mess with the lighting and colors.

With line art, before I gained more confidence with it, I used to do really detailed sketches and get everything figured out in that phase, then try to copy it exactly. These days I’m more comfortable with it, and I do some of the detailed work and creative decision making during the line art process.

One such decision was the little displaced chunks of hair on the side of his head. I really liked that. I feel like it adds to the story, implying that he was already pulling at his hair on that side. I also like putting little lines near his scar, to suggest that there is like a skin texture difference there, like a raised edge. It gets a bit covered up by the tears later, but I still think it adds to the overall effect.

I also did the tears completely separately from the initial line art so I could have full freedom to mess with style, positioning, color, and everything. I tried a few different combinations of color, transparency, and style, but ultimately liked the bright yellow from the sketch phase and ended up going back to it.

Moving on to coloring. I find it much easier to just start with the normal flat colors, and mess around in filters (sai) / tonal correction settings (clip studio) / layer modes, after or on another layer. I knew going into it I was going to want reds and oranges and yellows, but I need those initial value differences as a foundation to work from.

Easy tip for getting that lighting, fill a layer with a color, set it to multiply (or your layer mode of choice), clip it over top, mess around in filters till you get the shadow look that you want, then erase out the parts light hits.

Now this next bit is where crap started to fall apart.

Initially this was just going to be a bust with a background of expressive shapes and bright colors with the goal of supporting and putting the focus on his emotions and facial expression. But my god, no matter how much I messed with it, I hated it. It looked awful. I saved very little from that process. None of it was worth saving.

So I took a nap.

Then I came back to it with fresh eyes and decided to take it into another direction. I shrunk Hunter down, and decided to give the piece a real background showing the things that were going on inside his head.

I really liked that red, pinkish orange gradient from the previous phase, so I wanted to keep that as a prominent part of the final piece. So I put a dark shape behind Hunter, and I was going to have everything happening inside his head, be inside that shape, and in a different color palette to add to that separation.

These were some of those shapes. This also gave me a really hard time. I tried something organic and loose, something breaking apart, tried looking up references of broken mirrors, nothing was working for me. I thought about maybe scrubbing the episodes to look for a meaningful shape there,( like maybe that wiggly shape the collector made when implying that he thought Belos was going to go off on Hunter. ) But at that point I was getting fed up with it.

So I went and made dinner.

During this process up to this point I was trying to do as much as I could in Clip Studio, because I’ve owned it for over a year now, and barely touched it, and god damn it, it was time to buckle down and learn to use it. But that extra level of frustration in getting used to a new program was completely messing me up. So I went back home to my good pal Paint Tool Sai.

(Sometimes art is a bitch, and you just need to eliminate the other factors that are getting in the way in order to move forward. Take naps, eat, switch mediums, go for a walk. It's productive. It’s part of the process. Don’t fight it.)

After switching back into my comfy program, I busted out a thumbnail sketch of where I wanted to take this. I spent time thinking about what he’s worried about and decided to have everyone being angry with him, and turning their backs on him, and then I had Belos looming tall over it all.

Something I also really liked here is that in establishing a rule that everything within the shape is in Hunter's head, it gave me the opportunity to break that rule in a meaningful way. I did that by having the mask horn break out of the shape, and later had Belos’s coloring transition from the cool palette of his mind to the warm palette of his present panic. I feel like it gave off this really menacing “He’s coming to get you” vibe. And it implies that of all the things he’s worrying about, Belos is a very real very immediate threat.

From there it was just more of the same. I filled in my big dark shape, then I went and found shots of each character in profile, did my sketch, did my lines. Took a while.

Each character sketch was on its own layer so I could have the freedom to move them around in the composition. The bg shape also changed a bunch in order to accommodate everyone's positioning. I didn’t want to put a character under Hunters elbow, and I didn’t want to have Amity be the only one with a full body, so I threw some spikes down there, that pointed back up to the focal point, and threw some shards on the other side of him to try and balance that.

I also wanted to include Luz in the piece, and the upper corners were looking a little empty, so I made space for her. In doing that though I had to balance it out on the other side with something, so that's how broken Flapjack ended up in the piece.

I also ended up with a sort of happy accident with Luz’s placement. One of the points on the shape she’s in ended up overlapping with her cheek in a way that somewhat mimics Hunter's scar. Unintentional, but I just think it’s neat.  

Next up it’s more of the process. I briefly considered leaving it just as yellow line art, I liked the look it had. I liked how it furthered the idea that everything in yellow was just in his head, and I liked how it tied back in the yellow tears, but in the end it just looked too unfinished. So I moved forward with putting in everyone's flat colors, then desaturated the heck out of them, and messed with colors and lighting again. Fading the characters into shadow also proved itself to be a major pain in the ass. I had liked that purple gradient, but with it at the bottom it just made the characters look muddy, so I flipped the gradient to put the dark end at the bottom, then ditched it entirely, and just put some blue behind Belos.

I also learned something new in Sai. I didn’t know you could layer mask a whole ass folder! So that's what I did to fade the characters back, while still keeping everything on separate layers to allow for further editing. (Hooray for non-destructive workflow!)

After that it was just finishing touches. I realized the whole thing had been kinda dark, so I messed with the brightness, contrast and color balance. I also felt like the edges of the piece felt too open, so I threw on a gradient to bring the focus back into the center a little bit. Over all, it was a fun piece and I’m really happy with the results. If you got to the end of this and liked reading about this process, please tell me. I am shouting into the void and I have no idea if anyone’s hearing it. So comment, reblog, reply, say something if you want more of this kind of thing. 

[liquinn]

heres everybody who has horns! just because

though im sure everybody has different horn hc’s for the dsmp cast, like ranboo having horn ect. 

who from the dsmp cast do YOU think has horns?

also heres my mspainting process under the cut just for shits and giggles

1) first i gather up pre-existing designs i already have and then references for canon designs. (this is also where you come up with your colour palette, at least it is for me, i decided to use a mostly monochromatic one, with slight pops of colour from the pre-existing colours in the palette.((all pre-existing art is made by me btw! i DO sometimes use other peoples art as references for style ideas, though often enough i like my own designs well by themselves!(((the schlatt + tubbo drawing is actually all the way from january of 2021!))

2) then comes the beta sketching! this is where you come up with composition for the piece and make notes for later on in the drawing process. think of this step more as thumbnail sketching, youre here to make the VAGUEST and the most CLEAREST messy sketch possible. i also like using a very light sketching colour, because it shows up (because of the lack of layers) when you start to make your clean sketch on top. (and you COULD use a normal pixel brush for this step and then just draw in black over top with the pixel brush again and then use the black and white trick to erase the sketch, but this is easier for me)

3) now its time to make your alpha sketch! this is where you start to define shapes, and the faces! now is also time for details that you wanna keep track of like buttons and fingers

4) then its time for the colours! i forgot to copy the drawing  before i started to clean up the colours with lineart, but captainpuffy jschlatt and tubbo are all still all without lineart! this is also where you wanna fine tweaking your drawing, like for example making puffy taller (she looked a bit too squished!) and all that. i just made a quick copy of the puffy drawing and gave her longer legs, as well as cleaning up her legs.

5) then its lineart time! add all the details you missed and remember to look back at your references to see if you want to add anything! (i added tubbos scars here, as well as eryns devil horn, and schlatts legs lmao. i forgor the legs before this) technically, you can literally change literally anything at literally at anytime.  mspaints flexible like that. though if the lack of layers scares you, i recommend making copies of the pieces of the drawing you want to fix or start over on! because of how bad the undo redo mechanics are, i just recommend the copy strategy, as that way you dont loose any progress on having to erase something if you dont like it.

this is what my canvas looks like actually! i work on a pretty big canvas, which comes in handy when you need to move stuff around, and wanna keep your references close by for guidance

last tips:

+ i recommend making a physical colour palette on the canvas itself, as the little colour palette youre given only fits a certain amount of colours on it. (i usually have it either right next to my drawing, or with the refrences corner)

+ i recommend having very big canvas settings! you can always trim and shuffle stuff around if you want to, but the bigger the canvas the better for your process so nothing gets interrupted by bumping into the edges of the border (though beware of saving anything bigger than 5000 x 5000! you might not be able to open it ever again...)

+ putting in your references on your canvas firsts helps a lot with the blank space fear! so its a lot easier to start doodling if theres already stuff on the page.

+ when youre moving stuff around on the selection tool, i recommend using the transparency setting thing, that makes it so that the colour of your background is transparent instead of one solid piece youre moving around. helps a lot!

+ i recommend picking one singular background colour to work with to make things easier, i like using the plain white colour because it comes automatically, but you can actually pick literally any colour you like! you can of course change it at any time, but its a bit harder to change the background colour later on

[rockmangurl]

Going to be putting up AU/Continuation Season 3 stuff up

So...yeah. Here it goes.

I’m not going to claim that this is an original idea, as my main inspiration for even doing this is two notable fanfictions in the Ruby Spears continuity: Defender of the Human Race and Recut. Granted, I’m not going to copy straight up from them, as I have my own elements that I want to add in, such as characters from the Archie comics and other Capcom characters, but without them, I wouldn’t have any of this plaguing my brain (sometimes is a good thing, sometimes bad).

Also, I wanted to, simply put, write the cartoon the way I wanted it, as, despite its cheesiness, I believe that it had the potential to be better than it was. It was just held back by the rules of its time. Thankfully, it seems I’m not alone, as things like Defender and Recut exist, as well as several other wonderful fanworks.

That said, I’ve come to want to do my own, but before 2015 (when the first version was posted), I was already kinda wondering how things would go if the series continued. As the cartoon had, while it had shown Robot Masters from Mega Man 4, it didn’t show us a hint of Dr. Cossack or Kalinka ever existing. Though they DID exist in that Brazillian comic that was very heavily influenced by the cartoon, that’s a story in itself.

Thus, I began to think, as if they would’ve adapted something from Mega Man 4, that might present an interesting opportunity. For, as you know, Proto Man isn’t exactly like his game counterpart. Short of it is, he’s an asshole. He’s the best character in the show, but he’s an asshole. Yet in Mega Man 4, Mega Man doesn’t even know Kalinka exists. It’s only when Proto Man shows up with her that it’s revealed Wily is behind everything.

And while they would probably go with the status quo (Bro Bots being the best example of this) with someone else saving Kalinka, it still got me wondering. What if Ruby Spears Proto Man did this? And what would compel him to do it?

Which led to my first RS fanfiction, The Strange Case of Dr. Cossack.

But, seeing as I got more ideas later on, I just turned it into the Missing Episodes. And that...yeah. I’m trashing that eventually. I only have it up for some reference sake. And I’ll admit, I kinda think it’s necessary to have something you didn’t do so good at there. Not for discouragement, but to improve from it. Though this mindset also came from wanting everything to be perfect (even when I miss obvious shit), so I’m probably not the best person to be taking advice from.

I tried again, but I didn’t get far, as I was still somewhat unsure of where to take it, let alone how to better rewrite what I did before. But after a bit of time taking a break from it, as well as working on other things, I had the weird universe I set up coming back to me, as well as several possible ideas. Most of them bastshit. But the show was too, so...eh, what the hell?

Thus, I’m about to dump a ton of shit on this blog, sketches, facts, cleaned up art, etc. I’m mainly talking about my Ruby Spears continuation/AU, but I’m gonna drop other stuff too. I’ve got a lot to do with Roll, both in the Classic and X series.

With that, get ready. The ride’s about to start.

[allbeendonebefore]

Random ask but been bugging me a bit. What do you mean when you scan drawings? Like I've seen artists always mention about how they scan traditional drawing and upload them to their computer but like how??? Again sorry for the random ask, my baby brain is trying to gain big kid knowledge and experience lol.

I wh--

wha

what are they teaching you guys in school I

first let me preface this by saying you don’t ever have to be sorry to ask a question and even though i’m having an internal crisis about my age it is absolutely not your fault for not knowing and i am happy to answer and happy to help and i am not in any way trying to embarrass or poke fun at anyone but myself and also good thing you asked this this year when i actually have access to my trusty old scanner again lol.

groovy public service announcement with hip and modern music in the bg: learn to use a scanner not just for doodling but also for life!! old people will be amazed and astounded by your command of technology in a professional setting, it’s a life skill at any age. Using it for doodles is a great motivator.

meet scanner-kun

Step One: Draw a Drawing

i’m using scrap paper because i’m lazy and because sometimes fitting a sketchbook in a scanner is a hassle because you might have to hold it in place. (There are sketchbooks like grumbacher which come with removable tabs that i’d recommend for stuff you want to scan but dont want to tear out of your sketchbook.)

(its edward prince of the magpies)

Step Two: Pop it in your All in One Printer/Scanner that you totally definitely maybe have (or borrow someone else’s, you can do this for free at your local library and tbh their scanners are probably bigger) And Make Sure It’s Facing the Right Way Please

Step Three: Find the cables for your all in one printer/scanner that has been in storage for 3 years and actually hasn’t met your computer and needs to be introduced to it and thus you need to download the scanner app and oh my god this took slightly longer than expected aaaaaaaaaaaaaaa

(a newer printer/scanner would be easier but mine is an oldboi and my computer has had some issues in the past so it’s a few apps short of a brain) (Oldboi scanner connects to laptop-kun via a USB cable because it pre-dates wireless printers that are much more common these days)

There is a button on the scanner I could press, but it’s probably actually better and easier to do it by opening the scanner app on the computer because you should preview your scan first in order to crop it and make sure it all fits and isn’t at a weird angle etc etc.

Step Four: Preview your image and make any adjustments necessary. I’ve cropped it but I’m not messing with the settings (the resolution would be important if you plan to print the image later and you might want to change it from colour to greyscale, but if you forget you can still do this in your editing program of choice really easily.

Step 5: Hit that scan button

and voila, your scanner has created an image that you can save, put on a usb stick, email to yourself, print, or whatever.

The scanner did a pretty good job of ignoring the big smudge i’d made by accident near his face, but I will want to open this up in an editing program like CSP to make my sketch easier to see. Scanning tends to wash things out a little (and with reflective material it doesn’t always show up well)

My guess is that fewer people have printer/scanners these days because so much “scanning” can be done with a phone - there are scanner apps you can download to your phone that are a little more precise than just using the camera app and can take scans of things larger than would fit in a printer/scanner, I just don’t have patience for them and haven’t really used them.

Step 6: drink and contemplate your own antiquity

am i really that old does everyone just use their phone these days

Step 7: Editing your drawing

I won’t go into this because it depends on what program you use to edit but It usually helps to adjust the brightness/contrast of the lineart layer (I have this under Edit > Tonal Correction but it might be in a different spot in other programs)

and if your program also has level correction that’s really helpful with cleaning up lineart

as you can see it’s picked up all the gross smudges - so i move around these arrows to try to get them as clear as possible : ) I think the arrows are for white, grey and black respectively (or at least, bright, midtone, and dark).

in csp what I would do is hit “convert brightness to opacity” which should make all the white areas transparent so you can colour under the line art. You can usually achieve something similar by changing the layer to “Multiply” in other programs.

voila! Now you can use the sketch as is, draw over it or under it, make copies, whatever you want.

[davidmann95]

So... Morrison’s 10 part interview on All-Star Superman, along with all other older Newsarama articles, just seem to have ceased to exist. One does not simply live without having those interviews available to reread... Can I find them anywhere else?

Rejoice! I finally borrowed a computer I could put my flash drive into, and emailed myself my copy of the Morrison interview. Here it is below the cut, copied and pasted direct from the source way back when, available again at last:

Three years, 12 issues, Eisners and countless accolades later, All Star Superman is finally finished. The out-of-continuity look at Superman’s struggle with his inevitable death was widely embraced by fans and pros as one of the best stories to feature the Man of Steel, and was a showcase for the talents of the creative team of Grant Morrison, Frank Quitely and Jamie Grant.

Now, Newsarama is proud to present an exclusive look back with Morrison at the series that took Superman to, pun intended, new heights. We had a lot of questions about the series...and Morrison delivered with an in-depth look into the themes, characters and ideas throughout the 12 issues. In fact, there was so much that we’re running this as an unprecedented 10-part series over the next two weeks – sort of an unofficial All Star Superman companion. It’s everything about All Star Superman you ever wanted to know, but were afraid to ask.

And of course there’s plenty of SPOILERS, so back away if you haven’t read the entire series.

Newsarama: Grant, tell us a little about the origin of the project.

Grant Morrison: Some of it has its roots in the DC One Million project from 1999. So much so, that some readers have come to consider this a prequel to DC One Million, which is fine if it shifts a few more copies! I’ve tried to give my own DC books an overarching continuity intended to make them all read as a more coherent body of work when I’m done.

Luthor’s “enlightenment” – when he peaks on super–senses and sees the world as it appears through Superman’s eyes – was an element I’d included in the Superman Now pitch I prepared along with Mark Millar, Tom Peyer and Mark Waid back in 1999. There were one or two of ideas of mine that I wanted to preserve from Superman Now and Luthor’s heart–stopping moment of understanding was a favorite part of the original ending for that story, so I decided to use it again here.

My specific take on Superman’s physicality was inspired by the “shamanic” meeting my JLA editor Dan Raspler and I had in the wee hours of the morning outside the San Diego comic book convention in whenever it was, ‘98 or ‘99.

I’ve told this story in more detail elsewhere but basically, we were trying to figure out how to “reboot” Superman without splitting up his marriage to Lois, which seemed like a cop–out. It was the beginning of the conversations which ultimately led to Superman Now, with Dan and I restlessly pacing around trying to figure out a new way into the character of Superman and coming up short...

Until we looked up to see a guy dressed as Superman crossing the train tracks. Not just any skinny convention guy in an ill–fitting suit, this guy actually looked like Superman. It was too good a moment to let pass, so I ran over to him, told him what we’d been trying to do and asked if he wouldn’t mind indulging us by answering some questions about Superman, which he did...in the persona and voice of Superman!

We talked for an hour and a half and he walked off into the night with his friend (no, it wasn’t Jimmy Olsen, sadly). I sat up the rest of the night, scribbling page after page of Superman notes as the sun came up over the naval yards.

My entire approach to Superman had come from the way that guy had been sitting; so easy, so confident, as if, invulnerable to all physical harm, he could relax completely and be spontaneous and warm. That pose, sitting hunched on the bollard, with one knee up, the cape just hanging there, talking to us seemed to me to be the opposite of the clenched, muscle-bound look the character sometimes sports and that was the key to Superman for me.

I met the same Superman a couple of times afterwards but he wasn’t Superman, just a nice guy dressed as Superman, whose name I didn’t save but who has entered into my own personal mythology (a picture has from that time has survived showing me and Mark Waid posing alongside this guy and a couple of young readers dressed as Superboy and Supergirl – it’s in the “Gallery” section at my website for anybody who can be bothered looking. This is the guy who lit the fuse that led to All Star Superman).

After the 1999 pitch was rejected, I didn’t expect to be doing any further work on Superman but sometime in 2002, while I was going into my last year on New X–Men, Dan DiDio called and asked if I wanted to come back to DC to work on a Superman book with Jim Lee.

Jim was flexing his artistic muscles again to great effect, and he wanted to do 12 issues on Superman to complement the work he was doing with Jeph Loeb on “Batman: Hush.” At the time, I wasn’t able to make my own commitments dovetail with Jim’s availability, but by then I’d become obsessed with the idea of doing a big Superman story and I’d already started working out the details.

Jim, of course, went on to do his 12 Superman issues as “For Tomorrow” with Brian Azzarello, so I found myself looking for an artist for what was rapidly turning into my own Man of Steel magnum opus, and I already knew the book had to be drawn by my friend and collaborator, Frank Quitely.

We were already talking about We3 and Superman seemed like a good meaty project to get our teeth into when that was done. I completely scaled up my expectations of what might be possible once Frank was on board and decided to make this thing as ambitious as possible.

Usually, I prefer to write poppy, throwaway “live performance” type superhero books, but this time, I felt compelled to make something for the ages – a big definitive statement about superheroes and life and all that, not only drawn by my favorite artist but starring the first and greatest superhero of them all.

The fact that it could be a non–continuity recreation made the idea even more attractive and more achievable. I also felt ready for it, in a way I don’t think I would have been in 1999; I finally felt “grown–up” enough to do Superman justice.

I plotted the whole story in 2002 and drew tiny colored sketches for all 12 covers. The entire book was very tightly constructed before we started – except that I’d left the ending open for the inevitable better and more focused ideas I knew would arise as the project grew into its own shape...and I left an empty space for issue 10. That one was intended from the start to be the single issue of the 12–issue run that would condense and amplify the themes of all the others. #10 was set aside to be the one–off story that would sum up anything anyone needed to know about Superman in 22 pages.

Not quite as concise an origin as Superman’s, but that’s how we got started.

NRAMA: When you were devising the series, what challenges did you have in building up this version of the Superman universe?

GM: I couldn’t say there were any particular challenges. It was fun. Nobody was telling me what I could or couldn’t do with the characters. I didn’t have to worry about upsetting continuity or annoying people who care about stuff like that.

I don’t have a lot of old comics, so my knowledge of Superman was based on memory, some tattered “70s books from the remains of my teenage collection, a bunch of DC “Best Of...” reprint editions and two brilliant little handbooks – “Superman in Action Comics” Volumes 1 and 2 – which reprint every single Action Comics cover from 1938 to 1988.

I read various accounts of Superman’s creation and development as a brand. I read every Superman story and watched every Superman movie I could lay my hands on, from the Golden Age to the present day. From the Socialist scrapper Superman of the Depression years, through the Super–Cop of the 40s, the mythic Hyper–Dad of the 50s and 60s, the questioning, liberal Superman of the early 70s, the bland “superhero” of the late 70s, the confident yuppie of the 80s, the over–compensating Chippendale Superman of the 90s etc. I read takes on Superman by Mark Waid, Mark Millar, Geoff Johns, Denny O’Neil, Jeph Loeb, Alan Moore, Paul Dini and Alex Ross, Joe Casey, Steve Seagle, Garth Ennis, Jim Steranko and many others.

I looked at the Fleischer cartoons, the Chris Reeve movies and the animated series, and read Alvin Schwartz’s (he wrote the first ever Bizarro story among many others) fascinating book – “An Unlikely Prophet” – where he talks about his notion of Superman as a tulpa, (a Tibetan word for a living thought form which has an independent existence beyond its creator) and claims he actually met the Man of Steel in the back of a taxi.

I immersed myself in Superman and I tried to find in all of these very diverse approaches the essential “Superman–ness” that powered the engine. I then extracted, purified and refined that essence and drained it into All Star’s tank, recreating characters as my own dream versions, without the baggage of strict continuity.

In the end, I saw Superman not as a superhero or even a science fiction character, but as a story of Everyman. We’re all Superman in our own adventures. We have our own Fortresses of Solitude we retreat to, with our own special collections of valued stuff, our own super–pets, our own “Bottle Cities” that we feel guilty for neglecting. We have our own peers and rivals and bizarre emotional or moral tangles to deal with.

I felt I’d really grasped the concept when I saw him as Everyman, or rather as the dreamself of Everyman. That “S” is the radiant emblem of divinity we reveal when we rip off our stuffy shirts, our social masks, our neuroses, our constructed selves, and become who we truly are.

Batman is obviously much cooler, but that’s because he’s a very energetic and adolescent fantasy character: a handsome billionaire playboy in black leather with a butler at this beck and call, better cars and gadgetry than James Bond, a horde of fetish femme fatales baying around his heels and no boss. That guy’s Superman day and night.

Superman grew up baling hay on a farm. He goes to work, for a boss, in an office. He pines after a hard–working gal. Only when he tears off his shirt does that heroic, ideal inner self come to life. That’s actually a much more adult fantasy than the one Batman’s peddling but it also makes Superman a little harder to sell. He’s much more of a working class superhero, which is why we ended the whole book with the image of a laboring Superman.

He’s Everyman operating on a sci–fi Paul Bunyan scale. His worries and emotional problems are the same as ours... except that when he falls out with his girlfriend, the world trembles.

Newsarama: Grant, what are some of your favorite moments from the 12 issues?

Grant Morrison: The first shot of Superman flying over the sun. The Cosmic Anvil. Samson and Atlas. The kiss on the moon. The first three pages of the Olsen story which, I think, add up to the best character intro I’ve ever written.

Everything Lex Luthor says in issue #5. Everything Clark does. The whole says/does Luthor/Superman dynamic as played out through Frank Quitely’s absolute mastery and understanding of how space, movement and expression combine to tell a story.

Superboy and his dog on the moon – that perfect teenage moment of infinite possibility, introspection and hope for the future. He’s every young man on the verge of adulthood, Krypto is every dog with his boy (it seemed a shame to us that Krypto’s most memorable moment prior to this was his death scene in “Whatever Happened To The Man of Tomorrow.” Quitely’s scampering, leaping, eager and alive little creature is how I’d prefer to imagine Krypto the Superdog and conjures finer and more subtle emotions).

Bizarro–Home, with all of Earth’s continental and ocean shapes but reversed. The page with the first appearance of Zibarro that Frank has designed so the eye is pulled down in a swirling motion into the drain at the heart of the image, to make us feel that we’re being flushed in a cloacal spiral down into a nihilistic, existential sink. Frank gave me that page as a gift, and it became weirdly emblematic of a strange, dark time in both our lives.

The story with Bar–El and Lilo has a genuine chill off ammonia and antiseptic off it, which makes it my least favorite issue of the series, although I know a lot of people who love it. It’s about dying relatives, obligations, the overlit overheated corridors between terminal wards, the thin metallic odors of chemicals, bad food and fear. Preparation for the Phantom Zone.

Superman hugging the poor, hopeless girl on the roof and telling us all we’re stronger than we think we are.

Joe Shuster drawing us all into the story forever and never–ending.

Nasthalthia Luthor. Frank and Jamie’s final tour of the Fortress, referencing every previous issue on the way, in two pages.

All of issue #10 (there’s a single typo in there where the time on the last page was screwed up – but when we fix that detail for the trade I’ll be able to regard this as the most perfectly composed superhero story I’ve ever written).

I don’t think I’ve ever had a smoother, more seamless collaborative process.

NRAMA: The story is very complete unto itself, but are there any new or classic characters you’d like to explore further? If so, which ones and why?

GM: I’d happily write more Atlas and Samson. I really like Krull, the Dino–Czar’s wayward son, and his Stalinist underground empire of “Subterranosauri.” I could write a Superman Squad comic forever. I’d love to write the “Son of Superman” sequel about Lois and Clark’s super test tube baby.

But...I think All Star is already complete, without sequels. You read that last issue and it works because you know you’re never going to see All Star Superman again. You’ll be able to pick up Superman books, but they won’t be about this guy and they won’t feel the same. He really is going away. Our Superman is actually “dying” in that sense, and that adds the whole series a deeper poignancy.

NRAMA: Aside from the Bizarro League, you never really introduce other DC superheroes into the story. Why did you make this choice?

GM: I wanted the story to be about the mythic Superman at the end of his time. It’s clear from the references that he has or more likely has had a few super–powered allies, but that they’re no longer around or relevant any more.

For the context of this story I wanted the super–friends to be peripheral, like they were in the old comics. The Flash? Green Lantern? They represent Superman’s “old army buddies,” or your dad’s school friends. Guys you’ve sort of heard of, who used to be more important in the old man’s life than they are now.

NRAMA: Some readers were confused as to how the “Twelve Labors” broke down, though others have pointed out that Superman’s actions are more reflective of the Stations of the Cross (I note there’s a “Station Café” in the background of issue #12). Could you break down the Twelve Labors, or, if the cross theory is true, how the storyline reflects the Stations?

GM: The 12 Labors of Superman were never intended as an isomorphic mapping onto the 12 Labors of Hercules, or for that matter, the specific Stations of the Cross, of which there are 14, I believe. I didn’t even want to do one Labor per issue, so it deliberately breaks down quite erratically through the series for reasons I’ll go into (later).

Yes, there are correspondences, but that’s mostly because we tried to create for our Superman the contemporary “superhero” version of an archetypal solar hero journey, which naturally echoes numerous myths, legends and religious parables.

At the same time, we didn’t want to do an update or a direct copy of any myth you’d seen before, so it won’t work if you try to find one specific mythological or religious “plan” to hang the series on; James Joyce’s honorable and heroic refutation of the rule aside, there’s nothing more dead and dull than an attempt to retell the Odyssey or the Norse sagas scene by scene, but in a modern and/or superhero setting.

For future historians and mythologizers, however, the 12 Labors of Superman may be enumerated as follows:

1. Superman saves the first manned mission to the sun.
2. Superman brews the Super–Elixir.
3. Superman answers the Unanswerable Question.
4. Superman chains the Chronovore. 
5. Superman saves Earth from Bizarro–Home.
6. Superman returns from the Underverse.
7. Superman creates Life.
8. Superman liberates Kandor/cures cancer.
9. Superman defeats Solaris.
10. Superman conquers Death.
11. Superman builds an artificial Heart for the Sun.
12.Superman leaves the recipe/formula to make Superman 2.

And one final feat, which typically no–one really notices, is that Lex Luthor delivers his own version of the unified field haiku – explaining the underlying principles of the universe in fourteen syllables – which the P.R.O.J.E.C.T. G–Type philosopher from issue 4 had dedicated his entire life to composing!

You may notice also that the Labors take place over a year – with the solar hero’s descent into the darkness and cold of the Underverse occurring at midwinter/Christmas time (that’s also the only point in the story where we ever see Metropolis at night).

It can also be seen as the sun’s journey over the course of a day – we open in blazing sunshine but halfway through the book, at the end of issue #5, in fact, the solar hero dips below the horizon and begins the night–journey through the hours of darkness and death, before his triumphant resurrection at dawn. That’s why issue 5 ends with the boat to the Underworld and 6 begins with the moon. Clark Kent is crossing the threshold into the subconscious world of memory, shadows, death and deep emotions.

Although they can often have bizarre resonances, specific elements, like the Station Café, are usually put there by Frank Quitely, and are not necessarily secret Dan Brown–style keys to unlocking the mysteries. I think there might be a Station Café opposite the studio where Frank Quitely works and the “SAPIEN” sign on another storefront is a reference to Frank’s studio mate, Dave Sapien. At least he’s not filling the background with dirty words like he used to, given any opportunity

NRAMA: For that matter, do the Twelve Labors matter at all? They seem so purposely ill–defined. They seem more like misdirection or a MacGuffin than anything that needs to be clearly delineated.

GM: They matter, of course, but the 12 Labors idea is there to show that, as with all myth, the systematic ordering of current events into stories, tales, or legends occurs after the fact.

I’m trying to suggest that only in the future will these particular 12 feats, out of all the others ever, be mythologized as 12 Labors. I suppose I was trying to say something about how people impose meaning upon events in retrospect, and that’s how myth is born. It’s hindsight that provides narrative, structure, meaning and significance to the simple unfolding of events. It’s the backward glance that adds all the capital letters to the list above.

Even Superman isn”t sure how many Labors he’s performed when we see him mulling it over in issue 10. 
When you watched it happening, it seemed to be Superman just doing his thing. In the future it’s become THE 12 LABORS OF SUPERMAN!

NRAMA: And on a completely ridiculous note: All–Star Superman is perhaps the most difficult–to–abbreviate comic title since Preacher: Tall in the Saddle. Did you realize this going in?

GM: Going into what? Going into ASS itself? In the sense of how did I feel as I slowly entered ASS for the first time?

It never crossed my mind...

Newsarama: I’d like to know a little more about Leo Quintum and his role in the story. He seems like a bit of an outgrowth of the likes of Project Cadmus and Emil Hamilton, but in a more fantastical, Willy Wonka sense.

Grant Morrison: Yeah, he was exactly as you say, my attempt to create an updated take on the character of “Superman’s scientist friend” – in the vein of Emil Hamilton from the animated show and the ‘90s stories. Science so often goes wrong in Superman stories, and I thought it was important to show the potential for science to go right or to be elevated by contact with Superman’s shining positive spirit.

I was thinking of Quintum as a kind of “Man Who Fell To Earth” character with a mysterious unearthly background. For a while I toyed with the notion that he was some kind of avatar of Lightray of the New Gods, but as All Star developed, that didn’t fit the tone, and he was allowed to simply be himself.

Eventually it just came down to simplicity. Leo Quintum represents the “good” scientific spirit – the rational, enlightened, progressive, utopian kind of scientist I figured Superman might inspire to greatness. It was interesting to me how so many people expected Quintum to turn out bad at the end. It shows how conditioned we are in our miserable, self–loathing, suspicious society to expect the worst of everyone, rather than hope for the best. Or maybe it’s just what we expect from stories.

Having said that, there is indeed a necessary whiff of Lucifer about Quintum. His name, Leo Quintum, conjures images of solar force, lions and lightbringers and he has elements of the classic Trickster figure about him. He even refers to himself as “The Devil Himself” in issue #10.

What he’s doing at the end of the story should, for all its gee–whiz futurity, feel slightly ambiguous, slightly fake, slightly “Hollywood.” Yes, he’s fulfilling Superman’s wishes by cloning an heir to Superman and Lois and inaugurating a Superman dynasty that will last until the end of time – but he’s also commodifying Superman, figuring out how it’s done, turning him into a brand, a franchise, a bigger–and–better “revamp,” the ultimate coming attraction, fresher than fresh, newer than new but familiar too. Quintum has figured out the “formula” for Superman and improved upon it.

And then you can go back to the start of All Star Superman issue #1 and read the “formula” for yourself, condensed into eight words on the first page and then expanded upon throughout the story! The solar journey is an endless circle naturally. A perfect puzzle that is its own solution.

In one way, Quintum could be seen to represent the creative team, simultaneously re–empowering a pure myth with the honest fire of Art...while at the same time shooting a jolt of juice through a concept that sells more “S” logo underpants and towels than it does comic books. All tastes catered!

I have to say that the Willy Wonka thing never crossed my mind until I saw people online make the comparison, which seems quite obvious now. Quintum dresses how I would dress if I was the world’s coolest super–scientist. What’s up with that?

NRAMA: Was Zibarro inspired by the Bizarro World story where the Bizarro–Neanderthal becomes this unappreciated Casanova–type?

GM: Don’t know that one, but it sounds like a scenario I could definitely endorse!

Zibarro started out as a daft name sicked–up by my subconscious mind, which flowered within moments into the must–write idea of an Imperfect Bizarro. What would an imperfect version of an already imperfect being be like?

Zibarro.

NRAMA: I’d like to know more about Zibarro – what’s the significance of his chronicling Bizarro World through poetry?

GM: It’s up to you. I see Zibarro partly as the sensitive teenager inside us all. He’s moody, horribly self–aware and uncomfortable, yet filled with thoughts of omnipotence and agency. He’s the absolute center of his tiny, disorganized universe. He’s playing the role of sensitive, empathic poet but at the same time, he’s completely self–absorbed.

When he says to Superman “Can you even imagine what it’s like to be so different. So unique. So unlike everyone else?” he doesn’t even wait for Superman’s reply. He doesn’t care about anyone’s feelings but his own, ultimately.

NRAMA: The character is very close to Superman, so what does it say that a nonpowered version on a savage world would focus his energy through that medium? Also, does Zibarro’s existence show how Superman is able to elevate even the backwards Bizarros through his very nature?

GM: All of the above. And maybe he writes his totally subjective poetry as a reflection of Clark Kent’s objective reporter role. The suppressed, lyrical, wounded side of Superman perhaps? The Super–Morrissey? Bizarro With The Thorn In His Side?

But he’s also Bizarro–Home’s “mistake” (or so it seems to him, even though he’s as natural an expression of the place as any of the other Bizarro creatures who grow like mold across the surface of their living planet). He feels excluded, a despised outsider, and yet that position is what defines his cherished self–image. He expresses himself through poetry because to him the regular Bizarro language is barbaric, barely articulate and guttural. And they all think he’s talking crap anyway.

It seemed to make sense that an interesting opposite of Bizarro speech might be flowery “woe is me” school Poetry Society odes to the sunset in a misunderstood heart. He’s still a Bizarro though, which makes him ineffectual. His tragedy is that he knows he’s fated to be useless and pointless but craves so much more.

NRAMA: Zibarro also represents a recurrent theme in the story, of Superman constantly facing alternate versions of himself – Bar–El, Samson and Atlas, the Superman Squad, even Luthor by the end. Notably, Hercules is absent, though Superman’s doing his Twelve Labors. With the mythological adventurers in particular, was this designed to equate Superman with their legend, to show how his character is greater than theirs, or both?

GM: In a way, I suppose. He did arm–wrestle them both, proving once and for all Superman’s stronger than anybody! And remember, these characters, along with Hercules, used to appear regularly in Superman books as his rivals. I thought they made better rivals than, say, Majestic or Ultraman because people who don’t read comics have heard of Hercules, Samson and Atlas and understand what they represent.

For that particular story, I wanted to see Superman doing tough guy shit again, like he did in the early days and then again in the 70s, when he was written as a supremely cocky macho bastard for a while. I thought a little bit of that would be an antidote to the slightly soppy, Super–Christ portrayal that was starting to gain ground.

Hence Samson’s broken arm, twisted in two directions beyond all repair. And Atlas in the hospital. And then Superman’s got his hot girlfriend dressed like a girl from Krypton and they’re making out on the moon (the original panel description was of something more like the famous shot of Burt Lancaster and Deborah Kerr kissing in the surf from “From Here To Eternity.” Frank’s final choice of composition is much more classically pulp–romantic and iconic than my down and dirty rumble in the moondirt would have been, I’m glad to say).

Newsarama: Tell us about some of the thinking behind the new antagonists you created for this series (at least the ones you want to talk about...): First up: Krull and the Subterranosaurs...

Grant Morrison: We wanted to create some throwaway new characters which would be designed to look as if they were convincing long–term elements of the Superman legend.

We were trying to create a few foes who had a classic feel and a solid backstory that could be explored again or in depth. Even if we never went back to these characters, we wanted them to seem rich enough to carry their own stories.

With Krull, we figured a superhuman character like Superman can always use a powerful “sub–human” opponent: a beast, a monster, a savage with the power to destroy civilization. For years I’ve had the idea that the familiar “gray aliens” might “actually” be evolved biped dinosaur descendants, the offspring of smart–thinking lizards which made their way to the warm regions at the Earth’s core.

I imagined these brutes developing their own technology, their own civilization, and then finally coming to the surface to declare bloody war on the mammalian usurpers! It seemed like we could develop this idea into the Krull backstory and suggest a whole epic conflict in a few panels.

Dom Regan, the Glasgow artist and DC colorist, saw the original green skin Jamie Grant had done for Krull, and suggested we make him red instead. Jamie reset his color filters and that was the moment Krull suddenly looked like a real Superman foe.

The red skin marked him out as unique, different and dangerous, even among his own species. It had echoes of Jack Kirby’s Devil Dinosaur that played right into the heart of the concept. A good design became a great design and the whole story of who Krull was – his twisted relationship with his father the Dino–Czar, his monstrous ambitions – came together in that first picture.

The society was fleshed out in the script even though we see only one panel of it – a gloomy, heavy, “Soviet” underworld of walled iron cities, cold blood and deadly intrigue. War–Barges that could sail on the oceans of heated steam at the center of the Earth. A Stalinist authoritarian lizard world where missing person cases were being taken to work and die as slaves in hellish underworld conditions.

NRAMA: Mechano–Man?

GM: An attempt to pre–imagine a classic, archetypal Superman foe, which started with another simple premise – how about a giant robot villain? But not just any giant robot – this is a rampaging machine with a raging little man inside.

Giving him a bitter, angry, scrawny loser as a pilot turned Mechano–Man into a much more extreme and pathological expression of the Man of Steel/Mild–Mannered Reporter dynamic, and added a few interesting layers onto an 8–panel appearance.

NRAMA: The Chronovore – a very disturbing creation, that one.

GM: The Chronovore was mentioned in passing in DC 1,000,000 and would have been the monster in my aborted Hypercrisis series idea. It took a long time to get the right design for the beast because it’s meant to be a 5–D being that we only ever see in 4–D sections. It had to work as a convincing representation of something much bigger that we’re seeing only where it interpenetrates our 4–D space-time continuum.

Imagine you’re walking along with a song in your teenage heart, then suddenly the Chronovore appears, takes bite out of your life, and you arrive at your girlfriend’s house aged 76, clutching a cell phone and a wilted bouquet.

NRAMA: One more obscure run that I was happy to see referenced in this was the use of Nasty from the old Mike Sekowsky Supergirl stories. What made you want to use this character?

GM: I remembered her from the old comics, and felt her fashion–y look could be updated very easily into the kind of fetish club thing I’ve always been partial to.

She seemed a cool and sexy addition to the Luthor plot. The set–up, where Lex has a fairly normal sister who hates how her wayward brother is such a bad influence on her brilliant daughter, is explosive with character potential.

They need to bring Nasty back to mainstream continuity. Geoff! They all want it and you know you never let them down!

NRAMA: Speaking of Mike Sekowsky, I’m curious about his influence on your work. I have an odd fascination with all the ideas and stories he was tossing around in the late 1960s and early 1970s – Jason’s Quest, Manhunter 2070, the I–Ching tales – and many of the characters he worked on, from the B”Wana Beast to the Inferior Five to Yankee Doodle (in Doom Patrol), have shown up in your work. The Bizarro Zoo in issue #10 is even slightly reminiscent of the Beast’s merged animals.

GM: Those were all comics that were around when I was a normal kid, prior to the obsessive collecting fan phase of my isolated teenage years. They clearly inspired me in some way, as you say, but certainly not consciously. I’d never have considered myself a particular fan of Mike Sekowsky’s work, but as you say, I’ve incorporated a lot of his ideas into the DC Universe work I’ve done. Hmm. Interesting.

While I’m at it, I should also say something about Samson and Atlas, halfway between old characters and new.

Samson, Atlas and Hercules were classical mainstays of old Superman covers, tangling with Superman in all those Silver Age stories that happened before he learned from his friends at Marvel that it was possible to fight other superheroes for fun and profit, so I decided to completely “re–vamp” the characters in the manner of superhero franchises. Marvel has the definitive Hercules for me, so I left him out of the mix and concentrated on Atlas and Samson.

Atlas was re–imagined as a mighty but restless and reckless young prince of the New Mythos – a society of mega–beings playing out their archetypal dramas between New Elysium and Hadia, with ordinary people caught in the middle – and Superman.

Essentially good–hearted, Atlas would have been the newbie in a “team” with Skyfather Xaoz!, Heroina, Marzak and the others. He has a bullish, adolescent approach to life. He drinks and plunges himself into ill–advised adventures to ease his naturally gloomy “weighed down by the world” temperament.

You can see it all now. The backstory suggested an unseen, Empyrean New Gods–type series from a parallel universe. What if, when Jack Kirby came to DC from Marvel in 1971, he’d followed up his sci–fi Viking Gods saga at Marvel, with a dimension–spanning epic rooted in Greek mythology? New Gods meets Eternals drawn by Curt Swan/Murphy Anderson? That was Atlas.

Samson, I decided would be a callback to the British newspaper strip “Garth.” Although you may already be imagining a daily strip about the exploits of time–tossed The Boys writer, Garth Ennis, it was actually about a blonde Adonis type who bounced around the ages having mildly horny, racy adventures.

(Go look him up then return the wiser before reading on, so I don’t have to explain anymore about this bastard – he’s often described as “the British Superman,” but oh...my arse! I hated meathead, personality–singularity Garth...but we all grew up with his meandering, inexplicable yet incredibly–drawn adventures and some of it was quite good when you were a little lad because he was always shagging ON PANEL with the likes of a bare–breasted cave girl or gauze–draped Helen of Troy.

(Unlike Superman, you see, the top British strongman liked to get naked. Lots naked. Naked in every time period he could get naked in, which was all of them thanks to the miracle of his bullshit powers.

(Imagine Doctor Who buff, dumb and naked all the time – Russell, I’ve had an idea!!!! – and that’s Garth in a nutshell.

(Sorry, I know I’m going on and the average attention span of anyone reading stuff on the Internet amounts to no more than a few paragraphs, but basically, Garth was always getting naked. In public, in family newspapers. Bollock naked. Let’s face it, patriotic Americans, have you ever seen Superman’s arse?

Newsarama Note: Well, there was Baby Kal-El in the 1978 film...

(Brits, hands up who still remember the man, and have you ever not seen Garth’s arse? Do you not, in fact, have a very clear image of it in your head, as drawn by Martin Asbury perhaps? In mine, Garth’s pulling aside a flimsy curtain to gaze at the pyramids with Cleopatra buck naked in foreground ogling his rock hard glutes...).

Anyway, Samson, I decided, was the Hebrew version of Garth and he would have his own mad comic that was like an American version of Garth. I saw the Bible hero plucked from the desert sands by time–travelling buffoons in search of a savior. Introduced to all the worst aspects of future culture and, using his stolen, erratic Chrono–Mobile, Samson became a time–(and space) traveling Soldier of Fortune, writing wrongs, humping princesses, accumulating and losing treasure etc. Like a science fiction Conan. Meets Garth.

Fortunately, you’ll never see any of these men ever again.

Newsarama: How have your perceptions of Superman and his supporting characters evolved since the Superman 2000 pitch you did with Mark Waid, Mark Millar and Tom Peyer? The Superman notions seem almost identical, but Luthor is very different here than in that pitch, and so is Clark Kent. Did you use some aspects of your original pitch, or have you just changed his mind on how to portray these characters since?

Grant Morrison: A little of both. I wanted to approach All Star Superman as something new, but there were a couple of specific aspects from the Superman 2000 pitch (as I mentioned earlier, it was actually called Superman Now, at least in my notebooks, which is where the bulk of the material came from) that I felt were definitely worth keeping and exploring.

I can’t remember much about Luthor from Superman Now, except for the ending. By the time I got to All Star Superman, I’d developed a few new insights into Luthor’s character that seemed to flesh him out more. Luthor’s really human and charismatic and hateful all the same time. He’s the brilliant, deluded egotist in all of us. The key for me was the idea that he draws his eyebrows on. The weird vanity of that told me everything I needed to know about Luthor.

I thought the real key to him was the fact that, brilliant as he is, Luthor is nowhere near as brilliant as he wants to be or thinks he is. For Luthor, no praise, no success, no achievement is ever enough, because there’s a big hungry hole in his soul. His need for acknowledgement and validation is superhuman in scale. Superman needs no thanks; he does what he does because he’s made that way. Luthor constantly rails against his own sense of failure and inadequacy...and Superman’s to blame, of course.

I’ve recently been re–thinking Luthor again for a different project, and there’s always a new aspect of the character to unearth and develop.

NRAMA: This story makes Superman and Lois’ relationship seem much more romantic and epic than usual, but this one also makes Superman more of the pursuer. Lois seems like more of an equal, but also more wary of his affections, particularly in the black–and–white sequence in issue #2.

She becomes this great beacon of support for him over the course of the series, but there is a sense that she’s a bit jaded from years of trickery and uncomfortable with letting him in now that he’s being honest. How, overall, do you see the relationship between Superman and Lois?

GM: The black-and-white panels shows Lois paranoid and under the influence of an alien chemical, but yes, she’s articulating many of her very real concerns in that scene.

I wanted her to finally respond to all those years of being tricked and duped and led to believe Superman and Clark Kent were two different people. I wanted her to get her revenge by finally refusing to accept the truth.

It also exposed that brilliant central paradox in the Superman/Lois relationship. The perfect man who never tells a lie has to lie to the woman he loves to keep her safe. And he lives with that every day. It’s that little human kink that really drives their relationship.

NRAMA: Jimmy Olsen is extremely cool in this series – it’s the old “Mr. Action” idea taken to a new level. It’s often easy to write Jimmy as a victim or sycophant, but in this series, he comes off as someone worthy of being “Superman’s Pal” – he implicitly trusts Superman, and will take any risk to get his story. Do you see this version of Jimmy as sort of a natural evolution of the version often seen in the comics?

GM: It was a total rethink based on the aspects of Olsen I liked, and playing down the whole wet–behind–the–ears “cub reporter” thing. I borrowed a little from the “Mr. Action” idea of a more daredevil, pro–active Jimmy, added a little bit of Nathan Barley, some Abercrombie & Fitch style, a bit of Tintin, and a cool Quitely haircut.

Jimmy was renowned for his “disguises” and bizarre transformations (my favorite is the transvestite Olsen epic “Miss Jimmy Olsen” from Jimmy Olsen #95, which gets a nod on the first page of our Jimmy story we did), so I wanted to take that aspect of his appeal and make it part of his job.

I don’t like victim Jimmy or dumb Jimmy, because those takes on the character don’t make any sense in their context. It seemed more interesting see what a young man would be like who could convincingly be Superman’s “pal.” Someone whose company a Superman might actually enjoy. That meant making Jimmy a much bigger character: swaggering but ingenuous. Innocent yet worldly. Enthusiastic but not stupid.

My favorite Jimmy moment is in issue #7 when he comes up with the way to defeat the Bizarro invasion by using the seas of the Bizarro planet itself as giant mirrors to reflect toxic – to Bizarros – sunlight onto the night side of the Earth. He knows Superman can actually take crazy lateral thinking like this and put it into practice.

NRAMA: Perry White has a few small–but–key scenes, particularly his address to his staff in issue #1 and standing up to Luthor in issue #12. I’d like to hear more about your thoughts on this character.

GM: As with the others, my feelings are there on the page. Perry is Clark’s boss and need only be that and not much more to play his role perfectly well within the stories. He’s a good reminder that Superman has a job and a boss, unlike that good–for–nothing work-shy bastard Batman. Perry’s another of the series’ older male role models of integrity and steadfastness, like Pa Kent.

NRAMA: There’s a sense in the Daily Planet scenes and with Lois’s spotlight issues that everyone knows Clark is Superman, but they play along to humor him. The Clark disguise comes off as very obvious in this story. Do you feel that the Planet staff knows the truth, or are just in a very deep case of denial, like Lex?

GM: If I had to say for sure, I think Jimmy Olsen worked it out a long time ago, and simply presumes that if Superman has a good reason for what he’s doing, that’s good enough for Jimmy.

Lois has guessed, but refuses to acknowledge it because it exposes her darkest flaw – she could never love Clark Kent the way she loves Superman.

NRAMA: Also, the Planet staff seems awfully nonchalant at Luthor’s threats. Are they simply used to being attacked by now?

GM: Yes. They’re a tough group. They also know that Superman makes a point of looking out for them, so they naturally try to keep Luthor talking. They know he loves to talk about himself and about Superman. In that scene, he’s almost forgotten he even has powers, he’s so busy arguing and making points. He keeps doing ordinary things instead of extraordinary things.

NRAMA: The running gag of Clark subtly using his powers to protect unknowing people is well done, but I have to admit I was confused by the sequence near the end of issue #1. Was that an el–train, and if so, why was it so close to the ground?

GM: It’s a MagLev hover–train. Look again, and you’ll see it’s not supported by anything. Hover–trains help ease congestion in busy city streets! Metropolis is the City of Tomorrow, after all.

NRAMA: And there’s the death of Pa Kent. Why do you feel it’s particularly important to have Pa and not both of the Kents pass away?

GM: I imagined they had both passed away fairly early in Superman’s career, but Ma went a few years after Pa. Also, because the book was about men or man, it seemed important to stress the father/son relationships. That circle of life, the king is dead, long live the king thing that Superman is ultimately too big and too timeless to succumb to.

NRAMA: There is a real touch of Elliott S! Maggin’s novels in your depiction of Luthor – someone who is just so obsessive–compulsive about showing up Superman that he accomplishes nothing in his own life. He comes across as a showman, from his rehearsed speech in issue #1 to his garish costume in the last two issues, and it becomes painfully apparent that he wants to usurp Superman because he just can’t be happy with himself. What defeats him is actually a beautiful gift, getting to see the world as Superman does, and finally understanding his enemy.

That’s all a lead–in to: What previous stories that defined Luthor for you, and how did you define his character? What appeals to you about writing him?

GM: The Marks Waid and Millar were big fans of the Maggin books, and may have persuaded me to read at least the first one but I’m ashamed to say can’t remember anything about it, other than the vague recollection of a very humane, humanist take on Superman that seemed in general accord with the pacifist, hedonistic, between–the–wars spirit of the ‘90s when I read it. It was the ‘90s; I had other things on my mind and in my mind.

I like Maggin’s “Must There Be A Superman?” from Superman #247, which ultimately poses questions traditional superhero comic books are not equipped to answer and is one of the first paving stones in the Yellow Brick Road that leads to Watchmen and beyond, to The Authority, The Ultimates etc. Everyone still awake, still reading this, should make themselves familiar with “Must There Be A Superman?” – it’s a milestone in the development of the superhero concept.

However, the story that most defines Luthor for me turns out to be, as usual, a Len Wein piece with Curt Swan/Murphy Anderson– Superman #248. This blew me away when I was a kid. Lex Luthor cares about humanity? He’s sorry we all got blown up? The villain loves us too? It’s only Superman he really hates? Genius. Big, cool adult stuff.

The divine Len makes Lex almost too human, but it was amazing to see this kind of depth in a character I’d taken for granted as a music hall villain.

I also love the brutish Satanic, Crowley–esque, Golden Age Luthor in the brilliant “Powerstone” Action Comics #47 (the opening of All Star #11 is a shameless lift from “Powerstone”, as I soon realised when I went back to look. Blame my...er...photographic memory...cough).

And I like the Silver Age Luthor who only hates Superman because he thinks it’s Superboy’s fault he went bald. That was the most genuinely human motivation for Luthor’s career of villainy of all; it was Superman’s fault he went bald! I can get behind that.

In the Silver Age, baldness, like obesity, old age and poverty, was seen quite rightly as a crippling disease and a challenge which Superman and his supporting cast would be compelled to overcome at every opportunity! Suburban “50s America versus Communist degeneracy? You tell me.

I like elements of the Marv Wolfman/John Byrne ultra–cruel and rapacious businessman, although he somewhat lacks the human dimension (ultimately there’s something brilliant about Luthor being a failed inventor, a product of Smallville/Dullsville – the genius who went unnoticed in his lifetime, and resorted to death robots in chilly basements and cellars. Luthor as geek versus world). I thought Alan Moore’s ruthlessly self–assured “consultant” Luthor in Swamp Thing was an inspired take on the character as was Mark Waid’s rage–driven prodigy from Birthright.

I tried to fold them all into one portrayal. I see him as a very human character – Superman is us at our best, Luthor is us when we’re being mean, vindictive, petty, deluded and angry. Among other things. It’s like a bipolar manic/depressive personality – with optimistic, loving Superman smiling at one end of the scale and paranoid, petty Luthor cringing on the other.

I think any writer of Superman has to love these two enemies equally. We have to recognize them both as potentials within ourselves. I think it’s important to find yourself agreeing with Luthor a bit about Superman’s “smug superiority” – we all of us, except for Superman, know what it’s like to have mean–spirited thoughts like that about someone else’s happiness. It’s essential to find yourself rooting for Lex, at least a little bit, when he goes up against a man–god armed only with his bloody–minded arrogance and cleverness.

Even if you just wish you could just give him a hug and help him channel his energies in the right direction, Luthor speaks for something in all of us, I like to think.

However he’s played, Luthor is the male power fantasy gone wrong and turned sour. You’ve got everything you want but it’s not enough because someone has more, someone is better, someone is cleverer or more handsome.

 Newsarama: Grant, a recurring theme throughout the book is the effect of small kindness – how even the likes of Steve Lombard are capable of decency. And Superman gets the key to saving himself by doing something that any human being could do, offering sympathy to a person about to end it all.

Grant Morrison: Completely...the person you help today could be the person who saves your life tomorrow.

NRAMA: The character actions that make the biggest difference, from Zibarro’s sacrifice to Pa’s influence on Superman, are really things that any normal, non-powered person could do if they embrace the best part of their humanity. The last page of issue #12 teases the idea that Superman’s powers could be given to all mankind, but it seems as though the greatest gift he has given them is his humanity. How do you view Superman’s fate in the context of where humanity could go as a species?

GM: I see Superman in this series as an Enlightenment figure, a Renaissance idea of the ideal man, perfect in mind, body and intention.

A key text in all of this is Pico’s ‘Oration On The Dignity of Man’ (15c), generally regarded as the ‘manifesto’ of Renaissance thought, in which Giovanni Pico Della Mirandola laid out the fundamentals of what we tend to refer to as ’Humanist’ thinking.

(The ‘Oratorio’ also turns up in my British superhero series Zenith from 1987, which may indicate how long I’ve been working towards a Pico/Superman team-up!)

At its most basic, the ‘Oratorio’ is telling us that human beings have the unique ability, even the responsibility, to live up to their ���ideals’. It would be unusual for a dog to aspire to be a horse, a bird to bark like a dog, or a horse to want to wear a diving suit and explore the Barrier Reef, but people have a particular gift for and inclination towards imitation, mimicry and self-transformation. We fly by watching birds and then making metal carriers that can outdo birds, we travel underwater by imitating fish, we constantly look to role models and behavioral templates for guidance, even when those role models are fictional TV or, comic, novel or movie heroes, just like the soft, quick, shapeshifty little things we are. We can alter the clothes we wear, the temperature around us, and change even our own bodies, in order to colonize or occupy previously hostile environments. We are, in short, a distinctively malleable and adaptable bunch.

So, Pico is saying, if we live by imitation, does it not make sense that we might choose to imitate the angels, the gods, the very highest form of being that we can imagine? Instead of indulging the most brutish, vicious, greedy and ignorant aspects of the human experience, we can, with a little applied effort, elevate the better part of our natures and work to express those elements through our behavior. To do so would probably make us all feel a whole lot better too. Doing good deeds and making other people happy makes you feel totally brilliant, let’s face it.

So we can choose to the astronaut or the gangster. The superhero or the super villain. The angel or the devil. It’s entirely up to us, particularly in the privileged West, how we choose to imagine ourselves and conduct our lives.

We live in the stories we tell ourselves. It’s really simple. We can continue to tell ourselves and our children that the species we belong to is a crawling, diseased, viral cancer smear, only fit for extinction, and let’s see where that leads us.

We can continue to project our self-loathing and narcissistic terror of personal mortality onto our culture, our civilization, our planet, until we wreck the promise of the world for future generations in a fit of sheer self-induced panic...

...or we can own up to the scientific fact that we are all physically connected as parts of a single giant organism, imagine better ways to live and grow...and then put them into practice. We can stop pissing about, start building starships, and get on with the business of being adults.

The ’Oratorio’ is nothing less than the Shazam!, the Kimota! for Western Culture and we would do well to remember it in our currently trying times.

The key theme of the ‘Dark Age’ of comics was loss and recovery of wonder - McGregor’s Killraven trawling through the apocalyptic wreckage of culture in his search for poetry, meaning and fellowship, Captain Mantra, amnesiac in Robert Mayer’s Superfolks, Alan Moore’s Mike Maxwell trudging through the black and white streets of Thatcher’s Britain, with the magic word of transformation burning on the tip of his tongue.

My own work has been an ongoing attempt to repeat the magic word over and over until we all become the kind of superheroes we’d all like to be. Ha hah ha.

 Newsarama: The structure of the 12 issues involves both Superman’s 12 labors and his impending death. Do you feel the threat of his demise brings out the best in Superman’s already–high character, or did you intend it more as a window for the audience to understand how he sees the world?

Grant Morrison: In trying to do the “big,” ultimate Superman story, we wanted to hit on all the major beats that define the character – the “death of Superman” story has been told again and again and had to be incorporated into any definitive take. Superman’s death and rebirth fit the sun god myth we were establishing, and, as you say, it added a very terminal ticking clock to the story.

NRAMA: When we talked earlier this year, we discussed the neurotic quality of the Silver Age stories. Looking at the series as a whole, you consistently invert this formula. Superman is faced with all these crises that could be seen as personifying his neuroses, but for the most part he handles them with a level head and comes across as being very at peace with himself. You talked about your discussion with an in–character Superman fan at a convention years ago, but I am curious as to how you determined Superman’s mindset.

GM: I felt we had to live up to the big ideas behind Superman. I don’t take my daft job lightly. It’s all I’ve got.

As the project got going, I wasn’t thinking about Silver Ages or Dark Ages or anything about the comics I’d read, so much as the big shared idea of “Superman” and that “S” logo I see on T–shirts everywhere I go, on girls and boys. That communal Superman. I wanted us to get the precise energy of Platonic Superman down on the page.

The “S” hieroglyph, the super–sigil, stands for the very best kind of man we can imagine, so the subject dictated the methodical, perfectionist approach. As I’ve mentioned before, I keep this aspect of my job fresh for myself by changing my writing style to suit the project, the character or the artist.

With something like Batman R.I.P., I’m aiming for a frenzied Goth Pulp-Noir; punk-psych, expressionist shadows and jagged nightmare scene shifts, inspired by Batman’s roots and by the snapping, fluttering of his uncanny cape. Final Crisis was written, with the Norse Ragnarok and Biblical Revelations in mind, as a story about events more than characters. A doom-laden, Death Metal myth for the wonderful world of Fina(ncia)l Crisis/Eco-breakdown/Terror Trauma we all have to live in.

The subject matter drives the execution. And then, of course, the artists add their own vision and nuance. With All Star Superman, “Frank” and I were able to spend a lot of time together talking it through, and we agreed it had to be about grids, structure, storybook panel layouts, an elegance of form, a clarity of delivery. “Classical” in every sense of the word. The medium, the message, the story, the character, all working together as one simple equation.

Frank Quitely, a Glasgow Art School boy, completely understood without much explanation, the deep structural underpinnings of the series and how to embody them in his layouts. There’s a scene in issue # 8, set on the Bizarro world, where we see Le Roj handing Superman his rocket plans. Look at the arrangement of the figures of Zibarro, Le Roj, Superman and Bizaro–Superman and you’ll see one attempt to make us of Renaissance compositions.

The sense of sunlit Zen calm we tried to get into All Star is how I imagine it might feel to think the way Superman thinks all the time - a thought process that is direct, clean, precise, mathematical, ordered. A mind capable of fantastical imagination but grounded in the everyday of his farm upbringing with nice decent folks. Rich with humour and tears and deep human significance, yet tuned to a higher key. We tried to hum along for a little while, that’s all.

In honor of the character’s primal position in the development of the superhero narrative, I hoped we could create an “ultimate” hero story, starring the ultimate superhero.

Basically, I suppose I felt Superman deserved the utmost application of our craft and intelligence in order to truly do him justice.

Otherwise, I couldn’t have written this book if I hadn’t watched my big, brilliant dad decline into incoherence and death. I couldn’t have written it if I’d never had my heart broken, or mended. I couldn’t have written it if I hadn’t known what it felt like to be idolized, misunderstood, hated for no clear reason, loved for all my faults, forgotten, remembered...

Writing All Star Superman was, in retrospect, also a way of keeping my mind in the clean sunshine while plumbing the murkiest depths of the imagination with that old pair of c****s Darkseid and Doctor Hurt. Good riddance.

 Newsarama: This is touched on in other questions, but how much of the Silver/Bronze Age backstory matters here? What do you see as Superman's life prior to All-Star Superman? (What was going on with this Superman while the Byrne revamp took hold?)

Grant Morrison: When I introduced the series in an interview online, I suggested that All Star Superman could be read as the adventures of the ‘original’ Pre-Crisis on Infinite Earths Superman, returning after 20 plus years of adventures we never got to see because we were watching John Byrne‘s New Superman on the other channel. If ‘Whatever Happened To The Man of Tomorrow?’ and the Byrne reboot had never happened, where would that guy be now?

This was more to provide a sense, probably limited and ill-considered, of what the tone of the book might be like. I never intended All Star Superman as a direct continuation of the Weisinger or Julius Schwartz-era Superman stories. The idea was always to create another new version of Superman using all my favorite elements of past stories, not something ‘Age’ specific.

I didn’t collect Superman comics until the ‘70s and I’m not interested enough in pastiche or nostalgia to spend 6 years of my life playing post-modern games with Superman. All Star isn’t written, drawn or colored to look or read like a Silver Age comic book.

All Star Superman is not intended as arch commentary on continuity or how trends in storytelling have changed over the decades. It’s not retro or meta or anything other than its own simple self; a piece of drawing and writing that is intended by its makers to capture the spirit of its subject to the best of their capabilities, wisdom and talent.

Which is to say, we wanted our Superman story be about life, not about comics or superheroes, current events or politics. It’s about how it feels, specifically to be a man...in our dreams! Hopefully that means our 12 issues are also capable of wide interpretation.

So as much as we may have used a few recognizable Silver Age elements like Van-Zee and Sylv(i)a and the Bottle City of Kandor, the ensemble Daily Planet cast embodies all the generations of Superman. Perry White is from 1940, Steve Lombard is from the Schwartz-era ‘70s, Ron Troupe - the only black man in Metropolis - appeared in 1991. Cat Grant is from 1987 and so on.

P.R.O.J.E.C.T. refers back to Jack Kirby’s DNA Project from his ‘70s Jimmy Olsen stories, as well as to The Cadmus Project from ’90s Superboy and Superman stories. Doomsday is ‘90s. Kal Kent, Solaris and the Infant Universe of Qwewq all come from my own work on Superman in the same decade. Pa Kent’s heart attack is from ‘Superman the Movie‘. We didn’t use Brainiac because he’d been the big bad in Earth 2 but if we had, we’d have used Brainiac’s Kryptonian origin from the animated series and so on.

I also used quite a few elements of John Byrne’s approach. Byrne made a lot of good decisions when he rebooted the whole franchise in 1986 and I wanted to incorporate as much as I could of those too.

Our Superman in All Star was never Superboy, for instance. All Star Superman landed on Earth as a normal, if slightly stronger and fitter infant, and only began to manifest powers in adolescence when he’d finally soaked up enough yellow solar radiation to trigger his metamorphosis.

The Byrne logic seemed to me a better way to explain how his powers had developed across the decades, from the skyscraper leaps of the early days to the speed-of-light space flight of the high Silver Age. And more importantly, it made the Superman myth more poignant - the story of a farm boy who turned into an alien as he reached adolescence. I felt that was something that really enriched Superman. He grew away from his home, his family, his adopted species as he became Superman. His teenage years are a record of his transformation from normal boy to super-being.

As you say, there are more than just Silver Age influences in the book. Basically we tried to create a perfect synthesis of every Superman era. So much so, that it should just be taken as representative of an ‘age’ all its own.

In the end, however, I do think that the Silver Age type stories, with their focus on human problems and foibles, have a much wider appeal than a lot of the work which followed. They’re more like fables or folk tales than the later ‘comic book superhero’ stories of Superman when he became just another colorful costume in the crowd...and perhaps that’s why All Star seemed to resemble those books more than it does a typical modern Marvel or DC comic. It was our intention to present a more universal, mainstream Superman.

NRAMA: In your depiction of Krypton and the Kryptonians, you show the complexity of Superman’s relationship between humanity and Earth even further. Krypton has that scientific paradise quality to it, but the Kryptonians are also portrayed as slightly aloof and detached, even Jor-El. But from Bar-El to the people of Kandor, they’re touched by Superman’s goodness. What do you see as the fundamental difference between Kryptonians and Earthlings, and how has Superman’s character been shaped by each?

GM: My version of Krypton was, again, synthesized from a number of different approaches over the decades. 
In mythic terms, if Superman is the story of a young king, found and raised by common people, then Krypton is the far distant kingdom he lost. It’s the secret bloodline, the aristocratic heritage that makes him special, and a hero. At the same time, Krypton is something that must be left behind for Superman to become who he is - i.e. one of us. Krypton gives him his scientific clarity of mind, Earth makes his heart blaze.

I liked the very early Jerry Siegel descriptions where Krypton is a planet of advanced supermen and women (I already played with that a little in Marvel Boy where Noh-Varr was written to be the Marvel Superboy basically). To that, I added the rich, science fiction detailing of the Silver Age Krypton stories and the slightly detached coolness that characterized John Byrne’s Krypton, which I re-interpreted through the lens of Dzogchen Buddhist thought, probably the most pragmatic, chilly and rational philosophic system on the planet and the closest, I felt, to how Kryptonians might see things.

We also took some time to redesign the crazy, multicolored Kryptonian flag (you can see our version in Kandor in issue #10). The flag, as originally imagined, seemed like the last thing Kryptonians would endorse, so we took the multicolored-rays-around-a-circle design and recreated it - the central circle is now red, representing Krypton’s star, Rao, while the rays, rather than arbitrary colors, become representations of the spectrum of visible light pouring from Rao into the inky black of space. In this way, the flag, that bizarre emblem of nationalism becomes a scientific hieroglyph.

Showing Krypton and Kryptonians was also important as a way of stressing why Superman wears that costume and why it makes absolute sense that he looks the way he does. I don’t see the red and blue suit as a flag or as rewoven baby blankets. There’s no need for Superman to dress the way he does but it made sense to think of his outfit as his ‘national costume‘.

The way I see it, the standard superhero outfit, the familiar Superman suit with the pants on the outside, is what everyone wore on Krypton, give or take a few fashion accessories like hoods and headbands, chest crests and variant colors. In fact, all other superheroes are just copying the fashions on Krypton, lost planet of the super-people.

Superman wears his ’action-suit’ the way a patriotic Scotsman would wear a kilt. It’s a sign of his pride in his alien heritage.

 Newsarama: Although All–Star Superman ties in with DC One Million, you style of writing has changed dramatically since then.  How do you feel about One Million now?

Grant Morrison: I just read it again and liked it a lot. Comics were definitely happier, breezier and more confident in their own strengths before Hollywood and the Internet turned the business of writing superhero stories into the production of low budget storyboards or, worse, into conformist, fruitless attempts to impress or entertain a small group of people who appear to hate comics and their creators.

NRAMA: Obviously, this book is the most explicit SF–Christ story since Behold the Man, only...happy.  Superman/Christ parallels have existed for decades, but this story makes it absolutely explicit, from laying his hands on the sick and dying to...well, most of issue #12.  You’ve dealt with Christ themes before, particularly in The Mystery Play, but outside of the comics, how do you see Superman as a Christ figure for the “real” world?

GM: The “Superman as Christ” thing is a little too reductive for me, and tends to overlook the fact that Superman is by no means a pacifist in the Christ sense. Superman would never turn the other cheek; Superman punches out the bully. Superman is a fighter.

When did Christ ever batter the Devil through a mountain?

The thing I disliked about the Superman Returns movie was the American Christ angle, which reduced Superman to a sniveling, masochistic wreck, crawling around on the floor, taking a kicking from everyone. This approach had an odd and slightly disturbing S&M flavor, which didn’t play well to the character’s strengths at all and seemed to derive entirely from a kind of Catholic vision of the suffering, martyred Jesus.

It’s not that he’s based on Jesus, but simply that a lot of the mythical sun god elements that have been layered onto the Christ story also appear in the story of Superman. I suppose I see Superman more as pagan sci–fi. He’s a secular messiah, a science redeemer with tough guy muscles and a very direct and clear morality.

NRAMA: Continuing the religious themes, in issue #10, you have Superman literally giving birth to himself, both philosophically and as a character – a nice little meta–moment showing how Superman inspires a world where he is only fiction.  How did that idea come about?

GM: It came from the challenge we’d set ourselves: as I said, issue #10 had been left as a blank space into which the single most coherent condensation of all our ideas about Superman were destined to fit.

I wanted to do a “day in the life” story. So much of All Star had been about this threat to Superman himself, so we wanted to show him going about a typical day saving people and doing good.

Then came the title “Neverending,” which comes from the opening announcement – “Faster than a speeding bullet!...” of the Superman radio show from 1940, and seemed to me to be as good a title for a Superman story as any I could think of. It seemed to distil everything about Superman’s battle and his legend into a single word. And the story structure itself was designed to loop endlessly, so it went well with that.

 On top of that went the idea of the Last Will and Testament of Superman. A dying god writing his will seemed like an interesting structure to use. Then came the idea to fit all of human history into that single 24 hours. And then to show the development of the Superman idea through human culture from the earliest Australian Aboriginal notions of super–beings ‘descended” from the sky, through the complex philosophical system of Hinduism, onto the Renaissance concept of the ideal man, via the refinements of Nietzche and finally, down to that smiling, hopeful Joe Shuster sketch; the final embodiment of humanity’s glorious, uplifting notion of the superman become reduced to a drawing, a story for kids, a worthless comic book.

And also what that could mean in a holographic fractal universe, where the smallest part contains and reflects the whole.

Of course the next panel in that sequence is happening in the real world and would show you, the reader, sitting with the latest Superman issue in your hands, deep within the Infant Universe of Qwewq in the Fortress of Solitude, today, wherever you are. In “Neverending,” the reader becomes wrapped in a self–referential loop of story and reality. If you actually, seriously think about what is happening at this point in the story, if you meditate upon the curious entanglement of the real and the fictional, you will become enlightened in this life apparently. According to some texts.

NRAMA: On a personal level, you’ve explored all types of religions and philosophies in your work.  What is your take on religion and how it influences humanity, and the Christian take on Jesus Christ in particular?

GM: I think religion per se, is a ghastly blight on the progress of the human species towards the stars.  At the same time, it, or something like it, has been an undeniable source of comfort, meaning and hope for the majority of poor bastards who have ever lived on Earth, so I’m not trying to write it off completely. I just wish that more people were educated to a standard where they could understand what religion is and how it works. Yes, it got us through the night for a while, but ultimately, it’s one of those ugly, stupid arse–over–backwards things we could probably do without now, here on the Planet of the Apes.

Religion is to spirituality what porn is to sex. It’s what the Hollywood 3–act story template is to real creative writing.

Religion creates a structure which places “special,” privileged people (priests) between ordinary people and the divine, as if there could even be any separation: as if every moment, every thought, every action was not already an expression of dynamic ‘divinity” at work.

As I’ve said before, the solid world is just the part of heaven we’re privileged to touch and play with. You don’t need a priest or a holy man to talk to “god” on your behalf: just close your eyes and say hello. “God” is no more, no less, than the sum total of all matter, all energy, all consciousness, as experienced or conceptualized from a timeless perspective where everything ever seems to present all at once. “God” is in everything, all the time and can be found there by looking carefully. The entire universe, including the scary, evil bits, is a thought “God” is thinking, right now.

As far as I can figure it out from my own reading and my own experience of how the spiritual world works, Jesus was, as they say, way cool: a man who achieved a state of consciousness, which nowadays would get him a diagnosis of temporal lobe epilepsy (in the days of the Emperor Tiberius, he was crucified for his ideas, today he’d be laughed at, mocked or medicated).

This “holistic” mode of consciousness (which Luthor experiences briefly at the end of All Star Superman) announces itself as a heartbreaking connection, a oneness, with everything that exists...but you don’t have to be Superman to know what that feeling is like. There are a ton of meditation techniques which can take you to this place. I don’t see it as anything supernatural or religious, in fact, I think it’s nothing more than a developmental level of human consciousness, like the ability to see perspective – which children of 4 cannot do but children of 6 can.

Everyone who’s familiar with this upgrade will tell you the same thing: it feels as if “alien” or “angelic” voices – far more intelligent, coherent and kindly than the voices you normally hear in your head – are explaining the structure of time and space and your place in it. 
This identification with a timeless supermind containing and resolving within itself all possible thoughts and contradictions, is what many people, unsurprisingly, mistake for an encounter with “God.”  However, given that this totality must logically include and resolve all possible thoughts and concepts, it can also be interpreted as an actual encounter with God, so I’m not here to give anyone a hard time over interpretation.

Some people have the experience and believe the God of their particular culture has chosen them personally to have a chat with. These people may become born–again Christians, fundamentalist Muslims, devotees of Shiva, or misunderstood lunatics. Some “contactees” interpret the voices they hear erroneously as communications from an otherworldly, alien intelligence, hence the proliferation of “abduction” accounts in recent decades, which share most of their basic details with similar accounts, from earlier centuries, of people being taken away by “fairies” or “little people”.

Some, who like to describe themselves as magicians, will recognize the “alien” voice as the “Holy Guardian Angel”.

In timeless, spaceless consciousness, the singular human mind blurs into a direct experience of the totality of all consciousness that has ever been or will ever be. It feels like talking with God but I see that as an aspect of science, not religion.

As Peter Barnes wrote in “The Ruling Class”, “I know I must be God because when I pray to Him, I find I’m talking to myself.”

 Newsarama: When we spoke earlier this year, you talked about some of your ideas for future All Star stories. Are you moving forward on those, or have you started working on different ideas since then?

Grant Morrison: I haven’t had time to think about them for a while. I did have the stories worked out, and I’d like to do more, but right now it feels like Frank and Jamie and I have said all there is to be said. I don’t know if I’m ready to do All Star Superman with anyone else right now. I have other plans.

NRAMA: You end the book with Superman having uplifted humanity – having inspired them through his sacrifice and great deeds, and with the potential to pass his powers on to humanity still there. Do you plan to explore this concept further, or would you prefer to leave it open–ended?

GM: I may go back to the Son of Superman in some way. At the same time, it’s best left open–ended. I like the idea that Superman gets to have his cake and eat it; he becomes golden and mythical and lives forever as a dream. Yet, he also is able to sire a child who will carry his legacy into the future. He kicks ass in both the spiritual and the temporal spheres!

 NRAMA: The notion of transcendence – always a big part of your work. But the debate about All Star Superman is whether or not it "transcends its genre." Superman becomes transcendent within the series itself, and inspires the beings on Qwewq, but does the work aspire to more than that? Is it simply the greatest version of a Superman story, and that’s enough?

GM: That would certainly be enough if it were true.

It’s a pretty high–level attempt by some smart people to do the Superman concept some justice, is all I can say. It’s intended to work as a set of sci–fi fables that can be read by children and adults alike. I’d like to think you can go to it if you’re feeling suicidal, if you miss your dad, if you’ve had to take care of a difficult, ailing relative, if you’ve ever lost control and needed a good friend to put you straight, if you love your pets, if you wish your partner could see the real you...All Star is about how Superman deals with all of that.

It’s a big old Paul Bunyan style mythologizing of human - and in particular male - experience. In that sense I’d like to think All Star Superman does transcend genre in that it’s intended to be read on its own terms and needs absolutely no understanding of genre conventions or history around it to grasp what’s going on.

In today’s world, in today’s media climate designed to foster the fear our leaders like us to feel because it makes us easier to push around. In a world where limp, wimpy men are forced to talk tough and act ‘badass’ even though we all know they’re shitting it inside. In a world where the measure of our moral strength has come to lie in the extremity of the images we’re able to look at and stomach. In a world, I’m reliably told, that’s going to the dogs, the real mischief, the real punk rock rebellion, is a snarling, ‘fuck you’ positivity and optimism. Violent optimism in the face of all evidence to the contrary is the Alpha form of outrage these days. It really freaks people out.

I have a desire not to see my culture and my fellow human beings fall helplessly into step with a middle class media narrative that promises only planetary catastrophe, as engineered by an intrinsically evil and corrupt species which, in fact, deserves everything it gets.

Is this relentless, downbeat insistence that the future has been cancelled really the best we can come up with? Are we so fucked up we get off on terrifying our children? It’s not funny or ironic anymore and that’s why we wrote All Star Superman the way we did. Everything has changed. ‘Dark’ entertainment now looks like hysterical, adolescent, ‘Zibarro’ crap. That’s what my Final Crisis series is about too.

NRAMA (aka Tim Callahan): Continuing with the theme of transcendence: The words "ineffectual" and "surrender" are repeated throughout the book. Discuss.

GM: Discuss yourself, Callahan! I know you have the facilities and I should think it’s all rather obvious. 


NRAMA: What was the inspiration for the image of Superman in the sun at the end? (I confess this question comes as the result of much unsuccessful Googling)

GM: I didn’t have any specific reference in mind - just that one we‘ve all sort of got in our heads. I drew the figure as a sketch, intended to be reminiscent of William Blake’s cosmic figures, Russian Constructivist Soviet Socialist Worker type posters, and Leonardo’s ‘Proportions of the Human Figure‘. The position of the legs hints at the Buddhist swastika, the clockwise sun symbol. It was to me, the essence of that working class superheroic ideal I mentioned, condensed into a final image of mythic Superman, - our eternal, internal, guiding, selfless, tireless, loving superstar. The daft All Star Superman title of the comic is literalized in this last picture. It’s the ‘fearful symmetry’ of the Enlightenment project - an image of genius, toil, and our need to make things, to fashion art and artifacts, as a form of superhuman, divine imitation.

It was Superman as this fusion of Renaissance/Enlightenment ideas about Man and Cosmos, an impossible union of Blake and Newton. A Pop Art ‘Vitruvian Man‘. The inspiration for the first letter of the new future alphabet!

As you can see, we spent a lot of time thinking about all this and purifying it down to our own version of the gold. I’m glad it’s over.

NRAMA: Finally: What, above all else, would you like people to take away from All Star Superman?

GM: That we spent a lot of time thinking about this!

No. What I hope is that people take from it the unlikelihood that a piece of paper, with little ink drawings of figures, with little written words, can make you cry, can make your heart soar, can make you scared, sad, or thrilled. How mental is that?

That piece of paper is inert material, the corpse of some tree, pulped and poured, then given new meaning and new life when the real hours and real emotions that the writer and the artist, the colorist, the letter the editor translated onto the physical page, meet with the real hours and emotions of a reader, of all readers at once, across time, generations and distance.

And think about how that experience, the simple experience of interacting with a paper comic book, along with hundreds of thousands of others across time and space, is an actual doorway onto the beating heart of the imminent, timeless world of “Myth” as defined above. Not just a drawing of it but an actual doorway into timelessness and the immortal world where we are all one together.

My grief over the loss of my dad can be Superman’s grief, can trigger your own grief, for your own dad, for all our dads. The timeless grief that’s felt by Muslims and Christians and Agnostics alike. My personal moments of great and romantic love, untainted by the everyday, can become Superman’s and may resonate with your own experience of these simple human feelings.

In the one Mythic moment we’re all united, kissing our Lover for the First time, the Last time, the Only time, honoring our dear Dad under a blood red sky, against a darkening backdrop, with Mum telling us it’ll all be okay in the end.

If we were able to capture even a hint of that place and share it with our readers, that would be good enough for me.

[andrewmoocow]

Steven Universe Alternate Future chapter 17: Together Forever (originally posted on July 5, 2021)

AN: Welcome back my loyal readers! Sorry to keep you all waiting these past few months, but I know the wait will really be worth it. The final two parts of Alternate Future might be some of my greatest writings yet, and I'm more than excited to share it all with you starting today. Now without further ado….

Synopsis: Steven tries to become Connie's official boyfriend.

Cast:

Zach Callison as Steven

Estelle as Garnet

Charlyne Yi as Ruby

Erica Luttrell as Sapphire

Deedee Magno-Hall as Pearl

Grace Rolek as Connie

Dee Bradley Baker as Lion

Kimberly Brooks as Cherry Quartz

Noël Wells as Black Rutile

Featuring Ray Chase as George Ikari

--

Pearl stood in line at the Buddwick Public Library alongside many other parents and parental figures like her, waiting as a bearded, glasses-wearing Japanese-American man signed books at a table.

"Hey, you wouldn't happen to not be from around here, right?" a single dad standing behind Pearl asked her.

"Well, technically yes," Pearl informed the father. "I come from a planet of beings similar to myself who are all based around gemstones, which explains my appearance. Also, just last week I helped save your world from a sociopathic revolutionary, so you're welcome."

"You foreigners say the craziest things!" the father giggled in disbelief of Pearl, who just groaned flatly as the line began to pick up.

Eventually, Pearl was at the front of the line and now face to face with childcare author George Ikari, who had his fingers clasped together as he gazed at Pearl.

"Let me guess, you are here because of your own son, daughter, or whatever pronouns your child prefers to be dubbed?" George asked Pearl while he took out another copy of his book, titled "When Your Child Wants Time Apart", to sign for the Gem.

"Well, he's not really my son, but Steven is the closest thing my team, the Crystal Gems, have to one after his mother died giving birth to him." Pearl explained as George got to signing. "And that's not even getting into the fact that his mother was a former despotic alien conqueror who grew tired of her life and the constant neglect from her fellow despots, so she faked her death because of how much she valued your planet as part of a big war, then thousands of years later she met a rock star and fell in love with him before they consummated their relationship and she gave up her physical form to give birth to Steven."

George just stared in shock at Pearl's tale before she tried to continue. "And just last week, there was this other Gem with a vendetta against Steven's mother who tried to destroy the planet and kill us a-"

"Stop." George commanded Pearl with a raise of his hand before handing over the signed book. "Just take the book and leave. Your tales are holding up the line."

"What did I tell ya, foreigners say the craziest things!" the single father from before laughed.

"I'm deeply sorry Mr. Ikari, it's just that Steven has been going through some rough times lately." Pearl apologized to the author.

"I completely understand miss." George said while pulling out his phone to show Pearl a picture of his own son, a young man with scruffy brown hair, a white dress shirt, and a nervous expression on his face. "My son Shane has had his fair share of troubles ever since his mother died, troubles that he insisted on running away from rather than facing them maturely."

"Just like Steven." Pearl compared the two boys sympathetically. "I am deeply sorry for your loss sir."

"Thank you for your kindness." George smiled, putting away his phone. "The best thing I feel could work for a situation like this is to let things play out and discuss his problems when the time is right."

"Thank you very much George." Pearl thanked the author as she finally began to leave the library with her new book in hand. "Though I doubt that'll be of any use to Steven."

--

Not too far away from the library, Steven was sitting in his room talking to Connie on the phone while she was on her study break.

"Wow Connie, looks like you got all this college stuff figured out." Steven laughed with his dear human friend over his phone.

"I've got a whole plan figured out for early admission into the University of Jayhawk, but I'm still not sure about my major," Connie explained to Steven. "Maybe I should major in political science and minor in sociology, or perhaps the other way around."

"Did all our galactic adventures together get you interested in politics?" Steven asked.

"Maybe." Connie chuckled. "But I'm thinking more down to earth, as far as long-term careers go." As the two laughed at Connie's pun, the timer on her phone began to go off. "Wow, fifteen minutes went by pretty fast."

"Aw man, these study breaks are too short." Steven complained before he realized something. "Hey wait, you left a brochure at my place last time." He stated, pulling out a brochure for Connie's college of choice to show her. "You want it back?"

"It's alright Steven, I still have two more, and the Internet too." Connie answered smiling.

"Oh, right." Steven realized. "Well, call me when you still wanna hang out, okay?"

"You know I will, silly!" Connie beamed. "Okay, for real now, bye!"

After Connie ended the call, Steven turned over on his back and gazed at the brochure in his hands. "The University of Jayhawk, huh?" he muttered to himself. "And how far is that from here?" Steven then opened up the brochure to learn how far the distance between Beach City and the university's location in Kansas was. "Oh, that far."

Once again, Steven began to glow pink as he sadly sank into his bed, fretting over how little often he'd be able to see Connie regularly. Gazing at his rose-colored hand, he then started pondering on whether he should do something about this new condition, as he had been thinking about since the titanic battle with Black Rutile.

--

Soon, Steven had decided to get up off his bed and walk downstairs, to which he found Garnet standing in the living room dressed in a hat and kerchief. "Oh Garnet, you're still here?"

"Steven." Garnet greeted Steven tersely.

"I could really use your advice right now." Steven declared racing over to the fusion. "It's about-"

"Not right now Steven, I gotta split." Garnet cut Steven off before un-fusing into Ruby and Sapphire.

"I'm terribly sorry Steven, but I'm running late for my lecture on alternate timelines." Sapphire apologized while taking off the scoutmaster's hat and giving it to Ruby, along with a kiss on the cheek, before racing off to her lecture. "See you soon!"

"Sapphire might be going, but you still got good ol' Ruby to talk to." Ruby said to Steven as she went to fetch a backpack. "Let's walk and talk scout, I got things to do."

"Oh, okay." Steven agreed as he followed Ruby to the Warp Pad, and the two set off.

--

Later that day, Steven had joined Ruby's class, consisting of Onion, Zebra Jasper, and Little Larimar, as they strolled through the woods on a gorgeous afternoon. When the class got to a good stopping point near a stump, Ruby hopped up on the stump to speak. "Okay everyone, you remember what we learned last week, right?" she asked her students. "Well, today is the day! Brace yourselves, 'cause today we're sketching nature and the animals around us!"

Onion and his Gem classmates excitedly took out their notepads to draw on as Ruby continued. "Draw to your heart's content scouts!" Ruby declared. "Feel the beauty of everything around you, and you'll have the honor of receiving this Nature Sketching Badge!" She then presented a patch depicting a paint palette and brush in front of depictions of a wolf and a bird. "Got that? Now get to drawing!"

As soon as the three pupils left to go draw the beauty of nature around them, Ruby took it as her cue to jump down from the stump to talk with Steven. "So, what did you need Garnet for?"

"It's about Connie." Steven admitted to the small red Gem. "Every time I talk with her, I feel like she knows exactly what to do with her life, mostly thanks to her parents, and I don't. When we're together as Stevonnie, I feel so ready for anything, but on my own, I feel so lost. Just, what do I want with life?"

"That's tough Steven." Ruby declared sympathetically.

"Exactly!" Steven replied. "Connie is gonna go super far away for college, and I'm gonna be stuck here in Beach City where barely anything can go right for me nowadays and I don't know what to do about them! I want to be with Connie forever, like how you and Sapphire are basically together forever as Garnet!" That was when he came to a conclusion. "Wait, if I want to be together with Connie, then she's my future!"

Steven's revelation made Ruby super excited, and she began scuttling in place with stars in her eyes, her rapid footsteps creating a small fire beneath her feet. "STEVEN STEVEN STEVEN STEVEN STEVEN!" she cheered, but stopped short once she noticed the fire she created. "Oh my gosh, one sec!" Ruby quickly ran off and came back with a towel that she used to put it out. "Anyways, STEVEN, YOU GOTTA PROPOSE!"

"Wait, propose?!" Steven exclaimed in shock. "But, we're only teenagers, we can't get married yet! But then again…"

"Don't say you haven't thought of it!" Ruby added cheerfully. "Besides, aren't there couples in this country that get married at 18 or something?"

"Y-yeah, I thought of it." Steven began blushing, which he tried to hide within his jacket. "I mean, we just had this discussion."

"Well, what are you waiting for?!" Ruby yelled happily while jumping up and grabbing onto his head. "DO IT, DO IT, DO IT! DO IT LIKE YOUR LIFE DEPENDS ON IT!"

"Are you still really sure?" Steven asked the overly eager Gem. "As I said, Connie and I are still only teenagers."

"C'mon, we told you about how it worked for Sapphire and I." Ruby responded. "And if you're successful, you'll have the honor of receiving this!" She presented Steven with a badge depicting one figure popping the question to another. "The Proposal Badge! And if you're not so sure, well, seeing the future would be really helpful here."

Steven gasped, knowing just who Ruby was implying.

--

Far away from Ruby, Sapphire sat down with her class, made up of the Watermelon Tourmaline fusion, two of the Nephrites, Orange Spodumene, Cherry Quartz, and Angel Aura Quartz, while drawing lines in the sand with a stick.

"Okay class, let's begin our lesson." Sapphire announced to her students when she spotted Steven racing towards her with a big smile on his face. "Ah, Steven. I've been expecting you."

"Hi, Sapphire." Steven greeted Sapphire. "I'm sorry to interrupt your class, but I got big news! I've been thinking about my future with Connie lately, and a chat with Ruby convinced me that I should propose!"

"Wait, don't you have to wait until you're a grown-up to do that?" Cherry Quartz inquired with a raise of her hand.

"Let me guess, you're here because of my future vision?" Sapphire asked. "Let's run the numbers then." She then let Steven stand next to her before beginning to speak to her class. "Okay class, let's review what we've learned today." She began while drawing complex math equations in the sand. "Using the concepts we discussed so far, let us calculate the probability of Steven succeeding in asking Connie to marry him. Let's begin with the probability that she'll want to spend her life with someone, and then we'll multiply that by the differential factor in sociocultural marriage acceptance. Next, we multiply that by a possibly happy cohabitation, the factor of fear of engagement, the intensity of the love you share, and finally the robustness of your goals in life." As Sapphire finished her equation, she finally turned back to Steven. "Are you following so far, Steven?"

"Uh, maybe?" Steven answered as he stared at the equation Sapphire had jotted down for him in the sand, but it wasn't long before the ocean tides began to wash them away. "Oh no, your work!"

"And there we have it." Sapphire declared with a chuckle. "Don't you get it, Steven? My marriage to Ruby, our fusion as Garnet, it eluded my future vision for so long, defied the odds, and perhaps even changed the course of time itself!" she declared encouragingly. "We could just write equations in the sand all day, but then a wave of chance can come crashing in and wash everything away! Love is truly unquantifiable! Even with my gift of clairvoyance, I know far better than anyone that love can make the impossible possible! And that is why I say do it! Do it, Steven, just do it!"

"Yeah, you're right!" Steven began getting pumped up before turning to Sapphire's class. "Get one last good look at me, everyone, because after today you're gonna be calling me Steven Quartz Cutie Pie DeMayo Diamond Universe-Maheswaran!"

The class began cheering vibrantly, bringing a big smile to Steven's face as he finally realized what his future now held.

--

As the afternoon slowly began to give way to evening, Ruby and Sapphire reunited by rushing towards each other on the sand, excited about the big proposal.

"Steven told me first, and I led him to you!" Ruby cheered, spinning her little blue wife around by the waist.

"I told him to go for it!" Sapphire laughed. "Oh, it's going to be so wonderful!"

As the two fused back into Garnet, she stood still for a few moments, contemplating her components' decisions before coming to one of her own. "I take full responsibility for their actions." Just then, Garnet heard footsteps and found Pearl walking behind her, her pointy nose stuck in a book. "Pearl, I'm guessing you want to see me about the book you're reading."

"I was just thinking about calling up you and Amethyst," Pearl announced as her gaze turned from the pages to her leader. "Where's Steven?"

"Oh, nothing much," Garnet answered. "Just going to make a rash decision that'll emotionally damage him in the long run."

"Oh, that's ni-" Pearl began before she did a double-take. "WAIT, WHAT?!"

--

As for Steven, he was too busy getting ready for an evening with Connie without a care in the world, picking up a cake from Spacetries that said 'Together forever!' on it, buying some flowers from Crazy Lace Agate, lighting up the glow bracelet that brought him & Connie together to begin with and dressing up in some nice clothes. If all goes well, he would soon become Steven Quartz Cutie Pie DeMayo Diamond Universe-Maheswaran.

Meanwhile, at Connie's house, Connie kept on studying for the University of Jayhawk when she heard a roar coming from outside her window. Walking over to the window, she discovered Steven parked outside her home with Lion by his side.

"Evening Connie, how are you doing?" Steven asked his ladylove.

"Steven?" Connie replied. "What are you doing here, and why are you all dressed up like that?"

"You got a fifteen-minute study break in two minutes, right?" Steven inquired, gazing at his watch to check if his timing is correct.

"Whoa, spot-on!" Connie exclaimed, gazing at her phone to learn that he was indeed right. "So, what did you come here for?"

"You want to go for a walk with me?" Steven offered. "I'm sure you could use some fresh air."

"That's very sweet Steven." Connie smiled. "I'd really love to, but I-"

"Don't worry, we can take Lion, and then I'll bring you home in fifteen!" Steven declared with a thumbs up.

"Okay, let's do this!" Connie accepted the offer and left her room to meet Steven outside, taking a moment to tell her parents along the way. "Bye Mom and Dad, I'm spending my study break with Steven!"

Once Connie was out the door, she and Steven mounted on Lion's back and he ran away from the Maheswaran residence.

--

"Remember when we first met here?" Steven asked Connie as they dismounted from Lion and began walking down the beach.

"You mean when you tried riding a bike in the sand and then started running away screaming?" Connie replied with a chuckle.

"Yeah, I was trying to get your attention." Steven added.

"Last I remember, I was more focused on my book than your silly antics." Connie stated.

"Well, that all happened right here." Steven declared, gesturing to a picnic at the very spot where he and Connie first met all those years ago. "You like what I have here?"

"Steven!" Connie exclaimed in awe at the picnic set before them. "I don't know what to say! I also can't believe you still remember this exact spot!"

"I just remember it like it was yesterday!" Steven exclaimed just as eagerly before running over to a nearby rock to sit on.

"This is too cute." Connie squealed while blushing.

"And without further ado," Steven announced as he picked up a guitar to play while Connie sat down. "There's something very important that I'd like to tell you today." With that, he started strumming the guitar and began to sing. "I'd rather be tall, I'd rather be smart, I'd rather be sure you know I care." He sang for Connie. "Wherever you go, wherever you start, I'd rather be sure you know I'm there. I'd rather I always be a part of whatever you do. I'd rather be me, with you."

Although Connie was a little turned off by the deeper meaning of Steven's song, she chose to just keep those feelings hidden to not hurt Steven's while he continued singing. "Wherever we go, I already trust, I'd know what to do if it were us. I'd know what to say, I'd know how to be, I'd know your entire syllabus." Steven continued as the song reached its climax. "I can't think of any other thing in the world that I would rather do. If I could be, I'd rather be me with you."

"Oh Steven, that's so beautiful!" Connie applauded the love song. "If a little unsettling, but I'd rather not say it out loud because-" Steven then got down on one knee and presented him her old glow bracelet. "Huh?"

"Connie, will you marry me?" Steven popped the question at last.

"Come again?" Connie asked, completely taken off guard by such a proposal.

"Let's get married and live together as Stevonnie, just like Garnet!" Steven reiterated for his possible wife.

"Are you serious?" Connie chuckled at the marriage proposal. "I think we should talk about this first."

"You might think I'm being sentimental, but this makes sense!" Steven exclaimed. "I don't know what you'll be studying, but I'm sure Stevonnie will! We can go to Jayhawk together!"

"I really appreciate this little date, but come on! You're still young!" Connie said as she stood up. "And acting a little clingy, I might add." She added under her breath.

"What was that?" Steven asked Connie.

"Nothing!" Connie lied. "Like I said, we're still young. And even if some couples get married at like, eighteen, I don't think we're fit to be one of those."

"So, you don't want to be Stevonnie with me?" Steven asked despondently, but Connie was there to comfort him.

"Of course I'd want to be Stevonnie, but I'd like to be my own person too," Connie answered reassuringly. "You get that, right?"

"Yeah, but," Steven began while putting the bracelet away as Connie hugged him. "Is it a no?"

"I'd say it's not right now." Connie answered.

"But if we're going to spend our lives together, why didn't you say it now?" Steven kept on inquiring fretfully.

"We got plenty of time." Connie declared, moving on from hugging Steven to holding his hands. "Don't you worry."

"I'm not worried, honest." Steven tried correcting his best friend. "I'm just happy when I'm with you."

"I'm happy around you too." Connie replied. "It's just that-" Before Connie could finish, the alarm on her phone went off. "Oh snap, my alarm!" she yelped in realization while pulling her phone out. "Forget studying right now, I don't think it matters."

"But it does matter to you!" Steven yelled.

"And you're just as important!" Connie responded, beginning to notice Steven getting more stressed out.

"I'm fine, we can talk about it later." Steven began rapidly panting. "Look, Lion's still right there, you can go now."

"Are you sure Steven?" Connie wondered sympathetically. "You're looking a little on edge. Maybe I can hook you up with a good therapist. She's a good friend of my mom named Dr. Rebe-"

"I'm sure I'm fine." Steven cut Connie off. "Now go."

"Okay." Connie obliged before giving Steven a goodbye hug. "I'll call you again tomorrow at noon." She said before walking towards Lion to have him take her home.

"Have fun studying!" Steven continued putting up a happy front as he bid Connie farewell. But as soon as she was out of sight, that front completely fell. "Nobody I love ever wants to stay."

With that, Steven fell back-first to the sand and turned pink, the resulting impact ruining the nice picnic around him as he wallowed in a crater of his sadness, and stayed there for the rest of the day.

--

Many hours later, Steven kept on lying in the crater long into the night with tears in his eyes, and when he finally decided to get up, Garnet was there waiting for him with the picnic basket containing the cake still intact.

"I assume it didn't go well." Garnet theorized as she helped Steven up from the crater and began walking him home.

"I don't get it," Steven muttered cynically. "Ruby and Sapphire said I should go for it, and I did, but everything went wrong."

"I apologize on their behalf," Garnet stated. "You just can't trust love advice from hopeless romantics like those two."

"Then why didn't you stop me?" Steven asked the fusion.

"I couldn't see a future where you didn't try proposing to Connie," Garnet answered. "However, there were quite a few where after she said no, you forced her to fuse with you and subsequently went insane."

"Of course." Steven moaned. "Even in alternate timelines, nothing can ever go right for me."

"Don't be so hard on yourself." Garnet comforted her half-human ward with a hug to the side. "Your soulmate should be your complement, not a missing piece. Ruby and Sapphire may deeply love each other, but they still have their own thoughts, feelings, and lives." The pair soon reached the beach house and sat down on the steps together. "Whatever hole you have in your life Steven, I want you to know that Connie or Stevonnie might not fill it."

"It's just that you guys make it so easy!" Steven revealed as he took the basket from Garnet. "Can't believe I'm saying this, but it's kinda your fault for being so dang perfect!"

"I know you're upset Steven, and I take responsibility for your plight," Garnet apologized to Steven. "but blaming others as much as you blame yourself won't help."

"Then maybe shoving this adorable cake in my face will!" Steven declared as he opened the picnic basket to reveal that the cake was in pieces.

"It probably won't." Garnet deadpanned, but Steven didn't listen and started eating the broken cake anyways.

"Well, I'm still gonna do it!" Steven exclaimed, his mouth now full of cake.

"I know," Garnet added as she gazed up at the sky. However, what she didn't catch was a fly buzzing around her and Steven, and its green eyes started blinking.

--

"Ah, romance. So utterly futile." Black Rutile grimaced as she watched the live footage of Steven drowning his sorrows in cake through a hard light welding mask. "Still, all that trauma could be useful in the future."

As Black Rutile was spectating on Steven's pain, she was hard at work on her plans for revenge, using a blowtorch to put together the final touches on a special wrist-mounted device. Once she was done, the villainous Rutile aimed the device at a rock carved into the exact shape of White Diamond's gem and fired. The resulting blast destroyed the rock and left a massive cloud of ash where it once was, but she wasn't satisfied with the smattering of pebbles that once made up the rock.

"Hm, need to work on the disintegration aspect a bit more." Black Rutile pondered while retracting the welding mask into her visor and began going back to the drawing board.

--

Guess who's back? Back again? Black Rutile's back, she's no friend! And on that rather sad turned ominous note, we conclude the first chapter of Part 3. Now that we have Steven's romance issues out of the way, expect to see the following in the coming chapters, in no particular order.

Garnet, Amethyst and Pearl re-enact Ace Attorney while Steven becomes even more scarred for life.

Viva Los Diego! Lapis & Amethyst get involved with a James Bond parody, Garnet & Bismuth solve mysteries together with a police officer who's basically the Plumber from Ratchet and Clank, Pearl matches wits with a snooty film director who's like Michael Bay, David Cage, Neil Druckmann & Zack Snyder in one, and Peridot tries promoting her CPH reboot.

Steven hangs out with Spinel and plays basketball with Wolverine.

Peridot finally gets her own song.

Jasper finally gets her own song.

A certain Stevonnie-chasing jerk dares Steven to reform him.

And finally, Black Rutile plays a role in a certain event in Fragments, the final chapter of this part.

Have I gotten your interest yet? Good, cause strap in everyone, it's gonna be nuts.

[asfaltics]

and yet we went on reading

  Flim, sb. Obs. Sc[otch]. A whim; an illusion.       1   in the manufactory of these flimsy things       2 had hung a basket of fodder underneath for these flimsy things       3                                                 Poor indeed are their prospects of continued protection, if they rest upon these flimsy things alone.       4   will you never learn to choose good, useful, lasting articles, instead of these flimsy things that do good to no one, and that a breath       5 took hold of these flimsy things, Oh!       6 the discomfort, the positive misery of these flimsy things       7   wretchedly printed on bad paper, with few or no literary expenses, these flimsy things drag on       8 “These flimsy things don’t last long, they soon break,” said he. “Of course they do!” declared Madame Guibal, with an air of indifference. “I’m tired of having mine mended.”       9 In all her looks the words we see, These flimsy things are not for me And I with them do not agree.       10   of these flimsy things       11       the ice floes ran in under and cut out these flimsy things.       12                         about 12 inch in being evident that these flimsy things are depth, which projects over the top of the difficult       13                           He knew “Well, it’s a good deal warmer than when to leave a man unhindered and to these flimsy things” he said, lifting the       14 attempt to hit some of these flimsy things, you will put your screwdriver through them.       15 You undertake to fix some of these flimsy things and you put a screw driver into them and they go to pieces.       16   You undertake to fix some of these flimsy things and you put a it in the same condition although I know       17                                                                         Lucy gave her skirts a toss “I am getting tired of these flimsy things, and am trying to wear them out”       18 “I must get some more,” he said, “stronger than these flimsy things.”       19   First of all, I know now what it means to travel “light.” These flimsy things       20 These letters, these unintelligible flowers, these bits of lace and of paper, what are they? Around these flimsy things what is there left ?   And yet we went on reading. But something strange is growing gradually greater...       21 “Why, if I put these flimsy things on now they’d be in holes before I ...”                                                                                     Thorough Young Lady enters. Thorough Young Lady — “Good morning... I’d like a dozen”       22   They had seen it as a whim, Agnes knew; a flimsy, floating thing which scientists might examine under a microscope. But if that were what it was she was full of them.       23  

sources (all but the last pre-1923)

1 Joseph Wright (1855-1930), The English dialect dictionary (London, 1898) vol. 2 : 405 2 OCR cross-column misread (on forged bank notes, and banks), at The Black Dwarf (“A London weekly publication, edited, printed, and published by T.J. Wooler”; January 13, 1819) : columns 21-22 “The Black Dwarf (1817–1824) was a satirical radical journal... published by Thomas Jonathan Wooler, starting in January 1817 as an eight-page newspaper, then later becoming a 32-page pamphlet. It was priced at 4d a week until the Six Acts brought in by the Government in 1819 to suppress radical unrest forced a price increase to 6d. In 1819 it was selling in issues of roughly 12,000 to working people such as James Wilson at a time when the reputable upper-middle class journal Blackwood’s Magazine sold in issues of roughly 4,000 copies.” wikipedia on Thomas Jonathan Wooler (1786-1853), also see wikipedia 3 OCR cross-column misread, at “Mrs. Perewinkle’s Visit to Boston,” by “Muhitable Holyoke,” in Frank Leslie’s New Family Magazine 3:2 (August 1858) : 161-167 (162) 4 ex The Chronicle (“An insurance journal”) 10:18 (October 31, 1872) : 274 on the mismanagement of The Globe Mutual Life Insurance Company under Frederick A. Freeman, its president, and/or other members of the Freeman family (including Pliny Freeman). 5 ex Out of the world, by M. Healy vol. 2 (of 3; London, 1875) : 27 asides — this would be Mary Healy Bigot (1843-1936), daughter of the painter George P. A Healy (1813-94 *) A brief entry on Mary Healy is found at A Database of Victorian Fiction, 1837-1901; rather more, including an extensive list of her publications (journalism, fiction, translations, &c.) is found at her French wikipedia page — “Mary Healy utilisa le pseudonyme de Jeanne Mairet, mais aussi celui de « Madame Charles Bigot » et de « Mary Healy-Bigot ». On trouve des écrits non seulement publiés en français (souvent par Paul Ollendorff), mais aussi en anglais et en allemand. Elle produisit aussi de nombreuses traductions avec parfois l'aide de sa soeur Edith Healy.” in his autobiography is to be found the reason he (and later his daughter after the death of her husband Charles Bigot (1840-93 *)) would move to Chicago — George P. A. Healy, his Reminiscences of a Portrait Painter (Chicago, 1894) : 57 6 ex Alex(ander). Mackenzie, The Life and Speeches of Hon. George Brown (Toronto, 1882), in Chapter 19, The reform convention of 1867. Resolution of thanks to Mr. Brown. Mr. Brown’s reply : 113 7 ex correspondence to the editor (on the subject of “new restrictions in dress”), by “Freedom,” in The Meteor (“Ed. by members of Rugby School”) 175 (May 18, 1882) : 60 8 ex John Bull’s Neighbor in Her True Light : Being an Answer to some recent French criticisms. By a “Brutal Saxon.” Veluti in Speculum. (Third edition. London, 1884), in Chapter 11, The French Press: its Vanity—Le Temps and London Telegraph contrasted—Des Debats—Le Figaro—Le Clairon—Press Laws—Fear of Actions for Libel—Want of Freedom : 87 9 ex conversation about a fan, in Émile Zola (1840-1902 *), The Ladies’ Paradise : A Realistic Novel (London, 1886) : 74 aside — The novel is set in the world of the department store... (wikipedia) 10 “The Village Wedding,” in Poems by Chas. F(rederick). Forshaw, LL.D. (Bradford, 1889) : 28-33 (30) 11 from Act 2, Scene 4 of John Lesslie Hall (1856-1928) his Judas : A Drama in Five Acts (Williamsburg, Virginia; 1894) : 73 aside — “also known as J. Lesslie Hall, was an American literary scholar and poet known for his translation of Beowulf” (wikipedia); (some) papers at the College of William and Mary 12 ex “He saved others” (from Brotherhood Star), at Herald and Presbyter (“A Presbyterian family paper”) 68:46 (Cincinnati and St. Louis, November 17, 1897) : 15 in full — “When ice was running in the North River at New York, a ferryboat was crushed in, under the water line. An employe was sent down to stop the leak, or hold it until the boat could be run into the slip. Bedding, clothing and anything available were passed to him, but the ice floes ran in under and cut out these flimsy things. The boat reached the dock. Passengers were all hastened ashore. The boat was raised up by chains, so that the break was above the water, but the man did not come up on deck. They hastened below and found a bruised body of an unconscious man, pressed close against the opening. Careful nursing brought back life, but broken health and a disfigured body were his. ‘Even Christ pleased not himself.’” 13 OCR cross-column misread at J. B. Fulton, “Faulty Concrete Construction,” in Fireproof 3:6 (December 1903) : 31-33 (32) 14 ex OCR cross-column misread, at Francis Prevost (H. F. P. Battersby, 1862-1949 *), “The Siege of Sar,” in Ainslee’s (“A magazine of clever fiction”) vol. 12 (January 1904) : 1-44 (22) 15 ex Arthur H. Elliott, “The Gas Range in the Kitchen” In Light, Heat and Power 5:12 (February 1906) : 942-946 (944) self-described as “A monthly magazine devoted to the fields of illumination, and also combustion for producing heat and power, wherein the elements employed are natural, artificial, acetylene, gasolene, or petroleum gases.” 16 ex “The Gas Range in the Kitchen," in report of Elliott paper, in The Metal Worker, Plumber and Steam Fitter (March 3, 1906) : 52 17 same as no.s 14 and 15 above, but OCR cross-column misread, at Arthur H. Elliott, “The Gas Range in the Kitchen,” Progressive Age (Gas-Electricity-Water), 24:4 (February 15, 1906) : 96-99 (97) 97 Paper delivered at the First Annual Convention of the National Commercial Gas Association, held at the Cadillac Hotel, New York City, January 24th and 25th, 1906. 18 ex Mrs. Mary Dudeney. All Times Pass Over (London, 1909) : 75 (snippet view only, but entire at hathitrust) aside — little is found, biographically; author of poems, stories, even songs as Mary Du Deney (BL catalogue); are these of the same Mary? — “A novelty appeared in Judge Allen’s court in the shape of a woman, Mrs. Mary du Deney, who sought solace and mental refreshment in a book while her fate was being decided in a divorce proceeding. After reciting the grounds upon which she sought the divorce, the lady was lost to the world until the Judge cut the knot and she again felt the thrill of single blessedness.” (Los Angeles Herald (23 December 1900) : here); and   ◾ “...Old Lady Was Swaying, Fatal Collision with Cyclist At Bridgwater. Returning a verdict of Accidental Death at the inquest on Thursday on Mrg. Mary Du Deney. aged 85, of 2. Holmes Buildings. St. Mary-street, Bridgwater, who died in the hospital on Tuesday...” (Taunton Courier, and Western Advertiser (20 September 1947) : here) 19 ex William Caine (1873-1925 *), The Devil in Solution, (nicely) Illustrated by George Morrow (London, 1911) : 68 (snippet view only, but opens to same page at hathitrust 20 from this longer passage — “First of all, I know now what it means to travel ‘light.’ These flimsy things which the Japanese make are wonderfully serviceable. For instance, I purchased a silk Japanese raincoat which sheds rain perfectly, and yet when not in use I carry it in the pocket of my light overcoat.” ex “Japanese Milling, and Weather,” in Rosenbaum Review 2:39 (Chicago; September 15, 1917) : 8-10 asides — devoted to grain trade; at some point title changes to The Round-Up; published by the J. Rosenbaum Grain Company; this would be Joseph Rosenbaum (1838-1919), whose interesting life is sketched by Arba Nelson Waterman, in “Historical Review of Chicago and Cook County and Selected Biography," found here   ◾ perhaps more interesting is the editor of Rosenbaum Review (and its successor Round-Up), J. Ralph Pickell (1881-1939? *).   ◾ see, for example — “Senate Asks Jardine of Chicago ‘College’” ¶ Secretary Jarine was asked Friday, June 25, by the Senate to explain his connection with the Roundup College of Scientific Price Forecasting of Chicago. ¶ A resolution making the request was offered by Senator Caraway (Dem. Ark.), and adopted. Caraway said the secretary had accepted appoitment as a member of the faculty of the college to teach students “how to speculate and get around the rules of the grain futures act which he administers.” ¶ The resolution asked the Secretary to state whether his information on grain futures markets was obtained as a result of his official connection with the department of agriculture, and what compensation he has received from the college. ¶ The Roundup College school for price broadcasting [sic, should be “forecasting” ?] was held at the Congress Hotel four weeks ago. Secretary Jardine was announced in publicity as the principal speaker. The school is run by J. Ralph Pickell, listed in the telephone book with offices at 1848 West Washington Boulevard and 328 Ashland Boulevard. It is said, however, that the offices have moved to Western Springs, Ill., near Chicago. ¶ Pickell at the time the school was held, said about 500 students would be in attendance. Each student, he said would pay $50 for the course. ex The Illinois Agricultural Association Record (July 1, 1926) : 3 21 ex chapter 23 (the last) in Henri Barbusse (1873-1935 *), Light (Fitzwater Wray, trans.; 1919) : 301 several scans of the same at hathitrust 22 ex Fashions for Men (this passage) and The Swan (in one volume, subtitled Two Plays by Franz Molnar (both comedies in three acts; English texts by Benjamin Glazer); (Liveright, 1922) : 117 Ferenc Molnár (1878-1952), at wikipedia 23 ex Rachel Cusk, Saving Agnes (1993; Picador 1995) : 2

—

subject to change, corrections, &c.  

[chimpukampu]

Breaking the Chains 06

There will be some Book 1: Moon novelization and Through the Moon references mentioned in this chapter. Nothing too spoiler-y.

Summary: After the failed assassination attempt, Ezran found out that there are still people who refused to accept the peace between the human and the elves alike. The question is: are they from the Human Kingdom or Xadia?

With the help of Callum and Rayla, the trio soon realized that breaking the chains from the past has never been easy.

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

"So, a Moonshadow assassin huh?" Ezran muttered despondently after his brother finished his explanation.

They were having a closed-door meeting in his room together with Corvus, Soren, and Opeli. Callum and Rayla agreed to let the three be included in their plans since they were trustworthy enough to keep it as a secret and powerful enough to take some damage control in case there will be a public outcry.

"Do you think this person is from the Silvergrove?"

The mage prince looked at his elven girlfriend briefly before he answered Corvus' question. "Rayla wasn't sure if he's from Silvergrove or not, that's why we're going to send Ethari a copy of our culprit's sketch to see if he can provide us more clues."

"How about other Moonshadow elves' territories? I'm sure the Silvergrove is not the only Moonshadow village in Xadia."

"We don't have any connections with other Moonshadow communities like what we have with Silvergrove," he responded promptly. "And if we inform Queen Zubeia about this, she can disseminate it to other elven territories faster than doing it our own way - which involves tons of paperwork and diplomatic meetups. I don't think Ez will be happy to do those mundane things."

"I don't." was his brother's stern reply.

"I fear that this assassination attempt might cause some rift between humans and elves again." Opeli pinched the bridge of her nose with a deep sigh. "We've managed to unite Xadia and the Pentarchy after we returned the Dragon Prince to his mother, and while we have a peace treaty now, that doesn't mean everyone agrees with it. You can't simply erase prejudices that have been transferred for generations in just a matter of two years."

"But hiding the truth from the public will do us no good," Ezran folded his hands to his lap. "Sooner or later the truth will come out, and I don't want everyone to assume that I'm giving Rayla a preferential treatment by hiding the culprit's race."

"But why a Moonshadow of all elven races?"

"Maybe it's just a coincidence," Callum shrugged nonchalantly. "I'm guessing that someone paid a mercenary to do the job - and who do you think is the best person to hire other than a Moonshadow assassin?"

"What do you think about this, Rayla?"

"We take a life, but we don’t take it lightly," the elf answered as she recited the mantra that she learned from Runaan. "Aside from our stealth, we do not take someone's life for nothing. We kill for honor. An eye for an eye, a tooth for a tooth."

"But I never killed anyone." the young King scowled as if offended.

"Maybe…" Soren rubbed the bottom of his chin with contemplation. "Maybe this Moonshadow guy was being threatened? You know, like being blackmailed or something?"

All eyes in the room bored into Rayla as she hummed at his implication. "That doesn’t sound impossible. I mean, I am willing to bind myself to kill anyone in exchange for Callum's life."

She smiled when a familiar hand reached out to her with a gentle squeeze. "A Moonshadow assassin does not take a life lightly. But if taking an innocent life can save the lives of people you care for, then so be it."

"And then you use one of your limbs as collateral." 

"Aye."

The Crownguard grimaced with disgust. "Moonshadow culture is not only morbid, but it also follows a twisted logic."

"Hate to admit it but it is," she chuckled lightly. "That's why my village ghosted me."

Callum clapped his hand. "Okay, that's enough with these depressing stories. Let's go back to our culprit's means."

(Read more in AO3)

[dragonsaphirareads]

Passing Notes

Day 13 of @tsshipmonth2020 Fluffuary

Ship: Intrulogical

AU: High School

Word Count: 3312

Summary: Logan takes an elective science course his senior year, and ends up sitting next to his friend’s crude, immature brother who insists on passing him notes every class period. Eventually, Logan realizes the hidden message he’d been missing.

(Like listening to podfics? You can listen to this oneshot on my YT channel here!)

“I still can’t believe you took a science class instead of a free period! You’re such an overachieving nerd!” Roman exclaimed as they stood around Logan’s locker. Patton elbowed him in the side as Logan rolled his eyes.

“He’s allowed to do whatever he wants with his schedule!” Patton defended.

“I know, but we could have all had free time together! And now we’re split!” Roman whined. Logan wasn’t fazed, all too used to his dramatics at this point.

“We already spend hours together after school for drama, I think you’ll survive an hour and a half free period without me.” Logan said, checking his written schedule once more for the room number before slamming his locker shut. “But if you truly want to see me more, I’m sure you could go get your schedule changed.”

Roman shook his head a little too quickly while making a face, and the other two snickered at him. Patton glanced at the clock hanging in the hall and frowned. “You’d better get going Lo, you’re gonna be late!”

Logan checked and nodded. “You’re right. I’ll see you two after school.” They waved as he headed off towards the science hallway, thankfully arriving with a few minutes to spare.

Every spot at the lab tables had a small slip of paper folded into a tent on it, and looking closer he saw they were name tags. Right, he’d heard that this teacher was a fan of arranged seating charts, especially at the beginning of a new semester. He found his name and was thankful that it was at the front of the room. Sitting in the back made it harder to focus, mostly because the students sitting back there didn’t usually care to be in class.

He took his seat and set down his notebook and pencil case, as well as the script for the spring musical that he still needed to read through. As other students came into the room, he flipped it open and skimmed the first few pages.

A minute later, the bell rang and the teacher walked into the room, welcoming them and introducing himself. Then, as he was passing out copies of the syllabus, the door opened and a disheveled, very familiar face waltzed in.

“Sorry I’m late!” He announced, and the teacher just sighed, shaking his head.

“Just... take your seat, please.” He told him, pointing at the only open seat... right next to Logan. The young man grinned, happily bouncing over to him and slamming his stuff down on the table. “Quietly, Remus.”

“My bad!” Remus sung, not at all apologetic. He then turned to Logan, still with that wide, slightly unhinged grin. “Hi Logan! Didn’t know you were taking this class!”

“Hello, Remus.” Logan greeted neutrally, suddenly feeling a small pang of regret at not taking that free period after all.

He wasn’t exactly strangers with Remus, but he wasn’t close to him either. Their interactions boiled down to the few times he and Patton hung out at Roman’s house and Remus was there. Roman didn’t exactly get along well with his twin, so he tended to spend time with his friends elsewhere.

As such, Logan didn’t know much about Remus. He knew he was loud and crude, disruptive in class, extremely creative with his language, and he was friends with Virgil and Ernest, two other seniors who were part of the drama department.

Logan wondered if the teacher had possibly placed them at the same table for a reason, since Logan was an “overachieving teacher’s pet”, according to Roman. Perhaps he thought he might be able to encourage Remus to focus.

Unlikely, considering the other kid had already pulled out his notebook and started doodling. Logan shrugged. If he was drawing, he would at least be quiet. He opened his own notebook, making notes of anything important the teacher said about assignment deadlines or test dates, ignoring the loud scratching of Remus’s pencil beside him.

That is, until there was a loud rip of paper and a moment later, something hit Logan’s elbow. He stared at it curiously, then up at Remus who had gone back to his doodling, a corner of his notebook paper conspicuously missing.

Logan grabbed it and put it in front of him, debating whether or not to open it or just throw it away. Either way, he would save it for the end of class. He wouldn’t let Remus distract him.

Two more folded paper pieces hit him over the course of the class period, and each time Logan took it and placed it carefully in the pile in front of him. He could feel Remus getting frustrated at him, but he didn’t let that bother him.

Once the bell finally rang and class was over, Logan stuffed the notes in his pocket to deal with at a later time. He grabbed his things and left the classroom while Remus was called aside by the teacher, heading to his locker.

Roman and Patton met him there, having already gotten their stuff from their own lockers.

“So!” Roman said, leaning against the neighboring locker smugly. “How was your class?”

“...Interesting. Were you aware that Remus was taking the same class?” Logan asked, and Roman blinked.

“Huh? No? Wait, he is? Are you sure it wasn’t someone who just looked like him?”

Logan rolled his eyes. “You two are identical twins, Roman. I’m very familiar with what you look like, and I had a very close view because the teacher put him next to me.”

“Aww shit, that sucks! I’m so sorry Lo, was he annoying?”

“Well, he was quiet, for the most part. He did keep passing me these notes, though.”

Patton tilted his head, curious. “Notes? What do they say?”

“Probably something gross.” Roman grumbled.

Logan pulled the ripped pieces out of his pocket, holding them in his palm. “I didn’t read them during class, so I’m not sure what they say.”

His friends each grabbed one, unfolding them as Logan finished packing his backpack. When he pulled it out of his locker and turned back, they both had odd looks on their faces. “What’s wrong?”

“Um, well... there’s nothing written on them!” Patton said, trying to be chipper. Roman rolled his eyes, showing Logan the paper.

On it was a pencil sketch of... something. Logan couldn’t actually tell what it was supposed to be - some kind of catlike creature, maybe? But it also had fins like a fish, and horns...

“Hmm.” Logan hummed, and Roman crumpled the piece in his hand, huffing.

“What the hell?! He’s so weird, you should just toss ‘em Lo, don’t encourage him by taking them.”

“Maybe you could just tell him to keep them? They are well drawn, he should draw them in a sketchbook so he can look back at them!” Patton suggested.

Logan shrugged, shoving his own shred of paper back into his pocket while Roman wasn’t looking. Sure, the drawings were strange, and they didn’t seem to be based in any kind of reality, but they were fascinating all the same. It was clear Remus had a talent for drawing - the shading on the horned cat/fish creature made it look almost real.

“We should be going - Mr. Sanders wanted us to be there early today.” Logan changed the topic, and thankfully his friends allowed it. The three of them walked down to the auditorium together, quickly forgetting about Remus and his strange behavior.

All of them except for Logan, who couldn’t quite push from his mind the excited, child-like glee in Remus’s eyes when he had passed that first note across the table.

~

It became a routine after a while. Logan would go to his fourth hour class, Remus would come in late and immediately start drawing in his notebook, occasionally passing the notes to Logan, who would stash them in his pocket. He didn’t throw them away - as disturbing as some of the sketches could be, Logan could tell that Remus wasn’t trying to gross him out. What he did want though, he wasn’t entirely sure.

He wasn’t sure, that is, until Logan was sitting backstage one day watching the actors run through the show and he pulled out one of the notes to examine it. It was some kind of tentacled monster, most likely inspired by their recent lectures about deep sea life. Again, Logan had to marvel at the technical skill behind it. Both of the Prince twins were incredibly talented, apparently, because Roman had his art hanging up all over his room and had been displayed in the school several times as well.

Something shifted behind him, and a voice spoke beside his head. “Is that Remus’s?”

Logan jumped, folding the note quickly and turning to look at who had snuck up on him. Ernest, the head of costume design, who had a knowing smile on his face.

“What did you say?” Logan asked, playing dumb. He was a little embarrassed to be caught staring at the note, even though logically he knew he had no reason to be. Ernest rolled his eyes, pointing at the crumpled piece of paper in his hand.

“That note. It’s from Remus, right?”

The stage manager quickly glanced out on stage, gauging where his friends were. He really didn’t want either of them to walk in on this conversation, especially since they had advised him to simply get rid of the sketches. Thankfully, neither of them would be on his side of the stage for a while. Logan sighed.

“Yes, it is. He’s been giving them to me during class. I’m not certain why, though.”

The costume designer snickered. “Maybe he wants to impress you with his incredible drawing skills.” He said sarcastically.

Logan slipped the note back into his pocket. “Well, they are incredible, in a technical sense. He has a very impressive grasp of anatomy and shading.” He tried to speak neutral about it, lest Ernest get the wrong idea.

The other hummed. “I wouldn’t know. He doesn’t show his drawings to anyone.”

At that, Logan furrowed his eyebrows. “What? But he’s been doing this for nearly a month now... and I never asked for him to show me his drawings.”

Ernest pressed his lips together tightly, but it wasn’t out of anger. There was something else behind it... “I dunno, Logan... you’re smart, I’m sure you can figure out what’s going on in his weird little head.”

“But you’re his friend, aren’t you?”

He laughed, walking away. “You think he tells me anything?”

Logan huffed, turning back to what was happening on stage. He did know - he had to know. Ernest was acting too suspicious to not know what was going on in his friend’s head. But clearly, he wasn’t going to tell him.

He tried to put it out of his head, but something was bothering him. Ernest had known the sketch was Remus’s, which told him that he must have seen Remus’s drawings at least a few times in order to recognize it. But if Remus was as secretive as he sounded with his sketches, then that would be difficult.

So maybe he wasn’t that secretive. Even so, there was something weird about what had been happening every time they were in class. He wasn’t an artist, but he knew Roman, and he knew that Roman was protective of his sketchbook, and almost never ripped anything out of it. If he did draw something for someone else, it was on a dedicated page that he tore out.

He threaded his fingers through his hair, frustrated. It didn’t make any sense, but then again, Remus had never made much sense to him.

Tomorrow he had science. He vowed that he would watch Remus a little closer, to try and figure out why he was exhibiting this extremely odd behavior.

~

Logan got to class early, pulling out a book and skimming it as he watched other students filter into the classroom. Then, for the first time since the beginning of the semester, Remus actually arrived three minutes before the bell rang.

As always, the other student shot a wide, toothy smile his way before cracking open his notebook, noticeably thinner than it had been a month ago, and sketching immediately.

Logan watched him out of the corner of his eye, just in case Remus noticed what he was doing, and what he was seeing didn’t make any sense.

For his sketch, Remus didn’t start with any kind of skeleton or outline, which Logan would have expected. Instead, he drew a distinct shape, and was working out from there. But it wasn’t a circle or square, like he would have thought..

It was a heart?

Logan eventually abandoned his facade of reading as he watched Remus draw, expanding the heart into a head shape, adding too many eyes and a wild mane that masked the starting shape.

By the time he was done and tearing out the drawing, it was fifteen minutes into class and Logan had done nothing but stare at Remus’s hand as he drew. He had to force himself to look forward as Remus folded it and tossed it his way, immediately starting another. Once again, he began with a heart, but this time it was much smaller and ended up turning into a nose.

Why was he drawing hearts? Was that just a part of his drawing process, or was there something more to it? Did it have to do with how he would tear out every drawing and give it to him?

Should Logan respond, now that he knew this? Remus had been giving him these notes for over a month now, and he’d never said a word. Would it be rude to mention it now, especially since he’d only noticed it because he was watching over his shoulder?

He couldn’t tell his friends. Roman didn’t like his brother and Patton was wary of him as well. And he didn’t know Virgil or Ernest well enough to approach them with something as big as this, although he had a feeling they were both in on whatever game Remus was playing.

While he was pondering, the bell rang and he broke out of his trance to see Remus bouncing out of the classroom, with three more folded notes sitting in front of him. Logan shook his head, blinking rapidly to wake himself up. As he was gathering his things, he heard the teacher call his name. “Hm? Y-Yes?”

The teacher’s eyes were concerned. “I noticed you didn’t open your notebook today. Do you need me to move you to a different spot?”

“Huh? No, why would you?”

“I saw you watching Remus this class. You’re a very bright student and I want to make sure you’re not being distracted.”

Logan shook his head quickly. “No, no, I’m not. I’m just not feeling very well today, I’ll be better next week, I promise.” He couldn’t get moved now - not when he was so close to figuring out this puzzle!

The teacher hummed, accepting his answer. “Alright then. Don’t hesitate to tell me if you think you’d benefit from a seat change.”

“I won’t, thank you.” Logan agreed, rushing out of the classroom and towards his locker where Roman and Patton were waiting. He made up an excuse of needing to ask a question about an assignment, shoving the notes deeper into his pockets. They didn’t question him, letting him know that Mr. Sanders had gotten sick and that rehearsal was canceled.

Never had he been so thankful that their director had a penchant for getting sick often. Logan ran up to his room as soon as he got home and pulled the notes from his pocket, throwing them onto his desk onto the sizable pile already sitting there. He took a seat and grabbed a permanent marker, then began opening them up one by one. In each one, he looked for any heart shapes. And as he went through, he found at least one in every single drawing he had been given by Remus. In one, a drawing of a two headed dragon, the creature had heart shapes spines trailing down its back.

A heart on every single one. No two drawings were the same besides that simple fact. He couldn’t believe he hadn’t noticed it before - with them traced in marker, they looked so obvious.

He wanted to ask what it meant, but he knew the answer was obvious. Now the only question was what he should do now.

Logan pushed the handdrawn notes away, reaching for his own notebook and cracking it open. It was time to plan, something he did best.

~

Tuesday, he was ready. His heart was racing the entire day, he was both excited and nervous for what he was going to do. Once he did it, he knew things would change. But after hours of planning over the weekend, he was certain it would be for the best.

Finally, it was fourth hour. Again, Remus came to class on time, and again, he started drawing for Logan. It was difficult for Logan to pay attention, but he managed to take decent notes and avoid looking over at Remus. Instead, he kept his eyes on the clock in the corner.

A minute before the bell would ring, he put his plan into action. Logan turned to a fresh page at the back of his notebook and he did his best to tear out a piece discreetly so Remus wouldn’t notice. He jotted something down quickly, and just before the bell rang he nudged it over to Remus, making sure he saw it.

The other student blinked, grabbing it slowly as if it was some kind of illusion, and unfolded it carefully. Then he got an odd look on his face, and he glanced up to see Logan smiling at him as the bell rang.

“Logan?” Remus spoke, the first thing he’d actually said to him all semester since that first day.

“Meet me outside?” Logan asked, holding his things with one arm. Remus nodded vigorously, slamming his notebook closed and swiping all of his pencils into his bag in one swoop.

“Do you mean it?” Remus exclaimed as they stepped outside and stood to the side.

“I want to understand you, Remus.” Logan clarified, looking quickly at the crumpled note in the other’s hand. “You’ve been giving me these notes all semester, and it took until last Friday to understand why.”

“You took forever!” Remus complained playfully. Logan pursed his lips.

“Why didn’t you simply tell me, if you were so impatient? That would have been much faster, and you’ve never struck me as shy.” Remus huffed at the suggestion, crossing his arms.

“Roman told me he didn’t want me ‘messing with’ his friends, so I decided that as long as you talked to me first, he can’t get mad at me!”

Logan opened his mouth to argue that flawed logic, then decided against it. “I see.”

“So, do you mean it?”

“Do I mean what?”

“Don’t mess with me! You gave me a note with a heart drawn on it Logan, I obviously mean do you like me?! Do you have a crush on me like I’ve had one on you for literally years?!”

That took Logan aback for a moment. Years? Really? “I’m afraid I don’t know you well enough to say I do, Remus.”

Remus’s face fell, but Logan wasn’t done. “I believe now is the time you offer to spend some time with me so I can learn more about you.”

“Are you... asking me to ask you on a date?”

Logan raised an eyebrow, and Remus laughed.

“I knew there was a reason I liked you! Ok, well then, will you go out on a date with me Logan?”

“Why, of course. It’s about time!”

[sillyfudgemonkeys]

p5 spoiler ask: so lately i've been seeing "Futaba's mom performed human experimentation in her research on cognitive psience so Goro was justified in killing her! She experimented on him!!" and I'm like "wait wtf?? where did you get THAT from?" so like, since you're persona lore savvy, is there anything like that regarding wakaba or goro? Am I missing some context?

Sorry for the late response, I know what you are talking about but it’s been awhile since I read the posts (and I dunno who made them so rip). I tried looking for them but.....eh.....yeah (having a hard time finding the ones I recall).....I think it came from P5R, there’s hints at it and at most it’s a theory. I mean one of the hints is the featherman game (which I don’t think I’ve played yet). There’s also this Person’s timeline (it’s a game tho so like....yeah), the issue I have with it is saying Wakaba had a Palace and she experimented on people and it’s stated in the artbook. So I have the artbook, I guess I’ll need to re-read it, but going to Wakaba’s section I don’t see any of that info.....I do see a concept art of what looks like her experimenting on something (might be a shadow, it’s not 100% human looking), but it’s a concept sketch.....not an actual lore bit......but maybe there’s something written in a small portion of the book I’ll have to look for (unless it’s a different artbook then I’m a bit SOL atm lfkdsajf;j)

I’ll have to do my own research, cause I dunno I don’t really like this theory, takes some agency away from Goro imo. But here’s just some bullet points of info to save time:

It’s just a theory atm from what I can tell, nothing really confirmed but people are taking it as canon I guess? (anything to justify Goro I guess >.>). Anyway lord knows this might bite me in the ass cause I’m using Vanilla over Royal translations looking at the scene (but it’s the first thing that shows up so I don’t care). But here’s an issue with the timeline:

Wakaba has possibly been researching prior to Goro meeting with Shido

Shido has already been dabbling in cognition (probably cause of Wakaba, not stated tho)

Goro approaches Shido with his powers......BY MAKING SHIDO’S OPPRESSORS GO PSYCHOTIC!

iirc if she really did that to Goro he’d have mentioned it. Apparently he speaks with familiarity to her and not to Okumura (but that could be chalked up to him reading her research). 

So some people say Shido/Wakaba taught Goro to do Psychotic Breakdowns and it’s like????? No Goro had that power to begin with, and I don’t think we have enough evidence or reason that he can do PB without fully summoning his Persona (since it seems tied to Loki). 

Also things to keep in mind:

Having a Palace doesn’t mean you are a bad person, Futaba proved that

If Wakaba did “experiments” A) it might not have been Goro, B) experiments doesn’t automatically mean something illegal and inhumane lksdjaf;jfj She could’ve had volunteers. Not everything has to be a copy of Sho/Strega/Labby (a bit reason I don’t like this theory tbh).

Concept art isn’t 100% canon, same can be said about cut content found in the game. While it can explain some things, it’s not in the final product so it’s possible that the creators had that idea and decided not to go with it. Always take it with a grain of salt. 

I need to look into it more (and find more of these posts, if y’all wanna send them to me I’ll read them). But yeah sorry I couldn’t go into more detail, I need to refresh again and do more research (it doesn’t help that when I first read this stuff I filed it under “theory but I debunked/found contradictions it in my mind already and thus I shall forget it”

Edit: I should note while I don’t like the theory (and/if people are toting it as fact, and if it someone is retconned as fact later I still don’t like it for reason fdsklafja;fj but atm it’s not fact yet), I do find it is 100% fine to hc for fun and explore it klfjsdalfkjaf

[silvertonedwords]

Her Eyes

For @njckle, who was very kind about Take My Hand. This is Newt’s companion piece.  Read on a03.

Newt rubs a hand down his face, trying to blink the sleep from his eyes. A glance at his pocket watch confirms he’s only slept for an hour or so. St. Mungo’s is eerily silent at this hour, the moonlight stark against Tina’s white sheets. Newt isn’t particularly used to silence.

He’s a rational man when it comes to medicine and bodily injury. He does look after injured creatures rather frequently, after all. The healers have told him she’ll be conscious by morning, and well enough to return home in a few days. 

Somehow, waiting at her sickbed with no treatment left to be performed, he’s lost that thread of his own medical knowledge.

Tina’s going to wake up, and she’s going to be fine.

He still wants her to wake. He wants to see her dark eyes again, alight with her kindness and her fire. He’d told her once that photographs don’t do them justice. Neither do his sketches in the margins of his notebooks. His imagination may come closer, but even that cannot capture their fiery, depthless pull.

Point is, he really needs to see them again.

She’s tucked neatly into the plain hospital sheets, her bandaged arm resting over her stomach. He touches her hair beside her eyes, smiling softly. Her voice is easy enough to conjure. The teasing sternness, or trembling warmth. Her fierce, low insistence in defense of anything or anyone she’s trying to protect.

But her eyes, he thinks, his eyes falling shut as he tries to picture them. 

How had they seemed to him when they first met?

He searches for a glimpse, but there is not particular memory to find. At least not right away.

There’d been a sort of pull, a something that he couldn’t explain or perhaps even describe.

He searches over the memories. And you are? and I’m takin’ you in. The first time he recalls really choosing to look into her eyes had been on the stairs to the sisters’ flat. Always alone, Mrs. Esposito, she’d said, and he’d looked behind him to find his gaze momentarily met with hers, sheepish as though Newt hearing that admission made some sort of vulnerability inside her wobble. He remembers thinking that he hadn’t really looked at her until that moment. It had reminded him of something he’d perhaps forgotten in his year abroad in the company of many creatures but few humans. Beasts may roar or snap or snarl, but no species, no creature, from the tiniest bird to the largest, fiercest dragon, thinks itself impervious. Tina had reminded him in her shaken exterior on those stairs, and again in her glances at dinner, that people are the same.

The thought had occupied him for several minutes at that table. That other people—most people, perhaps—feel out of place. Perhaps not exactly like him, but then no two creatures are exactly the same, and yet a technique he uses to calm a frightened hippogriff might, with some modification, work just as well on a kneazle. Even former aurors who stop strangers on the street and call his book an extermination guide might hide much complexity under that surface.

A few days later, sitting on a stool in his case with a steaming cup of tea, she would apologize for what she did next, for turning his creatures in to MACUSA. He hadn’t needed to hear the words again, spoken earnestly and yet quietly, as though they might not be believed. He also hadn’t known how to explain that he’d never blamed a creature for following its instincts. And certainly that’s what she’d done, too wrapped up in her own knowledge and goals and good intentions to understand. He’d seen her momentary uncertainty when he and Jacob climbed out of the case and into MACUSA. He’d seen the disbelief and betrayal and horror in her eyes when they were arrested, and her pained empathy for the image of the man who died at the hands of the obscurus. Her eyes had been all bright and sad and earnest in the cell when she first apologized. That night, in his case, with the tea and her warm voice and his departure looming, he’d simply looked into her vulnerable eyes and said, in what he hoped was a kind and steady voice that conveyed the depth of his understanding and put her worries to rest, “I know.”

They’d sat in an almost comfortable silence, then, until the niffler had hobbled over to Tina, and she’d chatted with and teasingly scolded the creature until he looked quite pleased with himself for having won her admiration.

And Newt had wondered, watching them, if it was normal for his chest to feel the way it did when he looked at her.

When Grindelwald had questioned them and brought up his expulsion from Hogwarts and drawn out the obscurus, it had been Tina’s eyes he’d sought. Tina who he’d wanted to convince, because the idea of her thinking that he would deliberately harm anyone for the sake of his work…that had been intolerable. Merlin, the way she’d looked at him, as though deciding whether to believe it. Other people could think of him what they would, but to have her…to have this person who…who…to have her think him dangerous or cruel or…for her to think that all his sharp edges and fumbled words hid cruelty and not uncertainty or loneliness or pain. 

She’s done nothing of the kind he’d told Graves at their joint sentence, his mind echoing with the words. No. No, not her. Not her, too. There’s so much there, in her eyes, he’d wanted to say. She’s kind and fierce. She’s hurting. And he’d always helped hurting things.

She’d looked back at him from the edge of the pool, and he’d thought of her depthless eyes and her fear and how terribly young she looked. And perhaps, beneath all of that, a glimmer of trust. He’d hoped so.

He’ll never forget the way she looked at the images in the death potion, her eyes warm with love and then dark with anger. The determination that had filled her eyes despite her uncertainty when he’d asked her to jump. 

And then. The first time he’d held her. Their eyes meeting for a breath-stealing, heart-thudding moment, her legs sliding on the cell floor and bumping into his...

Sheets rustle. Newt startles and blinks, but it is only a healer come to check on his wife.

“She’ll be alright, Mr. Scamander,” Healer Lockwood says kindly. Newt’s lips turn into a tired, grateful smile. “Her right hand’s fine, if you’d like to hold it.”

Newt glances at the woman’s earnest face. He’d kissed Tina’s forehead and squeezed her hand when he’d arrived, but grasping her hand…touching her when she isn’t…if he lets himself want too much of it, he may not stay calm.

Still, he reaches for her good hand and cups it between his. His thumb glides across it. “I’ve been trying to imagine your eyes, love,” he tells her softly once the healer has left them. “It’s been far too many days since you left.” He swallows. “I still can’t manage it, I’m afraid.” He touches her temple, a whisper of contact. “I suppose I’ll have to look at them some more, hm? Important research.” He imagines the little quirk of her lips and perhaps the way she’d tease him for such a remark and bites his lip with a rueful smile. “When you’re awake, then.” He traces her hand with light fingertips. “Where was I? Oh, yes…” Well, I love it, and the glimpse he’d caught of her bright eyes tracking the swooping evil as they’d run with her hand in his.

The laughter dancing in her eyes at Dougal’s name, and then at his invisibility. The eagerness and excitement when she’d thought to track down Gnarlack. So eager in fact that she’d stepped closer to him and he’d found to his surprise that he hadn’t minded her there. Not like this, passionate and excited and determined to help his creatures. Not from someone whose gaze had filled with empathy for the obscurus and who loved his swooping evil.

The kindness in her eyes when he’d asked about the death potion and she’d spoken about Credence. The little glimpse of reticence as though she hadn’t done enough to help him. He’d found that he was not surprised to see it there at all. Tina. Kind. Of course.

Her wonder as she’d looked about the case a few minutes later. That hadn’t surprised him either, and not only because he cannot ever fathom why people don’t see his creatures for what they are. 

Fierce and kind, he’d thought as she crouched behind the overturned care and told Newt save him.

By the end of that day, she’d been a whole and complicated person to him, tender and fierce and wise and uncertain. Joyful and sad and curious and wondering.

And by the end of that week he’d had to all but tear himself away. Her eyes, he’d thought the night before his departure, were like Tina herself, and Tina was like a rainforest he’d not yet explored. Each layer so full of things to learn and see and explore that anything so short as a week must be utterly insufficient.

He’d tried his hand at a sketch on the ship home. Again and again, he’d striven to capture her shyness and humor and warmth and excitement and uncertainty on the docks. He’d tried to draw her wide and wondering eyes as they’d sought out his and he’d touched her hair. The likeness had never been exactly right.

A newspaper clipping had arrived a few weeks later with a short scrap of parchment clipped to the folded page. I thought you’d want a copy. Q.

He’d stared at the picture, smiling, and between the photograph and the handful of letters he’d collected in the past weeks in her neat hand, he’d been almost close to seeing her eyes.

Then her letters had stopped, and he’d grown more and more dissatisfied both with the inadequacies of the newspaper’s likeness and his inability to draw one himself.

Tina he remembers whispering as he traced the edges of the portrait, as though speaking her name might explain why she’d stopped. He’d found a salamander near his fireplace that night, and his hasty sketch while staring into its light had been closer than anything he’d managed in drawing her from memory. He’d hoped she’d understand the comparison.

Newt shifts in his hospital chair and strokes her hand. “I should’ve written to you again, hm? My stubborn Porpentina. You’ve no idea how much I wanted to. Well, perhaps you do now.” He reaches to delicately brush her hair from her forehead.

He’d known right away in the sewers of Paris that it must really be her, for although her apparition in the circus had walked away with her back to him, her eyes had been real and alive with everything the picture didn’t show.

There’d been new things to contend with as well. For although there had been passion and excitement there had also been a hardness lurking in her eyes that he hadn’t seen before. Their banter had been off, somehow, her eyes too firm when he’d caught a glimpse of them, then shifting away from him as though pushed away by their overlapping words and actions.

He’d known something was wrong, for she’d worked with him as easily as before, and yet looked away the moment it felt as though that work was melting them closer.

It was nice to see you again Mr. Scamander, she’d said, but her eyes had said something else. Had turned away as though it stung to let him study them the way he had those last few days in New York.

She’d teased him for the comment about the runespoor and crossed her arms, but her eyes had been light and amused and he’d smiled for having made them so. 

They’d come fully alive when she’d trapped Theseus and he’d thought that he’d very much like to keep that look. Forever perhaps.

Fiance, she’d said at the door to the records room, her eyes when he’d glimpsed them over bright. Is that what—

Her angry eyes had become confused, then forcedly patient. Perplexed. Surprised. Hopeful. And finally, finally on his, exposed again. Trusting. Tender, even. Like fire in dark water. He’d never wanted to stop looking.

Salamanders, she’d said, and if they hadn’t been interrupted, he might have stared at her eyes in wonder for much, much longer. So many people, the better he knows them, disappoint. Blinkered about creatures or perplexed, at best, by him. Not his Tina. The more he’s known her, the more he’s wanted. The more shades and colors he’s seen in her eyes. That’s not changed for a single day.

That night, she’d found him sitting at the base of a tree in the cemetery, nursing the niffler’s paw. She’d sunk onto the ground beside him. Her eyes, when he’d glanced at them, had been almost empty.

He hadn’t tried to find words, and neither had she.

The niffler, though, had reached out a little paw. Surprised, Tina had looked at him, and that was when her eyes had warmed, and then filled with tears.

You’ll come back? He’d said as they waited for her portkey several weeks later.

Yes, she’d promised. He’d tried again to notice all the things in her eyes that he would miss. And then he’d given in and touched her skin just below one eye. Her eyes had filled with that wondering sort of warmth that he now knows so well, though at the time he’d seen it only a handful of times.

And then she’d been gone.

On her next visit a couple of months later, she’d been writing a letter to book her trip back to New York, curled up in a chair in his sitting room while he tried to focus on a letter to his publisher and really kept looking at her. She’d glanced up just at the right time to see him.

“Stay,” he’d said without preamble, his eyes falling briefly to the floor and then plunging into her gaze, searching for all the things he’d not yet learned about them. “Please, stay.”

And she had.

Tina’s hand shifts in his. He looks to her face. She licks her lips, a hum passing over them as her brow furrows. And then her eyes open. Tired and raw with pain and the potions they’ve given her to control it. But there.

“Hello love. No, no don’t try to get up. You’re safe.” He shifts closer and she grips his hand.

She opens her mouth and her voice comes out as a croak. He points his wand at the cup beside her bed, helping her lift her head enough to take a sip. She tries again. “Those children?”

“The two little muggle girls. Oh, yes, perfectly alright, Theseus says. You saved their lives.”

“No-maj,” she croaks, and he laughs. He lifts her hand bundled between his to his lips.

He touches his knuckles beside her eye. She smiles at him. Her soul is there in her eyes. Warmth and generosity and fierceness and curiosity and wit. He still hasn't discovered everything in them.

He begins to tear up and her fingers stroke his chin.

“What have you been doin’, then?”

“Thinking,” he says, leaning forward to drop another kiss to her hand.

“About?” She twines their fingers together.

“You.”

She laughs, a soft, breathy sound with all her injuries. “Fascinating, I’m sure.”

He watches his finger twist in a lock of her hair. “Infinitely.”

That look again, the wonder and warmth. He hadn’t known what to call it on the docks in New York or when she’d left after Paris. But he does now. Love.

“Rest, love,” he murmurs as her eyes begin to flutter. She nods tiredly, her eyes already slipping shut. He still doesn’t know everything about her. He still cannot name each shadow that passes through her eyes, nor each light that brightens them. Her gaze can puzzle him, or takes his breath away, or makes his chest ache with tenderness, and sometimes he does not know why.

Kind, he’d thought, in the first days he’d known her. Fierce. Impassioned. He’s added so many words to that list since that day. He suspects he’ll never be satisfied, no matter how long it grows, that he’s described everything he sees in her dark and expressive eyes. What a pleasure it is, though, what an honor, to try.

[mst3kproject]

913: Quest of the Delta Knights

Or, as I’ve taken to calling it, Wizards of the Lost Kingdom -1.

Long ago it was a time of brave knights and fair maidens, bubonic plague, public hangings, spiral perms and really stupid hats.  The tyrant of this land is Lord Volcher, who acts a lot like Alan Rickman in Robin Hood: Prince of Thieves only not so subtle.  Opposed to him are the Delta Knights, who have a prophecy about a young sage from the North, and a wizard-looking dude called Baydool thinks he’s found this chosen one in a skinny kid named Travis who might have precognitive powers, I don’t know. Supposedly Travis is destined to lead them to the place where Archimedes hid the lost knowledge of Atlantis.  Wasn’t that the plot of an episode of MacGuyver?

This all takes place when Leonardo da Vinci was in his early twenties, which would place us in the 1470’s.  Despite being so theoretically specific, Wizards of the Lost Kingdom -1 doesn’t actually try very hard to be set in anything resembling the historical past – it’s kind of like The Undead in being a quasi-Renaissance fantasy thrown together by people whose ‘research’ consisted mostly of watching other quasi-Renaissance fantasy movies.  The only historical detail they got noticeably right was the death of Archemedes. Supposedly he really was cut down by the Romans while trying to finish some math, his last words being roughly, “don’t disturb my calculations.”  Legend credits him with inventing a heat ray and a couple of other superweapons that may or may not have been used in the siege of Syracuse, which I guess is what inspired this movie.

That’s a fun idea, I suppose, and could make for a sort of medieval Indiana Jones type adventure.  Problem is, I’m really not sure what kind of movie Wizards of the Lost Kingdom -1 is trying to be.  The tone shifts sharply depending on who’s in a given scene.  When the villains are onscreen one gets the impression that this is a comedy, but nothing that happens is actually funny.  Indeed, a lot of the so-called ‘jokes’ are downright mystifying.  What the fuck is with the thing about Whampool having been a bearded lady in a carnival?  What is supposed to be the punchline of that?  What’s supposed to be funny about any of Volcher’s interactions with the Mannerjay, whoever she is?  Why is he loyal to her when she treats him so badly?

When we’re watching the heroes, we have the opposite situation: it seems like this is all meant to be riveting and sometimes heartfelt, but everything that’s happening is silly.  I want to speculate that there was some kind of failure of communication here, that some of the actors thought they were making a serious adventure movie and the rest thought this was a medieval sitcom, but Baydool and Volcher are played by the same guy so I got nothing.

The result feels uneven to the point of being nearly incomprehensible. How the hell does Leonardo da Vinci exist in the same universe as the Wizard Whampool with his neckbeard and Brooklyn accent?  Why do characters keep talking about filing their paperwork in a world where very few people can read?  How do real countries like Italy and Germany exist, and yet we’re in a land ruled by a Dark Queen who never does anything and a forest full of ziplining people who live in the trees like fucking Ewoks?  How is anybody talking about the country of Turkey four hundred years before it existed?

I guess the film-makers figured nobody would care because it’s just a silly fantasy movie, right?  Maybe that’s true – maybe I’m just anal about it because I did undergrad work in medieval and renaissance history.  The way I see it, though, once you’ve decided to mention real people like Archimedes and Leonardo da Vinci, you’ve got to at least try to be set in the real world.  If you’re going to make up things like the Golden Newt Award from the College of Alchemists in Istanbul, you can also make up your ancient scientist and your artistic prodigy.  Otherwise your movie comes across like it was written by a twelve-year-old.

(Don’t ask me why Volcher and Baydool are both David Warner, by the way.  Maybe it’s supposed to be a two sides of the same coin thing?  Maybe there was a subplot about them being long-lost twins and it got cut from the movie?  Maybe they just couldn’t afford to pay another actor and thought nobody would notice?)

There are major characters who are totally useless.  Volcher’s Evil Overlady is a woman referred to as ‘the Mannerjay’ – I googled this word to see if it actually meant anything but all that comes up is pages about this movie.  I guess somebody thought it sounded cool.  She appears to sit around all day belittling the people who are running her kingdom for her.  We never find out who she is or what she wants or why she’s in charge, and she appears to be in the movie only so it can make jokes about how totally whipped Volcher is.  Her pet wizard, Whampool, is important for about thirty seconds while Baydool and Travis sneak into his lab to copy the map to Archimedes’ library, but he keeps popping up again after that for short scenes that are supposed to be comedic but aren’t, and contribute nothing.

Equally wasted is Thena, the woman Travis springs from a brothel because she saved him from being beaten up once.  She turns out to be the Lost Princess of the Ewok People, which comes across as a lazy way to get her out of the movie again.  She shows up to shoot one guy at the very end but can never really be said to have an effect on the plot.  She’s not even anyone’s love interest.  She’s only in the movie because the casting director thought her tits looked good in that corset.

The plot never seems to escalate.  The middle section of a movie is supposed to be ‘rising action’ or at least ‘rising tension’, but the characters in Wizards of the Lost Kingdom -1 just seem to be wandering around.  Part of this is because of characters like Whampool, or Thena and the Ewok People, who come and go without having any effect on the plot. A major part of it is because the bad guys are idiots who can’t seem to get anything done.  Sometimes the good guys don’t seem able to get anything done, either, as when Travis attempts to rescue Baydool from prison but only ends up getting him killed.  This is supposed to be the heartbreaking tragic scene where Travis loses his mentor, but it mostly feels like wasted time.

I’ve already mentioned a number of anachronisms in Wizards of the Lost Kingdom -1, but there are always more, and the biggest of them is the one the entire plot is founded on.  Baydool tells Travis that the Delta Knights are ‘a secret society dedicated to bringing mankind out of the dark ages.’  Right.  So first of all, ‘the dark ages’ usually means about 400-800 AD in Europe, when we don’t know much about what was going on because everybody was too busy killing each other to write it down.  They weren’t called that, however, until the seventeenth century, when scholars began contrasting what they considered an age of ignorance with the ‘light’ of Greece and Rome beforehand and the Renaissance (a period of fetishism for all things Greco-Roman) after.  Notice how neither of these periods overlap with the supposed time of this movie.  This brings me to my second point, which is that dark ages are dark only in retrospect.  Nobody who was actually alive at the time knew they were living in the dark ages and they probably wouldn’t have cared if they had.

Of course at the end of the movie, they find the secrets of Atlantis but decide to bury them again so that Volcher can’t use Archimedes’ death ray to conquer the world or something.  Throughout the movie Volcher has gone around murdering random people and yelling orders, but he’s so dumb and incompetent that he never really seems like a threat to our heroes.  I got the idea that if Travis hadn’t blown him up he would have done it to himself within the next fifteen minutes.  The Mannerjay, sitting around in her hilltop castle (always introduced with a thunderbolt sound even when the sky is blue), certainly isn’t a threat to anybody.  I don’t think she knows what goes on outside her room.  Keeping this stuff out of their hands seems totally unnecessary. These clowns wouldn’t know what to do with it.

Besides, if you’re trying to fit this into actual history, shouldn’t the end be the Delta Knights using the contents of Archimedes’ Library to bring about the Renaissance?  That’s what they wanted, wasn’t it?  To re-introduce Greco-Roman ideas of science into this backward, superstitious society (not that they ever bother to establish society as backward and superstitious)?  Instead they just blow the whole thing up and all that’s left is things Leonardo was later inspired to sketch in his margins when he got bored of drawing penises with legs. Congratulations on defeating the entire purpose of your own secret society, guys.

Why would anybody make a movie like this?  Wizards of the Lost Kingdom -1 clearly had some kind of budget, because the costumes are pretty nice even when they’re not very historical.  Archimedes’ ray gun is realized through effects that aren’t very special but at least they work.  There are horses and props and things like that, but the script and story are so juvenile, un-funny, and pointless that it doesn’t feel like it deserves them. Nothing here was worth my time or the film-makers’ money and effort.  It doesn’t make me as viscerally angry as Kitten with a Whip, but man, it sucks.