#I honestly find good story elements in everything I read (a broken clock is right twice a day)

[dizaryswrites]

Hello! Based on your last reblog, if I may be so bold... :) Who are some authors or what are some works that you've found rich for inspiration–either within or outside fandom? And what is one element of storytelling that always makes you reach for the notebook/go "wow"?

This is such a good question that I had to sit with (and stare at my bookshelf while pondering lol) thus the delay!

I love allllll parts of storytelling and trying to puzzle out why one thing worked for me and another didn't. Besides character (because that will always be my fave) I mostly take note of descriptions. Physical, emotional, and especially environmental! That part of writing doesn't always come as naturally to me. Plus I can't really picture people or places exactly in my head (they're like vague images and blurry Sim faces) so when a writer really captivates me and makes the story feel alive without being overly flowery or long winded, I take note! Combine that with great character work and you can make even the most straightforward plot a delight to read. Complexity is no substitute for good pacing, characters with depth, & satisfying arcs.

Within fandom there's a lot of amazing fic writers. I have over 100 bookmarks and a TBR a mile long that I'm so behind on. But I picked a few for the very specific atmosphere and character work they create that I liked as inspiration for my current OC project.

Laws of the Universe by @minnow-doodle-doo The tenderness and tragedy here...I weep....

The End of Infinity (With You) by @lurkinglurkerwholurks This fic captures desperation and despair soooo well

Shelter by Ptelea The emotional tension between Jason and Dick and how much they say with actions and silence is fantastic

Comics have art instead of written description so character is mostly what stands out to me. Tomasi's Nightwing run was a really enjoyable examination of Dick and had great interactions with Tim and others. Superman's Pal, Jimmy Olsen is top notch humor and inside jokes but slips in the most poignant emotional moments that are so genuine. Batman and Robin (2011) focused on Damian and his relationship with Bruce and I adore the use of callbacks to the first volume to show his growth.

Outside of fandom, I'm gonna list some standout and favorite books that I go back and reference for craft. All of these have fantastic descriptive writing and characters!

Graceling by Kristen Cashore - The romance, tension, yearning, soft moments! I adore this romance and think about it often

Legendborn by Tracy Deonn - Vivid world, descriptions, and such fun characters.

The Jasad Heir by Sara Hashem - THE enemies to lovers with such good character work, I love the MC and her internal battles

Nettle & Bone by T. Kingfisher - The perfect balance of descriptive but not flowery/too bogged down by prose writing.

The Buried and the Bound by Rochelle Hassan - This trio feels like they were meant to be together, they just fit.

When Among Crows by Veronica Roth - Roth packs so much into a novella, I was stunned. The world felt rich and I want more from these characters

Mexican Gothic by Silvia Moreno-Garcia - So much unsettling atmosphere and mystery going on here

[lokiondisneyplus]

Holy crap. Look at Kate Herron's shirt. When the Loki director pops up on Zoom, she's donning the most glorious image anyone will see since we laid eyes on Alligator Loki: A Teletubby wearing the Loki horns. Are the Teletubbies Loki variants? Sure, why not!

"I got it on Instagram," Herron says. "There's an amazing comic book artist and he designed it. He made it into a T-shirt for me because I saw it and was like, 'That's incredible. Can I get it for the press junket?'"

Herron, no big deal, just pulled off an MCU miracle. Entering a mammoth franchise with, notably, some of Sex Education's best episodes under her belt, the director deftly brought a plot involving multiverses and Richard E. Grant in a cape and superhero mumbo-jumbo to brilliant, beautiful life. Following Loki's tear-jerking, mind-bending finale, the series has been dubbed by critics and fan's alike as one of Marvel's best efforts—which is no small feat. Of course, we needed to ask Herron how she stuck the landing. Following the most epic finale you, me, or any Teletubby can remember, Herron talked to Esquire about the Miss Minutes jump scare, filming the finale's introduction of He Who Remains, and why she won't return for Season Two of Loki.

ESQ: How are you doing?

KH: I'm good. I think I feel very relieved that I don't have to sit on the secret of He Who Remains anymore, It was a very big secret to hold, but for an important reason, right? Because it's such a good character to be launching. So yeah, I feel good.

ESQ: Loking back at your old interviews, you have such a good poker face when you're avoiding spoilers, but you're also incredible at giving aggregator crumbs.

KH: I play a lot of board games, so you need to be quite good at strategy and poker faces so people can't always read your hand. So I think weirdly board games have prepared me more for working with Marvel than anything else.

ESQ: I have to start with the Miss Minutes jump scare. What went into the decision to make her a memeable, creepy apparition in that moment?

KH: I love horror, and my executive, Kevin Wright, knew that. Me and him were talking about Episode Six and I remember that he was like, "Oh, maybe you could do something creepy of Miss Minutes." And I immediately was like, "We have to do a jump scare!" Because I haven't got to do a good jump scare in anything yet and I really wanted to, because a lot of my friends are horror directors. I was like, "I can't let them down." So I was really excited to have a shot at doing a jump scare. And Miss Minutes, it was really fun testing it because we'd kind of bring different people into the edit, me and Emma McCleave, the editor, and we'd just play it for them, watch them, and check that they were jumping when we cut it.

ESQ: One thing that I think is getting missed in all the craziness is that we see a peak moment of the love story between Loki and Sylvie. Where does the finale leave the companionship that they found in each other?

KH: When I started the show, that was always in the DNA of it—that Loki was going to meet a version of himself and they were going to fall in love. And that's honestly what drew me into the story, because I directed Sex Education. I love stories about self-love and finding your identity and your people. Loki is such a broken character when we join him, and seeing him go on this amazing journey with all this growth and finding the good points of himself in seeing her—I think that was very beautiful. It's also paying respect to the fact that Sylvie's in a very different place to him. She hasn't had the Mobius therapy session. She even says, in Episode Five, "I don't know how to do this. I don't have friends." You really feel for her because she has been on the run and her whole life has been this mission.

It's almost funny because these characters are thousands of years old, but it's almost teenage the way they both talk about their feelings for each other. I think everyone can relate to that, right? In any new relationship, there's always that kind of awkwardness and like, "Oh God, am I too keen? The important thing was the hope—like when Sylvie and him kiss, I think it is genuine and it is coming from a place of these feelings they have for each other. Obviously she does push them through that door, but for me it was a goodbye and it was with heart. But it's kind of a goodbye in the sense of like, I care about you, but I'm going to do my mission because that's where I'm at.

ESQ: I would pay for you to direct the Sex Education episode where Otis falls through a portal into the multiverse, into the main MCU.

KH: He really looks like a Loki as well, which is so funny. I always thought that. I was like Asa does look like a Loki. It didn't come to pass or anything, but it would be interesting to do a Sex Ed-Marvel crossover. I wonder who all the different characters would be within the MCU, but it would be quite funny.

ESQ: You're right, he could pull off a teenage Loki.

KH: Yeah, like a teen or a very young ’20s, maybe. But it was just funny because I was like, "Oh yeah, he looks a bit like Tom." I wonder how they could do it. I'm sure they'll find a way to do a crossover anyway.

ESQ: Can you just take me back to filming with Jonathan Majors? And you capturing him in such a compelling, quirky, scary way—I'm sure your direction was such a big part of that.

KH: I was just so excited because Jonathan is an actor that everyone was so excited about. He's like a chameleon in everything he does and he's so talented. I just feel as a director so lucky to have worked on this because I feel like I've got to work with some of the best actors out there. And when you're with Jonathan, you know you're in the presence of just someone really magnificent. For me as a director, it's giving him the space to play and feel safe. Because we filmed it all in a week, but it was a lot to film in a week. So I think it was really about creating a space where he could have fun and find this character because he's going to be playing him for a long time.

ESQ: What went into the decision to introduce us to the good guy first?

KH: I remember in the script, he comes up the elevator and it was so casual. I was like, "Oh man, that's so fun." And then Jonathan, when he plays it, he's relaxed. And I the thing he used to talk about a lot was that this is a character who's been on his own for a long time. Because at the beginning, we introduced him in a space in the universe that feels like this very busy, loud place, but actually, when we see the Citadel, he's surrounded by the Timeline and he's very isolated. Even in his costume with [designer] Christine Wada, for the idea of his outfit, he's a character who's existed for multiple millennia. So it's like, OK, let's pull from lots of different places so you can't necessarily pin down which time or which place he might be from. Also the fact that his clothes look comfy. They were like pajamas because he's living at home. He loved the idea of the office [being] the only finished part of the citadel and that the rest of the citadel was like this Sunset Boulevard kind of dusty, dilapidated space. And just again showed that he probably just keeps himself to his office. All those elements definitely fed into Jonathan's performance in terms of balancing the extrovert, but also the introvert of someone that would be living by themselves and only talking to a cartoon clock.

ESQ: It really is incredible how you pull a nail-biting finale with this battle of wits and dialogue.

KH: It was really exciting because I feel like Episode Five was a lot of fun because we got to play into all the joy of the different versions of Loki, but also just the fact that it was our big usual Marvel third act, right? Like it was where our big spectacle was as they were fighting this big monster. But I love that our finale bookends, right? We began with a conversation and we ended with one.

ESQ: I also loved that there was no end-credits scene—I think it makes the ending that much more impactful. Was there ever an end credit scene on the table, or any kind of a stinger?

KH: I think no, because weirdly, we never went after the kind of mid-credit sequences. I think we always just were thinking just of the story and where we knew we wanted it to end. For example, Episode Four, originally Loki was deleted and then we went straight to him waking up. And it was only in the edit I was like, “I think it'd be really cool actually. We should move that scene to mid-credits because then we'll really feel like Loki has died." Because if I watched that moment and then it went to the credits, I'd be like, "What?!" And then when we were talking about the best way to talk about Season Two, we were like, "Okay, well, let's do that like a little mid-credits at the end because that is exciting to confirm it in that way." I'd say we found both of those in the edit just because we wanted to kind of do it right and have a fun nod to something that Marvel does so well.

ESQ: Is there anything you can tell about the future of the story you've told here—or even where you personally would like to go with the studio or otherwise going forward?

KH: Yeah, so I'm just on for Season One. So I'm so proud of the story we told. I mean, it was amazing getting to set up the TVA and take Loki on this whole new journey. And I mean, I think we've left so much groundwork for his character, and as people see in the comics, there's so much more to be delved into. And I just am excited honestly to just see where all the characters go. Like, who is B-15? What did she see in those memories and where did Ravonna go and where is Loki? I think for me, we've set up these questions and I look forward to seeing them being answered as a fan in the next season.

ESQ: Absolutely. Well, can we please work on the Asa Butterfield Loki?

KH: I will call him and I'll be like, "You want to do some crazy Marvel crossover?"

[thefanficmonster]

Death’s Tales

The Curator (The Dark Pictures Anthology) x Reader (Female)

Warnings: None (Maybe slight spoilers and slight mentions of death)

Genre: Dark Theme, slight Angst

Summary: This isn’t Y/N’s first visit to the Curator’s repository. She’s visited two times so far and deep down she knows she’ll keep coming back. Stories have a way of trapping you in the place where they live. But then again, it’s nice to have some good company for when you are introduced to those stories. Someone to laugh with during all the humorous parts. And also someone to offer you tissues when you are going through the thick of the lives written on the pages of the many books.

Requested by Anon! Hi there! Thank you so much for your request! Sorry it took so long to write, though I hope the fic makes up for the wait. I hope I captured what you had in mind. Please, enjoy. Love, Vy ❤❤❤

“Hello? You here?!“ Y/N calls out as she walks into familiar room. She immediately gets the feeling that she’s in the presence of a more intense power than she could explain - the power of all the timeless stories currently surrounding her. This is by no means her first tango with the deathless death turned into words written on thin, delicate pages for people to enjoy. She has always had an odd connection to each and every story she reads, so this place was the ultimate trap when she first wandered in, expectations low and head held high. She underestimated the repository, however, it didn’t take long for it to turn the tables on her with all it has to offer. In less than an hour, she had her nose buried in a book, her expectations exceeded by miles and her mind transported to a different place and time.

“Where else would I be?” The distinct voice she’s gotten so used to hearing replies from somewhere near by, “You know I rarely leave this place.”

 “If I didn’t know any better, I’d say that’s a sad way to be spending your time. But man, if I could stay here all my life I would.“ She struts into the room where the reply came from.

He is indeed there, standing by one of the many shelves, a candleholder with lit handles in one hand, browsing the shelf’s contents with the other. He chuckles at her statement, brushing it off completely, “I was waiting for you. Have a seat, I’ll pick a story for you.”

She gets comfortable, unwrapping her scarf and shrugging off her jacket. Sitting down in one of the leather chairs opposite his desk, she crosses her legs and waits expectantly.

“Ah, there we go. ‘House Of Ashes’, how does that sound to you?” He pulls out a book, holding it under the candlelight for Y/N to see the cover with the title engraved in the, what seems to be, leather surface.

She frowns, scrunching her nose, “You know what, no. I’m tired of these sad and scary stories laced with death. I can’t live knowing I gave those characters a bad fate. I know it’s redo-able, but I can’t help but feel shitty afterwards.” She shifts in her seat, “First all those people left stranded on that boat! Then I was tricked into sympathizing and emotionally investing into characters that were nothing more than the product of a broken mind!” She gives him a glare that’s looking through him more than at him, “I think I deserve a different story this time. Something lighter.”

The older man chuckles. “I was gonna have you choose between this one and this other oldie I have,” he points at the desk where another book is already sitting, “it’s a longer story, I might have mentioned it before.” Y/N reads the title ‘The Impatient’ engraved in the olive green cover of the large book, “But that’s not in any way lighter either. I would even say it’s among the more depressive ones.“ He pauses for a second, returning ‘House Of Ashes’ in its spot, “Perhaps I could find a story of a less melancholic premise.”

“Wait.“ She lifts her hand, putting his actions to a halt, “Why don’t we change it up for once? How about you tell me a story instead of reading me one?“

He’s very clearly taken aback by this. “I’m afraid an old man like myself doesn’t have a lot to share. Especially not when I’ve spent a rather big chunk of my life in this very place, doing this very thing.”

Y/N shakes her head, “Quite the contrary, mister Curator. I believe you have way more stories than all the people my age combined.” She smirks, “Don’t worry, I won’t tattle if you have some dirt on your name. What is it? Robbery? Fraud? Murder?”

“Don’t be ridiculous, Y/N. I am not that interesting.“ He chuckles, settling in his chair. “But I believe I could tell you the story of the only time I helped someone directly rather than through the riddles you hate so much.“

She’s clearly pleased with the outcome of her protest. She gives him a smile, “I’m all ears.“

He can’t help but shake his head at her child-like enthusiasm for something so simple. He’s determined to make it worth her while, so he digs through the contents of his brain, looking for the most interesting memories he has stored there - the ones that would entertain her. Eventually, he comes up with one.

“Have I ever mentioned my dear friend Alan to you, by any chance?“

Y/N thinks for a moment before nodding, “Yeah, but as usual, you were very vague.”

He chuckles, “I know you hate not being given details, so I’m gonna make sure not to leave anything out.” He absentmindedly picks up the pen on his desk, twirling it between his fingers, “Well, a brief introduction to our character Alan: he’s a psychiatrist. A year or two younger than me. He’s from Calgary. I met him in my mid-thirties, when I was still what some would consider young.” He smiles at the pleasant memory.

Y/N fakes shock, placing a hand over her chest, “You mean to tell me there was time when you, the Curator, were young? You can’t be serious. I refuse to believe that.”

“I was. And I was quite handsome, mind you.“ He takes out his wallet, opening it and handing it to Y/N. On the right, covered by a thin layer of clear plastic is a black and white photo of two men in their early to mid forties.

“You’re the one on the left, right?” She asks, staring at the photo wide eyes, looking up at him for confirmation. He nods in response. “Wow, I honestly wouldn’t have recognized you.” 

“Understandably so. Time has really taken a toll on me.“ He actually looks saddened when he says that. She can tell that was less a joke and more the truth.

“I wouldn’t say so.“ She tells him sincerely, a small genuine smile on her lips.

He returns her smile, his eyes becoming a bit livelier. “Him and I are still friends till this day. He’s a walking book of stories, I’m sure you’d like him if you ever get the chance to meet him. You see, he has spoken to me about all his patients, never once naming one of them. Until this on young man had come into his office. He was struggling with issues medicine in and of itself couldn’t completely fix. His name was Joshua. The boy was having a really tough time dealing with the loss of his sisters.” He sighs at the memory, “Alan told me he tried everything. He tried all things his years of practice and work have taught him but the boy was slowly sinking further and further down into the void of his mind.“

His voice is way different from his usual narrator tone. You can hear the weight of the events he’s reciting in every syllable that leaves his lips. She is now an accomplice, exactly like if she were there when it all happened.

“It was troubling my friend to the brink of madness, I couldn’t just stand aside and watch that. Also that kind young man, Joshua, deserved a lot better than what life was giving him. Every branch that poor boy held onto snapped. Everything he ever tried to make of himself crumbled. I admired him for the fact that he kept trying and seeking a way to succeed. What he failed to see was the obvious need for help he had. He was longing for a helping hand but no one noticed, or they simply didn’t care. Except this one girl. Her name was Samantha. She saw right through his act. But he never allowed her helping hand to reach him. He never wanted to be a weight on her shoulders. Never wanted to be nor the bump in her road nor the baggage she carried while walking it. So, I stepped in. I taught him the importance of having someone by your side, and taught her the importance of never giving up on someone who means a lot to you. Luckily for themselves and for Alan and I, they listened.“

“Forget about Alan, I want to meet Joshua and Samantha. I want to meet them and give them a big hug.“ Y/N says, her mind wandering to the images she has compiled. A broken boy and a girl with the strength to carry both her and his world in her arms. She can quite see their face, but she can picture their auras, their energies. They feel so real to her, and all just from the Curator’s words alone.

Soon enough, her eyelids start giving out, her eyes fluttering closed. She’s fighting to the best of her ability to stay awake, see this story to its end, but the Curator’s storytelling and the dark, candlelit room aren’t helping her with the battle. Her mind is drifting further and further into the land where the story she’s being told will keep expanding with elements added by her imagination. She’s certain she’ll dream of this tale.

“Oh you’re already clocking out, huh?“ The Curator chuckles, pausing his story mid-sentence.

“Can’t help it.“ Y/N mumbles, already more than half asleep, “Just tell me how it ends, you’ll fill in the gaps when I wake up.“

“Well, it hasn’t ended yet. I can tell you where it’s at at the moment.“ She hums approvingly, “It’s been five years since I stepped in and now they are happily married. They have a little one on the way. A little girl, I believe.“

A lazy smile forms on her face. “That’s nice.” the words leave her lips in the form of a sleepy sigh moments before she has been dragged into the deepest crevasses of her mind and imagination.

The Curator calmly and quietly gets up, taking his jacket from the coatrack. He drapes it over the girl asleep in the armchair on the other side of his desk. Little does this college student know, he has seen both her past and future. He has met her in several different periods of her life. She’s been like her own personal guardian angel. In her past-lives too.

Guardian angel of death.

He was lucky to have met Alan before that curse was bestowed upon him - making the psychiatrist the only man he could interact with without bringing him a sooner than anticipated and inevitable demise. He wasn’t completely honest with Y/N about the time frame of meeting the other man, but that was not an important piece of information. She could do without it. He used the only hall-pass he had to do his old friend a favor - settle the storms that raged between Joshua and Samantha. And now, he’s locked away from the world, waiting for souls to come to him instead of the other way around.

Nowadays, he just stays hidden from people and only meets with those who wander into his repository. It’s always the same pattern: they come in, not really sure how they ended up there; He coaches them through a story they think they have some sort of impact on; and then they leave and never come back.

Color the man surprised when he saw her walk in the first time. It took him no time to connect the dots, he’d recognize her anywhere. She wasn’t clueless like the others, she actually seemed like she was looking for the place. He spent the next week or so feeling like he had failed the only purpose he had - to keep her safe. That was until she showed up again, even cheerier than the first time. That’s when he knew he shouldn’t fear for her, for she was a phenomenon beyond his understanding. A soul never in death’s reach.

“I hope you never get to see the same fate as everyone else who meets me.“ He whispers, looking down at her sleeping form.

He knows she’s special. After all, he never has never met anyone more than once.

[demonfox38]

Completed - Faxanadu

So, at the end of my last post game evaluation, I brought up "Faxanadu" as a better alternative to "Zelda II: The Adventure of Link." I honestly don't know if that's a controversial opinion or not. On the surface, I can see that raising the gall of a lot of dyed-in-the-wool Nintendo fans. Like, how dare I lift the third-party product over something created by Nintendo itself. And, to be honest, I can feel that contradiction. "Faxanadu" looks worse, sounds worse, and plays just a bit stiffer than "Zelda II." Why would I like this game more if it is an inferior product?

Well, in this case, it all comes down to attitude.

"Faxanadu" is a weird little offshoot from a prestigious pedigree. Directly, it's a spin-off/side story to "Dragon Slayer II: Xanadu" of the "Dragon Slayer" series. I'm guessing that if you are as familiar with Japanese computer RPGs from the 1980s—that is to say, knowledgeable by the name alone—you might recognize its sister games "Sorcerian" for its lovely soundtrack and "Tokyo Xanadu" from a list of titles available on Steam. But, hey. TL;DR—"Dragon Slayer II: Xanadu" sold 400,000 game copies in 1985, so Nintendo was all too happy to get a slice of that pie. In the translation from computer to Famicom ("Faxanadu"? Get it?), the adaptation lost its RPG battles and became a more stream-lined action platformer with some vestigial RPG elements.

Sounds strange? It kind of is. Just think "Zelda II" without death pits.

Adding to the uniqueness of this game is its peculiar plot. In "Faxanadu", your PC is charged with stopping a horde of extra-terrestrial forces and dwarves hopped up on meteor dust from killing all of the elves living alongside them on the World Tree. It's like the Yggdrasil myth meets "Night of the Comet." Very, very 1980s in its mix of mythology and weird space shit.

The game itself is as you might expect from an action platformer. Move around locations, purchase equipment, fight, keep moving until you find the final boss. The weirdness of it flakes off a little bit at a time. Like, those experience points you accumulate? They don't go into stat improvements. You talk to a guru (a priest dude) to bank them in and earn a title. This will aid you when/if you die, as the game will drop your corpse off at the last guru you visited with a preset amount of money based on how awesome your title is. Dying can be a great way to warp around, as well as to get your ass back to full health for free. Hell, you don't even lose accumulated items if you die. (Although, if you use a key, that’s gone for good. You may have to purchase a few extra if you die in the wrong spot.) Death isn't always the best strategy, but it can help in the right circumstances.

Frankly, the game is very chill about your failure. Pretty much everything else, too.

The mellow atmosphere of "Faxanadu" is something to be appreciated. Even if most people have given up on their home being saved, they're more than alright sitting around, smoking and drinking and chatting you up. (God bless, there are so many smokers in this game.) People are constantly telling you to not try too hard to save their asses, as well as encouraging meditation and keeping calm in the face of defeat. Not to be crass, but it makes you wonder if people have something other than tobacco in their cigarettes.

Let's be honest. If they were toking, it would explain a few laughable bugs.

Oh, man. You've got to hear about these errors. Like, I know register mathematics and assembly coding is a bitch, but this game makes some choice mistakes. Like, that title system I mentioned earlier? You're supposed to be given more time to use special items like hourglasses and winged boots when your title increases in rank. In execution, the opposite happens. The more monsters you kill, the less time you're given on the clock to use cool shit. It doesn't ever lock you out of an area, but it is something to keep in mind. Additionally, there's this pendant that you're supposed to get in the second area that should increase your attack power. However, the game already thinks you have that equipped at the start, so when you get it, that attack boost gets turned off. That's right. Take the pretty necklace and you do less damage. I mean, hey. You don't want to get it accidentally broken, do you?

This game isn't particularly bright in the aesthetics department, either. Most of the color palette is brown, green, cream, and salmon. Character portraits have this weird animation when they talk to you where their blinking and speaking is desynced in a disturbing fashion. Hell, of the allegedly dwarven enemies, I can only point to one or two enemies that I believe are dwarves. The music is a little better than average for the NES, but nothing I'd put in a playlist (minus the opening theme, which is an awesome fantasy rip.) I mean, it's sure better than the "Dragon Slayer II: Xanadu" footage I saw on YouTube, but it's not exactly a feast for the eyes and ears. Even platforming and movement of your PC is a bit stiff. Also, this uses password systems to save instead of batteries. Which, hey, fine by me. But, it's definitely cheaper than using a battery, and I know a lot of people find passwords to be difficult or annoying to use.

So, if this is an inferior looking and feeling product in comparison with "Zelda II", why do I like this one more?

Well, the chillness factor, for one. The difficulty in this game is much more manageable as well. You can carry several healing potions on you, and there are classes of enemies you can farm for food to get your health up in dire straits. Hell, there's even an elixir that will auto-pop on you if you take too much damage. Additionally, screwing up platforming doesn't automatically kill you. It might make you have to take a few rooms to get back to where you were trying to go, but it's not a kiss of death.

Yeah, this one's easier, for sure. But, I don't feel like it's purposefully wasting my time, either. The cash for most equipment upgrades can be ground out within ten or fifteen minutes, if you're willing to put in the time. You can skip certain locations, if you really don't want to deal with their hassle. Granted, skipping too much could cost you the best equipment, and you certainly need that to fight the final boss. But, the trials you face to get that aren't the worst. Hell, getting the Dragon Slayer itself becomes retroactively sad and metal once you figure out just what you were fighting to get it.

There are important things to do, sure. Nobody's on your ass if you screw up. The NPCs want you to succeed, and they want you to do so with a clear head (and an empty purse, in some cases.) It's the kind of game where you take an afternoon or two to knock out. Nothing overwrought, nothing dramatic. Just you and a handful of Keebler Elves fighting back cosmic horrors that have taken over the neighbors.

It would be interesting to know the scale of this world. The dwarves don't seem to be that much shorter than the elves, so I have to wonder if everybody's just four feet tall or something.

I'm almost certain that I picked this up off eBay decades ago after reading either a genre list or recommendation list on GameFAQs. Even now, the price on it is cheap. (Of course, ROMs are free, but it's a $10.00 cart.) This was a better game than what I would normally get out of my other source of NES games—that is to say, the K-Mart bargain bin (which may have been leftover stock the company bought from FuncoLand? Not sure.) Long story short, this game is relatively short, cheap, and fulfilling. If you need something retro and easy going, this game might do the trick. It might not blow your socks off, but it won't blow your head off, either.

[davidmann95]

This weeks comics?

So much to cover, and just so we’re all clear upfront, SPOILERS ahead.

Sideways Annual #1: I’m not sure I’ll ever be able to forgive the cover for simply reading “All-out Action, guest-starring Superman” rather than the declaration of “The Champion of the Oppressed is BACK–JUST WHEN THE WORLD NEEDS HIM MOST!” it demanded, but otherwise what a delightful comic. It’s a mess in so many ways given Morrison’s working with what DiDio laid down for him (which he seems to demonstrate hilarious contempt for when he almost literally drops a bridge on the no-hoper who’d been set up as the arc villain before he can do anything) and jumping on mid-stream to boot, but it’s basically just an extended excuse for him to put dialogue in Superman and the Seven Soldiers’ mouths again and remind everyone how rad his takes on them are, and thereby shame us for abandoning the former. Plus give us a taste of what his voice for Spider-Man would be, which it turns out is a perfectly fine one in spite of his past professed skepticism that he could pull it off. And above all to assure us with a smile and the proper send-off (a particularly satisfying one for me personally given my arachnophobia) we never got before that even if we never see our pal cop-punching, bank-busting, casual Fridays Superman again, he’ll be out there, along with all the other cast-off good Superman ideas, helping out wherever he can.

Also, who else caught the nudge and wink about the Tailor, and how that tells devoted Seven Soldiers fans just how much of role Morrison really played in saving his take on Superman?

Batman #60: Batman is…Batman is weird lately. I honestly don’t have anything else to say about this issue, except that the bit with Alfred cleaning was obviously killer.

The Unexpected #6: So Ronan Cliquet is bad, right? Like, we can all agree that dude is just bringing nothing to the table? I’ve never seen pages so plain look so simultaneously cramped and barren. This book has been such a damn disappointment: clearly promises were made about how much space Orlando would have to work on this that have been entirely broken, he’s cutting past what was clearly intended to be dozens of issues of buildup and fleshing-out of the concept to the grand finale, and he’s already obviously and understandably checked out. This should have been one of those “hey, you never heard of _____, but it was quietly one of DC’s best books for awhile there!” titles you learn about 20 years after the fact, but it was stillborn and unable to explore even the slightest sliver of its potential. It’s almost reached a point where it can make me think its coming conclusion is a mercy killing, but then, said conclusion is the problem.

Justice League #11: The debut of the Super-eyepatch! Otherwise, while it’s definitely not my favorite issue thus far of Snyder’s Justice League, it might be the one that feels the most well-realized in terms of getting his vision on the page thanks to Francis Manapul. I desperately hope he sticks on the book past Drowned Earth, because as much as I absolutely love what Jorge Jimenez and Jim Cheung are doing, his vision feels the most in line with the, as Snyder put it, ‘magisterial’ tone this title is going for a lot of the time.

The Green Lantern #1: Not my favorite Morrison title of the week in spite of its lack of clutter and outside influence, to the point where I’d honestly say it initially left me pretty cold, but much as with Morrison’s last major #1 in Action Comics, a reread did wonders for me once I knew what sort of tone I’d be grappling with. I do think it was oddly structured in a way that didn’t benefit it, leading with the mundane-flavored-with-cosmic with the alien beat cops rather than Hal’s more grounded perspective leading into the awe-inspiring, but given it sets up an immediate contrast with his ‘civilian life’, I’d call it a calculated risk that didn’t quite pay off. Hal himself is interestingly realized, this blunt, bored dude who only really comes alive when he’s on the clock, who’s as hyper-competent at his job as you’d think the Greatest Green Lantern Of Them All would be but almost seems to be sleepwalking through his days. It’s when we reach Oa with the mission statement for the Corps that the book really comes together, meshing up the beautiful design sense, an evocation of some of Morrison’s past recurring themes and elements, and raw high concept into the most powerful evocation of the basic idea of Green Lantern’s Deal I’ve ever read. And Liam Sharp mostly does justice by it; I know some find his style off-putting and his anatomy wonky, but he sells the what-if-GL-was-a-2000AD-strip sensibility, and his work has a framing and structure and a tangible, doughy 3Dishness that recalls the flavor of some of Morirson’s best prior collaborations. Not that, to be clear, I don’t think plenty of those prior collaborators couldn’t have done a much better job with this, but I think this’ll pan out just fine.

On top of that a couple minor notes: I suspect David Uzumeri might have been right regarding the possibility that this could be the book where Morrison delves into the basic question of whether superheroes are by nature cops, and thereby police brutality (Maxim Tox and Hal himself both have some startlingly severe moments in here) and the moral feasibility of the whole business. Rather than rethinking his process in his time away, Morrison’s storytelling tics are as prominently on display here as just about anything he’s ever done. And I was genuinely shocked to see the acknowledgement of Manhattan in here - a landmark chapter in The Last War In Albion in the making if ever there was one - right alongside addressing Snyder’s Justice League, making this to my knowledge the only book in the company’s lineup to acknowledge both contenders to the throne of DC’s current actual Important Cosmic-Scale Story. I suppose Lantern is the place where that makes sense, but both bring interesting elements of their own, as with the Source Wall Morrison’s going right on in and acknowledging how other creators have brought his ideas and spirit to the forefront of the DCU in the last several years, and with Manhattan, having a Grant Morrison DC Comic acknowledge the presence of Watchmen characters as parts of the grand scheme of things makes that whole bizarre business feel real in a way even Doomsday Clock itself hasn’t for me.

Adventures of the Super Sons #4: What a charmer! I harped a lot on Pete Tomasi by and large sucking on Superman, because by and large he sucked on Superman, but put that dude on just the right project to play into his strengths and he absolutely shines.

The Dreaming #3: Wound up in my pull file since I’d unsubscribed so recently, and decided to give it one last chance. It’s pretty and confident in what it’s doing and I’m sure lots of people are rightfully getting a lot out of it, but I’m not one of them and it won’t be getting another shot.

Border Town #3: It feels odd to think this given how much positive attention it’s been getting and how well it’s sold for a modern Vertigo book, but Border Town absolutely still feels like the sleeper hit of 2018. It so feels like the sort of comic that I usually can acknowledge the quality of but doesn’t do it for me personally, so I keep picking it up expecting to not quite gel with a given issue, but each time I’m dead damn wrong. It’s brimming with energy and personality on every level, and it’s still early enough that I can’t possibly recommend enough that anyone who hasn’t given it a chance yet jump onboard.

The Wicked + The Divine: The Funnies: Speaking of titles that I can acknowledge the quality of but rarely do it for me, I’ve followed W + D from the beginning on the understanding that the fairly subdued joys I take from it on a month-by-month basis will be eclipsed by the scale of my love for it on a full reread, as was the case with the team’s Young Avengers. But boy did this one buck that trend, because it was a hoot. Honestly couldn’t tell you which was my favorite short, because like half the book is made up of front-runners.

Death of the Inhumans #5: Because Death of Some Inhumans, But Don’t Worry Not Any of the Good Ones, Other than Maximus wouldn’t have shifted as much copy. Donny Cates is establishing himself as a solid mid-tier superhero writer alongside your Tim Seeleys and James Tynions, and Ariel Olivetti’s a treat, but I have to call this one a miss.

Shatterstar #2: As I expected it didn’t grab me as much as the first issue since the tenants aren’t front-and-center, but I’m still digging it to a truly startling extent!

Marvel Knights #1: Okay? I mean, I liked it (aside from the unbelievably poorly-chosen ‘I can sort of see even though I’m blind’ line - had to be a dozen better ways of putting that), but aside from that it’s gritty and involves some of the characters with notable history in the imprint, I have no idea why this is the Marvel Knights 20th Anniversary book as opposed to just a random Marvel miniseries that I suppose could be published under that imprint if you wanted. The conceit feels so odd for the intended purpose.

The Immortal Hulk #8: This book is SO FUCKING GOOD ALL OF THE TIME AT EVERYTHING AND YOU ALL NEED TO BUY IT AND TELL YOUR FRIENDS ABOUT IT. CHRIST. Still the best super-shit on the stands.

DC Nation #6: Yanick Paquette needs to write Batman explaining science so as to teach us how to better fight crime for as long as he lives, if not in fact longer.