#I’m stuck in the process of making it cause I can’t decide thematically if I want a battle system and enemies or not

[paunchsalazar]

hey!! i loved your hoo playlist! can you explain more or less where which book begins and ends? or just your thought process behind picking the songs?

omg hi!! this is going to be really long I’m so sorry... I vaguely broke them up by book and sorta character/event/theme, it’s not super strict or anything but that was the logic!

I kinda imagine it playing out like a movie or tv series.. and so some of these kinda play over a scene or transition to the credits in my head? some more than others! otherwise it’s like punny titles or just songs that remind of plot points!

Lost Hero

- Goodbye Stranger - for Jason, since he has no idea what’s going on lol

- Teenage Dream - for the three of them, but mostly Piper!

You think I'm pretty without any makeup on You think I'm funny when I tell the punch line wrong

- Parachute - kinda Jason and Piper, I think as she realizes their relationship isn’t quite what it seems? (and just playing with his flying lol!)

- Metal Guru - Leo! 

- Pretty Girl - Piper, I was imagining this when she clashes with Drew/learns about the Aphrodite cabin

And I could be a pretty girl Shut up when you want me to And I could be a pretty girl Won't ever make you blue And I could be a pretty girl I'll lose myself in you

- The Sky’s The Limit - when the three of them take off on Festus

- Snowqueen Of Texas - this was for Khione lol

I'm on my knees, your majesty; Snowqueen, save a cold kiss for me I'm on my knees your majesty

- Sweet Talkin’ Woman - this is book-wide but it’s for Piper’s charmspeak!

- Are You Gonna Be My Girl - is sorta general but I was imagining it when Jason and Piper kinda decide to be together/give it another go

- It’s Not Unusual - I think this was sorta the entire book/wider series but I just think it’s cute and fun and a Guardians of the Galaxy type end credits song? And just them accepting their very bizarre situation 

Son of Neptune + Mark of Athena

I put these together because there wasn’t really a set bookend in my head!

- Hello Stranger - finally reuniting with Percy! (and I wanted the Percy and Jason songs to mirror each other)

Hello stranger (Ooh) It seems so good to see you back again How long has it been? (Ooh it seems like a mighty long time)

- Diamonds - Hazel 

- Don’t Go Breaking My Heart - Frank trusting Hazel with the wood, also Percy + Annabeth, everyone really

Don't go breaking my heart You take the weight off of me Oh, honey when you knock on my door Ooh, I gave you my key

- Beautiful Soul - I literally don’t know why I added this I just wanted an excuse to add a Jesse McCartney song (which feels so tonally correct to me?) but also I think it’s Frank liking Hazel in spite of her big secret and Percy loving Annabeth

- Pocketful of Rainbows - encountering Iris!

I don't worry Whenever skies are gray above Got a pocketful of rainbows Got a heart full of love

- Am I The Same Girl - Annabeth’s POV upon reunion!

Why don´t you stop And look me over Am I the same girl you used to know?

Why don´t you stop And think it over Am I the same girl who knew your soul?

- Bizarre Love Triangle - Frank, Hazel, and Leo

- Treasure - Hazel again + the literal treasure?

Pretty girl, pretty girl, pretty girl you should be smiling (you should be smiling) A girl like you should never look so blue (blue) You're everything I see in my dreams I wouldn't say that to you if it wasn't true

- The Sweet Escape - off on the Argo II

- Okay Okay - to Italy! and I just think Italian disco is so fun

- On An Evening in Roma - walking around Rome, seeing all its history

Though there's grinning and mandolining in sunny Italy The beginning has just begun when the sun goes down So please meet me in the plaza near your casa I am only one and that is one too few On an evening in Roma Don't know what the country's coming to But in Rome do as the Romans do Will you on an evening in Roma

- Stuck on the puzzle - Annabeth + the Mark of Athena

- Coca Cola - I was imagining the pirates+sacrifice to Dionysus/ his appearance

- Edge of Seventeen - I think Annabeth remarks to herself something like am I really going to die at 17? so this is for her and all the kids just on the cusp of being 17

And the days go by, like a strand in the wind In the web that is my own, I begin again Said to my friend, baby (everything stopped) Nothin' else mattered

- Landslide - when everything goes wrong and they start falling to Tartarus

Oh, mirror in the sky What is love? Can the child within my heart rise above? Can I sail through the changin' ocean tides? Can I handle the seasons of my life?

Well, I've been afraid of changin' 'Cause I've built my life around you But time makes you bolder Even children get older And I'm getting older too

House of Hades + Blood of Olympus

these are more thematic I think? but a few moments in particular

- Head Over Heels - falling down... 

I made a fire, and watching it burn Thought of your future With one foot in the past, now just how long will it last?

Something happens and I'm head over heels I never find out until I'm head over heels Something happens and I'm head over heels Ah, don't take my heart, don't break my heart Don't, don't, don't throw it away

- You and Me - Percy and Annabeth in Tartarus

If the stars don't shine If the moon won't rise If I never see the setting sun again You won't hear me cry as I testify Please believe me boy you know I would I lie As long as there is you and me

- Don’t Worry Baby - Percy and Annabeth in Tartarus, on the shore of the river

Well it's been building up inside of me For oh I don't know how long I don't know why But I keep thinking Something's bound to go wrong

But she looks in my eyes And makes me realize And she says "don't worry, baby"

- It’s Only A Paper Moon - the mist and Hazel starting to understand it

You smile, the bubble has a rainbow in it Say, it's only a paper moon Sailing over a cardboard sea But it wouldn't be make-believe If you believed in me

- Money, Money, Money - Hazel + Pluto

Money, money, money Must be funny In the rich man's world

- Magic - the whole story, but particularly with the presence of Hecate 

- Summer Wind - Jason harnessing the winds!

The summer wind came blowin' in from across the sea It lingered there, to touch your hair and walk with me All summer long we sang a song and then we strolled that golden sand Two sweethearts and the summer wind

- Mala Femmina - the return of Khione

- Would You? - Leo and Calypso

Well, you know she took my hand And we walked away And I can't understand why she would stay Would you like to fall in love with me?

-  Love is Like a Fire - Leo and also Frank 

- Don’t Wanna Fight - Percy and Annabeth

Take from my hand Put in your hands The fruit of all my grief Lying down ain't easy When everyone is pleasing I can't get no relief Living ain't no fun The constant dedication Keeping the water and power on There ain't nobody left Why can't I catch my breath? I'm gonna work myself to death

- Love Really Hurts With You - Leo after leaving Calypso’s island

- What Makes the Sunset - Percy and Annabeth (and by extension Bob and Damasen)

What makes the sunset? What makes the moonrise? What makes the tide remember to hide and why does it soon rise? What makes a star fall? Where does it fall to? Why does its flight make us stop in the night and wish as we all do?

- Dedicated to the One I Love - everybody, but an ode to Bob and Damasen (their goodbye made me cry!)

While I'm far away from you my baby I know it's hard for you my baby Because it's hard for me my baby And the darkest hour is just before dawn

Each night before you go to bed my baby Whisper a little prayer for me my baby And tell all the stars above This is dedicated to the one I love

- Please, Please, Please, Let Me Get What I Want - Percy and Annabeth in Tartarus, I was thinking about this post-curses and them being so done with everything

Good times for a change See, the luck I've had Can make a good man Turn bad

So please, please, please Let me, let me, let me Let me get what I want This time

- Lonely Boy - Nico 

- Fantasy - indulging all their visions... the mist, etc. 

- Stupid Cupid - Nico and Cupid (of course)

Stupid Cupid you're a real mean guy (stupid Cupid) I'd like to clip your wings so you can't fly (stupid Cupid) I'm in love and it's a crying shame (stupid Cupid) And I know that you're the one to blame (stupid Cupid)

Hey hey, set me free Stupid Cupid stop picking on me

- Suzanne - still Nico, looking over at the couple (sorry... all the mopey songs)

- Dream A Little Dream of Me - dreams... also Percy’s wishes of the future

Stars shining bright above you Night breezes seem to whisper "I love you" Birds singing in the sycamore tree Dream a little dream of me

- Our Day Will Come - I think Annabeth says a line almost like this? somewhere at the end of HOH, I think when they’ve just gotten out of Tartarus and are all sitting together, like haven’t they had enough? won’t their day finally come?

Our day will come If we just wait a while No tears for us Think love and wear a smile Our dreams have magic because We'll always stay In love this way

- Call Me - all of them! also Nico and Reyna, just being there for each other

Tell me and I'll be around Now don't forget me 'cause if you let me I will always stay by you You've got to trust me, that's how it must be

- Nobody - Nico... oh buddy 

Venus, planet of love Was destroyed by global warming Did its people want too much too? Did its people want too much?

And I don't want your pity I just want somebody near me Guess I'm a coward I just want to feel alright

- I’m a Believer - Jason and Piper

I thought love was only true in fairy tales Meant for someone else but not for me Love was out to get me That's the way it seemed Disappointment haunted all my dreams Then I saw her face, now I'm a believer Not a trace of doubt in my mind

- Summertime - Piper singing and it being the end of summer

- Happy Trails - more singing ( I want to include the songs actually mentioned!)

- The End of the World - the big battle!!

Why does the sun go on shining? Why does the sea rush to shore? Don't they know it's the end of the world? 'Cause you don't love me any more

- Too Late To Turn Back Now - departing with Festus (I think Leo almost says this too!)

- Here Comes The Sun - day comes, the Athena Parthenos is back

Little darling, it's been a long cold lonely winter Little darling, it seems like years since it's been here

- Walking On Sunshine - Will Solace

- Evil Woman - Gaea fight

Evil woman, how you done me wrong But now you're tryin' to wail a different song Ha, ha, funny, how you broke me up You made the wine, now you drink a cup I came runnin' every time you cried Thought I saw love smilin' in your eyes Ha, ha, very nice to know That you ain't got no place left to go

- Seven Wonders - the seven! also traveling the world... making it this far

If I live to see the seven wonders I'll make a path to the rainbow's end I'll never live to match the beauty again The rainbow's edge

- This Will Be (An Everlasting Love) - to me this is just after Annabeth and Percy’s kiss, shots of everyone back to camp, wides of people running around, new cabins under construction, the sun is shining, the camera pulls out 

Loving you is some kind of wonderful Because you showed me just how much you care You've given me the thrill of a lifetime And made me believe you've got more thrills to spare, oh!

- Love Makes the World Go Round - like the end credits! last pov with Piper, love makes it all happen

Without love flowers wouldn't grow in the spring And without spring, yeah the birdies just couldnt sing Everybody needs love to watch the twinkling stars above It makes a boy and girl, Say they feel so fine, now

[noddytheornithopod]

Okay had some more time to process (thanks sleep lol), so let’s see if I can make sense of this.

So it seems that Hope’s Peak basically made the fatal mistake of conflating hope with ultimate talent, which then developed into what is basically a socially Darwinist mindset. Nagito Komaeda is the character in-game to represent this ideology and just how hope can be perverted.

This kind of thinking also leads one to conclude that one must be stuck with their talents and follow them, meaning they’re forced onto a predetermined path. Junko, the Ultimate Despair, basically went and took advantage of these weaknesses of Hope’s Peak to basically cause its downfall.

However, the climax of Danganronpa 2 is about Hajime realising that he has to break free of these ideals, and thus instead of being set by who he currently is, he can create his own future with the power of Chiaki ex machina. Look, she is kind of deus ex machina-y and for that matter mainly there to prop up Hajime’s development, but thematically I think it’s actually Chiaki going against HER predetermined existence, to the point where she’s extremely vital to the climax. She’s a program in the Neo World, but kind of like Alter Ego in the first game, she’s developed enough of her own free will to finally take the courage to decide what SHE wants to do (unlike the end of Chapter 5 where she’s still forced to be silent). Since she’s a program and not an actual human, she was able to basically come back to help Hajime come to this realisation in this vital development. This is what basically caused Hajime to go “okay we should risk the shutdown, but we can create our own futures, because we’re not just predetermined code like in some video game”. Chiaki unfortunately couldn’t join him since she’s not an actual human, but Hajime and the surviving students did find a way to save themselves in the end.

Okay wow, that’s a lot. When you think about it, even the first game has seeds of these ideas. Alter Ego has a big deal made over him about whether he’s just a program or really has developed sentience, and ends up proving the latter. Kyoko Kirigiri kind of has this whole thing where she’s holding on to the traditions of her detective family only to realise she can’t really follow them for everything, and needs to do her own thing sometimes (which she was doing even at the beginning by registering at Hope’s Peak, funnily enough). Heck, even Makoto could arguably seen as an example since instead of just being some ordinary student who got in through pure luck, he then proves to everyone what he can do is finding hope when nobody else can.

So basically, predetermining your existence is bullshit, and basing your hope on fucked up socially Darwinist ideology is a perversion of hope. That’s what I’m trying to make of it anyway, if anyone smarter than me is here feel free to enlighten me.

[kitsoa]

Lyric Comic Q&A

So it turns out when you work on a project for half a year, you get a lot of Thoughts and want to express them whether people are actually curious or not. Without further ado, your un-requested Birdmen Lyric Comic Q&A

(Warning: I’m long winded)

*Why a Lyric Comic?

Dude, lyric comics are cool. I’ve always been fascinated by the beautiful, multifaceted artistic experience they provide, because of my love for music and art. Furthermore, I am often plagued by cinematic trapped in my head, spurred by the movement and lyrics of my favorite songs. Since I have no means or experience in the animation category (which would free these phantoms from my head) the lyric comic was a godsend of a medium for this inspired idea of mine. Kiki-kit of the Gravity Falls fandom and Tides-miraculous’ lyric comic in the Miraculous Ladybug are my main inspirations, I’ve adored their sense of motion and emotional savviness. It’s quite the powerful medium.

It’s also a good medium for me personally. I am a ‘looper’ with my music, allowing me to listen to something over and over without tiring. This is useful in the drafting stages! I loved the challenge (though I definitely didn’t anticipate it’d take this long).

*Why this song?

“Out of Mind” was one of those songs that spoke to me, in an overly cathartic, heart-yearning-- almost funnily sardonic ways. Birdmen being on the brain, I started to easily see how much the singers voice reflected that bombastic frustration our Eishi is so known for. The Pre-Chorus “Are you kidding me?” speaks to me the most, reminding me of his cry of frustration during his first blackout, screaming against his fate as he fell from the sky (this exact image did not make the final cut in the end, but I certainly vied for it until other themes overtook it-- let’s face it, there are many screaming Eishi’s to choose from).

This period of time between Takayama’s disappearance and the inevitable reunion is super intriguing to me. Eishi’s in the role of the heartbroken singer, hopelessly betrayed and unable to get over the good thing they had.

*Breakdown the story:

The progression goes like this:

Eishi’s loneliness consumes the first verse, Takayama’s empty seat, Eishi standing alone… all the while peppered with Takayama’s broken promise, which culminates with Eishi’s defiant Death Tweet. The Refrain then serves as these hallmark moments that define them. This is what they had. Every rescue, every proclamation or venomous defying of fate-- it’s what made them. And you’d have to be out of your mind to think that these moments could be forgotten.

Verse 2 is all about that shift in Eishi to follow him. Wistful memories drive Eishi as he chooses to leave and depart from everything he knows, just to get him back. Meanwhile, that opinion of Takayama is still weighed down by that grating irritation (like hell he’s in touch reality, how could he do this?) culminating to his call for him in the Himalayas. The Refrain fires again with the same point as the last but this time I tried to go for a more fervent angle, some of the scenes actually focus on Takayama’s feelings for Eishi and ultimately the pull they have towards each other.

The Bridge is where things get desperate. The moments in the manga where Eishi is in physical pain because of the Whiteout shake me so much. It reminds me of a straight up panic attack. I let this crescendo with the music, making the black void swallow the chaos in a quick snap. Building to the final chorus.

The whiteout is special because Eishi both yearns after this figment emotionally (his friendship with Takayama) and intellectually (what the hell is it and what does it mean?). It represents his unique position in the realm of the story being able to see it, but it ultimately captures the almost divine force behind the relationship of Eishi and Takayama. The outro then brings us back to Eishi failed call at the Himalaya’s, the whiteout ripping him up and forcing Takayama to save him. All the while calling back to that first interaction between them. A mysterious moment that obviously held more weight than any world shaking rescue. And I cap it off with a warmer depiction of their reunion.

*Are you shipping in this comic?

Despite the romantic song, my affections for the pairing, and any other subtext I’ve provided, I went in with the project with a platonic angle. Like I’m not lying. I’m on the ace spectrum or whatever so I kind of interpret every strong bond in the same realm. So that means, if you think it’s a romantic interpretation-- then you’re right. If you think it’s not, you’re also right. Love comes in many forms. Have fun kids.

*What was your process?

Storyboarding

Listen over and over and figure out where to phrase the panels. I then divided the lyrics up accordingly in a draft and reviewed the pacing over and over again. Does it flow? How many words would comfortably fit with each panel?

Determined the thematic arc. At this point I already had a few anchoring moments so I wrote a description of the panel in the draft. I went with the formula of Verses= move the ideas, Refrain= emotional accents, and the Bridge is like… the climax with an epilogue of an outro. This was tricky step. I debated a lot of ideas and some lyrics didn’t feel like a good fit until I really sat on it for a while.

Fill in the draft. This is where I sketch the general shape of panels. This is also where I look at the gestalt of the thing and make sure the composition is easy on the eyes. I tried to make it dynamic and zig-zaggy so as not to be boring. This is the step where one gets really excited about the project. Cause it’s no longer trapped in your head.

Sketching

Gathered references. Surfed the web, made some myself.

Made time to sketch, I did a lot of them at my summer job, made sure to draw about 2 or 3 a day. I had the time then because it was before I took on my day job. I was very surprised to find that I rarely went back to edit a picture or dispose of a draft. I went through with the mantra that I was going to finish the picture no matter what.

Stayed disciplined with said time. I would not let myself take a break from drawing because half the success came from the fact that I was on a roll.

When I finished them I then went through the process of scanning them (my scanner broke between the first 20 panels so RIP)

Coloring Stage

...Good lord. This is where I probably went the most wrong. Make sure you have a good process in place before starting out this stage.  I was not one to digital art much as of late so my familiarity with my program was lackluster (and it also is literally the worst program  in the world), and my laptop couldn’t handle more than 10 panels. So hurray for a very desperate fix. I did everything from my brothers computer, in his room. Sometimes at terrible hours because that's the only time I’m home.

Color planning. I rushed this process but I pulled up the textures and color pallets and reference images from internet searches and stock piled them. While planning I approximated the overall ‘tone’ of each pane; (is it a dark shade, a light shade, blue, or red in hue…) and then I adjusted that so the colors didn’t repeat or blend unless the panels where connected in the same scene. There was a lot of problem solving in the actual coloring so some of this was not as smooth and I paid for it later.

Sketch Editing. I was able to go back in, move around things and edit certain aspects of the sketch without compromising the entire work. This was a life saver.

Actually coloring. Because I color sketches it’s actually a painstaking process where I can’t use a wand or a fill. I’m not familiar with certain masking and coloring methods that would have sped the process up and I wanted to be consistent. This would take 3 to 5 hours a panel which I would do in small bursts.

Type-setting

Deciding font. I was hunting around for a good font for ages until I just decided… to use my own handwriting. This meant that I had to makes sure my tablet pressure specs were up to date and I had to practice my style. It’s not perfect but its cool.

Apply font to panel. There were moments when I literally said ‘screw it’ and left my handwriting a little more sloppy than standard.

Consultation. I worked with my graphic designer friend on improving the placement of text and the color choices. This was an interesting step she is a saint.

Finalize

Every single panel is extremely large. I had to resize each one. Before this I had many tests in the drafts to see how certain sizes would load or format.

*Will you make another?

Probably. Like, there is nothing more satisfying than getting something stuck in your head out of it. I have a lot of tunes I am fond of but barely any qualify for lyric comics (need to have a good pace, easy to latch on musical phrases, thematic content that works etc.) The fandom is important too. Now that I think about it I have storyboards for an old DCMK ‘lyric comic’ idea to Imogen Heap’s “A-ha” (it was like some hidden dark side!au shit I still come back to it). I can’t let my interest wan or it straight up dies. Birdmen is a really unique series for me because its held on for a remarkable amount of time and strongly at that.

Fun Facts:

I colored a total 77 panels, 11 of which were scraped versions of the core 66 because perfectionist tendencies.

It took me 3 months to sketch all the panels out, sometimes drawing 3 a day. I would often cradle my sleeping kitten while I drew.

Panel 54-- the final chorus, whiteout splash page-- took three days to draw. At first it was two pages taped together, then it was three. I had my friend mend the images together into a massive pic for me to color, then break it apart for blog distribution. The full version is used in her video edit of the lyric comic.

I didn’t use pressure sensitivity on my tablet until I got to the last chunk. RIP

It usually took me over a day to do one picture.

I do not have a computer in my room that utilizes the art program I need. I literally did every panel after #10 in my brothers room. Sometimes hella late at night too. Props to my generous brother, he tells me he likes the company.

I took a few notable breaks. All of Inktober was used on the art challenge. The weeks leading up to Birdmen Week. And at least half of the Christmas season was spent on coloring hiatus.

I like adding a ring around the pupils of the seraph eyes. This is not canon, but an error that I really liked. You can see it as a sort of glow.

I am having my friend edit the panels into a video for your convenience. I have no idea how long it will take but I’m tired.

[elizabethrobertajones]

Ok so if all four of them are gonna be in a *cowboy themed* motel in 13x6 they're gonna have to split up 2 and 2 right??? So I'm really gonna need Dean and Cas to share a room and then have a convo that's reverse of the "Talk to me" one in S8 where instead they talk about how they both did feel suicidal but how they've both overcome it. ~For reasons unknown~

That would be great mirroring, and it’s always good to compare the fun episodes where things seem back to normal to 8x08… However… Sorry, but this is a bummer reply, I’m just not good with leaving off things like this :P

I sort of feel though that neither Dean or Cas got to completely overcome things in their respective paths through dark other worlds… Cas said he’d just keep fighting and even if the standing up was an important part, he acknowledged he was going back with a sense of hopelessness that he’d get what he truly wants - and that’s just how it was in the Empty, while it sounds like he may have forgotten the experience so it’s for now a metaphorical state he passed through and we got to see it vocalised and it probably means roughly where he’s up to. But the despair of resolution, the fact need/want has been called out for US to know it’s a major theme but Cas of course hasn’t actually talked face to face with any Winchester, let alone Dean, to resolve need/want, which is the core of his depression, thematically… He’s come back with levelled up determination and a will to live, which is great, but there’s so much work to do before he feels happy even if he DOES remember the Empty. I’ve written ridiculously long things tracking his arc so I’ll just say that this was a great step forwards for him but in no way actually resolving anything. 

For Dean as well, Billie sent him back but it was with the “work to do” order/motivation that’s made Dean and Sam power through a lot of their worst times, and like how in the Empty nothing new was actually said about Cas, it just brought everything up that was troubling him so we’d get a sample of how he feels, that was just repeating the theme for Dean that he started this season on - that at best he’s going to feel like a guy doing his job, because someone more important than him told him he had to and he can’t stop now. 

Billie’s words are the sort of advice he got in season 7 after Cas (and then Bobby) died, from Bobby, Frank and Eliot Ness, all of which was a variation of the same sort of nihilism about doing the job because it’s the job and you’re the one who does it. I’m in most agreement with the meta I’ve seen that Dean didn’t go into that whole mess looking for a reason to die, he just was in that state Bobby described: 

BOBBY:I want to talk about your new party line.

DEAN:Party? What are you talking about? I don’t even vote.

BOBBY:“The world’s a suicide case. We save it, it just steals more pills”?

DEAN:Bobby, I’m here, okay? I’m on the case. What’s the problem?

BOBBY:I’ve seen a lot of hunters live and die. You’re starting to talk like one of the dead ones, Dean.

DEAN:No, I’m talking the way a person talks when they’ve had it, when they can’t figure out why they used to think all this mattered.

I’m picking on this conversation because it’s the most detailed but also because it’s the one Dean has WITH Bobby so in no way shape or form can it be about Dean losing Bobby, except that of course this episode gave Dean and Sam both a private conversation with Bobby about where they were at, so we could have a good last moment with him each, and also to gauge how they’d react to his death (Dean with this massive depression caused by losing Cas and his betrayal to pile on top of) and Bobby’s last advice apply after as well. His advice being:

BOBBY:Come on, now. You tried to hang it up and be a person with Lisa and Ben. And now here you are with a mean old coot and a van full of guns. That ain’t person behavior, son. You’re a hunter, meaning you’re whatever the job you’re doing today. Now, you get a case of the Anne Sextons, something’s gonna come up behind you and rip your fool head off. Now, you find your reasons to get back in the game. I don’t care if it’s love or spite or a ten-dollar bet. I’ve been to enough funerals. I mean it. You die before me, and I’ll kill you.

Cheery. 

But this is essentially what Billie does for Dean. She reads him, sees he wants to die, and he tells her that he doesn’t matter, so she reassures him that he has a job, that he is important, that he’s in this cosmic position of responsibility. It would almost be encouraging, to know you’re not meant to die that day, that there is a reason for you to be alive. But not for Dean in the state he was in then.

Cas coming back is GREAT and of course it’s going to make Dean wildly happy. But he’s been feeling this way about the job a long, long time in ways that aren’t to do with Cas at all but is just his underlying major trauma that you can see coming from a hundred miles off in season 1:

from 2x09:

DEANI’m tired, Sam. I’m tired of this job, this life … this weight on my shoulders, man. I’m tired of it.

[…]

DEANI just think we should take a break from all this. Why do we gotta get stuck with all the responsibility, you know? Why can’t we live life a little bit?

Or this speech from 2x20 I contractually have to quote at least once a month as a card-carrying Dean!girl:

DEAN All of them. Everyone that you saved, everyone Sammy and I saved. They’re all dead. And there’s this woman, that’s haunting me. I don’t know why. I don’t know what the connection is, not yet anyway. It’s like my old life is, is coming after me or something. Like it like it doesn’t want me to be happy. Course I know what you’d say. Well, not the you that played softball but… “So go hunt the Djinn. He put you here, it can put you back. Your happiness for all those people’s lives, no contest. Right?” But why? Why is it my job to save these people? Why do I have to be some kind of hero? What about us, huh? What, Mom’s not supposed to live her life, Sammy’s not supposed to get married? Why do we have to sacrifice everything, Dad? It’s… Yeah…

(And, side note, it really annoys me when people make 2x20 about brotherly wuv, platonically or not, because THAT is why Dean decided to go un-wish this life, not because of anything to do with AU Sam, who he still trusted he could find his Sam in >.> I’ll just keep repeating this until I stop stumbling over the idea… :P)

He’s had similar smaller moments like this but season 2, 7 and now 13 are his grief seasons, so I’m most interested in these parallels. Like, just in general. Specifically in season 2 because he was dealing with John’s order to save Sam or kill him, which of course is a dynamic that Jack could horrifyingly repeat for him if Dean gets attached to a kid with the same horrifying destiny. Specifically in season 7 Dean was dealing with losing Cas and it immediately struck him to the core, that even while Cas was still Godstiel he was having mirrors with his season 2 self after losing John:

DEANSounds good. You got any leads on where the demon is? Making heads or tails of any of Dad’s research? Because I sure ain’t. But you know, if we do finally find it - oh. No, wait, like you said. The Colt’s gone. But I’m sure you’ve figured out another way to kill it. We’ve got nothing, Sam. Nothing, okay? So you know the only thing I can do? Is I can work on the car.

[… five years elapse]

SAM: So, what? Try to talk to him again?

DEAN: Sam.

SAM: Dean, all we can do is talk to the guy.

DEAN: He’s not a guy. He’s God. And he’s pissed. And when God gets righteous, you get the hell out of the way; haven’t you read the Bible?

SAM: I guess…

DEAN: Cas is never coming back. He’s lied to us, he used us, he cracked your gourd like it was nothing. No more talk; we have spent enough on him.

SAM: Okay.

DEAN: Hand me that socket wrench.

Dean didn’t lose the car this time, just had Miriam deface it with “Bitch” on the window and the car was washed and shiny in a couple of episodes. But it’s metaphorically a similar process and I guess all they had time for when 13x01 was about taking time in a very different way, by giving Dean like 10 minutes at the end of the episode all about how he was grieving Cas. 

Anyway, I think there’s a lot of thematic overlap in what it means for Dean right now, with Billie’s reminder of his position on the cosmic ladder, to John’s order about Sam, to Dean’s responsibility to deal with Cas and the Leviathans, which eventually crystallises into his mission to kill Dick - and though Dick kills Bobby, finding out who is the head leviathan in 7x09 really just seals the deal of who Dean needs to personally kill to deal with everything, and the Bobby thing was just an extra motivation to fall into a revenge mindset, but it also about what happened with Cas (and when Cas comes back, he has to help kill Dick for the same reason it all happened to him and he was connected to it and responsible). 

We really haven’t seen anything yet, but I think getting Cas back is a temporary fix at least to a bigger issue, which is Dean’s burden of the world, which Chuck lumped on him in 11x23 and made me very, very excited that Dean’s duty to save everyone was hopefully going to get some microscopic treatment and maybe one day some sort of resolution. I don’t think Billie’s comment was a pick me up, and it reminds me of how Cas started picking on Dean on Heaven’s behalf in 4x01 - telling him they had work for him. In 4x02 Dean complains a lot about how he hates being singled out and it’s absolutely horrifying that he was saved for unknown reasons. And those reasons turned out to be being Michael’s vessel and one of the 2 grenade pins needed to be pulled on the planet being destroyed.

(Which we have some handy visuals for and reminders of in the AU world right now :P) 

I’d hope in the long run Chuck’s orders end up being destroyed as much as John’s were, because the parallel is 1 to 1 except bigger scale, and Chuck telling Dean the world has him to protect it literally in God’s own place is an absolutely horrifying unfair burden than broke him in season 5 and can be directly equated to how season 2 broke him when Sam, who was basically his whole world at the time, was lumped on him with the same burden. In the mean time, Billie’s adding to the weight on Dean, although long run she’s neutral, commenting on it rather than ordering, and seems to have some confidence that he has a purpose and will fulfil it, I can see Dean struggling with it in just the same way he took Cas’s comments in 4x01. 

So even if he seems happy to get Cas back, the root problem of his depression, his sense of being worthless, is still truly about how he defines himself as a hunter and the guy who is supposed to save everyone - who will trade himself for a house of random ghosts he feels he LET DOWN by not investigating well enough sooner. Because he has sole responsibility to fix the planet.

The job is killing Dean literally and metaphorically, and the grief of losing all his loved ones as they do it is just an additional awful, awful part of it. Not getting Cas back immediately thanks to Chuck in 13x01 just confirmed how alone Dean is in the world to him, and he directly mentioned the line from 11x23 when reaching out to Chuck… Getting Cas back and Cas returning seemingly on his own steam is going to be a nice turning point, and good for uplifting Dean, but the core problem remains and since 11x23 I’ve been pretty certain that Dean’s endgame is NOT to be a hunter… Billie also now makes me think he has some purpose to fulfil, and ideally, fulfilling it would let him finally get off the cosmic ladder and be who he wants to be without obligation. 

About all I can really speculate about that hopeful endgame would be that Sam seems to be lumped in with Dean on this, but Cas is literally outside the system based on how he got himself back from the Empty without Chuck’s interference, OR except for in thematic “rewards” or dramatic irony from just missing him really hard, Dean didn’t actually bring him back by DOING anything, and Jack, who is also outside the system in some ways, did instead. But that’s all a huge mess right now :P Need more data. 

So anyway, to go back to Dean and Cas next episode? I think they will have a lot to talk about but it has to be immediate character stuff about their actions and desires. They are both really good for each other and going through very similar emotional territory so I hope they get honest and tell each other how they’re doing, but I don’t think they’ll be talking about overcoming anything. I think if it does mirror 8x08 it MAY be a reversal that Dean admits how bad he was doing without Cas, and Cas is still too uncertain about what happened to him or with a link to make it directly about Dean to reciprocate the sentiment… For all the good communication lately I’m not entirely sure if Dean and Cas can absolutely knock down all the walls. 

And I seriously fear dramatic interruptions to their reconciliation just because of the extremely vague episode descriptions we have after 13x06, which seem to  be concealing exactly what happens in that episode… I’m really expecting silly cowboys for like the middle half of the episode, with the first quarter for reconciliation and getting onto the job, and the last quarter or five minutes for shit to completely hit the fan in some way, probably about Jack, and probably involving Cas since he’s specifically not mentioned in the episode descriptions *even though they just got him back*. 

I’m not worried or wanky about this, I’m just bracing myself for the next round of drama and what its subject will be. If Cas is fine and hanging out with the Winchesters still for 2 episodes and it was redacted spoilers for the sake of 13x05′s last 5 minutes that’s awesome :P But it sounds like time to brace yourself not to expect everything to be fluffy or resolved, either with plot stuff, or emotional arcs. We’re only 5 episodes in so the drama needs to keep on happening, and there’s no way Dean and Cas can or should overcome their arcs about their depression when it’s been set up so interestingly, just because they’re hanging out again.

But it WILL make them feel a lot better in the short term. :D I’m really excited for what they WILL say to each other, I just feel like in some ways we’re really starting to put the cart before the horse on identifying what stories are being told and what moments are being offered to tell them, and assuming the stories are over just because something really dramatic happened. I’m seeing it a lot with all sorts of thematic threads, that just because they’re becoming obvious or surface level or have had a really dramatic moment all about them, they’re being wrapped up as we speak. Instead I think it’s got to all be set up for the rest of the season, where this is all important stuff to know, but the real work hasn’t even begun yet :P

[aion-rsa]

Star Trek: Discovery Season 3 Finale Ending Explained

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This Star Trek: Discovery review contains major spoilers for the end of Season 3.

What a ride! The third season of Star Trek: Discovery was easily its most consistent and, dare I say, best yet? From the get-go, the series’ decision to vault its characters into the far future for its third outing proved itself a smart one, as the crew of the Discovery set about exploring this strange, new reality. The hour-long finale was a solid ending for the season, answering some questions we’ve had since the season premiere. In that way, “That Hope is You, Part 2” really was the perfect bookend to the premiere that started this far-future arc. That being said, the episode also set up some fascinating plot and character arcs for Season 4. Let’s break down all that happened in the Star Trek: Discovery Season 3 finale, and what it means for the bright future of this show.

We Finally Know What Caused The Burn

The big reveal in the Season 3 finale is the confirmation that it was a scared Su’Kal who caused The Burn when he was a small child. With Saru’s support and encouragement, Su’Kal faced the memory of the event: the death of his mother, when he was small. With her death, Su’Kal was all alone on the KSF Khi’eth, on a dilithium planet in an isolated nebula. His mother made Su’Kal promise not to turn off the holo until the Federation came. She couldn’t know that the Federation wouldn’t come for another 125 years.

Su’Kal is a polyploid, aka someone whose genetics were altered based on the environment around him. Because Su’Kal was born on a planet filled with dilithium, it gave him a unique connection to the element. The sonic scream he emitted upon losing his mother sent a shockwave through subspace that caused the Burn. Now that he is no longer in the nebula, it is unlikely a similar event will happen again. “I’d like to help repair what is broken, if I can,” Su’Kal tells Saru, when he learns the truth. Perhaps this isn’t the last we’ve seen of the Kelpien.

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The Bridge Crew Saves the Day

This was another excellent episode for Team Bridge Crew, who use their relative freedom on an occupied Discovery to sabotage the ship’s nacelle, dropping the ship out of warp and allowing the Federation and its allies to catch up. The Bridge Crew does so believing that it will be a suicide mission, as Osyraa has cut off life support to the lower decks of the ship, and they only have one oxygen tank amongst them. It’s Joann, who apparently has very impressive lung capacity, who manages to complete the mission (with an assist from one of those little DOT-23 droids), taking the oxygen tank and leaving her friends to die (per their request). “I love you all,” she tells them, which would have been solid last words. However, once Michael regains control of the ship, she is able to restore life support to the lower decks before her friends/co-workers die. So that’s good.

Are Keyla and Joann Together?

These two have always been depicted as especially close, and the season finale had me wondering yet again if these two might be romantically linked. “You’re alive.” “So are you.” This is their conversation post-nacelle explosion. There are other people there who are also unexpectedly alive. We see them embracing shortly after. I don’t support the cultural reenforcement of romantic relationships as more important than platonic ones, but I do wonder what the nature of this relationship is. Generally, I hope both characters—and their dynamic—get more screen time in Season 4.

Michael Kills Osyrra

Of course dropping the ship out of warp is only part of the solution. The Discovery crew also has to regain control of the ship. This is Michael’s mission. With some help from Book, and via a very cool sequence in the backend of the turbolift, Michael is able to make it to the ship’s data core. She manages to get rid of Osyraa’s goons, but Osyraa gets the upper hand in the fight, literally pushing Michael into the data core. It looks like it might be the end for Michael (though I doubt any viewer actually believed it would be), until shots fire from within the core, taking Osyraa out once and for all.

Michael emerges from the ship itself, telling the Season 3 antagonist: “Unlike you, I never quit.” As a post-murder tagline, it’s not a great one—especially because Osyraa didn’t really seem to be quitting so much as losing in this moment—but the imagery that accompanies it, of Michael literally merging with Discovery to take Osyraa out, is thematically-rich. This has been a season of Discovery really evolving as a character in their own right, and it was nice to see the ship itself have a hand in the crew regaining control of the ship.

Book Can Pilot the Spore Drive

In one of the most game-changing moments of the season, the Discovery crew figures out that, because of ability to communicate empathically with plants and animals, Book can pilot the spore drive. They bet the farm on the conclusion, too, jettisoning the warp core while within Osyraa’s ship Viridian. Book is eventually able to figure out how to jump, but they barely make it away in time. While this was a cool moment in the episode, it is a much cooler reveal for what it might mean moving forward. Book has expressed an interest in joining Starfleet, but it hasn’t been clear what his role in the fleet or on the Discovery might be. His ability to pilot the spore drive certainly makes him invaluable to the Discovery and to the Federation as a whole.

Yeah, Stamets is Still Pissed at Michael

One of the minor, unresolved character threads left lingering at the end of Season 3 is Stamets’ anger towards Michael for forcibly removing him from the Discovery in the season’s penultimate episode. Frankly, Michael made the right choice. If Stamets had remained on the ship, then Osyraa could have forced him to use the spore drive and the Federation never would have been able to catch up. That being said, I can’t say I wouldn’t be pissed at Michael if I were in Stamets’ shoes. By physically forcing Stamets off the ship, she took the choice to stay and try to save his friends and family away from him. But them’s the breaks when you volunteer to be the universe’s sole spore drive pilot.

Gray Gets a Corporeal Form, Then Loses It Again

One of the chief joys of the Season 3 finale was seeing Gray gain corporeal form while in the holo-program, allowing people other than Adira the opportunity to see and interact with him. (Hugh takes the chance to give Gray a big hug!) The holo gave Gray the form of a Vulcan (if you were wondering, Adira is Xahean here), but, for Gray, it just matters that he can be seen. When faced with the dismantling of the holo, Gray tells Adira and Hugh that he doesn’t want to go back to before. “It’s not enough,” he says. “I’m stuck. Tal’s stuck.” Hugh promises that they will find a way to make sure Gray is seen, but when the episode ends, Gray is still invisible to all but Adira again.

Burnham Becomes Captain of the Discovery

Discovery churns through at least one captain per season and the ship ends the season with a different captain than it started with: Michael has replaced Saru as captain (at least for now). Saru has taken a leave of absence to help Su’Kal settle into his life on Kaminar. It’s unclear for how long. When Michael brings up waiting until his return to decide anything permanently, Admiral Vance pushes back, with Saru’s blessing. So will Michael be Discovery captain forever and ever? Frankly, the show seems to have left enough room for the writers�� room to make that decision later, as they are breaking Season 4.

The Federation is Back on Its Feet

The season finale was a happy ending, not only for the Discovery but for the entire Federation. With Osyraa dead, the source of the Burn discovered, and the Discovery equipped with two spore drive pilots, the future is looking promising. As Michael’s closing voiceover tells us, the Discovery is poised to bring dilithium to the worlds of the Federation that have been cut off since the Burn. With this new source, they will be able to properly rejoin the Federation. With this new mission outlined in the finale’s closing minutes, Season 4 seems to already have a new plot structure, one even more based on discovery and diplomacy than Season 3.

We also learned that Trill decided to rejoin the Federation, and the Ni’Var have opened lines of communication with the Federation back up. The fact that the Ni’Var responded to Michael’s request for help earlier in the episode, effectively coming to the Federation’s aid when they needed it the most, says a lot about their potential willingness to become part of the organization again.

Read more

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How Star Trek: Discovery’s BIG Twist Sets Up Section 31

By Ryan Britt

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Star Trek: Discovery Just Challenged the Federation’s Fiscal Hypocrisy

By Ryan Britt

What Does the Closing Quote Mean?

Star Trek: Discovery Season 3 ends with a tribute to Gene Roddenberry, and to his original vision for Star Trek, exemplified through the following quote: “In a very real sense, we are all aliens on a strange planet. We spend most of our lives reaching out and trying to communicate. If during our whole lifetime, we could reach out and really communicate with just two people, we are indeed very fortunate.”

Why did the series decide to end the season this way? As showrunner Michelle Paradise told Comicbook.com: “It emerged closer to the end of the post process as we were finishing post for the season and just recognizing that this was going to be airing at this particular time. And we just felt like it would be appropriate to have something from him. I mean, Gene Roddenberry, we’re only here because of what he did and because of the show that he created and there’s the baseline, the template that he established. And so it felt appropriate to have something from him, a quote from him at the end of our season. And that was one that resonated with us.”

The post Star Trek: Discovery Season 3 Finale Ending Explained appeared first on Den of Geek.

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[scuttleboat]

2 meta combo: Bellamy/baton + leadership themes after s4

I. Some disorganized thoughts on Bellamy and the hollow baton…

So I had a particular reading of the presence of the bottle prop in the end scene of 413 and didn’t think about it again afterwards, but this week I’ve read a lot of talk about what it means. So I decided to spill my reaction into one giant post. This is my general contribution to the broad discussion of the Baton as (one of several) symbolic prop for Bellamy’s character state. FYI it should go without saying that anything I write is in the context of being my opinion, but also I speak in declarative sentences a lot because I tend to believe my opinions pretty confidently.  To the point:  I don’t think the bottle is empty bc Bellamy is getting a fresh start.* The straightforward meaning is this: the bottle of liquor is drained when Bellamy gets to it because, as a symbol of power, it’s literally and metaphorically empty. Circumstances have rendered it sad and meaningless. A hollow consolation. It’s like… a really explicit piece of visual irony.

((* fyi, the positive hopeful element in that scene is not the bottle, it’s Raven’s steadfastness + Bellamy honoring Clarke’s memory through survival.))

Just going off of a lot of initial fandom reactions I’ve read on tumblr, some fans were so excited about him getting this baton at the finale that they missed that it was empty. And now that folks are discussing it being empty, there’s like this desire to see it still as a wholly good thing. To hold onto that excitement. Which I totally understand, because it seems like such a romantic idea. That he could inherit the thing that Jaha and all the Chancellors in history had. There’s appeal in that. But… he didn’t, and it’s not–emptiness is not a positive symbol in western media, guys. The bottle is empty because the Baton is a hollow dead object now. No more chancellors, no more Jaha, no more Ark ambitions of old. It represents a past dream that is out of sight of the current characters. He gets to a place where this potential symbol of leadership is in reach, and what’s it to him? This symbol that meant so much to Jaha has been reduced to a passing curiosity by a window. It’s not part of his future. Bellamy can’t preserve it and he can’t even drink it, just like he can’t act on the future of the rest of his people when he’s stuck up in space. His family is out of reach and the girl he loved is gone and the promise of a fresh start on Earth (written! right there on the bottle!) turned out to be an empty promise. They never had a chance… the world was gonna end in 8 months regardless of his and Clarke’s choices. This show is so fucking sad you guys. This is why I made myself cry writing about Bellamy in the Ark after I watched the finale.

The Baton is a piece of visual irony because the bottle now represents the hollowness (the ending) of the thing it used to represent in s1. They could have had Bellamy pick up any prop that had a positive and hopeful indication of his role, but they chose to give him the saddest and darkest prop they could. It’s marginally less depressing than a handgun or a photo. He picks it up but because it’s empty for him. (unlike the friend/family standing beside him, who together represent the true hope and the final image of the delinquents’ fortitude.)   That empty hollow bottle is the fragility of life and the tenuousness of survival in the face of a burning fireball of nature fucking you over (note: also a big whopping symbol visible in the same shot.) It’s the UNFAIRNESS of everything that has happened to these kids since the show started–they tried so hard and got this far and the bottle (the dream of Earth)–is *fucking empty*. They never had a chance on that world. It was always going to end.

[read a lot more below the cut, including meta #2.]

In terms of leadership this is the irony of the hollow Baton: Bellamy, who tried so hard to be a leader who was good and strong, and struggled to find his way, has finally has grown into a person who has a more balanced leadership style. This was foreshadowed in him letting go of Octavia and thematically cemented by him letting Clarke go in 413. Thus meaning he is finally “ready” by The 100’s morbid storytelling standards, finally balanced. Except now he’s faced with a situation where the ONLY thing he actually is in charge of is 6 people in a ghost-filled space bucket. Ding ding ding, it’s irony time! Whoo. XD …Meanwhile the world burns below and his love sacrificed herself…brings us to the other half of the irony, where i agree with pretty much the whole shipdom: they never got to have that drink. Because he didn’t carpe diem, didn’t open himself to the person he loves (thanks @velvet-tread). The universe is having one sick laugh at Bellamy Blake in 413, visually epitomized in that bottle.

I know my dramatic self has repeated this several times, but for real now ok— the Baton is literally empty bc it’s metaphorically empty. Drained of purpose. The old ways are no good, they’re surviving on their own, together. New generation. What matters here and now is that Bellamy and his friends will fight to stay alive as long as they can, even as hope burns away. They have each other and they have time so they’re going to stick together and try to survive. But what does the symbol of the Baton mean to that equation? To their future? Nothing–it’s empty. He’s holding it, accepting leadership, even as it’s a working like a visual pun.

ALL THAT BEING SAID---I do think it's fair to say that it being empty has little to no meaning aside from the fact that it was already drunk in an earlier episode and they needed to keep continuity. In that case, the only symbol that matters is the fact that it says "BATON" on it. Which is legit. BUT if we're going to speculate that its emptiness has meaning, then I'm going to say it definitely has a tragic and ironic meaning.

II. That age old leadership contest this fandom is obsessed with? After 4 seasons I think the point of The 100 is that it’s futile and nobody ‘wins’ bc it’s actually an endless struggle of self that C,B,K,A and J all wrestle with, where the “person” they’re competing with is their own failures until they individually learn to be wiser. That’s why the person who ended up in charge was the young interloper who wasn’t even a player til now….bc our main politically-driven characters aren’t in the story to win the leadership prize in the eyes of fandom, they’re in the story to grow.

I’m gonna go right to the explicit symbols of leadership in 413 and point out this: as of 413’s ending, Clarke’s *not* in charge of the future of their people and Bellamy is *not* in charge of the future of their people–Octavia is. While the show gave Clarke a heroic “death” and gave Bellamy friendship + an empty liquor bottle of used up dreams, Octavia was given the clothes / headpiece of the commander and stepped out to make a speech in front of the last of humanity. She has the support of the former leaders and the faith of the remaining majority. ((Whether you like Octavia as commander or not, that is what’s happening on the show right now. FWIW, I was hoping all season that it’d end with Indra.)) While Octavia is probably gonna be spending 6 years off screen going through what Clarke and Bellamy have gone through the last 4 seasons (i.e. emotional tests of being in power), Bellamy and Clarke both have a *reprieve* of leadership. AND ISN’T THAT KIND OF AMAZING? Bellamy only has to be strong and protective for six of his friends–that small team stuff is right up his wheelhouse. He doesn’t have to make decisions of mass death that cause him a season and a half of self-recrimination and doubt. Likewise, Clarke only has to be strong and protective for one person–she doesn’t have to make those mass death choices that cause her to break down crying or have horrific nightmares. She can love one person, unreservedly, without being torn apart by disparate loyalties.

One of the major themes for all the main characters on this show (except Octavia, who is on a different track) has been “How do I learn be a good leader?“ Well, I think 413 wrapped that up with a pretty bow–if the “bow” is the head/heart convo, Clarke’s choice to sacrifice herself, the Baton, and Octavia’s commander wardrobe. Honestly I could make a whole separate and much longer post about leadership as a journey for Clarke, Bellamy, Abby, Kane, and Jaha (guest starring Lexa and Roan as static roadmarks), but not today. I’ll just summarize and say that I think the last 4 seasons have been about the maturation process of Clarke and Bellamy’s leadership skills, starting as people who have the traits but not the wisdom/practice. Then pile on 4 seasons of triumphs and mistakes. By 413, Bellamy’s maturation process ends in letting go of attachment and Clarke’s maturation process ends in self sacrifice (foreshadowed by her taking the nightblood in 408).

I really really hope that the show uses the timeline to age up the characters in a way that the writers move on from this leadership question. That journey is done–Clarke, Bellamy, Kane, and Abby have all gone through a lot. When we meet them again, I don’t want to see them question their decisions every episode. Let them own their choices and move forward!! They’re grown-ups now omg. Give them all new dilemmas please.

If this is really a reboot for the show and for the characters then let’s tell a new story. “What will we do to survive?” is always gonna be the center of the series but I hope the writers approach it in a new way, that it’s not about the toll of constantly escalating power. That journey is done.  It’s been told, and by the end of s4 our favorites have all grown and changed as a result of it. When the survivors emerge from the bunker neither Clarke nor Bellamy will be in charge–so I hope the show takes this opportunity to try new things for their characters. For example, explore the drama of small group politics. Explore family in a way that isn’t just about conflict. Explore discovering love again when everything you used to understand about your loved one has changed. Explore new people and new alliances and new tests. Let’s see ADVENTURE again.

By s5, Clarke and Bellamy are free of the agonies of traditional leadership, now responsible only to their small family clusters. We’ve never seen them this separate from group obligation. I want to see what kind of people that reprieve has made them. Please @the100writers, show us the characters growing new directions.

[topfenstrudel]

reference review - story genius

How to Use Brain Science to Go Beyond Outlining And Write A Riveting Novel* [*Before You Waste Three Years Writing 327 Pages That Go Nowhere] – Lisa Cron

Something a little different for this almost-month; I happened to go to the library a little while ago. As you do I pottered around the reference section aimlessly poking around for things to take home and not read, and decided to impulse borrow this book. Then for once I actually read it. We’re all capable of the impossible

Rating: Helpful but Egregiously Patronising/10

You may have heard of the exTRORdinarily popular (I think) Snowflake Method, which boils down to, “get the basic plot of your novel and extrapolate all the bits in the middle of those bits (and then develop those bits into smaller bits)”. It’s essentially an exercise in “working backwards” from what you know to fill in the gaps in your planning. However, if you’ve tried to use it you may have found out that actually doing this is not as simple as it sounds. Either you end up with no ideas at all, or have too many, and not much reason for you to pick one idea over the other. The reason you need a planning method is that you don’t know what to do next, but Snowflake doesn’t give you very much guidance given on how you should fill in the gaps; you’re just told to do it in a certain order. So, unless you already have a lot of well-developed ideas it can be frustratingly difficult to use. It doesn’t really do anything to solve the underlying problem – why should I put anything here? What am I doing???? Help?????????

You’d have to work it out on your own and we all (read: I) just can’t be bothered honestly. I don’t want to think critically about how I should put the meat in my novel sandwich, I am a big baby and want somebody to do it for me.

If you sympathise with this, you may find this book helpful.

Cron’s approach in this book is that everything in a novel is centred around its “third rail” - the protagonist’s emotional journey. If it’s not related to their struggle (“what they learn”, ”the theme”, etc.), chuck it! Basically:

The internal struggle (emotional journey) is what they have to deal with internally in order to solve the external plot problem

The protagonist has a desire & misbelief; these conflict; it's very important to know WHY the protagonist has developed these

The plot events are created to force the internal change, not the other way around - what do the events MEAN to the protagonist?

Cause & effect - the plot should be (in some sense) karma, not “what goes around comes around” but “if you lie about graduating college, when you’re about to get your dream job, that lie is bound to surface”. (Dramatic, much? Very Hollywood when at its most extreme like this, but imo the point should stand at some level.)

The cause and effect should reveal the logic behind everything, both internally (what would my protagonist’s beliefs/ past experience cause them to do in this situation) and externally (how will the other characters and world react to what my protagonist will do).

Each scene has an external & internal change within it, which leads directly to what should be the next scene (“if this, therefore that” not “and then”). Each scene must have a single big purpose e.g. "this is the scene where she kidnaps the dog".

As for scene content, you can ask yourself a series of questions such as “is this necessary for the plot?” “Is this logical externally (logistically)?” “Is this logical internally (for the protagonist’s/character’s current states of mind)?”

Ask “Why” of everything, and don’t stop asking until you’ve reached the most story-specific, concrete, “close your eyes and you can see it unfold” origin and there are no “whys” left to ask.

Ask “And so?” of everything. “And so, why does my reader need to know this?” “And so, how does this move the story forward?” “And so, what will happen as a result?” I.e. WHAT IS THE POINT!

That’s about it. I saved you approximately ten hours. Despite its Hollywood-ness, I really like her approach. I think this is a really logical way to plan a novel!

Her process – which you carry out through the exercises, and if you don’t want to do that then don’t bother reading the book – is to develop a base of information for the cause-and-effect trajectory.  She leads you through developing the protagonist from the ground up (read: past-up, including their misbelief & desire), writing some beginning/starting scenes and the "ending" (the protagonist’s final big moment of realisation), then a sample of the rest of your planning experience, which will basically be simultaneously developing & writing the novel in chronological order. It’s expected that as you do stuff you’ll naturally think up more questions you’ll need to answer and have to go through and carry through changes (in writing & plan).

As for how to fill in the blanks in your novel, Cron’s idea is that the answer is in the content that you already have. Go through the story and search for the event, given who the characters are, that would logically happen next, or trigger the next thing you know will happen (or that needs to happen to get whatever you know happens at the end of the blank). Then think about what will happen next, etc., etc.! She emphasises that the solution to all types of missing content (character details, empty middle bits) is to ask “why” of your novel, or “and so?” - what logically should happen next. A lot more detailed than Mr Snowflake.

Compared to Mr Snowflake’s start-(middle stuff you’re supposed to just know I guess)-end to start- mid-steps – (middle stuff) – more mid-steps –end, Cron’s method makes a lot more sense to me. If you find that you haven’t figured out the middle you don’t have to just stop stuck, you just have to ask more questions. It really helps that (after you work out the “ending”) it’s chronologically ordered (start-end to start-logical post-start - end) as well. This planning method that she provides (also including a folder structure!) via her exercises I found incredibly helpful. Her writing style, however, not so much.

Cron’s language is liberally peppered with buzzwords, repeated information, and unnecessary references to other books. Points are repeated multiple times or rehashed into new metaphors so often that by the time you get to the end of the book you’ll have forgotten what the original words were supposed to mean. Instead of simply “the why of the story as per Chapter Four” it’s a constant barrage of “the why of your story, which you HAVE to touch on, ASK yourself about each time, YOU HAVENT FORGOTTEN YET ALREADY HAVE YOU I THINK YOU HAVE SURELY?”. It feels like I’m assumed to have the attention span of a child, and combined with the friendly tone, am being talked down to as if I’m one.

Having to constantly struggle to understand buzzwords of Cron’s own definition, or tell whether something is actually new information, makes the book confusing and frustrating to read. It felt sometimes like I was relying on the examples (also horridly written, but they do their job well) to be able to understand what I was supposed to do. These are not things that should be able to be said about an educational novel (surprise!).

Overall the tone doesn’t really serve the intended purpose, so to me it feels more like Cron is trying to self-aggrandisingly sell you on the methods of a book that you’ve already bought and half-consumed, than reassuring you that you’re doing well.

Buzzwords (which is, by the way, how you tell/rate a bad self-help book; thankfully she didn’t use any acronyms)

Minor Nit-Picks

If you want to write A Theme Book for Grown-Ups not a “Hollywood Movie”-esque story, or anything in a non-Western story structure, this probably isn’t for you. I don’t really like that she frames this as the only proper way to write a good story. You could probably replace the “everything has to link back to the third rail” with “the theme” or “the question” for a similar effect.

This book is (by its own admission) about how to write an entertaining novel, not a well-written or thematically complex one. Think an Agatha Christie or 50 Shades.

I feel like missing from the book is a "these methods may not work for you", and even if sensible adults should be able to understand this on their own, to me it feels a bit dishonest to leave it out, especially given the tone.

Brain science not from a brain scientist

In possibly one of the most annoying failures at gender equality Cron refers to “your protagonist” alternatively with “she” and “he” pronouns for the whole book instead of using singular “they” thus slapping you in the mental face each time she switches and sounding like a pedantic uneducated twat

I don’t really agree with the ideas of where, or with what, a novel should start; you might need more set-up for the world than starting at the “point of no return” for the protagonist;

Could’ve used chapter summaries considering the roundabout writing style

This isn’t a nitpick but the "what if" (primary-school writing prompts) segment is really insightful? Also her recommendation of writing the ending scene really helped to discover/iron out the kinks in my stuff and is super good to help you keep in mind where you’re going and please do it? I REFUSE to ruin my formatting just for the sake of a good thing she did

Overall I can only come down in favour of this book. If you’ve struggled with planning a novel or even wrapping your head around writing one but you want to, I won’t say it’s THE book for you, but it’s a book, and if you can get over Cron’s horrid writing then I really recommend it to you.

Personally I recommend that if you feel like there are ANY scenes in your novel that you can write, right now, that you try finishing one or two BEFORE going into this book. Mainly for your own motivation, but, it might also help you figure out whether or not Cron’s techniques are for you.

Finally, a quote:

"There is no firmly established next [...] writers very often stop writing after the first twenty pages because THEY have no idea what comes next either. The problem is that BECAUSE there are so many options, it's the same as having none."

Regardless of any of its other qualities or flaws, Story Genius solves that problem. It really helped me to plan MYYYY novel and they don’t teach you how to do that in school.