#IVE ALREADY HAD THIS IDEA. I COLLECTED THE IMAGES. AND FORGOT TO MAKE IT

[bugflies00]

today on im a fucking idiot. i was thinking about making a very basic web weave with pogtopia and hadestown specifically wait for me rigjt. right. so i open my laptop. and i see. in the corner . this fucking folder

[ficforce]

Little Wound Part 1

Joker x Little Lady Reader SFW There will be mentions of noncon and other abuse in this and the coming chapters

Joker stared up at the steel ceiling, his eye was unfocused as his mind drifted back to the rooftop nearly three months before. He wasn’t sure how he had survived because he had been pretty far gone; it was a miracle he had even been able to get a signal out to Licht. He loved her. He loved her so much and he had ruined her life because of his selfish desire to be free. He tried to recall her happy smiles and the way she would tell him off but the images kept morphing into her dead stare and her cruel words. She didn’t love him back, it had all been a lie to get close to him and slip a knife between his ribs. “I changed your IV drip - ya know I’m not this kinda doctor, right? I’m the experimenting kind.” Licht tapped on the rail of the hospital bed they had acquired, “The actual doctor did say you should start getting up and about… start eating more.” It didn’t take a genius - even though he was one - to realise the Joker was depressed. He had to be. Joker hadn’t left the hideout once since they had set up the bed, borrowed some simple hospital monitoring equipment, they also acquired blood and medicine for him. They had other allies working with them, all of them trying to work out why people kept catching fire - one of those people was a surgeon and he had barely saved the man’s life. “You can’t find the truth laying on your back.” “This word sucks, the truth just makes it suck more…” “But you wanted to find out why it sucked, remember?” This wasn’t his friend, this wasn’t the awkward, dangerous man he knew, “So you’re gonna just wait for the world to burn? Become a different kind of shadow that disappears into the dark all alone?” Nothing. Not a twitch. Joker turned his head away from Licht, figuring he’d disappear if he hoped long enough. “Damn it, Joker!” his fist hit the rail and the metal hinges of the bed squeaked, “Get up and do something - every second you waste in that bed is another second Y/N is trapped.” A sharp inhale followed by a shaky breath out was the only reaction he gave outwardly. The words stung but they did start a wheel turning in his head, one that hadn’t turned in three months, Y/N was trapped. She was likely back with the shadows under the Holy Sol Temple. Going through the hell he had run away from and damned her to. “Get outta here… I’m tired.”

x - -

‘You never belonged to the shadows’ Sometimes those words echoed around his head. Some of her parting words to him and he didn’t know if she was rejecting him or comforting him. Joker relived the night over and over, every word, every detail until he started to realise the minuscule things. Like the fact she had stabbed him in a way that deliberately missed his heart. She would have known exactly where to land a killing blow but she didn’t; she had nearly killed him. She hadn’t finished the job either. She had told him that she wanted him to remember her being different and special - not part of the collective. She didn’t want to be with the Shadows. She wanted to be free just like him and he wished he had recognised the pain in her eyes - the tension in her jaw. ‘The Captain always finds fault with me’ Joker knew what she meant because he had experienced it. He should have stormed tin there a year earlier and saved her, instead, he had felt sorry for himself whilst the Captain did Sol only knew what to her. Because she was his replacement, because he had tainted the Five-Two name.

Breaking into the Holy Sol Temple with Benimaru had been to seek the truth but it was also a partial rescue mission. However, when Joker saw those dead green eyes of the man who beat and violated him day in and day out, who had ordered the murder of the family who had taken him in and forced him out of the sun again… He forgot all about Y/N and set Benimaru loose on the Shadows. The very idea of finally ripping out the bastard’s heart gave him the edge, his hatred of the Captain and what he had done - not only to him - gave Joker an odd kind of joy.

A pained yelp went through Joker’s ear like an arrow and he felt a heated blade catch his leg. This wasn’t the time to get distracted but the sound had caught him off guard and his head whipped around to see Benimaru kick one of the masked assassins in the stomach to send them skidding along the floor. They weren’t supposed to make a sound, even if their bones were snapped. Joker lit up three cards to deflect his opponent’s whip sword, keeping his eye on the other whilst shouting over to the other man, “Oi, not that one, Mr Almighty - I got business with the Little Lady.” Maybe it would be considered cheating; the way he had used a hallucinogenic on the Captain. Scaring the shit out of the man before dicing him up into pieces. Dead was dead.

Joker took a deep breath and straightened out his clothing, the adrenaline was buzzing under his skin from finishing off his once Captain, a man who had been hard to erase from his scarred mind and nightmares. However, things just weren’t that easy, now he had to deal with Leonard Burns and he was out of drugged up cigarettes. “Really?” He turned to face his old acquaintance, “So to get the holy scriptures, I’ll have to defeat you…”

“For someone who has been hiding in the shadows, this is pretty daring of you.” Captain Burns wasn’t surprised to see who had been causing all the trouble, there were only a few people as dumb as Joker to attach the Church head-on.

The dark-haired man spread out his hands and called up his cards, “That’s because I don’t want the truth to stay hidden…”

Leonard took a breath and beckoned to him, “Come.”

They were at the ready to fight and then Benimaru’s voice broke the heavy tension, “Sounds like fun. Let me join the fight too.” There was a long pause, a three-man standoff that ended with Leonard turning his back on them and declining to fight - much to Joker’s surprise. It had been a strange turn of events but now Joker had a neutral ally in the church and more evidence that something stank in the Empire. That just left his other business… Y/N’s body shook uncontrollably in the corner Benimaru had forced her into, he had tied up her wrists and around her body to secure her arms to her sides, “Whatever it was that you used to send these bastards mad also affected her, figured I’d tie her up for her own safety.” The younger man crossed his arms and watched silently as Joker knelt beside the assassin to remove the faceless, white mask, he could see that the woman’s eyes were blown wide and tears streamed down her cheeks - he wondered what she was seeing in her head.

Joker’s voice was quiet, his tone soft as he started to undo the ties, noting that they were quite intricate knots that indicated Benimaru had certain hobbies with ropes, he smiled gently as he eyes tried to focus on his face, “Hey there, Little Lady. You’re a bit high but I promise it’ll wear off in a few minutes.” Her eyes widened all of a sudden and Joker flinched as she began to scream, Y/N’s legs kicked at him and began begging for her life. “Please, please don’t kill me! Not like that, don’t cut me up into pieces! I’m sorry! I’m sorry! I- I’ll… I’ll do it myself but please -!” She had betrayed him, she had played his heart and his mind, poured her drink over him as he bled out; she deserved his punishment but she couldn’t stand being tortured anymore. “I’m begging you… Please…” Y/N’s voice began to break and she was sobbing too hard to be understood.

Joker stared at her in silence. Watching the woman he still loved fall to pieces and begging for a swift death. He pulled a playing card out of his breast pocket and lit it up - she had always liked his card tricks before but the sound of the burning card only seemed to terrify her more. Y/N cowered into herself, her freed hands covered her head as she buried it into her knees. “Tch!” Benimaru’s click was loud enough to be heard over Y/N’s whimpering and he stepped closer to them, the air rippling with heat as his crimson eyes lit up, “Revenge is fine but I’m not gonna let you fuck up some woman who’s already given up.”

“Relax, Mr Almighty, I’m not planning on hurting her…” The card went out and Joker sighed almost sadly as he watched her, “This was a rescue mission too.” Reaching out, he stroked her head lightly, pointedly ignoring her increased sobbing as the man tried to offer her some sort of comfort, “It’s just the hallucinogenic making everything worse.” Feeling Benimaru come off the offensive Joker began to hum some nonsense song to Y/N, picking her up into his arms once he realised she was paralysed with fear - it was time to leave the Shadows and monsters behind.

[astro-break]

Thoughts on the 7th ep of Hypmic Rhyme Anima. Spoilers beware 

Ep.1 | Ep.2 | Ep.3 | Ep.4 & 5 | Ep. 6

Can we get an MTC ep for Samatoki’s birthday please?

nope its MTR

ah man i always get really down whenever i see Doppo’s workplace environment. it suckssss

EYYYYY BUSTER BROS SONG!!!!!!!!!!!!!!!!!!!!! (i forgot the name of the song in the moment but is Ikebukuro West Gate Park which is funny since thats where the ikebukuro prelims are held)

OOO IRIS ON A MOTERBIKE!!!!!!!!!!!! thats so hot oh my god, the CGI was good too! she had no right making to popping a wheelie over speedbumps look cool

Tom mentioned last episode that he had picked these three up from bad places and I have a feeling that Iris was once either an adrenaline junkie, thrill seeker, or involved in something that had her on the run

I don’t know about Rex. I think society just took one look at him and pushed him away because his personality is weird. He’s honest and kind, almost too kind. It don’t help that he doesn’t look traditionally Japanese which will garner him a lot of unpleasant experiences

MTCCCCCCCCCCC HELL YEAH

love that theyre one of the few units shown actually going out and doing intel searching on their own

god the TDD flashbacks harken to the manga and thats so cool

There’s a lot of underline threads going on in here and its going to be hard keeping track of them. I hope that the anime doesn’t choke itself on all the threads

T.REX is hilarious i think i might actually grow to like him. he’s a dumb himbo

ah even more threads and previous connections. i really really really hope that everything is ties up nicely by the end of the season though that doesn’t seem plausible, not with only 5 episodes remaining

OH GOD WHY WAS YOTOSUJUJI BROUGHT UP NOW IM TEARING UP

ah of course robberies are going to happen on the day of the rap battle

That ruikawa guy is suspicious. it might be my INFP speaking but his kindness seems a bit weird

ah yeah red flags right there. he’s definitely one of the robbers or in cahoots with them

ah yeah hes a robber. theres no doubt about that. “ive found a place to release what builds up inside me”. thats crime isn’t it. the fact that he won’t talk about it just raises more red flags

ahahaha see i was right

hey at least it was doppo’s hardass boss. could be someone more innocent and less asshole-y

YOU JUST GAVE YOUR INDEITY AWAY ASSHOLE wow even doppo caught on

EYYYY SHINJIKU STYLE!!!!! HELL YEAH

Those stills are absolutely mesmerizing though. 

i love the sense of trust and mentorship between matenro with Jakurai as Hifumi and Doppo’s mentors. At least that’s the feeling I get with them ahaha

Doppo’s english is a bit harsh but also weirdly fits his style. im a bit mixed on it but with the whole song being more melancholic with english sprinkled in, it matches the theme

The song itself is such a mellow and soothing song though. Its different than Maternro’s usual work and its a good different. I love the subway and old timey imagery that came with the song and the image of a subway train lighting up the way to a new path is such a great way of showing that there are different paths and different destinations that one can take. Even if you take the same train, you can end up in a different place. The light imagery in particular is just so good since Ruikawa’s original line of the city being a beacon of light for him is mirrored in the song.

The lyrics especially are so soft and powerful with the imagery within the words being simultaneously rough and tumble but also soft and reassuring. It seems more like a lament or a elegy to a life that could have been if they had gotten on a different train. I love the lyrics, especially the chorus since it speaks of mundane things but things that everyone can understand and relate to

it also carries mad Spirited Away vibes. It’s also called Falling which I think is pretty fitting

the only thing that I don’t like about the song Jakurai’s vocal beats within his verse. Usually it works since there’s a big beatboxing feel to those beats but with Jakurai his lyrical rap doesn’t mesh well with the harsh guttural sounds beatboxing

The pain of having one of your few friends betray you hurts and wow this episode is out to make me feel a lot of sympathy for Doppo

SMILING DOPPO!!!

Hell yeah they actually had a plan and followed through with it

Did they just set up the MTC episode lmao. thats sneaky

OOh that beat change for FP ending is so nice!!

--

I think I’m only noticing this just now but the episode titles are all famous quotes from people/proverbs. 

Ep. 1) “As Soon as Man is Born, He Begins to Die“ This is an old proverb. Who said it I don’t know and a quick internet search gave me nothing, but its commonly said to convey the meaning that nothing lasts forever. IDK why this proverb was chosen since there’s no indication of any of the teams disbanding any time soon except for TDD era teams which have already happened

Ep. 2) “Speak of the Devil and He Will Appear“ Again, another old idiom which dates back to the 16th century. This one is probably about Ichiro and how he appears whenever he is called or whenever he is needed. Though it could be a overall commentary on how the brothers are reliable no matter the situation

Ep. 3) “Two Heads Are Better Than One” - John Heywood This quote describes DoHifu pretty well. Its because these two work and rely on each other that they’re able to not only make it through each day but also make each day worth living. Because they help each other, but they’re not the same, they’re better for it. This could also apply to MTR as a whole being a team where each member thinks outside the box and their ideas collectively make such an interesting team

Ep. 4) “A Friend in Need is a Friend Indeed” This one is an 11th century proverb which explains that in times of need, true friends will show their colors. That's the main mentality behind MTC though I believe that it applies to Rio in particular for this episode. While the entirety of MTC are willing to help each other in times of need, in this episode it mainly focused on Samatoki and Rio’s plights and how the members as a whole show that they are all true friends to each other

Ep. 5) “Seeing is Believing” The origins of this quote is blurry but there the bible seems to be the origin of this statement believe it or not. While it does fit the episode’s theme of ghosts and how rumor's can harm people and businesses, it doesn’t really describe FP like the other quotes do the other teams. I find it odd, but I hope that FP are redeemed in their next feature episode. FP deserves better and are being done dirty in the anime.

Ep. 6) “He Who Laughs Last, Laughs Best” - The Christmas Prince. I think this one is pretty nice in describing not only the episode but the series as a whole. It doesn’t matter who’s winning in the begging, or the middle. The final outcome is what really matters. It’s pretty apt for the series since even though The Party of Words are winning currently, its who wins by the end of the series that matters. The episode encompasses this pretty well too with the whole plotline.

Ep. 7) “The Darkest Hour is Just Before the Dawn” Dating back to 1950 ish, this one carries the simple There is hope in the worst circumstances message. Again, its pretty suitable for the series as a whole since the Party of Words might be making life harsh, but there’s still hope to be found in the world.

Ep. 8) “Dead men tell no tales” - Thomas Becon. NGL, this one scares me because it can either apply to MTC, or the universe as a whole. We’ll just have to wait till next week to know for sure but i think we’ll get some Jyuto angst with his parents

[random-storykeeper]

My OHC compilation video is here! This time, I showcase all 29 entries I’ve submitted for One Hour Compos in 2018. The cover art in the centre of the thumbnail is done by my friend catnippackets and I still can’t get over how amazing it is that she took the time to make it for me. :)

Last time I did one of these compilation videos, I made it so that the blurbs I wrote about the individual pieces was on its own, private post. I forgot you could do read mores on video posts, so this time I figured, why not just make this all public? That’s in the full post below:

OHC 482 "Connect the Dots" - When the first OHC of 2018 kicked off, I had a lot of trouble thinking of ideas on how to approach this theme. Eventually, I just settled for keeping things simple, using chiptune with a little bit of guitar to create a more pleasant little nighttime piece.

OHC 483 "Patternwork" - When I first saw the images, I wanted to be direct as possible in terms of my theme approach musically. I would use guitars as my choice of string instruments to convey the “threads” and have them repeat simple patterns with triplets going against eighth notes, taking away and adding layers as the piece went along. I exhausted almost every guitar I had in my soundfont collection and ended up having to use an electric guitar. Surprisingly, it worked out pretty well.

OHC 484 "Going Your Own Way" - I usually approach underwater themes in the same matter - sine waves with lots of release. This time, I wanted to do something a little different, but still chiptune. So I decided to focus more on having a direct melody and using square waves instead. I actually quite like the carefree melody I came up with here - sadly, I didn’t really know how to develop it any further so I ended up just repeating it a lot throughout the piece, haha.

OHC 485 "Rays and Rain" - This theme was difficult to work with. I wasn’t really sure what to interpret the pictures as. I ended up just thinking of “rain with some light coming through” and kind of went off with that in a more laidback fashion. It was this compo that I discovered that slowing down the tempo while using delay that is synchronized to the current tempo creates a cool kind of pulsating effect, which is heard at the end.

OHC 486 "Distant Hearts" - This piece was one of the few vocal entries that felt like it kind of fell into place as I went along. I actually am using an excerpt of the post compo version I did for Chips Compo, the full version which I’ll be posting to my channel some time later this year. 

OHC 487 "Drivin' 'Round the Galaxy" - Space in a car = chiptune blues? Sure...and don’t forget the high whistle with plenty of vibrato. :P

OHC 488 "Glass Curiosity" - I’m really not good at doing “rave” or dance pieces, so I decided to just focus on making something that would kind of try to capture the feeling of “losing yourself” via drinking. I mean, it’s a really basic interpretation, but towards the end, I play around a ton with the tempo as well as the filters. 

OHC 491 "From the Earth" - Whenever we get nature or plant themes, I feel like I’ve always tried to make them happy and joyous. This time, I wanted to go for a more tranquil, calmer approach. With acoustic guitar, flute, piano and violin, everything started to fall into place from there.

OHC 492 "Cybernetic Rush Hour" - At this point, I realized that my own sounds were severely limiting me, particularly in the electric department. Chiptune sounds weren’t quite cutting it for me, so I ended up booting up Harmless and taking a couple presets from there. I only barely know how to use it, unfortunately. Maybe someday, I’ll learn. The piece only started working for me when I hit those running notes at the end, but by then, time was already running out. 

OHC 493 "Routine" - One of the first things I think of when I see a bunch of machines is “conformity” and sticking closely to regular tasks. So I tried to keep the notes as even as possible and then put in some vocals. Ironically, the “just don’t come out of the blue” line really does sound like it came out of the blue lol

OHC 494 "Iris Chase" - I remember playing this one Ludum Dare game that had a red eye similar to these pictures. You would play as a person trying not to die while trapped in a room with several other people. I think the eye would kill people based on a vote and if not it would just kill people randomly. Anyways, I wanted to go with this sort of idea - a sinister eye constantly searching for the kill. I tried to play it really weird with slow pitch LFO, maybe some distortion, tritones, a gradually faster tempo. This was a lot of fun to make, and felt a bit different from what I normally was used to making, which in my opinion, was good. 

OHC 495 "Palace 9" - So I pretty much had my instrument set in mind once I saw the images - harps, violins, pizzicato strings, y’know, things that would be light and heavenly. Then I realized, I didn’t really have a good lead. Turns out, the oboe makes a great lead. Although now that I think of it, pitch bending it doesn’t sound that good haha.

OHC 496 "Paws on the Sidewalk" - Seeing fur made me automatically think of white fluffy dogs, so I decided I wanted to make a piece about taking a dog out for a walk on a pleasant sunny day. And yeah...started out with the first few notes you hear on the guitar, and just sort of went at it from there.

OHC 497 "But Only For a Moment" - I really wanted to do a ballroom dance piece for this one. Not only that, but the experience of sort of “having that first dance”, heart pumping in your chest, the pause of anticipation. Of course, it didn’t exactly turn out that way, but the idea was to set a “beautiful” scene cut short by time. How appropriate, given that this is OHC. Surprisingly, this did well in the compo. 

OHC 501 "IV Dream" - This was a weird OHC to come back to. I had never worked with a text theme before, so I was a bit taken aback here. There were so many interpretations I could go for. The one I felt the most comfortable with doing was an ocean/underwater track, but I wanted to go for something different but still water related. Then I remembered: just the week before, I was in the hospital (I burst my appendix, it infected my lower abdomen and I had to stay there for a week) and they put an IV in my hand for the antibiotics and hydration. As I was falling asleep there, I would recall the dripping sounds as the fluids made their way into my hand. I dunno, I guess that was kind of a weird approach to the theme: “I’m dreaming of flying through the sky but I’m actually just stuck here in the hospital”. Plus my voice got all messed up from the operation, so the vocals probably sound a lot worse than they normally do. :P

OHC 502 "Chipititis" - I missed making straight-up chiptune, so I made straight-up chiptune. That’s all, lol.

OHC 503 "Open Up" - I chose to go with the theme of “solitude” being a more positive theme, maybe focusing more on the calmness/meditative side of being alone and allowing yourself to be open and free in isolation. The pads in my soundfont set, as I discovered in this compo, actually work really nicely to set a fuller atmosphere. 

OHC 504 "Long Lost Reconnections" - In this compo, I tried to make a song based on a dream I had that felt real to me. Unfortunately, I ran out of time before I could fully develop the lyrics and the theme didn’t come across as well as I had hoped. 

OHC 505 "Confrontation" - Falling. How on earth are you supposed to portray this musically? I decided I would have to go with the basics: fast, descending chords. Then I hit a bass groove and decided it really needed a sax melody, so I put in that sax. By then, I decided that this piece would be about constantly falling with no end in sight, and having to come to those terms that eventually, you’ve got to land on something...right?

OHC 506 "Being Bold" - When I made this piece, I put in a definite end, and regretted it soon after hearing it in the listening party. Personally, it sounds so much better when the notes at the end don’t resolve, like in the “where does the hope go from here?” sort of way. 

OHC 509 "Forgetful Traveller" - Another one of those “hard to convey” themes. The chords had to be just right, conveying someone moving forward, but also kind of thinking that “maybe I should have gone back because I forgot something”. Well, I tried my best.

OHC 510 "Conflicting Voices in My Head" - imo this is easily one of the roughest of the vocal entries I’ve ever done. In the original compo version, I had a lot of trouble getting the vocals to be loud enough for people to actually hear them. Third time’s the charm, I hope. 

OHC 511 "Porcelain and Plastic" - I wanted to do a spooky, unsettling piece for this one, so I tried to make a piece about “feeling strange because you’re being watched by a bunch of old dolls in a dimly lit room and also, you might be turning into one of them”. 

OHC 512 "Rest in Victory" - Before I started the compo, I wanted to make a piece that would keep building up until it got to a sort of “grand finale”. So for this one, I tried to keep it simple, with the same set of chords repeating and just adding different layers as I went along. I had this crazy idea of putting in electric guitars and wasn’t really sure how these were going to work, but I think there’s some ideas in there that I kind of like. 

OHC 513 "Lullaby For a Needlessly Productive AllNighter" - I submitted this with a weird title because it was almost too long to be submitted properly (there’s a weird glitch on OHC where if you submit a title that is too long, it just glitches your piece out entirely). As for the piece itself, I wanted to make a lullaby that was kind of related to my own problems of wanting to stay up to constantly get stuff done. 

OHC 530 "Giants" - I missed out of OHC for several months due to one of my classes last term directly conflicting with the time that OHC ran. So I was pretty excited to return. Live entries are always more nervewracking, but they’re a little easier to set up, in a sense - plus, you get more control over the tempo and stuff. That being said, since they are done in one take, there’s a lot that can go wrong. I almost got this one down until I messed up on the last few notes, oops. 

OHC 531 "So Just (Let Me Be)" - The theme page originally showed “sjsj” as the theme, so most people started basing their pieces off this. It wasn’t until a few minutes in that the official theme was actually posted. Rather than starting a new piece entirely, I decided to just combine the two themes together. I tried to make several lines of the lyrics start with “S” and “J” then I ran out of time. 

OHC 532 "Melting Point" - When I saw the hot springs, it immediately made me think of the hot springs I went to in Japan last summer. It was one of my favourite experiences there. But yeah, I tried to grab a combination of instruments that would sort of capture the contrast between the hot and cold. Vibraphone for a bell-like sound, pizzicato strings for the forest setting, marimba for a warmer sound. Marimba worked surprisingly well for this theme, and I wasn’t the only one in the compo who thought this. 

OHC 533 "Hibernal Regret" - Didn’t really want to do a vocal entry, but I couldn’t help myself - this piece needed words, so I put them in. I tried to keep them short and simple rather than spending a huge chunk of the hour just trying to come up with meaningful lyrics. This allowed me time to process them properly and polish things up a little more. Never really thought I’d be combining winter and space, but hey, it was an interesting combination.

[woohooligancomics]

Webcomic Whimsy: Tales of Midgard

Welcome to the Woohooligan Weekly Webcomic Whimsy! I've given a couple of interviews in the past, but this is my first experience with reviewing. If you have any suggestions for improvements, feel free to leave a note. If you're a webcomic author and would like a review, you can see my announcement and review rules here.

Title: Tales of Midgard: the Age of Magic

Writer: Attila Polyák • About

Illustrator: Erzsébet Schlett aka Lizbeth von Rabbit • About • Patreon

Site: TalesOfMidgard.com • Facebook

Genres: Action/Adventure, Fantasy, Medieval, Middle Ages, Victorian, Anacronism

Rating: PG, T for Teen - some language

Updates: Every Weekday (Mon-Fri) - (used to be full chapters in 3-week intervals)

Synopsis: (from TalesOfMidgard.com) - Tales of Midgard is a collection of fantasy stories, mostly comics, set in the world of Midgard, which is not the same as in Norse mythology, but if you are vigilant enough you’ll find a reference or two here and there. While all stories are set in the same world, the actual settings for each individual tale varies a lot. Depending on the time and age of a story, the settings of some might be more modern than others. The “main” storyline, titled The Age of Magic, will be about the adventures of a young knight named Anne White.

As the authors described, Tales of Midgard contains very little reference to Norse Myth (despite the title), and in the long-run it reminds me a lot less of mythology and more of some sessions of Dungeons and Dragons. I managed to read a little more than the first two out of nine chapters, and while magic is mentioned with frequency, it's rarely seen (that may change in later chapters). What seemed much more common than the appearance of magic however was the appearance of modern ideas and inventions; trains, newspapers, democracy, modern capitalism with beauracratic corporations. From what I can tell, there are even approximations of "cell phones" and "the Internet". The main charater, Anne, is a knight, except that the title would be a misnomer in our world, since she works for a corporation instead of a monarch and her first two jobs are both illegal "smash and grab" operations. In our world, her title would be "mercenary". As a side note, the term "freelancer" originates from an old military term for mercenaries, "free lance" (that of course you pay for, after all, it's "free"). Anne is also a mage, although the first two chapters only show her working any magic once and very briefly. If you replaced swords with firearms and "info boxes" with flash-drives, this would almost be a modern action story.

I had a really difficult time deciding on the first image to display here. I wanted it to be either the best page I could find or the page most representative of the story as a whole... but I couldn't seem to find either of those, so I opted to use the first page. The difficulty finding a single page to represent the series is that the individual pages vary so wildly. I'll find a page that includes representative dialogue, but the art shows backs of heads, and then I'll find a page with better art, but it's a splash page with little to no dialogue or narration and it tells you virtually nothing about the story.

The story opens with Anne and Erik planning their first job, stealing an "info box" from several guards who are carrying it through the city of Kessheim. These are the kinds of planning sessions I remember from a slew of tabletop roleplaying games over the years. In a game session, this is part of the fun of the game, although I'm not sure it adds much to the comic. In some of the scripts for Return of the Jedi, the film included some planning scenes, explaining how the heroes would get Lando Calrissian, Leia and the droids into position inside Jaba's Palace before the ultimate rescue of Solo. Lucas cut those scenes because in the long run it was felt that they eliminated a number of surprises that made the film more enjoyable.

This is only the eighth review I've written, and already "focus on your pacing" is becoming a frequent refrain from me. It seems like pacing the story is one of the things that challenges most webcomic authors. The first couple chapters of Tales of Midgard tends to vassilate between pages with a lot of text, and splash pages with little or no information. A lot of text on a page can be forgiven sometimes if a situation really calls for it (lord knows that's something I've struggled with), however this story has a lot of pages where the extra verbiage that's added isn't delivering any new information. Splash pages can be great when properly and sparingly used to punctuate dramatic reveals and action sequences, however, several of the splash pages in Tales of Midgard seem to be splash for splash sake (or in Latin, splish pro splash es gratia). The page above is the second page of content, opening the story with two pages of Anne and Erik discussing the plan for their first job. The second page doesn't reveal much about it, just that Erik wants more reconnaissance and that he suspects it will reveal a more challenging task ahead. And then the third page is a splash page, just for Anne to repeat that she's preparing for the job (she already said so), while striking a heroic pose.

Heroic!

I'm ribbing them a little here, but this isn't really a huge problem. I'm just pointing out that the above page could have been entirely left out and nobody would have noticed, and that the first two pages of planning could have been one page with a little more editing. The opening dialogue for example reads: "Seems like we still have about an hour. Let's revise our plan, and after that I'm off to prepare for plan B." If this were a script for a movie or a TV show that might be fine, but in a comic you have to remember that dialogue can take up a lot of realestate on the page. That line could have read: "We have about an hour to revise our plan before I prepare for plan B." And that's before you consider the elements that aren't necessary because they're mentioned elsehwere in the script. It really could have been "we have an hour to revise our plan." ... Or in retrospect it could have been dropped entirely, since the reader doesn't need to know how long they're planning, just that they are, which is apparent from the rest of the art and script on that page.

Also, paring the script down would help the artist, who inevitably has to spend more time working on the comic than a writer does. Liz had to fit in a splash page, plus five panels for a minimal portion of the story. If the script had been pared down to fit onto one page, that could have been two to three, maybe four panels of art. I'm sure that would have been easier for Liz.

It turns out Erik's suspicions were right, the job will be harder than they thought.

There are two more pages of planning (a total of six) before the job starts. The pacing on the first page of the job is better, although I think the art jumps the gun on exclamation points and burst lines (I can't remember the western term for that effect). There's not been any action yet, this is still the "suspense" portion, leading up to the action. I would have used just two panels - the first with Anne entering and the second seeing the guards carrying the box with "there they are," and a background. As I said before about the pacing, these aren't huge problems, just areas that could use some polish.

Even here I'm not convinced we're quite ready for the dramatic splash page yet, although it makes a lot more sense on this page where she snatches the box than it did during the planning phase.

Honestly, I think the three bumbling guards turning into the Three Stooges is kind of a nice touch.

If I were writing, I might have started the entire story on the last panel of that page, with the guards already chasing Anne. All that talk of running down streets, and how many guards there were, and "plan B" could easily have been part of the narration during the chase. In fact most of it is repeated in the chase narration anyway, making most of those planning pages redundant. Starting here would have gotten the reader into the thick of the action straight away (just like the opening scene of Star Wars IV: A New Hope) and probably done a better job of holding people's attention.

The first "magiknight" appears right away, you can see him behind the other three guards in the last panel of the previous page. Anne confirms that's what he is on the following page after he's overtaken the regular guards and is gaining on her. The second magiknight appears immediately after and oddly decides on a WWE wrestling move instead of the kind of thing you'd expect from someone in full-plate armor... or a spell (remember, he's also supposed to be a mage).

But the most shocking thing on that page was the democracy! SHOCKING! Remember, peasants, the King needs your vote! Again, I kid, although it is another part of the overall theme of this world being modern day with a veneer of medieval or renaissance themes. That's the kind of atmosphere that I've found a lot in D&D or other roleplaying games because the players are never historical scholars and I suspect even for them, it's hard to put yourself in the shoes of someone who lived even sixty years ago, much less several centuries.

After Anne avoids the first body-slam, the third magiknight appears immediately, following a page of Anne wondering where they are, and showing a map of her run up to this point. (The map doesn't seem necessary.) Throughout the entire chase, the third magiknight is the only one to talk, and then only to call Anne a bitch (rather than "halt" or alerting the other guards).

(EDIT: I was wrong! I forgot the last magiknight makes the comment "what are you" when Anne stands up after he knocked her down.)

I suppose I should point out that most of the first chapter is the chase with a lot of jumping and swordplay. Although if Tales of Midgard is going to be an action/adventure story with a lot of fighting like this, Liz should probably brush up a little more on drawing action sequences. This one is probably the worst and I might not have pointed it out here except that it looks less like Anne is expertly dodging a sword than she is expertly dodging a giant penis.

Like I said, most of her illustration is better... although the page immediately following this sword swing is another weirdly placed splash-page.

My penis can shatter stone!

If there were a splash page in that sequence, I think it would have been better used on Anne's dodging the blade than on the aftermath of the miss.

And that's followed by a carriage that appears to be in the Matrix Loading Program instead of the street.

Anne gets past the carriage and points out that all the maginkights so far have been "brutes with no speed or accuracy". These guys are mages? Working in service of the monarch? It does get more difficult as there are now two of them ahead of Anne, which she expertly dodges again. (Plus, there's that background that was missing behind the carriage.)

The very last magiknight appears to have a fighting style that involves constantly being off-balance and occasionally presenting his back to his enemies.

He does eventually land a blow against Anne on another splash page (and a good place for one), although the art is rather confusing... I couldn't really tell what was happening here.

Apparently she blocked the blow, but was knocked back into some barrels (empty?) that broke open. The magiknight is amazed that she's able to stand after taking the knock, although I'm not sure that explains why he didn't have time to catch her.

So Anne is able to get to the water-mill for her much hyped "plan B".

Which turns out to be jumping from a high window into the river while wearing plate armor.

And then it's time for a recap from the magiknights. I'm not sure why their dialogue is suddenly an ominous white-on-black.

Also, many of these balloon tails are confusing, and black on a dark background doesn't help.

When Anne comes up from the water, we get our only glimpse of magic in the first two chapters. How many magiknights was that? Eight of them? And not ONE spell between them? Was the wrestling leap a spell?

The second chapter opens with our first real glimpse of the anachronisms; a train.

And another couple anachronisms; a newspaper and the Grand Archives, which from context sounds a lot like the Internet. A little work on the composition of that first frame could have allowed us to see Erik's head and fixed the problem with the dialogue that's causing those parts that don't have full balloons. (Although to be honest, I think full balloons could have been used there without causing any problems. They're done that way to reveal parts of Anne's armor that aren't necessary to understand the story.)

Oh, and a third anachronism in that page also; the corporate bureacracy of the Dyrian Knights Order. Magic is also treated in this modern way, with the characters discussing "units of magic energy" as often happens in roleplaying games.

I understand that there's a goal of showing the height difference between Anne and Erik on this next page, however, with a little work on the composition, that can be done without cutting off his head in the third panel. The first panel showing the stairs and the delivery sign isn't necessary. The second panel should have been in profile so we could see all three of the people speaking. And in the last two panels, Erik could be standing more behind her so that their heads are side-by-side in the shot, allowing you to get those two panels side-by-side instead of above-and-below.

The silent disagreement between Anne and Erik is a classic trope and a well placed joke. Nicely done.

The dialogue balloons didn't have to cut into Erik's head in the 2nd panel - you could have used the extra whites-space in the lower-left corner where nothing's going on. In general, don't cut into a character's head if you can avoid it.

"That's what I'm afraid of" is another classic trope, and I would say it's a fairly well placed joke. I'm personally nonplussed by the fact that it's perpetuating the negative stereotype of women as spending their money frivolously.

Honestly I think the backgrounds are sometimes the better illustrations. Although those lamp-posts and buildings look pretty modern. There's a lot of glass for even a rennaissance period and especially the top of the building in the back of the second panel looks like a modern office building. I suppose the lamp-posts could still be oil-based rather than electric, but the design aesthetic just looks really modern to me. To be honest that clothing looks pretty modern too.

This is the point at which Erik starts second-guessing the job they just finished. He brings up some of the things I was already thinking during the chase in the first chapter.

And now the lettering starts getting weirder. We see a bunch of places where dialogue balloons follow unnatural right-to-left reading paths and a few other issues that make it hard to know which block to read next, who's speaking, etc. Many of these problems could be resolved by pruning the script (like I mentioned before), improving the panel choices, composition and character placement. This page is crowded but not the worst to read.

Pardon me for a moment while I nerd-out on writing dialogue... If you write comics yourself you might find this interesting, otherwise, skip down.

I would have simply trimmed a lot of this writing.

In the first panel, for example:

Anne: Hey Erik! What's up.

Erik: I booked passage on the August Albatross tomorrow morning.

Anne: The expensive cruiser from Dyr to Ilial?

Erik: That's the one.

That's genuinely all the information that's relevant for the reader in this first panel. Having "everything we need" until they get home should be assumed -- the only time it should be mentioned is if they lack things or there's a question about resources. The second panel runs dialogue balloons for Anne and Erik together, which was probably an oversight, since I saw that same thing fixed on a later page.

Also, the rest of the page:

Anne: Woohoo! That'll be great!

Erik: Hope so. Also, Sir Alvis wants that yearly report as soon as we reach Dyr.

Anne: Uhh... Thanks.

Erik: You've got enough cash, you should fix your orb if you don't replace it.

Anne: Yeah, I can totally afford a new one. Good night.

Erik: 'Night.

On the next page, nice backgrounds with street-lamps that definitely look electric, since they hang down from above. Dialogue balloons in the 2nd panel that are round like they're spoken? But she's alone, and the balloons in the previous panel were cloud-formed thought balloons... but neither of them have any tails, and using the bubble-tails for both would have clarified that they're all thought balloons, whether cloud-shaped or not... but they really should be one way or the other, not both. If thoughts are cloud-formed, they should always be cloud-formed to avoid confusion. Also, when balloons are separated on a wide panel like this, left-to-right takes precedence over top-to-bottom, so the text in these balloons is in the wrong order.

More nice backgrounds the next morning. Some of the water on this page is particularly nice. And then the beginning of dialogue balloons that run the wrong direction (right-to-left), which could have been easily avoided by placing Anne on the left and Erik on the right while they're sitting there on the dock.

These dialogue ballons run the wrong direction again and again.

There's a couple of pages of elegance on the Albatross before they arrive in Dyr. Stepping off the ship, it becomes apparent that the "orbs" are cell-phones, and they even ring like a telephones. It turns out a few pages later that Anne and Erik's second assignment is stealing back the "info box" (flash drive) they stole in the first chapter. D'oh! Personally I feel like the plot ought to have started developing this kind of complexity at least in the second chapter if not by the end of the first, but as I've said, these pacing issues are pretty easily resolved.

I realize that I've offered a lot of criticism of the trade-craft of comic making here, however, those are all minor and to be honest easily resolved issues. I think this story has a lot of promise, it just needs some cleaning up. If you enjoy fantasy stories with roleplaying-game-styled anachronisms, it's worth a look at Tales of Midgard.

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Thanks! Sam