#actually go read about how this works and ways that artists and writers use it sparingly in their processes just like other tools

[cacodaemonia]

These are statements that can co-exist:

Data scraping methods used to train AI text and image generators should be regulated by governments.

Researchers, journalists, and archivists use the same data scraping for their work, and AI text and image generators also have legitimate ethical uses.

Data scraping is legal in many places and it's not easy for websites with publicly available data to prevent it.

Some people have had/will have their income negatively impacted by AI-generated content. That sucks and they have my sympathy.

It's unethical to fire employees or contractors (or pay them less, etc.) only to replace their work with content from AI text or image generators.

It's shitty that tech bros are making fun of many people's concerns about AI-generated content.

It's shitty that a lot of people are throwing around blanket statements like, "Anyone who uses AI-anything is a thief."

It's likely that most individuals will never be harmed by AI-generated content because such generators do not 'steal' or copy specific works of literature or visual art—it's more like they're taking averages from huge amounts of scraped public data.

I'm concerned about both the data collection methods used to train AI content generators and how much information they have already used for training.

AI text and image generation is not inherently evil, nor are people who use it. It's a technology with many applications and can be used for both ethical and unethical purposes.

Capitalism is unethical.

+++

(no, I don't check my notes, so if you want to call me names for pointing out that this is a complex and nuanced issue, have fun with that)

[dduane]

I just received a copy of a book I've been very much looking forward to by a favorite author, but the quality of the book itself is... not great. Cheap paper, weak binding, even a weird illustration of the main character on the cover that I'm having trouble believing the author approved. Obviously, I don't want to leave a bad review on Amazon or GoodReads or anywhere, as I'm 100% certain the content is as excellent as her other work. But how can I best let the publisher (Baen) know I'm disappointed without threatening to never buy her books again? Because, well, if this is the only option, I'm gonna keep buying them even in my disappointment.

Well, the first thing I thought when I read this was "Wow, I'm really glad I don't have anything in print from Baen at the moment except a couple of anthologized short stories." :)

As for the rest of it, let's take it point by point.

Adding a cut here, because this will run a bit long. Caution: contains auctorial bitching and moaning, painful illustrations of cases in point, and brief advice on how to complain most effectively. (Also links to paintings of cats.)

Cheap paper: This has been an accurate complaint since well before COVID—and it's often been worse since, with supply chain issues also being involved. That said: one way publishers routinely save money on printing books, especially the bigger ones, is by going for thinner/cheaper paper. I remember one of our UK editors going on at great length and with huge annoyance—during one of those late-night convention-bar bitch sessions—over how the only way they could get some really good books published (because Upstairs insisted on reducing the per-copy production costs) was by reducing the paper quality to the point where you could nearly read through it. Sacrificing decent text size(s) also became part of this. Nobody in editorial was happy about the result: but there wasn't much they could do.

Bad bindings: Similar problem. Sewn bindings used to be a thing in paperbacks... but not any more: not for a good while, now. These days, it's all glue. Even hardcovers are showing up glued rather than sewn. Don't get me started. :/ (This is why I so treasure some of the oldest paperbacks I've acquired, which are actually sewn.)

Crap covers: I've had my share of these—though my share of some really good ones, too. And one of the endless frustrations of traditional publishing is that the writer routinely has little or even no influence over what the cover will look like... let alone how much will be spent on it, or (an often-related issue) how good the execution will be.

There are of course exceptions. If you're working at the, well, @neil-gaiman -esque level or similar in publishing, a lot more attention is going to be paid to your thoughts. You may even be able to get "cover veto" written into your contracts, so that if you disapprove, changes will get made. But without actual contractual stipulations, the writer has zero legal recourse or way to withhold approval. (And I bet even Neil has some horror stories.)

The normal workflow looks like this. After a book's purchased, its editor and the art director discuss what it's about and what the cover should look like. The art director then hires an artist and tells them what to do. After that, the artist executes their vision and gets paid. It is incredibly rare for a writer to have any significant input into this process. And as to whether or not they approve of the final result, well... the publisher mostly just shrugs and goes back to eyeing the bottom line, muttering "Who told them they get a vote?"

Now, I've been seriously lucky to occasionally be an exception in this regard. In particular, my editors at Harcourt (when Jane Yolen and Michael Stearns were editing Harcourt's Magic Carpet YA imprint) would ask me what I thought would be a good idea for the next Young Wizards cover, and I'd think about it a bit and send them back a paragraph or so about some core scene. They'd then talk to their art director, and after that send their notes and mine to Cliff Nielsen (who started doing the covers for the hardcover and mass-market paperback editions of the series in the mid-90s) or to Greg Swearingen (who was the artist on the digest-format editions). And the results, by and large, were pretty good. ...I also think affectionately of the UK artist Mick Posen, who insisted on seeing pictures of our cats before painting the covers for the Hodder editions of The Book of Night with Moon and On Her Majesty's Wizardly Service (the UK title for To Visit The Queen).

But this kind of treatment is a courtesy—not even vaguely suggested in the books' contracts, and very much the exception to the rule. And for every writer who's midlist, there are times when the luck runs out. For example: one time I wrote a book that was an AU-Earth-near-future fantasy police procedural, thematically pretty dark—dealing with issues of abuse of megacorporate power, institutionalized bigotry, and (explicitly) attempted genocide. And the cover, done by an artist who's a good friend and some of whose fabulous art hangs in our house, came out looking like this. It was... let's just say "not ideally representative."

So I was glad, when my local workflow allowed it, to recover the current, revised version of the book with something at least a little more apropos. But the original cover's not the artist's fault. He did what the art director told him... as a cover artist must do to get paid, and (ideally) to get hired again. At present, that's how the system works.

...So. You've got a badly-built and -presented book on your hands. How best to make your feelings known in some way that might make a difference down the line? (As you make it plain that you'll keep buying this author's books this way if you must.)

First of all: when (as part of my psych nursing training) we were taught how to complain most effectively, we were told that the first and most basic rule of the art is this:

Only Complain To Someone Who Can Actually Do Something About Your Problem

So I salute your desire not to waste your time taking the issue to the reviews on Amazon, or the pages of Goodreads... because they can't do anything. The odds that anyone from production at Baen is reading the comments there strike me as... well, not infinitesimally small, not being hit-by-a-meteorite-while-in-the-shopping-center-parking-lot small... but really low.

So: write to corporate.

In your place I would go online and rummage around a bit to find out who's on record as the publisher at Baen. I would then write them a letter on paper. And I would lay out the problem pretty much as you laid it out up at the top.

The tone I think I'd choose would be the more-in-sorrow-than-in-anger approach. I'd say, "I write to comment about your recently published book by [X Writer], whose work I love. I have to say, though, that I don't think the cover on [X Book] is terribly representative of the quality of the prose inside. And also, the construction and production quality of the book itself was a disappointment to me because [here spell out why].

"I'd really like to see [X. Writer's] books succeed with you, and I'd like to buy more of them without wondering whether I was going to be disappointed again. But if this is typical of how they're being produced, I'd also be concerned that the state of these books is setting up a situation in which the author's sales will be damaged, and you would stop publishing them... which would really be a shame. Whereas on the other hand, better production quality could keep previous purchasers coming back and buying, not only more books by this author, but books by others whom you publish."

This phrasing, as you'll have seen, walks a bit wide around the issue of your further purchases, while directing attention toward the bottom line... which will routinely be what the publisher's looking at from day to day. And—being, one has to hope, in possession of the wider picture as regards what's going on with their production costs—maybe they can actually do something about it.

Anyway, nothing ventured, nothing gained, yeah? It's worth a try. All you can do is hope for the best.

And finally: please know that I admire your commitment to the author: whoever she is, she's lucky to have you. It's a terrific thing to have readers who'll willing to spend the time to hunt you down, and who're willing not to judge a book by its cover. :)

[lilybug-02]

Happy 2 Year Anniversary to The Chara Timeline ✨

I FINALLY made drawing references for you guys, yippie!✨

It’s wild how long I’ve been working on this comic without reference sheets. I’m never that consistent with my art style, so I figured it was a waste of time 🫥💀😔 this is my first full comic okay…

Thoughts and Feelings About the Comic Below ❤️💖💕💞

Wow. It’s been 2 years??? I thought I would be done with this comic in 2 months! I don’t know whether to feel worried or accomplished!!

(With months between each update, I understand why it’s been 2 years. I’m a slow writer and artist and well- many things have come up in my life that had to come first, like my sisters wedding! 💞 and college 😅)

I want to thank my family and friends (WHO DO NOT READ THIS COMIC- THANK GOD) 💕 AND I want to THANK YOU! The readers! 💐💐

You guys are relentless! I’m as impatient as traffic and yet you guys wait for weeks or months at a time for like 4 pages?! You guys don’t even complain!!! I truly want to thank you all for that ❤️ it helps me so much. Being busy and getting burnt out are common and it helps me feel relaxed that i'm not on a timer. Literally tho- you guys keep this comic chugging I swear. Tysm 💐

Unorganized rambling about the comic ahead :) ⭐️🔥

—

My feelings with this comic are actually so complicated. On one hand I hate looking at my older art because GOD IT LOOKS SO OFF I want to stab it, and then on the other hand I am so so proud of myself for even continuing it this far. Ngl the weird route has been one of my favorite parts of this comic. It took me FOREVER to figure out an ending, but damn do I still get chills >:) hehe.

I’m still miffed that I named this project “Deltarune: The Chara Timeline” I could have gone for something so much COOLER. Doesn’t help I use like 7 different titles for it either. We got Deltarune the Chara timeline, Deltarune chara timeline, THE Chara timeline, chara timeline, Ct??? Man,,, I’m crazy. I take after my family so hard. We have 3 names for each of our dogs 💀.

Comic/Animation Tip i have learned. It is VERY GOOD to make the character relatively simple in design. Shape language is also super important, ((but I never really got around to doing that before I was half way through the comic, woops.)) These things can make ur process go by so much faster. This whole comic has been a HUGE learning curve. LIKE OH MY GOD. I had to learn how to draw backgrounds, write dialogue, plan a story, learn how to draw fast and draw noses (which god damn I really still can’t). And I had to learn how the heck to squeeze art into a tiny page and make it not look grainy. It's intense!

Anyways.... this has been such an awesome opportunity! Thanks Toby Fox!

I totally ran out of “art time” for my iPad and wanted to finish this today. So it’s a bit rushed. I’ll add weapons and possibly the other characters later :)

Oh shi- I forgot to add this grainy image of the next few pages lmao

[inkskinned]

something that stuck with me once, way back in middle school when i was still learning how to write - my teacher said "writing shock and tragedy is easy, it's humor that's the hardest."

i have been up and down the halls of academia. i have the fancy degree and the experience in publishing. i think i paved most of my own road with the little bricks of sorrow i had stored inside of me. i know i did it mostly with works that are blisteringly lonely. i know why we write like that. it's lifesaving.

but yeah, i mean. i also know how much people think that "sad" media is the same thing as "good" media. our human desire to connect is so hard-pressed that we immediately latch onto any broken themes. the bullied kids and the tales of inspiration. people keep saying things like "glass onion" and "everything everywhere" weren't actually good. because, you know, they're. happy. or happy-ish. happy enough. and we only value art if it's grimdark-adjacent.

do you know - people still consistently whine at me that my writing would be so good if i just capitalized things. i used to flinch. i get kind of a weird, vindictive little rush these days - i get to say thank you for the comment! i have chronic pain and this is how i conserve my hands so i can write more during the day :) grammar isn't real anyway! and now they're trapped in the room with me, you know? i get to pull out my map and show them how grammar is not the same thing as good writing.

writers have this thing. we scratch at our insides, constantly, prying our lives apart into splinters. prying the splinters apart into atoms. when we combust something into poetry, we control it. it cannot hurt us if it exists outside of us rather than burning a hole through the bottom of our lungs. it's not a wonder to me that so much of what i make comes out like a death gasp. i spent a long time at the bottom. i keep going back, too. when you're down there for so long, the only thing you can exhale is fumes.

but humor is hard. humor needs timing; which i can't promise in a paragraph. i can kind-of force it through careful spacing, but i have no idea how fast you're reading these things. humor needs a somewhat awareness of your audience, when really - anybody could be looking. humor needs us to understand what the joke is, why it's a joke, and to think - ha! that is funny. in tragedy, everyone understands the metaphor of a kicked puppy. in humor, you need to introduce them to the concept of a dog.

and forget about positivity. forget about anything not made for adults explicitly. every time i see a well-made children's media piece, i feel fucking horrible for the creators. most of the time, people see children's media as being sort of "not worth" applause, even though i'm pretty sure they have to work twice as hard. i have no idea how hard it must be to not be able to have your character just say. "well, fuck." something about a message of peace or friendship or caring - for some reason, that makes the media not for adults. like, okay. i'm pretty sure my father actually, out of all of us, could use a good book on how to control his temper and talk about his feelings.

but whatever. i write a short story about my ocd, and how it's fucking killing me. it gets an award. it gets published. i write a short story about my ocd, and how i'm overcoming it, and how my days are getting lighter and starting to flourish. i keep getting ghosted. no response. it just is lacking... something.

is this it, forever? you can be an artist, okay. but the trade off is that the things you make - if they're happy? if they're joyful? people will say it's stupid and pandering. you bite your nails off. you file your teeth. you hear something inside of you breaking.

the other day in a writing group, someone i'd thought of as a friend said: "you write so much better these days! i love what you make when you'd rather be dead."

[genericpuff]

Ive read a few of your LO esaays (all of which are really well written!) But I was wondering something.

Many people talk about how Rachel loves the story Lolita, and has talked about it before, but nobody has ever shown screenshots. I was wondering if you had any or knew where to find any. This is just being curious, not doubting your statements

Ah so I actually responded to a comment just like this a while back on reddit with all the receipts (it was particularly someone who was claiming it was all "made up" because like you, they couldn't seem to get any proof of it, which is totally valid) so I just had to go and dig those back up haha

DISCLAIMER: I want to make it clear that a lot of people tend to run amok with these suspicious pieces of evidence towards Rachel either "thinking Lolita was a romance" or being a pedophile. I want to make it clear that I do not think any of this is proof towards either of these claims. I do not think that she blatantly thinks Lolita is a romance, or that she was trying to perpetuate pedophilia in any sort of way, just that she may have wanted to have her cake and eat it too by acknowledging the age gap but embracing it anyways as she does throughout LO. I think, at best, she's a terrible writer who's still using the things she liked when she was a teenager / young adult as inspiration without actually going back and re-analyzing those things with an updated 38-year-old viewpoint (as she does this with a lot of things, not just Lolita). Claiming that the following receipts is 'proof' of Rachel being some kind of sex pest / pedophile is at best not constructive at all for the real discussions to be had concerning LO's subtext, and at worst, a serious claim that can ruin someone's life if thrown around without cause. Let's please be responsible and level-headed in how we approach this topic.

Old MySpace + DeviantArt bios with her interests listed:

Her old art site where she labels herself as a "lolita vamp" artist:

Her intro post from a lolita-themed forum she ran:

She does express that it's not THAT kind of lolita, which I'd like to think she never intended in the first place, but it's really telling that LO still manages to be that kind of lolita in a lot of ways, to the point that there are many scenes in LO that feel a little too similar to scenes from the 1990's Jeremy Irons adaptation, such as seen here.

(the above image are song lyrics written about the book, Lolita)

Also despite Rachel saying it wasn't "that kind" of lolita, she still made it clear back in the 2017/2018 run of the comic on Tumblr that Hades is, indeed, a "grown ass man", and that Persephone is a teenager.

And of course the proof is in the pudding, the comic itself is well aware of Persephone's age:

(either Rachel has been using Apollo as a mouthpiece for criticism for years, or she seriously thought this was supposed to make Hades look like the better partner for Persephone because "look at how mean Apollo is" when... he's deadass spitting facts LOL)

As I mentioned in my disclaimer, I don't think Rachel herself is in any way a sex pest or a pedo or whatever you might jump to assuming. Rachel has a history of being inspired by things she watched when she was a child without ever actually going back to re-analyze it or ask herself if what she read was credible or real-

(this isn't the only proof there is of her behaving this way, there's also the fact that she was clearly a huge Disney fan as a child but never asked herself why those movies worked as a piece of written media).

So again, I think at best she's just sort of dated herself by not going to the effort of researching the things she was into when she was a child, she tends to just throw things in that she likes haphazardly without a single thought as to why they worked in the first place or whether or not they would work in LO. Though this is a bit of a saltier opinion, I think when it comes to the Lolita thing specifically, I have a feeling she never actually read the book, just sorta did that thing where she watched the movie adaptation from the 90's and assumed that counted as reading the book and so she put it down as her favorite book / Nabokov as her favorite writer.

But none of that speculation really makes much difference because the evidence is 20+ years old. What does matter is that despite her tastes being what they were 20+ years ago, they're still present in LO and it's not even subtle, there are so many times Rachel has outright said both within the comic and outside of it that Hades is a "grown ass man" and Persephone is a literal teenager. Her fans, of course, will still go to the effort of explaining it on her behalf ("they're gods! ageing isn't a thing for them!" "how old you are doesn't matter when you can be immortal!" "well she probably doesn't mean LITERALLY 19, just like, the god version of it..."), but you can't deny what's coming from the horse's mouth - Hades and Persephone are in a relationship based on an intentionally massive age gap. Regardless of what completely speculative parallels we can draw between H x P and that of Lolita's Humbert Humbert and Dolores using 20 year old MySpace bios as evidence, Hades and Persephone having a massive and intentional age gap is undeniable fact made canon by the creator herself, no matter how you try and slice it.

[probablyasocialecologist]

The programmer Simon Willison has described the training for large language models as “money laundering for copyrighted data,” which I find a useful way to think about the appeal of generative-A.I. programs: they let you engage in something like plagiarism, but there’s no guilt associated with it because it’s not clear even to you that you’re copying. Some have claimed that large language models are not laundering the texts they’re trained on but, rather, learning from them, in the same way that human writers learn from the books they’ve read. But a large language model is not a writer; it’s not even a user of language. Language is, by definition, a system of communication, and it requires an intention to communicate. Your phone’s auto-complete may offer good suggestions or bad ones, but in neither case is it trying to say anything to you or the person you’re texting. The fact that ChatGPT can generate coherent sentences invites us to imagine that it understands language in a way that your phone’s auto-complete does not, but it has no more intention to communicate. It is very easy to get ChatGPT to emit a series of words such as “I am happy to see you.” There are many things we don’t understand about how large language models work, but one thing we can be sure of is that ChatGPT is not happy to see you. A dog can communicate that it is happy to see you, and so can a prelinguistic child, even though both lack the capability to use words. ChatGPT feels nothing and desires nothing, and this lack of intention is why ChatGPT is not actually using language. What makes the words “I’m happy to see you” a linguistic utterance is not that the sequence of text tokens that it is made up of are well formed; what makes it a linguistic utterance is the intention to communicate something. Because language comes so easily to us, it’s easy to forget that it lies on top of these other experiences of subjective feeling and of wanting to communicate that feeling. We’re tempted to project those experiences onto a large language model when it emits coherent sentences, but to do so is to fall prey to mimicry; it’s the same phenomenon as when butterflies evolve large dark spots on their wings that can fool birds into thinking they’re predators with big eyes. There is a context in which the dark spots are sufficient; birds are less likely to eat a butterfly that has them, and the butterfly doesn’t really care why it’s not being eaten, as long as it gets to live. But there is a big difference between a butterfly and a predator that poses a threat to a bird. A person using generative A.I. to help them write might claim that they are drawing inspiration from the texts the model was trained on, but I would again argue that this differs from what we usually mean when we say one writer draws inspiration from another. Consider a college student who turns in a paper that consists solely of a five-page quotation from a book, stating that this quotation conveys exactly what she wanted to say, better than she could say it herself. Even if the student is completely candid with the instructor about what she’s done, it’s not accurate to say that she is drawing inspiration from the book she’s citing. The fact that a large language model can reword the quotation enough that the source is unidentifiable doesn’t change the fundamental nature of what’s going on. As the linguist Emily M. Bender has noted, teachers don’t ask students to write essays because the world needs more student essays. The point of writing essays is to strengthen students’ critical-thinking skills; in the same way that lifting weights is useful no matter what sport an athlete plays, writing essays develops skills necessary for whatever job a college student will eventually get. Using ChatGPT to complete assignments is like bringing a forklift into the weight room; you will never improve your cognitive fitness that way.

31 August 2024

[dailycass-cain]

2023 was another big stepping stone with Cass. The character was featured in A LOT of stuff this year amongst a few negative antics.

But unlike prior years the good really outweighed the bad. BY A LOT.

So let's take a look back one final time #CAINAISSANCE2023...

The year started STRONG with the release of Batgirls #14 aka the BEST solo story that involved the character this year.

I've gone in LENGTH on how AMAZING this tale was. If you haven't read it DO SO. You don't need any context but to just take in the masterpiece given.

Writers Becky Cloonan and Michael Conrad gave artist Jonathan Case just this canvas of an issue to tell AN EPIC mostly silent issue.

If there's a tale Batgirls will be remembered for it'll BE THIS ISSUE.

I've lost count to just taking in the gorgeous art Case delivers here and just letting the actions and emotions tell the tale.

The only regret is well no full payoff to what is fully learned within this issue.

It just hits EVERY mark and is something any Cass fan CRAVED, but never got in Batgirl Vol. 1. Batgirls #14 was a worthy issue that should be talked about amongst fans of Cass for quite some time.

February gave us Cass's grand entrance to Ram V's Detective Comics run (#1069) and what an entrance it was! Literally, I can't let it go of how AMAZING it was.

And the run itself? It just keeps delivering as THE Batman book out currently.

It's a slow burn and when the run lays the payoffs IT HITS THOSE PAYOFFS. The series just ended an exceptional bi-weekly event that featured Cass and well, I'm extremely curious where this run goes with the character.

If anything, I just want MOAR from Ram V or a smaller secondary story involving Cass. But given the various characters he's been rotating and given next year is 2024 (more on that later) I'm keeping my fingers crossed for ALL OF THIS.

This run does work in trade but I digress you'd be missing the GORGEOUS covers this series has been shelling out. If anything BUY the single issues and read the run this way until you get to the present.

Or reread them like I've been doing. 😋

The early half of 2023 marked Cass's surprise return to an actual role in mega crossovers. She took part in the final issue of Batman vs. Robin being one of the random factors to stall the possessed Batman until ALL of DC's magical users came to cast it out of him.

The weakest of the crossovers the character was involved in I have to say was Gotham War. It was a nothing burger that made me swear off the Chip Zdarsky run of Batman completely.

Honestly, I feel more rewarded reading Tec more. Unless Chip pulls off a miracle turnaround in 2024.

But I digress Zdarsky was only half of the problems with the other being Tini Howard and yeah, if you were a Bat Family member who wasn't Jason Todd (how did that mini turn out to be more entertaining then the ENTIRE event?!)?

This story SUUUUUUUUCKED. Quite possibly the worst Batman event story since War Games/Crimes for me.

Sadly, the most disappointing stories I'd have to say are on equal ground in Beast World and Knight Terrors. As there was interesting concepts with Cass involving them, and both stories just go NOWHERE.

I feel more so robbed with Knight Terrors as the design for Cass within it went hard. It's just that you give us THIS design and tease us with this little nugget and give us NOTHING?

COME ON!

Beast World was a whole nothing burger as well, save the pretty art and a full confirmation that Cass's old NML is now canonically her defacto one again.

Even if we had it mentioned earlier last year and again in the best crossover event involving Cass...

WHICH WAS IN LAZARUS PLANET: DARK FATE #1. It gave us Alyssa Wong returning for a THIRD time to write Cass and they were joined by Haining on art which introduced us to the world of Xanthe.

That in itself led to a spinoff mini-series that had Cass in it with SPIRIT WORLD. It did more with the new character Xanthe and laid out their origins and powerset nicely while also laying some seeds for MAYBE future Cass stories.

Again, I feel like a repeating record on how GOOD this series was. Like, I can't wait for the trade next year to take it all in again. But besides the creative team delivering it gave us Dustin Nguyen AND Marcio Takara drawing Cass again OFFICIALLY AS BATGIRL!!

Even when this series ended, I STILL WANT MOAR!! Like what memories did Cass lose? What the heck happened with Spirit World twisting her memories of Batgirl Vol. 1 #72?! How will Xanthe be with the Jade Court?

SO MANY QUESTIONS!!

Something else that left me with MANY questions was DCeased universe as even though the story ended back in April.

I still crave more starring Cass, because let's face it STEPH/TALIA DESERVE CLOSURE!! Cass could be the gateway to that.

Doing so would tie up the final loose ends as well. Let's see how Rose is raising her kid with Jason. Silent Olsen. Harley/Ivy. Ollie/Dinah. Jim Gordon.

But I digress. It gives us more Cazzam. We need more Cazzam.

But an alternate universe Cass just didn't pop up there we had a Cass show up in various other comics. Knights of Steel which also had me hankering for MOAR and Harley Quinn & the Legion of Bats.

I know some didn't like it, but me? I think it was LEAPS and BOUNDS better than what we got in the actual season of HQ.

Let us never talk about that season again…

Now something we SHOULD talk about more is the first actual appearance of Cass in a DC ANIMATED MOVIE!! Yes, Kai Li Cain from Batman: The Doom that Came to Gotham.

I was blown away at the extended role they gave the character in the film (to the, "Oh right Tim is here and alive." role in the books).

Kai Li voiced perfectly by Tati Gabrielle gave a balance of innocence and reason with the batshit craziness this film throws at us.

Like, I really REALLY want a sequel. Just to see what she'd do now given full access to Bruce's fortune? Will she follow his path? I mean yeah we want steampunk Bat!

Speaking of which artists we need designs for this stat still!

It just adds that anchor where you want to see more of this universe and the characters that inhabit it. I mean that's the sign of a REALLY good Elseworlds. Where you want more and sometimes you get just that.

But with all this good came the sad, and that was the canceling of Batgirls. I know many were against the series (especially after #7-8), but the series found its footing with #9 and ran into something I hope more positively can be talked about it.

It's true failing wasn't the creators behind the series, more just elements outside that just slotted it's end (Batgirl movie getting canned making #7-8 more wasteful), Evil Oracle #4 aka the pitch, and just being something it couldn't be).

I'm grateful for each and every creator who worked on this book because it was a GIFT that I'll always be appreciative of.

I'll say it again, THANK YOU TO ALL! 🙏

And its spirit lived on in the Nightwing back up a few months ago. It was something that was TRULY needed after the garbage fire that was Gotham War. It gave us this Cass/Dick sibling stuff and GIVE ME MOAR!!!

Unlike the past where we'd be done, DC brought us back up giving us the current BIRDS OF PREY ongoing which has Cass in it.

Really the series is a revelation of giving us things I always wanted that I'd never thought we get. Cass with Dinah? CHECK.

Cass meeting Big Barda and the two having a bond? HELLS YEAH CHECK! Anytime that bond grows I squee even more.

Just give writer Kelly Thompson ALL the time and ideas she has to churn this out to the proper conclusion she has envisioned. Just give me fifty-plus issues of her, Leonardo Romero, and Jordie Bellaire.

Finally of course there was Batman: Wayne Family Adventures which gave us THREE banger Cass stories. One where she and Steph are a MENANCE (as they should), Cass scaring the crapbaskets out of EVERYONE and of course...

Season 2 gave us A LOT of things I wanted in general (her interacting with Damian) and just showing the world why I really really love this character. Why I talk about her daily.

Really as 2023 closes and 2024 is about to begin... Well, it's the character's TWENTIETH-FIFTH ANNIVERSARY. 25 years of kicking ass and ripping our hearts out.

It's been a journey for sure.

really REALLY hope DC honors this anniversary and continues to mend the bridges burned all those years ago.

Give us that Omnibus. Give us a mini or SOMETHING to celebrate this character. If not, I'll take whatever Ram V and Thompson give us.

#CAINAISSANCE2023 may be over, but #CAINAISSANCE2024 will be the most important year yet.

25 YEARS OF CASS!! LET THE CELEBRATION BEGIN ON JANUARY 1st!

[kanmom51]

Like Crazy - new insights

*This is a reposting of my latest reblog due to issues with that specific post.

***This has been sitting in my drafts since April 2023!!!

This is the post I reblogged and the basis to my own post.

Yep. I had some of a post written way back in April 2023, but the pieces just didn't come all together for me.

After Muse's release and specifically after the BTB yesterday where JM discussed Who, Muse and the lyrics, we also saw the change made to Who's lyrics from "you" to "she" things started to clear up for me. But then, a friend also shared a picture of the original lyrics of Like Crazy, which were subsequently altered before recording. We discussed these changes and I now feel that this is it! This is the missing piece to my post.

I mostly left what I wrote over a year ago in tact, adding the missing pieces to this puzzle that makes this post with what I feel is a little more insight into Like crazy.

Needless to say, these are my opinions, how I see the lyrics, the ones that made the cut and the ones that stayed in JM's lyrics journal.

So, let's get started:

Here I was thinking I'm the only one who was seeing this...

I do hope I'm reading this right, before going off motormouth about something that maybe isn't what is being said, but to hell with it, this is something I've been thinking too and I'm just gonna come out and say it.

We're all over 18 here right?

This is a subject we can talk about?

The more I listen to this song, the more I think it to be true too.

First of all, before starting off, I want to link this ask:

**Shock and awe... "she" wasn't part of the original lyrics for Like Crazy . Colour me surprised to learn the same is true with Who (even though JM didn't actually write the song himself). Oh, and if we are on that subject already, how not surprising to see the process of writing the song with John Billion, who happens to be one of the writers of SNTY as well (me sitting here thinking of several words and references that could have been somehow suggested and inserted into the song. No idea who (nah, I'm telling lies, I know exactly who). How shocking (NOT) to see that the artist actually had input with the song lyrics of which he is not credited in writing.

Again, the depth of the song, the layers to the song and the multiple interpretations too.

JM told us this song is about him struggling. He told us he was going through a period where he was drinking too much. He was finding fulfillment in ways other than performing, as performing is part of him, he is a performer, someone who needs the stage to express himself. The stage is where he is at peace, the stage being a piece of him that he was missing.

We saw his outburst of emotions in the first day of MOTS ON:E (that was my first experience of BTS and he literally broke my heart - and later seeing him being mocked for it infuriated me).

This was October 2020, around 6 months into the pandemic. The uncertainty. This is their first online performance and from there until Muster another 9 months go by. We know from Festa 2022 that the pandemic screwed up all of their plans. The uncertainty, working on and releasing BE and then Butter and PTD everything leading up to the PTD online concert, a year after MOTS ON:E. For those that performing is their life, standing in front of an audience and giving it their all, it's a hard pill to swallow. The unknown, if they will ever get back to perform on stage in front of a live audience, when this is who they are, their essence, it can be unbearable. JM wasn't the only performer to go through this. It's just that he shared this with us. He showed us his pain and vulnerability and was mocked for it by many. Shame on them!!!

So, again, JM told us with Like Crazy, that he was filling in that hole. Alcohol was mentioned by him specifically. But listening to the song, I think it's quite clear that sex was a very big part of it as well. Looking for that rush, that high. It's clear as day, for me anyway, in the lyrics.

(I think we could last forever I'm afraid that everything will disappear Just trust me)

[Verse 1] She's saying Baby, don't think about it There's not a bad thing here tonight Baby, you can leave it Stay with me until today

[Verse 2] Watch me go Wet me all night (Away) And morning too Don't come if you're drunk

In this loud music It fades me It's a drama-like story I'm get used to it Have you come far to find me that you used to know? Yeah, I know You know, I know (Ooh)

[Chorus] I'd rather be Lost in the lights Lost in the lights I'm outta my mind It holds to the end of this night Every night You spin me up high The moon that embraces you Let me have a taste

[Post-Chorus] Give me a good ride (Oh, I'm fallin', I'm fallin', I'm fallin') It's gon' be a good night (Oh, I'm fallin') Forever you and I

[Interlude] Mmm-hmm Yeah, hey Mmm-hmm Ooh-woah Mmm-hmm Mmm-hmm (Forever, you and I)

[Verse 3] Me reflects in the mirror I'm going crazy without hesitation I'm feelin' so alive, wasting time

I'd rather be Lost in the lights Lost in the lights I'm outta my mind It holds to the end of this night Every night You spin me up high The moon that embraces you Let me have a taste

[Post-Chorus] Give me a good ride (Oh, I'm fallin', I'm fallin', I'm fallin') It's gon' be a good night (Oh, I'm fallin') Forever you and I

[Outro] This will break me This is gonna break me (Break me) No, don’t you wake me (Wake me) I wanna stay in this dream, don't save me Don't you try to save me (Save me) I need a way we (Way we) I need a way we can dream on (On, on, on)

Those are the lyrics he recorded.

But you see, there were changes made to the lyrics he was working on originally, and we got to see some of them.

This specifically:

Reading this draft and the final ones there are a few things that just fall into place for me (and I'd think for anyone that reads them), loud and clear:

First of all, obviously JM is singing about drinking too much alcohol. If the final lyrics hinted to losing himself in alcohol, the draft lyrics are ever so clear regarding that point.

Second of all, the sex. I think JM was pretty straight forward using the wording he was using. "Give me a good ride" can be other things, if you twist it around to try and explain it away, but bottom line, those lines within the context of the lines in the draft, like "just go turn off the light, you and me..." not to mention the whole chorus, to me the reference is obvious.

Next, I talked about the many references to JK in this song in this post:

This is all also relevant when it comes to my next point being the fact that to me it's clear that JM wrote this song referencing a special someone with whom he shares a high level of intimacy. A special someone that was there by his side when JM was struggling. A special someone that was struggling seeing JM going through everything he was.

To that person JM wrote (in the draft): "oh baby don't you cry, just wanna see your smile..."

These lines, they were too much. Too obvious. Too intimate. And they were left out probably because of just that.

So JM went with other lines. A little less obvious perhaps, and yet still very telling. The finale of the song:

No, don’t you wake me (Wake me) I wanna stay in this dream, don't save me Don't you try to save me (Save me) I need a way we (Way we) I need a way we can dream on (On, on, on)

Now, you could claim that the song is about an inner struggle. JM struggling with himself, talking to himself, and yes, that could very much be part of the message JM, the king of layering, is going for. But see, that's exactly the point. JM is the king of layering, of having several meanings and messages within his lyrics and creations. And this is not different. There is no mistaking the reference to another person, not JM himself, in the lyrics. The way he uses the "you" in the lyrics, at times could pass as you being the alcohol, at times the you being himself in the mirror, but at times it's clearly a third party he is talking to. Especially in that finale to the song, that someone that wants to lift him out of that stupor he is in, to wake him up, to save him, when he is unwilling, not ready to accept that help just yet (same person he asks not to cry, knowing that he is making them sad). There are also the clear JK references in this song. The "you are me I am you" being the loudest of them all.

But JM being JM, he showed us in his own way what this song was about, opening up and allowing us to see his drafts.

And then he gave us Letter. Hidden, and private and intimate. Addressed not to us, but to that person that was always there by his side, that person he addresses in Like Crazy telling him "forever you and I". Now, in Letter, being in a better, healthier place, he can repeat the sentiment of them together forever. A sentiment JK had mentioned in the past (omg, that was so very awkward).

And now using lines like : "I sincerely hope we are forever" and "But don’t forget that we’re always together"...

The lyrics, the sentiments, the drafted lyrics that never made it, like the use of "Dangshin", I have talked about it all. Letter was for JK. Period.

When seeing Like Crazy again, the lyrics, the struggle, the person by his side, the intimacy, and Letter, I'm kind of thinking that not only is Letter a love ode to JK. That is stating the obvious. But it's also JM's acknowledgement and thank you to that person that stood by his side in his most difficult of times.

JK.

Bottom line:

Like crazy is about JM struggling and self medicating with alcohol and sex.

It's personal about himself, his struggles, but also includes a person that is there by his side, one he is highly intimate with, one who is there with him together. That person is there, spending the nights with him, in that escape world JM created for himself. Sad seeing JM struggle, trying to find a way to help JM out of that pit but being unable to do so, staying by JM's side all the same.

We know who that person is.

Same person he addresses Letter to.

[ohsohoney]

When it comes to love you're just as blinded.

Part One

Eminem x Musician

Summary: It starts with a drunk embarrassing video, it spirals into something a whole lot more.

Note: Hey! First time writing for Em so I figured I'd use a side account and see how it went? Honestly this is a whole series in my mind so might add onto this first part soon! An oc character but can be read as a reader insert if you prefer:)

Set in 2014, just after the release of LP 2

Warnings: Lots of swearing, dark humour

Masterlist

I was mortified.

More so than I’d probably ever been, in truth. All because of a stupid video that had been taken a couple of years back when I’d had one drink too many on a holiday I’d always dreamt of.

To be fair though, the majority of the blame lied heavily on my younger sister’s shoulders, who’d found the stupid thing whilst reminiscing through old memories and thought it would be hilarious to post online. Forgetting about the millions of fans who would soon see it– and not just mine, it would seem.

No, because that just wasn’t how the internet worked, was it? And when a newly nominated artist, who had only been in the game for a couple years, was filmed rapping an old noughties classic instead of singing like expected, it was basically bound to go viral. Didn’t help that I was a Londoner through and through and had the accent to prove it, making the whole video that much harder to watch. In truth, I continued to cringe each time I was reminded of it, which was practically anytime I opened up social media or witnessed the guilty expression that continued to mar my sister’s face.

“Stop doing that.” I huffed at her later on when the worst of it still continued to storm on, almost whining actually as I looked away from my phone screen and down at the food I wasn’t really eating, just picking at. I was supposed to be mad, infuriated even, but it was proving to be a fucking chore when she kept on looking at me like that.

“Doing what?” Lottie retorted, not even attempting to wipe the culpable look from off of her face. She was currently residing back at mum’s now, seeing as how she had school and I’d only just landed back home, but I’d give it a day before she was back here again. My flight over had been strenuous, it always was when flying to and from Cali, but still I made time for her– even after the most recent stunt she had gone and pulled.

“Don’t do that either.” 

I’d meant to sound scolding but the soft laugh that escaped me truly was accidental. I couldn’t quite help it, I knew that being mad at her wouldn’t solve anything now and that she hadn’t really meant any harm by posting the video. That was just the type of person she was, she acted before she thought things through and didn’t ever think much for the consequences. Then again, she was still only fourteen and her putting the drunken moment on her Instagram story had just been one of those sibling type moments, the kind where you’d rip the piss out of one another simply because you could.

“I mean it, Lotts.” I sighed around the words, eyes flitting back to the screen and the way she was chewing on her lower lip. “It’s being sorted and, I don't know, I guess it’ll die down sooner or later. Mila reckons so anyway. We’ll give it a day or two, hey?”

A day or two did pass. And no such thing happened.

I’d been cooped up at home ever since I’d touched down at Heathrow, having jumped in the first cab available and fallen asleep the second I’d gotten in through the door. I’d been working out in LA for a couple weeks with a few other writers, just messing about with new sounds and ideas for the next album I eventually wanted to release. So I hadn’t been witness to the media catastrophe Lottie had created until later the next afternoon when Mila, my manager, had all but mowed down my front door, having called my phone three dozen times and gotten a guy she was currently seeing in the city to come buzz my intercom. It had been a wake up call and a half to say the least.

Still, she had assumed it would all die down fairly quickly, went as far to say that it could do wonders for my career– even with me being visibly tipsy– after having had the absolute gall to say that I hadn’t sounded half as bad as I thought I did. I’d cackled hysterically into the phone at that, then had somewhat of a meltdown, in utter disbelief over the apparent reaction she claimed the video had gone and garnered. Because I was absolutely not looking. Knew that if I did there would be too large a chance that I’d check myself into the nearest psychiatric unit. 

But as I said, a couple of days had passed and typically something like this would have eventually blown over when the next big story hit the headlines. White girl can spit a verse, who cared? Only then the VMA’s had happened and shit hit the fucking fan.

I hadn’t attended, shit like that had always irked me. I could perform in front of a crowd of thousands and step off feeling as high as a kite, but stick me on a carpet and force me to interact with cameras, questions, and people? That was where I drew the line.

At the start, I had tried. I’d been new on the scene and people had reasoned that I would just end up being another one hit wonder, so the label had figured it best if I got myself out there, if only to interact with other artists and producers in similar circles.

It had gone down a treat– like a cake being knocked over at the wedding of the year. Maybe even worse. I didn’t like to linger too long on it.

But I’d tried again and again afterwards, although it had only proven to worsen my mood each time and forced me to retreat, avoiding my team and the responsibilities I had lined up for a short while after. It was only following a particularly uncomfortable night that Mila had called it quits and had a contract drawn up stating that I only had to attend a certain amount of events a year. It had been at that moment that I’d realised just how fucked I would have been in this industry without her.

Even so, life still continued on without me and the VMA’s were just another show I would be mostly avoiding, only making a statement at the end of the night online for the nominations I’d been gifted.

It was around midnight when I heard the scream.

Lottie was staying with me, typical for whenever I was back in London for a few weeks at a time, and so I’d felt my heart literally drop to my feet at the very sound of her screech and legged it across the entirety of the house. At first, I’d thought she’d slipped and fallen, maybe cracked her head open on a counter. And then the thought of an intruder had crossed my mind whilst I’d gone skidding over the landing. So anyone could understand why I was so worked up when I finally threw open her bedroom door only to find her simply sat there on her phone, hand covering her mouth.

“What the hell is your problem? It’s just gone twelve, Lottie! I thought something had happened!” I rebuked her, chest heaving as I dropped the heavy bookend I’d managed to pick up somewhere on my way over down onto her desk. “Shit.”

Her eyes were wider than I’d ever seen them though when I finally did get around to catching my breath and chanced another glance back at her.

“I was literally just about to fall asleep.” Which really meant that I’d been getting into bed to scroll through my phone or read a book when I’d heard her shout. “Then you screamed as though Freddy Krueger was stood at your window.”

“Elia.” 

I blinked, Lottie rarely did that, used my entire name and not the usual shortened version or whatever other epithet that came to mind– and truly, there was a large variety, the shit I’d heard this kid come out with was insane. But I shook my head at the thought and quirked a brow at her. “What? Did someone die?”

“No,” She answered me, dropping her hand away from her face even though her jaw was still gaping, “But I just might.”

Rolling my eyes at the theatrics, I exhaled and walked over to slump on the end of her bed, figuring that something had happened between her and one of her friends, or maybe some lad she might’ve been speaking to. “And it deserved a scream like that? Honestly Lotts, just be thankful this place doesn’t have any neighbours listening in through the walls.” I told her, thinking back to my own adolescent years and the woman in the flat beside ours, “We’d have someone knocking at the door in under a half hour.”

It was her turn to roll her eyes then as she scoffed at me– like I was the one being dramatic here– before she then shook her head and shuffled hurriedly over the mattress to sit closer. “No Lia, just listen, look.”

Confused, I sighed and tilted my head when Lottie moved to shove her mobile in my face. I squinted at the sudden contrast, showing off my age and the horrific tragedy that was my eyesight, and tried to make sense of whatever it was that she was so hellbent on showing me. 

From what I could first make out, it was just a Twitter thread, but then Lotts then clicked on the main video at the top. I waited as the clip buffered for a second, then a familiar face panned into focus and I felt my brow furrow. I peered over at Lottie for a split second before her eyes were widening in retort and she gestured her chin back towards the screen.

I narrowed my own eyes in turn, but watched on.

It had to be a coincidence, I reasoned. That of all people it was him that Lottie was currently showing me.

“Well, aren’t we in for a show tonight! Eminem is in the house, people!” An interviewer started, she was a tall, leggy blonde who held a too big microphone too close to her chin. “How are you feeling?”

I shouldn’t have been as surprised as I was to see him on the VMA’s carpet, not after the comeback he’d made late last year with LP 2, but I was, eyes caught on the bleached buzz cut he’d since reverted back to for the album’s release. Fuck, I’d be so pissed if it came out that he was performing tonight and I’d gone ahead and missed it.

Lottie thumped my shoulder, hard, realising fairly quickly that I hadn’t really been listening, and so I scowled in retort but gritted my teeth to keep from thumping her right back. She might’ve been my sister, but I had well over a decade on the kid and was marginally her guardian, just not in writing.

The rapper had seemingly just finished commenting on a question the tall blonde had asked him and so I forced myself to pay closer attention, brain whirling as I wondered what could have possibly been so important that it had Lottie screaming bloody murder in the middle of the night.

“I feel that!” The woman practically beamed at the rapper, head nodding along to whatever he’d just said, “But it’s good to hear that you’re enjoying being back. In truth, I wasn’t sure I’d catch you here tonight, there’s been a lot of buzz surrounding you at the moment and not just because of the album!”

My heart stuttered in my chest. Actually, I was pretty sure it had gone and fallen out of my arse, especially when the interviewer continued to press on the topic and it appeared as though the man in question understood exactly what she was getting at. His stoic facade cracked just a tad and– there! A smirk. An ever so slight crook of his mouth. I shot a startled glance over at Lottie but her gaze was fixated on the screen.

“I mean, have you seen it?” The interviewer prompted whilst he simply stood there, fisted hands clasped before him. No sign of the split second curve he’d just had on his lips. “The whole world’s been wondering about your thoughts on the singer!”

And there it was.

“I can’t,” I started to say, turning away from the phone just as a rush of nausea flooded through me, but Lottie held strong, hand coming up to catch my shoulder so that she could position her phone back in my eyeline. “Lottie–” I tried. Please.

“Just listen.” She persisted, face so serious.

Immediately I wanted to rescind my earlier statement. This was now my most mortifying moment. In fact, I wanted to hide in the nearest cupboard and never come out again. How the fuck was I going to show my face in public, not to mention at the next event, after this?

I swallowed thickly, entirely unprepared to hear a word he had to say about me. I mean, who would be? This man was leagues above a majority of the industry, me included. Never had I ever even thought that he could hear my name in passing, let alone listen to one of my songs playing in some shop he was coincidentally in or a random radio station. But here he now was, rolling his lips as he pondered over a question which concerned that stupid fucking video. 

“I hate you.” I whispered at Lottie, mostly in hopes to cover up whatever he was about to say, but also because I was embarrassed beyond belief. And this was all her fault.

In the time spent since the drunken video had first gone up and now, I had yet to even think about him ever seeing it. Because the idea was that far fetched. But this was me, so of course he had.

“I’ve heard it.” Marshall confirmed, his head dipped in a barely there nod. My throat cinched. I wondered briefly how quickly I’d be able to tie myself a noose.

“And?” The woman prodded and internally I cursed her future bloodline, hoping that she'd somehow spawn the next antichrist or that her grandchild would become a shit-headed politician.

The man in question merely hummed, hollowing out his cheeks. “I was surprised, I have to admit. But she’s good, even when wasted.”

“I wasn’t fucking wasted!” 

I hadn't even realised I’d spoken out loud until Lottie snorted on a chuckle. I turned towards her, brows raised high, “What? I wasn’t. You were there!”

I rolled my eyes when she didn’t deign me with some sort of assent but my head snapped back over to where she still gripped the phone when I heard him speak again, his voice echoing throughout the quiet bedroom.

“Then again, her shit goes hard. So it shouldn’t be too much of a surprise.”

That heart of mine that I kept on talking about? Yeah, I had zero clue as to what the fuck was going on with it now, only that my chest was wound as tight as it possibly could be and my eyes stung as I withheld the urge to even blink.

“You’re a fan?” The woman asked him, appearing genuinely surprised by the notion, even though it sounded more like a declaration rather than the question it was.

Marshall hummed, sparing a brief glance over his shoulder when a group shuffled on past them, disrupting the interview. It didn’t deter the woman though and I couldn’t blame her, no matter how much it pained me.

“So, could this mean we’ll be seeing a new featured artist on whatever you put out next?”

I made some sort of inhuman sound at that, but barely moved a muscle. And then I all but shutdown when the rapper's wide eyes flickered over to peer straight into the camera’s lens, “I mean, if she’s down.”

The next scream that was emitted once again came from Lottie, but I couldn’t think to scold her for it, not when I was hardly even functioning and wanted to implode myself. 

The girl toppled over onto me, shaking my shoulders whilst she squealed unabashedly. “If. She’s. Down!” She repeated, squealing with excitement, “El, this is insane! How are you not screaming too?”

The air I forced from my lungs came out in a breathless chuckle as I clung to the forearm that was still wrapped around my collar. In truth, I didn’t know how the hell I was supposed to react. 

“Figure you’ve screamed enough for the both of us.” I replied faintly, not really thinking but somehow managing to carry on, mostly out of sheer shock. I glanced her way, “I feel a bit sick.”

Lottie just shook me harder and when we eventually went falling down onto the duvet in a mess of limbs I wondered what I was going to do with the knowledge that I’d just been given. God. He knew who I was. The shock of it was almost like reliving my first time on stage all over again.

That night I ended up listening to Lottie rant on and on for a good while after whilst she scrolled through her Twitter feed and the rest of the internet. Mila eventually intervened, calling after having seen it too, and was as smug as ever. “Told you.” She’d said the second I’d hit the answer button and I hadn’t had the heart to play it off or act as though I hadn’t seen it either. 

After the interview eventually finished trending and stopped being posted here, there, and everywhere, I was left with a flow of new followers but also a nightmare of opinions spouting from every corner of the planet on any comment section I had to offer. I forced myself to come off most apps I had downloaded after that and resorted to gaining my daily entertainment, and any real news, from Lottie. Which seemed sad, in retrospect, but honestly? It was more than a little self-serving and I’d even managed to get a shit load of stuff done.

I worked on a couple new songs, sticking to what I did best, but my mind did end up drifting away every so often, back to a conversation I’d had with Mila and Travis at the label a couple days after the media storm had passed. It seemed they all wanted me to try implementing a few new concepts into the music I was currently working on before we started to draw up ideas for the next album. Travis reasoned that even attempting to add a couple freestyles into the motions whilst I went about writing would do me wonders later on. 

I just felt uncomfortable with it all, really. I’d never been a rapper. I mean, I loved it. It was mainly what I’d been brought up on, having grown up in an area where every kid on the estate was either attempting to become the next big thing or just blaring the biggest hits out of their car stereos. But that was just it. I listened and sang along, had even built up an extensive collection which I was immensely proud of, but the label were now aiming for this next album to make it onto a Grammy nominations list. It was all they had been fretting over since I’d somehow managed to chart the last one– although a single number one and an almost throw away making it to number seven didn’t make me all that hopeful. 

Even so, it forced me to wonder how it would all work if I started to switch things up now. I could appreciate all genres but I didn’t wanna become the next hopper just to appease the people yessing me and then fall off.

The entire concept had me confused and so I had taken to keeping my head down for a while longer.

Lottie had headed back to mum’s earlier that morning, seeing as I was due to make an appearance in Paris for Fashion Week, attending the Vogue show alongside Vivienne Westwood. An utter dream, yes, but also still an incredibly daunting reality. Even so, it was something I couldn’t quite worm my way out of even if I had wanted to– see, with that contract there still came clauses.

I’d been prepping for my upcoming early morning flight most of the day, showering later on than anticipated just so that I could pack my case and eat before I eventually climbed into bed. Hoping to somehow get a couple hours kip.

I’d thrown on a robe and kept the speakers blaring once I’d eventually jumped out from under the spray, wet hair curling at the ends as I worked on throwing something quick together in my kitchen.

It wasn't long before I went and took the bowl I’d just made out into the living room with me, simply so that I could curl up on the settee and wrap up the few emails I’d been working on earlier. I was just nodding along and humming to the next song that played through the overhead speakers when my phone started to buzz against my ankle, shooting a funny feeling up through the bone. I was quick to pick it up, wrinkling my nose at the feel and not paying much mind to the caller, figuring it had to be either Mila or Lottie.

“Hello?”

There was a short pause as I shifted the phone against my ear before a voice eventually sounded, “This Elia?”

Frowning, I casted a quick glance at the phone’s screen to find a number with an unfamiliar area code staring back at me. I let my gaze stray on over towards a clock I had hanging on the far wall only to find that it had just gone eight. 

I fumbled for a moment, “Um. It is, can I ask who’s calling?”

A low cough rumbled through the line before the same voice spoke again, I shuffled to set my laptop off to the side on the sofa, brow furrowed. “It’s Em– Marshall.”

Suddenly my head felt so very empty and my mouth was working around words that couldn't seem to find their way out. Em. The Em?? Fucking, Em?

I’d obviously been quiet a beat too long, drowning in the sudden panic that had shrouded me, because he spoke up again, “That Nas playin’?”

I shot a startled glance over my shoulder to where the fancy sound system was installed, the biggest reason I’d gone and purchased the home, in truth, and was immediately reminded of the music I had piercing through the air. Clumsily, I rolled off of the corner of the settee so that I could stumble over to turn the thing off, doing exactly that before I was forced to blink at the sudden silence that greeted me.

I winced and was quick to turn the music back on, keeping it low. All the while I still held my phone close to my chest.

“Uh, yeah. Hi!” I blundered helplessly after a moment, carding a hand through my damp hair as I stared at the empty wall before me stupidly. I wasn’t sure what to say, let alone do. I could sort of wrap my head around the interview, his brief mention of me. But a fucking phone call? It was on another level.

He chuckled though, enough so that I felt myself flush bashfully at my obvious awkwardness and forced my body to move back towards the sofa, if only so that I didn’t have to stand on shaky legs anymore. 

“Hi.” He mimicked, voice low albeit a tad amused.

I smiled. Unable to do anything but, in all honesty, as I lowered myself down onto the cushions, vaguely aware that I should probably be saying something else now that he’d gone and replied, but was simply more than a little caught off guard by everything. 

“Sorry, I– Well, I didn’t expect your call. Or anyones really.” I murmured, trying my best to shake off the nerves that were apparently wreaking havoc on my brain to mouth filter. “I just jumped out of the shower, had yet to turn off the stereo. Sorry.” How many times had I just apologised? I wanted to scream.

“You’re good.” He assured me, voice unlike what I probably would have expected and so I blinked once more at the sound of it, reminded that it was actually him I was talking to. But all that was fluttering through my head was ‘what the fuck are you doing calling me?’ “Nice choice, I gotta say. This an alright time for you to talk? I don’t wanna disturb you much.”

My eyes widened at both the compliment in song choice and well, him. Then withheld another sudden urge to scream, the hand not holding my phone clenching into a tight fist against my chest. “No, no, of course not. I mean, you’re fine! Not disturbing me at all.”

His next reply sounded more than just a little mirthful, “Sure ‘bout that?”

I willed myself to relax and took an inconspicuous breath as I pulled my legs back up under me. “I’m sure.” I told him, laughing lightly at myself for being so socially inept– or maybe it was just this entire scenario I’d been shoved into. “How’d you even get my number anyway?” 

I hadn’t meant for it to sound so forceful or abrupt, but it had been yet another question my sluggish brain hadn’t been able to find an answer to. 

“Mila?” He answered me, and I blinked stupidly at the name. “We had a mutual contact, figured I’d chance askin’ her instead of gettin’ lost in your DM’s. That cool? She said she’d let you know.”

The conniving cow, I thought to myself, though I wouldn’t have put it past her to have reasoned with herself that I would’ve probably freaked out if she had told me beforehand, before then having proceeded to just let my phone ring out whilst I stared pitifully at it. She knew me all too well. 

“She did not.” I replied through a baited breath, “But no, yeah. You’re alright, just caught me off guard is all. You’re probably the last person I expected to call, if I’m being honest here..”

When I heard him laugh once more I grinned, all too pleased with myself. It was a low gruff sound, not deep enough to be sarcastic or ingenuine, but rather warm. It surprised me.

“Oh yeah? Even after everything that’s gone down lately?”

My eyes slipped closed at the instantaneous reminder and I winced. The video. Honestly, in the whirlwind that wasn’t just my life at the moment, but this phone call too, I could have almost forgotten about it.

“I still can’t believe you saw that.”

Marshall let go of another amused huff that I figured to be a chuckle, breathing in deep enough that he forced me to wait on his next words. “I don’t lie. I meant what I said. But tell me, how many drinks d’you have in you?”

I curled my tongue against the back of my teeth in hopes to keep from grinning too hard, feeling a slight sting at the tip. “I was tipsy.” I argued pointlessly, knowing it would be a tireless venture, “I’d only had a couple.”

He hummed, seemingly not convinced.

“It was years ago, too!” I felt the need to tack on, the rosy hue the alcohol had given my cheeks sprung to mind and made me wonder. My face wrinkled as I dragged a helpless hand across it. “Who even sent it to you?”

“A couple people, actually.” Marshall ended up revealing and his words sounded playful enough that I could almost picture the curl of his mouth. “My daughter was one.”

Without thinking my hand flew up towards my mouth and I shook my head as I let it rest against my palm. “You’re not being serious.”

“Dre too.”

I let go of a hissed curse and crumpled a little bit in my seat before laughing stupidly at myself. If I couldn’t talk myself out of this then I supposed I would just have to get over it. I hoped thinking sensibly would allow me to actually follow through on that sentiment, but I very much doubted it.

Marshall laughed again, slow and easy almost as though he’d shared it with me a hundred times before. “I wasn’t kiddin’ neither. ’s why I called.”

Pulling my head from out of my hands, I wet my lower lip, mind promptly flashing back to the clip Lottie had shown me. “What’s that meant to mean?” I asked him, treading cautiously. 

“Listen.” He began, pausing only briefly to inhale before he then added, “I’m workin’ on another album–”

“No.” I interrupted, eyes suddenly wide and alert, “Already?”

A tittered snort followed the disruption but my mind was already reeling. 

“You’re not fucking with me?”

In all honesty I had prepared myself to wait a couple more years for another drop, hoping for him to feature or for someone to send for him if only so that he’d make a track in reply. I’d been obsessed with his recent work, even going as far as to add it onto the tour bus playlist late last year. It had actually been played so much the roadies and the band had threatened to rip the system out. But a new album? Fuck. I hadn’t expected it.

“Who else knows?”

There was a slight click on the other side of the line. Or scuffle. “As of right now? Like six people.”

I swallowed down the understanding that then hit me, but my stomach lurched at the very thought of it. “And I’m one?” I chuckled, holding back the hysterical laughter I felt bubble as my hand fell over my heart, “Wow, I feel honoured, Mathers.” It was teasing, the rib I meant, though my eyes still widened when I realised what I’d gone and said, not wanting him to take it the wrong way. 

I needn’t have worried. 

“As you fuckin’ should be.”

I gave a real laugh at that, almost a full-belly type shit. But could you really blame me? 

I was still smiling as I went to retort, humming with it, “God, you really just went and sprung that shit on me.”

“Hold you to keepin’ it on the low for now.” Marshall said, reminding me how paranoid the press and Hollywood had made him out to be in the past. I wondered how much truth there was in the sentiment. I mean, the man was almost a recluse– not that I could blame him, I was pulled from the same sort of cloth there– but to put a secret like that in my hands? It had to take some amount of faith.

I nodded seriously, even though he couldn’t see the gesture. Seemed he could hear the sincerity in my answer though, “‘Course.” I told him and then chewed on my lower lip for a second before a soft snicker escaped me. “That the only reason you called though? I mean, as honoured as I am to be one of the infamous six, I’m surprised you just phoned to let me in on the know. Have I just been roped into some sort of celeb elitist group? Weird initiation.”

His huffed laugh was breathy and made my mouth twitch that little bit more. 

“Nah. You always this weird though?” Marshall wondered and I bared my teeth in a light grimace, figuring I’d gone too far with that one. Or maybe.. I'd just hit the mark? I snorted lightly at the thought.

“It was an honest question! I’ve heard horror stories.” And wasn’t that the truth, events and parties weren’t all about the awards and just getting trollied. Some of those fuckers were as strange as people could come.

The man clucked his tongue, although I could hear the slight smile in his sarky response. “Uhuh. Sorry to disappoint but nah, initiation starts in the belly of LA. Gotta dissect a virgin and drink Ciroc out of their intestines. Funnel that shit down.”

The snort I gave in turn was ugly and loud enough that it forced a hand to fly up and cover my mouth, but it didn’t appear to bother the rapper none, who chuckled before clearing his throat.

“Change this shit to Facetime.” He said not a second after, swiftly cutting short my absurd amusement. “Then we can talk about the album.”

I fumbled for a moment. “I look a mess.”

“Good thing this ain’t a fuckin’ fashion show then.” He only pressed, “You think I give a shit what you look like right now?”

That struck an odd chord in me for some reason, but I didn’t want to linger much on the feeling. “No. But I do, dickhead. It’s half eight at night, I have sudocrem on my face and I look like a dog off of Lady and the Tramp.”

I was so flustered by the very thought of acquiescing to the man’s demand that I didn’t even think much of the name I’d gone and called him. 

“Again, do I give a shit? And what did you just call me?”

I paused, reeling back to whatever it was I’d just spouted at him. Upon rehashing my words I felt my tongue press between my lips to keep from laughing loudly, if Mila or Lottie had been there I’d already be strung up by a pair of metaphorical balls. 

“You heard me fine.” I brushed it off, if he wanted to call me out of the blue and act all chummy then chummy was what he’d get.

Besides it wasn’t like I’d meant the term maliciously, I used that type of endearment with everybody. Something my manager had tried and failed to force out of me time and time again.

“But back to this whole ‘seeing my mug thing’. Not happening, mate. Why couldn’t you have called like, six hours ago? I looked like an actual person then.”

“Dickhead.” He muttered beneath his breath, barely even loud enough for me to have heard him and I could only guess that he was shaking his head with it, hopefully somewhat amused. “You ain’t an actual person then?” He said in reply, forgoing the name calling for now, “Figures, you give off lizard vibes.”

“Fuck you!” My laugh was sudden, jaw having dropped a tad at the quip. “Lizard vibes, the fuck are you then? And yes, an actual person! You can’t just call people, drop a bomb, and then demand things!”

“Shit typically works.” He quipped all too quickly that it had me shaking my head around another quiet smile of my own. “Just entertain me though, for a moment.”

My head fell back against the arm of the sofa, eyes casted towards the high ceiling which loomed above. I couldn’t quite believe I was actually considering it.

He didn’t even have to goad me before I relented. I huffed, blowing a strand of hair from out of my face as I sat back up, “Fine. Just gimme a sec.” 

He hummed.

Elbowing my way off the settee I skidded over to the closest mirror, dragged a hand through my mostly dried hair and made sure that I didn’t have racoon eyes from any lingering mascara I’d had on before my shower. The patches of sudocrem would have to stay though, I deemed, seeing as he already knew about those. 

I gave up on the preening and sighed as I fell back onto the sofa, thankful for the dim lights the living room offered in that moment. It was just as I was switching the call though that a thought hit me, making me question if the reason he’d asked me to start the Facetime was due to him wanting to give me the option to turn it down or simply because he had no idea how to do it himself. “Still there, old man?”

A scoff echoed into the room before my phone screen stuttered and I was left staring at the sharp lines of his face. It wasn’t like I hadn’t actually believed it was him I was talking to, but seeing the man was another thing altogether. He was a real person and that idea alone had me reeling. 

I wrinkled my nose almost shyly around a smile when that sharp gaze of his slid away from something behind the camera to meet mine. He tilted his head to look me over, the hood of his jumper moving with the motion. 

“I was right about the lizard thing.” Was the only greeting he offered me, jutting his chin out as he feigned all seriousness. 

My mouth dropped open upon hearing him and my tongue quickly flicked out towards a canine to keep from biting back at him. There was humour written in the gesture though, even as I moved to narrow my eyes. “He’s got jokes! Reused ones, I might add, but jokes nonetheless.” I snarked, lifting my eyebrows at him in exaggeration, “Hilarious.”

His mouth curled very, very briefly, but I was quick to work out that it was all in the eyes with him. They held a certain amount of mirth as they flickered over my face. I wondered what he saw. 

“Suits you though. Even with all the…” He waved a hand over his own face, probably referencing the white dots I had littered in a few places.

With a shake of my head I raised a hand to my chest, feigning a fond appreciation for the sardonic comment. “Is that the famous charm the world’s heard so much about then? Really know how to make a girl feel special, Mathers.”

His eyes slitted but still shone with a slight glaze, he hummed deeply in retort. “Best believe it. Why d’you think I’ve gotten divorced twice?”

A low whistle escaped me before I then laughed, eyes squinting with the strength of it. “Figured you might just have a kink for courtrooms.” 

His tongue swept into his cheek at my boldness, fighting back a real smile as he glanced away and then back again. “I’m down bad for a good Judge. Spank me vibes, you know?”

I chuckled outwardly at that, amused by his quick witted replies. But that in itself didn’t surprise me, it was well known just how hilarious the man could be, his stoic demeanour only prodding that revelation further. 

That sternness his face seemed to consistently hold softened though in that next moment and I watched on as he shuffled a little closer to the camera, sat somewhere indoors with enough natural light that he could have only been in his kitchen. It hit me then how wild this whole thing suddenly was. “What’s with the last name anyway?”

I blinked, caught off guard by his ask. “Um,” I fumbled, a slight wrinkle forming between my brow, “What do you mean, me calling you Mathers?”

He hummed and I had to think about it for a second. Ultimately I ended up gifting him a shrug, “Don’t know. Just feels strange to call you Eminem or whatever.” I laughed lightly at myself, hand falling to my knee to toy with a loose thread on the hem of my robe. “What do people usually call you?”

It was his turn to shrug then, his being a singular and fluid motion whereas mine had been more thoughtless. He was watching again though, the wide eyes I was so used to seeing in old interviews where he was always playing a part were now gentler, narrowed sure, but softer and slightly wrinkled at the very edges.

I tugged on the frayed thread, wrapping it around my finger enough to whiten the skin before I had to let it go again. “Is Em okay? Or just Marshall maybe?” I queried, watching him too.

“Whatever you want.” He murmured and it was then that I noticed he’d propped his phone up somewhere in front of him because a pair of hands came to rest at the bottom of the screen just as he pressed further into the counter he was sat at.

I wrung my lips to one side, teeth biting into the inside of my cheek enough to keep from smiling much more than I already was. “Most people call me El or Lia. Elia just started to feel unnatural away from, you know, everyone else.”

It was the worlds now, as well as one of few reasons I had for the stigma I felt around my own name. 

The man jerked his head in a short nod in response whilst his fingers intertwined against a marble countertop. “So we should just slide that into the writin’ credits then? Or you finally gone take me up on that offer of a feature?”

You know that odd feeling you get when you’re on the tube or a plane and so suddenly your ears just pop and there's this ringing sound that floods the single sense? It just happens, out of nowhere, and you blink. So all you can immediately focus on is the sound. The odd feeling of it driving waves deeper and deeper into your skull. And the only way you can recover is by holding your own breath?

That was what that question felt like to me. 

“What?”

His eyes were alight, akin to a low flame of flickering amusement and perhaps hope. “You deaf now too? Know you heard me.”

Of course I fucking heard him but that didn’t mean I understood. “This is for real?”

Finally, he let go of a dulcet chuckle, almost a ringing sound in and of itself. “You gone make me repeat it? You in, or not?”

“How is that even a question?” I breathed back to him, my hand shaking against the hem of my robe. “Yes! God, if I ever say to no to an ask like that you better fucking shoot me. What the fuck, Marshall?”

That chuckle again.

It was unlike anything else, the only sound I could hear around the blood rushing between my ears. Stupidly, I pinched my thigh and released a stuttered breath when the twist of skin radiated a short snap of pain up my leg.

“That the go ahead then?”

I must’ve looked so incredibly starstruck but I couldn’t even bring myself to care, this was unreal. I nodded, almost frantically at him. “Of course that’s the fucking go ahead! Are you sure about this? I mean, I don’t know how much help I’ll be. I mostly write radio shit.”

“Your earlier stuff ain’t.” Em shot back, the quip startling me enough to snap my jaw shut because not a lot of people ever dug that deep. But he continued on before I could think to hone in on the slip, “‘sides, your lyrics are what I fuck with. That shit makes you think, has you lingerin’. Playing with words is the aim, I want people thinkin’, leachin’ onto each syllable and every phrase. You do that.”

The air in my lungs lurched.

I could only offer him one reply, “When do we start?”

[jennyandvastraflint]

Would love to hear more about your thoughts on the commercialisation of fandom!!

Ooooh, boy you've opened a can of worms. I took a Fan Studies course at uni for a module bc I could choose it, and I did a lot of research into this specific topic... I hope it's okay that I'm just putting in some of my slides and then summarising underneath each!

Now, fandom in, for instance, fan fiction spaces, works on the basis of a Gift Economy in which gifts rather than money are exchanged. However, these gifts aren't just meant for one person, but for many, and even when you for instance do an artwork or a fanfic for someone, other people can still ALSO read it. These gifts can (but don't have to) be responded to with another gift, be it a comment on a fic, or a fic in return. Now, I could go into much more detail here, but I recommend checking out for instance this text by Trisha Turk on the TWC for some more in-depth stuff about this. (I'll list all the sources I used in the presentation in the end btw!) The gist of it is that fandom is a very complex system in which the reciprocation of gifts - and therefore labour - is distributed across the community.

(more under the cut)

HOWEVER capitalism, as always, comes along and tries to ruin things for profit.

Fandoms continue to form because of the unrestricted movement and no one dictating what is well, "really" canon and what isn't. I'm sure you've witnessed some fans in more recent years refusing to ship things that "won't become canon anyway", positioning the canonicity of a ship or a scenario higher than... well, their own critical reflection and interpretation OF the media and their own creative endeavours. At the end of the day, canon for me personally is something to draw on, negotiate with, or reject if it's stupid, while more recent fandoms I've seen sometimes go about their engagement with fandom as a sort of... worshipping of canon almost, and where being noticed by the creators is sort of the ultimate goal.

Now, this is of course connected to corporations realising that hey, actually people engaging with our media and creating something about it bring in numbers, and with them being able to make a profit off of views on social media, they seek to drive certain forms of engagement with the content. However, they are of course seeking to police HOW you engage with things, and don't you dare stray from their vision too much. This, of course, harms especially marginalised communities who propose alternative readings of media, who subvert the show itself and who transform it into something else, adding themselves into the work and into a world where, by design, they were invisible. It's also an attempt to undermine fan activism and grassroots organising by fans (if you wanna hear more about fan activism shoot me another ask and I will ramble <3 edit: link to post about fan activism) by keeping them in line with a sterilised version of fandom. In this sterilised and controlled version, the forms most often encouraged are things like video edits (but don't be too out there, that's bad too) that can be consumed like content by fandom... They like video edits, sterilised fanart, and things that are easily consumed and bring numbers, but "don't you dare write that nasty Spirk fanfiction where they have sex in the captain's chair! Ewww, yuck yuck!"

Rather than having a fandom driven by community, you have one driven by consumption, and that has become increasingly clear in the past few years, with readers on fan fiction asking "When next chapter?", pressuring artists, writers, etc. for more 'content' for them to consume without a) participating in the Gift Economy fandom is built upon and b) realising that these fan works are gifts to the community in the first place, and not content... These are, by the way, often the same fans who will cheer on AI because now they can finally read a story they wanted someone to continue :D Instead of using their own fucking brain, they're asking a bot trained on scraping works to produce them some bad, surface level jumble of words just so they can consume, consume, endlessly consume without ever having to think.

A few years ago (well in like, the late 2000s), a site called FanLib wanted to profit off of the resale of fanfiction, but were quickly shut down. Their mistake was that they mistook the community of fandom for a commodity to exploit for their own commercial interests. I'm not sure you've seen it, but Wattpad has sent authors emails asking them to update their fics frequently because it would appease the algorithm (see Tumblr Post about this here), which leads me to my next little point!

Algorithms! If you have ever done fan edits and posted them on sites like TikTok, Instagram, etc., you'll have noticed that... unless you post regularly and frequently (like. one edit a day at least), the algorithm will NOT push your video at all and it will be buried. Algorithms are based on how well a post performs not in terms of actual community that is built, but of course on numbers. Wattpad also functions on an algorithmic principle, which is why you have some........ individuals coming to AO3 and complaining about the supposed algorithm, spamming their work and reposting it, yadda yadda. Basically, these fans are so used to being spoonfed by an algorithm by now, they are confused when they are actually left on their own and are supposed to learn some basic fandom rules. It's honestly frightening to see fandom not only be reduced to this surface level interaction and to number-based algorithmic systems, but also to the trend-hopping TikTokification of fandom.

A study done by Booth and Dare-Edwards published in 2021 that focused on school age children basically came to the following conclusions... Children still connect "fan" with the same stereotypes of obsessive and unruly individuals that were plaguing us thirty years ago. A whole bunch of children think fandom is a thing of the past and that it peaked in the early 2000s - and while fandom of course is different now and has changed with the spread of the internet, fandom very much still is A Thing. Further, children connected fandom and being a fan mostly with buying merchandise and collecting, and also with plain consuming content, echoing "neo-liberal associations of ‘emotion’ with ‘buying power’, but at the same time, seemed to pathologize those who practice fandom (as they see it) ‘too much’" (Booth and Dare-Edwards 230). The text concludes that while there has been an explosion of media and you are becoming more multi-facetted in what you are a fan of, lilypad hopping and essentially abandoning fandoms after a brief period of surface level engagement and consuming content is increasingly becoming more common. From my own experience, this is for instance the case with shows like Willow (2022), Good Omens(ish), etc. Pretty much anything more recent doesn't have as stable a fanbase and if you enter the fandom a month too late it's already fizzing out. It's really fucked up, honestly.

Right, after that long tangent about this, I want to bring up ancillary models, which is an attempt by capitalist companies to market the previously unwanted Gift Economy of fandom as something new and desirable, but something they are in control of.

Ancillary Content Models try to lure fans in with "free" Behind-the-Scenes content. The guise they have stolen from fandom of acting like a Gift Economy of saying "here, this is for all our dedicated fans <3 Consume :D" is used to downplay the commercial infrastructure these Content Models (honestly it's already in the name). The "gifted" content is more concerned with getting loads of people to individually consume as much of it as possible to create an alternative revenue on for instance social media through views, clicks, likes, etc. They're essentially trying to commercialise our viewing time and keep us engaged with that additional content as much as possible. Rather than having a community that comes together to share their ideas and stories around a metaphorical campfire, Ancillary Content Models want each person alone to sit and stare at the stuff they put out as much as possible, always placidly clicking "like" and demanding more. They also want to cultivate an "official" fan community (aka the ones most dedicated to consuming additional content) that they can monitor and control, and they don't encourage anything that's too... out there, too subversive, too queer, etc. Coined "re-gifting economy" by Suzanne Scott, capitalism with these Ancillary Content Models has warped the Gift Economy fandom functions on into a model that equates consumption with community, and which wants to profit off of fans' engagement and their free labour of making viral TikTok edits that adhere to the sterilised version of what a fan "should be". The example I used in my presentation for this is from The Dragon Prince, which, while I do love the show, has been pushing such Ancillary Content Models. They also have a Discord (which is regulated and monitored) as their "official fan community" place, and not only are the rules pretty strict, but it also just... doesn't feel like a community but just like a bunch of people wanting more content gathered in one place :/

Now, to conclude this, capitalism sucks and is trying to ruin fandom communities in order to replace them with something they can make some more money of, and rather than having a critical fanbase that questions things, they want one that endlessly consumes the "free" content they churn out. Stay active in fandom, remember we're a Gift Economy, learn the fandom rules, and keep hating capitalism <3

Fan Work: Labor, Worth and participation in Fandom's gift economy by Trisha Turk

Now, the sources I have used for this...

Repackaging fan culture: The regifting economy of ancillary content models by Suzanne Scott

Stanfill, Mel. “The Fan Fiction Gold Rush, Generational Turnover, and the Battle for Fandom’s Soul.” The Routledge Companion to Media Fandom, edited by Melissa A. Click and Suzanne Scott, New York, 2017, pp. 77-79.

"No one's a fan of anything anymore, this isn't 2002.": Surveying 7–17-year-olds on being a fan and contemplating the future of fandom. by Paul Booth and Helena Louise Dare-Edwards

[thepoetjean-makes-stuff]

HOW TO ACTUALLY WRITE -- THE BASICS (AKA STEP 0-1)

(AKA ThePoetJean justifies their Master's degree and makes it everyone else's problem)

1) "WRITING IS REWRITING" AND WHAT THE HELL THAT MEANS -- No writing is law or set in stone upon the first draft, and whoever taught you that is a bum. Even permanent glue can be removed by nail polish remover, so why is editing your first draft no different? When writing for fun, oftentimes you can edit the post and clean up the story when things are no longer working (it's called a cutting room floor for a reason). When writing for publishing, you'll often be paired with an editor who'll send tweaks back-and-forth to you, chipping away at any structural mistakes or grammar flaws to bring out the point of your writing piece in the process. The first draft is just about getting the general vibes of the story down: like the batter for the cake recipe before you start baking it. This part is meant to be fun and messy and no one expects you to serve them go when you're just cracking your eggs open. Let yourself be messy cuz (burnt or fluffy), this is the first step to making your story, so no need to have something be all pretty and presentable the first time around! Again, a lot of writing is just rewriting cuz drafts are a thing so getting stuff down is most important. And another amazing thing -- if the story sucks, you can always change it later! You gotta trust yourself to get it done in order to get it out to the world one way or another, so go do that!

2) LEARN YOUR OWN WRITING PROCESS! -- (OH MY GOD PPL, LEARN HOW YOU TO THE THING IT'S HALF THE BATTLE!) Most of the struggles I see with newer writers is never learning how they write, and that sucks since have the joy of making things is making the thing -- so why make writing stories so arduos for yourself. Learn your own methods and use them whenever you get to writing! Learn the writerly basics like plot, structure, framing, character voice, setting, time period, etc and learn how best you can utilize them in your own stories! On a purely craft level: Learn ALL THE WRITING CRAFT and keep in mind that all writing craft is meant to be guidelines rather than hard rules. Learn many ways about how to write in general cuz no writing advice is one size fits all and being embarrassed of your process is dumb and hinders your creative growth. Trust yourself as a writer, you'll improve faster that way. Believing you can and believing it's possible is the first step to doing anything! (Plus all writing is rewriting anyhow to there's no need to feel embarrassed about something you can fix later, anyways, right?)

3) Read projects like your project in order to get a better feel of your project. Whether it be writing style references, basic literary craft examples, or just you want to break down the vibes of the stories so you can better emulate in your own -- GO AND WATCH/READ/LISTEN ETC TO WHATEVER STORIES YOU THINK WOULD MATCH THE VIBES OF YOUR OWN!! Now, this isn't a 1-to-1 copy, you're not mean to make a clone of the thing you like or take properties for the IP that you're into -- that's more along the lines of fanfiction (which can be fun and is ofc, super valid) -- BUT! To create your own stories, you need to learn where you get your ideas from, and learn how to implement, borrow, twist, etc from the story structures and properties you gather your inspo from. Other writers are your peers, not your enemies -- so treat their work and your own with the respect it deserves. No two chicken sandwiches are ever exactly the same; true artists steal from many places, so learn how to be a good thief (creatively speaking). Example from my own secret WIP novel: I'm writing a New Adult Urban fantasy novel with a dark, powerful lady protagonist that uses lots of philosophical themes, alternate history perspectives as well as using mythology as a basis for a lot of the magical roots and setting roots. Likewise, this a story about friendship and romance after major loss and trauma, and how to come back to yourself after grief, so I've been looking for stories that cover those themes in their plots, which has made the story a lot more fun to read and write outside of just being a cool concept to play with.

If you're writing a second-chance romance story, read romance stories. If you're writing a sci-fi story with lots of robots, read stories about robots. Presumably, you enjoy the same stories you're writing in concept if not in execution, so don't hesitate to seek those stories out, and break down how those stories work in order to scrap them for literary parts. You're smarter than you think you are, and breaking down stories is a lot of fun once you get the hang of it, so please consider doing this as you go into your next project, your writing will thank you for it!

OPTIONAL:

4) If the story works better as something else, swap the format and see what happens.

Have you ever read something and been like "Huh, I like this book, but with how iconography is used in the actual text, it might be better as a movie or a comic book"? So have I!

So, if you ever feel like the story you're writing isn't working so well as a novel or a play, consider turning it into a movie or a webcomic! Of course, this is all easier said than done, and every writing format comes with its own rules and limitations, but I'd give it a try if you ever want to see your project from a fresh perspective! If nothing else, you'll learn something new -- and become a better writer for it!

Til next time, beloveds~

__

PS. Take all advice with a grain of salt. I am not your parent or your principal, I'm just a lady with a writing degree and a lil free time. Take what resonates, leave what doesn't, etc. PLEASE SHARE THIS POST AROUND TO ANYONE WHO IT MIGHT HELP! THANKIES :3

KOFI: https://ko-fi.com/thepoetjean

[softgrungeprophet]

Radiant Black Rundown

(aka: Nadia is going to make a rec post for something that isn't Spider-Man or Spider-Man adjacent for once)

(aka "Please read Radiant Black")

(Radiant Black #10)

This is all subjective, obviously, but for me...

Positives:

All the characters are adults, ranging from their 20s (Eva), to 30s (Nathan, Marshall, Satomi), to 50s or 60s (Wendell)

The characters are specific. They have specific personalities, backgrounds, priorities and expertise. They are people with emotions and flaws and lives.

The main characters (Nathan and Marshall) are codependent vaguely homoerotic best friends with a slightly imbalanced dedication to one another (unrequited love?), plus some jealousy (drama!)

Despite occasional clunkiness, does a decent job at mixing humor and seriousness, angst, drama, etc. "Are you an angel?" "No, ma'am, I'm a millennial" did make me laugh.

Diverse characters and creators: Some co-writers include (but are not limited to) Cherish Chen, Melissa Flores, streamer Meghan Camarena, and Chicago local Laurence Holmes, and they're all very skilled at collaborating with each other and with Kyle to breathe life into the characters and their motivations.

And all of the Radiants are brunettes! (lol)

Not a lot of crossovers (basically none) despite being part of a larger universe (the Massive-verse), and not a ton of issue hopscotch (still some).

The stakes are often very personal (most of the time). These characters may have to save the world but they're also all kind of fuck-ups in some way, and are still mostly dealing with their personal and private lives and loved ones, which grounds it.

"Officially," only Eva is queer (afaik) but to me, Marshall also reads as pretty strongly gay or bi-coded, and Satomi gives off some kind of gender thing (to me). With a mix of actual queer WLW/lesbian romance in Radiant Pink and some interesting subtext in the main Radiant Black comics, plus whatever Radiant Red's got going on, I think there's a lot to sink your teeth into in that regard, or at least to go "AUGH" about LOL

Also there's real cool art—

(Radiant Black #17)

(Radiant Black #10)

(RB #10 again — issue 10 whips ass, okay? I have the UV-reactive fluorescent ink printing of this issue... and I don't own a blacklight, unfortunately 😂)

(Costa is the main artist for all of the above panels, with colors by Triona Farrell (#17) and Igor Monti (#10), but I'm a big fan of Ferigato's pencils on the Marshall-focused issues too, plus Lafuente and Muerto's work in Radiant Red is killerrrrrr)

Neutrals:

All the Radiants' eye markings are animated/emotive (except Yellow). Personally, I'm mixed on expressive masks and helmets. (Big shock, I know 😂) I don't dislike the animated eyes, and I get why they're useful, but I prefer the less animated helmet "faces" so far.

Cosmic world-saving stuff — If you know me, you know I tend to prefer street-level superhero stuff, but I think the high-stakes action works in Radiant Black because it's still grounded in the personal and still has that street-level element, so I'm not too bothered by this. (I also like sci-fi, which helps)

Negatives:

Some people over-emphasize just how groundbreaking and different Radiant Black actually is. Like I get it, hype it up, but sometimes it is a little funny to be like "this has never been done before!" and it's like, idk about that 😂

Occasionally it does lean a little into referential humor and quips, but it's got plenty of actually funny jokes, and the dialogue flows naturally most of the time and isn't just a vessel for snappy one-liners, thank God. But if you're like me, sometimes you may roll your eyes.

It takes some time to find its feet (imo), but even then it's still generally engaging. To me, issues 9 and 10 are where it really hits its stride and not long after that is where it takes off running.

There is some issue/series hopping — While there's not a ton of issue hopping, there are some minor details that make more sense if you have read some of the auxiliary issues/miniseries. Luckily, it's not a huge amount of reading.

Prison is where you go to atone 🤡 I didn't like it in Spider-Man: Redemption and I don't like it here lol but Eva seemed unimpressed in volume 4, so I'm hoping it'll have some nuance as I catch up.

Wonky numbering. It's not too bad (and if you read the trade paperbacks, it's a non-issue) but there is a plot thing that happens that means all the issues after #24 (until #30 and #30.5, afaik) have special numbering

(Radiant Black #11)

Radiant Reading List:

Note: here is a really great, in-depth, incredibly precise Massive-verse reading list put together by a fan — It has issue-by-issue and page-by-page instructions for the real chronology sickos out there, and is just a generally fantastic resource/timeline reference.

But here is my personal (way less precise) reading list for Radiant Black plus its auxiliaries, minus all the other stuff:

Radiant Black v. 1 (#1-6)

Radiant Black v. 2 (#7-12)*

Shift #1-4 (not #5)*

Radiant Red (#1-5)*

Supermassive (2022)**

Radiant Black v. 3 (#13-18)

Radiant Black v. 4 (#19-24)

Radiant Pink (#1-5)***

Supermassive (2023)

Radiant Black v. 5 (#25-27.5)

Radiant Black v. 6 (#28-30.5) (issues #30 and #30.5 will be out in October 2024, so volume 6 tpb probably not until the holidays if I had to guess... unfortunately for me 😂)

Shift #5****

Supermassive (2024)****

Notes:

*Okay, so.... parts of Shift and Radiant Red technically occur simultaneously w/ each other and also overlap some w/ Radiant Black #9 and #10, so you probably actually want to stop at Radiant Black #9, then do Shift and Radiant Red, and then return to Radiant Black at #10, but in my opinion, all that really matters is you read Shift before Radiant Red, whether you slot them between Radiant Black issues 9 and 10, or just read whole trades at a time, whichever you find more practical or convenient. I... did both lol

That being said: don't read Shift #5 until… later, as it was a very recent addition for the Shift collected edition and takes place significantly later in the main plot.

**Supermassive 2022 is a pretty simple single issue crossover mini-event/annual with Inferno Girl Red and Rogue Sun, and doesn't really require reading the others' stories nor does it really affect any real plot, but it does offer a tiny bit of context to Radiant Black's main storyline that I found kind of crucial lol — like is it Necessary? No. Does it clarify one (1) little detail? Yes.

***Radiant Pink can probably be read at any point after Radiant Black issue #12, but I happen to be reading it in this order lol

****The in-depth Massive-verse reading guide I linked earlier says to read Shift #5 in the middle of Radiant Black #28.5 and Supermassive 2024 between Radiant Black #29.5 and #30, so ideally... during volume 6, but since 30 and 30.5 aren't even out yet... well. Good luck!

After 30.5 is out I believe the Radiant Black team will be taking a hiatus iirc, which is reasonable.

There is not yet a Radiant Yellow mini, and idk when one will be released. There have been a couple of delays in the Massive-verse over the past year or so, for a variety of reasons (it's massive!), and I'm guessing Yellow's solo got pushed back. Hopefully it will be out sooner rather than later but we'll see! Obviously the teams creating all of this have been working their asses off so, you know, it happens LOL

Personally I'm subscribed to Kyle's newsletter, which is probably one of the best ways to get updates. It can and often does contain spoilers, but you can do what I do and just scroll really fast past them lol

In practice you can just mainline Radiant Black and ignore everything else and be fine, but I think the other Radiants, Shift and Supermassive offer useful context as far as character motivation and juicy stuff like that goes— Especially since Shift deals with the origins of multiple antagonists, and Radiant Red has some main plot implications for Satomi. Useful to know, etc.

Anyway. That got long, but hopefully not too long to be useful.

Stay Radiant ⦵

(Radiant Red #3)

[trainsinanime]

I must once more ask fanfic writers to please stop apologising for your work. No "this may be bad" or "yeah sorry this sucks", especially not in the summary. Otherwise many people will go, "Okay, this seems interesting… but they already start by saying that it's bad, so I'll just scroll on to the next one".

More than that, it just puts me in a bad mood. When I read the title and tags and summary, I'm excited about your work! …until you tell me that you're not and I shouldn't be either. Talk about a let-down. And mind you, this is long before I ever read the first word of your story.

Okay, but what do you do if you really think your story might be bad, but you want to publish it anyway? My suggestion is lying. Just pretend it's a great story, worthy of being published. No apologies, just present it as if you were someone who is proud of what you wrote. You may feel like a fraud, but just give it a try.

The secret trick here is that many (all?) people who publish their works without apologies also feel like their work might not be good enough, and feel like frauds. Certainly if they don't have that many stories and/or are trying something completely new. You're not actually a fraud, you're just a normal beginner.

And the second secret trick here is that you are probably bad at telling whether your story is any good. You are the only one who can compare to the written text to the abstract jumble of ideas in your head. You know all the fun ideas you couldn't include because of three fun options, only one could go in there. You know the parts you didn't write because you didn't find the words. You know the clunky parts you had to write to connect the fun stuff. But nobody else knows any of this stuff. They just see the story as written on its own, and you may be surprised how much they like it. Give them that chance.

If you really absolutely feel like you have to, you can put something like, "first time writing fanfic" or "first time writing bank heist" or similar in the notes, but that's strictly optional. Just don't apologise. Let us be excited.

(Same thing applies to fan artists. But due to the way most sites show you the picture first and the caption second, it's a bit different there. It's actually kind of funny to see an incredibly gorgeous drawing, and then scroll on to see an apology for how bad it is underneath.)

[kierongillen]

i have to know - as a disco elysium fan who didnt do disco, what would you say is essential disco listening for me?

I'm hugely behind on the asks, but I have to answer this one, because I'm going to answer a connected but completely different question, and then maybe then loop back to you. I'm just looking for an excuse to ramble, and do the writer equivalent of a warm-up sketch (i.e. waste time).

My apologies.

If you wake up and decide that you want to get into a whole genre of music, there's basically two tactics.

(There's also the "Why would anyone care to get into something they don't care about", which is one of the few things I have a "There's two sorts of people..." response to - those who when presented by something unknown either think "why should I know about that?" or "why don't I know about that?" I'm the latter, and it's served me well.)

The first tactic is simple.

Jump on a genre with Best Of in the title and follow your pleasure response. Here's a Spotify one. What interests you? What excited you? What makes you laugh? Probably explore more of that. If not, indulge widely, and see what sticks. At a glance, Disco playlists seem to have the problem of most playlists, in that strictly not everything on it is disco per se. For example, Dancing Queen strictly speaking isn't a disco song - but it's a song about disco, in every way. But if anything has found its way on a playlist, it's found its way on for a reason.

In your case, you're interested in what Disco resonates with Disco Elysium. Which I've bought for C, but not played, but I'm aware of in a "if I was still a games journalist, this is clearly one I would write a lot about." I spent years writing about Planescape Torment, and I know a spiritual successor when I see one.

This makes me think the area you want is basically the classier end - the big bleak emotions, the chilliness, the control, lonely on a dancefloor, lonely everywhere, oh-so-much cocaine, and - to steal Paul Lester's line - glass mountains on fire.

Which leads back to the second way of getting into a genre of music - which is to hit a major artist, and hit them hard.

When asked about "how shall I get into a band" my advice is actually the opposite of what I'm about to give. If you just want to get into a band, get Best Of, see what tracks you like, then go to the albums they're from. But if you're trying to get into a whole genre of music, that's a more serious endeavour, and may reward the opposite approach.

Basically pick a key album from a key band, and get into it, and grow from there. Read about the band - you don't need much, but a little helps. Learn how to listen to what their tracks do. And then you use that band as the single point of knowledge you have to orientate yourself to everything else you listen afterwarads.

There's a huge danger to this - basically, no-one is more ignorant than someone with a little knowledge. You have to be aware that you are the person who knows a bit about Boss Baby, and using that to get into things other than Boss Baby.

The strength is that it's a more holistic, lived in knowledge than just skimming the surface. You understand the music better as an artifact of their times, made by people, responding to their specific situation - which adds different flavours to your appreciation of it. Sure, your own response and how it finds a place in your life is always the thing which over-rules anything else - but the more you can listen for, the more you can hear, the more you can get from a work of art.

Anyway - I'm telling you to go and listen to Risque by Chic.

Chic are basically fucking awesome. If you don't know Disco at all, the opening Good Times chilly ironic take on American late-seventies culture is a great and (I suspect) Disco Elysium relevant intro. You'll know it as a sample, if nothing else, and the eight minutes version that opens Risque is a great way to think about it as both music for dancing (it is endless) and music for listening (it is boundless).

I got Risque as Paul Lester went to bat for it so hard in the Unknown Pleasures book the Maker stuck on the cover in 1995 (it was covering 20 albums that had fell out of the critical conversation, and it absolutely changed the dirction of my listening in the period). Here's Lester writing about Risque more recently for a taste, as the original piece doesn't appear to be online. I just read it in my copy, and it's a burst of love, describing it Disco as music about love - never sex, only love, and mainly love that is denied. That seems solid, at least for the best of chic.

Risque is the Chic album that Lloyd from Phonogram would have been listening to, certainly. I know I did.

(Plus At Last I Am Free from C'est Chic, obv)

There's a lot of Chic to listen to - their own work, especially in the period, and all their productions. Their work with Sister Sledge is of particular import - Lost In Music was one of the working title for Phonogram, and you can see and hear why. They're also the Disco band whose influence is perhaps most obvious in other bands. Everyone liked Chic. No Chic, no Orange Juice, no Orange Juice, no Smiths, etc.

Sister Sledge was the first live band I was at. My mum went to see them when she was eight and a half months pregnant. The temptration to say I'd have heard Lost in Music then and sold is tempting, but ahistorical - it's well before their work with Chic.

Anyway - get into Chic. It'll make your life better - and when your life isn't better, it's a superior context to lose yourself.

However, to go back to your question, as a Disco Elysium fan, I'm not sure it's actually THIS Disco you're looking for.

How about Disco Inferno?

Not Disco at all, but most like itself than anything else, which sounds like what I understand about Disco Elysium. right?

(DI Goes Pop is the starting place)

[pinkeoni]

The “Will Has Powers” Basics Post

I’ve realized recently that whenever I talk about Will having powers, I kind of just expect everyone to be on the same page as me, without really explaining much of what lead me to believe he has powers in the first place. I don't really have a good foundation to point to.

So that's what I want this post to be, not really too detailed but more of an introductory post. I'll explain the basics of my Will has powers theories, why I believe he has powers, and what kinds of powers I think he has. I'll be using evidence I've used in a lot of other posts while also keeping it simplistic and not trying to add anything too speculative or theoretical.

Evidence & Powers #1) Nancy's Dialogue and Time and Light Powers

I think one of the easiest pieces of evidence and my usual go-to is Nancy's dialogue in 4x07 when the teens are in the Upside Down. Nancy remarks that the Upside Down is stuck on the day that Will went missing, and then brings Will up again in regards to the lights. Both of her pieces of dialogue here implicates Will as the one who froze time and got the lights to work the way they do.

"The last entry is November 6, 1983. The day Will went missing. The day the gate opened."

"Will found a way. Will. He found a way to speak to Joyce through the lights."

(So I used to think it was "The day the gate opened. The day Will went missing." and not "The day Will went missing. The day the gate opened." but after rewatching the scene it is actually the former. My bad.)

Now obviously Nancy wouldn't know that Will is responsible nor do I think she has some kind of psychic intuition, but the writers would know and are writing her dialogue in a specific way that points toward Will in both instances. Bringing him up by name not one, not two but three times places emphasis on him specifically. I think that

El opening the gate had a part in this, but if it was her solely then I think Nancy's dialogue would read as "The last entry is November 6, 1983. The day El opened the gate." rather than trying to tie Will into it in the first place. Moreover, the gates that Vecna is opening with El's powers don't seem to be updating the Upside Down to modern times, Will is an important piece of the puzzle.

The light thing is something that I do think is solely Will, given that gate opening isn't brought up and Nancy brings Will up by name twice in the same line of dialogue.

The word "found" here is also interesting because it could have two meanings.

A) Will stumbled upon the lights ability

B) Will created the ability to communicate with lights

Had Nancy said "Will stumbled upon a way to talk to Joyce through the lights" it would suggest that the lights is a rule from the UD that has always been there. Nancy saying that Will created the ability to talk through lights wouldn't make sense for her to say because Nancy wouldn't have access to that information. "Found" is the perfect balance between the two— it makes sense given Nancy's access to information while allowing enough room to imply that Will had something to do with it.

Evidence & Powers #2) Will as an Artist and Creation Powers

If you created a tv character who had magic powers, but you couldn't reveal it until the final season, how do you pull it off without it feeling out of nowhere? How do you build up the reveal without completely giving it away.

Well, I would do it by attributing his powers with aspects of the character that has already been built up and that the audience has become familiar with.

It's established that Will is an artist from season one, and his art continues to be important to the plot it nearly every season.

In season one, Joyce is able to correctly identify that El is not because Will's drawings are much more advanced than El's stick figures.

In season two, Will uses drawings in order to help visualize his now memories and creates a map of the tunnels.

Not much in season three, but Will does use charcoal in one scene to demonstrate visually how the shadow particles work.

In season four, Will creates a painting for Mike that becomes an important moment in the season and sets in motion important events for the future (aka byler endgame)

I will admit that this piece of evidence by itself is not enough to convince an audience that Will has a supernatural link. Will is an artist -> Will has powers is a pretty far stretch. But I think that this combined with some of my other evidence could support what kind of powers I think he has, which I think is some from of creation ability. Will has powers because of xyz -> Will is also an artist -> Will has powers of creation is a better argument and what I'm trying to get at.

Without getting into all of the chunky theoretics here, I believe it's possible that Will may have the ability to create whole lifeforms and vast worlds, such as the Upside Down itself and the creatures inside.

Evidence & Powers #3) Will the Wise, Fire Powers & Prophetic Abilities

This goes along similarly with what I said about using Will's artistry to foreshadow his powers, or using another facet of Will's character to hint at powers without giving it away altogether. Although, I would say that this piece of evidence is probably a lot more obvious than the previous bullet.

"Will the Wise" is Will's Dungeon's & Dragons name, which comes up pretty frequently in the show. Will the Wise is confusingly labeled as both a wizard and a cleric, although both classes are magic-users within DnD.

Each member of the party has a DnD class and character, although Will's is the one that get's brought up the most. The name Will the Wise is referenced—

Episode one when Will is playing DnD

In a flashback later in season one

The episode title "Will the Wise" from season two

And in season three when we have our most obvious piece of powers foreshadowing, when Will dresses up in a Wizard costume

During this same scene, Will says that he has "seen into the future" which is why I suggest that he may have prophetic abilities. Vecna displays a similar ability when he shows Nancy the future in her vision.

It's also possible that Will may have some kind of fire abilities, based on one of Will the Wise's attacks being "fireball." (@reikunrei made a really great post recently proposing that Will's fire powers might extend to some of his other abilities rather than being purely a fire attack, but alas I cannot find it ((I am so sorry Wilbur)))

Evidence #4) Continued Connection With Vecna

Another reason why I suspect that Will may have powers comes from a series of questions:

Why is Will the first one taken to the Upside Down?

Why choose Will as the host of the Mind Flayer?

Why continue to have a connection with Will?

I think I could write-off the first two as incidental if the show didn't make it a point to continue this connection through seasons three and four, that along with Nancy's dialogue in season 4 discussed earlier. Could Will's disappearance have been a coincidence? Sure. Could Vecna have just needed Will to be a spy, and is completely disposable to him? It's possible. But if so, what is the narrative reasoning for maintaining this connection? Is it to just for the convenience of having Will as a beast sensor?

Something else that tips me off about Will's disappearance is the why it happens as well, which we aren't really told. We are told with Barb that the demogorgon is attracted to blood. Nancy and Jonathan later use this tactic to lure it to the house.

And yet with Will, we don't see any blood. In fact, they make a point to emphasize this when Hopper tells Joyce that there was no blood on his bike.

Evidence #5) Will's focus in season 5

Despite Will always being my favorite character and loving him so dearly, I didn't start seriously theorizing until I saw this tweet by Discussing Film, which came out shortly after vol. 2 was released.

I know that outside cast and crew comment shouldn’t be taken as gospel, as they have lied before for the sake of spoilers. Which is why I put this at the end, and why it’s not my only piece of evidence.

But still, it’s not like every comment is a lie, and even then, wouldn’t this be a wierd thing to lie about? And kinda cruel? Imagine saying “Oh, this gay character who hasn’t gotten a lot of screentime is going to be a focus.” only to say “Haha just kidding, he’s actually unimportant!” So I’m inclined to believe that they’re telling the truth.

So if this statement is true, then how could Will not have powers? How would you make a character the center of a show about the supernatural, if he has no tie to the supernatural at all?

[genericpuff]

How should someone write for a comic? I want to start a comic but I’m a bit in the dark for how to write one

This is a very, VERY broad subject that, like the question of "how to draw comics", is very multi-faceted and impossible to tackle in one response. Especially because I myself also will not have all the answers.

What I will say is that regarding writing comics, let's say webcomics, it's not an uncommon thing in the slightest to see writers come into communities like /r/webtoons and ask for people to help them draw their passion project and to that I say... please don't LOL That's not to say that's what you were going to do at all, just wanted to throw that out there as an initial opening disclaimer. Ultimately the reality is that in webcomics, many of the people creating these projects are artists first and writers second (as one of those skillsets is way more accessible than the other), and already have their own passion projects that they're working on. So if you're going into purely writing comics, you're gonna need to manage your perspective on the industry and how it functions from a writer's POV rather than the POV of an artist who picked up writing as a consequence of wanting to get into comics.

That said, the beauty of writing comics is that, in general, it requires a lot less overhead than drawing a comic. That's not to say that it's necessarily easier, because god knows writing presents its own unique challenges, but writing a script generally takes less overhead and resources than turning that script into a comic. I can pump out 10 episodes of rough scripts for Rekindled in a day or two, with tweaking and editing along the way, but actually drawing those episodes takes weeks LMAO (and I wouldn't be able to pull off a lot of the stuff I do now without the help of my assistant @banshriek who not only provides a lot of expertise in drawing backgrounds, but lightens the workload in their help with shading and rendering! they also provide great feedback when it comes to the roughs stage <3)

So if you're starting out, just like the advice I give to budding webcomic artists, it's about starting. Build that experience, get some projects under your belt no matter the size or length that you can use to show your skills (and shop around for feedback from those willing to give it!), etc. Familiarize yourself with various genres, both writing AND reading! Like scripts for film, writing a comic script doesn't HAVE to come with the visuals even if that's the end goal, you don't HAVE to relegate yourself to finding an artist to draw your comic and then posting it online in the hopes it'll get seen. There's a lot that can be done with a simple comic script, whether it's sharing it to the world as is, adapting it to a novel, or pitching it to publishers/agents. Being a comic writer comes with a lot more flexibility in that way than being just a comic artist with no script (though, again, most indie comic artists will simply pick up writing to create their passion projects, it's a much bigger task for writers to pick up art for the sake of creating a comic).

Also establish your goals. Is your plan to write for some major industry some day? Or would you rather stick to writing for smaller productions? Just like with drawing webcomics, you should be setting your expectations in places that are reasonable to meet, rather than shooting for the top of the game right off the bat. If you're wanting to get into writing comics, your first major goal should be something like writing a complete script and NOT, say, getting to write for Marvel/DC lmao

As for the actual writing of comics, I highly recommend you read Scott McCloud's Understanding Comics, it delves into both the history and technical aspects of writing, drafting, and pitching comics in a very easy to understand way (it's a comic about making comics!)

Here are some other helpful resources I was sent by a pal recently that might also help familiarize you with the process of getting into the actual industry as a comic writer!

I hope this gives you at least a good place to start from! Again, it's ultimately a very broad topic that will vary from person to person (esp when it comes to the differences between genres and target demographics, ex. someone writing an action comic isn't likely going to use the exact same processes as someone who writes romance), but I hope this at least helps you find some direction in it all so you can establish your goals and start making steps in the direction you want to go in.

Good luck!!! <3