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animationadventures · 2 years ago

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Recreating the Lost Episodes: A Guide

Season 2

As we learned about S2’s production over the past year or so, the mouse’s decision to shorten The Owl House’s third season came around the time “Agony of a Witch” aired. This was around the time the crew had finished writing the first half of S2. They were given a choice, move forward with their intended original plans for the second half or rewrite the second half to accelerate the plot enough that they could wrap up the story with the little time they had left in their generously called “Season 3”.

They chose to accelerate the plot. This is extremely noticeable due to the suddenly announced deadline of the Day of Unity being a month away in “Follies at the Coven Day Parade”. If it weren’t for the cut, would the DOU have been instead announced for anywhere from three to six or nine months away and covered in S3, giving the story enough breathing room to explore character and relationship development we didn’t get?

So, a lot of amazing ideas had to be left as abandoned puzzle pieces, and us fans are left to figure out how they were supposed to fit together for ourselves. For all the fanfic writers who plan to recreate what we lost, this is for you. If I wasn’t already working on long term projects, I would try this myself too.

I have no doubt that the episodes we did get for Season 2B would have still been in the show’s lineup, but likely further down than they ended up being for most of them. Because of the anniversary for Manny’s death being a specific date, I imagine that would have stayed in the same slot for example.

Let’s start with the Bat Queen since that’s the earliest dropped plot thread I can identify. At the end of “Escape of the Palisman”, Luz promised to help the Bat Queen find out her past since she no longer remembered her original owner. As we saw in S2, she never followed up on this. As confirmed at the Gallery Nucleus panel, Bat Queen is not the palisman of the Titan, but rather a giant. So we might have gotten lore on giants in the demon realm, specifically Bat Queen’s owner and how she became who she is now.

Another dangling thread is Jean-Luc, King’s babysitter from his nest. We never see King and the gang try to reactivate him outside of the nest; he just sits in the corner of Luz’s room as a decoration for the rest of the season.

Then there’s the four head witches that didn’t get proper debuts – Hettie Cutburn, Mason, Osran, and Vitimir. We can assign at least two episodes and four at most to fleshing them out, two being if they teamed up the way Darius and Eberwolf did or four if they debut individually like Terra and Adrian.

As far as I can guess, Mason was intended to be involved in a scrapped plot line of returning to the Looking Glass Ruins along with Adrian Graye, as a mirror match to Gus and Mattholomule since they match coven tracks. With old storyboards starting the rumor Mason was Matt and Steve’s father (albeit with the name Ulrich), this could have really boosted Matt’s development of wanting power changing to multi-tracking, sticking with the theme of finding your own way instead of following in your parents’ footsteps.

Another team-up I can see is Hettie and Vitimir since their covens likely work closely in making cures and general healthcare. Hettie was said by Dana to be interesting to the crew, hinted at being creepy and having an interest in bloodwork. So perhaps the pair of them would be assigned to the Titan’s Blood case and eventually woven into King’s plot? Or the two would be split up, with Hettie being involved in King’s Titan plot and Vitimir being involved in Hunter’s grimwalker plot?

I suggested Vitimir being involved in Hunter’s grimwalker plot because the list of stuff needed to construct a grimwalker sounds like a potion ingredient list, and Vitimir is the head witch of the Potions Coven. Belos might have tasked him with gathering the necessary ingredients for a new grimwalker, suspecting Hunter is beginning to betray him like all the others as he grows independent through Darius’ influence and his adventures with the Hexsquad. Since Hunter is such a crucial piece in Belos’ plans, who better to task with the important and rare ingredients of a grimwalker than the head witch of the Potions Coven himself?

Osran is probably the biggest mystery player in how he would get involved. Since the Oracle Coven is all about foresight and contacting spirits, perhaps there’s something to be said about how nobody saw the Day of Unity’s true purpose coming. The Collector using his power to keep oracles from seeing the truth? Belos forbidding any scrying about the DOU? There’s a theory out there that he might have been intended to join the rebellion based on the burned tapestry in “Eda’s Requiem” the BATTs pass after their first raid. Maybe not being able to see the outcome of the Day of Unity gave Osran reason to change sides.

When writing the head witches, it’s best to remember each one has a sense of irony regarding the coven they are the bosses of. Raine is the head witch of the Bard Coven despite having stage fright, Darius is the head witch of the Abominations Coven but hates messes, Eberwolf is a beast tamer despite basically being feral himself, Terra is the head witch of the Plants Coven but has a toxic personality, and Adrian Graye prefers to direct others putting on illusions rather than perform himself. In that vein, Hettie is likely that creepy doctor that enjoys the pain of patients, Vitimir likely neglects lab safety despite working with potions if his toxic breath is a clue, Mason probably prefers to work solo rather than in a team like construction jobs usually require or relies on the power glyphs instead of his strength like normal coven members, and Osran likely is senile and forgetful about the present from constantly looking into the future.

There’s also the matter of Amity still having the portal key in storyboards for Clouds on the Horizon. The Roundtable covered this in their video about season 2, how Amity and Hunter’s duel was likely supposed to end differently but the accelerated plot necessitated a change at the last minute since it was part of 2A. Amity and Hunter probably came to a draw, neither having the information to leverage. This would explain why Amity isn’t upset with Hunter the next time they meet in “Labyrinth Runners”.

The thing with Raine also confuses me. At the end of “Eda’s Requiem”, we see them being restricted by their sigil then seems fine in “Follies at the Coven Day Parade” pretending to be brainwashed. I think them being captured was supposed to be a bigger part of the plot, but again the plot acceleration necessitated a change of what happened to them and the crew couldn’t change it the same way the duel at Eclipse Lake might have gotten. This by extension would have given the BATTs a bigger role too.

Development for the Blight family was also a big thing in Season 2. We properly met Odalia and Alador, Alador got a redemption arc while Odalia got worse, the origin of Amity’s family nickname was revealed, and the twins showed interest in multiple tracks. The one person in the family that really got the shaft was Emira because she didn’t have a B-plot expanding her interests like how Edric got to show his interest in beast-keeping and potions in “Reaching Out”. I have a feeling if it weren’t for the plot acceleration, we would have seen them more. Perhaps Odalia was intended to be the season’s major antagonist similar to how Lilith was in Season 1, appearing to cause conflict in more episodes than just two.

The Collector also wasn’t intended to be part of S2 according to one of the crew’s Post Hoots. Once they learned of the cut, they decided to throw him into the mix early. He’s woven so intricately into the plot now, it’s hard to imagine what the story would be like if he was delayed until later or didn’t show up at all.

That’s all I have for Season 2. I’ll talk about Season 3 in the next part, but that will have to wait until we see how the other two specials play out to see what else was either dropped or squeezed into a montage.

In the meantime, try recreating episodes from what I’ve pieced together so far. Best of luck to all and may the Titan look down on you favorably.

#THE OWL HOUSE #dropped plot threads #hettie cutburn #mason ulrich #vitimir downpour #osran fisticuffs #alador blight #odalia blight #bat queen #raine whispers #the collector #save the owl house #more the owl house

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lokiondisneyplus · 4 years ago

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Yes, Loki series director Kate Herron knows about your fan theory about the show, the analysis you posted to social media. No, she won’t tell you what she thinks about it, or whether you were right.

“I follow all the conversations on Twitter,” Herron told Polygon in an interview shortly after Loki’s season 1 finale. “I don’t always weigh in on them, because I made the show, so they don’t want me weighing in like, ‘Actually, guys…’ I think that’s the whole point of art — it should be up for debate and discussion.”

[Ed. note: Spoilers ahead for season 1 of Loki.]

Loki has been a hit for streaming service Disney Plus — episode 6 of the show, the final installment for this season, was reportedly watched by more households than any of the platform’s MCU finales to date. The series has been a popular source of fan conjecture and argument, with one particularly big rolling conversation focusing on whether the budding romantic relationship between trickster Asgardian Loki (Tom Hiddleston) and his alternate-universe counterpart Sylvie (Sophia Di Martino) is a form of incest.

Herron is willing to speak up about that one. “My interpretation of it is that they’re both Lokis, but they aren’t the same person,” she says. “I don’t see them as being like brother and sister. They have completely different backgrounds […] and I think that’s really important to her character. They sort of have the same role in terms of the universe and destiny, but they won’t make the same decisions.”

Herron says thematically, Loki falling for Sylvie is an exploration of “self-love,” but only in the sense that it’s Loki learning to understand his own motives and integrity. “[The show is] looking at the self and asking ‘What makes us us?’” Herron says. “I mean, look at all the Lokis across the show, they’re all completely different. I think there’s something beautiful about his romantic relationship with Sylvie, but they’re not interchangeable.”

Directing the final kiss between the two characters was a complicated process because it had to communicate something about each of them over the course of just a few seconds. Herron says the primary goal was creating a safe, comfortable environment for Hiddleston and Di Martino, and after that, she had to think about how to bring across Loki and Sylvie’s conflicting goals in that moment.

“It’s an interesting one, right?” she says. “Emotionally, from Sylvie’s perspective, I think it’s a goodbye. But it’s still a buildup of all these feelings. They’ve both grown through each other over the last few episodes. It was important to me that it didn’t feel like a trick, like she was deceiving him. She is obviously doing that, on one hand, but I don’t feel the kiss is any less genuine. I think she’s in a bad place, but her feelings are true.”

Herron says directing Hiddleston in the scene mostly came down to discussing the speech Loki gives Sylvie before the kiss. “That was really important, showing this new place for Loki,” Herron says. “In the first episode, he’s like, ‘I want the throne, I want to rule,’ and by episode 6, he isn’t focused on that selfish want. He just wants her to be okay.”

Loki writer and producer Eric Martin recently tweeted that he wished the show had been able to focus more time on two of its secondary characters, Owen Wilson’s Time Variance Authority agent Mobius M. Mobius, and Gugu Mbatha-Raw’s Ravonna Renslayer. “I wanted to explore her more deeply and really see their relationship,” he says, “But covid got in the way and we just didn’t have time.”

Asked if Loki and Sylvie’s relationship suffered from similar necessary edits, Herron says it’s true that the show’s creators and audience still don’t know everything Sylvie went through to make her so different from the Marvel Cinematic Universe’s original version of Loki. “We’ve seen her as a child, but she’s lived for thousands and thousands of years, in apocalypses on the run,” she says. “I think there’s so much more to delve into with Sylvie […] You’re filling in the blanks. You see [her on the planet] Lamentis, and it’s horrific. And you’re like, “Well, what kind of person would she be, growing up in apocalypses? What kind of personality would that give her?”

Herron says Sylvie’s backstory actually reminds her of the 1995 movie Jumanji, where a young boy is sucked into a magical board game in 1969, and emerges 26 years later as a full-grown man, played by with typical manic energy by Robin Williams. “It’s such a weird reference, but…” she says. “He’s a little boy when he ends up captive in that game, and when he comes out, it’s obviously been a life experience. With Sylvie, it’s similar. She was a child when she had to go on the run, so she’s had a very difficult life. I would love to see more of it. As Eric said, she’s a rich character, there’s so much to be explored.”

Herron says, though, that during her time on the show, material about Sylvie was added rather than cut — specifically, those scenes of her as a child, being kidnapped by the TVA. “This was before my time, but I know in the writers’ room, there were lots of avenues exploring Sylvie on the run and what her life was like,” Herron says. “I wouldn’t want to speak more to those, because I wasn’t there when they were being discussed. But something wasn’t in there that was important to me — I felt we should see her [history] in the TVA. Me and the team were talking about how it made complete sense, because episode 4 is all about twisting the idea that the TVA might be good on its head. And so that’s something that came in later, once I joined, was seeing her as a child. I think we needed to see that, not to understand her completely, but to get an idea of her motivations, why she’s so angry at this place.”

Talking more broadly about the series finale, Herron says the last few episodes weren’t as heavily referential as the first episodes, which she intended as “a love letter to sci-fi.” While early images like the TVA’s interrogation rooms had specific visual references from past science fiction, episode 6’s locations were drawn more from collaborations with the crew.

“The idea of the physical timeline being circular, our storyboard artists came up with that,” Herron says. “I had in the scripts, ‘We move through space to the end of time,” and then me and [storyboard artist Darrin Denlinger] discussed how we could play with the idea of time, while also adding MCU nods. He was like, ‘What if the timeline is circular?’ I think that’s such a striking image, like the Citadel at the End of Time is the needle on a record player. I just thought that was such a cool image, but it wasn’t necessarily taken from anything.”

Episode 6 focuses heavily on the mysterious figure He Who Remains and his citadel, a space she says was largely conceived by production designer Kasra Farahani. “I remember he brought in the art of the Citadel, and I thought it was beautiful,” Herron says. “He said, ‘The Citadel has been carved from an actual meteorite,’ which I thought was such an inspired idea. And He Who Remains’ office is the only finished portion of it.”

She says there are only a few direct homages in episode 6, including the zoom shot through space, which directly referenced a similar sequence in Robert Zemeckis’ 1997 film Contact.

“And then I have my Teletubbies reference for episode 5,” Herron says. “I wanted the Void to feel like an overgrown garden, like a kind of forgotten place. And I realized I’d pitched it as the British countryside. I remember trying to explain it to ILM, who did the visual effects, and saying, ‘Oh, you know, it’s like the Teletubbies. It’s just rolling hills, but they go on forever.’ That actually was quite a helpful reference in the end, which is funny.”

Asked for her favorite set memory from shooting the season, Herron says it comes down to Tom Hiddleston starting a mania for physical exertion before takes. “Sometimes he runs around set to get himself in the right mindset before he performs,” she says. “He does pushups. You know, you’re going into an action scene, you want to look like you’ve just been running. And it became infectious across all the cast. We’ve got so much footage of — I think Jack [Veal] ended up doing it, who plays Kid Loki. I’ve got [shots of] him and Sophia doing pushups and squats, just to get ready. It was so funny watching that echo across all the cast. I think all of them ended up doing those exercises with him at some point. It was so funny.”

“That might be my favorite set story, but it’s honestly, not a sweet one,” she adds. “I would say my favorite thing is his enthusiasm. He’s a very kind empathetic person. We were filming this in quite tough circumstances, a lot of people were far from home and isolating, and he brought this warmth and energy and joy to the set every day. And I think that made everyone feel very safe and very bonded. I’m forever grateful to him for doing that.”

#Kate Herron #Loki #Sylvie #Tom Hiddleston #owen wilson

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38sr · 3 years ago

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Not sure if this is an #industryQ or not, but i was wondering how, if at all on your personal projects, you manage to get an entire idea on a page? I find sometimes I’ll have a perfect image of certain parts/shots of a scene but when i look over it again the whole scene changes in my head and it messes up the idea. Is there a way to combat this?

No worries! In fact, this is something that happens to me a lot when I'm in the thumbnail process of a storyboard sequence. Often times my original ideas are just completely different from the final product. And to a certain extent, you kind of have to accept that things will change. Especially if the work you're doing is going to be reviewed by other people, or in my case, get revisions notes from directors, execs, etc. But to answer your question, the way I get an entire idea on paper is well putting it on paper and not making it perfect. Whatever medium I use, I make it a point to put it down on something physical so I have something tangible to work with. Because in my head, it can look like the most amazing, immaculate thing in the world. But also in my head it can have the most minuscule changes and always keep evolving so I need to write/draw it. It's much easier to edit something than edit nothing. Even if it's not perfectly how you imagine it in your head on the first try, that's what revision/critique is for. So the more you get into the habit of just putting things down in paper (traditional or digital) the easier it'll be for you to translate your thoughts better into writing/drawing. Think of it like training a muscle. The more you do it, the stronger the muscle becomes, and the easier it'll be for you to flex/use. Now I will admit, I have a habit of starting with the scenes/shots I can clearly visualize in my head and very early on in my artist career being too married to those particular ideas. This actually made me adverse to feedback or revisions from others (which stunted me for a bit as an artist). Because I was too hung up about wanting this particular idea to look a certain way or play out a specific method, it hurt the overall project. Those moments I wanted were simply just moments. They weren't the full story. And I was trying the fit the story into those moments that might have not served the overall story. As a result.....I wouldn't finish and be unhappy with it. Over the years, I had to learn to view those very clear shots/scenes I wanted as springboards and not absolutes. I'm not saying to let them go completely though. It's still possible to retain the essence of what you want in a particular scene and make sure it's cohesive with the whole picture. But that comes with practice and time since it's hard to develop that skill. Personally, none of my projects or work assignments are ever 100% what I envision. And that's okay! It's always subject to change. Whether it's going back to my original idea to elevating my original idea to something different. At that point, it becomes more about putting it down on paper and finishing it than making it perfect. I'm not entirely sure if that answered your question but for the most part, I don't try to make everything I make perfect or absolute to what I see in my head. Since I'm very much a perfectionist, in order to finish a story I have to be willing to let change happen. Even if that means changing those moments I really loved seeing in my head, but didn't work out for the story I intended for. Often times, it might just mean those moments are meant for a different story. So I just....put it down on paper and save it for the right one in the future if you catch my drift.

#somehow this came full circle with the beginning lol #ask #industryQs #send me asks #writing

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hopeymchope · 3 years ago

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I haven't fully watched the new Higurashi yet (you can include spoilers for OG higurashi and the sequel in your answer, it's fine!) but from what I've heard and seen myself, Satoko was extremely out of line towards Rika and nothing Rika could've done could justify how Satoko basically abused and tortured her. The fact that they reconcile at the end puts me off because how can you forgive someone who forced you to relive your worst traumas?

*MAJOR SPOILERS FOR 2020-2021'S "HIGURASHI GOU" AND "HIGURASHI SOTSU" ANIMES HEREIN*

I wasn't sure how to speak to this Ask because the Ask itself is a massive spoiler (and obviously it's possible some people here might not be wanting that), but it's also Anonymous. So I have to answer it publicly if I'm even gonna respond. I guess I'll just roll with the huge spoiler warning there, put a bunch of spoiler tags in, and hopefully that'll do enough.

God how I hate Gou and Sotsu, though. *sigh* It's not the sequel story I hate the most out of any sequel ever, but it's definitely one of those sequels that... any time I go back to the original, it's tainted by the knowledge of what canonically came later. It'll never not be damaged by these things. Taking a story that had a beautiful and satisfying ending for decades, then going back to add a new sequel that not only undoes the triumph of that ending complete but ALSO radically reinterprets one of the beloved characters into a villain now is just... SUCH a "fuck you" to everybody who ever loved the original.

There’s nothing like hugging it out after 100 years of physical and psychological torment.

But that long-ass video I recently linked to also taught me a lot of things about how it turned out the way it did — and where you can go to get a better version of the same basic tale. Though even then, I still have a lot of misgivings.

For starters, I learned that franchise author Ryukishi07 wrote down the basics of what was supposed to happen in every arc and the overall narrative for the anime team at Passione, and then he let them handle the details. The actual scripts were handled by the writers at Passione, and Ryukishi07 said he was frequently shocked and surprised by what they did in the storyboards and scripts. He wouldn't have written things that way himself. But because he A) believed they were the experts when it came to animation, not him, and B) has always embraced other creators coming in and giving their own narrative spin to the 'When They Cry' multiverse, he always signed off on/approved anything they showed him, no matter how much it deviated from his own vision. Which, I'd argue? Was a big mistake. Because when you're giving us the first official full sequel to such a beloved story solely in anime format - there's never going to be any other "Ryukishi's version"? That means you need to make sure the characters are being done right and the events make sense. You need to make certain it's all true to that original tale. No, maybe this isn't the medium you're comfortable writing in. But that doesn't mean you can afford to look the other way when you think "Wow, that's completely NOT what I intended" over and over.

Secondly, I learned much more about the manga adaption of "Gou" and its own unique take on the sequel — which is called Higurashi Meguri. By the time Sotsu was finished airing, the "Gou" manga was just wrapping up, and the mangaka embraced the opportunity to do take the same framework and tell a version of the story that is significantly different. The result is that the manga is much more in line with the characters and tone of the original story than the anime was, because the author has seen how much the anime didn't work and is able to course-correct in a million small ways. The same basic events are there, sure. But it's all about a hundred times better-handled so far.

HOWEVER... there are some flaws that are going to remain inescapable. When you end one season/series on a cliffhanger that you proceed to ignore for like 13 episodes before you get around to dealing with it in the second season/series? That’s stupid, and it’s an example of something kind of inescapable in the structure of the damn thing. More importantly, as far as I'm concerned? The entire concept of this sequel was doomed from the fucking jump. Getting a version with better writing and better motivations and more believable actions on the part of the characters is GOOD, sure, but that doesn't mean it's not STILL a huge "fuck you" to have these basic events take place at all. Y'know? Like, I respect Meguri, sure. But I still don't particularly WANT it.

...this is all a really overlong lead-in to my point, which is that: In Gou and Sotsu, they sometimes try to imply that Satako isn’t really in control of her own actions, Or at least, the Satako we’ve always known isn’t in control? There’s seemingly a new, second personality in there - a “witch” who may or may not have been brought into existence by her interactions with Eua inside the sea of fragments. (And again: The whole “a god-being inside the physical domain of the the sea of fragments is communicating with Satako to cause her to become corrupted” is something I find inherently bad and dumb that you can’t really ignore in this story.) So this arguably removes some degree of guilt from Satako? (This is heavily muddied by how the storytelling handles the whole “Dual Personality” aspect in a bad way, but that’s another can o’ worms.)

On the flip side, the alternate telling of these events in the Higurashi Meguri manga takes this idea much farther, making it far more blatant that Eua damages Satako’s mind against her will and forcibly manipulates Satako into her new corrupted form. Satako is far more of a victim in Meguri than she ever is in the anime; it’s obvious that she’s not in control of anything anymore. She’s just a puppet that Eua is using to ensure that Rika continues to be “interesting.”

So I guess my point is, yeah, I get what you mean about the anime in particular. I guess this is supposed to be an exploration of how their relationship became too co-dependent, but it really just makes Satako look like a psychotic asshole. But in the manga? Well, Meguri isn’t finished, but at this point, I can far better understand why someone would forgive Satako in THIS scenario. It really isn’t her fault that this happened to her OR Rika.

#higurashi spoilers #higurashi when they cry #higurashi: when they cry #when they cry #asks #anon #hiugurashi gou #higurashi sotsu #higurashi meguri #higurashi gou spoilers #higurashi sotsu spoilers

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red-riding-wood · 2 years ago

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Writing Plans for 2022

I'm gonna slap a read more tag on this because it's gonna be a long one. Basically just an overview of what I will (probably) be writing this year.

My New Years resolution was to absolutely crack down on my writing and pump out more pages than Stephen King but we'll see if that actually becomes a thing.

My priorities, kind of in order but also not really because I am a very indecisive person:

Also, requests are not featured on here because I intend to do those sort of in between my actual fics. But I swear they are on my mind and definitely on "the list"!

My Peaky Blinders fic (White Ribbon). This will be a two part novel series so I think the majority of my efforts will be going towards this. I at least need the first written this year but will hopefully power through into Book 2.

A bunch of other things for Adrien Brody characters because I am down bad and nobody can stop me. Confirmed (in my mind) so far includes: - The Grand Budapest Hotel - bringing Alice back for a multichapter AU of her and Dmitri rather than Jopling - The Darjeeling Limited - have a lil multichapter fic planned for this - King Kong (2005) - Look, hear me out. It's a really cool world that I want to write in. Also, Adrien. - Chapelwaite - Main reason is again Adrien but also I really want to write horror and love the gothic sort of setting. Probably will wait for season 2 to come out first though. Also may use Charlotte (my Peaky character) for it.

I'm probably not finishing that Willem challenge... but I still have a lot of his stories that I intend to follow through on because they will haunt me otherwise. These include: - World on Fire (Light Sleeper) - A two part novella? novel? that uses my character Kelly from my old Far Cry 5 fic and it keeps calling to me, especially the ending scene, so I know I need to finish writing it. - a currently unnamed fic for Murder on the Orient Express - I also have so much inspiration for this and I can't wait til it's written but I have some things in the storyline and character to fine tune first. This will probably come when White Ribbon and World on Fire are finished. - Finish Verum Vindictae (John Wick). I can't let this one fall into the abyss of abandoned WIPs but I also don't really have the inspiration for it right now. - I do have to finish LEOMB though can make no promises when - Potentiallyyyyyy an Aquaman fic that I didn't have a full storyboard for but some ideas for. I love the world of this film and what I had in mind would be very dark, almost horror-esque. - Also potentially a fic for Roadhouse 66. I have the first chapter written, a character, and nearly an entire storyboard. I just don't know if I care enough about it to invest the time. - also potentially (but less likely) a Beyond Two Souls one

A Modern Warfare fic because the nostalgia for COD is hitting me hard again and I think I actually sort of have a couple ideas for it. And I had no idea that so many people were horny for Ghost now so it's actually a thing.

Finish my Far Cry 5 fic. The sequel will probably be in 2023 realistically.

Potentially more Wes Anderson stuff even if it doesn't involve Adrien because I just love his worlds; they're huge comforts to me. But this is only if I can think of good ideas.

A couple original works. Short stories and some poetry. I don't know yet if I will be posting them, though.

If I'm feeling ready for it, and have written enough of my long to-do list, then I may start on my dark western novel that I intend to publish. Won't be posting here because if my real name was ever associated with this I would probably become a hermit. But of course whenever I do end up writing it I can keep anyone interested updated.

Monster sequel in um... 2023? 2050, more like it.

Also let me know if you'd like to be on the tag list for any of these specifically or in general and if you'd like details on any of them since most currently exist in my head.

#updates #writing #fanfiction

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love-takes-work · 4 years ago

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Steven Universe: End of an Era: Outline & Review

I wrote this review in October but never got around to posting it here

Steven Universe: End of an Era is far more than an art book–it’s also a collection of behind-the-scenes material, stories about the experience of working on the show, planning documents and associated background info, and both older versions of developed concepts AND concepts that never made it into the show. It's a huge fusion of all those elements, and it's definitely an experience!

Some low-quality images are included with my review just to give you an idea of what’s there--it’s not a good substitute for getting your own copy, but here’s a tour!

Like the previous concept art book, Art and Origins, I'll be giving you a description of the structure and overview, while also collecting notable information for fans. Obviously just about everything is "notable" once again, but I'll aim for unique insight or perspective on the main source material, keeping the screaming about everything new to a minimum so you can also enjoy something for yourself if you pick it up. My low-quality photos should prevent people from feeling like I'm reproducing the book in any capacity. Please grab one while you can and have your own experience!

[SU Book and Comic Reviews]

OVERVIEW

The book is titled "End of an Era" for a couple reasons--obviously because it is released after the show has wrapped, but also because Gem history recently ended its "Era 2" and began Era 3--an age of prosperity and peace. The author--the person in charge of adapting all of this information into this slick, readable package--is Chris McDonnell, whose work was previously applied on the Art and Origins book.

The foreword is by N.K. Jemisin, a well-known science fiction author who's a huge fan of the show (and wrote a really excellent series that also has a weird geological connection, by the way).

And the cover, like its predecessor, is shiny and decorated with a beach scene featuring minimalistic characters--this time it's the Gems at night in front of the Temple, and on the back cover is a big pink leg ship in a cross-legged pose.

The interior covers are decorated with tons of amazing sketches of Steven and Connie on the front, and a bunch of Gem sketches on the back. Every interior page that most would leave blank is highlighted with some kind of sketch art or character exercise--it's so much to look at, so much to absorb.

The book is dedicated "For Eddie."

Its organization is different from the previous book in that it shares applicable work in chunks associated with groups of episodes rather than pertaining to different aspects of building the show.

FOREWORD

N.K. Jemisin gives us such a great introduction to the book--apparently understanding very well that the audience of this book is full of animation enthusiasts and adult fans more than it is full of kids, and explaining that bewildering journey some adults had from blowing this show off as a silly kid thing to falling in love with it hard and fast.

The important thing, Jemisin says, is being able to trust a storyteller with your heart. And it was clear to her that Rebecca Sugar knew what she was talking about and was saying important things about identity and the radical power that comes with accepting it and demanding respect.

Important also is how we handle heroes and who gets to be one in fantasy. That's part of the reason Steven Universe speaks to so many--because we see ourselves here, and know stories can be about us. Acknowledging the power we all have to MAKE THINGS BETTER with what we fight for is so important--especially if we're going to speaking to the next generation about it.

Highlighting Rose Quartz as a "born leader" who failed and Steven as a relatable scamp who did what she couldn't, Jemisin asserts that we can save the world.

1. END OF AN ERA

We start with an appeal to the audience to think about identity and the formative parts of our childhood--and how different it is if who you are and who you become is restricted, mocked, erased, or Not Allowed. Most people, if not ALL people, can relate to this, but for those of us with a special relationship with Steven Universe because of queer identity, this hits hard.

But it doesn't have to be anything grand to be something we respect--this show's authenticity comes largely from how personal everything is, drawn from real-life experiences and incidental truths from each artist's perspective, leaning hard on childhood and formative experiences.

Rebecca Sugar offers some interview bits to discuss writing philosophy and why "writing female characters" was difficult for a nonbinary person who'd been socialized as a girl and a woman. Rebecca has spoken before about how frustrating it is that marketing for cartoons was SO gendered when she was growing up (and to some extent still is).

The Gems in the story are all "she/her," but on their planet they're defined by their work, not by emotion or relationships (unlike women in our society), so having them be socialized opposite to how she was and be able to claim those emotions through choice and NOT as just an expectation "as women" was revolutionary. Rebecca wants her show to tell all marginalized people that they don't deserve to be in the margins.

Weighing in on other aspects of the show were Ian Jones-Quartey, Joe Johnston, and Miki Brewster. Ian describes feeling like at first doing SU was a thrill ride that meant they'd finally get to do all the cool stuff, but it quickly became a responsibility that he took very seriously--the need to tell a good story now that he'd been given a megaphone.

Promotional art, planning documents, character sketches, and concept art from the lighthearted to the stone serious is included, along with some very cool (sort of famous) timeline charts that track major characters' developments. It's emphasized by Rebecca that the developmental materials ARE NOT CANON (and especially are not MORE canon) compared the final show.

There are concept sketches alongside final art for Aquamarine and Topaz in "Wanted" (with Topaz labeled "Imperial Topaz"), the Zircons in "The Trial," Blue and Yellow Diamond, and the Off Colors (including Pink Lars).

And there's also a spread of "the two sides of Steven's life: Gem Magic and Rock N Roll" featuring Sadie Killer and the Suspects (referred to as "Buck's band")--as well as a cool "Crew Cameos" key and some concepts for short-haired Connie.

And then there's some more "finished" art with stills alongside concepts, including some background art, revision, and really cool "fairytale" art from some of the shadowplay storytelling bits. We get "Lars of the Stars," "Jungle Moon," and "Can't Go Back."

2. THE BEGINNING OF THE END: A SINGLE PALE ROSE

In discussing the huge reveals and Gem mysteries in the show, the pacing is examined, and emphasis is put on the intended "slow burn." One of the most difficult things in the show was to strategize so that every piece that was needed to support another piece in the future was placed properly to seed what it was supposed to.

Some of the ideas they developed were more of a group effort and were fit together collaboratively (like Amethyst's being younger than the other Gems and Jasper being from Earth), while others were intended from the beginning based on Rebecca's vision (the fundamental idea of Pink Diamond's true identity, for instance, as well as Obsidian's design and sword and our Pearl not being Pink's first).

The writing process gets a great deep dive here, including fun tidbits like how the orb in the moon base was inserted by Joe Johnston and they literally had no idea what it was for when they wrote the episode. They repurposed it when they figured out what they needed.

Rebecca credits her detailed timelines for helping keep the order straight, and discusses how other artists are sometimes flabbergasted that a storyboard-driven show can have this much detail and continuity and yet not get wrecked by the free non-scripted boarding process. But Rebecca and the Crew valued that approach and loved the way fresh eyes would handle an idea, making it come back alive, entertaining, vivid.

Several Crew members weigh in on the writing process. Lauren Hecht refers to making lots of incorrect guesses despite being on the inside. Joe Johnston recalled getting briefed on his first day and getting so excited to start working on this massive project.

Miki Brewster remembered being told Rose Quartz is Pink Diamond and being shocked--and also confused about why Ruby and Sapphire would need to be married if they're already basically married. Drew Green talks about being brought in late and getting to watch unaired episodes and a rough of the movie while eating cereal.

Ian Jones-Quartey complains about Pink Diamond's real jester-like form being leaked to the internet through a Hot Topic shirt. Rebecca piggybacks on that and says it was upsetting that the wedding was leaked because of toy fair keychains featuring Ruby and Sapphire in wedding attire. They'd always be worried about leaks, and sometimes Rebecca struggled not to talk about the reality of Pink Diamond before the reveal because she knew it would make so much more sense once the truth was out. And everything associated with Rose makes more sense once you know she's Pink--especially what happened with Bismuth, considering what we know about how Pink Diamond has a habit of treating anyone who no longer serves her interests.

When it comes to visual cues, Rebecca also talks about intentional designs to create a feeling of unity between concepts, like the flower shapes on Pink Diamond's palanquin lining up with the poofs of Steven's hair and the star imagery of the series. Steven Sugar and Mary Nash discuss how the Human Zoo incorporated this imagery, trying to look like Homeworld with a Pink Diamond touch.

Steven Sugar, as a game nerd, liked to throw in video game references from old and modern stuff to feel like he's inserting what he's enjoying and who he is from moment to moment, while Mary Nash, who related to Sadie as a basement-dwelling young person with cult interests, liked to include stuff from MST3K and cult movies. Pearl's hand gestures get a spotlight too--her reflex to cover her mouth when Pink Diamond was being discussed was analyzed here.

A "Top Secret Visual Timeline" from 2016 is included which tells us some Diamond history. It has an earlier version of Pink Pearl's fate and does not include Spinel since the movie hadn't been greenlit. The timeline includes the birth of the Diamonds, the emergence and major story beats for each major character, and some philosophy of the driving force behind each.

We're told that Pink Diamond straightened up, behavior-wise, after she lost her first Pearl, and that Yellow and Blue wanted to give her a planet but White only agreed to it to prove she would fail at managing a colony. Pearl, meanwhile, is so confused to have a Diamond who keeps asking her what she thinks when she doesn't believe she should have opinions.

And when Pink moonlighted as Rose to start conflict, she found herself leading an army to fight Pink's troops--then Yellow's, and eventually Blue's too. Lapis is said to be waiting for the conflict to end on Earth so she can terraform, but she gets trapped instead.

Pearl's love story with Rose is described as "an endless honeymoon" where she's free to love her, while Rose's is more like "I'm now the head of the family and I'm going to give everyone what they never had, so everyone is super special!"

Jasper is described as "adopted" into Yellow's army as the only successful Beta Quartz. And White Diamond knew that Pink Diamond was not dead--she thought she was just running away from home like a brat and would eventually be back.

3. THE HEART OF THE CRYSTAL GEMS

Now we discuss Rose Quartz--the original Pink Diamond. How she was selfish and selfless, never enough and always too much, and how Greg was her first partner who "challenged her" to be an equal. Rebecca describes Rose as being delighted by the idea that both she and Greg reinvented themselves, but when that leads her to want to share her past, Greg isn't interested--he only wants to know who she is now, and doesn't consider the old her to be her.

Rebecca likes Carl Jung's concept of "enantiodromia," which is the idea that extremes lead to their extreme opposite. This is demonstrated in all of the Diamonds. This narrative is interspersed with drawings of Greg and Rose being cute.

But another "heart" of the Crystal Gems is its relationships--particularly, Garnet, the fairy tale romance embodied. More psychological theories are discussed with regard to differentiation in a relationship making the relationship stronger, and how they made sure that happened for Garnet during the appropriate arc. Rebecca has struggled with the idea that she, like Ruby, went straight from a "family" group to a living-with-others situation and never lived by herself. But she also learned that you can in fact develop as a person in the context of a relationship--you don't have to be alone to do it. Ruby learned that too, and chose on her own terms to be with Sapphire.

The wedding made so much sense to Rebecca and the crew that they couldn't imagine a wholesome couple like Ruby and Sapphire not having a wedding episode. They wanted it for years: The wedding concepts always included the tuxedo for Sapphire and the wedding dress for Ruby.

But pushback (often blamed on the conservative standards of the international market) led to negotiations trying to keep Ruby and Sapphire's relationship from being explicit. Rebecca and the Crew were very tired of this double standard, and they were especially irritated by attempts to claim a wedding wouldn't be well received by a core demographic or wouldn't make sense for Steven's character. But other shows had done weddings and Steven had been established to love weddings already.

Rebecca kept adding more elements to the wedding episode to answer all the concerns, but she didn't want to back down from explicit marriage between these characters. They deserved it. And the audience deserved to see this as wholesome, like any other cartoon wedding. Eventually they got their way and were allowed to have the wedding. But the ordered episodes were also coming to a close without promise of more, so Rebecca had to request more episodes to be able to wrap up the storyline!

And of course, there is Steven, the true heart of the team. A very interesting aside discusses Garnet's leadership and how the network pushed the Crewniverse to acknowledge Steven as the leader. This was successfully resisted throughout as well--because Garnet is the leader (unless she's incapacitated, of course). It's fantastic that this concept was preserved because too often a young male chosen one is elevated above people with more experience and knowledge because of that chosen one tradition, so it's really nice to have a show acknowledge that team leadership is more appropriate for an adult.

4. ERA 3

Beginning with a discussion of the Diamonds, this chapter deconstructs the dysfunctional "family" of the Diamonds (who are said to be based on tropes about evil stepmothers and stepsisters), with the thread of dysfunction originating with White Diamond.

Yellow is physical, Blue is emotional, White is judgmental, and Pink is impulsive. Some philosophy on why Pink is naturally manipulative and why she clashes so much with White is offered.

White believes her identity is to be imposed on all because she is the pinnacle of what should be--and therefore, she has the right to make decisions and statements about and on behalf of everyone. But her secret is that she can't do what the others do--act or feel or want. In trying to be everyone, she is no one.

And this becomes very important when she confronts Steven about his identity and turns out to be wrong. The triumph of Steven being totally, fully himself is a beautiful, simple revelation that's described as far more satisfying than the theories about Pink living inside him or Rose returning from his Gem.

Also discussed is Gem architecture. A lot went into this idea, and Steven Sugar weighs in to say he had to think of what it would mean for a world to have buildings but serve no human needs. That's why it's mostly focused on transport and storage. Even the broken planet is meant to indicate a place stripped for its resources, and everything serves a function that is meant to avoid looking like the human equivalents.

And there's another layer, too: a difference between Era 1 and Era 2. Era 2 became more functional to hide Era 1's broken bits, and older Homeworld buildings still have some "ornate and ancient" feel to them. And the fact that props, tools, and even walls and doors could be living was taken from a concept Rebecca thought was horrible from old Busby Berkeley movies, where people were inanimate objects and it was portrayed as lovely. Tom Herpich helped conceptualize these living objects.

Steven dealing with "princess tropes" is discussed here too. The Pebbles (worked on with Pendleton Ward) were sort of his Cinderella's mice, and all the locked-in-a-tower, having supportive tiny friends help you, getting princess clothes made, attending a ball, having to mind your manners stuff was intentionally related to fairy tales.

The point of doing that (besides fun) was to easily invoke the feeling that Steven was being made to be someone he's not, and that he was being treated like THIS is who he really is when it isn't. White Diamond as the "evil stepmother" is discussed with regard to her detailed features and massive scale. They generally didn't put fingernails and eyelashes on characters (especially not to indicate that they were women or girls!), but they decided White would get all of these feminine markers for tradition's sake.

Rebecca also invokes several other references that were included and describes the princess tropes as "chipping away at his integrity" setting him up for the final challenge with White.

There is again tons of concept art: Homeworld architecture, Pebbles, Diamond diagrams, background Jades and Lemon Jade Fusion, Comby, Diamond extraction chambers, and White Diamond.

5. CHANGE YOUR MIND

Now we finally begin to discuss Steven's identity. The "Perfect Steven," discussed in several interviews before this book's release, was an idea back in 2013; the "ultimate Steven," beefed up and shonen-looking, was far from perfect because OUR Steven is perfect, while this alpha hero Steven idea (used in Steven Universe Future) didn't belong being idolized in such a show.

They thought about having Steven fall apart into organic half and Gem half early in the show (during "Giant Woman" after a successful fusion and unfusion, even!), but they didn't try the concept until the last episode. They didn't want the "Pink" Steven to be portrayed as "better" even though he would be more powerful, so they decided he isn't whole without his organic self and he's just as much of a shell as the organic half. They absolutely did not want any ending that required Rose to be inside him or waiting to come back. But the debates were fierce--what DOES it mean to have Rose's Gem?

Ian Jones-Quartey brings in an anecdote about his own family to emphasize some of the immigrant themes that inspired aspects of the show. He had a brother who reinvented himself elsewhere away from family without resolving issues, and all the ramifications of that were explored in the show through Rose Quartz. (He is careful to say he doesn't think his immigrant experience is like being from another planet!) But he did say you can hurt your old family even if they were toxic or didn't know the real you, and you can hurt your new family by hiding your past. The Pizza family of course was also a more direct reference to Ian's Ghanaian family.

In talking about the new Fusions from this episode, Sunstone is largely described by Miki, who also got to board the Sunstone section. Sunstone was described as a cool 1990s character and the evolution just continued into making them a fourth-wall-breaking PSA dispenser. Obsidian is also discussed, with their sword being an early concept. Steven Sugar said they totally knew it would be forged in action. Obsidian being similar to the Temple design is of course another very early detail.

The story of how James Baxter got involved with one of the final scenes (Organic Steven and Pink Steven fusing in front of White Diamond) was shared. His family was fans of the show and Rebecca Sugar took the time to drive to a birthday party for his daughter and give her a drawing. He then owed her a favor, and this was it.

Concept art is again included, this time with sample boards, promo images, a Diamond fight concept, costume design changes for the Gems, new Fusions, the so-called "Mega Diamond" ship conglomerate, some scenes from the White Diamond confrontation, Pink Steven, multiple pages of James Baxter animation, corrupted Gems and their healed selves, and photos from the "Change Your Mind" premiere and some awards. The show has won one design-related Emmy, a Peabody Award, and a GLAAD award.

6. STEVEN UNIVERSE FUTURE

The book doesn't cover the movie because it got its own book, but dives right into Future. Ian Jones-Quartey emphasizes that the movie and Future are separate and different from the original show, which ENDED. After all, after that, Steven has a neck!

Some new names are invoked now: new writers Kate Tsang, Jack Pendarvis, and Taneka Stotts. They were excited to have Steven make HIS OWN mistakes instead of trying to clean up someone else's! Now, instead of doing the usual shonen anime thing and having the final battle be a big physical rumble, Steven has to make peace with himself and take an active role in coping with what all the fighting has done to him and what effect it's had on who he is (and who he wants to be). There is no sudden "I love myself!" answer, either. It's always a process.

Drew Green and Maya Petersen, who came on board as storyboarders officially in Future, also weighed in on writing for a "mature" show, how to deal with Steven being a "moral compass" while being sort of unreliable, and what they learned as Crew that they didn't know as fans. Drew didn't know Garnet never asks questions. Jack didn't realize the show never deviated from Steven's point of view. Taneka was nervous but excited to collaborate. Kate was worried about how established the show was and what to do as a new writer to contribute appropriately.

Maya was on the old Crew but not as a storyboarder, so felt like some of the "old" ideas ended up not being appropriate for the "new" Future in an embarrassing way--and dreaded the idea of dealing with Steven's emotional problems when they were similar to stuff she'd been through. She also was personally behind the idea of Steven wanting to dump his problems by becoming Stevonnie, and got to work with Etienne Guignard on inventing the Pearl creation backstory with Volleyball.

There's some discussion of "depression hobbies," stress, and the show's pacing. And they say Etienne was entertaining at pitches. There's even some discussion of how Greg is taken off a bit of a pedestal because his terrible restrictive life in the suburbs sounded wholesome to Steven and Greg presented it negatively.

And then there is some information about how the Crew felt behind the scenes due to fan reactions and negative press. Ian discusses feeling offended when the Black characters are described as bad examples, as if their cartoonized but realistic-in-context features are automatically caricatures.

Rebecca Sugar felt beaten down by some of these narratives and began to access mental health services, inspiring some of the content of "Mindful Education." A long reflection from Rebecca discusses people's infighting about her show and what she had a responsibility to show or not show in the story. She learned a lot about bullying from Cartoon Network's anti-bullying program and learned that bullies thrive on whatever attention you give them--unless it is made clear to them by a peer group that no one is impressed by their cruel actions. Also, not all negative feedback is bullying. Constructive criticism is different. Self-awareness can help you avoid internalizing what bullies might do or say to you.

Segueing from the discussion of how people are affected by and connect with the show, we then discuss how they chose as a team what should be covered as the show came to a close. They didn't have time to do quite a few stories they wanted time for, like a Rhodonite story, a Lars side story, and Diamond "prehistory" and religion; all of it was put aside for the main arc with Steven.

They thought people would find those stories about Homeworld and Off Color history very interesting, but so much of the show had been about Steven's Gem adventures, so keeping him mostly on Earth seemed appropriate. The acknowledgment of his battle damage, of his trauma, was necessary and real, and helpful in an important way to the core audience.

Oh, and there was some stuff about a cheeseburger tree. Don't ask.

In discussing the "reverse escapism" of the original show (Gem aliens are intrigued by everyday human culture, and realism is necessary), Rebecca says her views have changed on escapism and gets why some people want a soothing feel-better show. She acknowledged also that her own escapist dreams-come-true fulfilled in the show didn't feel like escapism because they were givens to the majority of mainstream culture, but were never guaranteed to marginalized people.

Rebecca ties in her several-times-told story about "Love Like You" and how the middle bit was when she didn't feel she was worth looking up to, and the realizations she had to tie the beginning to the end. Feeling like someone will like you less if they know you more is terrible. So sometimes a show like this can be helpful in telling people that they belong when their fantasies are things like "I want to be loved" and "I want to know I exist."

In Future, Steven has to connect to who he is and love that person--and understand that person enough to finally feel that even if he's not fixing their problems or saving their world right this second, Steven deserves his family's love and support, and they WANT to give it to him.

There's a huge amount of supplemental material in this section so there's no way I could name it all. The charts for Future's timeline are pretty straightforward, though a few episodes like "A Very Special Episode," "Why So Blue," "In Dreams," and "Bismuth Casual" aren't specifically represented and a couple are in a different order ("Prickly Pair" was conceived as happening after "Fragments" and "Homeworld Bound").

Steven feeling like a monster, having intrusive thoughts, having not forgiven the Diamonds, and getting help/moving on--it's all there.

We have keys, color scripts, and boards for the new opening and some various backgrounds and storyboard art from episodes. Model sheets for Shep, Nice Lapis and Mean Lapis, Jasper, Steven Tag Gems, Pink Steven Powers, Monster Steven. New house concepts, Era 3 Homeworld concept art for the Diamond environments, and background art for the Reef.

New Connie and Greg designs. Concepts for Mega Pearl, the Rose Quartzes, Bluebird, and Morganite (who didn't get used). And there are some photos from recording and the conference room. There are even some extras from "Crossover Nexus," the crossover with OK K.O.!--including an unused cut scene that included Ruby and Sapphire fighting. The rest of the book is a bunch of adorable Crewniverse art--extras, blog drawings, promos, and gifts to each other.

NOTABLE

The first timeline chart in the book features a cool sketch of the original Off Colors, which at the time this planning document was drafted included unused Off Colors Flint and Chert.

We knew of their existence already because of an episode of the podcast, but these two unexpectedly appeared as incidental characters in the Steven Universe Future episode "Homeworld Bound," identified only in the credits. Sad to think that instead of banding with the Off Colors, these two were probably shattered for their crime (being Quartzes who don't want to fight) and that's why we see them being repaired in this episode. Later, there's some brainstorming for types of Off Colors and "a Ruby that wants to wear limb enhancers" is mentioned as well.

It looks like there was also originally more juice to the story of tracking down the events of the war culminating in Pink Diamond's assassination.

One of the timelines talks about Steven thinking it makes sense that Pearl can't talk about her involvement because she might have been a double agent, explaining why Rose Quartz always knew what Pink Diamond was doing. It seems like that bit was supposed to be included in Garnet's version of the story she believed in "Your Mother and Mine." Seems like they originally conceived Garnet's story to inspire the Off Colors to become pirates and freedom fighters, though in the show's canon this storytelling happened after Lars had already reinvented himself the way he did.

Sadie was also supposed to be sending letters to Lars via Steven, which is funny since the "Letters to Lars" episode is just a montage Steven letter. And of course it's specified that Steven was supposed to get Pink Diamond flashbacks by going to the Palace on Homeworld.

The second chart in the book makes references to Sadie's reinvention of herself as a parallel to Lars, Greg, and Pink Diamond all doing the same thing, and how positive it is to embrace such a thing--a version of yourself that YOU create.

I love that Yellow Diamond's arm ship arm-wrestling the Cluster was always part of the plan.

There's some more explicit direction to have Connie help Steven understand the Diamonds as "strict parents," and a lot more emphasis on everyone realizing Rose had been inspired by THEM rather than them all following her.

White Diamond is presented here as if she thinks of Pink Diamond as a "daughter" (whom she now understands she has "lost"). There are notes on how the Diamonds have a responsibility to their children and should attend to it before just continuing to make more.

One of the concept art images for the Off Colors features Rhodonite crouching by Padparadscha saying "Don't worry, I won't let them hurt you." It's very interesting because she DOES seem to protect Padparadscha in the show, but doesn't seem confident about it in her final version, even though it does seem like she'd be "programmed" to guard aristocratic Gems because of her Ruby and Pearl makeup. Cool.

A "Crew Cameos" spread was included, which is of great interest to some of us who loved seeing the Crew insert themselves into the show. Not every SU Crew person who's been represented in a crowd was there, but this crowd included Amish Kumar, Kat Morris, Amanda Winterstein, Angie Wang, Lamar Abrams, Emily Walus, Mary Nash, Joe Johnston, Christy Cohen, Danny Cragg, Hilary Florido, Danny Hynes, Matt Burnett, Ben Levin, Elle Michalka.

The official national flower of South Korea, Hibiscus syriacus, is the name of Pink Diamond's flower.

One of Steven Sugar's comments about the silhouette difference between humans and Gems points out that humans have ears. This seems to be pretty good confirmation that they are not supposed to have ears, despite that sometimes we'll see ears drawn on them in some frames.

Rose Quartz/Pink Diamond is characterized in this book as "self-hating" in a really interesting way, saying that because she believed she was not capable of compassion, she practically worshiped those who demonstrated that ability and thought they were so much better than her--which is described as "intoxicating" and resulted in others being drawn to her. How interesting is that!

Timelines reveal that early plans for Pink Diamond's first Pearl originally had her getting destroyed by Pink during a game, and then her destruction was rewritten as a punishment from the Diamonds after Pink Pearl defended Pink Diamond to the other Diamonds. They went back to the idea of her getting hurt by Pink for the final version, though the cracked face and control by White Diamond was not on the agenda until they started writing "Change Your Mind."

10.

The approximate ages of the major characters, based on emergence, are revealed on these timelines. It begins with a cracked-planet-looking graphic depicting four tiny Diamonds emerging at 20,000 years ago. Some suspicious "blacked out" redacting surrounds a long timeline tail that goes back before that, which may mean there are secrets they still don't want to reveal. But the dates go like this:

20,000 years ago: The Diamonds emerge.

11,000 years ago: Pearl is custom-made for Pink Diamond.

8,000 years ago: Sapphire emerges (on Homeworld).

6,000 years ago: Ruby emerges (on a colony).

5,750 years ago: Garnet is formed.

5,600 years ago: Lapis is poofed and put in the mirror.

5,200 years ago: Jasper emerges (on Earth).

5,050 years ago: The Cluster is planted.

5,000 years ago: Amethyst emerges (on Earth).

4,500 years ago: The Crystal Gems found Amethyst.

3,000 years ago: Peridot emerges (on Homeworld).

40 years ago: Pearl found Lapis's mirror at the Galaxy Warp.

And of course we know 14 years ago Steven is born!

11.

Originally the Diamonds were based on a quartet of themes: Love, Fear, Pride, and Sorrow. It got too complicated to keep and it was abandoned, with Pink's identification of "love" being described as "particularly outdated."

12.

Notes on a sketch say that Pearl was inspired to become bold and unashamed because Pink's questions drove her to have opinions, and it's said that Rose "fell in love" with her boldness.

13.

Rebecca tells the story of driving off a ridge and getting stuck in the desert, comparing this to Ruby's tumble during her Wild West adventure and using it as inspiration. She's told this story before but here it is in print. She also included the story about using the flowers from a friend's wedding to put in Ruby's hair.

14.

Rebecca describes having to "fight" notes she was given when it had to do with Ruby and Sapphire's relationship. One she describes as NOT fighting was for a signing card depicting Ruby and Sapphire dancing. It was called "too romantic" and she decided not to worry about it since it wasn't the actual show content.

She was also scolded over her book The Answer because the powers that be expected her to downplay that relationship. She always argued that queer youth deserved these things.

15.

Tom Herpich describes being inspired to name Blue Diamond's comb "Comby" because he was watching the news about Comey getting fired from the FBI. It's also a mineral-related term and I always assumed that reference was intentional, but maybe it's not and this is the only intended significance to Comby's name?

16.

Rainbow Quartz 2.0's design is not discussed, though the other two new Fusions from "Change Your Mind" (Sunstone and Obsidian) were. RQ2 has some sketches included, but no accompanying narrative in the text.

17.

A sheet of corrupted Gems and their healed selves is offered, though it doesn't appear to be final. The obelisk in "Serious Steven" is labeled Albite. The unnamed Worm Monster, Desert Glass, and Watermelon Tourmaline are included. An unnamed birdlike Gem represents the Big Bird monster from "Giant Woman." The crab monster from "Arcade Mania" is labeled Blue Chalcedony. The Tongue Monster is drawn uncorrupted but not named. The Flower Monster from "Back to the Kindergarten" is labeled Grossular Diopside or Titanite. The invisible monster from "Island Adventure" is labeled Moonstone. The Lighthouse Gem is labeled White Topaz. A form for Larimar that was used in "Change Your Mind" but changed in Future is there. The Slinker is listed as Chrysocolla. And the Crab Monster is listed as Aventurine.

On the next page, this is changed to Bixbite (as it was in Steven Universe Future), and we then also have Lace Amethyst, Blue Lace Agate, Crazy Lace Agate (Fusion), Ocean Jasper, the Mother Centipeetle Nephrite (Facet 413 Cabochon 12) and three other Nephrites, Angel Aura Quartz, a hooded Jasper, Zebra Jasper, Biggs Jasper, Watermelon Tourmaline (labeled as Fusion of Gem * Onion--huh?), Snowflake Obsidian, "Little" Larimar, and Orange Spodumene (who was the Worm).

18.

The Rhodonite side story would have been about the love story of a Ruby and a Pearl working for Morganite. Images of Morganite and her servants, unfused, are in the book. We do not get this additional information, but Rebecca said in a panel shortly before the book's release that Rhodonite's story would have been about finding out that she had been Rejuvenated 17 times because her components kept falling in love and needing to be reset.

19.

Referring to the Diamonds on one of the charts, Steven's perspective is "I can't believe I helped these" and then there's a censor bar. Welp.

20.

Some included art by Hilary Florido features Kevin with a souped-up Koala Princess car and another where Kevin is staring at himself in the mirror in front of an altar to himself.

21.

Rebecca's sweater collection is included in the Crew art.

[SU Book and Comic Reviews]

#steven universe #steven universe end of an era #su spoilers #long post #su merch #myblog

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lutiaskokopelli · 5 years ago

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The Fifth Save - Player’s Inventory

I’ve been working on these on and off every now and then, depending on what kind of fake screenshots I needed to include in the comic... But now, here we are. I think we finally have a somewhat final look for all of those. I remade the inventory screenshots also for the kind of pages that we already know, but I thought it’d be a shame if I never made public a high quality version of what Player’s inventory really is like ! So, here you have the pages for the mods she can use, and for the weird NPCs-related items that somehow got scattered throughout Hallownest.

Some comic news now :

I’m finally done with the final oral exam I had today, and now, even though I still have some IRL stuff to take care of, I am pretty much sorta on vacations for the two weeks to come; and I obviously intend on spending as much time as possible on drawing the comic !

However... I’m impatient. I’ve been changing the plot for a while because I kept getting new ideas of what to do, and this Epic Let’s Save Quirrel Mini-Arcventure has been lasting for WAY longer than I originally planned. So here’s what’s gonna happen... I’m gonna sketch / thumbnail a final version of all the pages that separate us from the end of that mini-arc and the beginning of, finally, the part where the characters can answer your questions. And only when I have a definite version I’m satisfied with, I’ll work on finishing the pages update per update. I mean, I’ll still probably spend some time finishing a few pages anyway here and there, but I don’t think I’ll feel satisfied finishing a page before I’m sure I have the full storyboard for everything.

Now... There’s a dilemma I’ve been having for some time. Since it means that the comic probably won’t update before at least a few more days, or even one week, I bet y’all are as impatient as I am. And thing is... I’ve been saving the storyboarded WIPs that have been done so far in a single Google Doc file, so that anyone could read from the first not-yet-uploaded page up until the end of my WIPs. So... I really hesitate on whether making this Google Doc public is a good idea or not? I mean, on one part it lets you know how the story goes and how my work is advancing, but on the other part, well. Spoilers.

So... I guess I’ll let y’all tell me whether you’d like to get a link to that doc or not. I can always send the link privately to people who ask for it, for example. Provided the ones who get spoiled don’t deliberately spoil the readers who want to wait for the finished work, obviously. Whatever the case, let me know what you think!

#the5thsave #hollow knight #hollow knight art #TFSlore

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finsterhund · 4 years ago

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A comprehensive guide to Heart of Darkness lost media. Fake, and real

a forward: there appears to be some sort of conflict between Eric Chahi and Frederic Savoir. Things Eric speaks about, Fred denies. However Eric generally has proof to support his side of things but Fred never provides such.

I will edit this as I go along. I intend to source things as best I can. I will not post it to a better website until it is adequately sourced.

I’m not currently planning to include press material, promotional renders, alternate releases of the final game, etc. here (yet!! that may change)

The Movie

What we know is true:

Dreamworks was interested in adapting Heart of Darkness as a feature-length computer animated movie. Predominant parties at play were Jeffery Katzenberg and Steven Spielberg. They invited several of the devs including Eric to the Dreamworks studio in LA, showed them Prince of Egypt storyboards, and toured them around. The movie was never made and development was never started.

According to Eric, the head of Virgin Interactive, Martin Alper repeatedly went to Paris to bother and harass him to abandon all work on the game and give the movie rights to Katzenberg. Eric didn’t want to throw away all that work and wanted to release the game first. Alper abandoned the team and project soon after, dooming the game to years of development hell as they needed to find a new publisher. Fred claimed that “half of the article (in which Eric discussed this) was incorrect” but never went into detail as to how or why

Rumors:

Even though George Lucas was interested in HoD’s display at several expos, he did not involve himself in any film ideas. It is believed he may have stolen ideas of alien monster designs for use in the Phantom Menace but this can easily just be coincidence and is unfounded.

The movie was not going to be live action despite some fan speculation.

The Pilot Animation/character test

What we know:

In Eric Chahi’s biography he mentions that a small animation studio did contract work of some animation concepts for Heart of Darkness. They were ultimately replaced with what Amazing would go with. This may or may not be associated with the same concepts as when they briefly thought to make the cinematics with 2D bitmaps but it is unclear. Eric states that this pilot was made however and in a demo reel from the studio they mention working with Virgin and Amazing Studio.

Rumors:

Fred said it wasn’t a thing but didn’t clarify.

This might have been the opening cutscene in 2D, or it may have just been character models and test animation. It is currently lost entirely with no actual stills of the thing itself.

Blood

What we know:

Someone untrustworthy but people latch onto this sort of shit said the original version of the game has blood in it. We know from tradeshow footage, digging through the final game’s code, an early build of the game, etc. that if anything the original versions were LESS violent. There is no evidence there was ever blood. Anymore than there’s evidence of the poison berries (which we will get to later)

The Gameboy Advance port

What we know:

Heart of Darkness was going to be ported to the Gameboy advance. According to Frederic Savoir the project was quickly canned due to cartridge costs that Nintendo didn’t want to pay for.

Rumors:

Someone claiming to work on this port said that Infogrames founder Bruno Bonnel wanted the game to have an Adidas promotion and change Andy’s shoes. Fred says this isn’t true, and there’s no evidence that this was ever an actual thing.

The Jaguar Version

What we know:

Heart of Darkness was briefly considered to be published on the Atari Jaguar. There are internal letters discussing how good of an asset it would be for the console. That’s as far as it ever apparently went.

The fake developer copypasta:

A copypasta of obviously fake ideas that were potentially given from Amazing to this apparent Jaguar dev has been passed around since 2014. This included poison berries that would make Andy explode, fan-theory sorta ideas about how other children perished in the darkland, a magic mirror, and what is very clearly just the maggots from spiritual successor “Limbo”. This individual provided no proof and his story was far from convincing. And no evidence that someone other than the Amazing team themselves having access to official development code from the game has ever been brought forward.

The Saturn Version

What we know:

Before the game ultimately came out for Playstation, it was going to be a timed exclusive for the Sega Saturn with Sega purchasing an exclusivity from Virgin Interactive. This fell through due to Virgin intentionally (according to Eric) throwing a monkey wrench in things and the Saturn was not viable when they were finally able to publish the game after getting picked up by Infogrames.

There is an incomplete playable demo of the first level and first two story cinematics in English and Japanese from the 1996 Toy Tokyo Show. In it there are slight programming differences such as a screen sliding transition animation, the inability for spectres to eat Andy, features cut from the final game involving the shadow dogs that are still mostly present in the final game’s code, and some slight graphical differences.

Frederic said the Saturn was easy for him to program on, and he finished things quickly so it was likely fully playable but no complete copy has been found.

Rumors:

It is unknown if there is a full build of this version of the game for Saturn. The Toy Tokyo Show build is the only publicly known one.

Based on footage from other events it appears to be from after changes were made to spectre sound effects and some behaviors. So this may have been a build from after the game was altered to be “easier” as mentioned by Eric Chahi at the time.

The Phillips CDI Version

What we know:

Heart of Darkness was offhanded mentioned a handful of times in a few CDI magazines in 1996. But there is no actual evidence the game was actually in development for the console and it was never confirmed in more trustworthy publications. CDI has less evidence than the planning letters of the Jaguar version. A supposed slipcover of a Heart of Darkness CDI CD was supposedly in existence but the guy claiming to have it couldn’t or wouldn’t prove this, with the only evidence appearing as convincing as a fake mock-up photoshop job and CDI websites discussing the final version of the game in full despite providing no evidence development for the console existed in the first place.

The most likely explanation is some idiot at Virgin said “CDI” when discussing this at-the-time secretive project because it would have had to be on a CD-based console and there weren’t that many of them yet at the time and this slip up briefly spread.

The iMac Version

What we know:

There was discussion of a Mac OS version of the game being developed, but nothing about the final product has surfaced online.

There was a page titled “imac” on the official website but the image files weren’t archived.

Heart of Dakness: The Return of Shados

What we know:

A scam artist on indiegogo pretended to be affiliated with Amazing Studio by using stolen assets and copying the kickstarter campaign of a different indie game in an effort to scam HoD fans out of money.

Both Eric Chahi and Frederic Savoir collectively agreed that this was a big fat scam.

It got taken down in under 24 hours of its discovery after I personally called the guy out on being a scamming piece of fucking shit and tattled to Fred.

As it was a scam with its only “evidence” being stolen text and doctored fan art and concept art from the original game, it’s very obvious nothing about this mess actually existed.

Delicious meal.

Merchandise (various)

What we know:

There are photos of merchandise, there have been real items show up, and there have been rumors or discussion of potential merchandise. Real confirmed ones include:

The Vicious and Amigo action figures. Given away for contests, at trade shows, sold on the infogrames store, and potentially included as part of a special box set of the French version

The Japanese big box version came with a mousepad. It is different than the round mousepad that also exists. We do not know where the round mousepad originated from. Potentially tradeshows or contests like the other items here.

Playstation controller and memory card. A memory card was sold separate in the UK, and in France a controller and memory card set were sold. Only photo of the set is in Eric’s collection. Memory card has shown up several times online. I own a complete sealed one.

The hat. Given away at press events, potentially worn by team members, and a version was also available on the infogrames store. Only physically existing version documented has the VIRGIN logo on it however so there’s definitely variations

Skateboard and t-shirt. Discussed in contests. Photos in magazines. Have never shown up so far. skateboard may have been available on infogrames store.

Photos exist of a backpack and fanny pack. Eric has these, the only known ones to exist, in his collection. Fred said they were officially released but they have yet to show up.

Rumored Merch:

A blanket. Briefly mentioned as if it genuinely existed on a French forum

Probably more tbh but my memory is shit. As I am writing this it is 2AM

#text post #long post #heart of darkness #lost media

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katyatalks · 5 years ago

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Animestyle 2019/12 - MP100 Interview Translation

The December 2019 issue of animestyle contains ~50 pages of interviews, and I was lucky enough to be sent every page to read through. Interviewees include Tachikawa Yuzuru (director) & Kameda Yoshimichi (character designer). Contains a bunch of information regarding characters & topics like season 3, so please enjoy!

[Note that this Tumblr compilation misses out quite a few things from the original Twitter thread. If you’re curious, that thread is here.]

TACHIKAWA YUZURU (Director)

Wanted to go for a darker colour scheme for the characters and settings to fit the more dramatic themes in MP100, but Kameda disagreed, wanting to go for something more colourful

Considers S2 more ‘focused on humanity’ than S1

S1 was made without expectation of S2

When cutting bits of the manga from the anime adaptation, a “the viewer will still understand the point of the scene without these lines” approach was used

Considers S2 as having two parts; the character focused part, and claw arc. The decision was made to squeeze claw arc into 4 episodes as Tachikawa hated the idea of sacrificing content from the earlier part for a half-half split

He's well aware of how loved Reigen is; fans tell him so at mob events all the time

Considers the “who exactly am I” question that many of the characters deal with; finds it most impactful with Reigen, as he simply pretends to have powers, whereas Ritsu Mob Teru etc. actually have them

He holds Reigen arc dear to himself, in particular the “be a good person that’s all” conversation that gets put into the anime more than once

He considers Reigen’s growth one of the core themes of S2, alongside Mob’s own

Episode 8 was not in the original plan - S2 was meant to be 12 episodes much like S1.

The omake in which Tsubomi comes to the office was actually drawn for the purpose of giving the team something to put into ep 8 of the anime - team was struggling to find something from the manga to put in (“S&S team doing something for Mob”) so ONE created it

The reason why all the characters in Mob Psycho are so lovely is likely because ONE is a genuinely lovely person so it’s a reflection thing

In response to Reigen’s rant at Mob in ep 6 that causes their rift, Tachikawa says; “we’ve all had moments in which we know saying anything else would be the worst thing to do but we haven’t been able to stop ourselves”. It’s why the scene leaves an impression

In the manga you don’t get to see Reigen’s face after Mob tells him he’s a good person. They added it into the anime, and Tachikawa states that Kameda had a lot of trouble trying to figure out exactly what expression they should give Reigen

Discusses American highschooler Weilin Zhang (of ~17 years old), who drew up around 1800 frames for the purpose of S2E5

Reigen’s website was designed with the brief of it having to look cheap and shoddy

Considers Mob Psycho 100 as having the message “its okay for you to do the things you’d like to” at heart

Mention of not only Japanese fans but international fans increasing with S2

Describes Serizawa as becoming handsome after his haircut in the final episode of S2

On the topic of animating what’s left of the manga, says he’d like to give it a go

KAMEDA YOSHIMICHI (Character Design)

Slightly more time pressure on S2 than S1, which meant there was a bit of detail lost with the drawings for S2

Describes Shinra as a charming character

Goes on to say that he SUPER loves Shinra and really likes drawing him. Discusses how people tend to love attractive characters in anime and as a results there’s not many chubby characters, so he latched onto Shinra

Found the thoughts & feelings of characters a lot easier to read in S2 compared to S1, which made drawing their expressions easier. The more he worked on mob the more he found he understood the characters

Small discussion of Reigen’s behavioural shift from Ep3,4,5 to 6 & complexity of his character. Makes him hard to understand. But he understood Reigen’s feelings of regret in Ep7

Reigen shirt scene segment in Ep6 intended as fanservice

ONE has described Reigen & Mob’s relationship as being similar to that of the main character and the kid from the film “About A Boy” (Will and Marcus)

Compares Reigen to Sakai Masato’s character from “Legal High” (リーガル・ハイ), in that they both do bad things but aren’t ‘bad’

Regarding the choices they made with character shading (blurry on skin, but sharp-edged on hair & clothing), this was inspired by Disney (Aladdin, specifically). Originally they went for blurry-edge on clothes too but decided against it ultimately

Describes how each mob character is pretty distinct and it’s easy to recognise who is who; ie. if they have bobbed hair + no eyebrows, mob; a standoffish countenance, Ritsu; blond hair, Reigen

Describes how in contrast to the simplistic character designs, the atmosphere they’re surrounded by is complex

Amount of young animators working on mob psycho increased from S1

Final manuscripts for S2 were compiled in 2017

States that when he read the manga, Reigen Arc really touched him and it’s the main reason he decided to work on MP100. he was very upset that S1 ended without reaching Reigen arc, and he’s glad they got to tackle it in S2

He considers the growth that Reigen & Mob go through from S2E3 - E8 a principle part of what mp100 is all about

When asked about parts of the manga that haven’t been animated yet, Kameda says there’s a LOT he’d love to bring to the screen. He wants to finish off the anime as “we’ve gotten this far already”

Regarding a potential S3, Kameda is asked if there's really enough material left in the mp100 manga to fit 12 episodes... he agrees that there's probably not, so they could go for 10 episodes much like Attack on Titan S3 Part 2, or a movie. (This is not the first time Kameda has implied S3 could be a film instead.)

If/when they proceed with animating mp100 is dependent on director Tachikawa's schedule, as it's looking a little busy right now

TSUCHIGAMI ITSUKI (S2E11 storyboard, production)

Lead animators for MP100 tended to be young; mostly in their 20s, 2-3 people in their 30s, no one in their 40s

Never felt like he was in an atmosphere where he was under hellish time pressure to get things done

On being asked his thoughts on mp100 S2 as a whole, Tsuchigami says he enjoyed it but felt like it could've been longer. He was happy w the pace of E1-3, but felt dissatisfied with E4-5. Was happy with E6-8, but then with E9 onwards felt a bit dissatisfied

Felt like the story-related elements had to be cut down in order to fit the length of the season they were given; this is where his dissatisfaction stems from. Regardless, he very much enjoyed S2

OGASAWARA SHIN (Animation director, animator)

The staff working on MP100 were allowed a lot of creative freedom

Animation director for S2E3, and animated for E3 (from Reigen repeatedly pressing the doorbell of the stalker to Reigen saying let's go out for soba) and E11 (around the Justifiable Self-Defence Rush)

Reigen's Justifiable Self-Defence Rush was animated with the intention of giving it a manga-panel-like feel

S2 was completed without any huge blunder happening

UCHIDA NAOTO (Animation director, animator)

Originally did work for S1, but felt like nothing but a hindrance and wanted to crawl into a hole. But the workplace atmosphere was great and everyone was very kind, so it ended up being a good experience

Animation director for S2E4, and was split animation director with Nakamura Hayate for S2E10. Did animation for the opening, E1,4,5,10. E1 animation: around when Emi + pals are with Mob at the embankment. E4: from 'Nakamura's flashy explosion' ((Reigen cut by glass scene?)) to when the espers are being kicked around. E5: when Reigen and Dimple are having their back-and-forth. E10: layout of the awakening lab.

Found season 2 very enjoyable. Being an animation director was excellent. Character design? Godlike. Felt incredibly lucky that he got to take part

NAKAMURA HAYATE (Animation director, animator)

As stated above Uchida & Nakamura worked on S2E10 as animation directors. Uchida covered the first part of the episode, and Nakamura the latter half

Nakamura animated for S2E4 + E10. E4: around when Mob attacks Minori attempting to exorcise Mogami from her, E10: Suzuki + co's entrance, when Mob possessed by Dimple & Shibata exit the building, Telepathy Club scene, and from Mob + Body Improvement Club's parting to the final scene

Felt like he could've done a little better for S2. And on a personal level wishes he got to draw more action scenes

ETC.

We've had confirmation from ONE already that REIGEN is complete with a single volume, but we've got that confirmation again here too with the way the sales description is written

Thanks for reading!

#mp100 #mob psycho 100 #reigen arataka #kageyama shigeo #serizawa katsuya #is mentioned i suppose? they dont really mention too many characters #my stuff

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filippoinzaghi · 4 years ago

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1, 2, and 4 pls!

1.Tell us about your current project(s) – what’s it about, how’s progress, what do you love most about it?

So I have four main projects at the moment. I have others but they are just embryos, a couple lines written down somewhere so as to not forget about them and work them later on like brioche dough.

That Carraville cuddles prompt

You sent me this one months ago now I think but I’m getting there!!

Progress : It’s about three fourth done, I’m just trying to find a nice transition scene to link what I have so far and the last scene I have written some time ago already.

What I love about it : it’s totally self-indulgent in the setting/context. I don’t want to spoil too much as I want it to be a surprise but the drabble is set in an AU-ish sort when Carraville (and others familiar faces) take part into a TV game show about teams of two having to hitchhike to reach their given destination with barely any money and having to complete different challenges along the race.

“Uncle Beom-pal” Project

What was intended as a drabble and will probably finish at 4/5k words qzsedrcftgybh. A fic about Cho Beom-pal, himbo extraordinaire from Kingdom, a korean original Netflix show about zombies in the early Joseon era.

Progress : I’d say I’m about halfway done. The more I write and think about this WIP, the more I think about scenes I could add or change, the more I can see the construction of the story, almost like a storyboard. I do have a clear-cut vision of how it will be now so I think it won’t change too much from what I have in mind.

What I love about it : I decided to set the story during the timelapse that happens at the end of season 2 so it allows me a certain form of freedom to imagine what may have happened during the seven years timelapse (the fic is set a year before the story resumes). It also gives me the opportunity to develop further Beom-pal’s layers that we see in season 2 (honestly the best character arc of the whole show) and to speculate on his relationship with the new king who happens to be his young nephew. To give you an idea of Beom-pal’s situation at the end of season 2 : he’s alone. His friends are not with him anymore, his family is all gone. Except for his nephew. Who also happens to be the king. Whom he also happens to be the prime advisor. I try to explore the complex relationship this situation creates because of protocols and royal duties in contrast to the king being just a child and he and Beom-pal basically being the only family they have left. As you can see I’m very invested in this project haha ^^’

The “Ceci predicted an actual scene of the show in fic” project

This WIP has been going on since August while I was watching Miss Korea (a truly beautiful show and criminally underrated).

Progress : it’s been a slow progress but I’m almost there.

What I love about it : the characters, who are the secondary couple in the show but who, imo, steals the spotlight. During an episode at the end of the first half of the show, there was a scene that made me wonder what happened after and I just expanded it trying to tie it with the character’s traits and depictions. Find me wheezing four episodes later when like... 85% of what I had in mind ACTUALLY HAPPENED in the show aqzsedrftgyhuji. Anyway, I’ll go through with it even though it is a bit of a canon divergence. What I like about this WIP is that I make the characters “see” one another for the first time and not just a glimpse (which happened some episodes earlier). They are more vulnerable, especially Teacher Jung (his name truly means Teacher so I just call him that) who is your typical petty thug but with some moral code and a good heart underneath.

The “5+1 times Nam Ju-ri x Lee Sang-in” project

Lots of projects about korean dramas at the moment but I have watched a lot of them lately so I guess it’s only fair. And it’s also because I can’t find any fics focusing on my favourite characters (usually supportive characters) so I guess I want to be the change I want to see in the world.

Progress : very early stage of the fic, I wrote bits of paragraphs or dialogue for different chapters at the same time, it’s kind of all over the place at the moment.

What I love about it : there are no fics focusing on these two who had a cute, individual, development of their character and who have a blossoming relationship. They are both losers who cares and I just love themn, they deserve more love. This is truly a self-indulgent fic and that’s just nice in and of itself.

2. Tell us about what you’re most looking forward to writing – in your current project, or a future project

Re : the Uncle Beom-pal project.

There are two scenes that appeared to me after I began writing but which gave me so much feels just thinking about it that they had to be there.

The plot of this WIP is basically the young king, on the eve of the day in remembrance of all the victims of the “great plague” (he doesn’t know it was a zombie epidemic, everyone tries to protect him and not tell him what truly happened), asking Beom-pal to tell him a story before going to sleep. The ceremonies planned the next day weighs on his mind and makes him think about his friends and, especially about Seo-bi : a nurse who saved his life and to whom he is truly devoted like a lost puppy. And thus, he tells the king what happened without really telling him. By turning it into a story, not mentioning names but using nouns or adjectives (”The Healer”, “The Warrior” or, for himself, “The Fool”) and just being vague about “monsters” in a far away place, a long time ago. As he goes on with the story, past and present mix together as Beom-pal remembers his and his friend’s journey.

The two scenes are flashback scenes between Beom-pal and Seo-bi right after the last big “battle” against the zombies. One flashback she tends to his wounds and there’s a sort of silent reverence as if she finally realises he’s not just a useless and coward nobleman. And he, on the other hand understands what is probably to come (her leaving with two other characters, their friends) and how he wishes he could go with them or keep her with him but either solution is simply impossible. And the other is their goodbye (they won’t see one another for, AT LEAST, seven years and the guy is still yearning, can you believe). And again, it’s mostly silent, sentences cut short because they understand and they don’t need to say all of it. He’s not being talkative and a lost puppy following her every move anymore and she lets herself be more relaxed, lets her guard down a bit with him to show just how far they have come personally and in their feelings towards one another. Truly cannot wait to make myself cry and for my friend to threaten me to call the police on me zserdtfygh

4. Share a sentence or paragraph from your writing that you’re really proud of (explain why, if you like)

He was tired, tired of pretending, of wearing a mask when nothing seemed bright anymore in his life. He felt the salty tears brush his lips before he realized he had begun to cry. He put the barbell back in its place, before it threatened to fall from his soon trembling hands, and he sat on the bench, completely consumed by uncontrollable sobs.

Failure, fraud, failure, fraud, failure, fraud… His mind did not leave him any rest.

From and I’ll only need to hold you (go back to sleep and dream) – Chapter 4

More than that paragraph, it was the whole chapter that I was happy with. It came from a rather personal place and it wasn’t always easy to write it but when I was done, I felt a bit better and I was happy with the result. The paragraph above is the beginning of my favourite scene in the chapter which is when two then-not-old Italians have a confrontation. Well… More like Rino confronting Gigi after the latter has isolated himself for some time. And it’s in the dark. Ever since I’ve read Long Day’s Journey Into Night and studied it, I’ve been fascinated by the trope of dark/night setting = when the characters are the most honest, the most vulnerable and the most true to themselves. And that’s what happened in that scene. I was happy with how I wrote it out and the vibes it gives off.

#thank you!!!#and sorry for taking so long #Answers #Ask stuff #My Fics

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