#and his first instinct from watching old cartoons is one about black folk but he quickly realizes he has no chops for it

[fruitsofhell]

CW for an anti-black slur cause it's the name of a damn movie title, also mentions of historical racism in cartoons

Get really pissed off whenever I think about Coonskin by Ralph Bakshi because I need to rewatch it to see if it might be a fave movie of mine. I want to go over all of Bakshi's filmography sometime and really digest how he deals with depicting black people (especially Fritz the Cat cause the black crows are so cute!), cause he's in an interesting perspective where he is undoubtably sympathetic to us and grew up around us, but expresses this in ways that are soooo over the top we commonly see them now as only acceptable For A Black Person To Do.

Like, he's some white Jewish guy from the slums, he doesn't really have the right to reclaim the racist iconography as we think of it but at the same time it's like if someone's doing interesting artistic work they're doing interesting work. And I as a black person have actually been really inspired by that film ever since I watched it.

Ever since the rubber hose style became super hot again cause of Cuphead and Bendy I've seen people actively downplay how goddamn racist old cartoons were, or I've seen people pick up a clip from an old film and I just go "Chat, they don't know this is a quietly racist animation trend...". But it's not even just that old cartoons were racist and had racist trends, it was baked into their fundamental styles of comedy and cartooning - they were built to either exclude or humiliate blackness. And I feel like Coonskin is a work that expresses that very very loudly but with some sense of purpose.

I personally have wanted to tap into that idea since I started playing with golden age art styles, but for the tone I set in my shit that's way too overbearing. Plus, maybe as an actual black person something unique for me and not Bakshi is a wish to actually see myself represented in those old cartoon styles as more than as an object of controversy. I've also been meaning to watch more of the Proud family and works by Bruce W. Smith cause of that too, I heard in an interview he was motivated to draw because he wanted to see black folks in that mid-century, modernist style and like, SAME.

But it's actually way easier to work black features into that incredibly flexible style than it is to brute force them into the centerline/rubberhose ones where their origins can be traced back TO BLACKFACE. You guys remember that fucking lesson right? How the entire generic rubbergose face is a play on blackface, that's why the mouths and eyes are white but the body is black. If you're unfamiliar with that idea or don't believe it, look up Bosko, Warner Bros first attempt at a mascot, and see if you can tell what he's supposed to be.

It's more of an uphill battle, but not impossible to make it work in those styles. Though I have also considered the utility of borrowing directly from those racist designs to express a meta-contextual feeling/understanding that that is what you look like as a black person in this time period - that is you in the dominant narrative vision of the time. No matter what you are as a black person, to the historical zeitgeist you just appear as some flavor of coon yknow.

It could be a very potent visual tool I think, and I don't know if I'd be considering that if not for Bakshi and my relationship to Coonskin and its themeing. Which is the point, Bakshi was one of those racey types who always wanted to get people upset to start a convo or whatever. It's interesting to look at older but earnest expressions of this that would seem disastrous by today's standards - imagine "They couldn't make Blazing Saddles today" but true and on steroids.

[mwolf0epsilon]

A story of Sammy stumbling upon siren head?

Summary: The studio wasn't the only place hiding the lurking horrors of the world.

---

[[MORE]]

Freedom had come with a lot of existential dread and lingering doubts. It hadn't been the oh so sweet respite that everyone had coveted so much, not when they were still abominable creatures made of cursed ink (and in some cases machinery). Still, for all that they'd worried, Henry had pulled through and prevailed.

He'd not only gifted them their salvation from Joey's nightmarish dream, but also offered them a way to live unafraid in a world they no longer belonged in. He gave them a house, food, clothes, a life worth living.

Never once did he ask for anything in return. A true loyal and kind friend to those who desperately needed such a charitable heart.

"You don't need to repay me. I'm only doing what's right, and besides I got that house after my uncle died... It never really felt right to move out of town with Linda and the girls, and I never knew what I was going to do with it." He'd humbly dismissed any offers to repay his kindness. "You all need a safe place where you can recover and slowly reacquaint with normalcy without anyone judging or fearing you. The location is perfect."

And it was. An isolated corner of a vast forest, with nearly no signs of civilization. Easy for Henry to check up on them since he knew where to go to reach it, but out of the way enough that not even hikers came by often.

It helped that it had a bit of a... Dark reputation. Missing cases, strange sightings, and creepy sounds in the night. A deterrent for sane people with a yellow streak.

For someone like Susie and Allison who looked human enough to pass off as such if provided with an appropriate disguise, it was a bit of a hassle. Grocery shopping (when they were in the mood to be seen by the oblivious folk in the nearest town) took longer due to such a long trek.

For others like Tom and Buddy who were living cartoon characters it was a more comfortable experience. They could go out and feel the sun upon their skin without fear of what may happen if they were spotted.

And then lastly, for beings like Sammy, the Searchers, Butcher Gang, and for Norman, it was both a stark reminder of their inhumanity, and a blissful respite from the crippling dissonant thoughts that made them oh so prone to violent outbursts.

In the woods there was no one they could hurt if they lost their senses (which was not as common a thing as it once was, but still something the Projectionist suffered with on the regular). In the woods there was peaceful silence where they could wade through the madness and regain their footing. In the woods they could almost be their former selves.

Granted this was a double-edged sword on one regard: The Projectionist tended to wander far and not recall how to come back.

If Norman ended up somehow stumbling back into society, there would be trouble. Which is why Sammy was assigned to follow him every time he felt like going for one of his "little walks".

At first the once-music director had scoffed and been incredibly annoyed at being saddled with such a responsibility. He was not in a capacity to look after himself, much less a 7, nearly 8, foot tall half-ink half-machine man that could easily render him into ribbons if he set him off. Norman's transition from coherent sentient thoughts to downright feral and highly aggressive behaviour was too unpredictable for someone who's memories tended to evade him easily.

But then, as pointed out by Allison, Susie wouldn't be able to calm him because she knew neither sign language nor Morse code (which he'd learned specifically from Norman when he was still human just for fun), and Allison herself was not overly close to him so her presence would only distress him further.

When he'd still tried to refuse, Tom had resorted to threats which he'd returned in kind. In the end it was the pleading looks of both Jack and the rest of the band that got him to relent. But not before barking at them to never say he wasn't a charitable and patient man (things he really wasn't, considering his short fuse and unwillingness to socialize when he was in a particularly sour mood).

Once he'd committed to the task, Sammy found that the sounds of nature soothed him. Watching after the Projectionist wasn't too bad either, as he thought the large monstrosity looked quite happy as it wandered aimlessly, occasionally looking up at the expanse of darkening skies. Sunsets seemed to spark something more human in Norman. Got him to sign more and sometimes vocalize his words (as painfully gritting to the ear as that may be). It reminded Sammy of... Of times long past. Ones where he'd consider this brute as a bright and very accommodating (if not a little annoying at times) friend.

A friend he dearly missed even, for no matter how much they tried, Norman would never go back to being who he was before the studio chewed him up and spat him back out as something some would consider a dubiously smart animal.

The peace also sparked something in Sammy himself. It made him feel more grounded, more like himself, to the point where his form would shift accordingly. Because their bodies were reacting to their slow recoveries.

Over time a few Searchers had slowly become Lost Ones, and a few Lost Ones had begun transitioning into human forms. There was always something a little off and cartoonish about them, but it was progress nontheless. People were remembering who they once we're, and that was more than they'd ever accomplished in that hellhole.

Sammy sometimes could see his true face reflected back by a puddle or larger body of water, but it was a fleeting thing.

At times he could even feel his unruly curls brushing against his neck and shoulders, but they weren't the dirty blond he'd remembered. They were an inky black that upset him slightly, but better than the shiny bald head he'd had for so many years. Less saddening than the yellow glow of eyes that should have been a soft hazel, and much less startling than the sharpness of his teeth. Somehow he always got the nose right, which was adding salt to injury considering he couldn't regenerate his pinkies.

The Projectionist's walks were moments of introspection. Ones where he was sure he'd be able to get his true form back, even if slightly altered.

So imagine his annoyance when one such moment was marred by his selfish distraction...

He wasn't entirely sure when he'd lost sight of Norman, or for how long he'd spaced out just staring at his reconstituted face on the nearest reflective surface, but the moment he noted just how dark it was Sammy knew he'd fucked up.

They'd been wandering for hours and he'd been so absentmindedly worrying over faded memories that he'd just let the Projectionist wander off to the nearest flower patch to marvel at all the pretty colors (prettier than old sepia and inky tones that had made their horrid existence oh so much duller). He'd gotten so stuck in his own head that he'd never noticed his charge moving off to explore further and further into uncharted territory.

They'd never gotten so close to the mountains, and now? Now Sammy was sure he'd never be able to find the Projectionist again. He'd failed Norman.

Something which he absolutely refused to let happen. If not out of pride, then out of shame. He'd rather die than return to the others without Polk in tow, knowing they'd add it to the list of things that made him a genuinely horrid person (aside from ritualistic murder and allowing Joey to manipulate him to the point of idolizing a false god). That wouldn't do.

Sammy wouldn't be able to live with the scorn. So he trekked further to where he assumed the hulking ink creature had gone.

Henry had told them stories. The ones about the people going missing. Freaky tales that had unseen horrors lurking amidst the trees and skulking in shadows. One such creature he seeked (for the Projectionist had become one of these fabled cryptids just by being an out of place being in the woods), but the others he'd heard of, although fabricated, were mysterious and spooky to him.

Having such shluck looping in the forefront of his mind like a bad film reel was troublesome. It made him hesitant the moment he heard anything that sounded out of place.

Steeling his nerves was hard. Despite being made of ink, his heart was very much still human, so he felt instinctively fearful of the unknown. Those silly stories were genuinely scaring him and he resented Henry for being such a good narrator.

With every step further into the mountainside he hoped to see the light of Norman's lens, and hear the clicking of the projector he had for a head.

He was not expecting to hear... What sounded like an emergency broadcast.

It was so sudden and confusing that it made the ex-music director pause in his tracks. An echoing call that spanned miles, like it was being projected from up high.

Looking around his surroundings he saw nothing out of place. Just rows upon rows of trees and a watch tower in the distance further up north.

Turning his head more slowly yielded the same results. Nothing that could broadcast that loudly in sight... Until he saw it...

At first glance it looked like an old siren. Rough and weathered, rusty looking from a distance. Very strange to be found this far away from civilization. But then he really took the time to stare at it. Noted just how off the towering thing was, and then realized... Those sirens hadn't any speakers. They had teeth.

As soon as his mind picked up on this very fact, he saw everything else. And then, before he could exclaim in terror, he was up in the air held in a massive far-too-human-looking hand, and being pulled closer to said teeth.

Sammy screamed as he felt the pain of being bitten into, upper torso pulled into this nightmarish thing's eager maw, only to then be unceremoniously spat out and tossed on the ground. The shock and pain made him deconstruct into a puddle and, to then aggravate the issue further, the beast stepped down on him as if insulted by the vile taste of ink.

Sammy didn't much care. He lost consciousness soon after.

When Sammy came to, the sun was rising. He was groggy from the pain and confusion of being violently assaulted by something straight out of a Lovecraftian novel, and the intense light washing over his eyes didn't help.

Wait... Light?

Blinking away inky tears, Sammy found Norman staring down at him with a posture that read clearly of concern. The poor thing had likely found Sammy's puddle form and been fretting ever since.

The composer thanked whatever god was out there that the monster that attacked him hadn't found the Projectionist. He wouldn't have had the sense to run.

"H-home. Let's go home..." He whimpered weakly, despite the creature before him being deaf and unable to read his lips properly considering he currently had none. The pitiful look of him must have clued the bigger ink being, however, as Norman scooped him up with ease and began the trek back. Sammy directed him, mostly through pointing when he seemed unsure, all the while keeping an eye for that... Siren-Head thing that thankfully found him too disgusting to consume.

The one perk of his abominable state...

Needless to say, they were never coming back to these parts. Not as long as he allowed it. Some things were better off left undisturbed.

Because, as it turned out, the studio wasn't the only place hiding the lurking horrors of the world...

[hmel78]

In conversation with Raphael Doyle ...

A few weeks ago my attention was drawn to a video in which Tom Robinson [Tom Robinson Band / presenter on BBC radio] spoke about a project he’s working on with his old friend, Raphael Doyle. Now, Crowd Funding has become the ‘in thing’ and many people pay it no mind, but this pledge was different. And why? Because there’s real a story behind it - This is not just about a band expecting their fans to donate money in return for a signed photo, or a cheesy ringtone, thus ensuring  the next album is made. From what I’ve heard, the album is going to be something special musically - but not only that, this album is a genuine work of LOVE; not for profit. but for the sake of creativity, for the music ; it’s about old friends, and new, coming together to be a part of Raphael’s album - And they’re against the clock  (for more than one reason) which makes it all the more compelling. I was, of course, interested to know more about Raphael, who along with Tom Robinson and Hereward Kaye in the late 1960’s, formed the trio ‘Cafe Society’.

I should imagine you’re already familiar with Tom, and perhaps Hereward too [from his days with The Flying Pickets], but Raphael has clearly managed to remain off the radar - until now! Born in Northern Ireland, Raphael absconded to England when he was 15 - An unconventional teenager, but a keen songwriter and poet - he found himself at Finchden Manor in Kent, before carving a career, one way or another, in music. ‘Cafe Society’ enjoyed a relative amount of success but it was short lived, and following the break up of the band in 1976, Raphael’s  biography states that he was, at that time “Painfully short on confidence and increasingly dependent on drink”. By the time he was 19 Raphael had already married Rose. Over 40 years later, through thick and thin, and with a clan of four children, they’re still going strong! When I first spoke to him he was telling me about his return to living in the North East of England, having been lucky enough to buy back the very same house he and Rose had lived in as a young couple ; add to that his return to making music, and it would seem that there are many aspects of his life that are coming ‘full circle’.   “Never Closer” is the title of the album - Raphael sings us through a number of extraordinary tracks inspired by “a messy life encompassing darkness and recovery pain and love”,  but at the end of it all, quite contentedly  concludes - “The whole journey has definitely been worth it” ... You can keep up with Raphael’s story, and the pledge campaign, as it unfolds via his website and social media, but in the meantime, we thought we’d attempt to extract some more of his memories about those early days as a musician.

HR : If you’re open to talking about it Raphael, I’d like to go back to 1968 - to Finchden Manor**, where you met up with Tom Robinson - what was life like there?

Raphael Doyle : Well, I was 15 when I arrived at Finchden. I'd come from Northern Ireland where I'd had unhappy fallings out with a couple of schools.  I was clashing with the conservative, Catholic environment of my upbringing, and I was a fledgling hippy in the world that didn't like that. Finchden was like another world entirely - suddenly you found yourself somewhere where you weren't in the wrong all the time - where you could be yourself. It was very unstructured. Your time was your own.

HR : Were you encouraged to be creative?

RD : It wasn't so much that you were encouraged to be creative, but more that you were given the space to be yourself. So some people got into making things, some got into gardening, lots of us spent a lot of time talking. And there was a great spilling out of creativity, whether music, art, pottery, poetry. Whatever people had in them. Just in the time that I was there, there was Matthew Collings scribbling away amazing cartoon-like drawings, who has gone on to become a very highly regarded artist and art critic. There was Mike Medora who was playing searing blues guitar and he went on to do the festival circuit with Global Village Trucking company. There was Danny Kustow, still a much loved guitarist, who became famous beside Tom Robinson in TRB. There was the amazing and eccentric Robert Godfrey who went off to form the Enid, a legendary prog rock band, and he took with him a bunch of other boys, notably Francis Lickerish, another brilliant guitarist and multi-instrumentalist. And there was Tom and me, writing songs, putting groups together- and I guess we were encouraged, yes. We used to be brought out to play to visitors… I remember us being taken off on long journeys in George Lyward- the founder -in his old car to visit Lord and Lady somebody or other in a mansion, and he would give a fundraising talk, and Tom and I would sing a couple songs, and then wander outside where we chanced upon this old guy in ancient corduroys tending a rhubarb patch, who turned out to be the Lord himself. Very PG Wodehouse!

HR : Actually it sounds like fun,  despite being a difficult time ... There’s a great quote from Hereward [Kaye] about your songwriting, he says “The lyrics were all his own and smelt of trouble. How I longed to be deeply troubled like him!”     What was it about music, and songwriting that engaged you? Is it fair to say that without music, you may have strayed onto a very different path?

RD : Well, Hereward was right. I was a troubled young man. We all were at Finchden. But even before I went there, back in Northern Ireland, music and writing had become my escape valve. I came from a little seaside town, and a Scottish wild card called Colvin Hamilton took over the swimming pool cafe and turned it into a venue -  The Scene  - and he would bring down bands from Belfast. This was at the height of the early 60s R&B boom. ‘Van Morrison’ and ‘Them’ were the big name. I was too young to be let in but I'd spend the weekend nights with my ear pressed to the blacked out plate glass window, listening to that raw, rough earthy music. And at home, and in friends’ houses, I was listening to Bob Dylan, Joan Baez, Nina Simone, Ray Charles, Buddy Guy, Robert Johnson, John Mayalls blues breakers ... So Music was already my landscape. It didn't stop me getting into trouble though!  So it was arriving at Finchden, having a place of respite , the chance to heal and grow, and there to get together with Tom and start honing my musical instincts - that's where my direction became set. I became a musician at Finchden.

HR : It was Tom who introduced you to Hereward, in Middlesborough - what happened in the interim before you eventually moved to London and formed ‘Cafe Society’?

RD : Tom's family were living in the north-east and I went up there with him for a holiday. A neighbour of his decided to introduce us to some other arty young folk she knew of from Middlesbrough, and that's where Hereward came in. We just clicked - it wasn't so usual then to meet others passionately into writing and making music. Hereward in Teesside and Tom and I in Kent would make reel to reel revox recordings of each new song and post them to each other, then when we'd meet 2 or 3 times a year and we'd have long sessions playing the songs to each other and trying out harmonies. So then when we finally got together in London it was natural to get into a bedroom or a cellar and just spend hours playing and arranging and practicing.... We were buzzing on it.

HR : From what I’ve read, many people were buzzing about it, including Alexis Korner. You had a really strong connection to him - how did that come about?

RD : Alexis had been at Finchden in his youth - he was an 'old boy'. While we were there his daughter Sappho stayed for a while ... I remember Alexis and Sappho singing the country blues song “Trouble In Mind” together. This was when Tom and I would be wheeled out to play for visitors and there were some powerful times when Alexis and us would play in a packed Oak Room to visitors and wild eyed disturbed adolescents ... So Alexis got to know us and became something of a mentor. HR : Alexis was really big on the music scene, especially with  ‘Blues Incorporated’ - how connected  were you to all of that?  

RD : I remember staying at his place in Queensway and meeting John Mayall - I was a bit dumbstruck. It wasn't that long before that I'd been standing in the dark in a blues club in Belfast watching the ‘Blues Breakers’ with John Mayall and the new guitarist Peter Green playing stunning music, and here was the man standing before me. I don't know what I mumbled but I think it was embarrassing. Another time I was sitting in Alexis' front room with Andy Fraser who was someone Tom and I both loved very much. We'd been to see ‘Free’ at the Redcar Jazz club - the place of been jampacked and heaving and the band were incredible. And here was Andy talking to Alexis about what to do now Free had broken up. He put together a band called Toby. A little while later Hereward and I nicked his drummer Stan Speake, for the band we were putting together while we were waiting for Tom to come to London.

HR : So when Tom arrived, and ‘Cafe Society’ formed properly, what attracted you to the folk scene above any of the others?

RD : We didn't really choose the folk scene. It was just that we were three guys with acoustic guitars, a focus on harmonies, writing our own songs. In those days you either put together a band and played places like the hundred club, or you went to the booming folk circuit. So we began there ...

HR : You landed a residency, as a 3 piece, at The Troubadour coffee house - what do you remember about those first performances?

RD : As far as I remember we had a residency at Bunjies first. We were playing around a lot of clubs- The Rising Sun in Tottenham Court road was a good one. But the Troubadour had the cachet; it had a more serious reputation. We used to go down there and do floor spots on other people's nights and gradually we were building up a following. So then we got a night of our own-Tuesday nights.   It was a wonderful time, a very atmospheric place to try out new songs, to practice our harmonies. We had a captive audience in a little space and it became a shared experience. I think we had a very distinctive blend.   Tom was serious about the nuts and bolts of arrangements and song structure. Hereward was a showman, flamboyant in his songs and performance, and I would escape into the music and let my soul pour out. It made for a dynamic blend. And we were all fans, we all loved music, for us the people we listened to were our heroes and we wanted to join them. HR : And it wasn’t long before you did, was it? RD : No - By now we were trying to get a deal. That was the big Next step in those days. First you build up a bit of a following, then you got management, then you got a deal. We got a manager. Hereward knew John McCoy who ran music venues in and around Middlesbrough where he came from. John went on to become Chris Rea's manager and got him signed and started on his career. We used to go up and play at the Kirk, the most happening club on Teesside at the time, which John owned and ran. He listened to our stuff and wasn't quite sure what to make of it but he agreed to manage us, and one thing led to another and it resulted in Ray Davies of ‘The Kinks’ coming down to the troubadour to check us out. It was the same night Alexis was headlining for us so there was a real buzz in the air. Ray did a bit of a floor spot with us standing alongside not quite able to believe what was happening. Ray saw something in us, I think, that chimed with his own sense of song. He signed us up to his new indie label Konk -the first one in the country-and he himself produced our first album.

HR : Presumably that opened a few doors?

RD : Sure. From playing the London folk clubs, suddenly we were getting support act slots on national tours. We supported ‘The Kinks’ a whole bunch of times,  which was a bit odd because we were this very well mannered acoustic trio in the middle of the stage set up for this raucous pop rock band and the audiences were kind of looking for a good time. But we went down surprisingly well on those tours.  HR : Didn’t you also open for Barclay James Harvest? RD : Yes -That was a bit weird because they were a full blown prog rock band with colours and smoke and atmospherics and everyone took the whole thing very seriously!   I think for some of them a support band was just a necessary evil so we felt a bit sidelined. But luckily a lot of their audiences were the listening kind and enjoyed what we did. Also I have to say that Woolly Wolstenholme was a really sweet guy and he was always very encouraging and would make time for us. We learned a great deal on all of those shows. Sometimes it's when you're not doing your own show, but having to make your mark in someone else's, that you can learn most about holding true to yourself and standing firm as a performer. Then I remember we did the Alan Hull solo album tour. Alan was big at that point as the singer songwriter of Lindisfarne so it was a much better match for us as an acoustic trio. He did the whole tour solo and the audiences were great for us.  Mind you the dressing room was a place to be .... A parade of beautiful people hobnobbing with the latest thing ... Eh, that'd be him, not us!

HR : So as things progressed, and you were having this amount of success as a trio, what prompted you to add more members and form a ‘proper’ band, changing the dynamic, and presumably the sound?

RD : Well, as I said, we weren't really a folk group. We did love people like Neil Young,  Paul Simon, Dylan... We used to finish with a James Taylor song “Lo and behold” . Tom always really liked Richard Thompson. I remember at The Troubadour we used to sing the Fairport song 'Meet on the Ledge'. But really our folk credentials were accidental. We always saw ourselves as a band. Hereward and I had both been in blues bands, and played the raunchier end of R&B pop. Tom's musical interests ranged really widely. He was a big fan of early ‘Manfred Mann’. He and I were besotted with ‘The Band’, “Music from Big Pink”. So really we were just waiting for the chance to expand and go electric - unfortunately it happened just as Ray Davies was making the first album with us. He signed an acoustic trio, but while Ray was supervising recording us at Konk, a process in which we didn't feel we had much say, we were off down the road when not needed in the studio, doing our own demos in a little place in Holloway with a drummer and a bass player and a keyboard player. We abandoned the folk circuit and started to play the pub scene. The Golden Lion in Fulham, The Three Kings in North End Road where the unknown Elvis Costello was forcing himself on the attentions of a bemused audience! Upstairs at Ronnie Scott's. There was a new buzz around and we wanted to spread our wings. So with one thing and another the Konk relationship fizzled out.

HR : ‘Cafe Society’ were dubbed band of the year by Sounds magazine in 1976, but the same year saw  the arrival of ‘The Sex Pistols’ and a whole new scene - what impact did Punk have on you and the rest of the band?

RD : We had built up an expanded following as a band and it felt like we had lots to do. But Ray Davies brought in a production team to work on our second album, who were nice guys but they were not about new music. We were trying to make a go of it with them, and Hereward and I were both newly married and putting a lot of time into that side of things - so the impact of punk, for me at least, Was Tom turning up one night to visit me and sitting down in the front room and telling me how he had been going to the hundred club and seeing  this group - ‘The Sex Pistols’ - and that everything was changing. Tom was going out nights and seeing them and ‘The Clash’, the new bands, and he knew that the album we were recording was redundant.   And he did the right thing. He went off and he dived into the deep end of this new wave. A few short months later Hereward and I were standing at the back of the Lyceum on the Strand looking in disbelief at this mass of thousands of people all with their backs to us, Facing forwards, arms raised and yelling to the rafters for TRB. We didn't know whether to laugh or cry. I think we did both, but very proudly.

HR : It seems at that point, Tom was destined to go a different route - did you and Hereward plan to continue?

RD : When Tom announced he was leaving I didn't want, for myself, to carry on. But Hereward really wanted us to finish the album, which was looking more of a Hereward album anyway. So we continued. But it was without any real sense of ownership or involvement or hope. Really, it was over when Tom left.

HR : What direction did you take musically after the band broke up for good?

RD : I put together a band doing mostly my songs and some of my favourites. There was still a healthy pub rock circuit in London and we were playing places like the golden lion in Fulham and the Stapleton near Crouch end where the Jam were making their mark. There was a buzz - EMI were interested. Robert Plant came down to check us out. But the truth is my confidence was in bits ... I would be sick and need a drink before going on. I couldn't handle the business side - promoters, A&R men. Aargh. It freaks me out just remembering it. You either have the balls to be a good self promoter or you don't. I didn't. I carried on writing songs and playing in many different settings - clubs, in pubs, in schools, and made a couple of albums with a  gospel rock band in England and in the states. Later I returned to the blues with an old friend Paul Davey on guitar. I always loved Paul's playing and he has a quality to him which is very authentic. He is not flashy, he's like The early Peter Green I saw all those years ago in Belfast. But essentially I think I'm still what you might call a soul/folk singer. I love to make contemporary music that is now on the surface, but plunging deep into the timeless in the feel

HR : Some 40 years later there seem to be a lot of things that are coming full circle in your life ... in music particularly ...

RD : Yeah - Really when I look back my life has been about life, but music is a thread that runs through it either in the actual doing of it or in the yearning for it. I absolutely love making music. And that special magical thing of making music with really good musicians, where an unspoken understanding happens and creates a platform on which something even better then you know how to make, actually suddenly happens. A moment outside time. I remember seeing an interview with a very respectable English poet John Betjeman  - he was old and in failing health and he was asked rather respectfully if he had any regrets. And he said "yes. I wish I'd had more sex ". That's how I feel about that level of music making. And that's why am so blown away with what's been happening. Everything I've hungered for has come to me this year.  Making a new album, working with great people, and a really special night at the Troubadour. HR : Oh yes - the show at The Troubadour - how did it feel to perform there again? Was the atmosphere the same?

RD : Actually, the atmosphere was even better than before! I've just been listening to a recording of the opening song, “Give Us A Break”. It's a song of Tom's he and I used to do back at Finchden and we did it acoustically to start the night and it was magic. Then a series of great artists doing floor spots, then me with a spot-on young band, and Tom and Hereward getting up to join in. It was a 10 course meal by candle light! And the audience .... They might as well have been on stage, we were all so involved together.

HR : You remained friends with Tom, and Hereward - as you say they played with you recently, and have teamed in for your Solo album “Never Closer” - how does it feel to be back in their company on a creative level?

RD : Well you know we haven't been strangers to each other.

Hereward and I are brothers in law as well as friends so there's always been opportunities for us to get the guitars out and play together.  My song “Feet on the Floor”, on the new album, wouldn't be the same without Herry's harmonies.  And he's put a lovely, subtle keyboard part on “Kiltermon”, one of the most important songs for me. Tom though, his part in this has been crucial. He says he sees himself as executive producer, just making sure it happens but leaving the music up to me. The truth is he is much more than that. Looking back to the beginning, I wouldn't even be a serious musician but for Tom. And so to be doing this album in partnership with him is just fantastic.

The sense of coming full circle, of completion, of fulfilment is really strong in my life this year. This album is a big example of that, and Tom and Hereward and myself getting up on stage together at the troubadour, and being in the studio together looking into each others eyes, listening to each other, singing together, is deeply wonderful for me.

HR : You’ve said recently, that the recording process took the magic out of the music in the early days, so what has changed for you with this solo record?

RD : The heart went out of the music in the recording process in the 70s for us because it was an artificial environment and a rather autocratic structure. Music is about musicians sharing from their souls together, and that sharing combining, meeting in the air and combining into something extra. That just can't happen in a compartmentalised and splintered and structured and often rather heartless recording process. It's not always like that of course, but too often it has been. We need to get back to the magic of creativity. With this album it's very different. I suppose it's not too strong to say that this album is an act of love. And everybody involved in it is acting with creative integrity and with mutual regard. It's a great thing to be part of.

HR : What was your inspiration for putting these songs together, now?

RD : Back in the spring I noticed that I couldn't grip the plectrum when I was playing the guitar. That led me to check some things out, and I was diagnosed with motor neuron disease in April. I've had a good long summer since my diagnosis, holding the condition at arms length, and it's been great - But it is increasingly something that I am living with day by day so it is a big part of the reality of this stage of my life, and will only continue to be so, and more so ... So it's true to say that all this has come about in response to my diagnosis: Tom and my son Louis started looking at the songs that had never really seen the light of day, and talking about making an album - they were both very much spurred on to bring this about with me because time is an issue.  I wasn't sure  ... I certainly didn't want to make an album just for the sake of it. I wanted it to exist primarily as a piece of work in its own right, and have not wanted my health issue to be a dominant factor in what I've been doing - but the reality and beauty and urgency of this project has come about in trying to get these tracks down while it is still possible. Every stage of this process, of building this album, has been full of surprises.  It's incredibly alive. It's the story of a life. And it's a great collaboration between creative artists - not just me, but Louis, the brilliant Gerry Diver, Tom and everyone who's contributed..

HR : As you say there, the album also features your son Louis - what does it mean to you to be able to have this creative relationship with him, and your other children?

RD : It's been brilliant doing this with Louis. I always say he outstripped me musically a long time ago. The work he's done, from his early band the Cadets, to Slides, and now the Spare Room is often amazing. When he and I started looking at the songs for this album we started to get some of those shivery moments, like I used to get rehearsing in the cellar in Clapham with cafe society. I remember the rehearsal before the troubadour, we got the band together at the Music Room in New Cross and I had Louis on one side of me and my other son Jess on bass guitar on the other side, and we were all blasting out harmonies and it was like something in me just took off and flew up into the air. To be doing this together, at The Troubadour, and in the studio, and at such a wonderful high standard, is something that it's hard to explain. It's just beautiful.

HR : When are you hoping for it to be released?

RD : We are making the album with crowd funding - pledge music - so people are pre-ordering their copies and that helps pay for the cost of making it. The aim is to release it in January - hopefully on the 6th, my birthday - when I'm 64! 

HR : And what can listeners expect? RD : Well, the answer to that changes every week and every time we go back in the studio. It was going to be a good album, but there is all kinds of magic brewing in the cauldron. What can I say. I'm blown away by some of the things we've done. Gerry Diver is doing some extraordinary work on arrangements and production. Louis has written some great music, played brilliant guitar and found lovely musicians and I, I promise you, am singing my heart out. I tell you, I'm a happy man. But there's lots of previews on the PledgeMusic page, with some videos of different songs from the album or the Troubadour - keep watching.   It's at  http://www.pledgemusic.com/projects/raphael-doyle-never-closer , and my Facebook page raphaeldoylemusic

https://www.facebook.com/raphaeldoylemusic/?fref=ts

“I Come From Ireland” - a spoken word track is currently claiming worldwide acclaim, having made it to a feature in the Huffington Post!

The album - Songs Of Experience - can be found here http://www.raphaeldoyle.co.uk/

[Sadly Raphael passed away in March 2018. It is with huge thanks to my friend Ian Donald Crockett, that I had the pleasure of knowing Raphael for that short time].

[stevenuniversallyreviews]

Episode 121: Rocknaldo

“I don't love that. I don't accept that.”

Ronaldo Fryman has always been annoying.

From his first speaking role in Cat Fingers, and his first starring role in Keep Beach City Weird, this has been obvious. He’s selfish and insensitive, dominating every conversation he’s a part of and refusing to respect viewpoints that differ from his. He works well in small doses, where his grating nature can be properly diluted, so it’s understandable that an entire episode of Ronaldo at peak Ronaldo is not a widely beloved entry in the Steven Universe canon. But even though I can’t stand watching Rocknaldo, I actually, uh, kind of love it.

That’s a hard “uh, kind of” though. It’s tough to separate my emotions about this one, because I respect such an incredible portrayal of toxic fandom, but I hate toxic fandom so much that I don’t enjoy spending time with it, even as parody. This isn’t an episode I’m ever in the mood for, but it’s just so good at what it’s doing that I can’t stay mad at it.

Ronaldo’s propaganda is first played for laughs, with Steven’s bewilderment at what he’s reading (“They’re adding mind-controlling minerals to our water suppl—they hate men?”) and the vaudevillian back and forth of Ronaldo’s Rock People talking points and Steven’s quick and absolute dismissals. Ronaldo’s embarrassment is a bit of a surprise considering he’s never seemed capable of such a sensation, and his willingness to admit he’s wrong seems like a good sign, but oh boy does that attitude not last.

The mindset that led Ronaldo to make his bad faith arguments in pamphlet form (which he calls Ronalphlets because heaven forbid we get the idea that it’s not about him) persists, and it’s so much worse in conversation than as printed media. It’s not enough that he impedes on Steven’s personal space, but he checks off multiple key items on the Pathetic Internet Troll I Find Useless List (or “PITIFUL” if we’re using proper jargon). He’s casually sexist. He negs Steven into accepting his intrusions. He gatekeeps the concept of being a “true” Crystal Gem, which is lousy in a bubble but so much worse in practice because he’s doing it to an actual Crystal Gem. He gaslights by stating his incorrect views as obvious facts, complete with his own lingo, to make Steven question his own validity. And perhaps worst of all, he takes advantage of Steven’s empathetic nature to pretend that a tolerant person must accept abuse.

On the one hand, Ronaldo’s extreme behavior can be chalked up to severe sleep loss; that’s certainly the angle the episode goes for. But on the other, his toxicity begins well before he decides to stop sleeping, and as someone whose record for consecutive waking hours is an inadvisable thirty-six, fatigue will make you cranky, but it won’t make you more conniving. In cartoon world it’s a clean device to up Ronaldo’s awfulness in a way we can walk back from, but ugh he’s still a trashfire. Zach Callison always deserves kudos, and Rocknaldo is no exception, but Zachary Steel wins out here for capturing such a loathsome version of his character.

A key ingredient for Rocknaldo is timing. Steven just had a terrible, horrible, no good, very bad day, and this is our first glimpse at how it’s changed him, so what better way to test our all-loving hero than to pit him against a black hole of selfishness? He’s grown a lot since Keep Beach City Weird in a way Ronaldo hasn’t, and while his instinct is still kindness, now there’s a welcome dose of teen moodiness mixed in. 

It takes a while for Steven to realize it’s a grift, but beyond this slowness being a necessity for the conflict of the episode to work, it makes sense for where he’s at this point in the show. Again, kindness is an instinct for this kid, and even when Ronaldo starts getting infuriating, we’ve seen Steven be patient with him before. He’s also got that martyr complex revved up: this isn’t the first or last time he’s been willing to suffer to make someone else comfortable. He knows how much it sucks to be called the wrong name by now, so he’s the only person who consistently calls Ronaldo “Bloodstone.” And considering Rose Quartz wasn’t what he thought, he now feels that he must double his efforts to be his best self to compensate.

Also important is Steven’s willingness to defend his friends from the start, calling the term “Rock People” offensive and defending the Gems’ decision to leave Ronaldo behind on a dangerous mission. He can take Ronaldo’s lousiness all day, but finally snaps when Connie’s worthiness is insulted. It’s sweet that he sticks up for people, but it’s a bummer that he probably would’ve put up with Ronaldo even longer if the only one suffering was himself. Steven would do anything for his friends, but he’s not doing much for Steven.

This is why Ronaldo is the ideal antagonist for an episode coming off Steven’s space adventure. Steven’s selflessness contrasts perfectly with Ronaldo’s selfishness, but instead of a story about selflessness being good and selfishness being bad, we see how selflessness isn’t all it’s cracked up to be. Yes, it’s good to care about others, but it’s also important to have boundaries and enough self-respect to defend yourself; this isn’t even the first time we’ve gotten this message, but it bears repeating. There’s are limits to tolerance that trolls will always exploit (“White Nationalists aren’t welcome here? So much for the ‘Tolerant Left!’”), and on a show about empathy we need for Steven (and the audience) to see that empathy doesn’t mean being a doormat.

Steven’s patience fuels the episode, but the wheels are greased by the Amethyst and Pearl’s disdain. It’s a minor part of Rocknaldo, but I’m not sure I could survive how grating Ronaldo is without some backup from the Gems.

Garnet may lead a slow clap at Steven’s rousing speech on the nature of acceptance, but Amethyst is happy to crack jokes at Ronaldo’s self-seriousness, down to that perfect impression near the end of the episode. Meanwhile, Pearl openly hates the guy. We don’t even get Sassy Pearl (perhaps the greatest Pearl of all), she’s just bluntly dismissive as a refreshing antidote to Steven’s hospitality. She doesn’t bother to remember his ridiculous new name because she refuses to humor the notion that he’s a Gem, and it totally works for me; misnaming is played for drama when Steven is concerned, as befits the trans allegory that comes to a head in Change Your Mind, but Ronaldo is a human belittling Steven’s identity by pretending he shares it, so “Bloodstone” isn’t worth getting right to her (it helps that “Fryrocko” is also a delightful thing to call somebody). This jokey take on names works in the moment, but more importantly primes us for a more serious take in our last scene.

The final conversation, after a rare time jump, does salvage Ronaldo somewhat. He apologizes and admits he was acting like a jerk, and remains dedicated to helping the Crystal Gems in his own weird way. But the root of his problem isn’t gonna up and go away, and that root, again, is selfishness. He doesn’t fit in because he would rather the world adjust to meet his whims than take a single step towards self-improvement, so he chooses to see himself as “the ultimate outsider.” I guess it’s nice to find a positive spin on qualities you’re not great at, but it reeks of self-importance in a way that’s true to the character but is still frustrating to watch. Ronaldo is very good at being who he is, but I just don’t have much patience for intentionally annoying characters.

Still, we get that lovely moment of Steven talking about his name; it’s not a big revelation that folks only call him Rose Quartz when they’re mad at him, but verbalizing it shows that he’s aware of the pattern. The issue of his name will pop up more and more, becoming a cornerstone of both the Season 4 and Season 5 finales, so it’s nice to discuss it in a calm moment so we can keep Steven’s opinion in the back of our minds when things get messy. Ronaldo, to his credit, asks permission before sharing this story on his pamphlet, and evokes fellow emotionally-challenged antagonist Zuko in his attempt at solidarity. (Fun fact: in no other way is Ronaldo similar to Zuko.)

Moving from Zuko to Zuke: I don’t know where Rocknaldo’s production lined up on the timeline of the Steven Universe fandom's worst elements harassing Jesse Zuke, but I hope Zuke got some level of catharsis in portraying such “fans” in this pathetic manner. Speaking as a guy with a blog, calling Ronaldo “just a guy with a blog” is perfect putdown for a loser that makes himself feel big by pretending to know how to run a ship better than the captain. Imagine if I spent every post saying how much better of a storyteller I am than this crew. Ugh.

Fandoms can do great things, but man are they pros at doing horrible things. During the week that I wrote this review, a 15-year-old Super Smash Bros player got yelled off the internet for beating an established player in an incredible fashion, because while the community adores a young upstart, they can’t stand when that upstart is a girl. And no, I’m not saying the entire fandom did it, just as the entire Steven Universe fandom didn’t target one of the show’s best boarders (note that this article was written when Zuke still went by Lauren), but there are more than enough Ronaldos in every community, and it’s up to people who comprehend the basic tenets of empathy provided by a show they claim to love to stand up to such bullies.

If you don’t like Rocknaldo, that’s just fine. Because you shouldn’t like how Ronaldo acts in it. Liking something doesn’t give you the right to harass people, so do your part in shutting that nonsense down. 

I’ve never been to this…how do you say…school?

Just give us an episode with Peridot, Yellow Pearl, Peedee, and Ronaldo trapped in a room already.

We’re the one, we’re the ONE! TWO! THREE! FOUR!

I hate watching this episode, but that doesn’t mean I hate the episode. It does its job very well, which is worthy of admiration even if I’m probably never going to watch it again now that this review is done.

Top Twenty

Steven and the Stevens

Hit the Diamond

Mirror Gem

Lion 3: Straight to Video

Alone Together

Last One Out of Beach City

The Return

Jailbreak

The Answer

Mindful Education

Sworn to the Sword

Rose’s Scabbard

Earthlings

Mr. Greg

Coach Steven

Giant Woman

Beach City Drift

Winter Forecast

Bismuth

Steven’s Dream

Love ‘em

Laser Light Cannon

Bubble Buddies

Tiger Millionaire

Lion 2: The Movie

Rose’s Room

An Indirect Kiss

Ocean Gem

Space Race

Garnet’s Universe

Warp Tour

The Test

Future Vision

On the Run

Maximum Capacity

Marble Madness

Political Power

Full Disclosure

Joy Ride

Keeping It Together

We Need to Talk

Chille Tid

Cry for Help

Keystone Motel

Catch and Release

When It Rains

Back to the Barn

Steven’s Birthday

It Could’ve Been Great

Message Received

Log Date 7 15 2

Same Old World

The New Lars

Monster Reunion

Alone at Sea

Crack the Whip

Beta

Back to the Moon

Kindergarten Kid

Buddy’s Book

Gem Harvest

Three Gems and a Baby

That Will Be All

The New Crystal Gems

Storm in the Room

Like ‘em

Gem Glow

Frybo

Arcade Mania

So Many Birthdays

Lars and the Cool Kids

Onion Trade

Steven the Sword Fighter

Beach Party

Monster Buddies

Keep Beach City Weird

Watermelon Steven

The Message

Open Book

Story for Steven

Shirt Club

Love Letters

Reformed

Rising Tides, Crashing Tides

Onion Friend

Historical Friction

Friend Ship

Nightmare Hospital

Too Far

Barn Mates

Steven Floats

Drop Beat Dad

Too Short to Ride

Restaurant Wars

Kiki’s Pizza Delivery Service

Greg the Babysitter

Gem Hunt

Steven vs. Amethyst

Bubbled

Adventures in Light Distortion

Gem Heist

The Zoo

Rocknaldo

Enh

Cheeseburger Backpack

Together Breakfast

Cat Fingers

Serious Steven

Steven’s Lion

Joking Victim

Secret Team

Say Uncle

Super Watermelon Island

Gem Drill

Know Your Fusion

Future Boy Zoltron

No Thanks!

     6. Horror Club      5. Fusion Cuisine      4. House Guest      3. Onion Gang      2. Sadie’s Song      1. Island Adventure

[aceofintuition]

tricks n treats

Once upon a time Ace wrote half a halloween drabble about Snowy and then finished it like 5 months later.

Joey, Henry, Ana, and Joy encounter a surprise while out trick-or-treating.

They’re just heading down the last street or so when Henry’s eye catches on something up ahead. He blinks a couple times, squinting at it and trying to make it out. Henry nudges Joey, cutting him off mid-sentence of his conversation with Ana, and points.

Joey’s lips part, and he raises a hand to his eyes, looking at the shape in the light of the street lamps. “Henry, wha—”

“Look.”

Joey frowns as they walk every closer, and then his mouth drops open. “Is that…”

Henry nods. “I think so,” he agrees, a smiling curving his own lips.

“Oh my goodness,” breathes Ana, raising one hand to hide her own smile.

Up ahead, standing underneath one of the streetlamps, is a couple and their own child. The kid’s silhouette is easily readable once they get closer up; mostly dressed in black, but they have a very distinctive hood on—one that gives them a pair of large, inward curving horns. And as the Drew family continues walking, Henry can start to make out more details; a pair of distinctive white gloves, some oversized black boots, and a shining white bowtie. He also recognizes the short black dress and cute devil horns topped with a halo of the woman, and her companion sports a cute pair of long ears, some overalls, and a painted-on black button nose. They also have similar white gloves on, but Henry finds himself drawn to the kid again and again.

“Oh my god,” Joey repeats, one hand instinctively reaching out to grab Henry’s shoulder. “Henry, that’s—him. That’s—shit, what do we say to ‘em?”

“You should probably start by not swearing, Joey,” Ana quips dryly, and Joey leverages a panicked look at her.

“Ana, please, what do we say to ‘em?”

“’Thanks for cosplaying my characters’?”

Henry laughs and Joey groans. “Darlin’, you are absolutely no help sometimes.”

“Oh, I’m glad you noticed,” Ana teases. “I try so hard.”

“We—I can’t—just say nothing—! Y’want me to just walk right by ‘em ‘n pretend like I don’t—”

“No, Joey, I just don’t know what to say any more than you do, honestly.”

Joy has been studiously looking through her own candy bag this entire time, not paying too much attention to what her parents have been saying, but eventually she looks up. A gasp escapes her tiny mouth, and she whirls around. “Papa that kid is dressed up as Bendy!!” she exclaims, pointing behind her, her candy bag swinging haphazardly.

Joey gives her a grin made toothier by the set of fangs he’s sporting tonight. “They sure are, sweetpea!” he says.

“I’m gonna go say hi to them!!”

Joey’s, Henry’s, and Ana’s eyes all widen simultaneously. But before he can even say anything, Joy is off like a shot, barreling down the sidewalk towards the unsuspecting other family. There’s a moment where all three of them pause, and then Joey leaps forward after his daughter. “Darlin’, wait!” Henry watches as six-foot-four-inches of absolute clumsiness somehow completely fails to catch up to a three-year-old less than half his size on a mission. As Joy closes in, Henry gives a long sigh and thrusts his cane forward to pick up the pace, Ana walking more leisurely behind.

Joy skids to a stop in front a kid about her own age, who squeaks in surprise. “You’re Bendy!” she declares, pointing at them. “And you’re Alice and you’re Boris!”

Joey runs up behind her, panting. “Darlin’, it’s not polite to just run up to strangers ‘n start shoutin’ at ‘em—” he begins.

The other kid looks at Joy with wide eyes. “You know Bendy?” she asks tenatively, her gloved hands clutched around her own trick-or-treat bag.

“I’m terribly sorry,” Joey says apologetically. “She didn’t mean to startle you none.”  Alice’s eyes widen as she catches sight of him. But down at his feet, Joy beams.

“My papa MAKES Bendy!” she exclaims. Joey lets out a short nervous bark of a laugh, flushing a tad.

Bendy’s eyes seem to get even wider. “Wow, really?” Joey looks down, about to answer her, but Alice gives a gasp herself.

“Are you—uh, you’re Joey Drew, aren’t you?” she stutters, causing her companion to shift in surprise too.

Joey gives a smile as Ana and Henry finally catch up to them. “At your service, I suppose,” he says with a bit of an embarrassed chuckle, offering her his hand. “’N, uh, this is my wife Ana ‘n my partner Henry. ‘N the little munchkin is my daughter, Joy.”

“I—oh my god,” Alice squeaks; after shaking his hand, she places her own to her mouth. “I didn’t recognize you because of the costume, I’m so sorry. I can’t believe—I mean my daughter and I, we just really love your show—”

“No kidding, huh?” says Joey.

Henry rests a hand on his shoulder. “Your costumes all look really great,” he adds sincerely, with a soft smile.

“Yeah,” Joey picks up. “No, please, believe me, we’re super excited to see ‘em. Henry ‘n I, we were tryin’ to figure out how to start up a conversation—”

“You were just panicking, Joey,” Henry teases, and Joey gives a good-natured groan.

“Throw me under the bus, why don’tcha.”

But Alice finally pulls her hand away from her lips, a small smile matching that of Boris’s next to her. “We knew the studio was close but I don’t think we expected to actually run into anyone working there tonight, is all,” says the Boris of the group. “Let alone the man himself.”

“Ah, well, we kinda live out ‘n the middle of nowhere,” Joey mumbles. “Gotta travel a bit t’ do this whole Halloween business.” Ana starts talking with Alice, and Joey turns to his daughter, squatting down beside her.

“Don’t forget to introduce yourself, darlin’,” he reminds her, and Joy starts.

“Oh! I’m sorry, I’m Joy,” she says, extending her own tiny hand. The other girl looks tentatively between her and her father before taking her hand.

“’M Kelly,” she mumbles. “Is it true you make Bendy?”

“Sure is,” Joey returns, with a soft smile. “ Me ‘n my partner here. Did’ja help make that costume?”

Kelly nods, rocking on her feet a bit. “My momma made most of it, but I helped.”

“It’s a great costume, kiddo,” Joey says. “Why, I thought I was lookin’ at Bendy himself when I first saw you! You ‘n your mama are real talented artists.”

Kelly nods again, giggling, and Henry finds he can’t resist the smile creeping onto his own face. “I’ll bet it was lots of fun,” he prompts, and the little girl looks up at him with a shy smile.  

“We worked really hard on it!” she chirps.

“And it shows,” Joey returns, with a lopsided grin. “You’d fit right in at the studio, no problem. Bendy himself would think he was seein’ his own reflection come to life!”

“Really?”

“Absolutely.” Joey’s tone is one of sincere confidence. Joy beams. “I think we’d love to take a photo with you folks, if you don’t mind?” His smartphone is already out of his pocket and in his hand. “This’ll sure be somethin’ to share around the studio come Monday mornin’.”

“What do you think, Kelly?” Boris asks, and the little girl offers a chipper “yes!” in response. Joy echoes the yes, and Henry glances over to Ana. She tilts her head.

“It’s your cartoon, boys,” she says with an easy grin. “Seems like you should both be in it, si?” Joey darts back over to give her a peck on the cheek of thanks, and then he and Henry join the little group. Together they sandwich the family in the middle, Henry sharing a look of amusement with Boris as Joey takes up next to Alice. Kelly finds herself front stage with Joy next to her, beaming. Ana snaps the photo, then steps forward to trade out Joey’s phone for Alice’s.

“You should come to the studio sometime!” Joy proposes eagerly, and Henry watches Joey latch onto the idea, his eyes lighting up even without the help of the camera flash.

“Joy darlin’, that is a wonderful idea.” Joey smiles. “We’d—Henry ‘n I,” he amends, stepping back over to sling an arm around Henry’s shoulder—”we’d love t’ give you the grand tour if you ever feel like stoppin’ by.”

“That’s very kind of you, Mr. Drew,” says Boris, with a soft smile that matches his daughter’s.

“Please,” Joey says. “Just ask for Joey ‘n Henry.”

[sylvieusedhyperbeam]

annnd hacking away in my own little corner

just.  casually hammering away on my own Villainous AU don’t mind me folks.

AU isn’t really titled yet so for now i’m’a just call it ‘Virtuous’.  idk i’ll think of something better.  if there’s an AU out there called Virtuous already then i’ll work faster to think of something better and change it.  for now i’ll... just have to ask you to be patient.  :I;;

White Hat

Not much different from other White Hats of various other AUs, though the backstory/origin is different.  As a youngling incarnation, he was an embodiment of good that went about the multiverse to keep things in balance against the Chaos, which his fuckhead ‘bro’ Black Hat embodies, respectively. 

Used to be a lot more erratic and somewhat violent in this purpose, since in those first few early millions/billions of years, he operated a lot more around instinct than reason or logic.  He was a force that didn’t really have a chance to... think about what he was doing.  In other words, yeah, in those early ages of the multiverse he saw things in very black-and-white terms and he and Black Hat caused some shit for some worlds.

Of course, he does know better now and has developed a much more refined, intelligent response to evil and malevolence.  And nowadays, rather than a mansion of splendor and indulgence, he lives in what some might describe as a white and turquoise airship that comes down to base to settle every now and then, lending it the appearance of a mansion. 

He runs a business similar to Black Hat’s, where he gives heroes that serve the Light shields, cures, elixirs, all the stuff they need to help balance the multiverse and drive back the Chaos.  He doesn’t do it for money, of course, though heroes ARE inclined to give him some generous donations because ‘eeeey, airships that sail the multiverse don’t keep themselves in repair, not without White Hat seriously taxing his reserves, anyway.

These days he’s very polite, as well as far kinder, more compassionate than he was in his early days.  He’s also a huge dork with a soft spot for antiques who loves learning about the cultures and shit of other worlds, since even as old as he is, new worlds emerge in the multiverse all the time and so he feels very humbled by it all and seeks to always learn more!  Loves gardening, loves cooking, loves art, loves anything involving the act of creation or bringing harmony, really.  Also really loves singing, and his singing voice is very soothing, pleasant, with the inherent ability to help ease away sadness or anxiety. 

Standard design for him might be like any standard White Hat, though I’m contemplating teal on him instead of blue.  :|a  HMMM.

Doctor Trug

To answer potential questions, roughly translated, trug can mean a lot of things.  One of which includes ‘deception, swindle, elusiveness’, meaning yeah, Trug was basically a conman alchemist who worked his way up to a professional thief of many talents.  Being well versed in both dark magic and evil sciences as well as being manipulative as shit, he served the Chaos and sought to undermine the Light as a more direct agent.  How he managed to get the direct attention of the eviler Embodiments, well slap my ass and call me Betty, that’s anyone’s guess.

Buuuut a mission gone wrong with an attempt on the life of an early Embodiment kinda found him facing some hard-ass time in a multiversal prison.  Which... yeah, a questionably normal human facing time in THIS particular prison, it was bound to be a preeeeetty bad time.  Because you don’t wanna end up at in a multiversal prison.  You really don’t.

Until of course White Hat intervened and opted to ‘rehabilitate’ him, and seeing a chance out of serving time at Holy Shit Eldritch Horror Sing-Sing, Trug of course ‘jumped’ on the chance and played it up all ‘OH THANK YOU SIR WOW SIR SUCH MERCY SIR’ thinking ‘wow what a fucking sucker’.  He assumed that working for White Hat would be simple enough if he just played on White Hat’s kindness but... yeah, it’s a hell of a lot more taxing than he originally thought it would be.  TEEHEE.

Anyway, Trug is rude as shit and looks out for number one.  He’s an ambitious motherfucker though, with a really solid work ethic based mostly around prideful standards he holds himself to whenever he’s researching a cure or a counteraction to a villain’s bullshit.  He thinks nothing of experimenting on human beings or using dark magic for his own means, but White Hat forbids it on all counts, and well... talented as he might be, Trug isn’t stupid and knows better than to try going toe to toe with an Embodiment. 

He can also be very manipulative when he wants to be, and often is for either something he wants or just for the hell of it.  He’s the kind of asshole who will literally argue that the sky is green just for the sake of arguing, if he’s bored enough.  He hates people, for the most part, though he does enjoy people-watching to an extent and making up bullshit backstories about them (if you’ve ever seen Always Sunny in Philadelphia, you get my meaning here). 

Don’t really have a design in mind for him yet.  LMAO i act is if though i’ll actually draw them, or that i actually CAN draw for that matter.

Gemencia    

A very peppy young girl with a few magical abilities, in lieu of the more physical/likely genetically mutated abilities of her respective counterpart.  Gemencia is a girl who can utilize telekinesis, as well as low-grade stasis fields that can freeze people or objects in place for a short time, about ten or fifteen seconds or so.  How she does this, well, she can’t say even she knows.  She doesn’t really remember much about her own backstory, just that she kinda-sorta raised herself in the more nature/magic based world she came from before she decided to become a treasure hunter.

And BOY HOWDY does she love treasure hunting.  Like, the girl is GOOD GOD unafraid of anything on so many levels, so she often tends to do crazy parkour shit on the face of rocky mountains, pick fights with people ten times her size, annnnd maybe do a whole mess of shit without really thinking.  She tries to do RIGHT by people, don’t get me wrong, but if the rules look like they need bending or broken?  She’ll bend ‘em a little.  Or a break ‘em.  A lot.  And not give any shits.

Her impulsive love for adventure and helping people in her own crazy way eventually led her to hear tales of the Embodiments, super eldritch beings that maintained the balance of a neat nifty thing called the multiverse, and instantly became determined to see it all for herself.  Loving to do things for people and help people, of course she wanted to seek out the Light Embodiments and become the most awesome treasure-hunting hero the multiverse had ever seen.

SO!  Seeking out White Hat to be her teacher seemed as logical an action as any!

With the help of some magic users who showed her how to travel to other worlds, she kinda world-hopped and bummed around for a while in search of White Hat until she finally found him, when his airship settled in the same world she was in by pure chance. 

She just... kinda started following him around.  And when he got back to his airship one day he just sorta found her there, where she was all ‘HEY ‘SUP I’M STAYING HERE NOW LOOK I BROUGHT CHIPS :D’ and White Hat just kinda... sighed and rolled with it.

Gemencia loves, loves, LOVES spontaneity.  She’s a wanderer at heart, and loves seeing what entire worlds have to offer.  She loves a good brawl every now and then, cartoons, hard hitting punk rock music, collecting artifacts and treasures, and has a refined interest in mythology and lore that might surprise people who don’t know her very well.  As a treasure hunter, she’s been inside old temples, ruins, torn palaces, catacombs, all things that have exciting stories of old war and battles and ancient evils falling at the hands of ‘super TOTALLY badass’ heroes, and it’s from these legends that she became inspired to strike out on her own and become ‘THE MOST SUPER BADASS HERO’ that ever hero’d. 

Not above swearing, indulging (be it huge meals or drinking), or pulling dangerous/impulsive stunts though when White Hat doesn’t keep her in line.  If you befriend her, you have a fiercely loyal buddy for life who will fuck others UP if they try to mess with you, but be warned that you’ll be getting dragged along for a few... adventures when the mood strikes her.   

Her design includes light blue hair, and rather than a lizard hat, she has a big-ass fox hat with long fox-styled hair.  :U  I chose this because foxes are natural foragers, known for leaping to literally pounce into the ground to find their prey.  Gemencia is about the same as a treasure hunter, known to leap right into things in search of the various rare jewels and treasures and ‘OOOH NEAT’ artifacts that she kinda hoards away even if she doesn’t know WTF they even do.  Also tends to wear orange and black stripes, in lieu of Dementia’s magenta.  :T 

EDIT you all thought i forgot 505′s counterpart didn’t you?  ....well you’re half right.  i half-forgot, half-okay-what-the-hell-am-i-doing.  but anyway, here we go!

404

404 was originally an animatronic for a family restaurant - no not THAT one this ain’t a FNAF crossover get that shit outta here.  He was a regular animatronic up until Trug decided it would be super funny and edgelordy to reprogram it to not only frighten kids, but hell, rob the restaurant’s safe during closing hours and bring him the loot.  The restaurant owners kinda pitched him, Trug took him, and installed a few more fun TRICKS on him while he was at it to make him a better partner-in-crime.  Because why not, it would be a waste of perfectly good machinery otherwise.

Of course, it began smoothly enough at first... until 404′s AI kiiinda-sorta gained sentience.  After that point, he became lazy, grouchy, and at times outright refused to obey Trug’s orders on the grounds of ‘I don’t feel like it fuck you’. 

Trug deactivated him and decided to use him for spare parts, but kinda never got around to disassembling him.  When White Hat took on commuting Trug’s sentence, the two traveled to Trug’s hideout so that Trug could pack in order to feel as comfortable as possible while out traveling the multiverse with White Hat.  White Hat took notice of the big cuddly looking bear and whoops reactivated him, and then promptly forbade Trug from deactivating him again because LOOK AT HIM ALL HE NEEDS IS LOVE.

Trug wishes 404 would rip White Hat’s leg off and beat the shit out of him with it.

404 won’t do it out of pure spite.

Anyway, 404 contrasts 505 by way of being pessimistic, coldly logical, seeing no point in frivolities and only wishing to lie around all day and eat.  Thanks to Trug’s alterations, he does have nifty things like heat sensors, night vision, and even a vehicular mode where he can turn into a small car for quick escapes, but good luck getting him to actually use a single one of these things without bribing him with honey. 

He also contrasts 505 by being... well, mechanical, instead of organic. 

404′s design consists of purple fur, and atop his head is a little satellite dish instead of a flower.  His eyes are big red iris shutters, the kind you see on camera app logos, with a yellow center.