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bigskydreaming · 3 months ago

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I actually can not believe I've never posted this X-Men headcanon that turned into a whole treatment/outline, but for those few followers who know who Dallas Gibson aka Specter is, or Laynia Petrovna aka Darkstar, or just anything about Academy X in general.....enjoy! (You actually don't have to know anything about Dallas or Laynia to follow this, I don't think.)

Anyway, I give you:

THE GREAT MANIFESTO OF WHAT IF DALLAS GIBSON WAS THE SECRET LOVE CHILD ONE NIGHT STAND CHILD OF BOBBY DRAKE AND LAYNIA PETROVNA: A CRACK FIC THEORY OUTLINE SOMETHING IN THREE PARTS

(Like I GENUINELY thought I had posted this before but found this in my drafts so apparently not. Anyway, I feel like this is particularly relevant again after Laynia was just brought out of comic book limbo as the head of a mutant mercenary group in the wake of Krakoa's fall. She's massively OOC in the one issue of X-Factor released so far and I don't like it, but it did reignite this particular headcanon so....there's that I guess).

Anyway! My treatment for revealing Dallas Gibson as actually being Dallas Drake, secret child of Bobby Drake the Iceman and Laynia Petrovna the Darkstar from when they were on the Champions together when they were both only nineteen.....without actually destroying continuity to make it work!

A triptych of linked five issue minis:

ICEMAN AND DARKSTAR: SHADOW GAMES

ICEMAN: A HOUSE OF DRAGONS

DARKSTAR: SONS OF SNOW AND SHADOW

So I have approximately 80 different pitches for what to do with Iceman at any given time, but let's go with one that I know would never in a million years happen purely because the X-Office will never let the 05 be the ages I perceive them as which is mid to late thirties at this point. Like I picture Bobby as around thirty-six or so, though for him it actually makes sense for him to be eternally portrayed as LOOKING like he's in his early 20s, since that was the age he first transmuted to his ice form and so makes sense to be his default template/molecular blueprint his power resets him to every time he has to make a new body from scratch.

Anyway, wildly self-indulgent pitch ahead, which ties into a cracky headcanon I've had since Academy X, a couple OCs, and combines my ideas for giving Bobby an antagonist of his own, more characters to interact with other than major X-Men so his story beats aren't reliant on whatever's going on with other X-Men and who's available, and gives him concrete reasons to want to level up quickly in terms of how much social influence he wields among mutantkind, take more prominent/proactive stances on things, etc. While still leaving room for him to be goofy and always trying to use humor to seem more relatable, less threatening, etc.

So. I'm picturing this as a triptych like Sabretooth, three interlocked minis of five issues each that form a trilogy by the end.

First mini:

ICEMAN AND DARKSTAR: SHADOW GAMES

ISSUE ONE:

First issue opens with Bobby in his apartment in LA, sometime after he's left the most recent X-Men lineup and is back to living off of Krakoa. He's just gotten in and is going through his mail where he comes across a card with no return address. Opening it, he finds its a condolence card that says "Thinking of you on this anniversary of such a tragic day." His internal monologue, conveyed in caption boxes and a key element of this whole mini, shows he's totally confused by this. He has no idea why this date would hold any special significance, or who would have sent the card or why. (The specific date would just be somewhere around the date of publication, in a world where this actually got published, lol. Let's go with April 27th, for instance).

Deciding to just shrug it off as some weird thing, Bobby's basically just being moody for a page or two of reflection before Scott calls. They're trying to do better about keeping in touch even when they're not on the same team. Some generic catching up, and Bobby eventually mentions he's just been in a weird mood all day, to which Scott says he's not surprised. Turns out Scott's noticed that for as long as he can remember now, Bobby's ALWAYS in a shitty mood every time April 27th rolls around. Yes, Scott being Scott, after years of Bobby being weird around the same time every year, he eventually narrowed it down to its epicenter. This very day. Bobby is both weirded out and touched by Scott's attention to something so specific about Bobby...more attentive than even Bobby himself. When they hang up, he's still clueless about why today would be such a big deal to him, but apparently there's a pattern. That card might not have been so random after all.

Confused & uncomfortable now, Bobby decides to get out of the house & just do hero stuff. That always makes him feel better. He helps put out some fires, divert a tidal wave, gating back and forth across the planet, restless. The whole issue, even as he uses his usual banter to make the people he helps feel at ease in the wake of whatever catastrophe they were just saved from, his internal monologue shows he's second-guessing himself constantly, being his own worst enemy, criticizing every choice he makes about his saves, how he could've done things better, etc. Things come to a head when he intervenes at a protest - I don't have a specific cause in mind but ideally something non mutant related - as a group attacks the protesters until Bobby drops in to protect them.

The protesters thank him but are pretty cynical about the whole thing. They note that this happens constantly and most of those same people will be back stirring up trouble and violence at another event like this down the line. They hope for change for the better but point out that some people never will, because they're not interested in better. They're happy with their hate. Bobby reflects on what they said, and here's where his thoughts start to take a particularly dark turn. He thinks of some of the ways his powers could be used to ensure those ppl never hurt anyone again, how the full potential of his powers include a lot of lethal options, and why shouldn't he use them when its true most of these ppl will just commit heinous acts in the future, and he might not be around to protect their victims next time. He even reflects on how he's used some of those darker options in the past, so its not like it'd be crossing a line he hasn't already....

Disturbed by the fact that the only reason he can think of not to go there is he's a hero and heroes don't do that, he just wants to be anywhere else in a hurry so he skips heading for a gate and does something he does only rarely....turns himself into mist and starts to disperse, to teleport somewhere far away, but as he does he gets the weirdest feeling, like his spread out consciousness is brushing up against someone else's. He's not alone he realizes. And he stops and recoalesces right there and talking to the empty air he demands that someone show themselves. A man appears out of nowhere, laughing.

Stranger: Your observational skills are a lot sharper than they used to be, Drake. Back in the day, you had no idea when I was around.

Bobby: Who are you and why are you talking like I'm supposed to know who you are? I've never seen you before in my life.

Stranger: Wow, it sucks to realize you left way less of an impression on someone than they left on you. I guess it makes sense though. I mean, when you KILLED me almost twenty years ago, this very day - that was obviously a big deal for me, but hey, I've been out of the loop awhile so what do I know? Maybe it was just another Tuesday for you.

Bobby: Are you the one who sent me that card earlier? Who the hell are you and what kind of game are you playing?

Stranger: Same one we were playing all those years ago, Bob. Before you got all pissy and flipped the board before I got a chance to make my next move. But thanks to the wonders of Krakoan resurrection, now we can pick up right where we left off. It really is a miracle, isn't it?

Bobby: Well maybe you should check with the Five and make sure they didn't bring you back with a few screws loose, because I'm pretty sure I'd remember this if it was actually me you were playing this game with.

Stranger: Maybe you just forgot. Or who knows? Maybe someone made you forget.

Bobby: Okay, yeah, I'm bored now. Time to put you on ice.

He starts icing the area around the stranger, intending to trap him in a block of ice, but the stranger just laughs and turns incorporeal, becoming a transparent outline hovering above the street....so to anyone who hadn't been watching their conversation - like the very protesters Bobby had saved earlier - it looked like Bobby was just furiously creating some kind of ice attack that didn't seem to be aimed at anyone...other than them. The now ghost-like stranger zips over to the crowd and starts weaving among them, seeming to whisper in a bunch of peoples' ears....and before long, the crowd that had just been saved from one attack and were primed not to just sit down and take another, were ready to choose fight over flight...and all of that fight now seemed focused directly on Bobby.

He constructs some ice barriers to just keep them at bay, not really worried they'll hurt him and more concerned about not hurting them, when the stranger's ghost form swirls around Bobby, hovering above his shoulder and now whispering in his ear. But there's no dialogue in the stranger's speech bubble....just caption boxes displaying Bobby's internal monologue....and now calling into question every single box earlier in the issue.

Caption box: Isn't it surreal how the right words whispered in the right ears can dramatically change a person's perception of something....or someone? How easy it is to change peoples' courses....even the course of their entire life?

Caption box: And fear, well, fear's one of the best motivators there is. So much easier to get someone to listen to you when they're afraid of something else.

Caption box: But maybe you can't really relate to that. A guy as powerful as you, you're probably not afraid of much these days.

Caption box: That wasn't always true though, was it? This take you back at all? Remind you of when you were just a kid, and there was a mob gunning for you just for the crime of being mutant and vulnerable? I bet you were scared then.

Caption box: Considering what a guy like you could do if he were scared enough, if the right person used the right words as the spark to ignite all that fear....the world's probably pretty lucky that Saint Xavier was there to be the voice you listened to back then, huh. Y'know, instead of someone like Magneto or Apocalypse being the ones to tell traumatized, impressionable little you what to do with all that fear and anger you felt....

Caption box: Do you ever think about that, Drake? Wonder if all that separates you from the worst of the worst is you had the right voice in your ear at the right time? That maybe there's nothing special about you at all, nothing innately noble, heroic.

Caption box: That you were just....lucky?

Caption box: Food for thought. Anyway, I gotta run for now, but I'll be seeing you, Bob.

Caption box: We have so much to catch up on.

Then its just Bobby left keeping the crowd at bay with his ice structures, him visibly shutting down, trying not to think too much and just running on instinct, until a hand reaches down from above and snatches him up into the air, until the streets are just a speck below them. Bobby looks up and to his shock its Laynia Petrovna aka Darkstar, his old friend and teammate from back when he was on the Champions as a teenager. The issue closes with her saying: "Hello, Bobby. I'd say its nice to see you and all the usual pleasantries, but we don't have much time. And we need to talk about our son."

ISSUE TWO

This issue switches to Laynia's POV with her internal monologue in caption boxes, and picks up with them having teleported somewhere secluded via Laynia's powers (she's much more practiced using hers to teleport than Bobby is using his that way). This issue goes back and forth between past and present, as during Laynia's narration of past events they're shown as if they're happening in real time.

Bobby's pointing out that they were never together, and considering she was the one who turned him down, you'd think she'd be aware of that. Laynia responds that no, they were never a couple, but they did sleep together once and once only....she'd been feeling particularly down about her ex-boyfriend Yuri after running into him, it was a rebound thing for her and she never hid that but Bobby took it to mean more than it did anyway and acted a fool about it, aligning with their canon interactions at the very end of their Champions run, before getting on the same page and they went back to just being friends.

Except, Laynia says, then she found out she was pregnant, and he flew to Russia to join her and decide what to do together, while everyone else thought he was still at UCLA. He doesn't remember any of this, because blocks were put in their memories, hiding everything related to this. But it did happen, and they do have a son. She'll explain everything, but they need to keep moving around, as she doesn't want the man who just confronted Bobby to overhear any of this and its very hard to detect when he's around. Their best option is to keep on the move, teleporting frequently and not staying anywhere long enough for him to track where they are.

Bobby: Oh crap. HE'S not our son, is he?

Laynia: Hell no.

Bobby: Phew, I was worried we had a Stryfe situation for a second there. I am barely holding it together as is and I am NOT equipped to handle an evil Bobby Jr. from the future.

Laynia reaffirms that he is definitely not their son, but he is the reason for much of what happened back when they were eighteen. They only ever knew him by his moniker, 'Doubting Thomas' and honestly were never sure when exactly he started watching them and messing with their heads. That's his MO. His power lets him turn from flesh and blood into a form made solely of psychic energy...an astral ghost that's invisible, immaterial and can travel via the astral plane. But his only power to affect the material world in that form lies in telepathy. He can project thoughts into someone's mind and its almost impossible to keep him out or tell his intrusions from ordinary thoughts.

She's not sure how he'd fare against other telepaths, but at least with non-psychics, even the best psychic shielding or anti-telepath technology isn't a guarantee against him. Because he doesn't try to break into minds, or even sneak past mental defenses. He just surveils his targets, watching them invisibly, learning all he can about them, and then he looks for cracks in whatever mental shields they have. Tiny gaps here and there that he can just whisper into, slipping a thought in amongst the chaos and chatter generated by someone's own mind.

All of which means they never were sure where their own natural fears and paranoia ended, and his whispering began. They were eighteen, she reminds Bobby, already freaking out about this giant life change neither were sure they were ready for, even if they did keep the baby...and neither of them was an ordinary civilian. They were powerful mutants with lots of enemies....from day one, they were concerned that their child would be born with a target on their back just from that. And then there was the fact that one of the things they'd always bonded over was resentment for how early they felt their childhoods ended.

Laynia and her twin brother Nikolai were taken from their parents at birth, and raised separately with government agents for foster parents. They were always intended to be mutant operatives for their government, their lives scripted out for them, and their training began in their early teens. Laynia didn't even know she had a twin brother until she was in her twenties.

And Bobby had always quietly nursed resentment for being put out into the field at the same time as the rest of the 05, all years older than him and with a lot more focus from the Professor. Scott was his protege, a tactical genius, Jean was his preferred pupil in terms of power development, Hank was a bonafide genius, and Warren was a millionaire playboy, a natural spokesman and inevitable future celebrity. Bobby was just Bobby though, with no awareness of his full potential, and the only one the Professor didn't seem to have any real purpose for or interest in. Like he was tacked on as a spare, his presence more of an afterthought than intentional.

So especially in his late teens, after the 05 went their separate ways, Bobby had always been bothered by the fact that he'd gone through all the same traumas and hardships as the rest on their various missions, but always wondering what he was even doing there when it didn't even seem like there was any reason he was supposed to be. Privately he'd always wanted someone - his parents, the Professor, even the older 05 - to question whether there was really nobody else Xavier could have been sending out to fight Magneto, than a fifteen year old too afraid of being abandoned to say no on his own behalf. After all, the issue was complicated by the fact that when his parents weren't fully on board with Bobby going to the Institute, Xavier mindwiped them into thinking he was just at boarding school, and it was only when Bobby was eighteen that the Professor restored their full awareness of what Bobby had been doing for years.

All of which played into why Bobby and Laynia didn't tell anyone about the pregnancy, even their closest friends. It started out as them just putting it off, wanting to be more sure of their own thoughts on this before someone else tried to make the decision what to do for them, but by the time Laynia gave birth, they'd fully isolated themselves, paranoid that Xavier or the Red Room would take the baby and just make them forget all about it. And problem is, as Laynia put it, they couldn't tell how much of that was Doubting Thomas whispering all the right things to ramp up their anxieties and specific fears.

And obviously someone did mess with their memories anyway, Bobby points out crankily. This all is partly meant to seed two ongoing character arcs for Bobby in the future....the first, his awareness of how often his mind and memories have been messed with over the years, by enemies and allies alike, to the point he's honestly not sure how much of 'him' is really even him, and how much he's just the end result of people just editing his mind whenever he started heading in a direction they didn't want him to. With how long the memories of their time travel trip were hidden, now these missing memories, what other holes could exist in his memories without him ever having a clue?

And the second character arc is his misgivings about Xavier and the role he played in Bobby's childhood. Knowing what he knows now of his omega potential, aware that all the biggest developments and learning curves with his powers happened when Bobby WASN'T Xavier's student, Bobby's increasingly convinced that Xavier never trusted Bobby with his own power, and while he might not have actively stunted his growth, he certainly didn't help or encourage it the way he did his other students. The foundation is there for Bobby to wonder if the only reason Xavier ever even recruited him was to keep him from falling into anyone else's hands and becoming a threat.

As Laynia reminds him of what they were like back then and how they viewed things, things fall into place for Bobby and its very easy for him to see how they could have ended up hiding this from anyone in Xavier's orbit, etc...and this starts to become less abstract for him. It wasn't that he thought she was lying at any point, but its hitting him now....he has a son, and someone made him forget. He's someone who has always yearned for family that won't judge or condemn him, leave him, always been determined to be everything his own father wasn't and nothing like him, and yet he has a son who's grown up without him. Whose name he doesn't even know.

He does know his son though, it turns out. At least somewhat. Its one of Bobby's former students before M-Day. Dallas Gibson aka Specter. He has no idea who he really is, Laynia says, but the parents who died when Dallas was ten were his adoptive parents. But he was born Dallas Drake, as Petrovna wasn't even Laynia's real last name and she had no idea what it originally was. Heir to the merged powersets of both his biological parents, with his father's elemental form but made from his mother's signature Darkforce energies.

As for why Laynia remembers when Bobby doesn't....she didn't originally. But then years ago (during the Morrison run), she was possessed by one of Weapon X's most dangerous creations, the Huntsman. However, thanks to how her powers were designed to let her mind travel through the Darkforce Dimension to do things like teleport, when she was possessed, her mind tried to flee into that dimension. When Fantomex killed her, he only killed her body, and her mental tether to it. The shock and trauma of her physical death broke down the barriers around her memories, and they all came flooding back. Problem was, she only existed as a consciousness drifting aimlessly in the Darkforce Dimension.

But then Dallas started learning more about his powers and growing them during his time at the Academy. And his powerset also includes the ability to make shadow golems similar to the ice golems his father makes. But he didn't realize this as the first time he made one, with Darkforce energy being the clay his golem was sculpted from...Laynia was able to use that as a doorway into the physical world. She inhabited his shadow golem as her vessel, the way a future Iceman's golem once split off from him and became a separate entity. So Dallas never realized his newfound shadow friend started out as something he made unconsciously...he just knew that it seemed to have its own sentience from the jump, was a friend and protector who'd show up whenever he needed them. That friend and protector just happened to be his biological mother, watching over him the only way she could.

Until M-Day. When Dallas was depowered, Laynia lost her connection to the physical world and was stuck again in the Darkforce Dimension....until her brother Nikolai made a bargain with Immortus that led to her full resurrection. Finally she was back, and she remembered everything. But also knew Bobby remembered none of this. And so for the next couple years she just checked in on Dallas periodically but kept her distance, because she not only remembered her son...she also remembered why they were so desperate to hide his connection to them that they covered up their own memories of him ever existing.

At the end of the issue, they arrive at the hideout of the Russian mutant underground, a community of mutants who mistrust Krakoa and its leaders, but aren't on board with Mikhail Rasputin and his faction either. Laynia brought Bobby to the person who originally hid their memories and locked them away - at their own request....Bobby's idea, in fact - Alexi Garnoff aka Blind Faith, a telepath Bobby first met in his X-Factor days. But who was so quick to trust Bobby, because turns out that wasn't actually the first time Alexi remembered meeting him.

As Bobby reels from the reveal that this particular manipulation of his mind had been something he himself asked for, Alexi says he can erase all his work and return his own memories of all this, and Laynia warns him that remembering it all will hurt. Because they have a son, yes, Dallas Gibson aka Dallas Drake aka Specter. But twins run in her family.

And for a brief - too brief - window of time, they had not one son, but two.

ISSUE THREE

This issue returns to Bobby's POV and internal monologue, and takes place almost entirely in the past, or in Bobby's mindscape. He tells Alexi to do his thing, he wants to know, NEEDS to know everything. The walls come down and in his mind, Bobby finds himself standing at the start of a giant labyrinth made of ice. He sees a little boy running through it and gives chase, needing to catch up to him, desperate even as he's aware he's running on autopilot, more instinct than knowledge. He's never seen this boy before - he's not even a real memory himself. But he knows what an older Dallas looks like, at least. And he's sure this is what his mind imagines a Dmitri older than what he actually remembers might look like, and he desperately wants a closer look. But this Dima stays forever just out of range because his mind doesn't actually have a clear image of an older Dmitri to conjure, and up close, the illusion would be too obvious, and the loss all the more real for that.

Following the boy through the labyrinth, he sees memories unveil themselves on the ice walls around them. He remembers Laynia telling him she was pregnant, their agitated debates over the months that followed as they agonized over what to do, how to keep the baby safe - babies, once they found out it was twins. He sees the day the twins were born, relives them deciding to name the elder twin Dallas, after the city where they first met, before Laynia even joined the Champions, and the younger they named Dmitri, or Dima for short....after the only teacher Laynia ever felt actually valued her for herself instead of seeing her as a weapon being honed.

He remembers them leaving the hospital and hiding for a few weeks at a secluded cabin their old teammate the Black Widow found for them....she was the only one they told, figuring nobody could keep a secret better than her, and how they wavered and grew closer to caving and letting their closest friends and teammates help them figure out how to keep the twins safe. Sees flashbacks of him playing with the boys while Laynia watches fondly, and vice versa. Relives as he - still little older than a child himself - puts them in their crib and tells them not to be scared, talks about how his grandfather used to have a saying: "all Drakes are dragons," and making a dragon sculpture that catches the light to act as their nightlight.

And then he relives the day they woke up to find the crib empty and the twins missing. The first time they met Doubting Thomas, who left them an easy trail to follow because he wanted them to find him, wanted a confrontation. Bobby and Laynia had descended on the facility they tracked him to with the full fury of midnight and winter at their most destructive, and once inside they separated as they found the twins had been split up and taken in different directions. Laynia went after Dallas, who she could feel faintly, an early sign of his link to the Darkforce Dimension that she shares - second generation mutants always tend to manifest early - and Bobby went after Dmitri.

Doubting Thomas was waiting though, and the villain backstory reveal unfolded. The Professor, the Hellfire Club, etc....they weren't the only people who went around looking for young mutants to mold, seeing their potential. He grew up under the thumb of a woman even he only knows as Mother Nurture, a sadist with unguessable motivations even to her lackeys that she raised from childhood....to be their worst selves. Apparently she claims to be a precog, who knew what mutant children would grow up to be great heroes or positive influences on the world....which appears to be contrary to her agenda, whatever that is....as she targets kids who COULD grow up to be great forces for change, change for the better, and picks the ones with the brightest potential to stamp out and corrupt, turn to darkness. Her obsession with proving that there are no real heroes, that anyone can be twisted into the villain was apparently a recurring theme of Doubting Thomas' childhood, so when she assigned him the task of abducting the Drake twins when they were still months away from even being born, Thomas fixated on Bobby and Laynia during his surveillance of them, and developed an obsession of his own.

It was the first time he'd ever targeted superhero parents, let alone ones close enough in age to him that he could project onto them, see them as an inverted reflection of his own life. And even as he prepared to take the Drake twins at the earliest opportunity, that was just his assignment. His obsession with Bobby and Laynia was wholly personal, as he clearly became consumed with a need to prove to himself that they weren't better than him, that he could have BEEN them in another life, with better influences....that they would have been no different than he if they'd been in his shoes.

In fact, he was convinced there was such a slim margin of difference between them that he could topple Iceman from his heroic perch with just the slightest push. Bobby refutes this, saying he's nothing like him, but that's when Thomas says he lied. Mother Nurture actually only sent him after one Drake boy. She wasn't expecting two. Apparently, one of them was never destined to live all that long to begin with.

The issue never actually shows Dmitri, just Bobby breaking down, cradling the swaddled figure to his chest. He's dead-eyed when he looks up, frozen tear tracks on his cheeks as one icy drop falls to the ground and shatters.

Bobby: Guess you were right about me. Congrats. You win.

And then over the next two panels, Thomas flash-freezes before he can react, his entire body frozen on a cellular level...and then he shatters.

We only see glimpses of Laynia's horrified reaction when she arrives with Dallas in her arms, as Bobby hurries past those memories, he has them back but he doesn't want to relive those moments at all...and there are more snapshots of barely glimpsed memories of Bobby and Laynia reducing the entire facility to nothing but an empty crater. Bobby arrives at the memory of Laynia and Bobby, fueled by trauma and desperation, panicking about this Mother Nurture sending someone else after Dallas, their original fears reignite, the list of people who might want a baby like Dallas for their own agendas seems endless....culminating in them giving Dallas to Black Widow to place with a family she trusts to raise him safely. But Bobby notes despondently that even with all that, it'd take someone like Xavier or with similar resources all of five minutes to find a powerful mutant that young, if they ever got so much as a hint about him from Bobby or Laynia's minds.

Which is when Bobby decides: "In a world of telepaths, Cerebros and Wolverines, the only foolproof way to keep a secret...is to not even know it yourself.

They both agree, and seek out a telepath unaffiliated with any team or organization: Alexi Garnoff. Which brings us back to the present.

April 27th. The anniversary of the day one son died, and they made the decision to give up the other for his own safety.

ISSUE FOUR

With both of their memories fully restored, they're on the same page about what happens now: They have to find a way to keep the resurrected Doubting Thomas from figuring out who and where Dallas is. If he truly wants revenge, or if he still just feels compelled to fulfill his original assignment, Dallas is his real target. But they're fairly certain the extreme lengths they went to all those years ago at least did their job. Even with Bobby unaware of Thomas' existence, let alone vendetta against him, the latter was able to stalk him ever since his resurrection without finding even a hint of Dallas' location or identity...he would have had better luck stalking Laynia probably, but they assumed his fixation on Bobby for killing him, along with Laynia steering clear of Krakoa (ironically because she was worried about the many telepaths there picking up on her secret), Thomas concentrated his efforts on following Bobby and might not have even realized that unlike him, Laynia DID already know who and where Dallas was.

Thomas must have come out into the open in the way he did specifically to push Bobby to regain his memories, figuring then it would only be a matter of time before Bobby slipped up enough for Thomas to zero in on his target....so now they had to figure out how to keep that from happening, while now having a whole new host of reasons not to want to advertise they had a son. The last thing they want is to keep him out of Thomas' clutches just to put him on Sinister's radar, especially now that they know Bobby's an omega and how 'highly prized' they are as resources....which would no doubt make his offspring of interest to various villains.

Not to mention, Laynia's got her own misgivings about Krakoa. She's FURIOUS about the Crucible - Dallas was among the earliest to sign up and go through it, desperate to get his powers back and return to his place among his former classmates. Not only does she consider it needless trauma of the very sort they sacrificed so much to protect their son from, Laynia is territorial. Dallas' name and powers were pretty much the only thing he got from his biological parents, that they were able to give him as his birthright, the upside to all the downs that came with being their kid, and Laynia's pissed as hell that Bobby's new government had the gall to demand their son EARN BACK what was always his and that losing had ALREADY been a trauma all its own.

This in turn sows the seeds for Bobby's development into a more proactive role in mutant society, as well as future conflict with a lot of the personalities that put the Crucible in place initially, as he's forced to confront why he didn't have more problems with it in the first place, or at least not enough that he wasn't able to justify its existence. Has he gotten so used to assuming others know better than him, that he no longer bothers trying to weigh the morality of things himself? Is he comfortable with what it says about him that it took having a personal stake - his son having gone through it - to make him sit up and think hey, that was fucked up?

Meanwhile, Thomas has not been idle, and is using reports of Bobby seemingly attacking innocent protesters the other day to stir up doubts in him among any influential mutants or X-Men he can whisper suspicions to, without them being aware of his presence/influence. Bobby is 'strongly encouraged' by Xavier to return to Krakoa to clear up the confusion, and when he refuses, that just adds more fuel for Thomas to work with. Plus he uses all the paranoia Beast has drummed up over the past couple years to cast suspicion on Bobby suddenly being inseparable from Laynia, a known Russian operative who has no allegiances to Krakoa, while also stirring mutants in Mikhail's camp to view Laynia's choice of companions as suspicious, which threatens her work with the Russian mutant underground and her efforts to keep them safe and hidden as well.

Finally they decide the best way to deal with Thomas is to lure him in and get Alexi to do to him what he did to Bobby and Laynia years ago. Hide away all Thomas' memories of things related to them and give him a tailored memory of how he died and why.

ISSUE FIVE

Most of this issue is just Thomas, Laynia and Bobby all playing cat and mouse with each other...Thomas having his own schemes even as the other two try to implement theirs, until its hard to tell who is the hunter and who is the hunted. Bobby and Laynia are still teleporting as often as they can, both to keep him from sneaking up on them and poisoning their thoughts or manipulating their plans, as well as to evade various friends and teammates who are now seeking them out, concerned by their behavior and increasingly susceptible to distrusting them as they refuse to give any hints as to what the hell they're doing.

It should be very clear that Bobby and Laynia are NOT acting wholly rationally here, and they're both aware of it. Doubting Thomas is GOOD at what he does, and he's familiar enough with them and their sore spots, from intel he gained long ago still being relevant here and now, particularly with how recently their memories were refocused on those days....that they're sure even the tiniest or briefest amounts of access to them is enough for him to skew their own paranoia in extreme ways. Not to mention.....they're much older now than they were when they made the choice to hide Dallas in the way they did, and they made that decision at the absolute height of their grief, fear and anxiety. They're second-guessing every choice they made back then, as well as the ones they're making now, and they're NOT sure that staying away, doing this on their own, not confiding in anyone or pulling them in....they're not doing all that because they're convinced its the right move.

They're staying the course because they don't have any idea what the right move is, and until they do, doubling down on their previous choices is because there's no take-backs, no undoing things once the secret is out. They can't afford to decide that was the wrong move after they've done it, when that will do them no good.

So they stick to their plan and try to get Thomas in Alexi's range, but with his guard down enough for the other telepath to act. The POV shifts back and forth between Bobby and Laynia's, with a lot of their internal doubts about everything they've done, the thoughts Thomas raised in Bobby back in Issue #1, the ideological battle Thomas imagines exists between him and the heroes he resents so much - this back-and-forth spans most of the issue and keeps these themes front and center, until ultimately Bobby and Thomas face off again.

Bobby surprises Thomas by using his powers in an unexpected way....he makes dozens of golems spread out all over the place and then shuffles his actual consciousness through them one at a time, 'possessing' one golem as his vessel, his ice form before leaping into another one. Thomas can't get a bead on him, keeps chasing his own tail trying to keep up with Bobby's constant shell game in an attempt to find the 'real one,' where Bobby's actually vulnerable.

Finally, Bobby makes it clear he's not going to be playing this game with Thomas anymore, because thing is, the point Thomas is so obsessed with proving, wanting Bobby to know he's no better than him, is capable of terrible things....Bobby flat out just doesn't care.

Bobby: I remember everything now, Thomas. That's what you wanted, right? For me to relive all that, make sure I can't hide from it? That I have to feel every bit of pain I shut away back then because I couldn't deal? Because the truth is, as much as that was to protect my son it was also to protect me from everything I WANTED to forget? I remember. I remember my kids, losing them....I remember killing you. But I also remembered something else, that you probably didn't factor in.

Thomas: And what's that?

Bobby: I remembered that I'm not sorry.

He goes on the attack, just destruction every which way you look so that Thomas is forced to stay on the defensive, keeping himself immaterial and jaunting around because there's no safe space for him to land, so to speak.

Bobby: The Five can bring you back a thousand times and I'll kill you a thousand and one, if that's what it takes to keep my son safe from you. Here's what you never got. The whole hero vs villain, right or wrong, good or evil thing you're so obsessed with? I just don't care, man. That's never been why I do any of this. I know I'm flawed, too flawed to ever be 'truly good' but by the same token, I know there's enough good in me I'm not truly bad either. I've done terrible things before and I'll do them again, because at the end of the day, I'm not trying to be a hero. I'm just trying to save people where I can.

Bobby: Its about priorities, see. Its people that matter to me, if I'm helping or hurting. And I'll hurt someone to help someone I think deserves it more and maybe that's wrong but thing is I'm not making that choice based on if its right or wrong. I'm making it based on who I think needs help and what do I have to do to help them. Let someone else figure out the scorecard, I'm just trying to make sure the person I'm protecting makes it home safe.

Bobby: And you? You don't matter. My son matters to me. That's all that matters here. I choose him, no matter what, every time, and whatever that means, whatever I have to do to choose him, or because I choose him? I'll deal with it. If I make the wrong choices, if they backfire and get him hurt or they're not what he would want - that's the stuff that can keep me up at night. But if choosing him means killing an asshole like you to keep him safe?

Bobby: Don't worry about my virtue. I'll cope.

With that, Thomas makes his retreat, tail between his legs. They weren't able to implement their plan to have Alexi erase his memories, but they don't consider this to be over. He'll be back, they'll have more opportunities to make that happen. At least this time he was the one doing the running.

But as the finale of the issue, Thomas adapts and changes the game. He waits until Bobby's back on Krakoa, meeting with Xavier and other X-Men about recent events and trying to say as little as possible...and then Thomas picks that place and time to make his first public appearance on Krakoa since he was resurrected as just another name on the resurrection queue. Nobody knew who he was then or cared that he didn't seem interested in staying on the island, claiming amnesty and official Krakoan citizenship....but he does that now in the most dramatic way possible....as he turns to Bobby and blatantly advertises they have history.

Thomas: And in the spirit of new beginnings, I just want to say I forgive you for killing me eighteen years ago. Fresh starts for everyone, right?

And with that bombshell - and the fact that one look at Bobby tells everyone present that he's not denying it - he saunters off, leaving Bobby with more questions to answer but no closer to being able to fully disclose what he's keeping hidden....which Thomas can still reveal to anyone at any time. What he did reveal was enough to ensure there was no chance now of changing his memories of their shared past....not after he dragged them both into the spotlight and made sure they were linked so if anything did happen to Thomas or seem awry with him....there'd be no doubt who was Suspect Number One. And that was always going to come with the question of why.

The mini ends with a final page where Bobby's finally done talking w/the QC for now, and he's just standing on the beach far enough away from where a bunch of the Academy X kids are having a bonfire - with Dallas right in the thick of them - that it wouldn't be obvious that his sole reason for being out there was to catch a glimpse of him, even if only from a distance. Elsewhere, Laynia is browsing through a shop and notices a stuffed dragon similar to one flashbacks showed Dmitri cuddling with as a baby. She picks it up, hesitating as if debating whether to purchase it, with the final panel being of her back as she walks out of the shop, the stuffed animal still sitting where she'd found it.

ICEMAN: A HOUSE OF DRAGONS

The second mini of three, this one introduces Dallas as a POV character, still oblivious of everything readers learned in the first mini. It explores his feelings about being depowered on M-Day and his survivor's guilt from having left the Institute and been relatively safe compared to those who stayed, when other depowered mutants like David still stayed and fought for mutants. His best friends, Julian and Brian Cruz, insist that nobody thinks less of him for it and he was a minor, it wasn't like anybody was really consulting him on whether he wanted to stay or go at the time, but he can't shake the feeling he should have done more. Its what drove him to go through the Crucible so early on, and its what drives his determination to make it onto the X-Men team.

Seeds are also planted for later, via some brief scenes that reveal that while depowered and living away from the Institute, Dallas started exploring magic as an alternative to his powers, since there are various arts that access the same Darkforce Dimension his powers connected him to. He's no longer pursuing it as feverishly as he did while depowered, but it remains an interest as he's determined to never be powerless again, whether he has his mutant abilities or not.

He also has several chance encounters with Iceman, who he really only knows as his old math teacher, and no idea they're not so chance encounters at all.

Meanwhile, Bobby and Laynia are meeting more regularly off the island as they argue about whether or not they should tell Dallas the truth - he has a right to know and he's old enough to make his own choices about what he wants or doesn't want done in the name of keeping him safe. Their various rationales are undercut by the underlying awareness that both of them are afraid of his reaction and worried he won't understand why they did it and might even hate them for the choices they made.

At the same time, they're trying to figure out how to even go about resurrecting Dmitri. They know from Joanna Beaubier-Jinadu's example that despite his young age, Dima could still theoretically be resurrected....they just have no idea how to ask the Five or X-Factor to look for him in the Waiting Room without disclosing everything about Dallas at the same time...which brings them back to how do we tell Dallas.

Ultimately, they wait too long and Thomas takes the choice out of their hands. While Dallas is in the Mojoverse along with various other Academy X kids who have been regular presences there while taking advantage of the treaty between Krakoa and Mojo to try and get some Krakoan media entertainment off the ground,

It turns out that while Bobby was worried about Doubting Thomas approaching Sinister, Shaw or one of the other notorious mutants on Krakoa as part of his schemes, he went a different direction entirely. He approached Mojo with his proposal for a must-see show that would have all of Krakoa glued to the nearest TV screen.

And so what was supposed to be just a random trip to the Mojoverse leads to Dallas being trapped as the very confused and unwilling star of what Mojo describes as the ultimate reality show: DALLAS GIBSON, THIS IS YOUR LIFE.

The show proceeds to take viewers - and Dallas - through a recreation of his entire life, including all the parts he didn’t know about. Starting before his birth even, with Krakoans flocking to their TVs just as Thomas promised, as soon the bombshell claim of who his biological parents are drops and word spreads throughout the island. Even X-Men close to Bobby have no idea what to make of this at first and they start trying to figure out how to shut it down and figure things out from there, but it’s a futile effort, honestly.

Even if they could get Mojo to shut it down right away, the damage was already done - and its clear that nobody is more interested in seeing what comes next than Dallas himself. Seemingly having forgotten that everyone is watching this, he’s half in denial, half captivated by what he’s watching. It seems impossible but that doesn’t stop him from having a lot of confused and conflicting feelings as he watches literal surveillance footage Thomas had installed to spy on the much younger Bobby and Laynia as they interacted with their newborn sons.

Much of this is used to flesh out flashback scenes from the first mini, where Bobby and Laynia’s POVs of these early days were shown, stringing together a timeline without reproducing the same scenes exactly. In contrast, some of these scenes do directly recreate scenes seen previously in Bobby and Laynia’s memories….but now reproduced for Dallas’ viewing by objective technology devoid of the emotions layered around his parents’ actual memories of that time.

The video retelling includes footage from security cameras at the facility Thomas had retreated to for their final fateful confrontation years ago, similarly providing a stark and explicit view of Bobby and Laynia’s rampage through the facility and Bobby’s unapologetic killing of Thomas. It’s a side of Bobby few had ever seen before and raises more than a few eyebrows while answering the questions many of them had had ever since Thomas made his dramatic entrance to Krakoan society at the end of the first mini.

Bobby meanwhile started racing for Mojoworld the second Rogue called him and told him to get there fast and laid out what was going on. But it still took long enough for him to navigate Mojoworld’s confusing layout that he only smashed his way onto the ‘set’ Dallas was trapped on in time to see his eighteen year old self hand an infant Dallas over to the Black Widow onscreen.

One look at Bobby, not hiding behind his ice form and with pain and remorse writ large all over his face, told Dallas (and everyone else) everything they needed to know about how true or not all this was.

But before Bobby can even attempt to figure out what to say, Mojo calls everyone’s attention back to the screens, as he announces there’s a plot twist featuring never-before-seen-footage from that first tragic April 27th.

The screen jumps to more security camera footage from Thomas’ facility….but the time stamp puts this at just before Bobby & Laynia’s arrival. Bobby (and Laynia who has arrived on Krakoa for the first time, as soon as she learned what was happening) watch in shock as Thomas hands Dmitri off to a lackey and instructs him to get offsite before the two arrive. Onscreen, Thomas says if he’s there’s one thing he’s figured out about Bobby & Laynia, its that they’ll never stop searching for one of their babies so long as they’re still alive….so if they’re convinced this one is dead and the other one is taken to Mother Nurture as she instructed him, they’ll focus all their efforts on trying to reclaim that one. Let her deal with that Thomas sniffs derisively. I have different plans for this one.

Of course, those plans never came to fruition, Mojo narrates. He underestimated just how….fatally Bobby would react to the simulacrum he believed to be his now dead son. He was never able to follow up with the lackey who took the real Dmitri, and his hired hand - who had not signed up for any of this and was freaking out once he saw what was left of the facility he’d last seen his boss in - well, he basically said fuck this and anonymously dropped Dmitri off at the nearest hospital.

Given the lengths Bobby & Laynia had gone to make sure their kids’ information WASN’T readily available anywhere when they were born, there was no indication of Dmitri’s real identity or where he came from, so he went into the system where he grew up in a series of homes that left him not especially traumatized, but at least distrustful of authority. Then Thomas revealed that when he’d first been resurrected, he’d tracked down Dmitri by finding his lackey and figuring out where he’d left the baby, retracing Dmitri’s path from there. Unlike Dallas, Thomas had always known exactly where to find Dmitri….but felt that particular reveal really needed the RIGHT moment.

And that moment apparently was now. Taking over narrator duties from Mojo, Thomas now speaks into the cameras, directly addressing Bobby and Laynia as he tells them Dmitri too manifested powers early and has had years to learn to make the most of his powerset. He apparently can access a mirror dimension that lets him teleport via reflective surfaces, use them as scrying portals by which he can see anything within visual range of that surface….and there’s one particularly interesting twist to his power. When Dmitri’s in the mirror dimension and watching events play out in the real world via a mirror or other surface….those events don’t just have to be in the present.

Time is wonky in the mirror dimension, as is often true of extradimensional spaces. Dmitri has limited precognitive abilities as he can use the mirror dimension to peer out of mirrors and watch what’ll happen in view of them at some point in various possible future timelines.

Apparently its tricky and unreliable, but its at least effective enough that Dmitri counts as a precog by anyone’s standard. And in the early days of Krakoa, when deciding whether to go there himself, he apparently glimpsed enough clandestine conversations to know that at that point, at least…..Krakoa was not a safe place to be a precog.

Onscreen, Thomas claps his hands energetically and addresses the entire audience now:

Thomas: So, to recap, somewhere out there is the teleporting precog son of an omega level mutant who’s already proven he’s willing to cross just about any line for this son’s sake. Said son is also primed to be extremely distrustful of Krakoa….and anyone who might be seen as an emissary of it. Like, oh say, X-Men. And to top it all off….he has absolutely no idea where he comes from nor does he have any reason to believe anyone who comes out of nowhere claiming to be his longlost parents or friends of theirs.

Thomas: Now I don’t know about all of you, but I think whomever were to find him first, and gain his trust, well - they could probably figure out any number of ways those combined factors could be useful.

The screen flashes to a generic street camera view of a Dmitri Drake that looks a lot like his brother, just with brown hair instead of blond. There’s little to distinguish either his surroundings or Dmitri himself, but its clearly being presented as a starting point for potential searchers.

The final pages show an array of panels showing notorious mutant villains all leaning forward and studying the screen with interest. Sinister, Shaw, Selene (if she’s back yet), Abigail Brand, MLF members, Stryfe, Mystique and Destiny, the Fenris twins, etc.

The second mini concludes with Doubting Thomas winking into the camera, essentially staring straight at the reader.

Thomas: May the best influence win!

DARKSTAR: SONS OF SNOW AND SHADOW

Subtitled: “Run, Dima, Run!”

The third and final mini of the triptych is a chaotic free for all as basically everyone is hunting for Dmitri Drake, who has absolutely no idea why people are suddenly coming out of the woodwork looking for him but quickly decides he doesn’t want to be found.

Dallas is aggressively putting off dealing with how he feels about any of this and flat out shuts down any attempts Bobby or Laynia make to approach him. He’s totally fixated on being the one to find basically the only person in the universe who could understand how he’s feeling right now, and they can figure it out together then. He’s blatantly underestimating how much his longlost twin actually might NOT be able to relate to his specific perspective here, and vice versa. Something his friends and Academy X classmates try to caution him about while helping him on his search.

Surge: Oh shut up, dumbass. I don’t have to like you for you to be one of us, and any twin of yours is basically a two-for-one deal, so of course we’re going to do whatever it takes to keep your longlost brother from being exploited and used by adults who suck. I would include your parents in that but I actually think them hiding you from that musty bald bitch Xavier was probably the smartest thing any X-parent has done for their kid so I’m fighting down the impulse to be impressed.

Dallas: …thank you? I think?

Thus the Academy X kids actually take one of the most prominent roles in the mini as Dallas and his classmates’ search is heavily prioritized. There’s a strong focus on various kids who have history being exploited by older mutants and are now projecting heavily. Brian and Julian are of course Dallas’ closest confidantes through this, maybe Brian a little more than Julian as the latter flip-flops back and forth between calling Dallas a legacy and a nepo baby at different intervals. He can’t seem to decide if he thinks it’s something to be envied or not. Anole is unrepentant about ranking Dallas’ dad’s most infamous costumes and how hot or not he looked in each of them. He and Dallas never got along in school. Icarus absently notes that he’s pretty sure his brother and Dallas’ dad had a thing going on at one point.

They’re not quite all as helpful as they could be, is the takeaway. But they do feel the stakes and if any generation of mutants is prone to embracing gallows humor to cope, it’s the Academy X kids.

Elsewhere Bobby is conducting his own search with the help of numerous X-Men and friends, who are all trying to process everything they just learned and saw. Most of them are supportive and understanding, though a few are more abrasive about the sheer amount of stuff they didn’t know about him or even suspect.

Xavier tries to lecture Bobby about how they wouldn’t be in this situation if he had trusted them with this at any point in the past. Bobby shuts that down with gusto, emphasizing that Xavier was one of the people they were most concerned about hiding the twins from - and a good thing too, he points out, given what could have happened to Dallas if Onslaught had known about him when Dallas was still just a kid.

But then he gets downright chilly and makes it clear how and why his dynamic with many of them will be at least somewhat different from this point on…..Xavier especially.

He brings attention back to the not so minor detail of Xavier, Moira and Magneto apparently originally declaring Krakoa to be for all mutants….except for precogs.

Bobby: You keep saying this place is the culmination of everything we’ve fought for from the first day we put on an X-Men uniform, so I just wanna know, Professor. Why the HELL did I spend my whole life fighting for you to create your own personal vision of paradise….which apparently was meant to exclude one of my children, just because of what freaking power he was born with?

Xavier: Compromises had to be made in order to -

Bobby: Y’know, you’ve been using that line since I was fifteen and its tired, X. Every time we asked why you couldn’t just use your powers in ways you insisted would ethically compromise you - except for whenever you decided it was okay because it made things more convenient for you specifically.

Bobby: From day one you’ve kept your secrets from us, for a lot shadier reasons than I’ve ever had for keeping one, so you don’t need to be telling me I’m not entitled to my secrets. You have all these contingencies for if any of us go bad, while telling us nobody’s beyond redemption except for those times you decide Magneto is, or the Shadow King is.

Bobby: You know what the real problem with your dream has always been, Professor? It asks for a leap of faith that you’ve never been prepared to make yourself. You’re always asking us to line up and put it all on the line for the chance at a better world, no matter how realistic it is….but you’ve never actually put down your own cynicism or pragmatism or whatever you want to call it….and just….dreamed. How does that even work, huh?

Bobby: Just….what the hell would you have even done, Professor, if I had raised my kids at the mansion all this time? What spin would you have given me when you finally embarked on this grand Krakoan experiment you’ve been planning for years….and needed to tell me one of my sons wasn’t allowed to come with? That if he died, you had no intention of resurrecting him and his politically inconvenient power?

Xavier: *keeps silent*

Bobby: Yeah, y’know what, on second thought I don’t think I actually want to know the answer to that. Stay away from me and my kids, X. You and I are done.

Finally, last but not least, Laynia will be running her own search for Dima with the help of her brother, the Black Widow, and Warren, who wanted to make sure she knew that he’s her friend too, not just Bobby’s. Despite the lack of detail here, she’d actually have the most prominent role in this mini - being associated publicly with Krakoa is actually an obstacle for Bobby gaining Dmitri’s trust. Laynia’s lack of affiliation with it or Russia’s government or any other organization, is what lets her convince Dmitri to give her a chance and hear her out when she does find him.

(Something she’s ultimately able to do by going to Arakko and asking Storm if she can get her an audience with Lactuca, who should know exactly where to find him. In exchange, Lactuca will ask a favor of Laynia at some point in the future, which plants some seeds to bring Laynia more into X-books without just being an extension of Bobby).

There will be a final reckoning between Laynia and Thomas this time, and the mini will end with things still messy as hell, as the newfound family of four (plus Uncle Nikolai, standing awkwardly off to the side) basically stand there staring at each other and wondering what next. But even with them all as relative strangers now, there’s a wealth of possibilities now that everything’s out in the open.

This mysterious Mother Nurture still lingers offscreen as a potential future threat, especially as they still don’t know what they intended with Dallas - if he was even the twin she was after in the first place. Iceman’s poised to be launched in any number of directions as he’s now essentially reinventing himself while everyone is paying more attention to him than ever before, all while he’s trying to fall back on comfortable, familiar habits of joking and pranks to try and bond with the sons who are grown up and don’t really know what - if any - dynamic they even need or want with him. Laynia’s reluctantly taken Krakoan citizenship to be closer to her sons, but finds she prefers staying on Arakko and grows closer to mutants she meets there, with Dima joining her more often than not, as he’ll never be fully comfortable with Krakoa even if precogs are ‘allowed’ now. Dallas is more determined than ever to be an X-Man but he’s worried that now he’ll never make it on his own merits and it’ll always be more about him being a legacy, a founding X-Man’s kid.

Etc, etc.

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handsofdarkness · 2 years ago

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WITHIN TEMPTATION Teams Up With OPUS COMICS For New Series

Symphonic metal band WITHIN TEMPTATION is bringing its unique vision of the future to comic audiences with a brand new series from Opus Comics based on the group's 2019 album "Resist" and 2021 virtual concert "Aftermath".

Set in the distant future, an endless battle rages between two species — an advanced but inherently humanoid species ruled by a techno-organic matriarch on one side, and a cruel race of alien artificial intelligences on the other. Multiple stories collide to paint a sweeping portrait of the matriarch's life and her struggle to balance what she was created to be with the impossible forces that shape her.

In order to bring this story to the comic book page, the band has teamed up with acclaimed YA author Marieke Nijkamp and heavy metal artist Montos to flesh out their dystopian world.

WITHIN TEMPTATION vocalist and co-founder Sharon Den Adel says: "'The Purge' cover star Genesis has come to life on our stage and in different merchandise designs, and now she will be taking you on the biggest quest of her life — in both our next album as well as in our comic book series.

"Teaming up with Opus for this seemed like the logical decision, as they are a heavyweight in creating comic books and only work with the best designers and storytellers. We can't wait to show you the final result! We hope you'll enjoy it as much as we do!"

The first issue will be available in a limited-edition print run featuring an exclusive numbered foil cover by Agustin Alessio ("Star Wars", "Avengers", "Thor: God Of Thunder") direct from Incendium Online, with a newsstand edition in comic stores this May for wide retail release.

"The symphonic splendor of WITHIN TEMPTATION has always transported listeners to other worlds, and experiencing those songs supported by the incredible set design of recent stage shows and virtual performances presented a wonderful opportunity to explore their futuristic vision with an all-new narrative," says Incendium and Opus Comics founder Llexi Leon. "Today, the battle against AI is suddenly a very real topic, particularly for artists and other creatives, which is reflected in the story of the matriarch and her struggle."

"Within Temptation" #1 is the first in a three-part mini-series at 40 pages long, and is solicited in Diamond Comic Distributors' March Previews catalogue for May release at Opus Comics' signature $6.66 price point. Fans can also buy a numbered limited-edition version of the book with foil treatment.

Legendary leaders of dark anthemic music, with a career spanning two decades and with seven studio albums under their belt, WITHIN TEMPTATION are a genuine force to be reckoned with. Simply, they are one of the world's most successful heavy rock groups. In 2020 and 2021, the band released "Entertain You", "The Purge" and "Shed My Skin", singles that all peaked in the Top 20 of the U.S. Billboard Mainstream Rock Indicator charts and topped the official German charts. The band's work has received numerous international awards, including a World Music Award, MTV Europe Music Awards, a Metal Hammer Award, and many more.

#within temptation #comic #resist #the aftermath #2023 news

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arctimon · 3 years ago

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By the Grace of Granville

(Warning: This post is long. But what else is new when it comes to character analyses?)

One of the bigger mysteries that gets introduced into Big Hero 6: The Series made their introduction in the very first episode, got a little bit of expansion into their background, and then didn’t really see much daylight for the rest of the series sand her becoming an even-numbered wheel. No, I’m not talking about Obake.

I’m talking about Professor Granville, the newly-installed dean of the San Fransokyo Institute of Technology.

People, including myself, play Granville up as some sort of Nick Fury-esque figure. She’s always in the know, gives advice to the team, and seems to have a general understanding of everything at once.

This is further helped by the fact that we don’t know a lot about what she has been up to since she resigned after Obake’s accident. It’s hindered by the fact that there may be some misinformation going on at the Big Hero 6 Wiki.

Here’s the introductory blurb for Professor Granville on her page:

Grace Granville has been a professor at the San Fransokyo Institute of Technology for at least 20 years, having taught Wendy Wower and Trevor Trengrove among other modern day geniuses.

She used to teach robotics and had her own star student, Bob Aken, but once he began an experiment to build an energy amplifier, it went awry as the amplifier exploded on his face, the result of which sent him to the hospital.

Though Bob survived, Granville felt extreme guilt from the incident and resigned. However, she kept the remains of the amplifier, possibly unaware that it still worked, as a reminder to not repeat the same mistakes.

She would return decades later to teach thermodynamics when Robert Callaghan, the dean of the institute at the time, was thought to have died, then resurfaced as the villain Yokai and was arrested for putting San Fransokyo in danger. Professor Granville became the college's new dean as she settled into her new role quite well. Now, after rewatching “Mini-Max”, I call into question the very first part that she’s been a professor there for at least 20 years. As far as I am aware of, that has never been said or confirmed in the show. She said herself (and the yearbook and Callaghan confirm this) that she worked there 20 years ago. That’s not the same thing. Working there for 20 years is not the same thing as being there 20 years ago. So is that a discrepancy or am I the one who doesn’t remember things correctly?

And let’s go to what Callaghan said about the incident when Hiro went to visit him in prison in “Mini-Max”:

Robert: “She was in the lab after hours. Something went wrong. There was...an incident.”

Hiro: “What kind of incident?” Robert: ”Officially, a pipe burst. But there were rumors. An unsanctioned project gone wrong.” Hiro: ”So she was fired?”

Robert: “She resigned. The matter was not pursued further. That’s all I know.” OK, first of all...was Callaghan not the dean twenty years ago? And even if he wasn’t...

Does anyone think that was caused by a simple burst pipe? What was in said pipe? Lava? TNT? Mentos and Coke?

That leads to the second possibility: Callaghan was Dean at the time, knew about it, and “pushed” Granville to resign to avoid a messy lawsuit.

But we’re getting away from the original point, which is...what exactly has Granville been doing this entire time? I find it hard to believe that Granville was still at the school when Tadashi, Go Go, Honey Lemon, and Wasabi were there. You’d think that one of them would have said something about it, and all through the conversations in “Mini-Max” gave no indication of that as well.

So she’s been gone for twenty years (presumably). Which begs the next question... Why did she have to become the dean? Endangering a student’s life is a very serious thing. Something like that can’t be just forgiven. So, why did it have to be her? It’s not like there’s not other candidates:

(From left to right: Monica Rambeau [one of the Physics professors], Grace Granville, Robert Callaghan, Linda Carter, and Timothy Dugan. Note that these are merely names I’ve given them based off of who I think they are and not canon names. However, for the sake of simplicity, I will refer to them as such from here on out.) Monica might have been a good replacement. Linda’s just the nurse, so unlikely. Dugan’s the Dean of Athletics, so probably not. The dean doesn’t have to be the robotics professor, right? Granville teaches Thermodynamics. And then you have Professor Kameela from the comics, who appears to be another Physics professor:

So why her?

Granville’s been out of the game, as far as we know, for a long time. Did the board at SFIT really have no other options other than Granville? Why give the top job to someone who hasn’t even stepped foot in SFIT for decades?

And the worst part is that I don’t really have a good answer for that. The show delves into Granville’s history with Obake a lot and not enough into her actual history with SFIT, so that part is pretty much an unsolved mystery.

And if the info on the Wiki is true, then that means...what? Granville was teaching for 20 years, and then took a 20 year break. Wouldn’t that put Granville in her 60s, at minimum? (She looks pretty good for possibly being in her 60s. Maybe she got some Infinity Formula from her possible Marvel counterpart.)

I think it’s much more possible that she’s in her early 50s. That gives her enough time to be a professor, have an actual working history, and then have to leave with Obake’s accident. So my personal timeline for her career would be something like this. For the sake of being simple, let’s assume that Granville is an even 50, and also that Big Hero 6 the movie takes place in the year 2031 (as per movie screenshots):

1981 - Grace Gretchen Granville is born 2002 - Graduates college (perhaps at SFIT; haven’t thought that far ahead) Sometime between 2002 and 2004 - Granville begins her work at [Redacted] 2005 - Granville become a TA in the Thermodynamics department (as per Highway to Hell Chapter 2, “In The Details”) 2006 to 2007 - Given government assignment to [SORT OF Redacted] 2007 - Returns to SFIT 2007 to 2011 - Becomes thermodynamics professor at SFIT; continues periodic work at [Redacted] 2011 - Obake’s accident; Granville resigns from SFIT 2011 to 2013 - Takes a position with [SUPER Redacted] in Symkaria 2013 - Returns stateside and [Redacted] 2013 to 2031 - Various jobs and positions, including start-up at Fathom Blue Incorporated and a instructor at the San Fransokyo Police Academy with Sara Pezzini 2031 (Current Time) - Granville becomes Dean at SFIT (Keep in mind that this is a sliding timeline which is subject to change. Probably.) Man, that’s a lot of redacted information. It’s almost like she worked for a secret government organization and did a lot of things that aren’t on the public record or something.

I am going to delve into Granville’s history in future stories, and that will include something that I’ve done a fanart on. Mainly this:

The Wakanda story is going to happen at some point, and it’s going to involve one of the redacted items above (from 2002 - 2003). What exactly she was doing there is going to stay secret for a little bit. Speaking of which, I had done research on a few pieces of Wakandan technology. Guess which one I found of particular interest.

The Kimoyo Beads. A bracelet given to every single Wakandan citizen that stores all of their medical information and serves as an everyday tool for them. It also notes that it doesn’t work outside of Wakanda because of its reliance on tapping into Vibranium as a power source.

Now, what would happen if a very realistic version of Vibranium were to find its way out of the country and into Granville’s orbit?

I wonder if her bracelet would start working again. Mysteries abound when it comes to Grace Granville. If we’re lucky, maybe we’ll solve a few of them before too long.

#big hero 6 #big hero 6 the series #grace granville #professor granville #wakanda #black panther #redacted #hiro hamada #sfit #sfit faculty #monica rambeau #linda carter #night nurse #robert callaghan #dum dum dugan #obake #what has she been doing all this time?#the world may never know #the life of an sfit dean

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recentanimenews · 3 years ago

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ESSAY: Berserk's Journey of Acceptance Over 30 Years of Fandom

My descent into anime fandom began in the '90s, and just as watching Neon Genesis Evangelion caused my first revelation that cartoons could be art, reading Berserk gave me the same realization about comics. The news of Kentaro Miura’s death, who passed on May 6, has been emotionally complicated for me, as it's the first time a celebrity's death has hit truly close to home. In addition to being the lynchpin for several important personal revelations, Berserk is one of the longest-lasting works I’ve followed and that I must suddenly bid farewell to after existing alongside it for two-thirds of my life.

Berserk is a monolith not only for anime and manga, but also fantasy literature, video games, you name it. It might be one of the single most influential works of the ‘80s — on a level similar to Blade Runner — to a degree where it’s difficult to imagine what the world might look like without it, and the generations of creators the series inspired.

Although not the first, Guts is the prototypical large sword anime boy: Final Fantasy VII's Cloud Strife, Siegfried/Nightmare from Soulcalibur, and Black Clover's Asta are all links in the same chain, with other series like Dark Souls and Claymore taking clear inspiration from Berserk. But even deeper than that, the three-character dynamic between Guts, Griffith, and Casca, the monster designs, the grotesque violence, Miura’s image of hell — all of them can be spotted in countless pieces of media across the globe.

Despite this, it just doesn’t seem like people talk about it very much. For over 20 years, Berserk has stood among the critical pantheon for both anime and manga, but it doesn’t spur conversations in the same way as Neon Genesis Evangelion, Akira, or Dragon Ball Z still do today. Its graphic depictions certainly represent a barrier to entry much higher than even the aforementioned company.

Seeing the internet exude sympathy and fond reminiscing about Berserk was immensely validating and has been my single most therapeutic experience online. Moreso, it reminded me that the fans have always been there. And even looking into it, Berserk is the single best-selling property in the 35-year history of Dark Horse. My feeling is that Berserk just has something about it that reaches deep into you and gets stuck there.

I recall introducing one of my housemates to Berserk a few years ago — a person with all the intelligence and personal drive to both work on cancer research at Stanford while pursuing his own MD and maintaining a level of physical fitness that was frankly unreasonable for the hours that he kept. He was NOT in any way analytical about the media he consumed, but watching him sitting on the floor turning all his considerable willpower and intellect toward delivering an off-the-cuff treatise on how Berserk had so deeply touched him was a sight in itself to behold. His thoughts on the series' portrayal of sex as fundamentally violent leading up to Guts and Casca’s first moment of intimacy in the Golden Age movies was one of the most beautiful sentiments I’d ever heard in reaction to a piece of fiction.

I don’t think I’d ever heard him provide anything but a surface-level take on a piece of media before or since. He was a pretty forthright guy, but the way he just cut into himself and let his feelings pour out onto the floor left me awestruck. The process of reading Berserk can strike emotional chords within you that are tough to untangle. I’ve been writing analysis and experiential pieces related to anime and manga for almost ten years — and interacting with Berserk’s world for almost 30 years — and writing may just be yet another attempt for me to pull my own twisted-up feelings about it apart.

Berserk is one of the most deeply personal works I’ve ever read, both for myself and in my perception of Miura's works. The series' transformation in the past 30 years artistically and thematically is so singular it's difficult to find another work that comes close. The author of Hajime no Ippo, who was among the first to see Berserk as Miura presented him with some early drafts working as his assistant, claimed that the design for Guts and Puck had come from a mess of ideas Miura had been working on since his early school days.

写真は三浦建太郎君が寄稿してくれた鷹村です。今かなり感傷的になっています。思い出話をさせて下さい。僕が初めての週刊連載でスタッフが一人もいなくて困っていたら手伝いにきてくれました。彼が18で僕が19です。某大学の芸術学部の学生で講義明けにスケッチブックを片手に来てくれました。 pic.twitter.com/hT1JCWBTKu

— 森川ジョージ (@WANPOWANWAN) May 20, 2021

Miura claimed two of his big influences were Go Nagai’s Violence Jack and Tetsuo Hara and Buronson’s Fist of the North Star. Miura wears these influences on his sleeve, discovering the early concepts that had percolated in his mind just felt right. The beginning of Berserk, despite its amazing visual power, feels like it sprang from a very juvenile concept: Guts is a hypermasculine lone traveler breaking his body against nightmarish creatures in his single-minded pursuit of revenge, rigidly independent and distrustful of others due to his dark past.

Uncompromising, rugged, independent, a really big sword ... Guts is a romantic ideal of masculinity on a quest to personally serve justice against the one who wronged him. Almost nefarious in the manner in which his character checked these boxes, especially when it came to his grim stoicism, unblinkingly facing his struggle against literal cosmic forces. Never doubting himself, never trusting others, never weeping for what he had lost.

Miura said he sketched out most of the backstory when the manga began publication, so I have to assume the larger strokes of the Golden Arc were pretty well figured out from the outset, but I’m less sure if he had fully realized where he wanted to take the story to where we are now. After the introductory mini-arcs of demon-slaying, Berserk encounters Griffith and the story draws us back to a massive flashback arc. We see the same Guts living as a lone mercenary who Griffith persuades to join the Band of the Hawk to help realize his ambitions of rising above the circumstances of his birth to join the nobility.

We discover the horrific abuses of Guts’ adoptive father and eventually learn that Guts, Griffith, and Casca are all victims of sexual violence. The story develops into a sprawling semi-historical epic featuring politics and war, but the real narrative is in the growing companionship between Guts and the members of the band. Directionless and traumatized by his childhood, Guts slowly finds a purpose helping Griffith realize his dream and the courage to allow others to grow close to him.

Miura mentioned that many Band of the Hawk members were based on his early friend groups. Although he was always sparse with details about his personal life, he has spoken about how many of them referred to themselves as aspiring manga authors and how he felt an intense sense of competition, admitting that among them he may have been the only one seriously working toward that goal, desperately keeping ahead in his perceived race against them. It’s intriguing thinking about how much of this angst may have made it to the pages, as it's almost impossible not to imagine Miura put quite a bit of himself in Guts.

Perhaps this is why it feels so real and makes The Eclipse — the quintessential anime betrayal at the hands of Griffith — all the more heartbreaking. The raw violence and macabre imagery certainly helped. While Miura owed Hellraiser’s Cenobites much in the designs of the God Hand, his macabre portrayal of the Band of the Hawk’s eradication within the literal bowels of hell, the massive hand, the black sun, the Skull Knight, and even Miura’s page compositions have been endlessly referenced, copied, and outright plagiarized since.

The events were tragic in any context and I have heard many deeply personal experiences others drew from The Eclipse sympathizing with Guts, Casca, or even Griffith’s spiral driven by his perceived rejection by Guts. Mine were most closely aligned with the tragedy of Guts having overcome such painful circumstances to not only reject his own self enforced solitude, but to fearlessly express his affection for his loved ones.

The Golden Age was a methodical destruction of Guts’ self-destructive methods of preservation ruined in a single selfish act by his most trusted friend, leaving him once again alone and afraid of growing close to those around him. It ripped the romance of Guts’ mission and eventually took the story down a course I never expected. Berserk wasn’t a story of revenge but one of recovery.

Guess that’s enough beating around the bush, as I should talk about how this shift affected me personally. When I was young, when I began reading Berserk I found Guts’ unflagging stoicism to be really cool, not just aesthetically but in how I understood guys were supposed to be. I was slow to make friends during school and my rapidly gentrifying neighborhood had my friends' parents moving away faster than I could find new ones. At some point I think I became too afraid of putting myself out there anymore, risking rejection when even acceptance was so fleeting. It began to feel easier just to resign myself to solitude and pretend my circumstances were beyond my own power to correct.

Unfortunately, I became the stereotypical kid who ate alone during lunch break. Under the invisible expectations demanding I not display weakness, my loneliness was compounded by shame for feeling loneliness. My only recourse was to reveal none of those feelings and pretend the whole thing didn't bother me at all. Needless to say my attempts to cope probably fooled no one and only made things even worse, but I really didn’t know of any better way to handle my situation. I felt bad, I felt even worse about feeling bad and had been provided with zero tools to cope, much less even admit that I had a problem at all.

The arcs following the Golden Age completely changed my perspective. Guts had tragically, yet understandably, cut himself off from others to save himself from experiencing that trauma again and, in effect, denied himself any opportunity to allow himself to be happy again. As he began to meet other characters that attached themselves to him, between Rickert and Erica spending months waiting worried for his return, and even the slimmest hope to rescuing Casca began to seed itself into the story, I could only see Guts as a fool pursuing a grim and hopeless task rather than appreciating everything that he had managed to hold onto.

The same attributes that made Guts so compelling in the opening chapters were revealed as his true enemy. Griffith had committed an unforgivable act but Guts’ journey for revenge was one of self-inflicted pain and fear. The romanticism was gone.

Farnese’s inclusion in the Conviction arc was a revelation. Among the many brilliant aspects of her character, I identified with her simply for how she acted as a stand-in for myself as the reader: Plagued by self-doubt and fear, desperate to maintain her own stoic and uncompromising image, and resentful of her place in the world. She sees Guts’ fearlessness in the face of cosmic horror and believes she might be able to learn his confidence.

But in following Guts, Farnese instead finds a teacher in Casca. In taking care of her, Farnese develops a connection and is able to experience genuine sympathy that develops into a sense of responsibility. Caring for Casca allows Farnese to develop the courage she was lacking not out of reckless self-abandon but compassion.

I can’t exactly credit Berserk with turning my life around, but I feel that it genuinely helped crystallize within me a sense of growing doubts about my maladjusted high school days. My growing awareness of Guts' undeniable role in his own suffering forced me to admit my own role in mine and created a determination to take action to fix it rather than pretending enough stoicism might actually result in some sort of solution.

I visited the Berserk subreddit from time to time and always enjoyed the group's penchant for referring to all the members of the board as “fellow strugglers,” owing both to Skull Knight’s label for Guts and their own tongue-in-cheek humor at waiting through extended hiatuses. Only in retrospect did it feel truly fitting to me. Trying to avoid the pitfalls of Guts’ path is a constant struggle. Today I’m blessed with many good friends but still feel primal pangs of fear holding me back nearly every time I meet someone, the idea of telling others how much they mean to me or even sharing my thoughts and feelings about something I care about deeply as if each action will expose me to attack.

It’s taken time to pull myself away from the behaviors that were so deeply ingrained and it’s a journey where I’m not sure the work will ever be truly done, but witnessing Guts’ own slow progress has been a constant source of reassurance. My sense of admiration for Miura’s epic tale of a man allowing himself to let go after suffering such devastating circumstances brought my own humble problems and their way out into focus.

Over the years I, and many others, have been forced to come to terms with the fact that Berserk would likely never finish. The pattern of long, unexplained hiatuses and the solemn recognition that any of them could be the last is a familiar one. The double-edged sword of manga largely being works created by a single individual is that there is rarely anyone in a position to pick up the torch when the creator calls it quits. Takehiko Inoue’s Vagabond, Ai Yazawa’s Nana, and likely Yoshihiro Togashi’s Hunter X Hunter all frozen in indefinite hiatus, the publishers respectfully holding the door open should the creators ever decide to return, leaving it in a liminal space with no sense of conclusion for the fans except what we can make for ourselves.

The reason for Miura’s hiatuses was unclear. Fans liked to joke that he would take long breaks to play The Idolmaster, but Miura was also infamous for taking “breaks” spent minutely illustrating panels to his exacting artistic standard, creating a tumultuous release schedule during the wars featuring thousands of tiny soldiers all dressed in period-appropriate armor. If his health was becoming an issue, it’s uncommon that news would be shared with fans for most authors, much less one as private as Miura.

Even without delays, the story Miura was building just seemed to be getting too big. The scale continued to grow, his narrative ambition swelling even faster after 20 years of publication, the depth and breadth of his universe constantly expanding. The fan-dubbed “Millennium Falcon Arc” was massive, changing the landscape of Berserk from a low fantasy plagued by roaming demons to a high fantasy where godlike beings of sanity-defying size battled for control of the world. How could Guts even meet Griffith again? What might Casca want to do when her sanity returned? What are the origins of the Skull Knight? And would he do battle with the God Hand? There was too much left to happen and Miura’s art only grew more and more elaborate. It would take decades to resolve all this.

But it didn’t need to. I imagine we’ll never get a precise picture of the final years of Miura’s life leading up to his tragic passing. In the final chapters he released, it felt as if he had directed the story to some conclusion. The unfinished Fantasia arc finds Guts and his newfound band finding a way to finally restore Casca’s sanity and — although there is still unmistakably a boundary separating them — both seem resolute in finding a way to mend their shared wounds together.

One of the final chapters features Guts drinking around the campfire with the two other men of his group, Serpico and Roderick, as he entrusts the recovery of Casca to Schierke and Farnese. It's a scene that, in the original Band of the Hawk, would have found Guts brooding as his fellows engage in bluster. The tone of this conversation, however, is completely different. The three commiserate over how much has changed and the strength each has found in the companionship of the others. After everything that has happened, Guts declares that he is grateful.

The suicidal dedication to his quest for vengeance and dispassionate pragmatism that defined Guts in the earliest chapters is gone. Although they first appeared to be a source of strength as the Black Swordsman, he has learned that they rose from the fear of losing his friends again, from letting others close enough to harm him, and from having no other purpose without others. Whether or not Guts and Griffith were to ever meet again, Guts has rediscovered the strength to no longer carry his burdens alone.

All that has happened is all there will ever be. We too must be grateful.

Peter Fobian is an Associate Manager of Social Video at Crunchyroll, writer for Anime Academy and Anime in America, and an editor at Anime Feminist. You can follow him on Twitter @PeterFobian.

By: Peter Fobian

#Anime #News #Latest in Anime News by Crunchyroll!

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rebelsofshield · 4 years ago

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Far Far Away Comics: 11/4/20-11/11/20

Phew. On the other side of the election and with three big Star Wars comics to review. Let’s get to it.

Star Wars #8 written by Charles Soule and art by Ramon Rosanas

Charles Soule really knows how to write a good villain. If the mainline Star Wars title has been lacking anything big over its last dozen or so issues, it’s an original antagonist to root against. Kieron Gillen found great success in Queen Trios of Sho-Torun in his take on the comic, but ever since ending his tenure the Dark Side has felt a little lacking in this series.

Last issue set up Commander Zahra’s vendetta against Leia and this chapter really lets this vengeful Imperial let loose. Soule positions Zahra as not only a tactician, but a woman that isn’t afraid to get her hands dirty by fighting on the frontlines. She proves herself a force to be reckoned with and Soule thankfully shows that Zahra will be around for the long game. She leaves a deadly impression on our heroes here and one that may eat away at Leia in particular for the foreseeable future.

As a whole, Star Wars #8 is wall to wall action spectacle. Whether it’s the evolving space battle unfolding outside Leia’s command ship or Zahra’s deadly boarding party, Soule and Ramon Rosanas rarely give the reader time to breath. More often than not it works and even if there are some areas where the art seems to falter in definition or clarity, they are few and far between.

This was a fun and effective little mini-arc. We move into Soule’s second big story after this, but the lingering damage from Zahra’s attack will be with us for a while. I await her return with eager anticipation.

Score: B+

Star Wars Adventures: Shadow of Vader’s Castle written by Cavan Scott and art by Derek Charm, Nicoletta Balderi, Nick Brokenshire, and Francesco Francavilla

The Vader’s Castle seasonal miniseries from IDW Publishing have been a Halloween treat for going on three years now. The original Tales from Vader’s Castle remains my favorite product that IDW’s Adventures line has produced. While we only get one super sized issue this year, Shadow of Vader’s Castle is a standout and a worthy follow up to this continually satisfying anthology of creepy stories.

If anything negative can be said about Shadow of Vader’s Castle it’s that it tries to do a bit too much. It covers a lot of ground in it short amount of pages and while the end product feels a tad chaotic, Shadow of Vader’s Castle more than knocks it out of the park.

It begins with a story of a young Mustafrian boy stumbling upon Anakin Skywalker after his slaughter of the Separatist leaders and travels through time to a new generation of lava folk who have decided that they have had enough of the looming shadow of the Dark Lord’s palace. It tells a story of generational fear and rebellion that feels poignant but also provides revelations to key figures from this now iconic Star Wars locale.

Visually, Shadow of Vader’s Castle is a treat. It’s been so long since we’ve seen Derek Charm get to let loose on a Star Wars title and his two tales in this anthology are visually spectacular. Charm turns the vapors of Mustafar into swirling, crimson ghosts that arise to torture the living and the results are striking and sinister. Franceso Francavilla continues to be one of the eeriest and creepiest artists in the Adventures repertoire and his use of color in his segments is masterful. Nick Brokenshire and Nicoletta Balderi’s pages may not be as creepy or arresting, but they are still artistically engaging in their own way. All in all, Shadow’s of Vader’s Castle is an artistic treat and features some of the best visuals of a Star Wars comic this year.

Overall, Cavan Scott continues to prove that he can balance a tight tonal rope for these anthologies. They are undoubtedly darker and scarier than the standard Adventures piece, but never in a way that feels grim or oppressive. It’s fun Halloween macabre creepiness with a dash of Star Wars action and adventure. I truly hope we keep these going for as long as possible. What Halloween doesn’t deserve a trip to Mustafar?

Score: A-

Star Wars Darth Vader #7 written by Greg Pak and art by Raffaele Ienco

Battered and broken Darth Vader now has to do battle with weird plot points from The Rise of Skywalker! In the next stage of Palpatine’s punishment for his apprentice’s failures, Sith Assassin Ochi of Bestoon sets his sights on the wounded Sith Lord and Vader has to come face to face with the sins of his past and the mysterious secrets of the fiery world of Mustafar.

In many ways, “Into the Fire” continues much of what we have come to expect from this series. Raffaele Ienco’s all-red flashback panels return and Vader is put to the test in some brutally rendered action sequences. In a way, Pak’s script feels like it’s playing with similar ground of Charles Soule’s first arc on our surly old Sith. Seeing Vader rebuild himself from the parts of discarded droids is neat, but it’s not inherently something new or unique.

Ochi Bestoon on the otherhand is an enjoyable antagonist. Raffaele Ienco’s armor design feels badass and classically Star Wars and the physical brawl between these servants of the Dark Side is brutal and entertaining. As a fight book, this is great, but it still feels like we are treading familiar ground of character and theme.

That may change next issue though. Looks like we are in for some weird shit on the horizon, and honestly I’m here for it.

Score: B

#Star Wars #Star Wars comics #Darth Vader #Star Wars Adventures #Shadow of Vader's Castle #IDW #Marvel #review #reviews #Charles Soule #Ramon Rosanas #Greg Pak #Raffaele Ienco #Cavan Scott #Derek Charm #Nicoletta Balderi #Nick Brokenshire #Francesco Francavilla

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kurtty-drabbles · 4 years ago

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Postwoman au (Part 4)

N/A: This all AU begins thanks to a cute comic of a postwoman sending letters to mermaids. So...we´ll get some action here. Also, I think Kitty and Krampus will have more time to bond and for Kitty to feel comfortable with him...like in Model verse. Well, here we go.

@dannybagpipesarecalling @djinmer4 @bamfoftheundead @muninandhugin

Getting the hangs up of any new job is something one takes time-yes, time is a bit relative, some bosses expect you to follow the flow of the company since yesterday and show no compassion, except, platitudes towards new workers- and even in a society where magical creatures, mutants, and humans can co-exist in peace. The only truth that is irrevocable is how society still works in a capitalist mindset. And the magic community is no different. Kitty arrives for her new day working for Krampus. The succubus secretary now is bestowing a more sporty look- too similar to that famous feminine soccer player everyone seems crazy about it- and has no regard for Kitty.

"Still room 23," she says without care or looking into Kitty´s eyes. Kitty can label her as rude. "Go, I´ve things to do" and Kitty will be glad to go but if she can confront a Krampus, well, she can confront a rude secretary.

"Look, I get you may not like humans. But I´m working here now...can you try to be less bitchy with me?"

"No, darling...I´m bitchy. And I´m even more bitchy because my last date turns out in failure. The man wanted to date the real one" she points at her looks "instead of me...and the rules prevented me to do anything against him"

"And...are you hungry?"

"No, just salty. And don´t worry, if I was hungry. Santa and Krampus wouldn´t let me in...I have my fill don´t worry. But my ego on the other hand..." and well, that´s enough of personal information.

"Well, even so. Don´t snap at me. I´ve nothing to do with your problems...got it?" she said looking at the succubus´s eyes firm and the creature shurgs off now doing her nails.

Well, at least, she´s not planning to eat me.

And with that Kitty uses her key and is now in room 23. All the while she wonders if she is respected here- "Am I a pet human or I really work here?"- and Krampus is there. In his desk folding some papers and now his golden eyes meet with her brown one. "I can feel your questions...Kitty, ask away then" and she has no time to fear- truth to be told, she fears but is too brash to let the fear sink in- and without further ado. She makes her questions.

"How do you know a person truly deserves to be punished? Yes, you show me...there´re bad children out there" Kitty amends before she was forced to see those crimes again. Sometimes, children can be needlessly cruel and Kitty doesn´t want to face that.

Krampus snaps his finger and a mini-version of himself bamf into the desk. Kitty would find the creature cute if it wasn´t by the fact this creature works for Krampus. The little creature is gazing at Kitty-titling his head and speaking Bamf as its only word for communication- and is waving his tail.

"They do the job for me. They´re my eyes. So to speak. They´re called Bamfs" he looks amused either at the said bamf or to the fact Kitty is caressing the said bamf´s head. -gingerly touches. His fur is like velvet and Kitty has to wonder if anything if Krampus´s fur is really soft as the bamf- and she speaks again. "Ok. They spy for you. But...still, errors can happen"

"Not in my profession. Not on my job. You see, I have more eyes than you can imagine. Wind spirits, faes, and sometimes even Gods keep me update on who is naughty and who isn´t. Also, sometimes, a person is naughty but I can´t interfere"

"Why?" and Kurt/Krampus come closer and has a sort of malicious glee in his eyes. "Me and Santa are your bosses. But we have our bosses as well...and sometimes, mortals are punished by them...and trust me, they´re way worse than me" and Kitty won´t back down.

"Ok, what´s the point of your torture? I mean, you´d not seem a sadistic type" Krampus is somewhat amused by this line. "if you were, you would have tortured me a long time ago. So, you aren´t torturing people just because..."

"True, I´d torture people and give the chance of them to change. Remember Katzchen" he drawled out. "I´m responsible for revenge. I seek out those who committed terrible deeds. I´m not after innocents"

"And how many people have changed after, uhm, everything?"

"20% of them. Some can change. Some humans have the chance to turn the new page and be a better version of themselves...while others...will rather die than admit faults"

"What if you try to take someone who is close to me?"

"I wouldn´t" and Kitty thinks is because some contract or law established. "All your friends have a pure soul and are sinless. I have no reason to go after any of your friends, family, and even some people you see daily. They all are good souls Kitty...just like you" he concludes. Those words sink in.

"I´ll not kill for you" not a question. A fact. Krampus is not bothered by that.

"You´re not here to help torture others nor to kill. So, of course, I wouldn´t ever ask this to you. Anything else?"

"Why Galaticus indicated me?"

"Ok, that I can´t answer. Look, he never did that in the past. If he indicated you...he has his reasons. I can feel you´re afraid. I´m a bit afraid too...again, Galaticus never indicated anyone..." the man swallows hard and now the bamf is cuddling with him. "this is new to me too"

Oh...I never thought about this angle.

"So, since we´re working together...let´s get along. This is new to us, but, we´re here now" Kitty concludes and maybe her curiosity is satiated for now.

(Not really. She has no idea what Krampus is. And she is not sure if she can just ask this to him- wouldn´t that be rude?- she vouches to do some research more deep research about her boss)

"Do you have more questions?"

"For now? No" and Krampus seems more amused- too extrovert. Not what some movies portray him to be- "I have a mission for you. Say, do you know about the Little mermaid?" and before Kitty can answer. "Not the Disney version"

"Yes, a very depressing story" Kitty interjected. "Why?"

"Well, I have something I need you to deliver to the sea witch" and with a snap of his fingers a purple box materialized in his desk. "I need you to return this to the witch. She made me a favor a couple of years ago...and I´m now paying" and Kitty looks between the box and her boss.

"Krampus, I can´t breathe underwater"

"I know...do you know Neverland?"Krampus asked grinning. And Kitty is quick to quips.

"Isn´t that place where Peter Pan lives? The man is facing some big sues and did some serious crimes" and she eyes Krampus who only shurgs in response. "Not every crime is dealt with me, Kitty, and yes...he did those crimes, but, anyway...the Sea Witch likes to hang out in the lakes of Neverland with all her entourage of mermaids." and if Kitty thought this would be an aquatic adventure. She´s wrong.

"And how is the Sea Witch? I mean, how she looks like?...I´m guessing she´s not like Disney"

"Correct and don´t mention that version to her. She hates it. Her name is Ursula, by the way, but, even if you didn´t know her name...she has two different colors in her eyes. One is green and the other is blue. That´s the signal of a Sea Witch" and adds just to make his point come across. "And is really, really rare. She´s not happy that Disney made her a villain or made her ugly...her words, not mine. She´s one of the prettiest mermaids in the court and has magic"

"Will she sue Disney?"

"She has magic but she´s not that powerful"

"Ok, not going ask what´s inside"

"Well..."

"I SAID I´LL NOT ASK WHAT´S INSIDE"

And using her key she´s gone. Krampus almost pouts. He was looking forward to sharing this story with someone.

______________________________________________________________________________________

Neverland is just like Kitty imagined. And the mermaids are just like Kitty imagined to be. Pretty ladies -unashamed of everything else. Tits out. No shame- and as Krampus mentioned, it was easy to located Ursula- what Kitty has to deal is to talk with pretty ladies and deliver the box. No big deal. She can do it.

I can do it. I can do it.

Stepping on the rocks in the pond where the mermaids are Kitty speaks. "I´m working for Krampus...he has a delivery to you" and shows the box and Ursula grins wide and the mermaids- who may or may not have thought in prank Kitty. Now, change their sentiments to be more friendly- and Ursula hugs the box as if her life depends on it.

Kitty does not wish to know what is inside.

"Thank you. I was waiting for this for a long time. Please, let me reward you" and the mermaids took her cue and are making a necklace to Kitty- a token of their gratitude. If Ursula is happy. They´re happy too- and once-promising is just a necklace and not a curse ("dear, cursed necklace are out fashion years ago")- Kitty accepts the necklace (seashells and aquatic flowers she never heard before) and manages to talk with the mermaids.

"Now that Peter is arrested. We rule Neverland...and those pirates hate that"

"And the animals?"

"Ah, the unicorns don´t care...as long we don´t bother them"

And now the box is delivered and Kitty has a good relationship with the mermaids("come to visit us, Kitty, we can talk more") Kitty uses the key to return.

________________________________________________________________________________________

Happy hour with the boss was never something Kitty was counting, but, alas her boss wanted to take her out to celebrate ("the mermaids don´t like messengers so easily") and offers to take her to a nice coffee shop- once she made clear she doesn´t like go to clubs- and Kitty is wondering if Krampus works in the law of the fae.

"Uhm, Krampus..."

"Kurt, my name is Kurt...and we´re outside the working place. You can call me Kurt...well, you can call me Kurt anytime you want. Call me Krampus is just as if I call you human"

Oh, he has a point.

"Ok, Kurt"

"Say, Kitty, I have some question for you" and Kitty decides to buy her coffee and cupcake before he could do it. Even if he´s not a fae...she doesn´t like men to pay for her stuff.

"Ok"

"Are you married?"

"Not sure how this has to do with anything...but, my first boyfriend propose to me. I rejected him. I´m not interested in marrying"

"Kitty, what you wanted to do with your life?"

"Live well"

"Do you fear me?"

"A little...but I think is all because how new this is to me"

And Krampus smiles.

"Think we can be friends?"

"Maybe? I´m too introvert, you seem to extrovert but hey, some of my friends are extroverts..."

#Postwoman au #kitty pryde #kurt wagner #Krampus!Kurt #kurtty yet #Mermaids #based on a comic #Kitty has questions #she will befriend Krampus or is the other way around?

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raeloganthesonic06fangirl · 5 years ago

Note

I have been considering beginning to read some of those Sonic comics people seem to like so much. What would you recommend to be a good starting point/how to access them?

It's all a matter of taste, but full disclosure: I will unapologetically collect anything with the Sonic branding, regardless of quality. 👀

My personal collection is a fair size but far from a full set, with most of my comics being of the Ian Flynn era than the Ken Penders era... and I've met both guys at several conventions before, actually. Ken Penders is very eager to sell you his stories and for a slightly inflated price, you can get an issue signed by him. Ian Flynn gave me a free extra comic book in my purchases because I made him laugh. 👀

I also have the Sonic Comic Encyclopedia, which summarizes a vast majority of the Archie comics up until about issue 250+, and is a good companion to have as a refresher or as a summary for any hard to find issues that are being referenced regardless.

I also have been collecting the IDW reboot in the form of arc books, which are really only about 8 issues behind the retail release right now, with Volume 5 slated to come out in February, which only will put it about 4 issues behind, and personally, I prefer to collect them in the form of trade paperbacks, since it compiles things chronologically and reduces the chance of misplacing a part. Also, the paper quality is higher, and usually there's a few additional bonus pages such as draft sketches or behind-the-scenes, so I recommend arc books highly. 😌

As for where to start... It's a bit convoluted. The Archie run is extensive, all over the place, too many spin off materials, some crossovers, non-canon tie-ins, writers having to clean up other writers messes, several blocks of story that's just dedicated to soap opera teen drama drivel, and some characterization being occasionally appalling depending on who's behind the pens.

The short answer is to just start with the first issue, but it's a bit trickier than that, because there's also a short run mini series that acts as a sort of prelude, that in itself is an adaptation of the 90s cartoons merged into one mega timeline that eventually gets down to business by issue 39.

This wikia does a good job of breaking down the arcs and reboots and spin offs and major shifts of the comics, and should give you a good idea of how to pinpoint areas of interest.

There's about two reboots that happen within the main publication, and I refer to one of them as the "Pendocalypse", to refer to the time we lost all established characters tied to Ken Penders writing, but that's a whole 'nother story itself

I also recommend blogs like @thankskenpenders, which has a great rundown of the series that's is still working on the Ken Penders Archie run, while also pointing out problems or just cringey bits, as well as highlighting the very good of Ian Flynn's run. That is a very thorough blog. 👌🏻

Also, important to note:

There was a separate publication running alongside that was based on the Sonic X universe that would run a fair amount of time before it would set the groundwork for what would eventually be:

Sonic Universe, which was an expansion of the main publication that would focus more on game canon characters and events or would serve as an "elsewhere" sort of stories happening alongside the main stories, and not as tied down by almost 20+ years of established canon creeping into its edges.

There was also:

Sonic Boom, a shorter publication based on the Cartoon Network show based on the spin off game series based on the main series, and was a much lighter hearted take on the characters compared to thier main Archie counterparts, with more emphasis on comedy than massive storytelling.

All of these, sans Sonic X, would eventually crossover with Mega Man's comics a couple of times in a rather incredible multi arc story, so it's established that Sonic Boom's universe is another world entirely.

After Archie comics ended the series it would be picked up by IDW, using much of the previous staff and some fan favorites in the Fandom, and revived the universe as:

Which does not use any characters specifically from Archie, and includes game canon characters, as well as all new characters designed specifically for this comic universe.

Also, the current state of its world right now during its current crisis arc can be described as, without spoilers:

youtube

All in all, there's a lot of places to jump into, and my first Sonic Archie comic I ever bought was #157 (and it was signed) :

Just search "Read Sonic Comics Online" or "Read Sonic IDW Online", and there's a wonderful archive to sift through for most comic books that I'm not allowed to link due to Tumblr rules, and you might want AdBlock for that

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callmeblake · 6 years ago

Photo

Kerrang Issue #1761

Magazine Release Date: February 20th, 2019

Issue Label: February 23rd, 2019

Photo Credit: Jen Rosenstein

Illustrations: Brian Ewing

Partial Transcription (from pressreader.com) below:

Kerrang! (UK)

20 Feb 2019

words: emily carter illustrations: brian ewing

“MAKING MUSIC IS MORE FUN THESE DAYS…”

BREAKS HIS SILENCE

Since he was a kid, GERARD WAY has sought solitude in the world of graphic novels – first as a reader, and later, with the weight of the rock world on his shoulders, as a creator. But now, he explains exclusively to Kerrang!, working on the Netflix adaptation of his THE UMBRELLA ACADEMY series helped him reconnect with his love for making music, too…

Gerard Way keeps track of his personal goals using what he calls “the grown-up list”. One at a time, the 41-year-old will tick off these life objectives by means of self-care – a concept he’ll admit he hasn’t kept on top of lately.

“On the grown-up list are all these things that I have to do to start participating in life again,” he explains in a gentle, endearing New Jersey accent, dissecting a mysteriously methodical approach to his return to the public eye – though, it has to be said, still sounding very much like a big kid at heart.

For the past “two, three” years, Gerard feels as though he hasn’t been looking after himself while under the strain of his demanding career as a comic-book writer. And while his workload certainly isn’t slowing down any time soon – if anything, it’s on the increase with the reintroduction of music now, too – he is at least making his own positive changes little by little, “piece by piece”.

“Enough time goes by and you’re tired of feeling tired, and tired of feeling unhealthy, and tired of doing unhealthy things to yourself,” he admits. “I hit a point where I was like, ‘Enough’s enough. I gotta move my body and find a doctor.’ I hadn’t had a physical in I can’t remember how long. It was just time, you know?”

Undertaking this new journey, Gerard first started off by giving up smoking. He afforded himself just two weeks to ditch the cigarettes, before moving on to the next task. “You can’t do it all at once,” he explains thoughtfully. “I quit smoking before doing anything else – like change diet or going to see a doctor. I just take these things in steps. Even if I did have all the time in the world to attack the grown-up list, you have to take any major life change slowly and gradually.”

Had Gerard felt so inclined as to keep a similar grown-up list for professional targets when he first emerged as My Chemical Romance’s awe-inspiring leader in 2001, its trajectory would have accelerated significantly. Darting into the spotlight in 2004 with their astounding second record Three Cheers For Sweet Revenge, the frontman quickly became uncomfortable with the intrusive – and borderline paralysing – nature of their fame. It’s no wonder that, between 2006’s triple-platinum The Black Parade, and the festival-headlining status that came with fourth and final studio album Danger Days: The True Lives Of The Fabulous Killjoys, Gerard recently labelled the group’s journey as “uncontrollable”. The band’s explosion was just as dramatic as their eventual breakup almost six years ago, and it took Gerard just over a year to then return into view. An excellent Britpop-inflected solo LP, Hesitant Alien, followed in September 2014, and even landed at spot number four in Kerrang!’s top 50 records of that year. No grown-up list – no matter how fool-proof – could accurately record or predict those kind of whirlwind peaks and troughs.

In his life as a comic-book writer, though, Gerard’s accomplishments have kept up a steadier, but no less impressive, incline. As a graduate of New York’s School of Visual Arts and a former intern at Cartoon Network, his imagination and visual creativity was harnessed long before his audio talents came to light. While his comic-book debut in 1993, On Raven’s Wings, was cancelled after just two issues, Gerard’s near 100 (and counting) writing credits have just about surpassed his contributions in music; he even ran his own imprint under the legendary DC Comics banner for two years, Young Animal. And while its status is currently listed as ‘inactive’, Gerard has emphasised that it’s “not the end” of that venture. Now, his prominence as a fullyfledged award-winning comic-book writer is a marvel (no, not that kind).

“The thing about doing comics is nobody asks you about your personal life, they don’t ask you about the drugs you used to take, they don’t ask you if you’re breaking up,” he told Kerrang! while still with My Chemical Romance in 2010, openly battling with the allure of a life buried in books. “They talk about the work. I wish people would talk about the work in music. In music, people want to know what makes you tick – in comics, people don’t care.”

Given the appeal of a more serene existence, it’s clear Gerard’s current primary occupation perfectly suits him. Just as he helped change the face of rock 15 years ago, however, he’s beginning to make similar strides in comics. Once again, he’s got the big guns knocking on his artistic doorstep.

“If anybody ever asks me for advice about being creative, it’s always just to make the things you want to see,” he shrugs, either oblivious to his skills or just strikingly modest. “Make something that doesn’t exist, that you wish existed – that you wanna read, or see, or listen to. That’s the one thing that I’ve applied to everything I’ve done: all the art I’ve made and the music I’ve made.”

Following this surprisingly simple mantra, Gerard now has a tremendous feat on his hands: his apocalyptic comic-book series, The Umbrella Academy, has snowballed into a 10-episode live-action show of the same name, and hit Netflix last Friday. By now, you’ll probably have already watched the lot. For the programme’s main brain, though, while he may have spent release day just ticking off another box on the grown-up list (“I had a physical that day with a doctor, so…”), this marks the beginning of his “participation” in life again. Gerard Way is back.

Gerard Way is obsessed with comics. Across the span of our interview with the author-turned-musicianturned-author again, he says the word “comic” no fewer than 28 times – each utterance more passionate than the last. Yet it wasn’t until 2008, while still active with My Chemical Romance, that he began to feel the effects of his written works’ potential. And not just in the field of comics, either; he was suddenly struck with the realisation that he could make this his full-time work instead. When he and illustrator Gabriel Bá – a man Gerard credits constantly and with great

“I’VE ALWAYS AIMED TO MAKE SOMETHING THAT DOESN’T EXIST, THAT I WISH EXISTED” GERARD WAY

respect when discussing the project – were awarded a prestigious Eisner Award for The Umbrella Academy’s first mini-series, it shook him to the core.

“It was scary at the time,” he mentioned in a Kerrang! cover feature at a later date, “because it was another thing that said to me, ‘Hey, you could go and do this. You won’t have a huge career, but you could make a living. There was a part of me thinking, ‘I don’t have to be a singer anymore.’”

Just days after receiving their Eisner, Gerard and Gabriel’s graphic novel was optioned by Universal Pictures. Plans for a potential movie were in development “for quite a while”, until it eventually fizzled out and came back to Umbrella Academy’s publisher, Dark Horse Comics. Then, the idea for a TV show was conceived – and Gerard was instantly sold. Not that it was ever something he’d ever considered when first penning his comics all those years prior.

“You know, I tend to be a visual thinker,” he begins. “When I was first starting out, I was told to embrace the medium of comics: just make a great comic. I think that that’s a common mistake that people make – they see a comic as a film, and they’ll just present it as a film. And there’s a lot of things you can do in comics, and it would almost short-change that. You need to embrace what a comic can do, and then you’ll make a really fantastic one. If you’re just trying to present it as a film, it doesn’t work as well, in my opinion. I still follow that advice to this day.”

Gerard loved the idea of giving his painstaking and deeply intricate world a new long-form narrative, and a way of going deeper into the story’s characters (all of whom are either a reflection of people he knows, or himself). Before taking various meetings – including with Netflix – both he and Gabriel sat down with Universal Cable Productions executive vice president of development, Dawn Olmstead, and discussed their aims.

“My goal was to give those guys the material to make a really great show,” Gerard explains. “That way, if they made a show and it’s successful, they always have material to go back to. That’s always been my goal: to tell a really good story that I have control over.”

Nine years later after its original plans fell through, it was eventually settled that Netflix would be the way to go. Joining forces with a company that had both “the highest production value” and that was also “artist-friendly” made the most sense to all involved. “We knew they would let the show be what it needed to be,” Gerard nods.

By this point, the series’ creator had slipped away from the limelight to create a 20-page blueprint for show-runner Steve Blackman. The Umbrella Academy thus far has three volumes – Apocalypse Suite, Dallas and Hotel Oblivion – but Gerard will eventually complete the story through eight graphic novels in total, many of which are still to be finished (“I have it all planned out, and I’ve just got to kind of write it now…”). In advance of the show’s development stages, though, he needed to let his new colleagues know the whole plot.

“There were talks early on about how much of my involvement there would be – if I wanted to be a co-show-runner, if I wanted to write scripts,” remembers Gerard. “And I really put the emphasis on making the source material and making the comics, so I had to let go of certain things. I weighed in on a lot of them, but ultimately it was Steve’s call to make. I liked letting go, though, because it allowed me to keep moving forward in the ways that I wanted to, which is with the comics or anything else I want to do.”

Working with Netflix became a daily job. From set pieces to wardrobe choices, both Gerard and Gabriel would give extensive notes in the 18 months it took to produce The Umbrella Academy, ensuring a happy climate was reached between their individual artistic palettes. It’s not a giant leap to compare the birth of Gerard’s latest project to My Chemical Romance’s studio swansong, Danger Days. While still in the throes of The Black Parade’s overwhelming success, the frontman had moved to LA from New Jersey in 2008 and was focused on comics – not just The Umbrella Academy, but also a bold, bright new sci-fi spectacular: The True Lives Of The Fabulous Killjoys, a story of the aftermath of a battle against a tyrannical corporation. Having written and subsequently scrapped The Black Parade’s original follow-up, the frontman was then struck with inspiration on a family retreat in the wilderness, wracking his brains with what to do next.

“I had an epiphany, I had a vision,” he told Kerrang! back in October 2010, of how this new comic informed what would become My Chem’s fourth full-length. “I was writing all these crazy lyrics and they were fearless and fucking reckless. I had this vision in my head, and everything I had been working on in the comic – the masks, the laser guns, the cars, everything – started to swirl around in my head.”

So how does the creation of a comicinspired album measure up against bringing The Umbrella Academy to life on TV?

“You know, they’re both intense and stressful in their own ways,” Gerard smiles. “But one of the things I’ve learned as I get older is that being in the studio and making music isn’t nearly as stressful – it’s a lot more fun these days. Having said that, although things are a little more high-stakes on a film set, we had a lot of fun with that, too.”

Early last year, The Umbrella Academy’s primary architects headed to Toronto to oversee the first week of filming. They were there to “answer any questions and give a little direction”. Though their focus was undeniably on creating the best comic-to-screen transition

“AS I GET OLDER, MAKING MUSIC ISN’T NEARLY AS STRESSFUL – IT’S A LOT MORE FUN THESE DAYS” GERARD WAY

“I DON’T LIKE TO DWELL ON THINGS. I LIKE TO MOVE FORWARD” GERARD WAY

possible, Gerard also remembers the weather; it was snowing, a sight he hadn’t seen since touring Hesitant Alien three and a half years prior. Once more, his two worlds briefly reacquainted themselves.

While in Canada, he and Gabriel reviewed “dailies”. “It hit a point where it was like, ‘Alright, this train is going, they know what they’re doing,’ and I could divert my attention back to the comic,” Gerard says. “Then I was able to work on it remotely – most of the work from my end was done through email or phone conversations, so I could be anywhere in the world and I was still able to watch the footage on my laptop, or whatever computer I was at.”

Once that week was over, Gerard kept a distant watchful eye over filming, which carried on until July. Elsewhere, his time was split between writing more comics, drinking copious amounts of coffee, collecting vintage T-shirts and miniature painted figures, and watching his wife of 11 years, Lindsey – bassist of Mindless Self Indulgence – feed birds and squirrels at their family home.

Rather ironically, his days weren’t spent watching a great deal of television. Even now, he’ll partake in an episode or two of a binge-worthy programme if Lindsey wants him to check it out – but he’ll never consume the lot in one go. “I think that makes my opinion on what we’re making with Umbrella Academy, in a way, even more valid,” he suggests, “because I don’t watch all this stuff. I read a lot of books.”

Most exciting of all, though, is that almost every Friday, Gerard Way began to create music again.

Around 54 minutes into The Umbrella Academy’s fifth episode, there’s a mind-bending shoot-out featuring, among others, Mary J. Blige. While the action unfolds, a familiar voice quietly hits the eardrums. ‘ Imagine me and you, I do / I think about you day and night, it’s only right…’ croons Gerard Way alongside former My Chemical Romance bandmate and guitarist extraordinaire Ray Toro, in a cover of The Turtles’ hit Happy Together – both rich in personality, but also similarly honouring the original. It’s not the first time Gerard and Ray have teamed up in such a manner: last month, they unveiled another joint effort in the form of Hazy Shade Of Winter, originally by Simon & Garfunkel, for The Umbrella Academy’s official trailer. But this is arguably Gerard’s most epic comics-meets-music crossover yet.

Steve Blackman, says Gerard, “thought it would be really nice for the fans – both for fans of my work as a musician, and my work as a comic writer. He thought it would be really cool, and I thought it would be cool, too. It would be silly to not do a song for the show! We ended up doing a couple, which was really great. And I’m sure there will be more in the future.”

The music Gerard made each week last year wasn’t just for The Umbrella Academy – it was also for himself. Possibly over-ambitiously, the musician hoped to release these new sounds once a month, though his workload soon put paid to that. He does, however, now boast “quite the collection of demos”.

“Right now it’s just a stand-alone thing,” Gerard says, “but I think at some point – maybe for a vinyl or something – it would be nice to collect all these songs, just as a body of work for something that I did. With all the work and the show coming, it has been harder to try and do a song a month. And I knew that that would kind of happen back when I first mentioned the goal of trying to do that, just because of all the extra work that was coming. But we’re still making music every week.”

Gerard has enjoyed the process of juggling his own music and songs for Netflix enormously. His recent solo tracks – Baby You’re A Haunted House, Getting Down The Germs and a touching Christmas number featuring Lydia Night of The Regrettes called Dasher – have deliberately not been “overthought”, though music for The Umbrella Academy can be a little more laborious.

“It’s a bit more work, because it’s for something cinematic,” he explains. “It’s not that it has to reach a higher level, it’s just that it’s a different level. The solo stuff is just kind of up to me, and what I want that to convey, or what nature it has. Whereas with the show, everybody has to really be blown away by it. So maybe, in a way, it’s more a little bit of what Ray [Toro] and I and the guys in My Chem used to do; we apply a little bit more of that to what we do in these cover songs for Umbrella Academy.”

Is it a strange feeling to revisit that kind of creative process?

“It makes it really fresh and exciting,” Gerard grins. “It’s actually really nice to go back and do something like you once did it, because you have more experience and wisdom and knowledge. As you get older you bring all these things the way you used to do. It’s refreshing at times – especially if you’re doing a bunch of experimental things. It’s refreshing to go back to your core, and your roots, of what you used to do, and apply your new knowledge to that.”

Gerard Way’s musical future for now, then, will remain both blissfully free and totally spontaneous – a far-cry from his MCR days. But he couldn’t be happier about it.

“I like to move forward a lot,” he enthuses. “I don’t like to dwell on things very much. I don’t usually like to revisit them, either. I like to keep moving forward and putting out new things. I like to try new things and experiment.” Gerard repeats himself once more. “I really like doing that.” K!

THE UMBRELLA ACADEMY IS AVAILABLE TO WATCH NOW ON NETFLIX

#gerard way #K!1761 #kerrang #february 2019 #2019 #patch jacket #smithsonian institute shirt #jen rosenstein #kerrang art print

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davidaccampo · 6 years ago

Text

Breaking Down Comics

A friend of Amanda Donahue, one of my co-creators on THE MARGINS, asked me some questions, and they were so good I felt it was worth dusting off Tumblr to answer. Thanks, Nick, and I hope these rambles give you something worth your while!

Below are Nick’s two questions and my VERY long answers.

Sooo, my first question would just be how you got into it. Is it your primary form of writing?

Great question. So, is it my primary form of writing? Hmmm. I just finished a commitment to a set of 4 interactive mobile game scripts that took up quite a chunk of the last few months. In that time frame I also released a one-shot licensed 22-page comic and a 12-page digital creator-owned comic. So, on balance, I don’t think it’s currently my primary form of writing, but it’s definitely my favorite form, and it’s a medium and industry that I’m both very familiar with and passionate about, so whenever I’m given the chance to write comics, I take it.

However, comics as an industry is a difficult one to navigate. With the two biggest publishers owning incredibly popular franchises, the prime means for writers to make a living on comics is to essentially write super-heroes that you don’t own. And that, in itself, is neither good nor bad. It’s just worth noting that if you want to make comics your primary form of income, then DC and Marvel are going to come into your orbit in some shape. And that type of writing will come with its own set of thrills and challenges.

On the flip side, creator-owned comics and graphic novels can be an extremely fulfilling creative experience, if financially tricky to produce and sell. But the comics industry is still intimate enough that you can find ways to make and sell your comics. There’s a lot more to talk about there with regards to distribution and comics retail, but that’s another conversation.

It’s also worth noting that while the prevailing understanding is that digital comics sell only a fraction of the numbers of printed comics, it’s also a very accessible platform. With time and effort, you can put a comic book out to a global audience.

I may have veered slightly off topic here, but I think the point I’m trying to make is: if you want comics to be your primary form of writing, they most certainly can be. And you can and will make comics passionately and whole-heartedly, and you’ll put them into the world.

But making a living off of them is much more complicated scenario and every creator out there will have different advice for you, but be prepared for an equation that’s pretty familiar to any who has ever freelanced: less control = more money. Generally speaking, of course. There’s always a Walking Dead situation, if all the stars align.

Oh, and I never answered the first part of that question — how did I get into it? I’ll try to bullet point my personal path, which is super wonky, but probably not much stranger than most writers.

It kinda went like this:

Dave’s Writing Career: A Timeline

I always loved comics. In high school, I even wrote and drew 80 pages of a comic that was a horrible pastiche of Marvel/Epic’s Elektra: Assassin by Frank Miller and Bill Sienkiewicz and DC’s The Question by Denny O’Neil, Denys Cowan, and Rick Magyar. However, in my 20s, I’d attend conventions and discover that I had no idea how to move from fandom into professional writing.

I went on to study English and Creative Writing, thinking I’d write prose novels.

Then I moved to LA and fell in with a crowd of Hollywood screenwriter types. I wrote a few screenplays with a writing partner, Jeremy Rogers, but when nothing really came from it, we decided to make our own short films.

We made 3 short films that went into film festivals. At this point, I was tired of spending so much time and money making 10-30 minute films that didn’t result in much. We hatched a new plan: what if we availed ourselves of the iTunes platform and released an audio drama as a podcast?

Wormwood: A Serialized Mystery was the result. It allowed us to tell long, serialized stories, much like my first love: comic books.

Toward the end of the Wormwood run, an illustrator named Jared Souza contacted us. He’d adapted scenes from Wormwood into sequential art, and was curious if we ever thought about turning it into a comic book. We jumped at the chance, and with Jared we wrote and drew an 12-page mini-comic that we printed and took to the San Diego Comic-Con. Hermes Press was interested in our book, and they offered us a deal shortly after the show was over.

From there, I kept thinking about what else I could do with comics. I partnered with Chris Anderson for Lost Angels, and we made another 12-page mini-comic as a sales pitch, and we were offered a digital-first deal with a new publisher, Comicker.

And it keeps going from there, but that is the long and windy road telling stories in a LOT of different formats, each with its own strengths and weaknesses. Learning the strengths of one format does help you to understand the strengths of another. For example, for Wormwood we could really lean into long, twisty passages of monologue because it was all about the actors’ voices. However, as soon as you bring that to comics, you realize the amount of word balloons those monologues would take would utterly cover up any artwork on the page. And so you adjust.

Which is a nice segue to your other question…

Secondly, I'd love to hear how you work things out. As far as layout in regards to story. The most challenging aspect for me is to convert my thinking from imagining in film to now these static images. Do you put a lot of thought into that area, or do you focus mostly on the story and then sort of work that out as you are getting it down?

My initial thought is: “I do both.” But let’s break those up.

In terms of static images: think about the key moments. The perfect still frame of film that sums up the core of a moment of story in your mind. You want to build out from there.

But almost more importantly: think about the gutters. The space between panels. The gutters are actually where all the magic in comics reside. I recommend reading Understanding Comics by Scott McCloud. McCloud is great for understanding how a reader processes the information when we’re as absorbing art in a sequence. And the key is the gutters: The narrative “time” between panels can last a millisecond or a millennium. And the reader understands that from the context. So you’ve got to figure out how much you can get away with in between panels.

A panel exists in one moment in time. One action can occur. Imagine a father and son playing catch. What’s the most important part of that scene? The father throwing? The son catching? That’s two panels. Or, it could be a wide shot of the two, the ball in mid-air, but that wide shot probably should take up as much space on the page as two close angle shots of throwing and catching.

So, you ask yourself: what’s the emotional context of the scene? Is it important to show the father about to throw the ball (perhaps metaphorically teaching his son)? Is it important to show the son catching that ball (perhaps showing the son absorbing the lesson)? Is the activity itself the most important part (the wider shot might work best). It really depends upon the what you want to get out of the scene.

Another example: A man sits in his living room. There’s a knock at the door. He answers. It’s his landlord.

How many panels is that? The only concrete answer I can give you is that it’s ”more than one” — because the of multiple actions involved.

It could be two panels: 1) the man sits reading a newspaper, but his head is cocked because he’s JUST heard the SFX of knocking on his door. 2) he’s standing at the open door and the landlord is asking him for a rent check.

It could be five panels: 1) the main sits reading a newspaper. 2) We show the front door, with knocking SFX. 3) The man opens the door, but we don’t show who it is, building suspense. The man is nervous. 4) we reveal it’s the landlord, standing there, arms crossed and angry. 5) The landlord asks for the rent check.

How important is that scene to your overall story? Five panels is roughly a whole page. Do you want to spend a whole page to show that the man is late with his rent?

That’s brings us to the next part of your question, and the other aspect that’s really important to comics: page count.

Page count is crucial because of the amount of time it takes an artist to draw a page, and also because of the printing costs. A standard issue of a comic is roughly 20-22 pages. So you’ve got to start by knowing how much space you’ve got (some writers will refer to this as “real estate”).

As a general standard, I’m going to assume that you’re looking at a mini-series or story arc that’s probably 5-6 issues, at 20-22 pages per issue. That works for comic book issue publishing, and it collects nicely into a graphic novel.

Even if I know I’m writing a graphic novel (as we did with The Margins), I tend to think in those general terms because it helps me break the story down.

So, I might start by assuming I have 5 chapters that are each 20 pages. Then I figure out — where is the best place to end Chapter One? It shouldn’t just be a moment of pivot — a cliffhanger, something that pushes the reader to start the next chapter as quickly as they can.

I’ll use the film THE MATRIX for this example, but I’m doing this from memory, so this may not be the best story breakdown.

At first thought, knowing I have 5 chapters of 20 pages each, it seems to me a great end to the first chapter might be Neo waking up in his pod in the real world. I mean, you have to read Issue #2 if that’s where Issue #1 ends, right?

If that’s page 20, you now have 19 pages to get there. And you have to get through: Trinity and the agents, Neo following the white rabbit, Neo meeting Trinity, Neo getting a call phone from Morpheus, Neo taken by the agents and getting the tracker put in him. Neo getting the tracker removed. Neo taking the red pill.

That’s a LOT! (It’s probably more than 20 pages, but please bear in my I’m just using this as an example.)

Next I’d think about: how much real estate do I give to Trinity vs. The Agents. Maybe four pages. The first two are the fighting and running across the rooftops. The second two could be a DOUBLE-PAGE SPLASH (two pages that make up one giant image) of Agent Smith ramming his truck into the phone booth. That’d also make for a good title/credits page.

I can probably script that, but I first have to think if I can get though the rest of it with 15 more pages. Ack!

Luckily, the next bits contain a lot of conversations, so we can probably get away with 5-9 panels per page, lots of back and forth conversation, condensed onto fewer pages. And that’s key because we’re going to have to go to larger panels for key action sequences like Neo climbing out on the building ledge. Neo getting the tracker put into his belly.

To be honest, at this point, I’d probably have to rethink some of this — this feels like too much for 20 pages. But hopefully that example shows you how I approach the process. It’s basically taking the whole story and then breaking it into issue-sized chunks, then pages, then finally panels.

And as you think about panels, you do want to make sure you have a mix. Some kind of big splash page is important — it allows you to focus on the biggest moments, and it also gives the reader a bit of a chance to relax, slow down and take in the art. A sequential page can have more panels, but it becomes denser, and each panel can contain less information — one or two dialogue balloons, limited backgrounds, etc. The more panels, the less room and detail each panel can contain.

Personally, I like to think about most of my sequential pages being about 4-8 panels, peppered with one or two splash pages. I can bump up or lower the panel count as needed. If you start by thinking about 3-4 panels for big cinematic action and 5-9 panels for dense conversation or smaller actions, then you’ll probably find yourself with a decent balance through your comic.

Those are my long-winded answers. I hope this helps. There’s much more to talk about in terms of craft, but this covers most of what I think about when breaking down a comic book story.

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