#another dialogue-only project that expanded into an actual story

[owl-with-a-pen]

Outside of superhero emergencies, Kara didn’t tend to lean into her super hearing where she could avoid it. Girl’s night at her apartment, for example, definitely shouldn’t have called for it. Then again, she wasn’t usually the subject of discussion in just about every apartment block on her street.

So, maybe that wasn’t completely true. She’d certainly heard her name mentioned a lot more since the whole secret identity reveal thing; it was just, nowadays, instead of hearing Supergirl, it was usually Kara Zor-El.

She was used to it. She’d been used to it for years; her name was normally a hot topic days, if not weeks after a major save was broadcast. The only difference now was… not all of those voices were as positive as she’d come to expect.

Like right now, for instance. No matter how hard she tried to shut it out, she couldn’t help but listen for that same voice echoing from hundreds of homes across the city, streaming from earbuds, speakers and laptops alike. His voice was charismatic and quick, like a less polished Maxwell Lord, and while he may have been a nobody just a few weeks ago, he’d certainly gained enough traction now to give Kara one hell of a headache.

Unfortunately for her, she’d inadvertently tuned herself in at just the right time for her downstairs neighbour to hit play:

“Alright folks, if you missed our last episode I’ll catch you up to speed. Last week, we rounded off at the crux of the Supergirl Problem; that she hasn’t just been living in our midst this whole time, but that she’s been actively working as a journalist for CatCo Worldwide Media. And, just a few weeks ago, she was publicly put in charge of the editorial process for that same media outlet minutes after she came clean about her alter-ego to the world. And, as I doubt Supergirl will want to speak for herself on the matter, we have one of her self-proclaimed super-fans in the house today to speak on her behalf. Say it with me at home folks, debate me, Supergirl!”

The aforementioned ‘super-fan’ let out a surprised scoff at her introduction. She didn’t waste a minute of her airtime, jumping immediately into the conversation: “Well, for starters, I think you’re taking this whole thing out of context. Supergirl didn’t just become a journalist for CatCo overnight. If you knew anything about Kara’s story, you’d know that she worked her way up the food chain for years! I mean, how empowering is that? She started as a PA!”

“Yeah, a PA with superspeed, how difficult. No wonder she ended up in Cat Grant’s palm! And yes, I do know her origin story, thank you very much.” The host’s voice crackled as Kara imagined him relaxing into his microphone. “Let the audience not forget that she was a PA for Cat Grant before she became a journalist. Are we really going to pretend that wasn’t her foot in the door?”

“Cat Grant wasn’t even her boss when she got into journalism,” argued the young woman. “And by the time Kara made a name for herself, Cat wasn’t even leading the company anymore! She got to where she is now on her own merit, no one elses!”

The host spoke over her: “It begs the question, did Cat Grant know this whole time? She takes a sabbatical only to re-emerge just in time to offer Supergirl a promotion. On top of that, she’s been promoting Supergirl for years! She created her – her words, on record. And now she’s put her in charge of media distribution. Get this: Supergirl is now in charge of the media we consume. Isn’t that a little self-indulgent?”

The young woman didn’t back down. “Kara Danvers was a Pultizer winning journalist long before we found out who she really was,” she argued. “She’s been standing for truth and justice just as much as Supergirl has. In fact, she’s just as much a hero as—”

“But what’s the agenda here?” the host continued with a conspiratorial air. “How can we even believe the news now it’s being headed by a liar? And she did, didn’t she? She lied to us all! She had a secret identity this whole time, and what? We’re just supposed to accept that? What’s the bet that this story will make a headline at CatCo magazine tomorrow morning, with my comments made out as Supergirl’s latest villain story? Or, better yet, will I be Kara Danver’s first official nemesis?” He barked out a laugh into his microphone. “There’s no freedom of the press anymore, folks, not when CatCo is bias towards the very hero that made it so popular in the first place!”

Before she could hear any more, Kara was thrown from her super-eavesdropping rather unceremoniously when a hand shot out in front of her face, waving impatiently.  

“Earth to Kara,” Alex said, snapping her fingers in front of her sister’s nose. “Hey, anyone home?”

“Huh?” Kara said before screwing her eyes shut, swatting away Alex’s offending hand. “Hey, hey, stop that!”

It was only then that she realised that it wasn’t just Alex who had been trying to get her attention. Lena and Kelly were staring at her from the opposite sofa. Nia sat cross legged on the footstool by the coffee table, nursing her drink with an expectant expression.

Kara glanced lamely at the TV. It didn’t look like anyone had been paying attention to the movie for quite some time.

Just how long had she been…?

Kara tried not to cringe.

Kelly cleared her throat, smoothing her hands over her lap. “From your expression, I’m guessing you were listening in on something pretty important.” She hesitated. “Is everything okay?”

Kara’s eyes widened. “What? Oh, oh no, it’s not a superhero emergency, I swear. Girl’s night continues uninterrupted, I promise!”

“Okay,” Nia said with a slow smile. “Then what was with the—” She mimicked Kara’s spaced-out expression a little too well, earning a few grins at her expense.

Kara pursed her lips. “Uh—I mean. It was nothing. Just…” She sagged in on herself awkwardly. “Okay, so I may have been listening to this podcast…”

“Oof.” Alex winced. “You don’t wanna do that.”

Kara groaned, falling back against the sofa. “I’ve been trying not to, but it’s kinda hard when half of my building’s listening to it.” She rubbed aggressively at her ears. “Super hearing can really suck, you guys.”

“Wait,” Nia said, perking up. “Are you talking about the Debate Me, Supergirl podcast?” When everyone turned to stare at her, she shrugged. “What? Brainy’s been keeping tabs on all social channels for this stuff ever since your interview first went public, y’know, calculating the odds on them picking up any real traction. In case things go… south.”

“And what are the odds on this guy?” Alex asked seriously.

Nia made a vague gesture. “I mean, until a few days ago, Brainy had him in the unlikely category. But his latest interview with a Supergirl stan got a whole lot of attention on social media. They were basically at each other’s throats the entire time.” She took a mild sip of her drink. “People ate it up.”

Alex rolled her eyes. “Of course they did. And I’m guessing from your tone, not much of the audience were on this super – uh – stan’s side?”

Nia pulled a face, taking an even larger swig.

Kara groaned again, burying her face in her hands. “This is awful. I- I just can’t believe how little faith they have in me now that they know the truth!”

Lena smiled her sympathy. “Take it from someone who was once deluded enough to fall right into that same category of hatefully ignorant.” She toasted her scotch glass to no one in particular, swirling its contents with a gentle twist of her wrist. “It’s not easy for people to accept that their larger-than-life hero was living amongst them.”

Kara’s head shot up in protest. “I never wanted anyone to put me on a pedestal.”

“Want has nothing to do about it. Like it or not, they did.” Lena paused, tucking her legs into the sofa’s arm. She fixed Kara with a level look. “Kara, I say this as your friend, but you have to understand how powerful you are in the eyes of a regular citizen. You fly, you shoot laser beams from your eyes, you’re bullet proof and fire proof. Your power is limitless and even though this city has seen you fall, they’ve also seen you get back up time and time again.”

Kara bit her lip. “That part I can understand, but it’s not just that. This podcaster isn’t only targeting my Supergirl persona. It’s Kara Danvers, Kara Zor-El that they don’t trust.” She snorted, throwing her hands wide. “They think the fact that I’m working as CatCo’s Editor-in-Chief makes the whole platform inherently bias. And – yes – I know I’ve fought my own biases in the past, and it’s not like being impartial was what won me a Pulitzer, but to them— a superhero in the press just doesn’t appeal. They think I’m a fraud, that I’ve been manipulating public opinion.” Kara could feel her face begin to flush in frustration. She ran a hand through her hair, standing just to put her energy somewhere. She slammed a fist against her palm, taking a step around the coffee table with every beat. “But, I mean, don’t they remember how CatCo turned on Supergirl after the Red Kryptonite incident? And rightfully, too. I lost the people’s trust then, and now—now it’s happening all over again and I just… I don’t know how to win them back,” she laughed through her teeth, “or if I can win them back!”

Alex took Kara’s arm swiftly as she passed her by, tugging her to her side. “Hey, no one said this was gonna be easy.”

“I think those were Cat’s exact words, actually,” Nia said helpfully, pointing in Alex’s direction.

Kara huffed, anchored by her sister’s steadying hand. “Yeah? Well, they didn’t say it would be this difficult, either.”

“Don’t listen to a few angry voices,” Nia insisted, her voice sobering. “They aren’t worth your energy, trust me.”

“Are they just a few?” Kara asked grimly. If she tried hard enough, she was sure she could still tune into hundreds of versions of that same podcast playing from across the city. Whether they agreed with him or not, the people of National City and beyond were listening to this nameless podcaster, and that was dangerous enough on its own.

Nia smiled tightly, balling her knuckles against her lap. “Just don’t listen to them, okay?” She closed her eyes. “Look, people like to make a lot of noise when they feel like they’ve been lied to, but the truth is, they were never entitled to that information to begin with. When I did my Dreamer interview with you, a lot of people were so supportive; some of them even saw themselves in me, but there were always hateful voices that tried to drown out the positive ones.” She straightened her back, opening her eyes. “But, y’know, they make that much noise because they know they’re in the minority, and they do not have the power that they think. Putting it into perspective like that… it’s a lot easier to ignore them, especially when I know how many people I’ve helped by sharing my story.”

“You’re right,” Kara said softly. Because she was. Of course she was. A single podcast spouting a single negative view didn’t diminish everything good that had come out of Supergirl’s identity reveal. Yes, the celebrity-level thing took some getting used to and openly flying to work made her something of a spectacle when it came to the office situation, but for the most part, Kara was relieved to have that weight off her shoulders, and it was a joy to know just how many aliens felt more confident to live as themselves now that they knew Supergirl had also shared their struggle.

In truth, the world knowing where she had come from, who she had been ever since she’d landed on Earth, grounded her to the people in a way that had never struck quite the same as just Supergirl. And that was worth any amount of growing pains.

Kara reached out for Nia’s hand over the coffee table, squeezing tight. “Thank you.”

Nia’s smile softened. “Any time.”

Lena cleared her throat, shifting higher against her pillow. “And, as for your job,” she said with a sly smile of her own, “let’s just say I know a thing or two about the public coming for your throat, deeming you unworthy of the position you’ve fairly worked your way up to. It’s just like Nia said, you ignore it, Kara. You ignore it because you have nothing to prove to anyone, you’re already doing one hell of a job as a journalist. Remain honest with yourself, and eventually people will see it. Not everyone of course.” She tilted her head, raising her glass to her lips. “You’ll never have everyone’s approval. If you did, well, I’d say you were on another planet, because that’s certainly not how the human race are wired.”

“I’ll drink to that,” Nia chimed in, leaning up to clink her glass with Lena’s. She caught Kelly’s glass on her way back.

Kelly smiled fondly, though there was a strained edge to her expression when she said, “We’ve all had to work twice as hard to prove ourselves. And as much as it hurts, that extends to Supergirl as well.”

Kara sat back down with a sigh, leaning into the embrace that Alex readily offered her. “Cat once told me the same thing; right after she’d first claimed Supergirl, actually.”

“Exactly,” Alex said with a sage nod. She kissed her sister’s hair. “And, hey, Cat Grant won’t let a podcast beat down her creation. Hell, her empire is built on powerful women, it always has been, always will.” She gestured to everyone in the room. “You are all prime examples of that.”

Kara nudged her sister playfully, pushing out of her arms. “Hey, well, the amount of times the DEO has personally kept that building from crashing to the ground, I’d say you’re an honorary member of Cat’s empire, too.”

Alex’s nose crinkled. “I think I prefer the title of badass DEO leader, but I’ll take it.” She grinned, rolling her eyes. “The point is, you have us, Kara.”

“Yeah.” Nia beamed. “And our opinion is worth a million times more than some crappy podcast.”

“Oh, cheers to that, too!” Alex laughed and they all converged with their glasses, meeting with a raucous clash over the coffee table.

Cheers rang out all ‘round, and Kara let the simple joy of that moment infect her. Their combined laughter easily blotted out any chances of hearing another word from that podcaster’s mouth.

She'd lost the taste for eavesdropping, anyway.

[queenshelby]

Chemical Reactions (P. 8)

Pairing: Cillian Murphy as J Robert Oppenheimer x Student Reader

Warning: Lots of Dialogue, Age-Gap, Infidelity

Words: 1,670

Note: The fic is spoiler free and my own fantasy and imagination. It is not historically and scientifically accurate.

Previous Parts: 1; 2; 3; 4; 5; 6; 7

THIS PART IS DIALOGUE HEAVY AND PART EIGHT WILL BE SIMILAR, BOTH PARTS ARE NECESSARY THOUGH TO EXPAND THE STORY.

Two weeks later...

Two weeks had passed and, still, there had been no word from Robert. He had not contacted you and no one at the science faculty knew where he was. Haakon, too, had not heard from him and you certainly did not want to ask his wife Kitty about his whereabouts, no matter how worried you were when it came to his safety.

Over the past week, however, governmental security at Berkley had been ramped up and, in particular, Robert’s office as well as the two physics labs across the hallway from it, were guarded by army personnel.

No one was allowed to enter and, even though this impacted the research for your thesis, you did not dare to argue with these intimidating men, carrying guns and grimacing looks on their faces.

One man, in particular, stood out to you. He was tall, arrogant, and even more intimidating than the other. He was only there occasionally to check on how matters were progressing and it was this very same man who pulled you aside on a Friday afternoon and asked you to join him in Robert’s office.

“My name is General Lesley Groves” he introduced himself before gesturing for you to sit down on the chair across from Robert’s desk while he took a seat on Robert’s chair.

“Y/N Y/LN, pleasure to meet you” you said, attempting to shake his hand, but he would not allow it and gave you a stern look instead.

“I know who you are” he then said before placing a file with your name written atop of it on the desk, close enough for you to read the sentence “Security File” but far enough away from you for you not to reach it.

“Okay, so why am I here, in this room, with you, General Groves?” you asked nervously but politely, seeing how intimidating this man was for you.

“You are here because Dr J Robert Oppenheimer thinks very highly of you and I need to determine why” he told you sternly and hearing those words from the General came as a relief to you as, at least now, you knew that Robert was thinking of you.

“It’s about his project then, isn’t it?” you asked, wanting get some more information from this intimidating man who, unbeknownst to you at this point, was not going to give anything away.

“The project?” he thus asked, furrowing his eyebrows. “Now tell me, Miss Y/LN, what did Dr Oppenheimer tell you about the project?” he then wanted to know why giving you another intimidating look over.

“Nothing much. He just said that he would like me to join his team and that it would be a good career opportunity” you lied, causing the General to furrow his eyebrows again, this time more evidently than before.

“Well, he actually asked for two of his students to join this highly secretive government operation and, in both instances, security clearance was denied” the General pointed out, causing your heart to sink. You expected this to be the case since, after all, your parents were well known communists and, yet, you had been somewhat hopeful for a miracle.

“Now, with respect to the other student, my staff’s decision to deny him clearance was accepted by Dr Oppenheimer. There was no issue whatsoever. With you, however, Dr Oppenheimer held firm to his belief that your involvement in the project is vital. With your status as an undergrad student however, I cannot, for the life of me, understand why your involvement is so important to a man of Dr Oppenheimer’s intelligence. So, perhaps, you can shed some light into his reasons me?” the General then asked you in the most intimidating manner and you really did not know what to say and how to answer him.

“Did you ask him about his reasons?” you thus asked without receiving any sort of reaction from General Groves. “Because, if not, I suggest that you do that rather than interrogate me. Now would you excuse me” you then told him while standing up. You were ready to leave and, since the General did nothing but stare at you for the past two minutes, you were frustrated by the situation. You knew that there was nothing you could do about the army’s decision to deny your security clearance and, thus, simply wanted to put this matter to rest.

The General, however, would not allow you to go just yet and ordered you to sit down, which was a request with which you reluctantly complied.

“I asked Dr Oppenheimer about his reasons and he seems to think that your approach to quantum physics is innovative and new. You are an A grade student and your work at Harvard was exceptional and so is your work at Berkley, which is why I am considering his request to review your security clearance rejection which, was actioned by one of my senior staff members last week” Lesley Groves explained and you thought that, perhaps, there was still a chance for you to get on to the project.

“What do you want to know?” you thus asked while leaning forward and pressing your hands together nervously, fidgeting and sweating all at the same time.

“I want to know about your communist associations” General Groves then requested and you chuckled.

“I am not a communist and I have cut ties with everyone who is a party member so, really, there are is no association” you told him with quite some confidence in your voice and, the truth was, that you had nothing to hide.

“Your father was recently arrested for suspected treason. What do you have to say about that?” the General then went on to ask while taking some notes and, again, you managed to answer him confidently.

“Suspected, yes, but I doubt that he actually committed an offence. He is not that stupid. In any event, I have not spoken to him in over a year so I my thoughts on this matter are neutral” you explained as you had no intel on your father’s party involvement these days.

“Are you a communist party member?” Lesley Groves then asked which, again, earned him a chuckle.

“You already know that I am not and never was, myself, a party member. I am sure that information is in your file” you informed him and, for a moment, he chuckled himself. He knew that you were right. This information was, indeed, in his file and, yet, he asked you about it nonetheless.

“What is your relationship to J Robert Oppenheimer?” was the next question he asked and this question caused you to lie.

“He is my professor and thesis supervisor” you told him which, of course, was the truth.

“Is that all he is to you?” the General then wanted to know and you nodded.

“Yes” you lied, which is when the General retrieved two letters from your security file.

“Would you like to reconsider your answer?” he then asked as he handed you the letters which, clearly, he had already opened and read.

“What is this?” you asked before puling them apart and commencing to read them slowly while General Groves remained silent, giving you some time to digest the content of them which, to your surprise, was largely romantic in nature.

Both letters were from Robert and included poems as well as accounts of your sexual encounter. The letters were explicit in nature but also highly passionate which was something that surprised you. He clearly missed you and he most certainly had already developed strong feelings for you, using phrases like “my love” and talking of your future together which, in your mind, did not even exist.

“Oh my god, did you read these?” you eventually asked with blushing cheeks, seeing how personal these letters were.

“Yes, I did” the General answered you bluntly and you broke out in anger.

“These letters are personal. You had no right” you began to say angrily which is when General Groves interrupted you.

“This is a national emergency Miss Y/LN. We are at war with Germany and I am here to ensure that a project like the one being implemented right now isn’t subject to treason. The last thing this country needs is information being leaked to the enemy” he told you with a voice stern and authoritive.

“You mean the allies” you chuckled, causing the General to give you a look of confusion.

“What?” he asked and you ought to clarify.

“Your concern is that someone like myself would leak information to the soviet-union. This is why you are doing all this, is it not?” you asked while rolling your eye in disbelieve.

“Perhaps. So, let me ask you again, what is your relationship with J Robert Oppenheimer?” the General then repeated and you answered him again, this time more truthfully than before.

“I am his student. He is my professor and thesis supervisor. We had sexual relations once” you admitted while crossing your arms. “Now are you satisfied?” you asked and, indeed, he was.

“Yes, I am. I am satisfied that my colleague has made the right decision to deny your security clearance” General Groves announced and your heart dropped. “You can keep the letters, noting that I have asked Dr Oppenheimer to refrain from contacting you again. No doubt you will be attending his lecture at Berkley next week, which will be his last, following his resignation as professor at this facility. But other than that, I expect there to be no further contact moving forward. Do you understand?” Lesley Groves then asked and, whilst you tried hard to hold back your tears, you could not and stood abruptly before barging towards the door, thereby ignoring his question.

“Miss Y/LN, I would suggest that you choose your intimate partners more wisely moving forward. The rejection of your security clearance will be noted on record, thus impacting future employment opportunities” the General then said as you had already turned your back to him and this, itself, hurt even more, knowing that you would now struggle finding employment in the field you were so passionate about.

To be continued…

Please comment and engage. I love getting comments and predictions pretty please!

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[fanonical]

As someone who has only played portal

Instead of lore from half life expanding on portal what portal lore expands half life's story?

ooh great question!

so first of all, Portal 1 establishes that Aperture Science is the industry rival to Black Mesa, the weapons/research company that the protagonist of Half-Life works for. we know this because some time after Chell breaks free from the test rooms, she comes across an office room with a projector that has a bunch of slides about how poorly they're performing against Black Mesa

so, Black Mesa isn't the only super-mega scifi technology company operating in the US right now -- and actually, one of the things Black Mesa was researching was teleportation and portal technology! their study into this, in fact, part of what caused the "Black Mesa Incident" which let a bunch of nasty extradimensional fauna & eventually an invading alien empire into our world through portals.

interestingly, it seems Aperture Science mastered safe portal technology far before the Black Mesa Incident (which happened in the late 90s/early 2000s), because the old Aperture section in Portal 2 (after "The Fall") shows their tests using portals all the way back to the 50s. so whilst Aperture was terribly managed & performed horribly against their lead competitor, some of the tech was actually really impressive and especially far ahead of their time.

secondly, Half-Life 2 Episode Two alludes to an Aperture Science project -- a mysterious research ship called The Borealis, supposedly carrying some kind of technology and/or super-weapon that could totally turn the tide in the revolution against the Combine occupation of Earth. The ship went missing suddenly years ago, maybe because this technology went wrong, and nobody knew what happened to it other than it fully disappeared taking part of the dry dock with it. It is seemingly found in Episode Two by the resistance -- in the middle of the fucking arctic.

so we know a couple things from this: one, the Combine even with their vastly superior power & technology are afraid of whatever is on this ship getting into the hands of the resistance, and two, that they ALSO want the technology for themselves, and it could turn the war in THEIR favour too -- from this we can deduce it's some kind of long range portal/teleportation technology, possibly between dimensions, which would enable a full force scale attack from the Combine (who, so far, have invaded opportunistically through the Black Mesa Incident's portal storm).

i know all of this is from Half-Life and you asked the reverse, bear with me, it links back around here: you can VISIT this dry dock that supposedly held the Borealis, in Portal 2! like it's a hidden room in one of the old Aperture levels, look!

the ship is gone, but a lifering reading BOREALIS remains to let us know what was going on here.

another thing is that in the boss battle in Portal 1, if you listen carefully to all of GLaDOS' bonus dialogue, she actually makes a couple of references to what's going on in the world outside Aperture:

transcript:

Are you trying to escape? [manic electronic giggle] Things have changed since the last time you left the building. What's going on out there will make you wish you were back in here. I have an infinite capacity for knowledge, and even I'm not sure what's going on outside. All I know is I'm the only thing standing between us and them. Well, I was. Unless you have a plan for building some supercomputer parts in a big hurry, this place isn't going to be safe much longer.

transcript end.

this is interesting, because whilst she could be lying, we do know there's a lot of truth to some of the things she's describing. there HAS been a lot of change, there IS a terribly terrifying force out there, and they ARE interested in Aperture Science, so, she's actually probably telling the truth here. we never see any headcrab zombies or fascist militia in Portal or Portal 2, so it seems like GLaDOS is doing a damn good job keeping them out. that being said, it seems that by Half-Life 2 (which is probably set between Portal 1 and 2) there might not be many people in America left, seemingly they were all moved from there to repurposed eastern european cities after some kind of cataclysm in the seven hour war. so maybe the Combine don't have much of a presence in america by Portal 2, because they no longer have any people (that they know of) to control in north america. but Half-Life Alyx implies there might not even be an America left so??? who knows.

the other things we learn are mostly that, for a while, Aperture Science was performing second best after Black Mesa but that dropped off closer and closer to the 80s & 90s as Cave Johnson lost control of his goddamn shitty company. he also has an incredibly low opinion of them, probably because they are much better respected than him.

interestingly, in the Portal 2 DLC (the community-made levels one, not the art therapy one) we get to see a bunch of alternate universe versions of Aperture Science (the premise is Aperture is stealing test chambers from alternate versions of themselves, and thus you hear narration from alternate Cave Johnsons who didn't die and kept running Aperture for many years. it's very fun). one of these alternate Caves mentions buying out Black Mesa, merging it with Aperture Science, and immediately ending their testing into exotic materials because he thinks it's just begging to cause a resonance cascade. and he's right! that's exactly what does happen in Half-Life 1, so interestingly, he actually is the sole person to prevent the Combine invasion in that universe.

that's basically all i got! that's all the ways Portal and Portal 2 makes commentary & reference to Half-Life i think???

[riddlerosehearts]

Okay now EYE must ask you - how are you liking BG3??? How far are you?? Tell me about your Tav!!!! (Please and thank you <3)

hi!! 💖 i only started the game a few days ago and it was an impulse decision i made after having previously told a friend of mine that i definitely wanted to play it but that it'd probably take me a while to get around to it (and, because i thought i wouldn't play anytime soon i hadn't really been trying to avoid spoilers). but, i have the PC version and while it generally runs just fine, my computer is kind of slow and the game is so big that it took hours to download and install. so i kind of went ahead and started to come up with a whole character idea during that time LOL. sorry if my explanations of things get a bit too rambly/disorganized. i'm actually not very far in the game at all yet, i've been spending a ton of time doing stuff in the druids grove and i'm supposed to go find halsin but i haven't even gotten karlach in my party yet! i've recruited all the main companions except for her but i am excited to meet her. gonna put the rest of this under a cut for length.

my only background with DND is that i listened to the first campaign of the adventure zone and i've watched the legends of vox machina show. i also have a friend who's super into her own DND campaign and another friend who's told me a lot about dimension 20, specifically fantasy high--and i've considered trying it out for her but haven't gotten around to it yet! i think she actually told me the same thing about the episode lengths making it easier to get into than critical role, because i had tried critical role and it was just so long that i couldn't stick with it. but, yeah, i've also looked at the forgotten realms wiki a bit but i've never actually played DND. i have played skyrim and final fantasy 14 and some other similar RPGs with customizable blank-slate protagonists, and in those types of games i always have to make OCs to roleplay as--usually i'll think up a basic idea to start with and then flesh the character out as i get into the game. they're never really self-inserts but i do often project onto them a little.

so, in games like these my first character is usually an elf that specializes in elemental/destructive magic. idk why, that's just what i've always liked. in ff14 i started out as a black mage without knowing it was the hardest class to play LMAO. soooo i went into this planning to create a high elf sorcerer, but as i started writing out ideas and thinking about what to do, i ended up creating a half-high elf bard. they're transmasc/nonbinary and in my head they use he/they pronouns, but i picked the nb option in the character creator and that causes npcs to actually use they/them in dialogue which i think is so cool. i love that the character creator is so inclusive in regards to gender.

anyway, i named them elenion, which is something i took from the lord of the rings universe because i'm a huge nerd. in LOTR it's an elvish word that basically means "of the stars". here's a couple screenshots i took when i first started. let's just ignore the fact that this hairstyle clips into elf ears (and also that the face preset is from a mod i downloaded).

i didn't really give him a tragic backstory or even the most interesting story haha--i'm wanting to do something bigger and angstier with another character on a second playthrough when i'm more familiar with the lore and world of the game. and i'll probably also end up changing or expanding on some things about this character later, but for now i just kind of made a normal guy with normal problems. i had this idea that his father, a human who attracted the attention of a beautiful elf woman, was also a bard and was a very successful musician in his youth. so elenion has always shared his father's passion and dreamed of being like him, being able to effortlessly tell incredible tales and inspire crowds of people through song, but no matter how much he studies and practices he never feels good enough. if he seems confident it's usually just because he's gotten really good at faking it. he's also pretty reserved and often avoids having to talk about himself by asking a lot of questions. see, i kind of wanted to specifically find a way to not roleplay the usual sort of loud, flirty, goofy bard, lol. not that i dislike those kinds of characters or anything though!

however, bards are meant to be super charismatic, witty, and persuasive and of course the game strongly encourages that with the dialogue options and skill bonuses you get. so my way of explaining this is to have elenion be a bit like raine from the owl house, in that they may be shy, but they're very firm in their ideals and are no pushover when it comes to protecting themself or their allies. they're clever and have a snarky side to them, and they're genuinely friendly and caring in a way that gives them a sense of quiet charisma. which reminds me that one of the spells i gave them at the start was sleep, and it's made me imagine that when they were a kid they tried calming a crying baby by playing a lullaby on their lute and accidentally ended up casting their first spell.

oh, and, i also wasn't really sure at first where in the world i wanted elenion to come from but i decided on something pretty quickly after getting multiple of those dialogue options suggesting that the protagonist is baldurian! i pictured them growing up in a somewhat small town with their family but moving to baldur's gate as an adult, hoping that if they left the comfort of their home and started to journey out into the world a little they'd eventually find their spark and become the bard they wanted to be. unfortunately they've had little luck so far because even after all this time they can't see that maybe their whole fixation on trying to be just like their father and achieve the exact same kind of success that he had is holding them back. the fact that their father died the year after they moved away hasn't helped either. and now, in the middle of traveling to a historical site that they'd wanted to see in person and use as inspiration for a song, they've been abducted by mindflayers and are struggling with the massive upheaval that this has brought into their relatively mundane life.

so. yeah. my tav for this first playthrough may not be the most unique or exciting character but i like him! i like figuring out what kind of choices he'll make and thinking up new ideas for what he likes and how he sees the world. also, i find it funny how in your reply to my ask you said you thought you'd be into gale but then you fell for astarion--because i thought that i'd be all over the edgy, brooding, snarky vampire man, but it turns out gale is so charming and funny that i'm probably going to romance him first. i'm also pretty intrigued by shadowheart and wyll but i'm so early in the game that i can't even say who i think my overall favorite companion will be because they all seem so interesting!! even karlach despite the fact that i haven't actually met her yet, i've seen a bunch of cool gifsets of her and my brother told me he's been romancing her on his playthrough. i really need to go find her soon.

i'm sure you can tell from everything i wrote here that i am definitely enjoying the game LOL. i can already tell that there's just so many different things to do and see, that i will both need and want to do a lot of different playthroughs and that it's going to be something that sticks with me. nothing wrong with using guides and walkthroughs btw! i do it too because i'm worried about missing too many things and have the world's worst sense of direction even with a minimap. honestly i probably need to look up some guides for certain mechanics that i don't feel like i've really figured out yet. there's a sarcophagus trap in the ruins early in the game that got me SO stuck and got my whole party wiped and then i looked up a video and found out you could turn off the whole trap system by pushing a switch... i felt so stupid askjdfgf.

anyway, i think this got to be way too long of a reply so i will stop here! but if you ever wanna tell me more about your tav or anything definitely feel free to and i hope you're having an awesome day!

[melodyofthevoid]

Writing Wrap Up 2023

Another weird year, to be sure. Between finishing up school, job hunting, moving out, and all sorts of family things, it's been... a really slow year. It's a feeling I keep coming back to, this feeling like I'm not doing enough. Like there's some invisible deadline that I'm failing to meet. And that failure is what's keeping me from getting any enjoyment out of the works I do finish.

But that's not really... helpful, is it? Loathe as I am to admit it, focusing on what I did accomplish makes me feel better and it is worth celebrating, I think. Darn therapy actually giving me helpful tips and advice.

Now, most of what I wrote this year I shared exclusively with friends. Tbh this is both because it's all been pretty self indulgent OC stuff ngl, but also it's niche content for my DnD characters. But both Lorna and Alexi got some really excellent pieces, and Euripheus' origin/demise piece was another one I enjoyed doing.

Except for the part where I had to write an awkward family discussion/fight. Nearly did me in.

On a different note, Alexi's AU piece clocks in at nearly 10k words, which is the longest one-shot I've ever done. Bonkers. I really just wanted to torment him, huh?

Aside from that, I've been diligently chipping away at my worldbuilding documents, each of which is wildly different in construction/layout. Mostly due to their different reasons for being, and purposes. The OI one is the least developed as of now, but I hope in the next week to really dive into (hah) the nations and make those tangible cultures. My Fading Reflections one only really needs a timeline and some loose details added here and there.

The Sun/Moon game concept expanded to having a separate NPC doc, and I'm testing out how the dialogue could theoretically sound. In Stars and Time really inspired me, and I think it'll be a fun little side project as I side eye other things.

Then my big one, the Crane Wives Analysis. It's the first time I've ever done something like that and it really gave me a deeper appreciation for a band I already adore. 20k words over the course of the year, with half of those coming in November alone when I did NaNoWriMo for the first time! Not the traditional way that event works, but I completed all my goals, so hooray!

I also did nearly half of the Whumptober prompts I picked out, and am still doing those when I feel stuck.

I don't know where this next year will take me in terms of writing. I'm starting my new job, which while extremely exciting, does raise the question of Time. I'm on my own, going to have to do all the Adult Things™, and free time is definitely going to be at a premium. It does worry me, but I'll adjust (I hope).

So yeah! I'll attach links to some of my works below the cut, and wish you all a happy new year! Thanks for sticking around!

The Well Analysis

TCW: Singles

True Reflections (Magnus Archives Fanstatement)

TCW: Foxlore

TCW: Coyote Stories

TCW: The Fool in Her Wedding Gown

TCW: Safe Ship, Harbored

"Captive"

Bodies Are Business

Reassignment

[the-narwhals-awaken]

yet another writing ask game

This is in response to @caffelattedellequattro 's writing ask, and once more i'm not bothering to wait for socialization and answering them myself!

I've done this before, actually, twice- kept the original work but redid them to better suit my skill style. One was one of my first works on the Archive, so I kept it for the feeling, and the other was a gift for a friend, so that had to stay as well. If the muse comes back, I might go back and edit/expand on my series of guides, but that entirely depends on me being in the right mood and having the time.

What I 'can't write but want to' entirely depends on my muse and motivation. I can cling to a project all I want, but I'll only get so much that flows before having to lose it because I lost motivation- usually, but not always, coinciding with a switch in what fandom I'm interested in reading right then.

I write very narratively- it's a weird thing, but I write like I'm telling the tale out loud, and there's a lot of introspection, then dialogue, and I'm prone to skipping over anything I don't want to tell and just mentioning that it happened. This happens a lot with action scenes.

My OC is technically a self-insert and I'd never actually write anything with her, but at the same time it's nice to get a handle on characters by running mini-scenes in my head where her interaction helps flesh them out.

9. Cliffhangers can be nice if used properly, and I'll admit I've used them regularly, but at the same time if you're not adding more in a timely fashion they can be annoying.

13. My worldbuilding skills I'd call a 7- it's nowhere near Tolkien, but I like to understand the world and how people interact within it before I start. Some stuff is contrived but honestly, even if it's contrived, I don't care, I did it for a reason and it makes everything else flow better.

16. One-shots are absolutely underrated! They can be wonderful- whether to break up tension or just to explore something that doesn't necessarily need to be a whole big thing. I'm not amazing about posting, but enough of my works are one-shots that I'm definitely for them.

17/18. Third person past. I can't do first, I'm never in my stories, and second person is really only good if you're doing a lot of character stuff- and it's a little weird because I already pick up enough stuff from what I read that the bleedthrough gets worse. And past tense just fits best with my whole 'storytelling' shtick.

20. Generally I'm only writing one thing at once, but I'll leave one thing undone to go work on something else for a while. I have enough WIPs to always be able to procrastinate on one by writing another, and there's no update schedule to 'make' me write.

23. Description. With dialogue, I either have such a clear picture of what's going on that it feels clunky, or I have no idea what they're doing and it feels too back-and-forthy. Plus I do too many three-or-more-person conversations for somebody who doesn't tag her dialogue that well.

24. Not in the main body of work. At the beginning or end of a chapter or work, perhaps, but unless it's incredibly plot-relevant it feels confusing. Flashbacks can be done well, but it's difficult. Flash-forwards are really only good for timeskips and to wrap up things.

25. I prefer to at least have a significant chunk written before I post or all of it done, as sometimes I edit big chunks, and if I stop because I ran out of inspiration, I'd rather not leave my readers hanging.

35. Writing challenges can be fun, but with my motivation, they're not for me. I recently started writing with the pageless function becuase the page lines were bugging me and it's actually nice- I can still get an idea of how long I've been writing, I somehow ended up with over 50 pages of fic on what I thought was a pretty short thing, but I'm not noticing the page breaks.

37. I research as I write or a little beforehand- sometimes just a quick Google to find a word I forgot, sometimes looking to see a community's experience, sometimes just poking around for a detail I'll use later.

38. 'This never happened' in terms of character actions or 'this happened but' in terms of scenarios. I'll adjust actions or motivations by changing backstory, but I like to keep canon event chains mostly happening unless it's stupid with what happened. My reasoning is I'm only changing some people, and they chose what they did in canon for a reason. People react differently, though, especially when warned or when they have time to grow, and that's fascinating to explore.

[fixyourwritinghabits]

hey, i have an issue when it comes to physically writing things down. i've basically memorised all my worldbuilding, and if people call on me to explain a part that i already know, i can explain it. but the problem here comes with writing these thoughts down. every time i go to type up dossiers of my cultures, i draw up blanks, despite not lacking anything to write about. all my ideas take the form of feelings and vibes that i dont know how to capture. anything i can do to fix this? thank you

The blank page writing dilemma is extremely common and regularly trips up many authors, no matter how many ideas they have. I'm not able to write directly on a Word doc. I'm not able to put my ideas in an Excel sheet, even though I can do that for work, and I'm not able to use Scrivener, as helpful as it is. I can use the computer for everything but novel writing.

And yet, despite in my mid-30s with probable ADHD, I've been able to write a number of novels and short stories. I've got a literary agent, and maybe someday will actually sell a book, who knows? But the point is if I can do this, so can you. In order to get anything done, I turn it into an art project.

Now, I'm not an artist. I can't draw, and I don't have much patience for learning beyond the basics of other art forms. But I can take a bunch of differently colored sticky notes, assign each color meaning, and slap them to a huge project board laid out with an outlined plot structure (I personally use Save The Cat as a starting baseline). I can use some macaroni to make a fantasy map. I can create character flash cards and add vital information to each.

Gather Your Tools - It takes some trial and error to find the method that works for you. You can try flash cards, you can try sticky notes, you can try colored pencils or fancy pens (I have to use Uni Power Tank pens, nothing else works). If laying out your scenes on flash cards doesn't work because you don't like things out of order, put them on sticky notes. Give yourself enough room to expand out - on a table, on the floor, on your bed. As long as you're creating something, you are making progress.

Start Small - You have a big whole world in your head, of course it's going to be hard to write down. Pick one thing - a character, a setting - and focus on that. Make a character sheet, create a playlist, spend way too much time on Canva creating a moodboard. Whatever gets the idea out of your head and onto something concrete that you can see helps.

Your notes can be as detailed as you want - Know how a scene goes to the very last detail? You don't have to write it down in full. Alternatively, however, I find my scene notes tend to be what amounts to my first draft - I get an outline in there, some dialogue, notes on setting and mood. But it's entirely up to you and what suits your needs!

Look, just make those playlists and moodboards - It feels like it's wasting time, it's not. You're getting those ideas flowing any way you can. Use every tool that helps.

This is all good and well, but how to get from preparing to write? Well, this is where it gets challenging. A detailed book, like Book In A Month, can help, writing advice is not one size fits all, and writing books are not rigid structures to stick to, but guides.

Make a reward system - I use stickers . Seriously. In addition to my notes, I have another sheet pinned above my desk with each chapter listed, the goals for each (draft, edited, etc), and a spot for a shiny sticker (also, I used to be a teacher, and you never get over the joy of using stickers). But any system will do, as long as you keep it to something that's easy to maintain and won't break your bank.

Chuck your goals - Can't get a chapter done? Focus on a scene. Can't get the scene to work? Focus on a chapter. Write your dialogue in script form, sketch out fight scenes with notes on details to add later. Everything is fixable, as long as you have something to fix.

Can't write on a computer? Try something else - Okay, look, I can't draft anything if I don't do it by hand. Is this the greatest idea? Maybe not, but it allows my brain to slow down and get the words to where I want them to be. I don't draft fast, but I do draft well because I'm handwriting, and my first attempt often resembles the final version.

Form habits and rituals - I have to write with a certain type of pen (hello, Uni Power Tank I have to buy online because they only make them in Japan). I have to write on a certain type of paper, with specific margins, because any size deviance between pages will drive me nuts. Is this stupid and arbitrary? Yes. Does it work for me? Also yes, which is why I do it. Find that kooky writing habit that works for you, and keep to it. If it works, it works.

There's nothing wrong with you. Your lizard brain knows writing is hard and it doesn't want to do hard things if it doesn't have to, so you have to find ways to trick your brain into wanting to do the hard thing (by hiding the fact that it's hard). It won't be easy, and you'll still have a lot of moments of frustration, but creating the right writing habits that work is the first step to getting those worlds out of your head and onto the page. Good luck!

[azureflight]

So, I have just binged the first season of The Remarried Empress

And I have some thoughts:

First of all, I am really curious as to how Navier will react when she learns that her new husband has been preparing for a war of conquest against the country empire of her ex-husband, which also happens to be her home country. That war, is gonna be doozy.

Beyond that, however, their reputation is at an all time low and their have their work cut out for them in the Western Kingdom.

There was some merit to the argument that marrying an experienced, well respected lady who knows state craft would help with Heinrey’s image to become more serious, however, the circumstances of their affair did the exact opposite.

For now, it looks like their playboy king went and involved himself with an international scandal, having an illicit affair with the empress of the neighboring kingdom and getting himself in trouble.

Far from looking mature, he looks like a fool who almost got himself killed and a war started over his dick.

Navier, on the hand, looks like a cold and calculating seductress. It looks like as soon as her husband brought a mistress she immediately began to work on an out, seduced the obviously foolish prince and then jumped ship. It makes her look greedy, power hungry and potentially vindictive.

Not to mention, I won’t be surprised if people start to assume the real reason for the divorce was partially the affair between Navier and Heinrey and that Sovieshu didn’t like being cheated on.

Being a foreigner with an image of too reserved and “shrewd” was enough for the people of Western Kingdom to demonize Naiver, but with all the surrounding scandals, it is almost a given. This is some Helen of Troy level shit show, The Diplomatic Edition. 

And I don’t think her simply being a good queen will be enough. Yes, Navier is pretty great in the affairs of the state, understands how actual ruling works and is a highly qualified bureaucrat. Unfortunately, none of that matter to common folk, they don’t see it. They can tell when their own life gets better/worse, but it takes time for those effects to cascade, and the credit can easily be stolen, blame easily shfited, her normal queenly work, along with charities won’t be enough.

Not to mention, any future tensions with Eastern Empire will be blamed on her. People will either think she is the one doing it as revenge, or it is happening because of her. Either way, future war can easily be blamed on her, which would rapidly erode whatever goodwill or sway the crown has over their subjects.

They need to find a way to quickly ingratiate both of them with the public.

Looking at the way the relations were perceived in the Eastern Empire before the whole divorce shit show, it doesn’t look like actual politics of war has been initiated by the Western Kingdom. Heinrey and his crew were getting prepared, yes. But it doesn’t look like they had started to sell the idea of a war to the public. Before any action can be taken, the population and the army, nobility, merchant class and various other key holders need to be convinced that the war is righteous, just and necessary.

On that regard, I think Heinrey’s plant o declare himself emperor and rename his realm an empire can work, if done right.

People like bold young kings who try to grow the power of the realm. His declaration is sure to take over the news and scandals of his marriage, as that would be a major diplomatic shift involving all other realms. 

Symbolic as it may seem, titles and names actually hold a lot of weight. A peer suddenly starting to call themselves with a higher and more prestigious title, is sure to not only irk potential rivals, but also make them feel agitated and threatened. After all, why would you start calling yourself emperor, if you aren’t gonna try to exert dominion over fellow kings, or try to directly challenge the other emperor?

This move has the potential to be seen arrogant and foolish, but done right, it could be a moment of national pride for Western Kingdom’s folk. I might be reading too much into this, however, from Heinrey’s inner dialogue as well as his brief conversations with comrades, it looks like the people (or at least some people) in the Western Kingdom feel like they are being looked down upon by the East, and have immense pride in their own military might.

So this declaration could be their moment of standing up for themselves and their own worth, refusing to be content with a lesser position. If done right, if sold right, this could immensely chance the current dynamic. Then Navier being a well known and skillful empress would actually come into play.

People may not care about it by default, but once conversation shifts to whether Western Kingdom deserves to be an empire or not, having a “real” empress, a highly regarded lady with exceptional breeding, would actually work to legitimize them. While Eastern Empire will have a lowborn, tactless, potentially fugitive slave, as their empress.

This could help rebrand any tensions between Western Kingdom and Eastern Empire. Instead of being about or caused by Navier, it would be about the west calling themselves an empire and the east trying to stop them. That could galvanize the public, the army, and would work well with the pride and ambitions of the nobility.

Another thing that could work, is a trade deal with Luipt to expand reach to another continent. It certainly fits the image of wanting to elevate the status and power of the Western Kingdom. In this case, Navier and Kaufman already being familiar, having a relatively close relationship and having already done the bureaucratic aspect of it once, helps. They could quickly arrange the deal and it would be a move that helps them not only domestically, but internationally.

The empress of the east gets divorced and the diplomat of the Luipt immediately goes to her new kingdom and gets a deal there? That makes it look like the actual power and potential of the east was the empress. It sends the signal that Western Kingdom’s imperial ambitions have merit and international support. That would shift the other kingdoms from hostile to adaptable, willing to change to whom they give more regard.

Another kingdom so readily and swiftly accepting their deal would also makes westerners feel validated. And again, an ambitious trade project to another continent would quickly make the whole imperial deal legitimate act of national growth, instead of it seeming like a foolish playboy’s attempt to appease his manipulative lover.

There shouldn’t bee too much of a time gap between those two however, and it shouldn’t take too long to declare the whole empire thing either. Otherwise their impact on correcting the images of Navier and Heinrey as well as justifying their new titles would be lessened to the point of being irrelevant.

Beyond those, I wonder how the dynamic between east and west will playout. Sovieshu is a fool who is way in over his head. Can Heinrey use it?

We have seen both courtiers and loyal aides, as well as other nobles make loud and quite indignant objections to the whole divorce. They won’t all just change their loyalty, obviously. However, this could be a sticking point for many years to come, a wedge that can be exploited.

If Sovieshu antagonizes Navier’s family, that could greatly alarm and upset the other high ranking nobles. Surely, there will be those who will enjoy it as they would be rivals with Trovis, however, no noble, especially no duke, will like how quickly the emperor discarded and sabotaged such an elevated family. It goes against all of their senses of safety and specialty.

In these type of societies, most of the loyalty is owned to individuals, not to “people” or to the land. There are exceptions, obviously, however, it is entirely within the realm of possibility that with Navier’s marriage to Heinrey, several nobles who may be displeased with Sovieshu could start looking to the Western Kingdom as a better patron. If the west can start stripping nobles from the eastern empire, that whole war would not only be an easier sell, but way easier to win. Remember, all those nobles have their own armies.

Overall, I am quite excited for the second season, let’s see how it all goes. Maybe all of my guesses and prediction are wrong, maybe the story will go in an entirely irrelevant direction. I’m just here for the right and speculating is fun while waiting :D

[wits-writing]

What’s so Funny About Vengeance, the Night, and Batman? – Two Superhero Parodies in Conversation

Back in 2016, the first trailers for Director Chris McKay’s The Lego Batman Movie hit. A spinoff of the take on the iconic hero, voiced by Will Arnett, from 2014’s The Lego Movie. Those trailers spelled out a plot covering how Batman’s life of crimefighting is turned upside down when Robin unexpectedly enters the picture. It was a funny trailer, promising another insightful comedy from the crew behind The Lego Movie. A promise it handily delivered on when it came out in February 2017 with an animated feature steeped wall-to-wall jokes for the sake of mocking Bruce Wayne’s angst filled crusade that can only come from understanding what’s made the character withstand the test of time.

But there was a thought I and others had from seeing that trailer up to watching the actual movie:

“This seems… familiar.”

Holy Musical B@man! is a 2012 fan-made stage production parody of DC Comics’ biggest cash cow. It was produced as the fifth musical from YouTube-based cult phenomenon Starkid Productions, from a book by Matt and Nick Lang, music by Nick Gage and Scott Lamp with lyrics by Gage. The story of the musical details how Robin’s unexpected entrance ends up turning Batman’s (Joe Walker) life of crimefighting upside down. Among Starkids’ fandom derived projects in their early existence, as they’ve mainly moved on to well-received original material in recent years, Holy Musical B@man! is my personal favorite. I go back to it frequently, appreciating it as a fan of both superheroes and musicals. (Especially since good material that touches on both of those isn’t exactly easy to come by. Right, Spider-Man?)

While I glibly summarized the similarities between them by oversimplifying their plots, there’s a lot in the details, both major and minor, that separates how they explore themes like solitude, friendship, love, and what superhero stories mean. It’s something I’ve wanted to dig into for a while and I found a lot in both of them I hadn’t considered before by putting them in conversation. I definitely recommend watching both of them, because of how in-depth this piece goes including discussing their endings. However, nothing I can say will replace the experience of watching them and if I had included everything I could’ve commented on in both of them, this already massive piece would easily be twice as long minimum.

Up front, I want to say this isn’t about comparing The Lego Batman Movie and Holy Musical B@man in terms of quality. Not only are they shaped for vastly different mediums with different needs/expectations, animation versus stagecraft, but they also had different resources at their disposal. Even if both are in some ways riffing on the aesthetic of the 1990s Batman movies and the Adam West TV show, Lego Batman does it with the ability to make gorgeously animated frames packed to the brim with detail while Holy Musical often leans into its low-fi aesthetic of characters miming props and sets to add extra humor. They’re also for different audiences, Lego Batman clearly for all-ages while Holy Musical has the characters cursing for emphasis on a regular basis. On top of those factors, after picking through each of these for everything worth commenting on that I could find, I can’t say which I wholly prefer thanks in part to these fundamental differences.

This piece is more about digging through the details to explore the commonalities, differences, and what makes them effective mocking love letters to one of the biggest superheroes in existence.

(Also, since I’m going to be using the word “Batman” a lot, I’ll be calling Lego Batman just “Batman” and referring to the version from Holy Musical as “B@man”, with the exception of quoted dialogue.)

[Full Piece Under the Cut]

Setting the Tone

The beginning is, in fact, a very good place to start when discussing how these parodies frame their versions of the caped crusader. Each one uses a song about lavishing their respective Batmen with praise about how they are the best superheroes ever and play over sequences of the title hero kicking wholesale ass. A key distinction comes in who’s singing each song. Holy Musical B@man’s self-titled opening number is sung from the perspective of an omniscient narrator recounting B@man’s origin and later a chorus made up of the Gotham citizenry. Meanwhile, “Who’s the (Bat) Man” from Lego Batman is a brag-tacular song written by Batman about himself, even playing diegetically for all his villains to hear as he beats them up.

Holy Musical opens on a quick recap of Batman’s origin:

“One shot, Two shots in the night and they’re gone And he’s all left alone He’s just one boy Two dead at his feet and their blood stains the street And there’s nothing, no there’s nothing he can do!”

We then get a Bat-dance break as the music goes from slow and moody to energetic to reflect Batman turning that tragedy into the driving force behind his one-man war on crime. Assured by the narrator that he’s “the baddest man that there’s ever been!” and “Now there’s nothing, no there’s nothing he can’t do!” flipping the last lyric of the first verse. For the rest of the opening scene the lyrics matter less than what’s happening to establish both this fan-parody’s version of Batman and how the people of Gotham (“he’ll never refuse ‘em”) view him.

Lego Batman skips the origin recap, and in general talks around the death of the Waynes to keep the light tone going since it’s still a kids movie about a popular toy even if there are deeper themes at play. Instead, it continues a trend The Lego Movie began for this version of the character writing music about how he’s an edgy, dark, awesome, cool guy. While that movie kept it to Batman angry-whiteboy-rapping about “Darkness! NO PARENTS!”, this one expands to more elaborate boasts in the song “Who’s the (Bat) Man” by Patrick Stump:

“In the darkest night I make the bad guys fall There’s a million heroes But I’m the best of them all!”

Batman singing this song about himself, as opposed to having it sung by others aims the crosshairs of parody squarely on the hero’s ego. His abilities make fighting his villains effortless, like this opening battle is more an opportunity to perform the song than a life-or-death struggle. Even Joker’s aware of that as he shouts, “Stop him before he starts singing!” This Batman doesn’t see himself as missing out on anything in life, even if he still feels that deep down. Being Batman is the coolest thing in the world that anyone would envy. He’s Batman, therefore everyone should envy him.

The songs aren’t only part of the equation for how these two works’ opening scenes establish their leading hero. While both songs are about Batman being cool, they’re separated by the accompanying scenes. Lego Batman keep the opening within the Joker’s perspective until Batman shows up and the action kicks in. Once it does, we’re shown a Batman at the top of his solo-hero game. Meanwhile, Holy Musical’s opening is about B@man building his reputation and by the end of the song he has all the citizens of Gotham singing his praises with the titular lyrics. Both are about being in awe of the title hero, one framed by Joker’s frustration at Batman’s ease in foiling his schemes yet again and the other about the people of Gotham growing to love their city’s hero (probably against their better judgement.)

That’s woven into the fabric of what kind of schemes Batman is foiling in each of these. Joker’s plan to bomb Gotham with the help of every supervillain in Batman’s Rogues Gallery is hilariously high stakes and the type of plan most Batman stories, even parodies, would save for the climax. Neatly exemplified by how that’s almost the exact structure of Holy Musical’s final showdown. Starting with these stakes works as an extension of this Batman’s nature as a living children’s toy and therefore the embodiment of a child’s idea of what makes Batman cool, his ability to wipe the floor with anyone that gets in his way “because he’s Batman.” It also emphasizes Joker as the only member of the Rogues Gallery that matters to Lego Batman’s story, every other Bat-villain is either a purely visual cameo or only gets a couple lines maximum.

The crime’s being stopped by B@man are more in the “Year One” gangster/organized crime category rather than anything spectacle heavy. Though said crimes are comically exaggerated:

Gangster 1: Take these here drugs, put ‘em into them there guns, and then hand ‘em out to those gamblin’ prostitutes! Gangster 2: Should we really be doing these illegal activities? In a children’s hospital for orphans?

These fit into that model of crime the Dark Knight fights in his early days and add tiny humanizing moments between the crooks (“Oh, Matches! You make me laugh like nobody else!”) in turn making the arrival of B@man and the violence he deals out a stronger punchline. Further emphasized by the hero calling out the exact physical damage he does with each hit before warning them to never do crime again saying, “Support your families like the rest of us! Be born billionaires!” Later in the song his techniques get more extreme and violence more indiscriminate, as he uses his Bat-plane to patrol and gun down whoever he sees as a criminal, including a storeowner accidentally taking a single dollar from his own register. (“God’s not up here! Only Batman!”)

A commonality between these two openings is how Commissioner Jim Gordon gets portrayed. Both are hapless goofs at their core, playing more on the portrayal of the character in the 60s TV show and 90s Burton/Schumacher movies than the serious-minded character present in comics, Nolan’s Dark Knight Trilogy, and other adaptations. Lauren Lopez’s portrayal in Holy Musical gets overwhelmed by everything thrown at him, eventually giving up and getting out of B@man’s way (“I’m not gonna tell Batman what to do! He’s Batman!”) Hector Elizondo’s Gordon in Lego Batman clearly reached the “stay out of Batman’s way” point a long time ago, happy to have “the guy who flips on the Bat-signal” be his sole defining trait. While the characterizations are close, their roles do end up differing. Lopez’s Gordon sticks around to have a few more comedic scenes as the play goes on, where Elizondo’s exist to set up a contrast with his daughter Barbara and her way of approaching Batman when she becomes Police Commissioner.

These opening sequences both end in similar manners as well; the citizens of Gotham lavishing praise on their respective Batmen and a confrontation between Batman and the Joker. Praise from the citizenry in Holy Musical comes on the heels of a letter from B@man read out on the news about how much they and the city of Gotham suck. They praise B@man for his angsty nature as a “dark hero” and how they “wouldn’t want him any other way!”, establishing the motif of Gotham’s citizens in Holy Musical as stand-ins for the Batman fandom. Lego Batman uses the praise of the Gotham citizens after Batman’s victory in the opening scene as a lead in to contrast their certainty that Batman must have an exciting private life with the reality we’re shown. Which makes sense since Lego-Batman’s relationship to the people of Gotham is never presented as something at stake.

Greater contrast comes in how the confrontations with the Joker are handled, Lego Batman has an argument between the hero and villain that’s intentionally coded as relationship drama, Batman saying “There is no ‘us’” when Joker declares himself Batman’s greatest enemy. The confrontation in Holy Musical gets purposefully underplayed as an offstage encounter narrated to the audience as a Vicki Vale news report. This takes Joker off the board for the rest of the play in contrast to the Batman/Joker relationship drama that forms one of Lego Batman’s key pillars. While they take different forms, the respective citizenry praise and villain confrontation parts of these openings lead directly into the number one common thematic element between these Bat-parodies: Batman’s loneliness.

One is the Darkest, Saddest, Loneliest Number

Batman as an isolated hero forms one of the core tenants of the most popular understanding of the character. Each of these parodies picks at that beyond the broody posturing. There’s no dedicated segment in this piece about how these works’ versions of the title character function bleeds into every other aspect of them, but each starts from the idea of Batman as a man-child with trouble communicating his emotions. Time’s taken to give the audience a view of where their attitudes have left them early in the story.

Both heroes show their loneliness through interactions with their respective Alfreds. Holy Musical has the stalwart butler, played by Chris Allen, try to comfort B@man by asking if he has any friends he enjoys being around. When B@man cites Lucius Fox as a friend he calls him right away, only to discover Lucius Fox is Alfred’s true identity and Alfred Pennyworth was an elaborate ruse he came up with to protect Bruce on his father’s wishes. Ironically, finding out his closest friend was living a double life causes Bruce to push Alfred away (the play keeps referring to him as Alfred after this, so that’s what I’m going to do as well.) After he’s fired he immediately comes back in a new disguise as “O’Malley the Irish Butler” (same outfit he wore before but with a Party City Leprechaun hat.) That’s unfortunately the start of a running gag in Holy Musical that ends up at the worst joke in the play, when Alfred disguises himself as “Quon Li the Chinese Butler” doing an incredibly cringeworthy “substituting L’s for R’s” bit with his voice. It’s been my least favorite bit in the play since I first saw it in 2012 and legitimately makes me hesitate at times to recommend it. Even if it’s relatively small bit and the rest holds ups.

That disclaimer out of the way, that conversation between B@man and Alfred leads into the title hero reflecting on his sadness through the musical’s I Want Song, “Dark, Sad, Lonely Knight.” The song’s split into two halves, the first Alfred reflecting on whether he played a part in Bruce’s current condition and the second B@man longing for a connection. The song does a good job balancing between the sincerity over the hero’s sadness and getting good laughs out of it:

“Think of the children Next time you gun down the mama and papa Their only mama and papa Because they probably don’t have another mama and papa!”

The “I Want” portion of the song coming in the end with the repetition of the lryics “I want to be somebody’s buddy.”

Rather than another song number, Lego Batman covers Batman’s sadness through a pair of montages and visual humor. The first comes after the opening battle, where we see Batman taking off all his costume except for the mask hanging out alone in Wayne Manor, showing how little separation he puts between identities. Compared to Holy Musical where the equivalent scene is the first we see of Bruce without the mask on, which may come down to practicality since anyone who’s worn a mask like that knows they get hot and sweaty fast. Batman is constantly made to appear small among the giant empty rooms of his estate as he eats dinner, jams on his guitar, and watches romantic movies alone.

Ralph Fienne’s Alfred coming in at the end of this sequence witnessing Batman looking at a photo of himself as a boy with his parents for the last time. Alfred outlines Batman’s fear of being part of a family again only to be met with Batman denying he has any feelings ever. Pennyworth’s role as a surrogate father gets put into greater focus here than in Holy Musical, as we get glimpses of Alfred reading a book titled “How to Deal with Your Out-of-Control Child.” Also shown in smaller scenes of Alfred dealing with Batman’s insistent terminology for his crime fighting equipment, like calling his cowl an “armored face disguise.”

Batman’s denial of his pain contrasts how B@man wallows in it. Though he’s forced to confront it a little as the Joker’s plan ends up leaving him with no crimefighting to fall back on to ignore his issues. This montage gets set to the song “One” by Harry Nilsson and details Batman, unable to express his true feelings, eventually letting them out in the form of tempter tantrums. There’s also some humor through juxtaposition as Batman walks solemnly through the streets of Gotham City, rendered black and white, as the citizens chant “No more crime!” in celebration, while flipping over cars and firing guns into the air.

A disruption to their loneliness eventually comes in the form of a sensational character find.

Robin – The Son/BFF Wonder

Between both Bat-parodies, the two Robins’ characterizations are as close as anyone’s between them. Each is nominally Dick Grayson but are ultimately more representative of the idea of Robin as the original superhero sidekick and his influence on Batman’s life. The play and movie also both make the obvious jokes about Dick’s name and the classic Robin costume’s lack of pants at different points. Dick’s origin also gets sidestepped in each version to skip ahead to the part where he starts being an influence in Batman’s life.

Robin’s introduction to the comics in Detective Comics #38 in 1940, marking the start of Batman’s literal “Year Two” as a character, predating the introduction of Joker, Catwoman, and Alfred, among others. Making him Batman’s longest lasting ally in the character’s history. His presence and acrobatics shift the tone by adding a dash of swashbuckling to Batman’s adventures, inspired by the character’s namesake Robin Hood, though both parodies take a page out of Batman Forever and associate the name with the bird for the sake of a joke. Robin is as core to Batman as his origin, but more self-serious adaptations (i.e., the mainstream cinematic ones that were happening around the times both Holy Musical and Lego Batman came out) tend to avoid the character’s inclusion. These two works being parody, therefore anything but self-serious, give themselves permission to examine why Robin matters and how different characters react to his presence. Rejection of Robin as a character and concept comes out in some form in each of these works, from Batman himself in Lego Batman and the Gotham citizens in Holy Musical.

The chain of events that lead to Dick becoming Robin in Lego Batman are a string of consequences for Batman’s self-absorption. A scene of Bruce barely listening as Dick asks for advice on getting adopted escalating to absentmindedly signing the adoption paperwork. Batman doesn’t realize he has a son until after his sadness montage. Alfred forces Batman to start interacting with Dick against his will. The broody loner wanting nothing to do with the cheery kid, played to “golly gee gosh” perfection by Michael Cera, until he sees the utility of him. Batman doesn’t even have the idea to give Robin a costume or codename because he clearly views the sidekick’s presence as a temporary measure for breaking into Superman’s fortress, made clear by how he lists “expendable” as a quality Dick needs if he wants to go on a mission.

This makes Robin the catalyst for Batman’s shifting perspective throughout Lego Batman. When Robin succeeds in his first mission, the Dark Knight is hesitant to truly compliment him and chalks up his ward’s feats to “unbelievable obeying.” Other moments have Robin’s presence poke holes in Batman’s tough guy demeanor, like the first time Batman and Robin ride in the Bat-mobile together, Robin asks where the seatbelts are and Batman growls “Life doesn’t give you seatbelts!”, only for Batman to make a sudden stop causing Robin to hit his head on the windshield and Batman genuinely apologizes. They share more genuine moments together as the film goes, like Batman suggesting they beatbox together to keeps their spirits up after they’ve been imprisoned for breaking into Arkham Asylum. Robin’s representative of Batman gradually letting people in throughout these moments.

On the exact opposite end of the spectrum, B@man needs zero extra prompting to let Robin into his life. Nick Lang’s Robin (henceforth called “Rob!n” to keep with this arbitrary naming scheme I’ve concocted) does get brought into his life by Alfred thanks to a personal ad (“‘Dog for sale’? No… ‘Orphan for sale’! Even better!”) but it’s a short path to B@man deciding to let Dick fight alongside him. The briefest hesitance on the hero’s part, “To be Batman… is to be alone”, is quelled by Rob!n saying “We could be alone… together.” Their first scene together quickly establishing the absurd sincerity exemplified by this incarnation of the Dynamic Duo. An energy carried directly into the Act 1 closing number, “The Dynamic Duet”, a joyful ode between the heroes about how they’re “Long lost brothers who found each other” sung as they beat up supervillains (and the occasional random civilian.)

That song also ties into the contrast between the Batman/Robin dynamic and the B@man/Rob!n one. While Holy Musical is portraying a brotherly/BFF bond between the two heroes, Lego Batman leans into the surrogate son angle. While both are mainly about their stories’ Batman being able to connect with others, the son angle of Lego Batman adds an additional layer of “Batman needs to take responsibility for himself and others” and a parallel to Alfred as Batman’s own surrogate father. It also adds to the queer-coding of Batman in Lego Batman as Batman’s excuse to Robin for why he can go on missions is that Bruce and he are sharing custody, Robin even calling Batman’s dual identities “dads” before he knows the truth.

In the absence of the accepting personal responsibility through fatherhood element, the conflict Rob!n brings out in Holy Musical forms between B@man and the citizens of Gotham. “Citizens as stand-ins for fandom” is at it’s clearest here as the Act 2 opener is called “Robin Sucks!” featuring the citizens singing about how… well, you read the title. Their objections to Rob!n’s existence has nothing to do with what the young hero has done or failed to do, but come from arguments purely about the aesthetic of Rob!n fighting alongside B@man. Most blatantly shown by one of the citizens wearing a Heath Ledger Joker t-shirt saying Rob!n’s presence “ruins the gritty realism of a man who fights crime dressed as a bat.” It works as the Act 2 opener by establishing that B@man and the citizens conflicting opinions on his sidekick end up driving that half of the story, exemplified in B@man’s complete confusion about why people hate Rob!n (“Robin ruined Batman? But that’s not true… Robin make Batman happy.”)

Both Robins play into the internal conflict their respective mentors are going through, but what would a superhero story, even a parody, be without some colorful characters to provide that sweet external conflict.

Going Rogue

Both works have the threat comes from an army of villains assembled under a ringleader, Zach Galifianakis’s Joker in Lego Batman and Jeff Blim as Sweet Tooth in Holy Musical. Both lead the full ensemble of Batman’s classic (and not so classic) Rogues at different points. As mentioned before Joker starts Lego Batman with “assemble the Rogues, blow up Gotham” as his plan, while Sweet Tooth with his candy prop comedy becoming the ringleader of Gotham’s villains is a key turning point in Act 1 of the play. Part of this comes down to how their connections to their respective heroes and environments are framed, Sweet Tooth as a new player on the scene and Joker as Batman’s romantic foil.

Lego Batman demonstrates Batman and Joker are on “finishing each other’s sentences” levels of intimate that Batman refuses to acknowledge. Shown best in how Joker’s plan only works because he can predict exactly how Batman will act once he starts playing hard to get. When he surrenders the entire Rogues Gallery (without telling them) and himself to police custody, he describes it as him being “off the market.” He knows Batman won’t settle for things ending on these terms and tricks the hero into stealing Superman’s Phantom Zone projector so he can recruit a new, better team of villains for a take two of his masterplan from the start. Going through all this trouble to get Batman to say those three magic words; “I love hate you.” Joker as the significant other wanting his partner to finally reciprocate his feelings and commit works both as a play on how the Batman/Joker relationship often gets approached and an extension of the central theme. Batman is so closed off to interpersonal connections he can’t even properly hate his villains.

Sweet Tooth, while clearly being a riff Heath Ledger and Caesar Romero’s Jokers fused with a dash of Willy Wonka, doesn’t have that kind of connection with B@man. Though there are hints that B@man and his recently deceased Joker may have had one on that level. He laments “[Joker]’s in heaven with mom and dad. Making them laugh, I know it!” when recalling how the Clown Prince of Crime was the one person he enjoyed being around. This makes Joker’s death one of the key triggers to B@man reflecting on his solitude at the start of the play.

What Sweet Tooth provides the story is a threat to B@man’s new bond with Rob!n. Disrupting that connection forms the delicious center of the Candy King of Crime’s plan in Act 2. He holds Rob!n and Gotham’s people hostage and asks the citizens to decide via Facebook poll if the sidekick lives or dies (in reference to the infamous phone hotline vote from the comic book story A Death in the Family where readers could decide the Jason Todd Robin’s fate.)

With the rest of the villains under the leadership of the respective works’ main antagonists, there’s commentary on their perceived quality as threats. When Holy Musical has Superman talking to Green Lantern about how much B@man’s popularity frustrates him, he comes down especially hard on the Caped Crusader’s villains. Talking about how they all coast by on simple gimmicks with especially harsh attention given to Two Face’s being “the number two.” Saying they’re only famous because B@man screws up and they get to do more damage. Which he compares to his own relationship with his villains:

Superman: You ever heard of Mr. Mxyzptlk? Green Lantern: No. Superman: No, that’s right! That’s because I do my job!

Lego Batman has commentary on the other villains come from Joker, recognizing that even all together they can never beat Batman, because that’s how a Batman story goes. The other villains get portrayed as generally buffoonish, struggling to even build a couch together and described by Joker as “losers dressed in cosplay.” Tricking Batman into sending him to the Phantom Zone provides him the opportunity to gather villains from outside Batman’s mythos and outside DC Comics in general. Recruiting the likes of Sauron, King Kong, Daleks, Agent Smith from The Matrix, and the Wicked Witch of the West, among others. When I first saw and reviewed The Lego Batman Movie, this bugged me because it felt like a missed opportunity to feature lesser-known villains from other DC heroes’ Rogues Galleries. Now, considering the whole movie as meta-commentary on the status of this Batman as a children’s toy, it makes perfect sense that Joker would need to go outside of comics to break the rules of a typical Batman story and have a shot at winning.

The Rogues of Holy Musical get slightly more of a chance to shine, if only because their song “Rogues are We” is one of the catchier tracks from the play. They’re all still more cameo than character when all’s said and done, but Sweet Tooth entering the picture is about him recognizing their potential to operate as a unit, takeover Gotham, and kill B@man. The candy-pun flinging villain wants all of them together, no matter their perceived quality.

Sweet Tooth: “We need every villain in Gotham. Cool themes, lame themes, themes that don’t match their powers, even the villains that take their names from public domain stories.” (Two Face’s “broke ass” still being the exception.)

Both Joker and Sweet Tooth provide extensions of the shared theme of Batman dealing with the new connections in his life, especially with regards to Robin. However, Robin isn’t the only other ally (or potential ally) these Dark Knights have on their side.

Super Friends(?)

The internal crisis of these Caped Crusaders come as much from how they react to other heroic figures as it does from supervillainous machinations. In both cases how Batman views and is viewed by fellow heroes gets centered on a specific figure, Superman in Holy Musical and Commissioner Barbara Gordon (later Batgirl) in Lego Batman. Each serves a vastly different purpose in the larger picture of their stories and relationship to their respective Batmen. Superman reflecting B@man’s loneliness and Barbara symbolizing a new path forward for Batman’s hero work.

Superman’s role in Holy Musical runs more parallel to Lego Batman’s Joker than Barbara. Brian Holden’s performance as the Man of Tomorrow plays into a projected confidence covering anxiety that nobody likes him. Besting the Bat-plane in a race during B@man’s Key to the City ceremony establishes a one upmanship between the two heroes, like Joker’s description of his relationship with Batman at the end of Lego Batman’s opening battle. Though instead of that romantically coded relationship from Lego Batman, this relationship is more connected to childish jealousy. (But if you do want to read the former into Holy Musical B@man, neither hero has an onstage relationship with any woman and part of their eventual fight consist of spanking each other.)

B@man and Superman’s first real interaction is arguing over who’s the cooler hero until it degrades into yelling “Fuck you!” at each other. B@man storming off in the aftermath of that gets topped off by Superman suggesting he should get the Key to the City instead, citing his strength and longer tenure as a hero (“The first hero, by the way”) as justifications. This only results in the Gotham citizens turning on him for suggesting their city’s hero is anything less than the best, which serves both as a Sam Raimi Spider-Man reference (“You mess with one of us! You mess with all of us!”) and another example of the citizens as stand-ins for fandom. Superman’s veil of cocksureness comes off quickly after that and stays off for the rest of the play. Starting with his conversation with Green Lantern where a civilian comes across them, but barely acts like Superman’s there.

One of the play’s running gags is Superman calling B@man’s number and leaving messages, showing a desperation to reach out and connect with his fellow hero despite initial smugness. Even before the first phone call scene, we see Superman joining B@man to sing “I want to be somebody’s buddy” during “Dark, Sad, Lonely Knight” hinting at what’s to come. The note it consistently comes back to is that Superman’s jealousy stems from Batman’s popularity over him. This is a complete flip of what Lego Batman does with the glimpse at a Batman/Superman dynamic we see when Batman goes to the Superman’s fortress to steal the Phantom Zone projector. The rivalry dynamic there exists solely in Batman’s head, Lego-Superman quickly saying “I would crush you” when Batman suggests the idea of them fighting. Superman’s status among the other DC heroes is also night and day between these works. Where Lego-Superman’s only scene in the movie shows him hosting the Justice League Anniversary Party and explaining he “forgot” to invite Batman, Superman in Holy Musical consistently lies about having friends over (“All night long I’m busy partying with my friends at the Fortress… of Solitude.”)

Superman’s relationship to B@man in Holy Musical develops into larger antagonism thanks to lack of communication with B@man brushing off Supes’ invitations to hang out and fight bad guys (“Where were you for the Solomon Grundy thing? Ended up smaller than I thought, just a couple of cool guys. Me and… Solomon Grundy.”) His own loneliness gets put into stronger focus when he sees the news of Rob!n’s debut as a crimefighter, which makes him reflect on how he misses having Krypto the Super-Dog around. (The explanation for why he doesn’t have his dog anymore is one of my favorite jokes in the play and I won’t ruin it here.)

Where Superman’s a reflection of B@man’s loneliness, Rosario Dawson as Barbara in Lego Batman is a confrontation of Batman’s go it alone attitude. Her job in the story is to be the one poking holes in the foundation of Batman as an idea, starting with her speech at Jim Gordon’s retirement banquet and her instatement as commissioner. She has a by-the-book outlook on crimefighting with the omnicompetence to back it up, thanks to her training at “Harvard for Police.” Babs sees Batman’s current way of operating as ineffectual and wants him to be an official agent of the law. An idea that dumps a bucket of cold water on Batman’s crush he developed immediately upon seeing her, though that never fully goes away.

Her main point is that Batman “karate chopping poor people” hasn’t made Gotham better in his 80 years of operating. A contrast to Holy Musical’s Jim Gordon announcing that B@man has brought Gotham’s crime rates to an all-time low (“Still the highest in the world, but we’re working on it.”) She wants to see a Batman willing to work with other people. A hope dashed constantly dealing with his childish stubbornness as he tries to foil Joker’s schemes on his own, culminating in her arresting Batman and Robin for breaking into Arkham to send Joker to the Phantom Zone.

Barbara’s role as the one bringing grown-up attitudes and reality into Batman’s world does leave her in the role of comedic straight woman. Humor in her scenes comes from how she reacts to everyone else’s absurdity rather than anything she does to be funny. This works for the role she plays in Lego Batman, since she’s not there to have an arc the way Superman does in Holy Musical. She’s another catalyst for Batman’s to start letting people in as another character he grows to care about. Which starts after she lets the Dynamic Duo out of prison to fight Joker’s new army of Phantom Zone villains on the condition that he plays it by her rules. Leading to a stronger bond between Batman, Robin, Alfred, and her as they start working together.

The two Batmen’s relationships to other heroes, their villains, Robin, and their own solitude each culminate in their own way as their stories reach their conclusions.

Dark Knights & Dawning Realizations

As everything comes down to the final showdowns in these Bat-parodies, the two Caped Crusaders each confront their failures to be there for others and allow themselves to be vulnerable to someone they’ve been antagonizing throughout the story. Each climax has all of Gotham threatened by a bomb and the main villains’ plans coming to fruition only to come undone.

Holy Musical has Sweet Tooth’s kidnapping of Rob!n and forcing Gotham to choose themselves or the sidekick they hate sends B@man into his most exaggerated state in the entire play. It’s the classic superhero movie climax conundrum, duty as a hero versus personal attachment. Alfred, having revealed himself as the “other butlers”, even lampshades how these stories usually go only for that possibility to get shot down by Bruce:

Alfred: A true hero, Master Wayne, finds a way to choose both. B@man: You’re right, Alfred. I know what I have to do… Fuck Gotham, I’m saving Robin!

B@man’s selfishness effectively makes him the real villain of Holy Musical’s second act. Lego Batman has shades of that aspect as well, where Batman gets sent to the Phantom Zone by Joker for his repeated refusal to acknowledge their relationship. Where the AI running the interdimensional prison, Phyllis voiced by Ellie Kemper, confronts him with the way he’s treated Robin, Alfred, Barbara, and even Joker:

Phyllis: You’re not a traditional bad guy, but you’re not exactly a good guy either. You even abandoned your friends. Batman: No! I was trying to protect them! Phyllis: By pushing them away? Batman: Well… yeah. Phyllis: Are they really the ones you’re protecting?

Batman watches what’s happening back in Gotham and sees Robin emulate his grim and gritty tendencies to save the day in his absence makes him desperately scream, “Don’t do what I would do!” It’s the universe rubbing what a jerk he’s been in his face. He’s forced to take a look at himself and make a change. B@man’s not made to do that kind of self-reflection until after he’s defeated Sweet Tooth but failed to stop the villain’s bomb. He’s ready to give up on Gotham forever and leave with Rob!n, until his sidekick pulls up Sweet Tooth’s poll and it shows the unanimous result in favor of saving the Boy Wonder. Despite everything they said at the start of Act 2, the people want to help their hero in return for all the times he helped them. All of them calling back to the Raimi Spider-Man reference from Act 1, “You mess with one of us. You mess with all of us.”

Both heroes’ chance at redemption and self-improvement comes from opening themselves up to the people they pushed out and dismissed earlier in their stories. Batman takes on the role he reduced the Commissioner down to at the beginning of the movie and flips on signals for Barbara, Alfred, and Robin to show how he’s truly prepared to work as a team, not just with his friends and family but with the villains of Gotham the Joker pushed aside as well. Teamwork makes the dream work and they’re all able to work together to get Joker’s army back into the Phantom Zone but like in Holy Musical they fail to stop the bomb threatening Gotham. Which he can only prevent from destroying the city by confessing his true feeling to Joker

Batman: If it wasn’t for you, I wouldn’t have learned how connected I am with all of these people and you. So, if you help me save Gotham, you’ll help me save us. Joker: You just said “us?” Batman: Yeah, Batman and the Joker. So, what do you say? Joker: You had me at “shut up!”

The equivalent moment from Holy Musical comes from B@man needing to put aside his pride and encourage a disheartened Superman to save Gotham for him. This happens in the aftermath of a fight the two heroes had where Superman tried to stop B@man before he faced Sweet Tooth, B@man winning out through use of kryptonite. That fight doesn’t fit into any direct parallel with Lego Batman, but it is important context for how Superman’s feeling about B@man before Superman finally gets his long-awaited phone call from the Dark Knight. Also, the song accompanying the fight, “To Be a Man”, is one of the funniest scenes in the play. What this speech from B@man does is bring the idea of Holy Musical B@man as a commentary on fandom full circle:

B@man: I forgot what it means to be a superhero. But we’re really not that different, you and me, at our heart. I mean really all superheroes are pretty much the same… Something bad happened to us once when we were young, so we dedicated our whole lives to doing a little bit of good. That’s why we got into this crazy superhero business. Not to be the most popular, or even the most powerful. Because if that were the case, hell, you’d have the rest of us put out of a job!

This speech extends into an exchange between the heroes about how superheroes are cool, not despite anything superficially silly but because of it. Bringing it back to the “Robin Sucks!” theme that started Act 2, saying “Some people think Robin is stupid. But those people are pretentious douchebags. Because, literally, the only difference between Robin and me is our costumes.” The speech culminates in what I genuinely think is one of the best Batman lines ever written, as B@man’s final plea to Superman is “Where’s that man who’s faster than a gun?” calling back to the trauma that created Batman across all versions and what he can see in someone like Superman. So, B@man sacrificing his pride and fully trusting in another hero saves Gotham, the way Batman letting Joker know what their relationship means to him did in Lego Batman.

Each of these parodies ends by delivering a Batman willing to open himself up to a new team of heroes fighting at his side, the newly minted Bat-Family in Lego Batman and the league for justice known as the Super Friends in Holy Musical. Putting them side by side like this shows how creators don’t need the resources of a Hollywood studio to make something exactly as meaningful and how the best parodies come from love of the material no matter who’s behind them.

If you like what you’ve read here, please like/reblog or share elsewhere online, follow me on Twitter (@WC_WIT), and consider throwing some support my way at either Ko-Fi.com or Patreon.com at the extension “/witswriting”

[picnokinesis]

fic writer review

tagged by the wonderful @swinging-stars-from-satellites whoop!! Let’s go!

1. How many works do you have on Ao3?

Fourteen! It was thirteen until yesterday, which appealed to me a lot, but I decided that posting pirate!thoschei was worth changing that number hahaha

2. What’s your total Ao3 word count?

394,102

3. How many fandoms have you written for?

Technically five, because I’m not counting Avengers and MCU as two different fandoms hahaha. But they are: Doctor Who (2005), MCU, Stargate Universe, The Greatest Showman, and X-Men (comics) - the latter, though, wasn’t really for that fandom, because I was writing a TGS X-Men au hahaa

4. Top 5 fics by kudos?

Liminality , with 195 kudos - I am not surprised about this one, since it’s probably the most ‘readable’ of my fics, being a oneshot, not shippy, and also not being stupidly long haha!

Renegades in the Ring , with 144 kudos - I didn’t realise how much kudos this one got? I guess it helped that the fandom was very active when I first posted this. Alas, if only I had finished this one...I have a lot of nostalgia for the idea, but I don’t think I’ll ever return to it, simply because it would take about as much effort as campervan au is taking me right now. 

i need a place to hide (before the storm begins) , with 125 kudos - which I am genuinely SO happy about because ahh! This is my big project and to know that 125 people said ‘yes this is good’ is just...really really nice?? Especially when it’s such a niche, specific au.

Tropospheric Disturbance , with 125 kudos - honestly, I’m surprised this one has as many kudos as it does, since I regularly forget I even wrote it hah! It’s a weird one, because it’s not actually in my usual writing style, but I am very proud of it!

and they did live by watchfires , with 109 kudos - and I’m really really happy to see this one here, because I think this is probably the favourite thing of my own that I’ve written. 

5. Do you respond to comments? Why/why not?

YES absolutely!! I love comments so much, and I really love to ramble about my stories because I almost always have a LOT of thoughts hahaha

6. A fic you’ve written with the angstiest ending?

I mean, it’s probably a toss up between i need a place to hide (because I ended it on that twist/cliffhanger), Retrograde (which is another cliffhanger ending, leaving all the characters in a REALLY BAD situation), or maybe the new problem kid, you’ll taste all the salt in my lungs, because, uh, it basically ends with the Doctor saying ‘the person I was before this moment is dead’ HAHAHA. But, to be honest, I don’t know if I would call any of those endings VERY angsty? They’re more like ‘AHHH WHAT HAPPENS NEXT’ endings rather than angst. I don’t tend to write angsty endings because I love angst but I always prefer to end it on a hopeful note...otherwise it feels very unsatisfying for me to write, personally. 

7. Do you write crossovers?

Technically? I mean, I see Renegades as an au more than a crossover, because it’s merely set in the same universe as the X-Men comics, and the only crossover element is Nathaniel Essex being in it...and I never even wrote those scenes hahaha

8. Ever received hate on a fic?

Nah, people are wonderful!

9. Do you write smut?

Since I’m sex-repulsed, this is a hard no HAHA

10. Have you ever had a fic stolen?

Not as far as I know!

11. Ever had a fic translated?

I have not

12. Have you ever co-written a fic?

Me and @sunshinedaysforever have a collab-wip graveyard in our dms HAHA - but I am actually working on cowriting a fic with some other wonderful folks at the moment! I am. Supposed to have my part finished by the 6th. Hm. 

13. All time fav ship?

Right now, it’s thoschei/spydoc, but I wouldn’t necessarily say that’s my all time favourite, because my favourite changes a lot. I do have a HUGE amount of love for Clintasha and Rush/Young though! 

14. WIP you want to finish but don’t think you ever will?

Hmmmmm, there’s a few. I mean, at the moment, I feel like The Grandfather Paradox will NEVER get finished, but I like to think that if I’m still into Doctor Who enough when I finally finish campervan, I might take a crack at it? Grandfather Paradox is more solid atm than some of my other wips...(see: deathless, disarmed). Oh, I know which one I almost certainly won’t finish - this one I came up with waaay back before In the Wind, which is set between O55 and Telsa, which is about telepathy and not listening to warnings from the past, amongst other things.

15. Writing strengths?

I’ve been informed that I’m really good at character voices, and I also think that I’m quite good at expanding characters we see very little of and fleshing them out a lot more. I’ve had to do that a lot for campervan and it’s been really good fun!

16. Writing weaknesses?

I think I can get kinda tangled in the emotional plot lines sometimes, and it makes everything get convoluted and messy and hard to follow? Also I’m not very good at...taking a good metaphor and expanding it? If that makes sense. I’m also actually kind of terrible at subtle, clever foreshadowing because half the time I don’t know what’s happening HAHAHAHAH but sometimes I do manage it!! I’m trying to do it in campervan at the moment. Also I. Can’t write short things HAHA. My characters always think and talk a LOT and sometimes that’s good, sometimes not so much

17. Thoughts on writing dialogue in another language in a fic?

I’m actually doing it currently in part 5 of campervan, since Gabriela and Jamila both speak portuguese (and I’m learning portuguese!)

18. First fandom you wrote for?

On ao3? Stargate Universe. On the internet? The Avengers. Ever? Uh. I honestly don’t know. I made up ocs based on two unicorns in the aftercredits sequence of a My Little Pony VHS tape, does that count?

19. What’s your fav fic you’ve written so far?

I mentioned it earlier, but I’m extremely proud of and emotionally attached to and they did live by watchfires

If anyone wants my ao3, it’s right over here!

And oh, who to tag!! No pressure, of course, but: @sunshinedaysforever @theplatinthehat @taardisblue @hetzi-art @krebkrebkreb @echo84 @theoreticalabsurdity @1-of-those-things @walker-lister @timelostdoctor and anyone else who wants to!

[felassan]

Highlights and insights from the MELE launch cast & crew reunion panel

[rewatch link] [highlights & insights from the N7 Day 2020 reunion]

In case a text format is better for anyone (in terms of accessibility for example). Cut for length.

Some paraphrasing.

If anyone’s interested in just the line-reading session, it starts at timestamp ~1:04:45.

In addition to the cast and crew from the N7 Day reunion, at this reunion also in attendance were: 

Mac Walters (Project Director for MELE, Lead Writer of the og MET)

Melanie Faulknor (Lead Producer for MELE)

Crystal McCord (Producer for MELE)

Fred Tatasciore (Saren)

Seth Green (Joker)

Kimberly Brooks (Ash)

Ash Sroka (Tali)

This was the biggest reunion / meetup of the cast so far, and some of the cast and crew were meeting for the first time here.

It’s been so long since the og MET that PW & KW are getting to watch their kids experience playing it for the first time

JHale doesn’t play but since MELE she’s been sneaking around Twitch jumping into peoples’ MELE livestreams to lurk, watch and comment a bit

What drew Seth to the character of Joker? The whole concept of the game. He likes games and MET’s mechanics (different trees of adventure, stacking reputation, choices carrying between games) at the time were the most sophisticated that he’d ever heard pitched. He thought this was new and exciting and wanted to be a part of it. For the character they cast him based on his personality traits (i.e. he sounds quite similar to Joker personality-wise)

Would Seth ever want to play Joker again if the opportunity presented itself? Sure, he loves the character, and if the writers ever had more things to explore/expand with Joker he’d be down for it. 

Seth said that it’s a different kind of fan that approach him about this project. The fans have spent many many hours in an intimate exchange with “him” that he hasn’t been a part of, but they experienced it nonetheless. “I’ve hugged a lot of strangers, you know what I’m saying? It’s great, you get an interaction with fans that you never get as a performer in any other experience”

Seth has been a space guy since he was little, it inspires him

With the state of the world the way it is now [covid, masks etc], does Ash think Tali’s story will be more impactful now than it was before? Ash hopes so, and that anything they do here will have a positive impact on a bigger level. Ultimately that’s why most of them do what they do, they want to reach people in deep ways. She hopes Tali is an inspiration in courage, bravery, standing up for what’s right and thinking about the greater good

The [MELE I think] dev team had a last team meeting with Greg Zeschuk, one of the founders of BioWare, who they had invited to it. He was regaling them with stories of the inception of Mass Effect. “You would imagine this sort of well-laid out, drawing boards everywhere... [but] it was basically just a napkin sketch in a Greek taverna with him and Casey going ‘We wanna do a space opera’, and then it took off”

The process of creating lore through development is very organic. A lot of it comes from character and story development. It builds up over the course of the game’s development. They did the codex entries at the end, the idea being that if they saved them for as late as they could, then they could pull from the story, characters and meaningful moments, and build them from there

PW wrote a bunch of the codex entries, elevator banter & lots of little bits of lore. They describe their time on the og MET as being a “baby writer”. They originally came in after Mac had back surgery and a junior writer was needed to fill in. “It was really fun, it was us sitting in a room together going ‘What do you think a hanar or a krogan thinks about this or that’?” For a first project for them this was an amazing experience - the world building itself creatively with all these awesome people

They tried to add multiplayer in every game but only got it to work in ME3

They had a lot of plots laid out in ME1 that they called “global plots”. These were outside the core critical path and would take players from planet to planet, and were sprawling stories. They pulled out a lot of really interesting concepts and ideas from these that did make it into the game, but all of the global plots ended up getting cut due to time. Mac still has old diagrams and spreadsheets which detailed how all of these would have come together

Q. If you all had to take a long-distance road-trip with two squadmates, who would you take and why? PW: “Jack and Mordin. Mordin because the drive would never lack for things to talk about at length quickly, Jack because you know you wouldn’t pay for the room. You wouldn’t know how you’d get the room, but you wouldn’t be paying for it.” Courtenay: “I’d take Mordin because there’d be singing, and FemShep just to have this thing - happen. In the room that I get for free.” JHale at this point fistpumped while saying “Yeess” [then I think what she said was “steaming hot”]

Seeing as asari are long-lived, how open is Ali to one day reprising her role as Liara? “She’s a character very close to my heart, it was such a great opportunity. In some games that we work on the character has already been created or voiced by someone else, but this was really a group effort. When I first went into the booth, the only thing I’d seen of her was a sort of like, rendering, and we slowly kind of came to her voice and presence. I would love to bring Liara back any time... hey, she can live a really long time guys. :D”

Caroline and people who do what she does (Creative Performance Director) are so critical to the quality of games. Caroline: “This group of people are extraordinary. We were lucky to have such an extraordinary cast. Every [recording] session was new and challenging. It was a labor of love. I’m tearing up right now thinking about it. I’m remembering my last session with Jen, she was the last session, just sobbing and sobbing”. When JHale was trying to say the lines of Shepard’s goodbye with Garrus, a line hit her like a tonne of bricks and she was in tears and was like “Shepard does not cry”. “It took me a second, I got it out and took another run at it, it was in there but stuffed down as it should have been, and I finished the line [and there was silence in the booth when usually Caroline would have been talking to give direction or instruction] Did we lose her? Did Skype crash?” and it transpired that what had happened was that Caroline was in floods of tears

ME was the first time Keythe had ever come across branching dialogue. “Normally when we work on a script and it’s from page 1 to 100. In this it was get to page 5, then go back to page 2 and play it a little differently. The skill and the fun and joy of it was to be able to go back and play a scene in a different way, with different writing, with different outcomes. This was not only a challenge but a real treat. So to all the writers who dreamed up how this build-your-own-adventure plays out, you have my undying respect. It was a real pleasure”

VEDA is a proprietary system that BW use to record the dialogue, which is the closest way of having it feel like having people in the booth together (it’s all digital and VAs get to hear the line someone else has done in that scene). Caroline really pushed for this because of the amount of time etc that was wasted due to lack of this sort of thing on ME1. William: “It was a god send for me, thank you, getting to hear a cue from Jen or Mark.” Ali: “Us being able to bounce off each other helps make it more real. This for me was the most real acting experience on a game I had ever had - the writing being so good, Caroline helping us through, being able to hear each other.” JHale was always early coming in to record relative to the others so only got to use VEDA a few times - a bit of Liara content and the scene with Anderson towards the end. “Those two times, oh my god it was amazing”. VEDA being a thing also helps from a scheduling standpoint

Seth and Tricia Helfer (EDI) only got to be in the booth actually together 1 time, to record/shoot a piece of promotional video. “We actually got to record a scene together and we were like ‘oh my god this is the best thing ever’. It was great, even though I had to stand on a stool. She’s the best”

Seth: “As an actor, the kind of opportunity to do this kind of material in games just didn’t exist.” Fred: “Oh, never! I had never had a villain part that was complicated like that. In a game? Never before, it was really interesting”

Raphael always goes back to the fact that ME brought more women into gaming than any other game before it. “The writing and the complexity of the relationships gave us so much ballast”. “This set this apart from running, shooting, gunning, looting”

JHale: “What I noticed in the times before when I got to be around fans, there was a huge hunger among women in the gaming world for something they could really jump into. They were starving for something which fed them what they deserved and needed”

Mac: “[praising Caroline] Caroline would often come to us as writers and challenge us and say, as an example, ‘Do we really need another male character to do this? Why are we writing another male character for this?’ She pushed that very early and to the betterment of everything we created”

PW: “Karin and Cookie and all of the editors across the trilogy, [were critical in] making sure that Shepard sounded consistent - [especially since] we had a large writing team, writers came and went, Mac is the only one with a significant writing contribution on each of the games”

PW: “[on game dev] It’s a process of getting hundreds of people pointed in the same direction, all believing that this is something worth doing”

Ash: “Having all the different possibilities and avenues, going back to play them all out in the different ways [really helped to round the character of Tali out and make her feel like a natural person]”.

VAs only get paid for the original recording sessions, not again (as in they don’t any royalties or anything from something like the remaster)

In MELE, they left all the original credits at the end of each game in

Fred: “It’s creating in five dimensions [because of all the outcomes and relationships etc]”. Seth: “The cool thing is that the audience feels that. They’re immediately struck by how dense, thought-out, prepared and planned the entire universe is”

How was it for the new MELE devs coming onto this? Crystal: “I knew it [the series and fans’ love for it] was big, but I didn’t know it was BIG! Working on MELE there was this infectious excitement. Being part of it was so exciting.” Melanie: “I came on at ME3, I had a 3 or 4 year honeymoon period with BioWare. Coming onto MELE, I’m getting really emotional. One of my first meetings originally was going into a cinematic review for an epic Tali scene in ME3”. Crystal: “On MELE, we had an hour or 2 every day where the team came together to play the game. In those reviews, a lot of the devs who worked on the original would tell all these stories. It was really fun to hear all the inside stories on ME’s creation and be a part of that”

DC: “Should this unit get vaccinated?” Ash: “Of course”

How do they think ME will be viewed in the next 10-20 years, what do they think its legacy will be? A piece of history, ground-breaking. It broke down some barriers and opened doors for people. It’s a powerful, powerful community. It’ll continue to age quite well and be enjoyed by a new generation, it’s original and evergreen and there’s a lot in it that people go back to. There’s a lot of universal things in it (personal experiences, like there will always be love, people fighting to belong, trying to make sense of their pasts etc)

JHale and Alix did the “I love you Shepard, now go save the world again” Shep-Sam exchange and both got teary. It was then Seth’s turn to line-read: “Jesus Christ, now that I’m good and choked up, fucking mess”. Ali was also actually crying from it

Seth: “It can’t be overstated, this community is so large and global, it is one of the most powerful fandoms that I’ve ever been greeted with. Thank you”. Ash: “It’s the most amazing group of fans ever. We’re all so grateful”

Some funny anecdotes/stories:

PW didn’t realize that Alix could do different accents. They remember a time when they were listening in the booth and an Alliance soldier was complaining about the gear had been given. They said “Wow that’s really good, who is that?” and the VO producer said “That’s Alix, Patrick”, “because she wasn’t doing her [normal British accent but was doing a Californian accent instead]. Alix roasted me later for not recognizing her voice and never let me heard the end of it”

Alix: “[on Sam’s toothbrush] Caroline’s like, ‘So then she pulls her toothbrush’ and I’m like ‘What? Sorry? A toothbrush?’ and obviously it’s funny now as everyone knows that Sam’s thing is her toothbrush. Caroline’s like ‘Yeah, you’ve gotta like, flirt, over the toothbrush’ and I’m like ‘Who wrote this - a frickin toothbrush, are you kidding me? Really guys?’ ANYWAY. I was wrong and it worked. :D”

Fred: “I remember a 12 year old kid coming up to me and being like [flat tone] ‘Oh yeah. I killed you’.”

Keythe: “The other assasin I play is Kellogg in Fallout 4. People come up to me like ‘Omg. I love you so much. And then I fucking KILLED you!’”

Courtenay once went out to dinner in NZ with a few prominent people from the Game of Thrones cast. “Everyone around was making a big deal out of it like ‘Omg, it’s so-and-so from GoT’. I was feeling a bit like ‘Hi, I’m here, just nobody’. And I looked around in the restaurant and there's one guy in the corner and he’s got an N7 shirt on and he’s just looking at me like [knowing look, does a peace sign]. And I’m like ‘I got one! I love you guys!’”

PW: “I have a question for the cast members, because I don’t know if JHale has done this to all of you or if she just does it to the devs. Show of hands if Jen has ever made you do push-ups.” JHale: “It’s just you guys”

Karin: “One of my favorite editing files that I ever had was a ME file. It was before Seth was coming in for a session. I opened it up and it was just 20, 25 lines with the word ‘Shit’, over and over again, and I was like, ‘This file is perfect, I don’t need to do anything to it, have fun!’”

Seth: “Didn’t we do a track that’s like 60 seconds of laughing? Escalating laughing? I don’t know about other actors but for me getting into a laughing fit is kind of like trying to get into a crying fit, it takes the same level of commitment, you start to follow a path until like you’re hysterically uncontrollably laughing. I remember looking through the glass, and I’m deep in it at this point, and I make eye contact, and I can see from the other side of the booth and they’re like [making ‘okay you can stop’ now gestures] - ‘Like that’s plenty, we got it’ and I was like ‘okay, okay [dying]’”

JHale: “The craziest thing Mark and I had to deal with was how many times we had to say ‘I should go’”. Mark: “We also, Caroline and I tended to use that as short hand when I needed to go to the bathroom”

The panel host: “The first time I interviewed Ali was a decade ago. She did the ‘I’ll flay you alive with my mind’ line halfway through, it was my first interview and I literally fell out of my seat [from being star-struck]”

Ash line-read Tali’s drunk omni-tattoo scene and in response DC said “I totally get why people wanna romanticize all these characters :D”. Karin: “We’ve had more than one person come up to us and show us actual tattoos that looked like that”

[source]

[kae-karo]

Fanfic Ask Meme

Q!!

ahh hello dear!! for context (x)

Q: Do you have any discarded scenes/storylines/projects?

oooo very good question! i try to live under the philosophy of 'never say never', in that if i've given smth some thought, i'll never say that i'd never come back to it, but i do have a handful of ideas that i've definitely set aside for the time being. i'm a firm believer in following wherever inspiration strikes, so if i'm not vibing with an idea at the moment, i'll set it aside and return to it if/when i feel like it or get some new ideas (or fresh brainrot lmao)

and i say 'never say never' because i first had the idea for 'here's our own hands against our hearts' back in may of 2021, and i didn't even start writing it til september, and ofc i didn't finish/start posting til december

so, in no particular order, some concepts i've set aside for the moment and hope to return to some day:

(bnha) immortal baku who's stuck with the only other immortal, deku, to help him figure out how to break the curse of immortality. on par with canon, baku very much detests deku :) enemies to lovers style

(genshin from here on out) struggling artist kaeya who lucks into an encounter with renowned art connoisseurs zhongluc, healing and self love ensues

murder husbands zhongchi from the 'to love (and be loved in return) universe, both the getting-together past aspects and the plot after kaeluc's story

a kaeluc tarot fic that follows the progression of the tarot major arcana as inspiration for plot points during a canon-divergent au

Lovesick Fool expanded modern teyvat au, zhongchi getting together fic

dragon zhongli x phoenix diluc

a scene from hoohaoh (x) where childe and diluc talk about how diluc's father might've come into possession of a delusion - it felt a little more heavily focused on some diluc trauma and healing that didn't quite fit with the rest of the story

diluc tricking his roommate kaeya into thinking he's a hot tinder date coming over soon so kaeya will actually clean the house, but kaeya...actually falls for this 'date' pretty hard...

actual pirate kaeya with stowaway childe - canon-divergent au where kaeya's sort of captain of the mond fleet, docked in liyue when childe's escaping the millileth

xiaoven where xiao finally chases after the little spark that floats away from him in his idle only to discover that it's venti

the actual original scene i had in mind that 'to love (and be loved in return)' (x) began to revolve around was a soft kaeluc scene in the hidden-away library where kaeya first showed diluc his magic, and it's also where they first kissed 'for real'...ofc, that never made it into the story, as it evolved quite a lot in other directions lmao

tl(ablir) actually had a LONG history of struggling with the main plot in the background - i went back and forth on crepus being the main antagonist, kaeya's father being the antagonist, the abyss being the antagonist, and so on. intentional and unintentional, in some cases, it went on quite a lot, but none of those concepts really fit the story i wanted to tell

oh another from tl(ablir) - kaeya getting just a little Too Drunk and diluc pushes him too far, implies that he doesn't care about his people (this ended up not fitting well with what i'd established between them). this was going to be his dialogue for the scene:

they have been dying since before i was born i know that they're dying they're dying right now and i can do nothing to stop it. do you think it even occurred to me to refuse your father's offer if it meant helping my people? do you think i drink for FUN? you must think me immeasurably callous if you assume i do not care that my people suffer for our ancestor's mistakes. you must think me heartless, then. and i'd rather be, than face for even a moment the overwhelming grief of so many dead while i sit here in your cushy palace, comfortable and safe

there are also some other ideas that i haven't quite decided to set aside just yet, but who knows when exactly they'll crop up lmao

send me fic asks!

[aitaikimochi]

Final Fantasy 7 Remake Ultimania Book Interview with Nomura, Kitase, and Nojima

This is the full interview from the Final Fantasy 7 Remake Ultimania Book where Director Tetsuya Nomura, Producer Yoshinori Kitase, and Scenario Writer Kazushige Nojima discuss the Final Fantasy 7 Remake, talking about how the game’s development, ending secrets, and more! Enjoy~

PART 1: This is the fifth installment within the Compilation of FFVII.

—When did the FFVII Remake project start?

Kitase: Actually, this project has been in existence for a very long time.

Nomura: When we developed the Compilation of FFVII, the installments included Advent Children, Before Crisis, Crisis Core, and Dirge of Cerberus, so we knew that we wanted to make a fifth installment. However, we were a bit short on resources as I was the only one heading the project, and since we were busy with other things, the project was put on hold.

—If the project was put on hold, what made it come back officially?

Kitase: When the Final Fantasy series almost reached its 25th Anniversary, I thought about what we should do to commemorate that milestone. That’s when I thought that if we were to go through with the FFVII Remake project to coincide with the 25th Anniversary of the Final Fantasy series, we would have to start it as soon as possible. That’s what got the ball rolling. After that, we had a meeting with producer Shinji Hashimoto as well as Tetsuya Nomura to discuss the details of the remake. Hashimoto was also the one who said he wanted to correct some of the graphics from FFVII Advent Children, and that’s the stage where all three of us decided that we should officially start this project.

—Initially, the project was to be made using staff from external divisions, right?

Kitase: Of course the company’s staff were still involved in the development, but most of the team that had worked on Final Fantasy series were assigned to other projects, so we started the Remake project with other external division staff. However, because we wanted to upkeep the quality of the Final Fantasy series, we decided that we still needed members who had experience working on Final Fantasy. Because of this, we had to do a major shift of staff positions to accommodate for this project.

—Since the Remake will be comprised of multiple parts, when did you decide that the first part will take place up until the escape from Midgar?

Nomura: We made that decision at the start of the project. Midgar stands as a very recognizable symbol of the world of FFVII, and for the Remake Project, we wanted to expand on that. The first installment will establish the root of the battle system as well as the type of basic structure, data assets, etc. that we needed to prepare, so it would take some time to do so. On that note, we had to accommodate in terms of the scale. Since the game would cover up until the escape from Midgar, the contents we needed to develop, such as the world system, level designs, etc., would increase, so we had many reasons to make the decision that we made [to create the story into multiple parts]. When we announced that the project would take on multiple installments, there were many who were worried about how we would be able to make a whole game based solely on Midgar, but I didn’t think it would be a problem. I’ve repeatedly watched videos of gameplay, and in the original game, it takes about 7 hours to go through the Midgar section. In the Remake, the map would need to be in 3D, so there would be much more information to account for as well as time that it will take to go from one point to another, and all that adds up. Since we knew that we would have to add scenarios to the story too, I knew that the overall gameplay of the Remake would be well enough to cover a whole game.

Nojima: We also felt that stopping it at this point would also allow for an adequate amount of story scenarios to be put in as well.

Nomura: After you leave Midgar, you move to a world map, and I mentioned this earlier, but level designs would have to yet again change. If we were to do that, we would also have to split up other scenarios and even if we add new gameplay, it would have to end in an abrupt point of the story. That’s why we felt that if we had everything focused in Midgar, we wouldn’t have to split up any of the story elements that happen there. We had requests to add more content or to make only one installment for the whole remake, but if you take into consideration the quality put into this game, I’m sure players would understand why we made this decision.

Kitase: The Remake is not something that we can finish all at once, so when we decided that the first installment would take place in Midgar, the FFVII Remake Project became a reality.

PART 2: The title “Remake” has two meanings…?

—Nojima-san was added to the team when the project was still being handled by the external division staff, correct?

Nojima: That’s right. I was the one who initially wrote the main scenarios, and the external division staff was responsibile for writing the sub scenarios as well. However, when we transferred the project to internal staff, Toriyama-san (Co-Director) joined and looked over the scenarios we had written up until that point. He then gathered all the scenes we had and rewrote them, and after looking over it myself once more, we decided that the project would take on this shape.

Kitase: After Toriyama joined, we were able to formulate the scenarios and input them into areas within the game itself, and in order to keep the integrity of the story, we let him rewrite some of the story.

—Nojima-san, in what degree do you write the scenarios and how specific do you make them?

Nojima: I lose myself in my writing a lot. I’m always concerned about keeping characters in character, so I constantly make corrections. However, after I finish writing the scenarios, Toriyama-san and his scenario team add revisions, which is then handed off to the dubbing stage, which also makes adjustments to the dialogue. So by the time the scenario reaches completion, I’m not even sure what exactly remains from my initial draft.

Kitase: Of course, the main story’s developments are usually left as how Nojima-san wrote them. The changes that are made are usually minor details that are formulated into the story.

—The title for the remake is just “Remake,” which is a bit rare to put in a title. Is there any specific meaning to it?

Nomura: I am the one who decided on the title “Remake,” but there are two meanings to the title. The first being that we wanted to quell the doubt that arised when we first announced that we were doing a remake. When the first trailer was released, there were people who weren’t sure if this installment of FFVII was merely a remaster or an actual remake, which made them worry. When we revealed the trailer at E3 in 2015, the reactions were as I expected, with some even asking if this was going to be a movie. That’s why I decided to clearly express to those with doubt that this is a complete remake of the original with the title “Remake” as well. In regards to the other meaning to the word “Remake,” well, I can’t answer that right now. Ask me again in a couple of years (laughs).

—The title’s logo with the Meteor is now outlined with a type of metal finish. How did you come up with this design?

Nomura: We wanted to put the Meteor in the title logo when we showed the trailer at E3, but we had not decided on the logo yet at the time the trailer was made. I personally wanted to have the Meteor be in a metallic finish to go along with the mood of this project, so when I conveyed my idea to the trailer editors, they came up with a design for me. The logo wasn’t just for use in the trailer, but it would be used for the main title logo as well. Also, during the E3 trailer, the word “Final Fantasy” isn’t shown, only the Meteor as well as the word “REMAKE.” This was because I wanted to make the announcement of the FF7 Remake with only the Meteor symbol. When the original Final Fantasy 7 was released, the marketing producer at the time suggested that the package design only have the Meteor and said to me, “Even if we don’t write the title, people would know that this is Final Fantasy 7.” Back then, we decided against that, but I wanted to have that idea come to fruition this time around.

PART 3: Wanting to Delve Deep into the Characters from these Realistic Scenes

—What part of the Remake did you pay extra attention to?

Kitase: In the original game, many people were able to live comfortable lives thanks to the power of mako energy; however, the same could not be said for those living in the slums underneath the plate, which left a great impression. In fact, I don’t really remember seeing much about the lives of those living above the plate where mako energy powered the cities in the original game. We wanted to draw out those details, such as in the opening movie where you see people and children riding bicycles throughout the city. The scene then turns darker where you see the effects of a lifestyle reliant on mako, where the light and dark contrasts. We wanted to brush upon this by having the player visit Jessie’s home above the plate.

Nomura: I wanted to keep the elements of the original story. In terms of the battle system, things like the ATB gauge or materia, limit breaks, etc. made up an important part of the game, and I wanted to try to bring over that to the remake. However, we had to consider not only the old fans of the game but the new ones as well. For the veteran players who knew the ropes already as well as the new players who were just getting into it, we wanted to create a satisfying experience for both. Not only did we take the original game’s structured elements and modernized them, but it was important for us to make it so that old fans would also be able to come to terms with the changes as well. Since the original game was released more than 20 years ago, if we were to change the styles to reflect modern ones, I’m sure people would accept them. However, let’s say that we changed Cloud’s hairstyle to not be spiky anymore- that would be weird, right? It was difficult to find a good balance [between realism and the original].

Nojima: When writing the scenarios in the game, I had to pay great attention to the fact that the characters that appear are no longer shown in cute graphics from the original game, but actual people now. For example, in the original game, there weren’t many houses shown in the slums, but in this game, there are tons of houses that allows you to strongly feel the presence of people living within a city. I thought to create scenarios where people are living and breathing in this space. Whether it be the AVALANCHE members or other characters in the story, I always dug deep and thought “Why are they living like this here?” when creating the backgrounds.

—One case of that would be when it was shown that Jessie used to be an actress at the Gold Saucer, right?

Nojima: I wanted Jessie’s mannerisms to be like that of someone who has experience in theater, and I delved into creating episodes about her past leading up to her current family situation. There were many plans to create these types of sub-scenarios for the game when the project first started.

Kitase: When we were in the middle stages of development, we decided to put as many sub-scenarios into the main story to give breathers and pauses from the over-arching plot. We put several sub-scenarios about the Turks as well.

Nojima: That’s right, we had conversations such as “What are the Turks doing right now…?” or “What kind of character from the Compilation of FFVII would appear here?” and etc. Other scenarios we thought of was Tifa asking her landlord to help her figuring out which dress to wear in order to infiltrate Corneo’s Mansion, among other episodes.

Kitase: For example, after Cloud fell into the Sector 5 slums, what was Tifa doing? How did she get into that Chocobo Wagon that took her to Corneo? We had a few things planned during the first half of production, but due to time restrictions, we had to cut it out.

PART 4: Cloud Tries to Act Cool like an Adult but Fails

—As we played through the game, Aerith’s lines left an impression on us.

Nojima: Aerith is the utmost important person in the FFVII Remake, and I was very careful with her lines. Each and every part of her carries a great meaning throughout the story, and I used that premise to write her character.

—In particular, during the nighttime flower field scene in Chapter 14, Aerith tells Cloud “You can’t fall in love with me. Even if you do, it’s not real.” For those who are familiar with the original story, this line carries a lot of meaning.

Nojima: To be honest, some staff actually told me that this line made it seem like Aerith was looking down on Cloud, so it got rejected a few times. If you know Aerith’s fate, then this line would really pull at your heart strings, but if you did not know what happens to Aerith, then you might interpret the scene in a completely different way. I thought the gap between the two interpretations was very interesting. On another note, in Tifa’s scene in the flower field, I wanted Cloud to not look cool in this scene. Even though Cloud and Tifa are close in age, he has a 5 year blank slate, and he doesn’t have enough life experience to consider himself an adult. Even though most of the characters are around 20 years old, there’s one guy, Cloud, who has the mentality of a 16 year old, and that person tries to be like an adult. I really wanted to write that into the story. After the Sector 7 plate fell, Barret comforted Tifa with the temperament of an adult, and Cloud saw that and wanted to do the same for her [in the flower scene], but it didn’t go as planned. I wanted to try writing him as being awkward.

Nomura: On that same note, when recording Cloud’s voice, we had his voice actor perform his lines slightly differently depending on who he was talking to. For example, when Cloud speaks with Aerith, he stands up and tries to act cool, with Tifa he loosens up a bit, with Jessie he sounds confused. When Cloud speaks with Aerith, he’s too self-conscious and gives weird replies.

Nojima: Cloud isn’t able to keep the distance between Aerith and him, right? (laughs). He seems pretty impatient with Jessie, but she finds that amusing and pokes fun at him for it.

Nomura: However, when we did voice recording, initially Jessie came off as a bit too nosy, more than we expected, which might have given the impression that she was being rude. In order to avert that, we had her say lines jokingly each time she teased cloud, giving off a sense of charm and attractiveness, kind of like a “haha, just joking” type of attitude. We decided these things in the recording studio.

PART 5: The Remake’s Scenarios Provide a Vast Setting for Events to Follow

—The Remake’s story has many new episodes that I thought followed the flow of the original storyline, but then there’s suddenly a huge plot device that gets revealed, and that surprised me.

Nomura: Is that so? (laughs)

Nojima: I’m sure you were thinking, “What will happen next?”

—How did this development come to being?

Nomura: When I requested a scenario to Nojima, I first thought, “if I am to create the FFVII Remake, I would like to do it this way.” I then conveyed my ideas to him. During that phase, I planned to make this be more than just a mere “Remake.” For example, the battle system this time around is in real timee instead of using an ATB gauge, and with that, the story itself took a turn that isn’t just the basic FFVII, but something new. That’s the kind of story I wanted to create.

Nojima: As for me, I knew that even though at the very core, this story is about Cloud, the works from the “Compilation of FFVII” have greatly increased [over the years], and I wanted to make something that takes all of those works and combine it into one. Each person who played the original version also has their own vision of the world of FFVII, and I wanted to preserve that too. The results of those feelings are shown within the Remake’s story. These were all the ideas I had, so in the beginning I would initially show it to Nomura-san, and I tried my best to explain them clearly to make sure he didn’t reject them (laughs).

—In regards to the story’s important key points, there must be a flashback scene from here on out, right?

Nomura: At first, the direction we took was that we did not want to put any of these hints while still in Midgar.

Nojima: Right, we originally planned to have the storyline diverge only slightly.

Nomura: We thought to have only a subtle change where in the ending you see Biggs alive, which makes you think, “Wait, this is weird…” and gives a slight sense of unease. But then the staff thought, well if there’s room for more scenes, then let’s just add it (laughs). When we did that, there were scenes that we had to say, “No this won’t do,” and removed it from the story. We didn’t add too many new things, but we did leave a few scenes in.

Nojima: I myself added about two or three scenarios to that too….I’m not too sure what happened to those scenarios at the end. (laughs)

—The scenes where Sephiroth appear in have also be greatly added into the storyline.

Nojima: In the beginning we didn’t plan to have him appear so often, more as an overlooming presence instead. During the middle of production, we changed our minds and decided to have him appear more frequently, and suddenly he was in a ton of scenes.

Nomura: At that time, Hamaguchi-san (Co-Director) quietly pulled me aside and said, “I want the characters to fight Sephiroth in Midgar” and consulted me with this idea. In the original story, Sephiroth exists in a different space, and apparently he gathered materials to persuade me to have the battle play out in this way, but I just said, “Okay sure,” and greenlit the idea. (laughs)

PART 6: Doubts that Arise from Things Not Explained in the Game

—In the Remake’s story, there are a few doubts that are left that I would like to brush upon…

Everyone: …..

Nomura: The story will still continue, so I don’t think we can answer much.

—Then let’s talk about things you can answer starting with the Opening Scene in the alleyway, which was also portrayed in the original game. What was Aerith looking at when she was crouching down?

Nomura: I remember someone saying that she was trying to gather warmth from it…

Kitase: I don’t think so (laughs). If you’re in front of a bonfire, you would see the embers pop, but what you see is the flickers of light from mako.

—In the Remake’s version of this scene, after she looks at the light, it seems like she’s running from something. Why?

Nojima: She felt the presence of the Whispers and wanted to run away from them. Perhaps it’s because Aerith had several bad experiences with the Whispers up until then?

—Why is it that Aerith knows about things that happen in the future or of things she hadn’t heard of before?

Nomura: I wonder why……Please wait until the next installment for that answer.

—At the end of the Midgar Highway, before you pass through the wall, Aerith says, “This is the point of no return. Destiny’s Crossroads.” What was she referring to?

Nojima: If Cloud and the others pass through the Wall of Whispers, then they will be outside the boundaries of the Whispers, meaning they will be going into a place where there is no predestined fate. She meant that they will be at a crossroads where they might or might not be able to cross.

—After you defeat the last boss, Cloud and Sephiroth have a conversation with just the two of them. What was the meaning of that?

Nojima: Exactly what their conversation said. Actually, the lines that Sephiroth said in that scene were written during the beginning stages of production where we did not know the exact placement of when they will be delivered.

—In the ending of the Remake, Zack is alive, which leads to a contrasting development to the original story. What is the meaning of that scene?

Nomura: That’s the biggest highlight of the mysteries that have been been set up in this scene, isn’t it? (laughs)

Nojima: And you can also clearly see the dog Stamp too…

—Stamp looks different in this scene though.

Nojima: Oh, does he know…? (laughs)

—Did you have plans in the beginning for the mascot Stamp?

Nojima: Yes, when we decided on the Remake’s storyline, we said “Well then, let’s have this loyal dog Stamp be the mascot.” Stamp is a popular mascot that everyone in this world recognizes, and we decided to also use him as AVALANCHE’s secret way of conveying messages.

Nomura: By the way, the Stamp that you see drawn by AVALANCHE members is actually the design that I was in charge of. I usually don’t get involved in these designs, but I felt that this character would be very important, so I decided to draw him myself.

—During the ending, Aerith murmurs, “The sky, how I hate it.” [English localization “I miss it, the steel sky.”] Is there some deep meaning to this?

Nomura: For Aeritih, the sky symbolizes sadness. The people who were dear to her, such as Zack and her mother Ifalna, had all returned to the sky, and the sky that she sees above her in the slums was covered by Shinra too. The calamity that destroyed the Ancients, Jenova, also fell from the sky. All of these incidents remind Aerith of the sky, which is why she says she hates it.

—At the end of the game, the words “The Unknown Journey Will Continue” show up. What does it mean?

Nomura: Initially, there was another sentence we were going to put instead, but under various circumstances, we decided to change it [to what it is now]. Kitase told me there should be something that connects to what lies beyond the ending. I also wanted to put something there too, so we ended up using that sentence. I think some might think that the meaning of the sentence is unsettling, but we’ve already taken that into consideration.

PART 7: Original Elements Expected to Happen but Do Not Want to be Erased

—After this first installment, the number of expectations must be very high for the next installment, but how many installments do you think the entire project will be?

Kitase: We have a general idea of how the story will play out, but we haven’t decided exactly how many parts, nor can we confirm anything.

—There has been talk that the story will be in three parts…

Kitase: We have not said anything concrete about how many installments this will be, so people are probably just speculating with no proof.

—The fans would like to know when the next installment will be released.

Nomura: It depends on how many installments we decide to make. If we divide the story into large chunks, then it will take a much longer time to develop. However, if we divide the story into smaller parts, then it might be possible to release them in a shorter amount of time.

Kitase: On that note, if we are to maintain the same quality and volume as the first installment, then it is unrealistic to say that we can churn out the next one in just one year.

Nomura: Personally, I would like to release them as soon as possible so we can take a breather. I’m sure the fans would also want the next installment to come quickly too (laughs).

—If we follow this Remake’s story, then the next installment might have major changes compared to the original, right?

Kitase: I’ve talked about this extensively with Nomura, but I’m sure fans of the original are expecting to revisit familiar locations and scenes, so we have strong feelings to not stray away from that. From here on out, we’re not drastically changing the story and making it into something completely different than the original. Even though it’s a Remake, please assume that FF7 will still be FF7 as usual.

Nojima: For me, I create scenarios that follow the general flow of the original story but with the assumption that the way things are presented or how events occur might be slightly different. Personally, I would like to include towns and areas that originally appeared first in Crisis Core FF7.

—Lastly, do you have any messages to the fans who have played the FFVII Remake?

Nojima: I’m sure that they had a lot of fun playing it and might have doubts on what will happen from here on out, but please remember those doubts you had since you’ll probably find your answer in future installments.

Nomura: This was a very popular game in the past, and since we are remaking it, the amount of attention it had garnered even before it was released was high, and there are many who voiced their concerns about the game too. However, those concerns did not affect our staff as we put in our all to create this work, and we just hope that people will be interested in it. The base for the Remake has been successfully established with the first installment, so we hope to meet your expectations in the next installment too! However, personally, I think there might be some who think “Since this is the Remake, I don’t need to play the original game anymore and just play the Remake instead,” but I want to prevent people from doing that. The original and the Remake are two separate entities. So even if you play FFVII Remake, I would also like you to play the FFVII original game afterwards as well.

Kitase: In this first installment, I think we were able to figure out the exact direction and shape we would like to take with the FFVII Remake. Within the Remake, many hints were strewn along, and we would like fans to get excited and think about on what exactly will happen in the next installments. The theories posted on the internet do reach us, and I think that type of communication between the fans and us will help in creating a story together for all to enjoy.

(Square Enix Interview recorded on March 19th, 2020)

[architectuul]

Sail Hejduk, Sail!

The Unfolding Pavilion is an expanding curatorial project that pops-up in the occasion of major architecture events, with an exhibition featuring each time a different theme inspired by the space it occupies, made of commissioned original works that react to it as well as to its cultural and historic background.

Unfolding Pavilion: Rituals of Solitude, 17th Venice Architecture Biennale. | Photo © Marialuisa Montanari / Unfolding Pavilion

In its first edition, the Unfolding Pavilion entered Ignazio Gardella’s Casa alle Zattere on the occasion of the 15th International Architecture Exhibition at the Biennale di Venezia, transforming one of its apartments in a temporary gallery of installations made by some of the most unique authors of architecture-related curated archives. In its second edition, it entered Gino Valle’s Giudecca Social Housing on the occasion of the vernissage of the 16th International Architecture Exhibition at the Biennale di Venezia. In order to do so, it refurbished one of its empty dwellings to convert it into a temporary gallery of works, and use the common spaces of the complex as the poetic backdrop for a three days-long program of public events. 

The Unfolding Pavilion 2021 was this year housed inside of the belly of “Il Nuovo Trionfo” - the last authentic Venetian trabaccolo, moored at Punta della Dogana. | Photo © Travelscapes

In this year's third edition, the Unfolding Pavilion popped-up on the occasion of the 17th International Architecture Exhibition at the Biennale di Venezia, inside of the belly of an old mercantile sailboat - a trabaccolo - moored at Punta della Dogana. The trabaccolo once belonged to Countess Luisa Albertina di Tesserata: an eccentric art collector who in the 1970s commissioned the construction, on a small island of the Venetian archipelago she owned, of an almost exact replica of an unrealised project by John Hejduk: the House for the Inhabitant who Refused to Participate. Unfortunately, the house was demolished in December 2020.

Artist impression of the House of Contessa Luisa Albertina di Tesserata. | Digital drawing © Giovanni Benedetti / Unfolding Pavilion

The curators Daniel Tudor Munteanu and Davide Tommaso Ferrando came to know about the house by pure chance, and decided to organise an exhibition inside of its spaces. An agreement was made with the current owners of the island, who were about to demolish the house in order to build a luxury glamping facility in its stead: the house could be temporarily occupied for artistic purposes, but no images of the event were to be published before the demolition took place. It is so that, in the summer of 2020, twelve architects and scholars were invited to spend one week of residency locked inside the replica of John Hejduk’s house. One per room. Each room was equipped with only one piece of furniture, which they couldn't choose. The outcome of the one-week residency were twelve site-specific works dealing with issues of privacy, domesticity and isolation. Rituals of Solitude, the 2021 edition of the Unfolding Pavilion, is the first documentation of the installations made by the twelve contributors during their one-week residency.

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What is the Unfolding Pavilion presenting?

Daniel Tudor Munteanu: The Unfolding Pavilion is always experimenting. We ask ourselves every time what is an (architecture) exhibition and how we can transcend the simplistic format of displaying representations of architecture in neutral white cube galleries. We tried every time to create special experiences for the visitors: such as the experience of being the first people to enter a famous work of architecture, like we did in Ignazio Gardella’s Casa alle Zattere, or the experience of being part of a project that leaves a legacy like we did in Gino Valle’s social housing. While looking for a venue for this year’s edition of Unfolding Pavilion we wanted to explore more into the sensorial aspect of such experiences. Arranging an exhibition inside the belly of an old boat was quite a fascinating idea. A dark, extremely narrow space that smells heavily of petrol and is shaking from the waves of the Grand Canal.

The Unfolding Pavilion at Punta della Dogana. | Photo © Stefano Di Corato, atelier XYZ / Unfolding Pavilion

Davide Tommaso Ferrando: Daniel talked about the sensorial part, but there is also an intellectual dimension to it, where we are constantly trying to put in question what an architectural exhibition is. The fact that we don’t choose white boxes is not simply because of the kind of atmosphere of the white box but is really to test the configuration of what an exhibition space can be and what it produces. So we never know what the final outcome will be. Several things that are discovered during the process can become the most important points of the project, so we really engage with reality that is experimental every single time. And then regarding the mediatic side of it, from the moment that we discovered the story of this boat by having an informal conversation with Hesperia Iliadou, we immediately understood that this was the perfect location for an exhibition. Full of problems but a memorable event for the visitors.

What is the motivation behind the whole project?

DTM: It is a way to organize an independent project in the context of big institutions. The Unfolding Pavilion is not related to any institution, so we have complete freedom, which is extremely important for us. We engage into a dialogue about what the institution of the Biennale is and how it functions, and we establish a love-hate relationship with it. We acknowledge the importance of this event in gathering visitors from all over the world, this is the ‘love’ aspect, but there is also the ‘hate’ aspect of the big, often menacing, economic apparatus of the Biennale.  

DTF: Each year there are very specific conditions under which we operate and we engage critically with. The first year the condition was the budget as we didn’t have any sponsors we created everything with a total budget of 2000 EUR from our pockets, 1000 each. By choosing not to enter the specific trajectory of investing 30.000 or more money we needed to find another way to solve the problem. The second year we agreed with the city council that we would refurbish one apartment of the housing complex in Giudecca, which we did with a sponsorship from Innsbruck University plus our free engagement. The way me and Daniel are operating is quite consistent, we both started to work independently on our critical projects online on our platforms of communications. We transferred the way of working to the production of architectural exhibitions and we still work in the same way as we both started separately.

Sketches of the Exhibition Design for the Unfolding Pavilion 2021 | Drawing © ErranteArchitetture / Unfolding Pavilion

DTM: Regarding the institutional critique, as Davide said, in the first edition we reacted to the budget that is associated with making a pavilion in Venice and we defined the rule that we would deal with only one percent of the regular budget (which is about 200.000 EUR), so we made an exhibition with a budget of 2.000 EUR. In the second edition, we consumed almost the entire budget for refurbishing our temporary exhibition space - the apartment in Giudecca - and hence making it again available as a social housing unit for a new family. The ‘Architectural Review’ recently critiqued the fact that an extreme amount of resources go into building these temporary exhibitions for the Biennale, which have a carbon footprint quite disproportionate to their lifespan. For the third edition we asked ourselves - do we consider it a good way of practice to build up an exhibition that lives only for a few days or weeks and is then stored somewhere or even trashed? We decided right from the beginning to design everything as a travelling exhibition and so Venice is only the first stop of this project, which will travel and expand in the near future.      

The exhibition inside of the belly of Il Nuovo Trionfo. | Photo © Stefano Di Corato; atelier XYZ / Unfolding Pavilion

How did you guys meet?

DTF: The very first contact was when Daniel was doing OfHouses and he invited me to curate an edition for it. At the same period I was doing research at OII+ on how people were using Tumblr to produce architectural knowledge so I published an interview with Daniel. The real moment with Unfolding Pavillion started in January 2016, when Daniel proposed to me to organize an exhibition during that year’s Venice Biennale. And I said: “why not?”.

DTM: The idea to organize the independent exhibition came out when I was working on the competition for the Romanian Pavilion. I had some very critical ideas and, while finishing the proposal, I realized that this project will never be selected, because it will never get the approvals from the official bodies, institutions and politicians who want to control the country's image. When you want to communicate a critical message, creative freedom is of the utmost importance. So, instead of self censoring your message in order to win a competition, maybe it is just simpler to organize and finance a ‘pavilion’ by yourself...  

The Vernissage | Photo © Stefano Di Corato, atelier XYZ / Unfolding Pavilion

Tell me more about the Rituals of Solitude; why did you invent this story?

DTM: The story that accompanies our exhibition is not necessarily an invention and it’s not necessarily a reportage. It is something in between. We acted less like journal editors and more like film editors, mixing and montaging different bits and pieces that are real. The story has several layers, and you may disregard some at the first reading - for example the very real part documenting the accelerated privatization of islands in the Venetian lagoon. In the end, if the story is true or false doesn’t really matter. Did this Contessa actually exist? Some say it did, some say it didn’t. It’s totally up to the reader, because the ‘action’ in the story is more of a pretext for unfolding different themes we were interested in: the enforced isolation, the obsessive-compulsive daily rituals, the propagation of fake news… The story is very much fitted to our current context; for the first time in history the entire planet was faced with this crisis, that meant curfews, isolation, lockdowns, elimination of social life... When we studied the design of a John Hejduk project titled “The House for the Inhabitant who Refused to Participate” we immediately recognized in its facade the typical Zoom interface, where people show their private spaces to others, designing their own backgrounds to communicate their personalities. Our concept was to invite 12 teams to work on the interior space of a similarly “public” kind of room, where to imagine a daily ritual. Each of these 12 rooms was to be furnished by a single item of furniture related to only one domestic function, and this idea was taken from the script that John Hejduk imagined for the House. One room had a toiled, one an armchair, one a bed, and so on. We imagined how it is to live in a room that is specifically designed for one purpose. The new rituals - working in bed, the compulsive washing of hands, the consumption of digital junk food - are some of the responses of the 12 invited contributors.     

From the book “10 immagini per Venezia” edited by Francesco Dal Co, Officina Edizioni, Rome (1980).

DTF: The whole narrative and protocol behind the exhibition was a very specific and intentional take on how to conceive an architecture exhibition which deals with the concept of How will we live together? after and during the pandemic without adopting the two easiest strategies, which for us are both inappropriate. The first would be not to deal with the pandemic issue, as the vast majority of the projects shown at this Biennale do - which makes them already a bit outdated in this sense. The second would be to directly deal with the pandemic, having the pretension that architectural speculation can solve the problem, which is ridiculous. What we did was to incorporate ideas and reflections on the contemporary conditions in a diagonal, indirect way. We made reference to a project that has nothing to do with the current situation but still was capable of activating many analogies and correspondences with it. This looked like the only way in which we could deal with this topic. How to not mention the pandemic but still talk about the new inhabiting conditions was a main question for us and this was for us the best possible answer.    

---  

All the exhibited works have been exclusively produced for the Unfolding Pavilion by: (ab)Normal, Aristide Antonas, Bart Lootsma, Cruz Garcia & Nathalie Frankowski (WAI Architecture Think Tank), ErranteArchitetture, Fosbury Architecture, Giovanni Benedetti, James Taylor-Foster & Anton Valek, Fala Atelier, Mariabruna Fabrizi & Fosco Lucarelli (Microcities / Socks-studio), MAIO, Matteo Ghidoni, Shumi Bose & Space Popular and Traumnovelle.

[kasienda]

Too Many WIPs

@mikauzoran tagged me to the List all the Titles of your WIPs Challenge!

And while I’ve been ignoring a lot of Tumblr games lately, apparently I’m absolutely weak for getting the chance to talk about my projects. And since, most of these haven’t seen the light of day... I was really excited! 

Published WIPs: Craving for Chocolate Milkshakes (Sailor Moon) - A romantic comedy. Usamamo mind reading trope. It’s ONE chapter away from completion, and that one chapter is 80% there, and just refuses to be fleshed out. But seriously, WHY IS THIS ONE NOT ALREADY DONE?! Restorative Justice - (Miraculous Ladybug) - A Chloé redemption story where she decides to heal the rifts between Ladybug and Chat Noir that have been caused by them not knowing each other’s identities. Pulls heavily from my experience as a teacher trained in restorative justice practices. This story is surprisingly easy to work on at the moment. It’s the only one that cooperates with me! It’s currently got a five chapter outline. Chapter three is mostly done. Just needs to be fleshed out so it’s more than talking heads in a white room. (Dialogue always comes easily to me. The rest of it is hard!) Coming of Age (Sailor Moon) - Loosely based on the Black Moon arc. Neo Queen Serenity has been mortally wounded, and can only be healed by the silver crystal. But no one is old enough to use it! So in a desperate move Chibiusa is sent back in time to be raised by her parents. Not that she knows that they’re her parents. This one hasn’t been updated in a year. I blame fic exchanges (that are all completed now!). But I’m really excited about this next chapter. Like stoked! Invisible Wounds (Sailor Moon) - An AmiZoi medical/senshi drama. Pulls really closely from my personal life as a parent. I also haven’t published an update for this one in like a year. But the next chapter is really close! (I keep saying that! Is it true?)

UnPublished WIPs: Aftermath (Miraculous Ladybug) - Multi chapter dealing with the Aftermath of a Hawkmoth unveiling and defeat. Pre-reveal. Lots of mental health stuff. A story about healing. Chapter one is close. I’m surprised it’s not out yet. Celebrity Status (Miraculous Ladybug) - A multi chapter Ladrien story. Ladybug goes to Adrien for advice about dealing with being famous. They understand one another’s struggles more than they did before. And end up super close! First chapter is close-ish. It’s got like a ten chapter outline. I was originally trying to post it this past June for Ladrien June, but got distracted by other projects and haven’t gone back to it yet. Maybe I’ll shoot to get it out next June. Yin and Yang (Miraculous Ladybug) - I haven’t done all the ridiculous tropes yet. Here I’m playing with a body swap of Adrien and Marinette. It has a similar feel and tone as Chocolate Milkshakes. I’m really having too much fun with it. No where close to seeing the light of day.   Matchmaker (Sailor Moon) - When the future utopia is destroyed, Pluto manages to protect Chibiusa from the timeline changes and sends her back in time to fix whatever prevented her parents from meeting and getting together. It’s much harder than the girl anticipates. Mostly exists as two initial opening scenes and then just snippets of Chibiusa getting frustrated with her parents who won’t stop being mean to each other.  Motherhood part 4 & 5 (Do those even count as titles? They’ll have titles eventually!). These are Sailor Moon Reveals (sort’ve!) In part 4, Usagi realizes her mother knows and has known for awhile. They get to talk. In part five, Kenji figures it out and has a fight with Ikuko because she kept it from him. I have these outlined blow by blow but haven’t gotten them to fall into place yet. A Bad Day (Ladybug Reveal) - Marinette is having a really bad day. Like akuma worthy bad. And she is just now realizing how strategically horrible that is. This one is SO CLOSE to being done. I don’t know why it isn’t.  Infidelity (Ladybug Reveal) - Established Adrinette relationship pre-reveal. Adrien and Marinette get into fights because the other one is lying all the time about where they are. Ladybug and Chat Noir confide in each other about their relationship woes and give each other wonderful advice that help Adrien and Marinette learn to actually communicate with each other!  A Letter to my Teenage Self (Ladybug oneshot) - Adult Ladybug full of regret gets thrown back in time with an opportunity to change things, but in talking to her younger self Ladybug finds herself amazed by the young girl before her, and doesn’t want to change a thing about her. This one is just starting to take form. Idea was given to me from my Discord peeps after they asked me what advice I had for my teenage self! Always Enough (Ladybug) - An Adrino story I started like a week ago. I was trying to expand my repertoire by challenging myself to do a non canon relationship. And I love Nino to death and he doesn’t get enough attention. And Adrien is me, so.... I guess I shouldn’t be surprised that 4.5k words in, this became far more autobiographical than I had ever intended. 

And honestly, there’s like ten other stories that have been started. But I don’t currently have any active intention of working on them in the near future, so I’ll spare you. And who knows if I will publish all of these either. When I’m stressed, I am not as disciplined about what I’m working on. I just work on what comes. This is not conducive to finishing things, but it is conducive to my mental health. 

Anyway, this was fun! I tag @tinacentury, @floraone, @alexseanchai, @ladyofthenoodle, @e-milieeee, @apopcornkernel, @ominousunflower, @chronicallylatetotheparty, @starlingsinclair, and anyone who wants to do it! 

No pressure!! (I may have tagged you because I’m selfishly very curious what you’re working on so I know what I have to look forward to maybe at some point! But STILL no pressure!) 

[emachinescat]

Way Back Wednesday #1

Welcome to Way Back Wednesday! Every Wednesday, I am delving into my past as a fanfic writer and reflecting on and sharing one of my stories… starting from the very beginning, 16 years ago, when I was a 14-year-old kid discovering her love for fandom. ❤️

Today’s story is…

An Unlikely Team

American Dragon: Jake Long & Kim Possible

Summary: Monkey Fist and Huntsman have teamed up in order to defeat their respective foes. With Monkey Ninjas, goblins, dragons, nacos, spy gear, magic potion, secrets, regrets, and tears, no one is going to escape from this situation without changing somehow.

Rating: G

Chapters: 18 | Words: 12,353

Year Published: 2005 | My age: 14

Relationships: Jake Long/Rose | Huntsgirl | Characters: Jake Long, Ron Stoppable, Kim Possible, Monkey Fist, Huntsman, Rose | Huntsgirl, Lao Shi, Fu Dog

AO3 Tags: Crossover, Suspense, Humor

My reflections on and "review" of the story are after the break! :)

Oh, wow. It was an adventure coming back to this story! It marked a lot of firsts for me - my first crossover, my first story above 10k words, my first chapter fic. I don't remember a whole lot about my writing process back then, or about the circumstances of writing this story. I was 14, and a lot has happened since then. I do remember that I was still coming off the review-high from my first story, and that I had no idea what I was doing, not really. And it kind of shows.

I guess I should go ahead and say that this story, like the last one, isn't bad. I mean, the plot, if a bit simple and contrived, makes sense and moves along fairly well, and the characters (except for Rose, but we'll get to her in a minute) are pretty well portrayed, and grammatically, there were no glaring errors that I could see. It was interesting enough; it has been probably a decade or more since I last opened this story, but it still managed to hold my attention well enough, I suppose. It has some very positive reviews (and some critical ones), so I must have done something right.

But I've got to go over the issues with this story. Most of them I think are just hilarious. I'd been writing since I was five, but I was new to this kind of storytelling and still trying to find my voice as a writer. Once again, it shows.

Okay, so first, there's the plot itself - super simple, very contrived, and kind of weird. Huntsman and Monkey Fist team up so that M can help H capture and unmask the American Dragon, and in return, H will give M a talisman that will "undoubtedly" make him the Ultimate Monkey Master? Sure, seems legit, I guess.

Then there's the fact that I had to end every chapter - or nearly every chapter - with a cliffhanger, even if it didn't warrant one. I was dying laughing because most chapters would end with a character saying something hopeful to another character, but then muttering under their breath something grim and suspenseful. For example: "'Let us go. Jake's life is depending on us. He is alive for now...' and then he added almost inaudibly, 'but not for long...'" It's hilarious, and I wish I could remember if I was trying to be edgy or just ensure readers would come back, or if I thought being ominous was a hallmark of good writing. Also, the chapters were overall very short. I think I just wrote however much I felt like writing and then posted. Of course, I was having to post between school and the Boys & Girls Club where my mom worked (and being grounded, like a lot), so I guess I just wrote what and when I could.

Some of the dialogue's a bit clunky, and I had a weird thing with time limits. They capture Jake, and then they have to send Huntsgirl out to get a potion that will make him human because they forgot (???) this very important part of the plan for some reason. She says something along the lines of, "My Huntstick will transport me to the magical black market almost instantly. I'll be back within an hour." That doesn't add up, unless she's going to spend an hour haggling with the seller. Then she gets back, amps up the whole evil villain plot, and then adds, "Oh, yeah, it'll take 30 minutes for this potion to take effect." So she and the baddies just stand there for half an hour watching Jake slowly turn from dragon to human. Then when he's been poisoned (another weird plot contrivance), Lao Shi says, "If we don't give him the antidote in 30 seconds, he'll die!" I suppose I did set the scene, whether intentionally or not, by having a clock ticking in the background, but the way that all of the characters seem to have such an acute knowledge and understanding of time is just weird to me.

The only aspect of this story to actually bother me is the disservice I did to Rose's character. In the show, she's portrayed as a pretty strong protagonist-by-day/antagonist-by-night, but in my story, she's pitiful. I don't know if I just consumed a lot of media with weak female characters or what, but it's super cringey how emotional and weak she's portrayed as once she finds out the truth about Jake. She cries, which is fine, but then girlfriend just up and faints! She cries some more, begs Jake to forgive her, acting like she'll never be able to live with herself or forgive herself if he doesn't, then gets mad at him when he needs a little time to process that the girl he has a crush on is also the girl who's been trying to kill him. Then as soon as he apologizes for... being traumatized, I guess? she turns around and starts spouting off stuff about never being able to forgive herself if he'd died or something. I apologize most deeply to her character.

Oh, I just realized I haven't really discussed the Kim Possible side of things, mostly because it's pretty cut and dry. Those characters all seemed to be, well, in character. I especially feel I had Ron down to a T. It was also really funny the way I had Huntsman and Monkey Fist constantly arguing even through their alliance. The fight scenes, with Kim and with Jake, are very minimal. They're usually one step above just saying, "They fought." On that note, there's not a whole lot of detail or description, but a lot of dialogue. I definitely could have expanded more on the world to make the crossover feel more complete.

All that (mostly light-hearted) criticism aside, it was fun to get to go back and read this, and if you think you'd be interested, be my guest. It's a cute little read, and important to me because it marked the second step in my fan-fiction journey.

Next week, we'll be taking a look at one of the cringiest things I've ever written - yikes!