#blame the comics for the added non sense to her character

[krimsonrose]

Deep thoughts about how Ursa is the root cause of the fire hazard siblings suffering. Her trying to one up Ozai by lying about Zuko being his son in a letter leads to Zuko’s suffering at his father’s hands. And then the fact that the guilt of such actions she took makes her favor one child (her son) over the other. Said alienated child sees that behavior leading her to act out for attention that makes Ursa treat Azula even worse.

URSA’S ACTIONS AT TRYING TO GET BACK AT OZAI FOR READING HER MAIL BEGAN THE DOWNWARD SPIRAL FOR HER FAMILY. It’s no wonder why she ran away and erased her memories since she couldn’t deal with what she helped do to her family as well as assassinating a reigning monarch.

[necrotic-nephilim]

Give me your most controversial dc opinions!!!

HA YES GLADLY I WOULD LOVE TO (added a read more because i had a lot of words oopsie)

The Titans Tower Incident was in character for Jason Todd. at worst, it's a *bit* over-dramatic and a little cringey, but if you consider his actions, his motivations, and what he *actually* does, i honestly don't think it's OOC for him. he's just kind of a dramatic asshole in that era and i stand by that comic. the issue isn't the comic itself, it's how people interpret it.

i think the DC fandom, specifically the Batfamily fandom, really likes to claim to be progressive for brownie points, but then will have the one token woman that everyone decides is acceptable to hate. like, it's one thing if you dislike Carrie Kelley, i get it. Frank Miller isn't a great writer of women and she can be a lack of a character in the original Dark Knight Returns. but if you go out of your way making constant edits and posts shitting on her, it's *weird*. especially when most of the people shitting on her haven't even consumed her source, and their reasons for disliking her can apply to any other Robin, especially Tim. but as long as you put say, Steph or Cass on a pedestal, you can talk on and on about how you want to kill Carrie for the crime of existing. it feels like acceptable misogyny. i also think this extends to writers. if you put say, Gail Simone on a pedestal, you're free to blame everything under the sun on Devin Grayson. (to be clear i think you can and should hate Devin Grayson for a lot of things, but most rumors about her are untrue and if you look at every badly written comic and go "sounds like something Devin Grayson would write" that's really weird bc everything she's done, men like Chuck Dixon, Tom King, Tom Taylor, Marv Wolfman, etc have done in tenfold.) like, misogyny = bad unless it's That One Woman We've All Agreed To Hate. it's weird and i keep noticing it. and no one seems to unpack it. (i mostly see this on TikTok, not Tumblr tbf)

i don't care if you ship BruDick or not, but it's not weird for canon content to imply or state Dick had a crush on Bruce when he was first taken in. even in canon where Dick sees Bruce as a "father figure" in the most generous sense, that bond took years to build and when Dick was freshly orphaned, he *had* the memory of loving parents and didn't want Bruce to fill that role. you don't have to ship BruDick, you don't even have to like batcest, but if you're vitriolic toward just the idea that "hey maybe a young kid on the cusp of puberty might have some weird feelings to work out about the canonically very attractive mysterious playboy who took him in before seeing him as family because that bond took years to build" is nasty and terrible and wrong to you, you don't like the Batfamily, you just like the nuclear "neat" version of it in your head

the Batfamily characters are *all* too hypercompetent. like all of them are just *too* good at what they do that in order to write them in interesting arcs together, you have to willingly make some of them OOC in order to not immediately have the Problem wrapped up. i get it, Bruce is the greatest detective, Tim is wicked smart, Jason's a heavy hitting brawler, but we've reached a point where all of these characters have so many buffs they're not *fun* anymore. especially not in a group setting where you need to justify them needing each other's help. and even worse-so when they interact outside of the Gotham, you end up making every non-Batfam character seem useless just to make the Batfamily look cool. it's exhausting. i want to see these characters lose fights, look stupid, and not be the best for once. they're all getting so good they're just kind of. boring. which is the worst sin for a character, IMO.

i think we should go like. a good year of all Justice League-related teams not having a single Bat on the roster. just as a cleanse so *someone else* can shine. i get why non-Batfam DC fans are sick of the Batfamily bc jesus. it's oversaturation of the market.

power scaling "who would win" fights are fucking boring and i don't care. that's the least interesting thing about the fandom. you're missing the point of all of these characters if you only care about who could win a brawl. also it's just a stupid debate because the answer will *always* be: whoever the author of the comic wants to win.

the Batfamily is too damn big. i love every single one of them do not get me wrong. i'd die for the little niche characters who are likely never going to be relevant again like Julia Pennyworth or Kate Spencer. but it's too fucking big at this point. it's insisted to us that these characters are family but like. half of them have barely existed on the same page together more than once. it's ridiculous and it cannot sustain itself. none of these characters are allowed proper shine because they'll just get dropped for the next new shiny character. i think Maps Mizoguchi is a cool lil lady, but i know in my soul in like. three years she will fade into comics limbo and we'll have a new shiny character to fawn over. it's a brutal cycle bc DC doesn't know how to give any of these characters follow through, just wants to wave around cool new concepts.

both Under The Red Hood and Death In The Family are mediocre adaptations and strip the most important emotional elements of Jason's story from the plot. you can't properly adapt Jason's death if you leave his mother out of it. like they're phenomenal movies as their own pieces of media, but they lack the necessary emotional weight for Jason.

on the note of adaptations: the Young Justice cartoon is i think the best case study of "how do you react to a piece of media that's amazing on it's own, but is a fucking horrible adaptation?" because like, i can't discredit it. it's a good show. but it's a bad adaptation and i think people using it as an entry point for DC can make their views of certain characters and teams *very* warped. the Harley Quinn: Birds of Prey movie falls into a similar vein for me. if that movie was it's own thing with original characters, it'd likely be a top five movie for me. but because it's *such a fucking bad adaptation* i can't help but hate it for brutalizing the characters and the general concept of the BoP. it should've been a Gotham Sirens movie, and Young Justice should've been a Teen Titans show. and sure, adaptations don't owe us accuracy, but they have negative effects on the comics when they gain popularity. so i struggle to like Young Justice bc of how badly it's affected certain characters.

also on the note of adaptations: the best adaptation of how comic media operates is the Sandman tv show. adapting comics to tv shows or movies is difficult bc comic arcs don't operate the way show/movie arcs do, but the Sandman show proves it's absolutely doable to adapt the storytelling style while still making the typical adjustments you need for an adaptation.

DC needs more Deaf representation. in most areas, DC either matches Marvel or outperforms Marvel with representation of marginalized identities, but it's fucking tragic we have no deal Deaf rep in DC whereas Marvel has quite a few to pick from. this one is personal bc i'm Deaf but it does fuck me up the only option we have is a side character from Tim Drake: Robin who doesn't appear anywhere else and isn't a great character overall. DC i'm in your walls.

on the note of representation, if i see one more person say Titans had "perfect casting" while in the same breath admitting Dick was whitewashed, you are weird and i dislike you. it's really fucking weird that whitewashing is permissable to this fandom if the actor cast/fancast is hot. Dick should've been a Roma actor. Damian should not be fancast as a white actor. it's the bare minimum.

i have so many more but i will end with this especially controversial one: Dan Mora's art is overhyped. that man has the worst same face syndrome i've ever seen and i will not lie half the time i can't tell which Robin he's drawing. his art is technically gorgeous and it's so pretty to look at, but begging for every comic series to be drawn by him is boring and terrible. the art style of a comic reflects it's genre. wanting all comic art to look like Dan Mora's art is sucking the style out of comics. i miss art styles like Todd Nauck's that clearly reflected the genre of the comic.

i lied i have one more i'm REALLY passionate about: Tim's vigilante name after Red Robin should not be bird-themed. naming him Sparrow or Cardinal is *just* as bad as naming him Red Robin longterm. they're *just* as derivative and they *sound* cool but don't hold any real unique identity for Tim outside of Robin. like it baffles me we all agree he needs to move on from Robin and then decided "let's name him Robin Lite". if he has a bird name, it should be Jackdaw so at the very least, he's not red anymore. and Jackdaw could be a fun callback to Drake, in that it uses part of Tim's real name (his middle name, Jackson) while standing out a bit. but if i really had creative control i'd give him a completely unique name. if it has to be Batfamily related, Gray Ghost. but in my head, his name should be Conspiracy. i could write a lengthy meta on why and tbh it is based in my love for the Question and wanting Tim to have a similar detective noir-esque gritty solo, but i genuinely don't think he should be Cardinal or Sparrow. those names only continue his identity issues of being trapped as either Robin or a Robin knockoff.

[antiloreolympus]

10 Anti LO Asks

1. I'm not gonna deny that Minthe would be abusive irl, but I think I've figured out why she doesn't feel so to me in LO. Obviously because she's not the only person to slap someone and yet is the only person whose slap isn't played for laughs. But also because of how cheap the drama is in LO ("what's so bad about the slap, people do that all the time in soap operas") and because of the standard for violence being high (Hades carved someone's eye out once and we're pitying him for getting slapped).

2. idk why people say Persephone being nice/kind is bad characterization. That's arguably the only accurate part of LO in terms of myth. the real issue to me is RS and her fans seem to think Persephone has to reject those traits (as well as her nature ways) to instead be a violent, cold hearted capitalist like Hades and co. to be "mature". She was the kind one  in the couple! Whats wrong with her staying kind despite all the hardships she's suffered? Why must she become cruel to be taken seriously?

3. homer would hate literally every modern greek myth retelling but LO especially. ya boy adored demeter and would despise what RS did to her story for the sake of a weird DDLG version of a respected couple.

4. That one anon is right, it does seem like RS has lost her passion. No wonder! This story began as a cutesy (well, for some), romance-focused retelling of one myth, and it's clear that that's what RS wants to make, but now she's dug herself deep into those weird convoluted plots that she can't even resolve properly. I'd get sick of writing this too.

5. other anon is right. most of the LO men are boring but ares has no reason being so goddam ugly. why would you do this to him, rachel!!

6. werent most of the ancient greek writers and poets huge misogynists and xenophobes towards any non greeks? they wouldnt just hate LO for what a mockery its made fo their culture and story. theyd hate rachel too for being a non-greek woman. yall cannot claim rachel is better than the poets for "improving" the mythology then claim theyd adore her despite their ancient, regressive ideals. cmon guys, be real here.

7. ok but if rs is seriously lost passion for the project then why wasnt it wrapped up years ago? why not take a month off and work out an ending sooner than later? like if shes seriously so sick of it by now, then why drag everything out and keep adding more plots that will take months/years to get to? other webtoon creators also had popular series like her but ended them when they wanted to & are now making new series. not to be rude, but theres no one to blame for here but herself.

8. you know i would have thought hades using artemis to excuse persephone's actions would have been a perfect chance for persephone to stick up for her and to show for ONCE a female relationship actual meant something in LO, but no, Persephone just sat there and let her supposed "friend" be used to excuse her mass murder. I know people are speculating Artemis will be the next "twist" villain and considering how Persephone is already being shown as not her friend by this point im inclined to agree.

9. im not against the flower nymphs being pink but like ... cant they have different shades of pink at least? like make some dark magenta and some pastel, why do they have to be the EXACT same shade as persephone? how can the comic claim shes the most unique, powerful goddess ever even theres thousands of women who look exactly like her and her powers arent actually that unique?

10. idk to me wouldnt persephone being like 500 makes more sense to why she wants to be independent and free from demeter's house make more sense than a 19 year old? because as it stands persephone just seems like a selfish brat who doesnt care what her mother had to suffer and sacrifice for her, only for everything bad demeter was trying to save her from happening all within two weeks of her being away from home. im not excusing lo demeter's actions but shes the only character who is proven right.

[idw-sonic-fan-blog]

The Mandates

Just wanted to share my thoughts on the pro-ported mandates because they cast a shadow on this comic.

“Game characters cannot have relatives unless they were estabilished in the game canon, i.e. Cream and her mother.”

This one is understandable and you can blame Penders for this. Mind you that most licensed comics of gaming franchises don’t actually delve too much in personal family relationships or expand on them. So this is expected and honestly Sega should have put the screws on Archie decades ago about this.

“Game characters can not die. There are workarounds for this, such as being Mistaken for Dying or "Mistaken For Dead”

Again. Yes. Not a big deal.

“Game characters cannot have wardrobe changes unless approved. Chao Races and Badnik Bases has some characters (mainly the female game characters) wear different clothes for extreme conditions. Male characters remain the same.”

This is a useless rule but whatever. I mean Sega, you are the ones putting bad wardrobe choices on the characters so again it’s whatever.

“Sonic can't be shown getting too emotional (i.e;cry)”

This is one that it complained about because it really wouldn’t matter unless it is called attention to. A lot of superheroes don’t cry. But that doesn’t prohibit them from expressing themselves. IDW Sonic has been sad. He has been pissed. He has been furious.

Is this not too emotional?

Is he not expressing himself appropriately?

I don’t even know why this is brought up. When in this comic has Sonic not been expressive or displaying the appropriate amount of emotion? When did Sonic needing to cry be necessary?

“Game characters cannot enter in a relationship.”

Oh GOD YES. Don’t threaten me with a good time.

“All major Character Development must be approved by SEGA.”

Yeah, of course. Let me remind you that Penders and Archie ruined any strand of trust Sega could have in comic media. They played loose at first and all of the sudden, they are involved in a lawsuit about characters in a Sonic comic that they didn’t even know about. They probably lost a video game business relationship because of it. If they want to be involved in the comics, fine. That means that they are now forced to World Build. They have to invest in it now and not just be like Lucas Films and let anybody do anything with their flagship title.

“Much like the post-reboot of the Archie comic, the words "Mobius" is banned—the planet is simply called "Sonic's World". Unlike the Post-Boot, which allowed the names "Mobian" and "Mobini", anything related to Mobius is banned in this comic.”

…Of course but how about you throw the writer’s a bone and I don’t know, name the fucking planet. If it is not Earth, give it a name.

“Sonic must always win at the end. Even if he and his friends are at the losing end in an overarching story (the Metal Virus arc, for example), they must come out on top when it concludes.”

I don’t even get this rule and the knee jerk hatred for it. Why even have it? Why even share the existence of this rule? Archie Sonic didn’t really lose too bad. It’s more on how you frame a victory. The fact of the matter is that Eggman is still actively trying to conquer the planet. Sonic stops him but Eggman still has control of land and has military installations all over.

This rule is offset by this. While Sonic can’t lose, Sonic can’t completely win.

“Characters and material from other licensed properties (Sonic the Comic, Sonic the Hedgehog (Archie Comics), Adventures of Sonic the Hedgehog, Sonic the Hedgehog (SatAM)', Sonic Underground, the OVA, Sonic X and the Paramount films cannot be used. This rule extends to characters and redesigns done by the current writers. The only exception is Sticks from Sonic Boom, and that's because she was created by SEGA themselves and showed up in non-Boom media, but any ideas regarding her use still need to be okayed by SEGA.”

First off I am glad that Sticks was spared by this rule and I look forward to her eventual inclusion. Second, again, this is not much of a big deal as it was expected. Sorry Freedom Fighter fans but honestly deal.

“Male characters, sans Eggman, can't wear pants, which was also a thing in the Post-Reboot, albeit never explicitly stated. The inverse is also true; female characters have to have some form of lower clothing.”

Okay this is a pedantic rule. It is so weird with how precise it is. Like…huh?

“Classic characters such as Mighty, Ray, Nack/Fang, Bean, and Bark won't appear in non-Classic issues, as Sega doesn't want Classic and Modern Sonic to mix.”

One of the most bullshit mandates fueled by the nostalgia boner fans created. Like this is stupid because Archie Modern Sonic has added more character and depth to all of these mentioned characters than any of the Sega Sonic games they appeared in which only amounts to 1 or 2 at most. Why neuter your own potential stories with this stupid limitation?

“According to Ian Flynn, a specific incident involving Shadow's characterization when he's exposed to the Zombot infection was written in a specific way because of Sega mandating that he be written as an "overconfident asshole rival" character, similar to Vegeta. He later followed up with an explanation that out of every character, Shadow has the most mandates and notes attached to how he's portrayed. According to the podcast, Sega says that Team Dark is no longer a thing. The three members are not a team and they have never worked for G.U.N.; Shadow also doesn't even consider them friends.”

This is my opinion is the worst rule. First it’s contradictory to the character Sega introduced us to. Stop trying to be like Dragon Ball for once and actually be your own thing. It’s one thing if we are changing it because Shadow was unpopular because of his personality. But no one likes this Shadow. People miss the somber but reserved Hedgehog that continued to fight in spite of the world betraying him. Hothead Shadow is a cheap Knuckles. And I don’t even understand why Shadow even has so many mandates when he wasn’t the most egregious offender. Knuckles was.

Also, Team Dark aren’t a thing and Shadow doesn’t even consider them to be his friends. First off that doesn’t even fly in your own games. Who outside of Sonic does Shadow interact the most? Rouge. They have teamed up and were a packaged duo since their inception. When Shadow appeared, Rouge appeared right next to him. If Rouge was in a game, so was Shadow.

Team Dark or just Rouge has fought alongside Shadow in every game they appeared in. Who else does Shadow talk to if not Rouge?

“Sega has stated to Flynn that only male hedgehogs are allowed to go Super with the Chaos Emeralds.”

Except in Sonic Mania.

“Ian isn't allowed to directly reference a game, since the comic is supposed to be its own thing.”

Okay. Not only is this rule stupid. But it’s untrue.

This references the end of Sonic Forces.

The first page of comic.

It has referenced Sonic Adventure, SA2, Sonic Generations , and Sonic Unleashed.

This referencing Shadow the Hedgehog.

I don’t believe this rule exists and even if it did, it is dumbest rule since the whole point of this comic is to base it off the games more. The dumbest rule.

“Knuckles is not allowed to leave Angel Island unless he has a very good reason to.”

For decades, people have complained that Knuckles routinely leaves the island. For decades. Now does this mean Sega is going to 1. Use Knuckles and 2. Amplify the importance of Angel Island and the Master Emerald? No. Again, this criticism should be levied at Sega because they often conveniently forget Knuckles purpose and just hand wave it instead of giving Knuckles more to do on the island like I don’t know, have other entities invested in attacking him.

In summary, here is what I think is going on. Do I think most of these mandates are real? Yes. Given what happened to Archie, I do think Sega is doing some brand alignment. I think they got the clamps on.

But what I think is going on is a Japanese cultural thing called Power Harassment. It is normalized abuse of power. Sega of Japan is normally laxxed about their brands. They don’t mind blatant rip-offs of their mascot nor do they get stiff about fandom creations or mods. The comic division, however, is getting tough love because not only did it cost them a publishing deal, but ruined a relationship with a high end developer. So the IDW writers and staff are being subjected to intentionally hypocritical rules and strict mandates that they know don’t make sense until they’ve shown to be obedient.

A lot of the mandates aren’t strict. But some are so asinine that I don’t think they aren’t aware with how stupid they sound imposing those rules. Like Shadow is the most narratively complete Sonic character and yet, Sega puts this tight mandate as if Archie Shadow was the most egregious thing. Archie Shadow was overpowered. He wasn’t out of character like Sonic, Knuckles, and Tails were. They can’t be that stupid or be that intentionally dense. So they want to see if the writing crew can follow orders. That’s it.

But that’s just my take.

[yourfinalbow]

So, I’ve (anon) been trying to keep up with Loki based on tumblr and tiktok and just,

Hypothetically, does the song “Getaway Car” (eh) make sense in the sense of Loki being the one in the getaway car with what’s all happening with (Mobius? and Sylvie?)

Also Sylvie.. that’s himself? But in a different vessel? Ala, learning to love himself?

Idk, I saw an edit where it was Loki (Tom) and they had Getaway Car in the background but it was an ad type thing, not based on the show.

You seem like you know a bit about Marvel, so I figured I’d ask you first.

Oooooooh actually anon that song is so perfect for them. With the added layer that I've (non anon) been told by a very knowledgeable friend it was written about Tom Hiddleston? Who, as I'm assuming you know, plays Loki.

It would, hypothetically, work with both Loki & Sylvia and Loki & Mobius, but I'm 100% on team FrozenInTime (Loki/Mobius).

And, yeah... it's not great. I've been almost entirely convinced that Sylvia isn't actually Lady Loki. (Who typically is the spitting image of normal Loki, just in female form.) It's very convoluted, but in the comics, Lady Loki's vessel body is just a body he's disguised as, with the intention to trick Thor, and "he" is still himself. So Lady Loki's blonde hair and varied personality are certainly believable because of her variant status and how they've done it in the MCU, but the comic backing isn't as strong.

I was pretty sure that "Lady Loki" was actually the Enchantress, but with all of the recent and huge reveals, from a narrative stand point it wouldn't be as satisfying. (Plus if she's the Enchantress, the director's claim that Sylvia and Loki's relationship is "not necessarily romantic", doesn't defend us Mobius/Loki shippers as well.)

I hope that he does learn how to love from Sylvia, but I genuinely think it would be more meaningful if it was platonic love. Romantic love does in a way have the added layer of narcissism, which is a label they stuck on Loki last episode, and one I'm not behind at all. (A very jealous Mobius informs him he's fallen for himself, and "selfcest" is not a word I want to wake up to all over my dash again.) A lot of the show is about character development through Loki opening up to Mobius, and generally learning about himself by taking the walls he's built around him. (Which I could write thousands of words on, all blaming the way he was raised.) Despite the amount of relationship tags on Ao3 that would lead you to think otherwise, over the years he's had very few meaningful connections with people. And before you can love other people (*cough* *cough* Mobius *cough*), you have to learn to love yourself. (Which he can do through Sylvia.) It works both metaphorically/symbolically, but it also works in the way that if he can forgive Sylvia for the mistakes she's made, he should be able to forgive himself.

But YES. Getaway Car is an awesome edit idea, and if I have the time, I'm totally stealing it and making a full length edit happen.

And thank you for coming to me anon, I appreciate it! Hopefully I didn't ramble on too much.

[seyaryminamoto]

(1/2) What if the reason Bryke left was because Netflix wanted to give Azula a redemption arc? Or maybe somebody wanted to change the first scene of the show so that Katara wasn't with Sokka when he went fishing and so Aang wasn't unfrozen until years later... *whistles innocently* And they realized this route would allow them to make a longer series, meaning more content, meaning more profit. Jokes aside, I realize both of these options are 99% not the reason Bryke left, but imagine if...

(2/2) they were? Like, how funny would that be? Well, the latter possibility would be sort of funny, while the former would be somewhat depressing actually. Anyway, I'm surprised how many people are complaining about Bryke's departure. From what I've seen, people primarily shit on them and any praise in regards to ATLA goes to other writers/artists. I already didn't have any high expectations out of the live-action version, but this latest development didn't really worsen them much.

x’D not wrong about the second option being hilarious, though I’d hope I’d have heard something about it, if just out of sheer decency by Netflix to contact the cruel mind behind not sending Sokka fishing with Katara... (?)

Anyways, Bryke’s involvement in ATLA’s writing is often up-played by casual viewers, and downplayed by hardcore fans. There’s no sure way to know how much work they did on ATLA’s writing, seeing as there’s a fair amount of reports that suggest Aaron Ehasz, imposed on Bryke by Nickelodeon, reeled the story into what it became. I’ve even seen people claiming Bryke’s original ending would have featured Aang leaving Katara and Sokka behind while flying off to find more airbenders after the show ended. Not half as feel-good an ending as the show’s, right? Then there’s also reports that male!Toph was going to be in a love triangle with Katara and Aang... adding Zuko to the mix, as he often was added by extra ATLA content, Katara was likely to have three possible love interests, if Bryke had gone forward with this? Considering how Korra outright had three different love interests in ALL the members of her gang, this doesn’t sound like that outlandish a claim, whether there’s real sources for it or not. If they were willing to do it with Korra, I’d believe they’d have done it with Katara.

Ehasz is indeed credited for female!Toph and Azula, in the art book (I think) Bryke are outright featured saying Ehasz is the main artificer behind Azula being who she was, rather than Zuko’s older brother (Bryke’s original concept for her character). With this in mind, when Ehasz comes out and claims that, in a hypothetical book 4, he would have redeemed Azula to also finish Zuko’s personal character arc, and then Bryke show up claiming there NEVER was a book 4 possibility, you get a clearer understanding of where Bryke are likely standing in regards of Azula’s redemption :’) if that’s what Netflix wanted (... though I question they’d have pitched it since the get-go), it’d be no surprise that Bryke wouldn’t hear of it.

There’s no denying Bryke had interesting ideas, and that they worked to build a pretty complex world, but we cannot know how much of that world was solely their doing, and how much of it was also created by the input of the larger team of writers involved in ATLA’s original show. LOK, on the other hand, features a clusterfuck of worldbuilding that doesn’t always make sense, including no shortage of retcons (not only of pre-existing lore, LOK even retcons itself up to three times regarding explaining why and who decided to keep Korra in a compound for most her formative years), terribly written romance (whenever it’s written), poor storytelling decisions that outright derrailed their show and even turned their protagonist into the B-plot for the bulk of the final season... and what a coincidence that this time Bryke had no one breathing down their necks telling them what to do: they had a lot more creative freedom in LOK than in ATLA. There was no Nickelodeon imposed Head Writer, and they didn’t bring Ehasz back of their own volition. Whether because Ehasz isn’t that great to work with or because Bryke simply didn’t want anyone else to poke their noses into THEIR story, Bryke didn’t want any supervision over LOK. And as many loud fans as LOK may have, LOK’s storytelling quality simply doesn’t measure up to ATLA’s, and I refuse to blame Nickelodeon for that when all evidence indicates Bryke had no idea what they wanted for Korra in the first place.

What I’m saying is... Bryke do seem to benefit from having someone else reeling in their ideas, probably providing genuine structure, making them seriously reason with WHERE they’re taking the story. This, going by ATLA’s much clearer structure, is something I’m willing to believe Ehasz offered, and something Bryke lacked, by their own volition, in LOK. It’s also something they lack in the comics, seeing as, up to date, they haven’t done anything in them that really lives up to their potential, as far as I know. “The comics don’t have any direction and aren’t advancing their world’s story” has become a far more frequent complaint with each newly announced and released comic volume, whether by supportive or antagonistic fans. Why might that be...?

It’s possible, of course, that Netflix’s team simply isn’t the kind of team Bryke can work with positively. Maybe they’re too stiff, maybe they’re not that creative, maybe they’re unable to compromise and it’s not all on Bryke?

But with the precedent Bryke has set (ATLA, with supervision, manages quality storytelling, despite its many flaws, whereas LOK, without it, is a storytelling failure), I wouldn’t be surprised that they were outright unwililng to compromise their own ideas after experiencing the full freedom of working on LOK without anyone telling them what to do, and that upon finding they wouldn’t have that same freedom this time, they quit. 

Does this mean the show will automatically be better or worse? Eh... beats me, frankly. There’s no denying Bryke did endeavor to develop a large, unique world with the Avatarverse, but as much as the fandom believes otherwise, what made the Avatar world unique wasn’t merely that it wasn’t “white”. This particular qualm by the fandom feels really narrowminded to me, and I’m not saying this because I believe there should be white people in Avatar, hell no: what I do mean is that ATLA had an Asian setting, but the narrative frequently imposed western values on it. They recreated many elements of Asian cultures, but morally? ATLA couldn’t be more western. Is that a good or a bad thing? Beats me. But there’s a lot of occidental influence in ATLA’s narrative, even more of it in LOK, and that somehow doesn’t bother people nearly as much as it bothers them that the liveaction cast isn’t western in the least. Yes, it’s true, the cast shouldn’t be western: but there are many regards in which the original ATLA could pioneer a better understanding of many Asian cultures, and it doesn’t. Even something as complex as the Fire Nation’s cultural practices (no, I don’t mean the genocide and supermacy, I mean everything else) is outright blasted by the show’s western moralism from the get-go rather than seen as what a different culture values (already offered a few thoughts about this on this other ask).

Therefore, in terms of casting, which seems the main concern of the bulk of the fandom, I highly doubt Netflix will be willing to repeat the same mistake M. Night’s fiasco committed. They can’t be that stupid. They’ve done a lot of big diversity efforts in the past, whether insincere or not, in many regards, so I seriously doubt they need Bryke sitting in the casting booth repeating “NO WHITE ACTORS! NO WHITE ACTORS!” to the top of their lungs to remind Netflix's executives that this just can’t happen. Seriously, if that’s what their input for the show was supposed to be about, Netflix was better off saving up the money of hiring those two as main consultants or executives and using that coin to pay the likely lousy salaries of the non-white actors they’ll surely hire :’) I doubt, seriously, that Bryke’s problem had anything to do with white casting. If Netflix entered this deal and didn’t do their homework first, then they’re basically dooming themselves since day one and the show would suck with or without Bryke’s involvement. This is not impossible, but really stupid, and an absolutely failed business venture to jump into.

In the end, I don’t know what that liveaction will shape up into. I don’t exactly care much either, which is why I didn’t really debate this subject before answering this ask... I’m pretty detached from canon these days, as things stand. I can’t even bring myself up to reading the plot of the Kyoshi novels, no matter if people keep telling me they’re ~actually good!~, let alone will I want to rewatch ATLA in liveaction when I’ve become increasingly infuriated by liveaction remakes with each new one Disney releases :’) from the moment it was announced, I knew this remake wouldn’t be for me. It’s not likely they’ll do anything with it that I’ll really want to see, or that they’ll change things in a way that resolves my frequent complaints about the show’s storytelling mishaps. Therefore, I’d always meant to leave it be and let everyone else enjoy it...

... And Bryke’s absence from the project doesn’t really change my mind on that front. At this point, crediting them for the entire success of ATLA is incredibly naïve, especially seeing how none of their later projects have even come close to ATLA’s level of storytelling quality. Likewise, it’d be naïve to assume Netflix is guaranteed to do better without Bryke’s “meddling”. If anything, without Bryke’s likely persistence that the show be kept close to its roots, Netflix is bound to fall into its frequent, known tendencies of pandering to certain crowds at the cost of quality storytelling because Hollywood overused and bad tropes are where success is at! They’ll likely flatten characters, turn them into edgy, non-humorous versions of themselves, not unlike in M. Night’s film, and then everyone will hate the show anyways for offering such dull and simplistic characterization compared to the original :’)

In short... there’s no winning scenario. There really isn’t. I assumed there wouldn’t be one anyhow, from the get-go, at least for myself? But now that Bryke are out, the fandom is divided in about four factions: 

The ones who will watch and support the liveaction no matter what.

The ones who think it will suck balls because Bryke aren’t in it.

The ones who think it will be an improvement because Bryke aren’t in it.

The ones who won’t watch it no matter what.

Me... I’ve been in camp #4 from the start. Bryke being part of this project didn’t reassure me, neither does their absence... and I’m still as convinced this show won’t be my thing today as I was when it was first announced. So... *shrug* we live and let die. I mean, first of all we have to wait and see if the show’s production will even survive the pandemic first, so we can worry about how bad or good it will be if Bryke’s departure + COVID-19 didn’t destroy it altogether already :’D

[sebastianshaw]

Reading your response has made me miss his older appearances, maybe I'm just feeling very empty from his current portrayal which plants doubt in me as to why I like him if writers don't care about him. Thanks for the detailed reply, my remedy for this is probably making up more scenarios in my head lol.

I would not blame you, so do I! Both the “feeling empty from his current stuff” and the “making up stuff in my head”. Like, daydreaming up scenarios that have Shaw written as I would is my hobby! Not just on this blog, but just when I’m like.. . doing anything. Which I guess sounds lame, but I love fictional characters and imagining stuff, and if comics aren’t giving me what I want, I’ll give it to MYSELF. As for why you like him if writers don’t care about him---writers don’t care about most of my faves, if any! It’s totally fine to love characters that have been abandoned or misused! It’s definitely frustrating as FUCK, as you know, but fate has just seen fit to curse me with love for the unloved, and I’ve embraced it! Adding on a bit more to my original answer, think just allowing him non-hostile interactions would go a long way? Some of his best character moments have been when he had to team up with the X-Men, and thus we got a chance to see him in a context that isn’t fighting him. When he told Bishop he was only interested in breaking up a mutant slave ring out of his own self-interest, when Charles thanked him for his help against Sinister and Shaw dismissed it by reminding him it wasn’t out of altruism, not to mention all of the great stuff with Storm in The Legacy Quest. Again, not much of that makes him better----the first two examples are literally him reminding everyone he’s a selfish self-serving bastard and proud of it---but they were still CHARACTER MOMENTS if that makes sense. Getting his internal narrative in The Legacy Quest Trilogy was also really neat, a real up-close look at why he is the way he is, was also good stuff. Likewise, his respect for Emmanuel Da Costa, and how he wanted him in the Hellfire Club, his friendship with Harry Leland, etc. Shaw currently has none of these personal connections left. There’s really no one left around for him to be in anything other than “villain mode” with; not even Shinobi, since he’s using him for his own ends (although I think some in-depth exploration into their relationship, particularly the idea that Shaw does in his twisted way think he was helping Shinobi by hurting him in order to make him stronger, as that fits Shaw’s own life and worldview, would be great and humanizing while still horrible) That’s honestly one of the reason I combine him with my other fave, Haven, because she makes for really great material with non-hostile interactions and isn’t going to have the same automatic hate and repugnance for Shaw that others are going to. Just setting up ideas of them talking or interacting is stuff that could go miles if it were canon. And it doesn’t need to be with Haven, it could be with anyone---just some kind of mundane detail that shows he’s a human being, like Bishop saying how he never got to see the beach til he was an adult and Shaw saying that actually he never did either, he never got to take a vacation til he was an adult. Or asking Storm if she thinks she’d love nature so much if she couldn’t control it, that it must be easy to love the elements when you’re impervious to them, and how he hates the cold personally because he grew up in it. Just small shit like that reminds the reader that he’s a person too, without in any way engendering him with some kind of moral goodness he doesn’t have. TBQH some of my fantasies with him and Haven probably go into the cringe territory, because it’s hard NOT to want him to show emotion or attachment to someone, and I care a lot about Haven and want to take care of her so having a big powerful male figure to do that vicariously through (I’m small, female, and timid/weak) fills an emotional need for me, but fuck at this point I’d take that kind of cringe over the story we’re currently getting. Anyway, my point is, definitely make up scenarios in your head! I think it’s a GREAT pasttime! And because it’s in YOUR head, you’re not a published writer putting them out there for Marvel, they can be as cringe and unlikely as you want them to be! It’s GREAT!

[romy350-romyakari]

Since I'm okey with people calling me out here I will unleash my humble opinion on a matter that makes me roll on my seat because is so funny as it also is so... uhmmm "weird" to have in count.

Take it as the writers huge mistake what I'm going to point out in a bit.

I guess I'm still salty even after 5 years. Is confusing at best and I'm adding this after writing all of this. Is a lot to read so please just know is a huge ramble.

aka me rambling over what I feel on rewatch been no longer that young

Is part of our experience judge that to some degree.

Characterization is important, it defines who we see on a story and is better if there are consistend or if their inconsistent have a good reason to be.

Well I was young once and could miss mistake like the 180° not so justified turn of events on a main character. I realize some years later and can laugh about it because it makes no sense.

I'm going to explain the case of Angel's Friends cartoon and that huge mistake from their characters.

Like I am fond of the series because it was my first fandom. But still I can't unsee this as you can guess.

Let's begin with the nature of something they like to state early on the cartoon show which was really cliché but angels were the goodie two-shoes and devils were the bad guys im general. Simple but not so simple for them to keep in rule it seems.

I like to imagine they respect some of the calm and more expected nature of the angels and the chaotic and up to no good ways of the devils like the Original comics did for both of them but we wouldn't be here on my post if that was the case.

It was quite a mess how the cartoon take the character since the side character could be so plain that you forgot that they were doing something till they were support help to their own side been angels or devils.

But again with the stuff that make me roll off till now and nobody on the show says a thing about.

They freaking mess up with their own statment of Sulfus on the cartoon show and they can't tell me no they didn't. Is hillarious and let me tell you why.

They may say on that thing how "loves make you change" but this one could be taken for a fool and is really lot coming from me.

They present him lot more chaotic and really problematic on just chapter 1, it did give an impression but everthing goes down hill a bit from her and on.

As the plot of first season is the villianess doing hidding matchmaking and poison of love plan that seem to turn into a real love story for this chaotic case of the female lead Raf an angel and the male lead who is Sulfus a devil so she could scape limbo to the terrible consecuenses that bring over a trully huge rule on the series wich is part of a magic code of not interfering with each other party and less uhmm a kiss, you really see lot of stuff go on here and mark my word is not like "oh no this is not safe for the kids" but is not quite recomended for them peraphs.

This doesn't make sence but i think the villianess plan was an excuse to showcase the romantic tension and ovearlod or romantic takes.

I can't watch the series withouh some wather to pass the taste of "i thinks this is too much"

But this mention has a meaning behind since i need to state this and the huge overload on the romance we get because i believe is a guge thing that affecter how they write the characters on the cartoon show .

They really did bad to Sulfus uh? Like most of the show. You wouldn't qish to have to deal with chapter 1 Sulfus as asigned rival, he seem to be a big deal on the devils group because how remacable chaotic he was but that didn't last long.

The villianess plan was a match making one since he and Raf break a rule that is used to her advantage she would lead them to comith a sacrilege which would really shake that magical code that they should not mess with. It causes huge dissasters and mess btw.

There is s small time gap before the love poison the villianess send on a spider that she encomended her only servant with leaning it to find the pair of eternals she was targeting. On that gap we still retained normal characterization for Sulfus but the episode went down hills on characterization pretty quickly.

It was so uncalled for the way they set the situation of the bit from the spider tho... idk if blame the spider at all because actually the romance would no have a foot at all if the writers didn't bend Sulfus as a character like the extend they did.

There is this huge point they state that their romace was not because of the spider bit that later i think is kind of acknowledge but is quite confusing if they wat to justify some fated love.

Anyways from then on we see how literally did soften Sulfus character to the point he been devil makes me wonder why nobody call him out about it like there is this expectation they stated us the normal was been that troublesome chaotic for devils but they seem to just let it pass from then on. I am still laughing because he actually change so much that rewatch episode one you can just laugh because at that point you know he will became a softie later that is actually bad for him as a charcter since there is little to non struggle on why he is behaving that way or if he wants to undertand this changes at all.

There is near to non thinking on him since idk, it should peraphs feel more comflicting with all stated but he just misses the cue and goes for it on ocaccions?? Is quite weird he is so open to forget the only rules the devils respect. The no involve themselven with angels matters pr the angels themselves unless is about work.

Was is the spider? Who knows they smke it confusing after the trial episode and then the movie came and idk if laugh to the villaness of some fortune teller since wow she was lucky on that scape uh?

They literally make him datable material for the female lead and is a sad thing but well, the cartoon show itself could acomplish as the one with most romace scenes/moments of all time for a cartoon show, not well written but it has them. And maybe the one with an exclusive kissing sequence [no it was not just a few seconds for the kissing scene, there was a freaking sequece of it if i recall well and i recall it as something thar they put budge on it for some reasons since they did a 360° turn around on the sequence even] is impressive comoared to other european cartoons that claimed to have romace on the tags and give you a but here and there while this was like a full bag of the bread but questonable if is one you will like lol

You know the writer forgot many stuff when then Sulfus was the one trying to remind Raf the rules but follow behind her because who care love is a fool or so writers say on those chapter after the half of season 1

If you cringe is undestandable, I cannot rewatch in a full go as I used to when I was younger, i could because i let so many stuff pass.

Sometimes I wonder why even follow this plot idea when the Original comics had a great plot a great characters.

The most consistent Sulfus I know so far is Original Comic Sulfus, that is entretating to read and he does not change much from who he is, he may be a may character and this yime kind of falling in love with the Raf there but well, is not quite the deal since is explained this weird odds of the posibility of anglels and devils with training on 99% not be complete perfect and could end up with a crush or so but all is just momentary and will vanish once they reach 100%. Is onsided crush thing since the live interest for Raf is a human on the Original Comics and that, again, is a prohibited thing, the magic code is not applied between angels and devils but between humans and eternals here.

Back to Original comics Sulfus is quite funny how he figure out he is having a crush, btw they all pre-teen kiddos apearance wise except for the master of the school program while the cartoon show present them as teenager lookalike, and really he does struggle and bit on that whole process of realization. It seems Original comics Sulfus give hint of it but it was subtle changes that yeah it was nice details, maybe is even sad how he just decides to be subtle about it and do nothing big since is not something he would bother much aside there is bigger issues for angels and devils, that characters I like of that characterization is that he will still be who they state him to be but subtle changes mark that realization.

And the rest of the cast is just as cool on ther characterization, you see somtimes little on some of the characters but they don't lose thar cool characterization they had from the start and is so welcome from me as a reader.

A shame they cancelled the good comic because of the cartoon show, really a shame. I will be sad about that till the end of my days because iwanted the resolution of all major a smaller struggles were cool to read.

I have no idea how they funded a movie and a second season of the cartoon show and idk how their live action somewhat based on some fact of the cartoon show went.

But to make thing short here the resume:

Cartoon show mess it up big time with characterization and we lost cool orginial comics thanks tho the cartoon show, that would be all.

You fan cring or be sad about it and I will get it.

Yeah I"m still bit salty about that.

[aion-rsa]

Brooklyn Nine-Nine’s Funniest Guest Cast Characters

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Warning: contains Brooklyn Nine-Nine spoilers.

Brooklyn Nine Nine is one of the funniest sitcoms around thanks to its fantastic ensemble cast and just-broad-enough humour blended with almost-realistic cop show elements. But that great regular cast are supported by an equally brilliant array of recurring characters and guest stars. In this list, we’re celebrating the funniest of the show’s less often-seen characters, those guest appearances who’ve turned up once or twice to inject a fresh burst of comic energy into the show.

Note that we’re not counting regular recurring characters like Adrian Pimento, Madeline Wuntch, or Kevin Cozner, aka Mr Raymond Holt. If they turn up more than once a year, or in more than three episodes in one season, they’re off the list.

12. Adam Sandler, played by himself in Operation: Broken Feather, Season 1, Episode 15

Adam Sandler’s appearance as himself in Season One is beautifully self-deprecating as well as funny. His deadpan delivery of “I’m a serious person” is hilarious in just the right way – of course the real Sandler is, presumably, as serious and as complex as anyone else, but he knows his own public persona and just how to play on it in the right way to raise a different kind of laugh. The interest in antiquities, the planned film about the Russian Revolution, it’s all funny – and somewhat undercut, even more amusingly, by his taunting of Jake straight afterwards. The whole scene did help to flush out a criminal though, so it wasn’t a total loss for Jake.

Funniest moment: Admitting his “serious” Russian Revolution film features Kevin James as Trotsky, and a wife who doesn’t wear a bra through the whole film.

11. Geoffrey Hoytsman, played by Chris Parnell in two episodes in Season 2

When Jake’s lawyer girlfriend Sophia uses her boss as a transparent excuse to break up with him (by going on ‘pause’), Jake wilfully misunderstands and decides that the boss is the key problem, so he sets off to make the man like him. It all goes horribly wrong when Jake finds Hoytsman snorting cocaine in the bathroom, which Hoytsman claims he was doing accidentally while screaming loudly that Jake is arresting him to the whole room of lawyers. Sophia somehow still ends up blaming Jake – probably because she simply wanted to break up with him in the first place – and Hoytsman ends up returning to take Jake hostage and quite seriously threaten his life later in the season. Parnell’s over-the-top performance as a character who is, of course, high for much of the time, is what really sells the character.

Funniest moment: Sniffing cocaine off his collar in the middle of the police precinct.

10. Jessica Day, played by Zooey Deschanel in The Night Shift, Season 4, Episode 4

Back in 2016, both New Girl and Brooklyn Nine Nine were active Fox sitcoms, so the network decided to do a crossover event in which the New Girl characters travelled to New York City and ran into the 99. Most of the crossover scenes actually ended up in the New Girl episode, but Zooey Deschanel’s character Jess Day did make a brief appearance in the otherwise stand-alone Brooklyn Nine Nine half of the crossover. While the New Girl episode provided a lot more context for Jess’s feelings about New York and her stress level surrounding Schmidt’s mom’s car and the soup she’s carrying, her appearance as an apparently slightly nutty woman who resists Jake’s attempts to commandeer the car is an entertaining interlude during the half hour.  

Funniest moment: Insisting that Jake’s oath to serve and protect applies to her soup.

9. Philip Davidson, played by Sterling K. Brown in The Box, Season 5, Episode 14

If this were a list of the show’s ‘best’ guest characters, rather than ‘funniest’, the top ranked would surely be Philip Davidson, played by Sterling K. Brown. ‘The Box’ is a tight, taught bottle episode that takes full advantage of Brooklyn Nine Nine’s hybrid status as both sitcom and cop show, and Brown’s Davidson forms a strong third of a triangle in this three-header with Holt and Peralta. It’s a really strong performance, but given that he’s playing a tough-to-crack murder suspect, not really the funniest, exactly. Still, he gets a good few laughs when appropriate over the course of a really engaging half hour of comedy/cop show crossover.

Funniest moment: When Davidson finally cracks, he cracks hard – his confession is equal parts triumphant, cathartic, and hilarious.

8. Karen Haas, played by Maya Rudolph in Coral Palms Parts 1&2, Season 4, Episodes 1&2

Maya Rudolph has a good line going in slightly weary authority figures (see also: The Good Place). Handling Holt and Peralta while they’re in witness protection is not an easy job and her exasperation at Jake’s refusal to accept his situation is well played. Haas is really funny, though, when she starts bringing her own issues into her official duties, clearly trying to get permission to cheat on her husband from someone, anyone – and Holt is happy to oblige.

Funniest moment: Whoever it is she wants to sleep with is “really young” – something that clearly shouldn’t be funny, but the face Rudolph pulls as she says it is what sells it.

7. Lin-Manuel Miranda as David Santiago in The Golden Child, Season 6, Episode 9

Miranda is marvellously smarmy as Amy’s too-perfect brother, her demanding parents’ favourite, who snubs popular culture and shows off by saving people’s lives (including Amy’s own husband). Amy’s delighted reaction when he’s arrested for cocaine possession and deep disappointment when he turns out to be innocent are highlights, but the funniest scene by far is the dance-off between David and Amy, in which both comprehensively demonstrate that dancing is not among the Santiago family’s many strengths.

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Funniest moment: David thinks elbows should form a bigger part of a dance routine than they really should.

6. Frederick, played by Nick Offerman in Ava, Season 3, Episode 8

Any time we meet Captain Holt’s friends and family, many of whom share his stoic, Vulcan-like demeanour, it’s always hilarious. JK Simmons as his old friend Dillman very nearly made the list, but he was just pipped to the post by Ron Swanson – sorry, Nick Offerman – as Holt’s ex-boyfriend. There’s a lot of crossover between Parks and Recreation and Brooklyn Nine Nine among the cast and crew and Offerman isn’t even the only Parks & Rec alumnus to appear on this list, but he’s probably the one whose appearance most quickly calls to mind his earlier character. The idea that Holt’s ex-boyfriend is Ron F-ing Swanson is just genius. OK, Frederick lacks Swanson’s magnificent moustache (though he has a glorious beard) and he’s even more brusque and stand-off-ish, but he’s a perfect match for Holt, even more in their post-break-up mutual antagonism than we imagine they were in their relationship.

Funniest moment: His straight-faced insistence at the door that they have a “wooden-duck situation”.

5. Mark Devereaux, played by Nathan Fillion in Serve & Protect, Season 4, Episode 14

It’s always funny any time police characters in a cop show visit the set of a TV cop show, and for added meta humour, in this case the actor playing the fictional detective is played by an actor who works on a cop show (albeit as a non-cop character). Phew! That’s a lot of layers of meta. Nathan Fillion’s pompous star who apparently thinks playing a detective makes him a detective is very funny, and it gets better when it turns out that was a ruse to cover up his own petty criminal activity before he folds like wet paper. It’s just a shame we didn’t get to see more of him.

Funniest moment: Devereaux tries turning on the angry detective act from his show to cover up his own crime, only to be confronted with quite a lot more than a “shred” of evidence and fold immediately.

4. Eleanor Horstweil, played by Kathryn Hahn in Hostage Situation, Season 3, Episode 11

We heard a lot about Boyle’s ex-wife over the first couple of seasons, partly because Boyle was still living in her basement, hanging out with her new husband Hercules. We knew what sort of person Eleanor was when Boyle explained that he gets the beach house from December to February. When we finally meet her in the flesh, Kathryn Hahn does not disappoint – Eleanor is surely one of the most purely horrible characters we’ve seen on the show (and yes, we’re including all the murderers). She hits a 90-year-old priest with her car and then destroys Boyle’s frozen sperm, all with no apparent sense of guilt, and she largely gets away with it, too. But she does it all with a perfectly deadpan expression and carefree attitude, each horrifying act funnier that the last.

Funniest moment: She goes further than Jake ever thought she would when she “shoots a hostage” – i.e., throws some of Boyle’s sperm down the drain.

3. Seth Dozerman, played by Bill Hader in New Captain, Season 3, Episode 1

Bill Hader’s screentime on the show is relatively brief, but he is hilarious from start to finish, attacking the squad with every shouted command like he’s firing metaphorical bullets at them. It might actually have been really cool to see the squad try to deal with him as their Captain for more than one episode, with his extremely demanding requirements and very highly strung personality, but on the other hand, perhaps this is a joke that works better in small quantities. Any character whose dying words are “Tell my wife I love her work ethic” is probably a character better enjoyed for a shorter period of time. 

Funniest moment: Both heart attacks are very funny, but the first (non-fatal) one just pips it for the sheer suddenness of it.

2. Caleb, played by Tim Meadows in three episodes in Seasons 5 and 6

Jake is shocked to discover his only friend in maximum security prison is a cannibal (though he would prefer to be identified as a wood-worker), having assumed everyone in protective custody was a wrongly accused police officer. Caleb is surely Brooklyn Nine Nine’s best streak of really, really dark humour – not only did he murder and eat nine and a half people, they were small children too. Every reference he makes to his “nightmare” past is sickly hilarious, and gets worse and worse every time, including a reference to his “skin suit”. But he really does care for Jake, even if he still kind of wants to eat him. The sheer audacity of the black humour surrounding this character is fantastic and always funny.

Funniest moment: Caleb shows that he has a softer side when he saves Jake’s life – but he immediately deeply regrets it and would not do it again.

1. Doug Judy, played by Craig Robinson in multiple episodes (one episode or two-parter per year)

Yes, we carefully defined a recurring character as someone who is either in more than three episodes or who appears more than once a year specifically so that we could include Craig Robinson‘s Doug Judy. It’s our list and we make the rules. There’s something twistedly beautiful about Jake and Doug Judy’s tender but tense friendship, even in the early years when Judy is constantly double-crossing poor Jake. The two of them have perfect comic chemistry, and each running gag in their friendship, especially their fondness for swaggering out in a new outfit or disguise, just gets funnier and funnier. Long may Doug Judy continue to turn up roughly once every twelve months to harass his long suffering best friend.

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Funniest moment: Having escaped yet again, Doug Judy leaves Jake a pre-recorded message in a karaoke booth – complete with a full hour of pre-recorded singing for Jake to duet with.

The post Brooklyn Nine-Nine’s Funniest Guest Cast Characters appeared first on Den of Geek.

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[bearpillowmonster]

Jedi Fallen Order Review

I was going to wait and write this tomorrow but I feel like I have all my notes written down and a solid opinion already formed so I want to just jump into it.

(Non-Spoiler btw) I’m not going to compare this to any other game because every other review I saw said the same thing over and over, The only one I’ll mention is Kingdom Hearts because KH2 is my favorite game of all time so how can I not draw comparisons to it with everything I play. I also want to mention I’ve been playing on the base PS4 model not a Pro, I feel like I have to say that now with performance and graphical based opinions with big games such as this because you might not have the same problems.

I think they changed the way he got caught in the beginning from the trailer because it’s the same scene but different shots, it honestly made more sense because I was playing the game and didn’t even notice the droid watching them while it was much more noticeable in the trailer, maybe it’s meant to be that way so it isn’t obvious to Cal that he was caught. 

Main villain is the “Second sister”, it’s based on lore from Rebels. You would think you’d fight all the other “sisters” considering this is the first place I’ve heard of them (I didn’t watch too much of Rebels but researched it for this reason) but you only fight a couple during the game.

The coats are glitchy in cutscenes, so you should probably wear the basic layer for most of the game, if you want to try and avoid that. You are vulnerable while opening chests so you can’t defend or attack during animations but enemies can attack you. It will introduce the abilities through flashbacks so this guy knew these powers but just cut himself off to hide from the Empire and has to relearn them. At one point it will say “you are now reconnected with the force” and all the abilities will be shown on the skill tree in order to unlock, around this part is the turning point of the game (Kashyyyk/second time at Zeffo) because the opening is fine but the next section gets kind of boring because you have scarce abilities but once you start actually getting into it, it’s fun! I know they showed Kashyyyk in the E3 demo presentation they did a while ago so that was to be expected but it was just a matter of if it was a fluke...it’s not.

I’m pretty sure you lose skill tree points every time you die to an enemy (not falling off an edge or something) which is odd and it’s not like “since the last checkpoint” or “since last death” it’s a bit more than you gain in that time period, I’m pretty sure this revolves around what difficulty you’re on which is also pretty odd but correct me if I’m wrong about that theory. 

I knew I liked BD-1 already but I was a bit skeptical of Cal’s character when this was announced because he could’ve easily been generic but no, I kind of like his character, you can tell the actor went the extra mile partially through how he interacts with BD and everybody else. He’s better than Kanan in my opinion, who if you remember has a very similar backstory as “the Jedi padawan who survived order 66” but he blames himself for his master’s death which is a dead trope that I didn’t care too much to see.

I hate parrying, I absolutely hate it, not just this game, every game, even in Kingdom Hearts, I’ll barely use it because I don’t (usually) play on the super high difficulties where it’s necessary but this game has it as essential so you have to learn a little bit of timing...and wait until you can upgrade your dodge so you don’t have to parry as much. And they will punish you for missing a parry and just trying to slam them (only the more hefty enemies like the ones with shock sticks) because they have a shield meter and if you get hit by them then their shield will start to go back up. 

Some complaints, it takes a long time to respawn and the sliding is a bit off as well because you can control him while falling but he turns at such a slow rate that you might as well not even bother, it doesn’t matter most of the time any way but when it does then it’s annoying.There’s a lot of things that they just kind of brush past explaining, for example, there are these punching pistons that you have to run past and once you reach the end, there’s an opening above but you don’t know how to get there. I tried using force slow and jumping on top of the thing (logical way of doing it) but he doesn’t jump high enough (you don’t unlock double jump until later and it’s a life saver!). There’s a walkthrough for that simple one minute section on YouTube so I couldn’t have been the only one but you have to wall run and then jump off of it, I didn’t know you could wall run to get to higher ledges. Also with story, I wasn’t sure how they were figuring out where to go for some places, they just kind of said “go here!” but they end up explaining that kind of stuff later on which seems kind of pointless in saving it until that point, it would have been just as effective (if not, more) at the beginning. For those who’ve played it, I’ll give you a hint at what scene I’m talking about “Ilum”, if I was writing it, I would’ve made that scene towards the beginning.

Some little compliments are that BD-1 has a back panel that lights up, if your health is decent then it will be green, if it’s not then it turns red, that’s a nice detail “But what about Blue?” Well yeah there’s that too...that’s just for fun. There are also customization skins for BD-1 as well as your lightsaber and ponchos and guess what?! Your ship too! It’s no 13-13 or Project RagTag (there’s no gunplay though) but it’s still a pretty darn good game with some good music tracks (I mean it’s Star Wars though so...)

This game doesn’t have a dark or light ending so you don’t really have to worry about doing anything the wrong way, it’s fun to throw storm troopers off of ledges, not gonna lie, however I will say I feel bad at times. They added a bit of a grey area there because they’ll cower and say “Looks like I’m the last one” “No, stop!” “They’re all dead” “You killed them!” “Just...just leave me alone.” or something along those lines. BD even called me out for lashing out on them once and Cal just says “They just would’ve hurt somebody else.” I was like “Dang” there are some themes going on here that I think they would’ve made a light and dark ending if EA let them, however I’m fine with there not being one (even if it would make the game seem longer). 

Even Second Sister has a bit of a thing going on where it’s questionable about her point of view, it’s almost a grey area. 

Quick-fire round:

-Be careful, if you heal at a save point then it will also respawn enemies (you have to pick “rest” first before it does that).

-The creatures are harder than the troopers tbh.

-There’s a character called Mari Kosen on Kashyyyk which sounds a lot like “Ikari Gozen” which basically means ‘rageful female warrior’.

-I was worried about even buying this game because of EA’s track record (I almost bought Battlefront 2 before the whole debacle (Thank goodness I didn’t!)) and I didn’t want to chance they mess it up somehow after launch it getting good reviews, but I can confidently say that I don’t see any way they can do that now, should be no need to worry.

I’m not going to spoil it but the ending (though in line chronologically and could have messed with the timeline) seems kind of one sided, there are a bunch of things they could have done and while the decision they made makes sense, is it the best? I personally would have liked to see a bit more, it seemed a little short to me. I want to see what happens to these characters (which is a good thing) maybe there will be a sequel or extended universe book/comic (there’s already a prequel one with Cere) There are some really great moments in this game, I’m tempted to give it a solid 8 because of the high it ended on but I’m going to lower it a little due to the slow start being annoying. 7.5 / 10 Now EA better make more quality single player Star Wars products without stupid monetization schemes, this one was a success.

[bigskydreaming]

Okay, last random post for the day, then I gotta work. But something else I’ve been thinking a lot about lately, is that kinda weird feeling when you don’t like a writer or how they handled stuff and would have preferred someone else write it, BUT at the same time, you also really like something that came out of their writing and probably wouldn’t have happened if not for that writer making it happen.

And I think this also traces back to that post the other day about not settling for substandard representation and holding creators accountable for not doing more, and when its not the creators’ fault but the higher-ups, holding them accountable, etc.

Like, Scott McCall and Jeff Davis is a great example of this, I think. Obviously, he’s one of my favorite characters of all time. And as much as I hate how Davis and co. wrote him a lot of the time, obviously they also wrote him in ways that established all the core reasons I love that character so much, and there’s no guarantee that if another writer had launched a TW reboot, their version of Scott would be remotely like the one that I latched onto. 

And obviously we’ve all talked a lot about how Davis could have done more with Scott’s Mexican heritage and identity as biracial and latino, even though there’s a large chance he would have just been white if another creator had been in charge. I raise that just as another example of what I’m talking about, not one that I myself am looking to weigh in on, I leave that to latine fans. For myself, I’ve obviously talked a lot about how I project onto Scott and identify with him so much as a survivor and see a lot of parallels between his story and my own experiences and the identity they’ve shaped for me. And on that front at least, I’ve ranted just as much about how I personally don’t give Davis any credit for this stuff, because I think it happened in spite of him not because of him, that he was oblivious to the undertones of his own material, or at least the ones that could easily be read into it.

And then there’s Devin Grayson, the Nightwing writer I rant about a lot. The one who wrote him being raped, which obviously is also a large part of why I identify with Dick, and just like Jeff Davis, something I think is in spite of her writing, not because of it, as she too was irresponsible and oblivious in a lot of her handling of her own material. And at the same time, she’s also the one who introduced Dick’s Romani heritage and made that canon, while being very heavy-handed and stereotypical with the way she wrote things herself, and a lot of Rom readers being very critical of her choices there, while at the same time celebrating Dick’s Rom heritage and happy to have him as representation now. And given how few writers have even referenced Dick’s rape since it happened or how few actually acknowledge that he’s Rom, an argument can bemade that neither of these things would have happened if not for her.

And then we’ve got Bobby Drake, who I identified with long before he came out in the comics, and even moreso now that he’s actual gay rep I can point to. But obviously I rant a tooooon about Bendis and his handling of all this, probably even more than I ever have about Davis or Grayson specifically, and I think the difference here is that making Bobby gay WASN’T something that only he would’ve written. Given that multiple writers going back over twenty years have wanted to and even tried to write Bobby as gay or bi, but Marvel told them no, this is a definite area where the higher-ups are as much to blame for my issues with the comics as Bendis himself. Because Bendis is responsible for the writing choices I dislike so intensely in this matter, but Marvel’s higher ups are responsible for Bendis being the one who got to make the writing choices in this matter, even though other writers were willing and able.

I’m honestly not sure where I’m going with this, lmao, and don’t really have a point, sorry if you thought I did. I’m more kinda just thinking out loud. Except...in text. Whatever.

Anyway. All of this I think goes to show one of the best things about storytelling IMO....which is that stories grow with the telling. Always. Storytelling is like one giant, never-ending game of telephone. Where every time a story is retold, or adapted, or even just passed along from one person to another via a summary of the events - something gets added to it. The last person to pass it on in some fashion added a little bit of themselves to it, their own personal experiences and perspectives and priorities helping to further shape or flesh out the story even further. 

Sometimes by adding little details or context that maybe weren’t even in the original source material, but that we unthinkingly add in, maybe because those details are things that came to mind when reading or watching the story since they go hand in hand with why the story appealed to us in the first place. Like we add them in without realizing it because it seems so obvious that there are little holes and gaps in the story and these are the things that SHOULD go there, should’ve been there from the start. 

And other times, we add to and grow stories in the telling, somewhat counter-intuitively, but by ERASING little details about the stories or elements that feel like they don’t belong. Like filing away the rough edges to leave a more finished, polished piece before we hand it off to the next person, our audience for our retelling or recounting of it. Again, often not something we’re even consciously thinking about, our minds automatically leaving out the parts that we take for granted don’t fit or shouldn’t have been there in the first place. 

So any time we interact with a story, have some kind of personal relationship with it or connection to it, its like that story exists on two levels, in two separate ways. There’s the story as it was originally told, initially laid down, the story a creator constructed based on their own personal experiences, lens, and priorities, the story both as they intended to write it and as they actually wrote it, what ended up on the page. And then there’s the story as it exists once distributed to a wider audience, the story as its retold and recounted and transformed and shaped and honed and added to.

And you can’t divorce that second, larger version of the story from the initial ‘baby’ story it grew from. Not to get too precious here, but as with anything that grows, either physically or metaphorically, there is a sense in which its alive, and can be compared to other living things. Like take any person you meet. That person grew from a baby. The baby they were is fundamental to the person they are now. Who they are wouldn’t exist if it weren’t for who they were.

But how much does the baby they were actually matter, when interacting with the person they are now? No, you can’t separate the two, the one wouldn’t exist without the other, but in every way that actually matters, its only the larger, more grown version of that person that you’re actually interacting with, engaging with, INTERESTED in engaging with in the first place. How much credit do you actually owe whatever they were like as a baby or young child, for them growing up to become someone you like and value as a person now, someone who adds something to your life?

I think its something similar, with the way we interact with stories, and I think that’s part of why I have such a problem with the way we’re...encouraged to give proper credit and even show gratitude to storytellers for giving us certain stories in the first place. And I say that as a writer myself, and one who LOVES feedback, and loves interaction, and collaboration, and for whom a large part of the appeal of writing is seeing what someone makes of something I’ve written, or what they go on to do with it.

But I mean.....there’s no doubt that however these things originated, Dick Grayson’s existence as a male rape survivor means a ton to me, as one myself. Just like him being Romani means a ton to a lot of Rom fans, and the way Scott McCall being Latino means a ton to a lot of latine fans and how he means a lot to survivors in other respects and how Bobby Drake being gay means a ton to a lot of LGBTQ+ fans.

But in a lot of those cases, these characters mean so much to us more as a result of what other people have done with them SINCE those initial stories laid out these aspects of identity. It’s not Devin Grayson’s fumbling attempts at writing Dick as Romani that most Rom readers I know celebrate and enjoy his character, its for what others have done with that heritage on their own. Adding to it with their own personal experience, or at least researching attentively and with proper credit and deference paid to people whose experiences they listen to and learn from, etc. Just like, its not her issue with Nightwing and Tarantula I would actually cite as the reason I identify so strongly with Dick Grayson, but all of the fics and meta and headcanons written about that issue by other survivors who added to it and fleshed it out and made it real and lived with their own experiences and takes, while filing away the parts that just didn’t work for them.

Then again, we could argue that at least we still owe something for having that opportunity in the first place, right? That there was even that seed planted, that other people cultivated and grew into the story we actually like and engage with.

Except, idk. Like, intent doesn’t matter in terms of harm done, we say that a lot and its true. The fact that you didn’t intend to hurt someone with something doesn’t mean that they weren’t hurt. But that doesn’t mean that intent doesn’t matter, that it doesn’t make a difference in how something comes across. That sometimes it isn’t THE difference, in and of itself.

I rant about non/con fic and hurt/comfort fics all the time, fics that are really just an excuse for torture porn, even as I write stories that deal heavily with rape and abuse. And I don’t find this remotely hypocritical, because for me, this part traces back to intent. I’ve got zero interest in people using trauma such as rape or abuse for a narrative REASON. Like when writers talk about using rape as a tool to reveal something about a character, to change them in some way or develop them, to show what they’re capable of surviving or toughen them up, anything like any of that, I have an immediate and visceral reaction of FUCK NO. That train of thought is basically a dealbreaker right there, because I’ve got a deep-seated hostility to the idea that rape or any kind of trauma can be a tool. Even in fiction. Because no matter how you frame it, that tacitly perpetuates the idea that rape or abuse can have a purpose, a reason for existing, for happening to a character or a real person, and from there it’s only a few small steps to justification of it happening. The idea that being raped or abused can make a person better, can change them into a better or stronger or person in ways no other experiences or circumstances can manage - that’s deeply abhorrent to me, and I’ve got no respect for stories that go this route.

But at the same time, I do write stories about rape and abuse and read and engage with stories about this stuff, like various stories about Dick or Scott. And for me, the difference in these stories, the reasons why I’m interested in these but not those others, is because of the intent behind their writing, or at least what I perceive that intent to be, based on the writing. I’m interested in the stories that aren’t about writing rape/abuse to tell a story about a character, but stories about characters who have been raped/abused. Stories that are about the PEOPLE affected rather than the events that affect them. That treat rape/abuse not as a narrative or plot device or a thing that happens with purpose or for a reason, but rather just as things that happened to the people the story is about. Treating these things as lived experiences rather than part of an author’s grand design, or the real-life version of these things as part of God’s grand design. I don’t read/write stories about rape or abuse, I read/write stories about survivors. The difference is in the intent. Writers who are trying to make something horrible into something useful versus writers who are trying to make something out of the aftermath of something horrible. The latter value the survivor’s pain; the former don’t value their pain enough not to subject them to it in the first place.

And this of course relates to writing identity as well as experiences. With writers like Davis and a Latino character like Scott or writers like Bendis and a gay character like Bobby. It comes down to intent. Why are they making these choices, giving these characters these identities. Are they doing so for a purpose, because they think it says something about that character or will result in something? Or are they doing it to tell stories about a character with this identity? Because just like with certain lived experiences, I’ve got no respect for writers who treat real life identities as a tool, as something that can be chosen with purpose, to achieve specific goals. 

Most latine fans who are dissatisfied with Davis’ handling of Scott as a biracial or Latino character specifically, IME they cite the problem being how little interest Davis showed in actually expanding on that or doing anything with that aspect of his identity, even while happily taking credit for casting a Latino actor in his lead role. The vast majority of my complaints with Bendis and his writing of Bobby’s sexuality go back to how little interest he ever showed in writing Bobby as a character, having him explore his sexuality rather than just treating his coming out as a character benchmark or milestone that would forever have Bendis’ name on it, and that’s all he needed or wanted out of that. Why would anyone owe a writer credit or praise or gratitude for using someone elses’ identities for personal achievements? 

The flipside though is what about writers who write outside their lane in an honest and sincere attempt to tell stories about people who have these identities, stories about the experiences that come with them, stories about these people as people. Okay sure, that’s different, that’s great. But I mean, its not THAT great. As a white dude, I don’t ever think, gee I sure am grateful that this writer sat down and decided I’m gonna make this character a white guy because I think white guys have stories worth telling. LOL. Nah. So why should I be like, well gee, I sure am grateful that this writer sat down and decided I’m gonna make this character gay or bi because I think gay or bi guys have stories worth telling? I wouldn’t. I shouldn’t. Congrats on seeing me as a person whose identity and experience has value, same as I am and do because of my whiteness or my maleness? I’m....grateful? Nah. I mean, yes, this is better than writers like Davis or Bendis who are only writing outside their lane to get credit and praise for doing so, but just because its not ACTIVELY bad, doesn’t mean its like....ACTIVELY good or worthy of gratitude instead of just....hey, here’s a thing a writer did, they wrote a story with someone who’s like me in these specific ways. I’m a person to them.

Again, I have noooooooo idea where I’m going with any of this or what I was trying to say in any kind of cohesive fashion. This was just....stream of consciousness musing that I will now wrap up because I’ve run out of steam and/also I gotta get back to work. Make of it what you will, like, if you can find something useful in this, hooray and also, impressive, lmao, and if not....let your eyes glaze over and scroll past, lololol.

[altonadventures]

ALTON ADVENTURES BIG ANNOUNCEMENT

So...because its Friday and I usually update AA on Fridays, I figured it was time to make my big announcement! 

And that is...that Alton Adventures is changing. A little bit. 

Am I rebooted the comic again? No haha! Once I get back to it it shall continue as normal but some characters may look a bit different going forward. 

Who may those characters be?

Sir Gareth Nemesis 

Why is he changing? 

Sir Nemesis’ change is actually less drastic than one may think. For starters, he needed a design rehaul. I wanted his armor to be more simple, easier to draw but with still details that could tie him to Nemesis (the green eye, the arms, the light pink details instead of inconsistent tentacles). I also had an issue where his hair was too close to his skin color, so to combat this I turned him into a ginger! His eye color also changed from gold to green, another thing to visually tie him more to Nemesis. 

So yes, I changed Sir Nem’s design because I was unhappy with it. His armor was never drawn consistently ever, I was constantly changing the tone of his hair and his skin so that was inconsistent. I want my designs to be more consistent and polished going forward.

What else is different? Well, you can probably tell he looks much more serious, like in older pictures I drew of him. Why is that? Well, I was kind of..honestly tired of his role as the “dad character tm” that he kind of turned out to be. It almost undermined his true characterization and turned him into a typical over the top exaggerated hero character. And I started to realize how much I missed his original concept. A battle hardened solider that was filled with regret and remorse, who heavily sympathizes with the plight of the alien he’s locked in combat with. He’s still much a father however, as he has a biological son and adopts an alien who mimics his likeness (hence another reason he’s a ginger now as his Nemesis daughter always was one). He’s just returned to his roots as a character. Because I felt that characterization was a unique one for the Nemesis ride. And it was an idea I really loved. Sir Nemesis actually WAS one of my favorite characters...I wanted his role to be much larger than it is in the comics. I don’t blame anyone for him becoming a joke, I did initially kind of fuel the fire for it, I’m just hoping that its not to late to get back to the Sir Nemesis I originally wanted to write. And of course, all my characters are still meme and joke worthy. I just want to tackle much more serious issues with my comic and show the more serious side of some of my characters and don’t want there entire existence to be a joke Mr.S can’t have too many folks 1 uping him in the laughs department!  I guess to note with this change that his original voice claim has also been solidified as well. It’s a more somber and serious tone that I feel fits him as a character. 

Final Notes 

Sir Nemesis is a character that I have a lot of thought put into. His backstory is tragic, emotional, and his character is complex and he’s not the perfect hero people might image him as. I plan for his Arc to follow the Fireworks arc in the comic, as well as I am planning to start some more text heavy short stories about how the Secret Weapons became Secret Weapons (which I will likely call Secret Weapon Short Stories hehe) and will be writing his first. Also a very important thing i must address. Yes, the eye on his chest moves. (I have a gif but it doesn’t want to work on this post Ill have it up later ><)

Erica Annabelle Cloud 

ooof okay this is a huge one. Confession time. Erica was always my least favorite character. Why? She just had...no character. I didn’t know what I wanted to do with her, her design felt phoned in and there because I needed an Air/Galatica character, (yes, she is changing as her Galatica stage too). She was just. not well thought out. She had a dual identity but I think a lot of people didn’t pick up on that? She felt like a Rita 2.0 as just a nice and friendly optimistic person and literally had 0 backstory. Originally she was supposed to have had some sort of accident that turned her into Galatica and she had memory loss and forgotten about when she was Air, yeah it was a mess. That eventually just turned into Nebula Corona being a character she made up (bc her one trait was that she was into space and wrote a lot) that she played as when her rides themeing changed. 

She was just..barely a character and her design was abysmal (Her Galatica suit was okay but her Air outfit was an afterthought) She needed a massive visual upgrade. A sleeker flight suit that makes more sense (I used a ref or two for this design!) A different face shape to help her stand out more, my signature they wear glasses they have dot eyes look. Long, wispy, flowing hair to resemble those trails planes make. A bit more lanky and tall. And let me tell you I LOVE her design now. It looks so much more unique and you can just SEE she has so much more character now!  As for her characterization im going full into her being a nerd. A very tech nerd at that! She designed her suit to help her fly at her best, and eventually will be the one that designs and builds all her Galatica tech! Her Galatica design hasn’t been done yet, mostly bc I wanted to focus on her current comic canon design, but not much would change I feel with her upgrade anyways! She is effectively the brains of the group, and the others often turn to her for plans of attack when dealing with a situation, or innovative solutions to problems! I have yet to get a voice claim for her, but im sure one will come to me soon enough! 

Final Notes

Erica/Nebula was a character I struggled to connect with. Everyone else had Airs that were either super plot important, or just much more cool and creative in general. I felt, that with my Air/Galatica she was just there, and I wanted her to be more. So a full character rehaul was done with her and it makes me so happy. She feels much more fleshed out, better designed, and I’m super excited to do more stuff with her, and hopefully you will all see her much more now that I’m a lot happier with her as a character! <3 

Welp that's the end of the updates....wait. Hold on. I have something written here. What could this be? Oh! I remember now! 

Black Hole, AkA Beatrix, will be joining the MAIN CAST of Alton Adventures! 

When I drew my Black Hole design, I knew she was something special. She stands out compared to a lot of my characters, and her design SCREAMS main character. While the biggest main roles will still be held by Mr. S and Rita, I wanted to add another non SW coaster to the main crew, and because Canonically Corkscrew is MIA, Black Hole seemed like a fitting addition to the main crew! As she isn’t human, a species literally only referred to as Black Holes, I thought making her a main character and giving her a big arc would help flesh out the reality of non humans in Alton Adventures! Her powers and design and character and personality are just too fun to shove her into the background. I feel that adding her to the main cast gives them not only another character to support them, but a closer friend! You will all see her much more in the future for certain! 

Well that's about it! In terms of comic updates themselves...its still going to be hiatus as long as I’m being swamped with school work. I hope you all understand. I’ll try to squeeze in updates over the breaks I have IF im not working on assignments for class. As I also said, I wanna do short stories as well, to expand the world and explain it better, as a comic will only develop the world so quickly and lots of you have tons of questions! I also wanna do something animated at some point, that’s my dream. I’ve ALSO mentioned to some people about merch, likely going for making stickers first since that's simple. I got an excited reaction for that so I’ll come up with designs for them soon! I just wanna do a lot with Alton Adventures, because I know how much it means to people, and of course it means so much. Goodness I really need to actually get to this park, I look quiet silly constantly gushing over a themepark I’ve never been to all the time XP  That all aside I thank you all for sticking by me. I promise that even if I don’t do comic updates as frequently during the school year, I’ll still work to push out as much AA content I can outside of that! I’m always open to suggestions to what you guys want to see! ALSO, working on a big google doc spreadsheet with info on all the characters I’ll be posting when its more completed! So be on the lookout for that! 

Again thank you to everyone who’s stuck with me through this, Your support makes me feel nothing but proud of what I’ve created. These characters may have been created out of something some may consider silly or odd, but the only thing that matters to me if that I can make at least someone happy with what I create. 

Patreon (note that patrons got to see all of this content as it was being worked on!) l Ko-fi

[cleverflowerperson-blog]

The Flash: Screenwriters X Public (part III)

Why did Patty enter the narrative but was misused? Is it?

Well, Flash ended its first season full of serious problems, DC was in the jugular, in addition to being running against time, so it is necessary to make interventions in the narrative. The solutions to the Barry problem were complex, but they had a good point, Grant Gustin. He was talented, any investment in the script, he would account for it at the time of selling, that was reassuring. For Barry the writing was enough. Caitlin's conversation was another. The first season left writers and producers with a disturbing question in their hands; Caitlin did not set the tone for Killer Frost because the actress was technically limited or was she, influenced by her audience and popularity of the series, sabotaging the character?

Why did they formulate this question? The actress's behavior created this environment. Throughout the first season she did not sell her narrative to the public and to the press. In most of her interviews and postings there was the exercise of associating Caitlin with Barry and the Flash Team, she was the girl in the little boys' group, but she did not correct the questioners who asked their questions in the light of this perception. And this attitude has diverted attention from the actual narrative. The story of Caitlin was Ronnie, she had no home, car, family, pet, professional pretensions, musical, literary, etc. preferences. She is not the character, her story consisted of her bond with Ronnie; her loss would destroy her and she would become Killer Frost. Ready. That's what she had.

However the actress chose not to strengthen and enhance Caitlin's connection to Ronnie, instead she diluted it into something bigger, the Flash Team. As Ronnie was missing in the first half of the season the audience could not visualize the story, so it was up to her to campaign. She had to let the public, constantly, aware that Ronnie's loss could lead Caitlin to make disastrous decisions. Or that Caitlin was emotionally dependent on him and that his loss could influence a change in her behavior. That is, prepare the audience to be aware of the events that would affect the couple and thus instigate him to observe Caitlin's reactions. This is also the work of the actors, provoking the audience. Has anyone seen this? What was seen? One - there is no Caitlin without Ronnie (who exists is Killer Frost) or does Caitlin have a lot of fun with the boys?

Her decision to deal with what she had was real and what she did not have raised suspicion. If made a part of the public, who had not a minimum of information, raise eyebrows, what about professionals who have been in the market for years and who knew exactly what she was hired for ?! This was their scenario for her: if she was sabotaging, they would find a way to make her cooperate. If it was technical constraint they would need a plan B. What did they do to solve this?

They divided Caitlin into two worlds, real and fictional. In reality they would take measures to restrict it, in the fictitious they would test it. Patty gets in there. Thought I'd forgotten what the question was, right? No. I give you long answers so that you can see the reasoning applied and so you can develop your own analysis.

In the real world they did the following: a) they warned the public that Flash would be true to comics. b) brought Patty Spivot to the series. c) announced that she would be to Felicity Smoak by Barry Allen. d) informed her contract time. What were the objectives of these measures? Use the character? No, that's why people said it was misused. No one saw Patty, she added nothing to the narrative. At what point did she go to Felicity?

What we should look at this information is the date the contract ends. If they were informing the date on which she would leave the project, she notes that Patty's entry was not to lure the Caitlin audience who saw her as a competitor to Iris, giving her a more viable option, since Patty had a loving relationship with Barry in the comics, and Flash would be true to its origins. It did not make sense. Why direct an audience to a character who could fulfill his desire to replace Iris, making it clear that it had an expiration date? The account does not match. Would the public migrate to Patty for ten episodes and be left empty-handed? The public who hates Iris? Not even. And they knew.

Patty did not enter the narrative to fight the Snowbarrys, they were no concern, when Caitlin become Killer Frost, he would be dead. Or to add to the narrative. Just as she entered, she left, without leaving a finger. Patty entered the series to restrain Danielle. Not to the public, but to the press. There was a section of the press that used the academic title of Caitlin to value her and ignore Iris, creating a favorable environment for the actress. As attention is a dangerous pet, there was no guarantee that she would not be dazzled by all that exposure. Caitlin was regular, Frost was not. The transformation of her into a villain would put her in the position of being only triggered in the episodes in which Frost was active. So she was trying to extend the frisson?

For them it was so. How they would bring Caitlin's story with Jay (which would be developed for the same purpose as Ronnie's) and their time to create Killer Frost was running out. They could not take the risk that the actress would spend another season selling; the only girl in the little boys' group or anything other than the actual narrative. If she was dreaming, they would expel her from the dream. It was simple, they knew that intensifying the writing of Iris, was not going to serve, why? Caitlin was a non-character who was still being poorly illustrated, what was the reason for such excitement? Even worse than Iris's writing, she was a character, Caitlin was not. So to end the excitement about Caitlin they had to bring something similar. Devilish, is not it? They are fantastic!

Patty would attract the attention of this media. That it was the ones who fed on Danielle and gave her space, and so take the actress out of fantasy and condition her in what she really had. As an aspiring scientist and policeman, Patty had the perfect profile for these journalists to devote themselves to her and continue to ignore Iris, without blame. That is, they brought a focal point to be explored by the press, reducing the media's interest in Caitlin. Taking the actress to be only triggered by the events of the narrative, she could no longer defuse the audience. A subtle and very efficient strategy.

If they go back to the second season they will see a cooling on Caitlin in the first part, mainly because, in addition to Patty, they flooded the media with information, Wally, Francine, Jay, Terra Two, a new version of Harrison Wells, and she was the most insignificant, her story would repeat itself. Patty's length of stay matched the time they had calculated in the narrative, for Caitlin to make the transition. As time went by, they scheduled the events in Caitlin's life toward Jay in the first half of the season, because if the actress did not live up to expectations, they would give up on Killer Frost and go on to plan B. What happened eventually . So, Patty was not badly used, according to the objective of its introduction in the project, it was very well done.

Why did the producers and writers want Killer Frost so much?

The reason is very cool, a pity not to have worked. This, without a doubt, should be one of their greatest frustrations with Flash. To understand the relationship of producers and writers with Killer Frost, it is important to know another principle of adaptation, the Principle of Twisting, it is directly linked to the Principle of Perception. What does he mean? To use a character not belonging to a mythology, one must attach it to a point where twisting is possible, but not decharacterization. How does it work?

Open the mythology of the character you will adapt. And highlight all the striking elements. Let's open the Flash - Nora, CSI, Iris, Reverse Flash, Wally West, Central City, Rogues, Speed ​​Force, Justice League, Hal Jordan, Jay ... - There's more, but for what we need these are enough. Now we choose a non-mythological character. Killer Frost. Where can I put Killer Frost into this mythology without creating a decharacterization? Because it does not belong to this world, so de-characterization is easy. Simple, look within the mythology for a character who has the same characteristics as her and make the substitution, thus you provoke a twist, but not a de characterization. This is the Principle of Twisting.

In this case, we only have one place for Killer Frost within Flash mythology. The place of Leonard Snart. Captain Cold. He is a villain who manipulates an ice gun. Frost is a target villain who manipulates ice. That's it. The reason for the introduction of Killer Frost in the narrative, was because Snart would not be in the series, he would go to the Legends and later would be dead. The Rogues are a team. But how can he be a team if he does not have a leader? And the leader of the Rogues is a villain who manipulates ice, to change it to mean to characterize them.

This was the big surprise they were preparing for the public, a woman leading the second largest gallery of DC villains. It would have been epic if it had worked. But it did not. They fought. They were already considering her love affair with Barry for, perhaps, the painful end, she'd react. But with each episode Caitlin was killing Frost. All Caitlin's emotions were so empty, there was nothing left for Killer Frost, she died of malnutrition. Two seasons writing down his motivation, carving out his malicious nature, to the public question: Why Killer Frost Bad? Why did she attack the Flash Team? Why did she join Savatar so fast? Ruined! Total and completely ruined!

She is not the leader of the Rogues, she has no truth. His wickedness has no basis. How will others accept your leadership? Intimidated with what? Does she have what to offer them? Articulation? Strategy? Cruelty without limits? Total lack of scruples? Killer Frost is just a grumpy version of Caitlin. It is not threatening or shocking. She's just a woman who puts ice in her hands. Unfortunately, Killer Frost no longer serves the purpose for which it was incorporated, but that does not mean that it has become useless, after all Caitlin is a non-character who has been in the narrative for so long, it's a Record. But that has an explanation and I will tell you when to answer about Caitlin's death.

I promised amazing revelations. I hope to be fulfilling.

* The Flash is getting ready to solve your problems

Before continuing to answer questions I have to do a review of the second season, because from it Flash enters a new cycle. That is the current moment of seriousness and that the public reacted negatively. And I will show that this is not justified.

If you got here in this series of posts, you already know that Barry and Caitlin are big problems, each in his own way. The second season was all articulated so that producers and writers had everything defined in the first half. Because? If something did not work they would use the second half to prepare the territory. Caitlin, what was your narrative? The same exercise of the first: pain, euphoria, pain: Ronnie dies (pain), returns (euphoria), dies (pain). Jay is dying (pain), she finds healing (euphoria), a version of him dies (pain). They were breaking Caitlin, again. Jay became involved with Caitlin because he wanted to get closer to Flash, steal the powers of Flash, and kill Flash. Again, the motivation of Killer Frost's rivalry with Flash.

And again, it did not work again. The illustration was still poorly made. Only, this time they would not take any more chances. When it became clear that the actress did not reach high marks they gave up on Killer Frost as leader of the Rogues and departed for Plan B. As Barry's narrative was also being copied: Flash team, the great villain disguised as ally and Caitlin to make Killer Frost. His exercise was the same as the first season. After discovering who the Reverse was, he would isolate himself emotionally, becoming a solo superhero, Caitlin would become a villain, what would be left of the Flash Team would be only Cisco, which would be migrated to CCPD. Flash was thought like this. So they played the first season. When Barry found out who Zoom was, he would lose confidence in people, he would act alone, the team would sum up to Caitlin and Cisco, she villain and he would gain more space in the CCPD, Wells was from Terra Two. But as Killer Frost was lost they had to abort everything and reorient themselves.

 Writers and producers got together and made the list of problems they had to find the solution. From there, Flash would live up to its goals. That were:

 -Made and automate Barry Allen;

- Kill the Flash Team; 

-Deleting the paternal figures of Barry; 

-Find a new leader for the Rogues;

-Deactivate Caitlin Snow;

-Zero issues hinted at the first season.

The final half of season two no longer has to be publicly attractive or coherent, it now functions as the basis for what lies ahead. Flash prepares for your Flashpoint. The last episodes of the season bring elements necessary to achieve all the objectives, which were:

 - The creation of the concept of remnant of the time, fundamental for the arc of Savatar; 

-Barry loses his powers and recreates a new exposure to dark matter, key to Jesse's bow. Jesse's transformation into a speed, has a great goal;

-Barry goes to Speed ​​Force, they create a very important concept. The Speed ​​Force has the power to debug Barry. This concept is essential for controlling the tone of the series.

-Henry is dead, eliminating a paternal figure (now there are three) and provoking Flashpoint.

The Flashpoint series is not exactly how people think it is. It's not an episode of Season Three, but rather the time period when Flash closed to solve its problems, planning has accused the need for three seasons to put everything in place. In this case, Flashpoint is seasons 3,4 and 5. Flash is still experiencing Flashpoint.

So far I answered the questions under the angle of the show's problems, from here, since we are in Flashpoint, I will respond under the angle of the applied solutions.

To be continued…

Original source https://omundonarrativa.tumblr.com/

[opinated-user]

her answer doesn’t make any sense either. “if the comic had continued you’d have seen this character was shown to be on the wrong” doesn’t work as a defence against anything when that supposed continuation never happened. the version of that comic that was shared the most was the one showing the smug lesbian character rejecting the demi one and demi one being sad about it, but nothing being done about it by any other characters. and then it ended.  i have seen exclusionist, gatekeepers and, yes, actual terfs, no just trans women LO disagrees with, sharing it around because it was a negative message the only one they took from it. i don’t know the artist so they might have genuelly stopped the comic because the harassment was too much, but that doesn’t erase the impact of the comic that did prevailed on the internet and particularly on this platform. she brings up Levi having an issue with the contest, but doesn’t want her audience to know the part where he said LO also didn’t allowed trans or non binary women character. just cis lesbian and full of so many specific details and regulations that it felt a lot less like a contest and more like LO tricking her audience into doing free labor for her. the reason Levi started talking about his problem with LO was because of her spreading rape apoligist rethoric and victim blaming regarding a real survivor. he was even willing to defend LO and speak on her favor until he noticed the things she stood by were not the kind he could stood by. not to mention that after he did his own video, LO attacked his masculinity, a disgusting thing to do considering he is a trans man, adding another tail to the number of times LO has been openly transphobic and offensive to other trans people for commiting the crime of disagreeing with her, calling her out or existing. all of which makes it priceless that now she wants to claim that Levi is the one harassing trans women. hipocresy is her only strong suit.

the Levi situation has nothing to do with this other one. she supported a comic that was used for gatekeeping purposes, regardless of the true intentions of the author, and you reacted accordingly to what was an act of careless insensitivity at the very least. if she had added a note explaining the situation, telling terfs to fuck off or anyof that matter, what LO thinks would have been clear. but she didn’t so you as the viewer is left only to speculate. she in general does little or nothing to show actual support towards the ace/aro communities, nothing beyond the most surfice level lip service, and when called out on potentially damaging actions towards them, her only response is more insults like seen above or point to her wife on a literall “i can’t be X, i have a friend that is B!” weak excuse. so the especulation that she doesn’t know/care about ace/aro issues or how to be a good ally is a completely fair assertion.

What is the context behind the picture above? Well, I'll explain.

When I made my original Lily Orchard critical post, her simps found out about it. I noticed she said something about me as well:

What I meant by that was this: I was angry because Nikolai and Gyra were punished while Lily and G did far worse and got away woth it scot-free.

Now, why did this start at all? Well, I got mad at her for reblogging a comic called Ace in the Hole or something by leclecarchie. It was about there being a party for the LGBTQIA+ kids of the character's neighborhood and the host, a lesbian, excluded a demi kid. I was mad because demiphobes were reblogging it and as a demiromantic person myself, it really hurt to see people saying that. I am not against the comic's message, but the way Lily handled this was unacceptable.

I was emotionally heated in the moment, so I said this to her:

Yeah. Her response to that should say it all. I will make no excuses for how heated I was over something so small, but there is no excuse for treating your audience in such a rude manner for approaching you with a question, regardless of how heated the asker was.

So, those are my experiences with Lily Orchard. Not as bad as some other people, but something worth noting.

@lily-orchard-gossip-blog @whyyoulyinglily

[juneboba]

ancient magus bride

finished my ancient magus bride review which you can help me upvote on myanimelist here (g’bye 660 upvotes ;~;). also added it under the cut.

final verdict: 3/10

There��s so much to love about Ancient Magus' Bride but their entire relationship is predicated on: 1) an older non-human man buying a 15-year-old girl at an auction (in other words, human trafficking), 2) calling her dehumanizing things like “puppy” right after she was sold, lording it over her that she's "expensive," and every character acknowledging she’s a “child” (especially him), 3) invading her privacy and trying to touch and bathe her without her permission (he understood that what he was doing to a child was morally reprehensible as indicated by Angelica), 4) telling her she has no choice in matters but is “free to reconsider”, 5) calling him his bride, and 6) her being FIFTEEN goddammit (pedophilia). Chise and Elias could have been terrific characters in their own right but their relationship is marred by their creepy creators’ bad writing. So many things Elias says reeked of things predators actually say to their victims and romanticizing it is gross. He even admits outright that he's grooming Chise and "raising" her to be perfect for his use. If a creator is incapable of making a character ANY way other than a child and a creepy man who says predatory things, that's bad writing. They also didn't need to write it so that the characters meet via human trafficking and continue to portray it as if the guy "saved" Chise; that's not how human trafficking works and glorifying it is despicable. I can't imagine hopping into this without watching the "Those Awaiting a Star" OVA because Chise is even more watered down and underdeveloped as a character. She always looks like she's dead inside, even when she's smiling. Considering everything that's happened to her, I don't blame her but there needs to be more substance to her other than her history. She's not relatable and there's very little that's interesting about her. Other characters would talk up how special she is because she's a "sleigh beggy" (a rare, fragile but powerful mage) but I never felt that importance come to light. Not to say Chise's experiences are invalid but her past defines her and she's a child witnessing horrifying situations. For example, they revisit the place where she was sold. Chise is friendly—to the point where she seems grateful—to the guy who manipulated and trafficked her. All the while a baby dragon who speaks like a human child, is kidnapped, maimed, and sold off (the sounds are horrifying). This is not entertainment, it's borderline torture porn. Now that I think about it, Ancient Magus' Bride reminds me of the Twilight series. Chise is exactly like Bella. She's a teenage child who is loyal to an old guy who wants to eat her, she suffers from Same Face Syndrome, and for some godforsaken reason everybody loves her despite having no discernible personality. Elias also seems like he's gunning for the Edward Cullen Award. It's his way or the highway and everybody has to bend over backwards to cater to him otherwise he loses his shit. Elias literally becomes a violent, jealous monster. There was an episode where Chise made friends with another child, no older than 12, and he got jealous that her attention wasn't on him for a day. She returned that same evening, he ran away the minute she arrived, Chise ran after him, and he tried to consume her by constricting her entire body to the point where she was damn-near lifeless. In an earlier episode, he said he couldn't control himself to serve as an indicator that he is likely to cause Chise physical harm [insert Will Smith red carpet meme]. Like Bella, she sticks around anyway and it astonishes Elias for some reason. He is amazed that a human emotes human sentiments, he excuses a lot of his toxic behavior on his "uncontrollable" monstrous side, and he is surprised by mundane human interactions despite living among humans for more than a century. Let this situation serve as a life lesson: if someone tells you they're dangerous, leave them. They're doing you a service by telling you exactly who they are. Elias is abusive and possessive; because when an adult gets jealous of a child, the correct response is to run away from home and then choke your partner nearly to death when they check to see if you're okay. Also like Twilight, every supporting character is more interesting than the main cast. They're complex, they're mysterious, they're charming, they have a tapestry of history that is engaging, and sometimes their stories have a satisfying resolution. Some of them only show up for a couple of episodes and they still manage to have more memorable moments than Chise and Elias. The amount of similarities between Ancient Magus Bride and Twilight is comical. If the antagonists aren't complete psychopaths, they are totally relatable. The human sorcerers were some of the most engaging characters in the anime. I would rather the main characters be the Barley family or Mikhail and Alice. They understood Chise's situation and, much like real life when trying to help victims of abuse/Stockholm syndrome, they tried to get her to see the issues of her relationship with Elias. The human sorcerers reminded her that she was tricked into auctioning herself by predatory men and sold into servitude, that she's young and impressionable enough to manipulate, and that Elias knew it when he bought her. They made it clear she was being used, that she has no idea what for, and pointed out that she had no freedom being with him (Elias admits to this in the first episode). Chise brushed aside their concerns because Elias was the first to assign value to her—he keeps reminding her how expensive she was and that makes her feel special (another thing many real victims say). After being rejected, the sorcerers left it at that and said they stopped caring about her. It felt really out of character seeing as how they cared more about her than anyone else ever did 2 seconds ago. That's not good writing! Subject matter like this needs to be handled with nuance and care; the writers clearly bit off more than they could chew. If anyone made more sense to foster a healthy relationship between, it's Ruth and Chise as his surrogate sister. They were way more interesting together than anyone else because Chise lacked chemistry with most of the other characters. Their bond was strong from the beginning and I would have liked to see more between them. I'm not surprised the writers went in the wrong direction with Ruth by using him to try to steer Elias and Chise closer together and then forgetting about him for the majority of the anime. What a wasted opportunity. It's such a shame because the animation and world Wit Studio created is beautiful, the music and sound department did a superb job, and I personally have a weakness for jersey devil skull monster boys. The minor characters are also intriguing and complex, often times more than the main characters. The minor characters and the production quality is what saved the score from dropping lower. Had it focused solely on Elias and Chise, the score would have easily been a 2 or 1 because the story itself begins to drag and get boring around the sixth episode. Ancient Magus' Bride has its moments after that. Ancient Magus' Bride is like a collection of fantasy scenarios that the creator put into a jar, shook up, and sequenced in the order that dropped out of the jar. The anime kept introducing characters only to abandon them within the next couple of episodes and a big chunk of the worldbuilding that came with them. About halfway through the series, it was as if they suddenly remembered they had an enormous roster of characters so they thought to dedicate segments to them every other episode only for them to disappear again. Aside from the poor writing, editors need to do something about their creators with some kinda creepy lolicon. Pursue projects with writers who aren’t afraid to create protagonists older than 20 instead of underage ones whose lack of world experience is taken advantage of by predatory adults.

[themerrymutants]

In which Dave theorizes about what Dragon Riders of Pern would look like in the Marvel Universe

Because I apparently can’t help but theorize about what various sorts of fandoms, and their respective rp communities, would look like within the marvel universe. This is kinda long so I put it under a cut, and I know a lot of you are kind of ‘Dave knock it off with the Pern stuff already’. I thoroughly blame Under The Wings for this.

DRoP does exist. Rather like it is here it's a smol fandom but a loyal one

Anne did have mutants in her tales but they usually had very minor and 'acceptable' mutations (IE omniglot, Dazzler expie that she vehemently denied was a Dazzler expie, etc). It wasn't until Todd that the first 'drastic' (read physical) mutation was featured.

That being said the mutant still had a more 'acceptable'  drastic mutation (swan wings) and was relegated to a background character that died the very next threadfall. (Baby steps I guess)

A large part of the fanbase pretends said death never happened and will figure out any means they can to make it so it only looked like they'd died but in fact they’re alive and well and they are just flitting around the caves like a wild child.

Mutants were largely considered unimpressable except under very rare circumstances by Anne herself.

Todd, on the other hand, made the rules more lax allowing them to impress greens and blues regardless of sexuality. There's a lot of discourse about what this might mean about what Todd thought (thinks?) of mutants since, at least in the books, greens and blues are often just cannon fodder and seen as the lowest ranks.

While both Anne and Todd denied Hear Alls being a metaphor for telepaths it doesn't stop a portion of the fandom, especially mutants, from having it be gospel fanon anyway. Anne gave up on policing this after a while since none of the things she approved ever involved that theory though it became much more widespread after her death.

Lessa is theorized to have been coded mutant and most mutant fans will cling to this like their lives depend on it. Anne hated this idea so, so, much.

There are rp forums still. A lot of them are wary of allowing mutants as there seems to be a lot of very powerful mutants coming in. On many sites there's a hard ban on telepaths as there's usually already Hear Alls (which are kinda telepaths tuned into dragonkin I'll admit). Sites as of late have loosened the rules a bit but creation of them usually involves either a very high post rank prize or a rather expensive store purchase to keep the numbers down

After the discovery that both sentient and non-sentient life, like aliens and animals, could be mutants there was a push from a small portion of the fandom to allow for dragonkin to have mutations more akin to human mutants rather than things found in our real world. Some sites embrace this wholeheartedly, others have a hard ban saying that since dragons are aliens it wouldn’t make sense. The approving side of the fandom points to aliens being shown to have mutants and the other side points to Kitty Ping’s thorough meddling with the dragon’s DNA and argue that their ability to bond with humans is a mutation in and of itself given it’s telepathy. Each side tends to stick to sites that are either close to their own opinion or share it entirely

It's highly frowned upon to directly expie real life superheroes. Some sites will allow you to expie their comic counterpart as they're usually highly fictionalized but a lot of people still find the idea creepy either way. Some supers have stated they're uncomfortable with the practice either way. Some supers, that do rp in the fandom, have taken to claiming an expie of themselves just to prevent others from playing them since they don't want to ruin the fun but seeing others pretending to be them can be off-putting. Especially when they get their personality all wrong.

The number of arguments over which superhero would end up impressing to what color are many and very very long. Some are joke guesses, some are novellas of evidence as to why X superhero would be a goldrider, others are just fun what ifs.

Thanks to how advanced the Marvel universe tends to be tech wise their Pern is slightly more technologically advanced even before AVIVAS shows up putting technology of Pern several thousand years after the arrival of the first pass settlers closer to the late 1800s to mid 1900s than the tail end of the dark ages to the 1700s.

Traditionalist sites tend to not allow for mutant candidates. This has led to some people working around this by making hear alls who just so happen to sometimes be able to do other things as well. Said things being within the realm of possibility for their bonded to be doing so they can't quite get accused of having made a mutant but still highly suggesting that it is indeed their character doing these things (telekinetics are highly favored for this since dragons have been shown to be telekinetic, wherhandlers tend to be straight out of luck on ways to explain away the odd occurrences).

Telepaths are surprisingly scarce on sites where they are allowed. It's possible that this is due to Hear Alls being a thing and dragonkin already filling the psychic niche. Empaths on the other hand are far more common at least among characters with psychic abilities other than being a hear all.

In the DRoP books human telepaths that aren’t tuned in to dragonkin (whers, flits, and dragons) are usually referred to as Hear All Humans. because the pernese just can’t help but have complicated names for not so complicated things.

Different possibilities I’m lumping together: Hear Alls are mutants with different specialties, hear alls don't exist in humans but are instead found in dragonkin with Hear All Humans (in the Pern books in the real world dragons can interact with humans other than the ones their bonded to but can’t hear the other person’s thoughts in this scenario Hear All Humans would be able to tune into all humans that are receptive not just the one their bonded to), or they just don't exist at all.

Alternate possibility instead of Todd having to retcon mutant impressability Anne made it so their were 7 canon ranks instead of 6. In this canon we’d still have Gold, Bronze, Brown, Blue, and Green with Whites being added as the color that strictly impressed mutants. For those not familiar with Pern: in the books in the real world there was a one off White named Ruth. As of late the sites that aren’t strictly traditional have pretty much accepted whites as canon. What color Ruth would be in the Marvel universe I’m not sure.