#but i have a few early arc structures in place for when i begin working on it properly

[danganronpasurvivoraskblog]

Trouble's Brewing Remake: What's it about, and why is it happening?

//So, I think I kept everyone waiting for quite a while after I announced this, and I think it's finally time that I explain what's going to happen with this arc, and what it's all about.

//After some deep reflection and feedback, I realized there were areas that could be improved, and I’m really excited about the direction this rewrite is taking. I know some of you might have questions, so I wanted to address a few that might be on your mind. From what inspired the change, to how this will affect the story moving forward, and what new things you can expect, I’ll cover it all right here.

//No need for a long, drawn out explanation, so let's get started.

1 - Why is Trouble's Brewing being re-written?

//The simple answer is because it's easily the most outdated arc of the story.

//For those who haven't seen the beginning of this blog, this was before I came up with the structure that I currently have, and suffice to say, the plot of the first arc was rushed, and didn't really explain ANYTHING. It was just a quickly fumbled together introduction with no real characterization.

//Basically, all it was designed to do was drop Shuichi and his friends into the world, and it didn't have much of a story besides that.

//The reason why I'm rewriting Trouble's Brewing, and making it from scratch, is to take that plot, and actually make a full-length story arc for it, instead of a few quick posts that were hastily scrapped together, and uncomfortably bad compared to my current writing.

//Now, normally, I really hate the idea of going back and recreating work that I've already made, but in this case, I have more than one good reason for doing so. Considering he's still a key player in the story, it's also the first chance I have to actually use Kuripa's new sprites as part of the story, as well as to give a little more early characterization to some characters who severely needed it in preparation for future arcs.

2 - Will the new arc change the overall direction of the story?

//Yes, but not massively.

//The general plot of the arc will be the same. It will generally be set up to explain the world, the current state of the Future Foundation, as well as introduce the V3 kids into the fray, and the OC's like Kuripa.

//All this is is me taking that original story, and expanding it into something full fledged, like all the current arcs do.

3 - Are key characters being changed or removed?

//I'm sure a lot of people are wondering this, and the answer is yes.

//Because this takes place at the very beginning of the story, the following characters, who only appear in later arcs, will not be featured: Junko Chiaki Alter Ego Junko Kizakura Munakata Yukizome Kaede Ryoma Kirumi Angie Tenko Miu Kaito Kokichi Tsumugi Keebo Gonta Rantaro Kiyo Monaca Yuta Taichi Sora Mikako Teruya Setsuka Iroha Syobai Mikado Kanata Kanade Akane Taira Ando Hibiki Yamato Akeru Mikihiko Yosaku Kana Misako Kanjiro Seina Shozo Ryo Akira Narumi Misuzu Eloise Taulner Kibin Karma Matta Tsutsuji Ella Hanami Mii-Yu Mona Eden Maya Four Hunter Kouji Leona Oliver Yomi Yui Kanon Natsumi Kuroba Solana

//And a few other characters on top of that. Just...anybody who was not present prior to the first arc, so most of the V3 characters, sans Shuichi, Maki, and Himiko

//However there are also characters that will be coming back for the arc, namely Hajime, Yukari, and regular Himiko.

4 - How will the asks function? Will there be any for this arc?

//To make it easier on myself, no. But I will not be closing the box during the duration.

//Asks will be asked in the context of where the story is currently. Because it's a rewrite, I want Trouble's Brewing to be entirely story.

//After all, there's not much point in asking questions when most people already know the current plot developments. There isn't much potential for questions when the reset button gets hit.

5 - How different will the rewritten arc be from the original?

//As I said before, the basic plot is the same, but it's been expanded to include more character moments, story beats, and just...plot in general. Below, I've included some of the important considerations for those looking forward to it:

The main characters of the arc are the Branch 14 trio, i.e. Makoto, Mukuro, and Kuripa.

As teased in the title though, all the main protagonists (with the exception of Kaede, who is not present at this point in the story) will play significant roles in the plot, Shuichi especially.

Yukari Koime will be the main antagonist of the arc. The reason is because I feel that her introduction in Neo World was a bit too bare bones for how important she is throughout Phases 1 and 2, and I wanted more of a chance to have her be the main antagonist.

The big key difference of this arc, compared to the original, is that Maki and Himiko don't just show up as easily as Shuichi does. Like in the original Trouble's Brewing, Shuichi will appear through a wormhole and arrive on Jabberwock Island, but unlike their rushed arrival in the original arc, the main plot of this new arc will involve the Future Foundation tracking down and rescuing Maki and Himiko, to help reunite them with Shuichi. Effectively, it;'s something of a Saving Private Ryan kind of story.

6 - Will we see new scenes or characters?

//Yes, and yes.

//Although, for whatever new characters we DO add to this, don't expect them to stick around for the rest of the story. We need to kind of retain the canonicity, and it doesn't make sense for new characters to appear, and then not be present for the rest of the story.

//The new scenes are designed to better establish the current state of the world 8 years after DR3, and to establish the new characters, like Kuripa and Mukuro, although they don't have their current development, of course.

7 - Can we still access the original version?

//Yes, of course, it should hopefully still be up. But the whole premise of this is to improve the first part of the story, so hopefully, you won't need, nor want to after this.

8 - Will the themes or tone of the story change?

//I can't say for certain, but if they do, it'll likely be to better elaborate and improve upon the general themes of Survivor as a whole, so that new readers can get better acquainted with the premise.

//I think for now, that's it. If there are any other questions about this, please ask me, and I will answer as best I can.

[wordsnstuff]

Hello! I see you’ve answered questions on outlining chapters for stories/novels, how to begin chapters, and chapter length, but my question is, when should your fan fiction be a one shot or a multi-chapter work and if you make it a multi-chapter work, how do you decide where to split everything up into the chapters? If you’d like, I can PM you a sample of my current WIP so you can see what I mean. Thank you!

Selecting the placement of chapter breaks...

There are several factors you should consider when strategizing the chapter structure of your story, and the ending is by far one of the most critical. The way you manipulate the breaks in the narrative is imperative to holding your reader's attention and maintaining the addictive quality of the story. This concept is easily extended to fanfiction, and fanfiction is one of the best places to examine how people organically utilize this device, as it is episodic in nature and often updated over lengths of time, mimicking the experience of media like television.

For the purposes of this discussion, I'm going to focus on how one would approach this in a traditional novel format but please remember that these principles can be applied to multiple formats including fanfiction and even television scripts.

When approaching the end of a chapter, your goal is to build tension and anticipation in the reader. Essentially, you need to make whatever might happen next seem too intriguing to walk away from. You want to leave a question (old or new) unanswered but make it clear that their curiosity will be satisfying if only they stick around a few more pages.

You can also elicit this feeling by resolving something within the narrative that creates a moment of satisfaction, and this feeling will leave them in search for more. Like giving them a taste and promising that on the other side of the next chapter header, there is more of that feeling to indulge in. It is simply good practice to consistently weave these satisfying chapter endings throughout the story, otherwise the reader may become frustrated with a lack of perceived payoff to the build-up.

Overall, a chapter should serve as somewhat of a container. Identify what your chapters are designed contain, and then correspond the chapter breaks to that design. For example, if the chapter is primarily about progress in a character's arc or a major new event in the conflict, centralize the chapter on that factor. As you approach the ending, create some kind of resolution to the central factor while leaving a loose string that the reader will definitely notice and desire to pull on in the next chapter.

I hope this helps, and of course if you have any further questions my ask box is always open.

x Kate

–

Masterlist

If you enjoy my blog and wish for it to continue being updated frequently and for me to continue putting my energy toward answering your questions, please consider Buying Me A Coffee, or pledging your support on Patreon, where I offer early access and exclusive benefits for only $5/month.

[joandfriedrich]

My Trip to Concord: Part Two

Location 2: Orchard House

We went up the path that lead to the church, and there was a table for guests to sign in with their info and whatever message they’d like to leave. I wrote something like “Best birthday ever for the biggest Little Women fan.” Beside it was a small garden and while it didn’t have any flowers, it was nice to imagine what could have been, and it being the cutest garden.

The tour started in the church, and I was able to get these photos.

Apologizes that the cabinet picture isn’t the greatest, but it was a picture of what appears to be Joan of Arc, and my friend wondered if perhaps Abigail had painted that too. While we waited, we watched this documentary piece (we did miss part of the beginning because we ran a little late at the cemetery) where an actress played LMA and gave a small tour of the house. Something worth noting, and it will be particularly sweet to a certain demographic, when the fictional LMA was showing the pictures from the house, she referred Thoreau as a “very, very, very special friend”. It made me smile like an idiot.

When it finished, our guide told us that this was the school of Philosophy, where Bronson was the superintendent. The bench by the tree was the bench Bronson often sat at. Then moving into the house, we started in the kitchen and I snuck this picture in before being told that we were not allowed any pictures. If you want a good idea of how the interior looks, the 1994 film did a phenomenal job with the design, the colors are a bit different, but the structure is pretty much the same.

This was where the well was, and it was protected by plexiglass. It’s interesting, because in October I got to see Edgar Allan Poe’s house in Baltimore, and Orchard house is so much bigger than that, and it really did feel as cozy and inviting as you’d imagine. From the kitchen to the dining room, it had a picture of LMA over the mantel by the stairs, one that was done after her illness and by the same painter who did Abraham Lincoln. The china in the cabinet was the family china, belonging to her mother, which is why it has “May” engraved as it was her maiden name.

The only bedrooms we saw were the parents, which had a small offshoot of Anna’s twin boys’ room, Abigail and, of course, Louisa. The rooms were all very good size, though Abigail's was smaller than the other two, but I get it, she was the youngest, and if remembering correctly, she moved out/was in Europe at an early age, and didn't need the space. What was so cool as seeing her artwork all around her room, protected by plexiglass, and a copy of her painting La Négresse, was featured in her room.

Louisa's room was my favorite, not just because it's Louisa, but because it had the coziest feel, was sunny, and had such a great history there. Our guide shared that Louisa stayed in this room primarily when she was sick during the war, and Abigail would keep her company, and while she lamented she couldn't get Louisa flowers (as they were pricey), she painted flowers in her room, and it's still there, and very beautiful. It's a black background, with calla lilies and some red flower I am not sure of (you can see a part of it if you look at Abigail's wiki page.).

Something to note, at various places around the house, there were small baskets of fake apples, and my mom asked me "what's with the apples", and I said, "well, it is called orchard house." And then a few minutes later, the guide said that there used to be apple trees that grew nearby and Bronson was known to give people apples even if they didn't ask for it. His study was pretty cool, saw a pocket watch holder that worked as well as a clock. On the shelf, the people of the museum filled it with different versions of LMA's works from all over the world, both in style and in language.

Off from there was Abigail's small art studio, which had a dollhouse like case where different scenes from Little Women are played out. And they discovered underneath the wallpaper and whatnot, outlines of Abigail's artwork, profiles of people that had come to visit, and the museum had protected it with plexiglass, and on that highlighted the profiles.

At the end, we were in the store and there were so many awesome things there that I could have wasted my money there, but I settled on a few things.

Starting at the top and going clockwise, a magnet with Louisa on it with the quote "Nothing is impossible to a determined woman". Next is a small book called "The Language of Flowers" which is, as the cover says, flowers and their meanings". Next is "Merry Christmas and Other Christmas Stories" written by LMA. "Orchard House: Home of Little Women" is a Emmy winning documentary, and was the one that played in the church, and next to it is the Katharine Hepburn Little Women (they had the 33, 94, 19 versions, but I was surprised they didn't have the 17 or even the 49 film, though that is apparently a tough find). Above her, is little kids book called "Little Women: A Playtime Primer", and it's going to be a gift for my nephew. Above that is an ornament of Orchard house with an engraving of LMA, and in the center is a tote bag.

I also got a candle that's called Pickled Limes, and holy crap it smells amazing! A sweet limey scent, which reminded me of @thegamineingrey post of how they were like candy back in the day, and I totally get it. Also, bonus inside, an umbrella charm which was what really sealed the deal, if not for the scent.

Here are pics of the outside of Orchard House, many of which were taken by my mom, since I was too busy just admiring the place.

Suffice to say, it is a beautiful house, full of a rich history and, just as the book, still feels relevant and like going home. I am glad we were able to make the trip out to see this amazing house.

[mechanominecraftic]

i completely forgot abt the minecraft structure bastion when naming my s3/oc verse so ill probably have to change that but i genuinely have no goddamn clue

[lokiondisneyplus]

'Loki' takes over: Tom Hiddleston on his new TV series and a decade in the MCU

Ten years after Hiddleston first chose chaos in Thor, Marvel’s fan favorite God of Mischief is going even bigger with his time-bending Disney+ show.

Tom Hiddleston is Loki, and he is burdened with glorious purpose: After playing Thor's puckish brother for over a decade in the Marvel Cinematic Universe, no one understands the mercurial Asgardian God of Mischief as well as the actor. He can teach an entire seminar on Loki if given the opportunity — which he actually did during pre-production on his forthcoming Disney+ show. In conversation, Hiddleston quotes lines from his MCU debut, 2011's Thor, almost verbatim, and will playfully correct you if you mistakenly refer to Asgard's Rainbow Bridge as the Bifrost, which is the portal that connects Loki and Thor's homeworld to the Nine Realms, including Midgard, a.k.a. Earth. "Well, the Bifrost technically is the energy that runs through the bridge," he says with a smile. "But nine points to Gryffindor!" And when he shows up to the photo shoot for this very digital cover, he hops on a call with our photo editor to pitch ways the concept could be even more Loki, like incorporating the flourish the trickster does whenever magically conjuring something. The lasting impression is that playing Loki isn't just a paycheck.

"Rather than ownership, it's a sense of responsibility I feel to give my best every time and do the best I can because I feel so grateful to be a part of what Marvel Studios has created," the 40-year-old Brit tells EW over Zoom a few days after the shoot and a week out from Thor's 10th anniversary. "I just want to make sure I've honored that responsibility with the best that I can give and the most care and thought and energy."

After appearing in three Thor movies and three Avengers, Hiddleston is bringing that passion to his first solo Marvel project, Loki, the House of Ideas' third Disney+ series following the sitcom pastiche WandaVision and the topical The Falcon and the Winter Soldier. Led by head writer Michael Waldron (Doctor Strange in the Multiverse of Madness, Heels), the six-episode drama sees Hiddleston's shapeshifting agent of chaos step out from behind his brother's shadow and into the spotlight for a timey-wimey, sci-fi adventure that aims to get to the bottom of who Loki really is. "I wanted to explore slightly more complex character questions," says Waldron. "It's not just good versus bad. Is anybody all good? Is anybody all bad? What makes a hero, a hero? A villain, a villain?"  

Even though Loki — who loves sowing mayhem with his illusion magic and shapeshifting, all with a major chip on his shoulder — has never been one for introspection, the idea of building an entire show around him was a no-brainer for Marvel. When asked why Loki was one of the studio's first Disney+ shows, Marvel president Kevin Feige replies matter-of-factly, "More Hiddleston, more Loki." First introduced as Thor's (Chris Hemsworth) envious brother in Kenneth Branagh's Thor, Loki went full Big Bad in 2012's The Avengers. That film cemented the impish rogue as one of the shared universe's fan favorites, thanks to Hiddleston's ability to make him deliciously villainous yet charismatic and, most importantly, empathetic. The character's popularity is one of the reasons he's managed to avoid death many times.

"He's been around for thousands of years. He had all sorts of adventures," says Feige. "Wanting to fill in the blanks and see much more of Loki's story [was] the initial desire [for the series]."

The Loki we meet on the show is not the one who fought the Avengers in 2012 and evolved into an antihero in Thor: The Dark World and Thor: Ragnarok before meeting his demise at the hands of the mad titan Thanos (Josh Brolin) in 2018's Avengers: Infinity War. Instead, we'll be following a Loki from a branched timeline (a variant, if you will) after he stole the Tesseract following his thwarted New York invasion and escaped S.H.I.E.L.D. custody during the time heist featured in Avengers: Endgame. In other words, this Loki hasn't gone through any sort of redemption arc. He's still the charming yet petulant god who firmly believes he's destined to rule and has never gotten his due.

Premiering June 9, Loki begins with the Time Variance Authority — a bureaucratic organization tasked with safeguarding the proper flow of time — arresting the Loki Variant seen in Endgame because they want his help fixing all of the timeline problems he caused while on the run with the Tesseract. So there will be time travel, and a lot more of it than in Endgame. As Loki makes his way through his own procedural, he'll match wits with new characters including Owen Wilson's Agent Mobius, a brilliant TVA analyst, and Gugu Mbatha-Raw's Judge Renslayer. The question in early episodes is whether Loki will help them or take over.

"One of the things Kevin Feige led on was, 'I think we should find a way of exploring the parts of Loki that are independent of his relationship with Thor,' or see him in a duality or in relationship with others, which I thought was very exciting," says Hiddleston, who also serves as an executive producer on the show. "So the Odinson saga, that trilogy of films, still has its integrity, and we don't have to reopen it and retell it."

Yet, in order to understand where Loki is going, it's important to see where he came from.

Hiddleston can't believe how long he and Loki have been connected. "I've been playing this character for 11 years," he says. "Which is the first time I have said that sentence, I realize, and it [blows] my mind. I don't know what percentage that is exactly of my 40 years of being alive, but it's substantial."

His time as Loki actually goes a bit further back, to 2009 — a year after Robert Downey Jr. big banged the MCU into existence with Iron Man — when he auditioned for Thor. It's no secret that Hiddleston initially went in for the role of the titular God of Thunder, but Feige and director Kenneth Branagh thought his natural charm and flexibility as an actor made him better suited for the movie's damaged antagonist. "Tom gave you an impression that he could be ready for anything, performance-wise," says Branagh, who had previously worked with him on a West End revival of Checkov's Ivanov and the BBC series Wallander. "Tom has a wild imagination, so does Loki. He's got a mischievous sense of humor and he was ready to play. It felt like he had a star personality, but he was a team player."

Hiddleston fully immersed himself in the character. Outside of studying Loki's history in the Marvel Comics, he also researched how Loki and the Trickster God archetype appeared across mythology and different cultures. "He understood that he was already in something special [and] it was a special character in a special part of that early moment in the life of the Marvel universe where [he] also needed to step up in other ways," says Branagh, who was impressed by the emotional depth Hiddleston brought to the part, especially when it came to how isolated Loki felt in the Asgardian royal family.  

There was a lot riding on that first Thor feature. For one, no one knew if audiences would immediately latch onto a Shakespearean superhero movie partially set on an alien planet populated by the Norse Gods of legend. Second, it was integral to Feige's plans for the shared universe. Loki was supposed to be the main villain in The Avengers, which would not only mirror how Earth's mightiest heroes joined forces in 1963's Avengers #1 but also give Thor a believable reason for teaming up with Iron Man, Captain America (Chris Evans), and the rest of the capes. Feige first clued Hiddleston into those larger plans when the actor was in L.A. before Thor started shooting.

"I was like, 'Excuse me?' Because he was already three, four steps ahead," says Hiddleston. "That took me a few minutes to process, because I didn't quite realize how it just suddenly had a scope. And being cast as Loki, I realized, was a very significant moment for me in my life, and was going to remain. The creative journey was going to be so exciting."

Hiddleston relished the opportunity to go full villain in Avengers, like in the scene where Loki ordered a crowd to kneel before him outside a German opera house: "It's the unspoken truth of humanity, that you crave subjugation," says the Machiavellian god. "The bright lure of freedom diminishes your life's joy in a mad scramble for power, for identity. You were made to be ruled. In the end, you will always kneel."

"I just knew that in the structure of that film, I had to lean into his role as a pure antagonist," Hiddleston recalls. "What I always found curious and complex about the way Loki is written in Avengers, is that his status as an antagonist comes from the same well of not belonging and being marginalized and isolated in the first Thor film. Loki now knows he has no place in Asgard."

Loki did find a place within the audience's hearts, though. Feige was "all in" on Hiddleston as his Loki from the beginning, but even he couldn't predict how much fans would love him. Feige recalls the reaction at the 2013 San Diego Comic-Con: "Did we know that after he was the villain in two movies, he would be bringing thousands of people to their feet in Hall H, in costume, chanting his name? No, that was above and beyond the plan that we were hoping for and dreaming of." It was a dream Feige first got an inkling of a year earlier during the Avengers press tour when a Russian fan slipped past security, snuck into Mark Ruffalo's car, and asked the Hulk actor to give Hiddleston a piece of fan art she created. "That was one of the early signs there was much more happening with this quote-unquote villain."  

Despite that popularity, the plan was to kill Loki off in 2013's Thor: The Dark World, but the studio reversed course after test audiences refused to believe he actually died fighting the Dark Elves. Alas, he couldn't out-illusion death forever. After returning in Taika Waititi's colorful and idiosyncratic Thor: Ragnarok, Hiddleston's character perished for real in the opening moments of Infinity War. In typical Loki fashion, before Thanos crushed his windpipe, he delivered a defiant speech that indicated he'd finally made peace with the anger he felt toward his family.  

"It felt very, very final, and I thought, 'Okay, that's it. This is Loki's final bow and a conclusive end to the Odinson saga,'" says Hiddleston, who shot that well-earned death scene in 2017.  

But, though he didn't know it yet, the actor's MCU story was far from over.

Credit: Charlie Gray for EW

When Hiddleston returned to film two scenes in Avengers: Endgame in 2017, he had no idea where Loki portaled off to after snatching the Tesseract. "Where'd he go? When does he go? How does he get there? These are all questions I remember asking on the day, and then not being given any answers," Hiddleston recalls. To be fair, it's likely the Powers That Be didn't necessarily have answers then. While Feige can't exactly recall when the writers' room for Endgame first devised Loki's escape sequence, he does know that setting up a future show wasn't the primary goal — because a Loki series wasn't on the horizon just yet.

"[That scene] was really more of a wrinkle so that one of the missions that the Avengers went on in Endgame could get screwed up and not go well, which is what required Cap and Tony to go further back in time to the '70s," says Feige. Soon after that, though, former Disney CEO Bob Iger approached Feige about producing content for the studio's forthcoming streaming service. "I think the notion that we had left this hanging loose end with Loki gave us the in for what a Loki series could be. So by the time [Endgame] came out, we did know where it was going."

As for Hiddleston, he didn't find out about the plans for a Loki show until spring 2018, a few weeks before Infinity War hit theaters. "I probably should not have been surprised, but I was," says the actor. "But only because Infinity War had felt so final."

Nevertheless, Hiddleston was excited about returning for his show. He was eager to explore Loki's powers, especially the shapeshifting, and what it meant that this disruptive figure still managed to find a seat beside the gods in mythology. "I love this idea [of] Loki's chaotic energy somehow being something we need. Even though, for all sorts of reasons, you don't know whether you can trust him. You don't know whether he's going to betray you. You don't why he's doing what he's doing," says Hiddleston. "If he's shapeshifting so often, does he even know who he is? And is he even interested in understanding who he is? Underneath all those masks, underneath the charm and the wit, which is kind of a defense anyway, does Loki have an authentic self? Is he introspective enough or brave enough to find out? I think all of those ideas are all in the series — ideas about identity, ideas about self-knowledge, self-acceptance, and the difficulty of it."

“The series will explore Loki's powers in a way they have not yet been explored, which is very, very exciting.”

The thing that truly sold Hiddleston on the show was Marvel's decision to include the Time Variance Authority, a move he describes as "the best idea that anybody had pertaining to the series." Feige and Loki executive producer Stephen Broussard had hoped to find a place for the TVA — an organization that debuted in 1986's Thor #372 and has appeared in She-Hulk and Fantastic Four stories — in the MCU for years, but the right opportunity never presented itself until Loki came along. "Putting Loki into his own procedural series became the eureka moment for the show," says Feige.  

The TVA's perspective on time and reality also tied into the themes that Waldron, Loki's head writer, was hoping to explore. "Loki is a character that's always reckoning with his own identity, and the TVA, by virtue of what they do, is uniquely suited to hold up a mirror to Loki and make him really confront who he is and who he was supposed to be," says Waldron. Hiddleston adds: "[That] was very exciting because in the other films, there was always something about Loki that was very controlled. He seemed to know exactly what the cards in his hand were and how he was going to play them…. And Loki versus the TVA is Loki out of control immediately, and in an environment in which he's completely behind the pace, out of his comfort zone, destabilized, and acting out."

To truly dig into who Loki is, the creative team had to learn from the man who knows him best: Hiddleston. "I got him to do a thing called Loki School when we first started," says director Kate Herron. "I asked him to basically talk through his 10 years of the MCU — from costumes to stunts, to emotionally how he felt in each movie. It was fantastic."

Hiddleston got something out of the Loki school, too. Owen Wilson both attended the class and interviewed Hiddleston afterward so that he could better understand Loki, as his character Mobius is supposed to be an expert on him. During their conversation, Wilson pointedly asked Hiddleston what he loved about playing the character.

"And I said, 'I think it's because he has so much range,'" says Hiddleston. "I remember saying this to him: 'On the 88 keys on the piano, he can play the twinkly light keys at the top. He can keep it witty and light, and he's the God of Mischief, but he can also go down to the other side and play the heavy keys. And he can play some really profound chords down there, which are about grief and betrayal and loss and heartbreak and jealousy and pride.'" Hiddleston recalls Wilson being moved by the description: "He said, 'I think I might say that in the show.' And it was such a brilliant insight for me into how open Owen is as an artist and a performer.'"

Owen Wilson as Mobius and Tom Hiddleston as Loki in 'Loki.'| Credit: Chuck Zlotnick/Marvel Studios

Everyone involved is particularly excited for audiences to see Hiddleston and Wilson's on-screen chemistry. "Mobius is not unlike Owen Wilson in that he's sort of nonplussed by the MCU," says Feige. "[Loki] is used to getting a reaction out of people, whether it's his brother or his father, or the other Avengers. He likes to be very flamboyant and theatrical. Mobius doesn't give him the reaction he's looking for. That leads to a very unique relationship that Loki's not used to."

As for the rest of the series, we know that Loki will be jumping around time and reality, but the creative team isn't keen on revealing when and where. "Every episode, we tried to take inspiration from different things," says Waldron, citing Blade Runner's noir aesthetic as one example.

"Part of the fun of the multiverse and playing with time is seeing other versions of characters, and other versions of the titular character in particular," says Feige, who also declined to confirm if Loki ties into Doctor Strange in the Multiverse of Madness and/or other upcoming projects.

Making Loki was especially meaningful to Hiddleston because they shot most of it during the pandemic, in late 2020. "It will remain one of the absolute most intense, most rewarding experiences of my life," he says. "It's a series about time, and the value of time, and what time is worth, and I suppose what the experience of being alive is worth. And I don't quite know yet, and maybe I don't have perspective on it, if all the thinking and the reflecting that we did during the lockdown ended up in the series. But in some way, it must have because everything we make is a snapshot of where we were in our lives at that time."

While it remains to be seen what the future holds for Loki beyond this initial season, Hiddleston isn't preparing to put the character to bed yet. "I'm open to everything," he says. "I have said goodbye to the character. I've said hello to the character. I said goodbye to the character [again]. I've learned not to make assumptions, I suppose. I'm just grateful that I'm still here, and there are still new roads to explore."

[1-800-seo]

1-800-SEO presents: — Where Is My Mind?

genre: dystopia/slight angst/escapism

pairing: Johnny Suh/Gender Neutral Reader

warnings: IV’s/needles, intravenous use of narcotics, bad coping mechanisms, alcohol use, depictions/descriptions of poverty to a degree, implied sexual activity, dreams

word count: 2506 words

in affiliation with: @127-mile ‘s

drive in fic collaboration

summary: Based in a future where your wildest dreams can be lived in for a few hours through intravenous methods, vices and virtues blur. Scraping by is all you can do, and escapism is all you live for. Maybe that will change when you meet him. (Loosely based on Inception.)

The familiar haze of mental fog clouds your mind, it coats the edges of your thoughts like a viscous syrup. You find yourself in a wheat field, the golden crops stretching for as far as the eye can see ahead of you. The swirling breeze passes over your hands and you feel it tickle, a sensation you’ve not felt in a long time. After taking a crisp piece of the surrounding plants into your hands, you feel each and every texture it offers with a fingertip. It’s not like you’ve ever touched real wheat before, you want to imprint it to memory. With the piece of crop still in your dominant hand, you turn your head, body following its arc too, and your eyes meet a cottage. The building just exudes a comforting energy, it's homely even when your real home is nothing alike. The trees that are positioned off to the side of the cottage provide the right amount of shade, one side of the house has full direct sunlight and the other is gently shaded, but in a comforting way. You drop the wheat and make your way over to the cottage. As you make your way up to the front door, following the perfectly placed path, you take in the smell of the decorative flowers that adorn the surrounding gardens. The smell of real flowers is something you’re not used to. Finally upon reaching the door, you outstretch your hand to grasp the door handle. The moment your skin makes contact with the sun-heated metal, a blinding hot white shoots across your vision, and pulls you out.

Waking up is never easy, but it’s not like you’re not used to it. The moment you open your eyes you are met with the same dingy apartment as almost every other wake up. Your arms feel weak from lack of circulation as you reach across to pull out your IV. It doesn’t sting, you’ve done this so many times, it’d be surprising if it did. As your eyes adjust to the light you start to make out the time, it’s displayed on the heads up view of your plexi-wall, and reads 11:36PM. Stars, it’d been 7 hours since you last ate, and your body is definitely letting you know as it starts to wake up from its lulled state. You shift your wobbly legs away from the crusty office chair you were sitting on and begin to make your way over to the food dispensary. You hold your palm over the sensor as a silver sachet slides out and into your palm. You make quick work of depositing its contents into a bowl and mixing it with hot water, your hunger spurring you to be swifter.

Before you know it, all of the food has been devoured, your stomach full, and the night is ready to be conquered. You have no desire to leave the flat, nothing calling you besides money to leave the (lack of) comfort of your home. But of course, money always beats out desire, and so you hastily put on your shoes and proofed jacket, grab your safety umbrella and backpack, and leave. Things had to be paid for, and your credits were seriously running low, if you wanted to continue with your expensive hobby, it meant scrounging. You’re not dumb, you knew that daydreaming wasn’t a cheap, safe, respectable, or even remotely healthy hobby to have, but at this point it was escapism, freedom from pain, and so you’d do anything for that sweet peace.

Once you’re at street level, you put up your umbrella. At this point it’s better to be safe than sorry, the acid rain warning that you saw on your dash ringing out in your memory. It never used to be like this, acid rain was once unheard of, but in the last ten years pollution came to the point that even the water cycle couldn’t be trusted. That’s the joys of living in urban scum, you think to yourself. Your ears register the faint sounds of sizzling rain droplets on your umbrella and you're grateful for it now. Your pace quickens, and after a blur of around 20 minutes walk, you arrive at your workplace.

Workplace was definitely too light of a word to call the building that stands before you. The imposing structure juts out into the dark with brightly coloured lights on its each corner, signalling its presence, as if it was easy to miss without the lights. The commonplace sound of thumping bass echoes about the street for meters, and it only gets louder as you walk up the stairs and into the building. A sign reading ‘Sondaero LivingSpaces’ greets you, but you know full well the people here are barely living. Oh no, this type of place is home to some of the most prolific daydreamers; well, the most prolific for the underground scene. You step through a set of large doors and out into the main courtyard. It’s an indoor park, filled with neon bioluminescent plants, and jarringly placed speakers. If this was any other establishment, the sea of ravers surrounded by people daydreaming on cot beds would be jarring to you, but you’re so used to it that you couldn’t care less; or more so, you’re plainly desensitised to it.

You find your way out onto the dancefloor and surround yourself with people - the more people the better, it just makes your job easier. Safely hidden in the palm of your hand is a biometric chip you crafted yourself. Implants are a little drastic in your opinion, especially when cosmetic, but this was a necessary thing to you considering it earnt you money. The function of the chip worked like this: every person is assigned biometric numerical values by the government of their country, this is to make controlling their finances easier without having a physical device like a debit card or a mobile phone. Instead each user is assigned these numerical values based on their facial bone structure, and the chip's job was to scan this using minute sensors. All you had to do was simply wave your hand in the direct vicinity of their face, and await results - those results being the chip draining their bank account of credit and depositing it into yours. The waving part is complicated in normal use, but when at a club, where wild dancing is the norm, it makes hand movements so much less conspicuous. As you imagine the small amounts of money gradually making its way into your account a man approaches you to your side.

The guy has long-ish dark brown hair, with eyes of the same colour and a tall stature. He begins dancing near you, slowly moving closer and closer towards your vicinity. You’d be lying if you said you weren’t attracted to this man, he was objectively good looking, and the smirk he was wearing on his face was hard to ignore. Before you know it, he’s leaning in your ear and shout-whispering: “hey, do you wanna get a drink with me, angel?” The confidence in him to skip all normal greetings is astounding to you, but in some ways that makes him even more attractive to you, so you whisper-shout back “yeah!” and lead him over to the bar by the elbow.

After you have a few drinks in you, dancing becomes thoughtless, and swaying and grinding on the nameless man is even easier. “Yo, what’s your name?” You ask over the pulsing beat. His response is a finger trailing up your spine with the words ‘Johnny’ leaving his lips. Maybe those disquieting thoughts aren’t only silenced by daydreaming, maybe this could be another outlet. That thought curls in your mind, the wispy tendrils of a coherent thought fading like a misty night.

A few more drinks in your systems leads you to going home with the man, but your memories fade away as the night (or should you say early morning?) carries on. It passes by in a blur and the next thing you know you’re being startled awake by a cat sitting on your chest, with an unearthly headache.

Once you finally manage to extricate yourself from the cat’s grasps, you sit up and immediately notice the sleeping form of Johnny next to you on the tatami, his chest rising and falling with each breath. As quietly as you can, you tiptoe up off the tatami floor, acknowledge the ache throughout your entire body and move towards his kitchenette for a glass of water. Unbeknownst to you, Johnny apparently has a rudely noisy water purifying outlet attached to his faucet, and it decides to make itself known the moment you hover your palm over the on sensor. Johnny quickly stirs awake at the noise, and he sleepily opens his eyes in your direction.

“Wha-what’s going on?” He asks, squinting as his dark eyes adjust to the light. “Oh, I’m sorry, I was just trying to get some water.” You respond, tottering back over to the tatami, glass of water in hand. “Um, I’m sorry, I don’t really remember much of last night, did we uh- what did we do?” You’re aware your question was haphazard, but the incessant hangover looming in your head has your thoughts less than clear.

“If you are wondering if we had sex, the answer is yes, but the only thing I remember is waking up covered in… unsavoury stuff...so that certainly was a way of knowing how. I also know that apparently at some part of the night we decided to dream ‘cause I had to tidy up the gear earlier, but to put any worries at bay, I’m clean and vaccinated so...yeah.” He finishes the end of his sentence, trailing off. Well, at least the mystery man is somewhat of a gentleman, and he’s not gonna give you anything nasty which is always a good thing. You realise his late night cleaning must’ve turned to yourself at some point considering you are somewhat dressed and clean, but you can’t find it in you to care, you’d come to this shameful point so what did a bit of aftercare matter.

“Oh ok, and thanks for letting me know. I’m clean and fully vaccinated too.” You respond, unsure how to act around him. Perhaps he feels your apprehension, and in answer he pats a spot on the tatami next to him, just away from his cat too. You make your way over to the spot, feet padding on the floor as you go. “Your cat’s cute, they decided to sit on my chest this morning. Despite knocking the breath out of me, they’re pretty charming.” Johnny’s eyes widen at this knowledge before throwing his head back and letting out a hearty laugh. It’s somewhat comforting to hear such a genuine laugh; it takes your mind off the world of insincerity around you.

“I apologise for Ten, he gets cuddly in the mornings.” Johnny picks up his cat to give you more space, Ten’s legs sprawling wide in the air before being put down to safety.

There’s something so warm and familiar about Johnny’s presence, it has you naturally leaning into him, and his arm comes to rest around your shoulders as your head gently leans on his chest. The feeling is just so warm and despite knowing you don’t know him well, it almost feels like you do. It feels like a lover long lost, and now he has returned a warm feeling spreads throughout your chest. It’s almost inexplicable, and if you were to try to justify it to anyone other than yourself, a wave of embarrassment would certainly wash over you.

Looking down at you, he meets your eyes, and they seem somewhat fond; not what you were expecting to see. “Do you fancy dreamin’?” He asks, still maintaining eye contact? “Hmm, sure, hopefully I’ll remember it this time.” You reply with a smile and he reciprocates.

Before you even open your eyes you’re met with the sensation of skin on skin. Beneath your fingertips you feel, what you suppose is a firm chest, and when you open your eyes your suspicions are confirmed. Your hands are resting on Johnny’s taut chest, and of course this is what an unscripted dream with the two of you looks like. You feel that you are naked too, and his hands rest gently around your waist, a relaxing gentle weight reassuring you he’s still there. You meet each other’s eyes and the tension is palpable in the air. He dips his head down and kisses you, lips melting together with ease. His hands move from their placing and trail down to cup the small of your back, your bodies meeting infinitely closer.

The two of you move together like jigsaw pieces slotting into place, there’s no conscious thoughts, only the two of you existing in this dream space. Part of you can feel Johnny’s thoughts swirling as you share the hazy unstructured scape. There’s hints of lust mixed with a sleepy mindset, probably left over from waking up moments ago in the real world. He’s set on being a lazy lover right now, selfishly devouring you with no haste in any of his actions, just taking these moments for himself. He can feel your thoughts just as much as you can feel his, he knows you’re feeling relaxed with him and he’s pleased at that, he knows how good you feel right now and he’s proud. He wants to use all of this time to make you feel good. You’re both in agreement that losing yourself in each other is ever so easy, and so you both fall into the other's grasps.

The second time you wake up, Ten is resting on your feet, warming them from the slight chill of the room. Johnny had roused quicker than you, and he’d already removed the IV from your arm. You spot him winding up the fluid bags and putting them into the insulated case they reside in. “How are you feeling?” He asks whilst disposing of the needles in the marked sharps box. “Good, lighter than usual. I’ve enjoyed spending time with you, albeit mostly imaginary.”

The floaty feeling remains in the forefront of your consciousness. Despite feeling lighter, less burdened, you’re aware that you need to change your vices. Constantly daydreaming, forming relationships through them, isn’t healthy. Continuous escapism isn’t a way to live; numbing yourself over and over again won’t solve anything. With a new fervor to gain meaning in your life, you rise from your place on the tatami. “What are your plans for today, John?” You ask, perhaps vices and meaning aren’t that different from each other.

long time no see! this is my penultimate fic :(( hopefully u guys enjoyed it! I know it’s not like my usual style and is somewhat offbeat but I hope it makes sense hehe <3

[murasaki-murasame]

Thoughts on Higurashi Sotsu Ep15 [FINALE]

For better or worse I think Ryukishi achieved exactly what he set out to do with this series, and I guess everyone’s just gonna be forced to reckon with how they feel about his own perspective on this franchise versus how they feel about it, lol.

Anyway, thoughts under the cut, plus Umineko spoilers.

I’m not entirely sure where to even start with this, but I guess the TL;DR is that I honestly think Gou/Sotsu was ultimately just fine despite it’s issues, and part me of can’t help but be like ‘I told you so, lol’ about how this really did end with this episode, and also committed pretty hard to the Umineko prequel elements.

It’s not like all of my theories were correct in the end, but I at least think I was pretty spot on in my prediction last week that this would end with the miracle of them side-stepping the sword issue entirely and choosing the third option of forgiveness and reconciliation. And also them ending it with an epilogue where we go back to the Matsuribayashi timeline and get a happy ending for Rika and Satoko that provides a ‘non-magical interpretation’ for the story while also giving us an idea of how Bern and Lambda formally split off into their own entities and start the relationship we see in Umineko.

I didn’t quite expect them to go down the route of having them agree to just spend a few years apart and accept that they don’t need to literally always be together, but I think that was a really good way to wrap things up between them. It’s pretty much the healthiest compromise to their conflict that doesn’t come across like it completely invalidates one of their dreams. I get why it feels too anti-climactic and convenient for people, but when you pull at that thread you get into wider topics of what the entire story is about, since this was always going to end with Satoko being redeemed and forgiven. People might not have taken him seriously, but Ryukishi was 100% genuine about his regrets about Matsuribayashi’s ending, and how part of why he came up with this new story was to create a better ending, while also doing more with Satoko as a character.

Basically I think a lot of the fandom negativity towards this boils down to people fundamentally disagreeing with the idea that Matsuribayashi was even ‘flawed’ in this sort of way to begin with, or that Satoko was badly written. It’s valid to disagree on this stuff, but at the very least we all have to grapple with how Ryukishi has his own specific relationship with this series.

People like to focus on how he’s a troll who likes to mess with people, but I feel like this is a bit of a wake-up call for people about how he’s actually extremely sincere, almost to a fault, and he likes to use his stories as a vehicle for expressing his personal philosophies and ideals. 

This whole story is also a good example of how he just sees this as ultimately being a fictional story about fictional characters, and not literally a matter of real people who need to be sentenced for their crimes or whatever. As early as the original VN he was almost being outright preachy about the message that nobody is irredeemable, and that philosophy carries through to this. But to be more specific, nobody *in this story* is irredeemable. He’s pretty open about the fact that in practice you can’t apply this sort of ideal to real life, but fictional stories are their own separate matter.

I think this whole issue of how he views this as a story first and foremost is also the central reason why this ended in a way that comes across as Satoko being let off too easy for her crimes. One way or another, Ryukishi’s made it clear that he sees this as being no different to how other characters had arcs where they committed crimes but still got forgiven, or how Takano is basically a straight up war criminal who also got forgiven for her crimes.

Anyway, this episode at least committed to the Umineko stuff, so that was satisfying. Sure there’s people that still want to deny it, but at this point I think a lot of people are just being stubborn, so it’s not like anything would have really convinced them, lol. I’m also genuinely not sure what people even would have expected them to do beyond what we saw her, aside from having the two of them literally put on their gothic lolita outfits and turn to the camera and go ‘we are literally Bernkastel and Lambdadelta from the video game series Umineko When They Cry’. I almost feel like there’s some kind of misunderstanding from people who aren’t familiar with Umineko when it comes to the idea of what it even means for this to be ‘an Umineko prequel’, or ‘a Bern/Lambda origin story’. I mean, this is quite literally exactly what I expected and hoped for in that regard. It’s not like I was expecting them to incorporate anything related to, like, Beatrice or the Ushiromiya family.

I think this is also one of those things where you just have to decide for yourself whether or not you want to earnestly engage with the story that’s being told, or if you want to assume that there’s some level of malice or trickery going on.

To be honest, I wasn’t expecting them to literally have Rika and Satoko recite part of Bern and Lambda’s final conversation with each other word for word, lmao. Combined with the scene at the end where ‘Witch Satoko’ talks to herself about how she’s going to give her body back to Satoko while she goes chasing after Rika, it was literally just the exact origin story of their relationship as it’s depicted in Umineko.

I still feel like this would all only really be ‘worth it’ if we actually get something like a full on anime remake for Umineko, but at this point I can’t help but feel satisfied with this part of it all.

It’s not like I think Gou/Sotsu as a whole is perfect or anything, though. I don’t hate it as much as basically everyone else does, but I think Ryukishi’s the sort of VN writer who really struggles with the shift to writing for an anime. I think a big part of the frustration people have is just from how this is formatted as a weekly anime series spread across basically an entire year, instead of being something like a stand-alone VN chapter that you can read at whatever pace you want, even if it ultimately takes the same amount of time to read as it would to watch all of Gou/Sotsu.

There’s also the whole issue of this being a sort-of-remake, which snowballed into a whole list of structural problems. They absolutely tried too hard to have their cake and eat it too, and they should have just committed to it being made for old fans only, instead of trying to sincerely incorporate elements from the VN that old fans don’t care about anymore because they’ve gone over it already.

And as I’ve said several times before, it was a major issue for them to decide to put Nekodamashi in the middle of Gou and then spend like 20 episodes on flashback answer arcs until finally getting back to that cliffhanger. I’ve been waiting until this all ended to decide exactly how I feel about that, and now that it’s all over I still think it was a really bad idea. I don’t think it was an issue for them to reveal that Satoko’s the culprit that early, but having the gun cliffhanger specifically happen that early just gave people misguided expectations and tainted the answer arcs because people were just impatient to get back to the cliffhanger. And then the cliffhanger itself ended up being somewhat anti-climactic, which is what I’d been fearing would happen. It would have worked fine if they shuffled it around so that the cliffhanger happened right before Kagurashi and was followed up in the very next episode, or if this was a VN where you could binge your way through the flashback stuff, but spending like half of an entire real-life year to get back to that point only to have the resolution be ‘Satoko just shoots Rika and the death loops keep going’ just didn’t really work properly.

I’m a lot more generous towards the Akashi arcs than most people are, since I think they really over-estimate how much re-used content there is there, but they still suffer from the central issue of the show trying to be accessible for new fans. It could have been heavily condensed otherwise, without losing anything in terms of Satoko’s whole character arc.

On the other hand I think the first half of Kagurashi was awful specifically because it highlighted how bad of an idea it was to put Nekodamashi so early in the story. They still ended up having to go back to that arc and repeat it anyway, in the most 1:1 recap-y way in the whole show, but that wouldn’t have even been an issue in the first place if that was instead the first time that arc happened in the show.

I’ve been thinking a lot about how I would rearrange the story to make it flow better while still following Ryukishi’s intentions, and I think they could have condensed it into a 2-cour season with this sort of structure if they did something like this:

-First arc where Rika gets thrown back into the loop and quickly figures out that somebody intentionally caused this to happen, and it’s not Takano because at least in this idea of mine she’d try and investigate her only to find out that this version of Takano regrets everything and is planning to flee the village with Tomitake.

Basically I think this could tie into the idea of Satoko initially wanting to just concoct an idea world for Rika so that she won’t want to leave this time, but sort of like what I think happens in Saikoroshi, Rika would still reject it, and this time around there’d be the additional layer of her knowing that somebody did this to her for an unknown reason. Maybe they could even initially market it as a new adaptation or a remake of Saikoroshi, and then reveal that it’s a sequel, to keep that whole element to the series. Either way I think this would end with everything going to shit when Rika rejects that fragment and wants to go back to St. Lucia’s, and Satoko basically snaps and kills her, and that way the audience can find out about her being the culprit without Rika finding out about it yet.

Maybe there could even be some dramatic irony where Rika’s attempts to meddle with certain ‘trigger events’, and her displaying her looper side, inadvertently triggers people around her to get paranoid, and the whole fragment would start to spiral into tragedy from there. I think they could at least use the whole conflict in Tatariakashi about Teppei actually being good this time as a starting point for that sorta thing.

-Second arc, rounding out the first cour, which is basically just Satokowashi. I don’t think there’s much that you’d need to change here, but like I said above I like the idea of her initially trying to just invent a perfect world for Rika and her to live in, instead of jumping straight to murder. But maybe instead of her literally just watching Rika’s loops, she could instead just be stuck using her looping powers to try and figure out how to create that ‘perfect world’ in the first place, by personally investigating all of the different tragedies and how to prevent them.

-Staring the second cour, a third arc where we basically just get to see those loops Satoko goes through, and her whole process of solving the tragedies and ‘purifying’ characters like Teppei and Takano, until we eventually see her perspective on the first arc, and how she reacts to Rika ultimately rejecting the world she tried to make for her.

-A fourth and final arc which is basically just Nekodamashi + Kagurashi, where she just totally snaps and tries to just torture Rika into never wanting to leave the village again, and eventually Satoko gets exposed and they have their direct confrontation with each other.

With that sorta story structure, you’d keep all the relevant bits of Gou/Sotsu as it is now, while being more focused on Rika and Satoko instead of doing kinda half-assed reruns of the Rena and Shion arcs. It’d also push the big cliffhanger between them until near the end of the show, while still revealing to the audience relatively early on that Satoko’s the culprit.

I’d also like them to do more with Satoshi and Shion, so maybe like with how Teppei gets redeemed and Satoko almost gets to have a happy life with him in Tatariakashi, the central question arc of this hypothetical story could also involve Satoko making sure that Satoshi wakes up from his coma, and Shion also gets to have a good relationship with all of them. You could probably do something interesting with the idea of Satoshi and Shion being in the camp of not trusting Teppei and his whole redemption arc.

Honestly I could spend a long time talking about how I would have done things differently, lol. For one thing, I think the Akashi arcs would have been much better if they just changed it so that Satoko used psychological tactics to make people paranoid, and we completely cut out the whole syringe plot device. I get how it fits with Satoko’s whole certainty gimmick, but it made those arcs way too predictable. Even if we knew the outcome, it’d at least be entertaining to see exactly how Satoko might go out of her way to set up the different tragedies. We kinda got glimpses of that sorta plot point in Wataakashi when things seemed to go outside of her control, but they didn’t really do much with it.

Anyway, this is a whole lot of words to say that I think that in spite of the serious structural issues going on, I think Gou/Sotsu as a whole is fine, and was at least working with a lot of perfectly good ideas that could have been executed much better.

Also, on a side note, that one scene during their fist-fight at the start where the art-style changes a bit was kinda weird, but I really liked how it looked, and part of me almost wishes the whole show looked like that, lol. I like Akio Watanabe’s character designs, but I feel like that sort of stylized, almost TWEWY-ish art style would have been really fitting for this series, especially in the horror/action parts.

Oh, and the new rendition of You was so good it almost felt emotionally manipulative, lol.

[psychewritesbs]

hey hey! firstly, i only recently found your blog and just wow! i am amazed. it is so fascinating! secondly, i read your blog description and it got me curious about Jungian psychology (i have to admit i know very little about a subject i find so intriguing). could you point me to some books or reading material on the subject (if it's not too much to ask)

Hola! First, thanks for the kind comments.

Second...

Not too much to ask at all!

If anything, the fact that someone is asking me for book recs on the subject makes me so happy. Jung is highly underrated because his work was, and continues to be, ahead of his time. 

To put Jung’s Psych in a few words...

Who looks outside, dreams; who looks inside, awakens.

Welcome to the fascinating world of Depth Psychology! 

But first... a quick word on Mainstream Psych.

Mainstream Psych mostly considers Jung’s work too “woo woo” or “New Agey” to be legitimately studied in an academic setting. But again, that’s only because back at the turn of the century, Jung was asking the questions that mainstream Psych is only beginning to ask today.

When it comes down to reading recs, it really depends on what interests you about Jungian Psych.

The meaning of life? 

Soulful living?

Dream analysis and interpretation?

Shadow work? (Jujutsu Kaisen’s Megumi is doing his fair share of shadow work during the current arc in JJK).

The structure of the Psyche? aka soul, ego, mind, body, the collective unconscious, etc.

Religion and mythology and how we are unconsciously playing out myths in our daily lives?

Individuation? aka personal development and how it happens

Symbolism in the tarot and how it relates to the progression and evolution of the human mind?

Alchemy? aka that science that is not legit according to chemistry

Synchronicity? aka coincidences that are not coincidences at all or hitsuzen

The relationship between neuroscience, early child development, and archetypes? My master’s thesis focused on this 🤓

You get the point.

Jung’s Psychology is esoteric af and acknowledges the deeper, unseen aspects of life. 

All subjects that mainstream Psych does not like to touch even with a 10-foot pole.

Take your pick. The world of Jung’s Psych is your oyster.

A good place to start

I highly recommend you check out jungplatform.com. 

This website was created by a therapist who found he had an affinity to Jung’s Psychology. 

While they sell courses, they also host free webinar summits from time to time that I’ve found super invaluable. I would follow them on Instagram or sign up for their newsletter so that you can get a notification of when they host the next summit.

Uberboyo on Youtube makes videos about Jungian concepts. They are long, but he is so passionate about the subject that it is easy to engage with his content.

Recommended authors

Generalists

When I earned my master’s degree through Saybrook University, I was very fortunate to get to study under James Hollis, one of the biggest names in Jungian Psych.

The man is truly a national treasure and deep source of knowledge. He doesn’t just lecture about Jungian Psych, he gets it and lives it. His books are a great place to start because they are really easy to read and thought-provoking. I don’t have a specific book in mind because I’ve only read two of them and can’t remember their names. I’d say go look at the titles of his books and pick the one that interests you most.

Another author I really love is Robert Johnson. My most recent purchase by him was his book on shadow work but I’ve also read We, She and He. Not sure if I’ve read Inner Work but it would make sense that I have because the subject is right up my alley.

Another big name in Jungian circles is James Hillman. However, I’ve always had a really hard time reading Hillman.

Marion Woodman and Jean Shinoda Bolen are all amazing and bring a more feminine perspective into the field. Marion Woodman in specific tries to bring the body into the equation since Jungian Psych can get pretty mental.

Dreamwork and Mythology

If you are into dreams, then you cannot miss Robert Moss. 

Although I have not read his work, Steve Aizenstat (the founder of Pacifica University, one of the few places you can study Jung in an academic setting), also has a fascinating perspective on the matter.

Stanley Krippner was another instructor at Saybrook whose work I enjoyed reading. I got to read The Mythic Path by him.

Marie Louise von Franz, who actually got to study under Jung himself, has a great book on the psychological analysis of fairy tales.

Women who run with the wolves by Clarissa Pinkola Estés is a great example on how myths live through us and how awakening to these subconscious forces can help us live better lives.

If you want to read Jung himself

I highly recommend you read some of the authors I mentioned above first. 

Why?

Jung is hard to read. Like... really hard.

Not because it’s hard to understand what he writes about, but because he rambles on and on and on and on and on (like yours truly, Jung is a master at vomiting words) and goes in circles to explain a specific point. Once he makes his point, however, you feel like the effort of reading the ramble was well worth it.

So, if you are up for the challenge:

Modern man in search of Soul is a good introductory book.

Memories, dreams, reflections is a sort of mini auto-biography.

His collected works books are massive but they are the main source of information about his theories. I recommend: 

Archetypes and the collective unconscious

Synchronicity: an acausal connecting principle

Psychology and Alchemy

The Psychology of Kundalini Yoga (as a Yoga teacher and Kundalini Yoga practitioner, I especially loved this one)

Psychology and Religion

Dream analysis

Finally...

The Red Book is probably not the best book to get started with because this is basically a collection of his private journals. So if he rambles in his other books, this book is wordvomit.com on steroids. And yet, this is a beloved book by all Jungian Psychologists because, story has it, when Jung thought he had become Psychotic/Schizophrenic, he started writing his experiences down. When he “regained his composure,” his journal entries became the basis for his own theories of Psychology.

In conclusion...

I hope this helps! 

I think if I could sum up Jungian Psych in a short phrase I would say that Jungian Psych wants to help you understand your own mind and the unconscious influences that direct your thinking. Becoming aware of these influences is what makes for a richer, more fulfilling life.

This is one of the things that sets his Psychology apart from mainstream Psych. In other words, Jung was a huge advocate for the study of the Soul (Psyche) and saw the ego mind as one of the “structures” within the Soul. 

In other words, Carl Jung put the Psyche (Soul) back into Psychology.

“Your vision will become clear only when you can look into your own heart. Who looks outside, dreams; who looks inside, awakes.”

Carl G. Jung

[michaels-blackhat]

thoughts on evil Forrest 😈

We are going to start out by apologizing. This is very very late. I’m sure when you sent this ask, you meant it to be in the same joking tone that I approach all of my other propaganda posts. Sadly, this is actually going to be a deep dive into a few Evil Forrest related things, including the moment I feel they changed directions, the perfect wasted build-up, and the implications of the change/how it then negatively impacted the story. As I’m sure you already know, by being on my blog at all, I don’t think the story was good to begin with, so we are going to focus on the weird hoops they made themselves jump through to make that story still work. Additionally, I am only going to mention once, right now, how much of a waste it was to not have Forrest ‘fall for his mark’ and complete one of my absolute favorite tropes. Honestly, I think “because I want it” is a completely valid reason to like Evil Forrest. But, the question was “Thoughts on Evil Forrest” and these thoughts have been developing for over a year and a half. So, I apologize in advance.

The majority of this is under a cut, with highlights in the abstract. If no one wants to read this, I understand completely. Go ahead, skip it.

Note: it pains me greatly to not actually have full sources for this essay. Just know that in my heart I am using proper APA citations, I just absolutely do not feel like digging through tweets to find sources to properly cite.

Abstract:

Previous research indicates that Roswell New Mexico has a history of repeating excuses to explain mid-season changes to plots. This essay explores how those excuses are not only loads of crap, but how they hinder the show’s ability to tell a coherent story, misuse the multiple-plot structure to enhance the themes being explored, and lead to decisions that mean the show continuously goes over budget. This also means that characters are not used to their full potential and has led to what some fans consider to be “out of character” behaviors. While these behaviors are not universally agreed on, evidence can be shown that these behaviors directly contradict emotionally important character arc/plot points in the show.

The author of this paper acknowledges that the show took some strides to mend this problem. However, once again no consensus could be found on whether Forrest was a low-level member of Deep Sky and thus just allowed to fuck off on a bus, or his job was recruitment because he did a piss poor job of making Alex not join.

The concept of Evil Forrest has been with the fandom as early as New York Comic Con (NYCC) in 2019, when it was revealed that Alex had a new “blue-haired love interest”. Speculation abounded within the fandom, with some people, including the author, going “yeah, he’s evil” while others rejoiced in the concept of Alex having a loving partner. Speculation increased as fans discussed Tyler Blackburn’s seeming disinterest in his new love interest, prompting some once again to scream “EVIL” at the top of their lungs to anyone who would listen. Very little was revealed, beyond the fact that the new character would show up somewhere around episode 3 of the second season.

Episode 2.04 aired with some commenting on how he barely interacted with Alex- prompting more evil speculation- and others excited to see the characters interact more. The character appears again in 2.06, where he invites Alex to dubious spoken word poetry (which Alex attends); 2.08, where they have a paintball date and go to The Wild Pony; 2.10, where the two are seen writing together briefly at the beginning of the episode; and 2.13, where Alex performs his song at open mic night, tells Forrest his relationship with the person in the song was long over, and they kiss. Forrest was not revealed to be evil during season 2.

Amidst the season airing, Word of God via Twitter post announced that yes, Forrest had originally been planned as a villain, though not the main villain, but it was changed as filming progressed.

The Word of God Twitter post revealed that Forrest had originally been planned as a villain, but they decided that they could not make their “blue-haired gay man” a villain. This mirrors a similar situation and excuse used the previous season, where the character of Jenna Cameron was originally planned to work with Jesse Manes against the aliens, before it was changed because they just “loved Riley [the actress] too much”. Both of these examples occurred while already filming and reflect on a larger problem with the show. Though not the topic of this essay, it is important to note that both characters are white, both in the show and by virtue of being played by white actors. The fact that they couldn’t be villains for one reason or another is not a courtesy extended to the male villains who are all the most visibly brown, and thus ‘other’, members of the cast.

This also highlights the fact that, via Twitter, it has been revealed two other times that occurrences that were reported in season 1 also occurred in season 2. During the airing of episode 1.02, it was revealed that the single best build-up of tension in the show- when Alex walks to the Airstream not saying a word to Michael after a dramatic declaration- happened because one actor was sick at the time and they had to go back and film the kisses later. At the point of airing for episode 2.08, it was revealed that one of the actors were sick and unable to film a kissing scene. Allegedly, this caused the writers to retool the entire scene and deviate from the plan to make that subplot about Coming Out. The execution of this subplot will be explored later in this essay.

The last occurrence revealed via Twitter also revealed larger issues within the show: lack of planning and poor budgeting. During the airing of season 1, Tyler Blackburn was needed for an extra episode beyond his contracted 10. A full explanation was never given, but speculation about poor planning and to fill in because Heather Hemmens had to miss one of her 10 episodes due to scheduling conflicts for another project. During the airing of season 2, yet another tweet came out saying they made a mistake and Tyler would once again be in an additional episode. No explanations beyond “a mistake” were given, though once again speculation occurred. It is the opinion of the author that this was due to changing plot points over halfway through writing, while episodes were already in production. It has been speculated by some that these changes occurred during the writing of 2.08, which was being finished/pre-production was occurring roughly around the time of NYCC 2019.

Previous Literature:

A brief look at different theories of plots and subplots

Many people have written on the subject of plotting, for novels and screen alike. The author is more familiar with film writing than tv, but a lot of the concepts carry over. Largely, the B- and C- (and D- and E-… etc) plots should reinforce the theme of the A-plot. This can be through the use of a negative example, where the antithesis of the theme is explored to reinforce the theme presented by the A plot, or through other examples of the theme, generally on a small scale.

A movie example of this would be Hidden Figures (2016), where the A-plot explores how race and gender impact the main character (Katherine Johnson) in her new job. The B-plots explore the other characters navigating the same concepts in different settings and ways- learning a new skill as to not become obsolete and breaking boundaries there (Dorothy Vaugn) and being the first black woman to complete a specific degree program and the fight it took to get there (Mary Jackson). A TV example that utilizes this concept of plot and theme is the 911 shows. Each of the rescues in a given episode will directly relate to the overall theme of the episode and the overall plot for the focus character. This example is extremely blunt. It does not use any tools to hide the connection, to the point you can often guess the outcome for that A-plot fairly quickly.

This is not the only way to explore themes within visual media. Moonlight (2016) looks at three timestamps in the life of Chiron. Each timestamp has a plot even if they feel more like individual scenes or moments rather than plots as some are more used to in films. Each time stamp deals with rejection, isolation, connection, and acceptance in different ways. So while there is no clear A-, B-, or C-Plot, each time stamp works as their own A-Plot to explore the themes in a variety of ways, particularly by starting out in a place of rejection and moving to acceptance or a place of connection to isolation.

Please note that there are many ways to write multiple plots, there are just two examples.

While there are flaws within season 1 of RNM, overall the themes stayed consistent throughout the season, mainly the theme of alienation. The theme threads through the Alien’s isolation/alienation from humanity which is particularly seen through Michael’s unwillingness to participate and Isobel’s over participation. There is Rosa’s isolation from others, how her friendship with “Isobel” ended up compounding her existing alienation from her support system due to her mental illness and coping mechanisms. We see how Max and Liz couldn’t make connections. This theme presented itself over and over in season 1. While this essay is not an exploration of the breakdown of themes in season 2, it should be noted that there were some threads that followed throughout the season. The theme of mothers/motherhood was woven throughout season 2, with some elements more effective than others. Please contact the author for additional thoughts on Helena Ortecho and revenge plots.

One of the largest problems within season 2 was the sheer number of plots jammed into the season. These plot threads often ended up hindering the effectiveness of the themes and made the coherence of the season suffer. Additionally, a lot of them were convoluted and difficult to follow.

Thesis:

Essentially, season 2 was a mess. To look at it holistically is almost an exercise in futility. Either you grow angry about the dropped plots and premises, you hand wave them off, or you fill them in for yourself. Instead, this essay proposes to look at individual elements to explain why Forrest should have stayed evil.

We first meet Forrest in 2.04 when he is introduced on the Long Family Farm, which we later learn was the location where our past alien protagonists had their final standoff. He’s introduced. He’s largely just there. The audience learns he has more of a history with Michael. In 2.06, we meet him again with his dog Buffy (note: poor Buffy has not been seen again and we miss a chunky queen). There’s mild flirting, Alex is invited to an open mic night, which he attends. For the purpose of this essay, the author’s thoughts on the poetry will not be expressed. Readers can take a guess.

It is after this point that the author speculates the Decision was made. This choice to make Forrest not evil- paired with the aforementioned ‘can’t kiss, someone’s sick’- impacted the plot. We have Alex have a scene with his father- which the author believes could have been pushed to a different episode- and then have Alex go on a date and then not kiss Forrest at the end of the night. Here, the audience sees Forrest hit Alex in the leg, allegedly not knowing he had lost his leg despite ‘looking him up’, which parallels the shot to the leg that happens to Charlie. Besides wasting this ABSOLUTELY TEXTBOOK SET UP WTF, it also takes Alex away from the main plot and then forces a new plot for him. Up to this point, Alex’s plot was discovering more about the crash and his family’s involvement. Turning Alex’s date from a setup for evil Forrest to a Coming Out story adds yet another plot thread to a packed season. It is also the author’s thought that this is where the convoluted kidnapping plot comes in. With Forrest already in 2.10 for a moment, a plot where Alex is evil has Forrest attack him for Deep Sky rather than Jesse abduct him for a piece of alien glass Alex was going to give him anyway and then for Flint to abduct Alex from Jesse. It’s messy. In a bad way. Evil Forrest would have been a cleaner set up: no taking back a piece of alien glass Alex gave to Michael in a touching moment. No double abduction. Instead, there is only Forrest, who Alex trusts, breaking that trust to take him as leverage over Michael.

Implications:

Now, Alex has two plots (Tripp & Coming Out). The Coming Out plot is largely ineffective, as they are only relevant to scenes with Forrest and have the undercurrent of there only being a certain acceptable way to be out. This could have been used for Alex to discover his comfort levels, mirroring Isobel’s self discovery, but there was not enough screen time for that. Additionally, Isobel’s coming out story was about her allowing herself the freedom to explore. Alex’s story was about the freedom to… act like this dude wanted him to. Alex’s internalized homophobia played out often in the series but it was also informed by the violence he experienced at Jesse’s hands and the literal hate crime he and his high school boyfriend experienced. With that in mind, the “kissing to piss off bigots” line comes off poorly. This is a character who experienced what a pissed off bigot could do- reluctance to kiss in public is not the same as not being out. There is more to be said on this topic, but as it is not actually the focus of the essay, it will be put on hold. To surmise: Alex’s coming out is attempted to be framed as being himself, but it is actually the conformity to someone else’s ideals. It does not work as an antithetical to Isobel’s story, as the framing indicates that the conformity/right was to be out contradicts Isobel’s theme.

Further Research:

MAKE FORREST EVIL YOU COWARDS

Author Acknowledgements:

The author of this paper acknowledges that the show took some strides to mend this problem. However, once again no consensus could be found on whether Forrest was a low-level member of Deep Sky and thus just allowed to fuck off on a bus, or his job was recruitement because he did a piss poor job of making Alex not join.

[freddiekluger]

I am all ears for your season 3 cap's big gay awakening ideas 👀👀

alright, you asked so sit down and strap in

before we get started- a few details are recycled/repurposed from earlier headcanons/ask answers (characterisation is like that), and i came up with all this a couple weeks back, so any overlap with other peoples suggestions is totally unintentional! i’ve just been finding the energy to properly write them up as originally i riffed them with a friend late at night lmao

the captain: homo evolution

introduction (scroll down if you’re not bothered for the hardcore analysis/logic)

this isn’t necessarily what i think WILL happen as much as how i would do it. over the past two seasons of Ghosts, we’ve seen the captain’s main character arc being centred around him loosening up, from learning to value mike, alison, and the other ghosts more as equals than soldiers/means to an end to the season 2 finale, where cap is not only expressing an interest in flowers and fashion (distinctly un-soldierly pursuits) but joining the party and other men (the direct opposite of About Last Night, in which cap bah humbugs partying/’gay abandon’ and is left speechless by the mere presence of a mostly naked man). that being said, the captain is still the captain: his character is still centred around this need for rules and structure and he still finds his identity in the archetypal WW2 military man- all of his incremental moves towards a more ‘modern’ perspective have ultimately been made possible because, like Ben said on twitter, the captain isn’t CONSCIOUSLY aware that he’s gay. he has the underlying feeling that he’s different, he knows of his tendency to attach himself to specific men and form incredibly close bonds (and, as demonstrated by his attempts to hide them, is at least somewhat aware that that’s not the norm), but in his mind he’s written that off as merely “not being a ladies man”. 

the captain is from the 1940s- it’s one thing for him to see and be supportive of a same-gender wedding in present day England where gay=legal unions, marketed doritos, and homophobia being still present but generally frowned upon, and another thing entirely for him to have to apply it to himself. we’ve already seen that the captain appears to be stuck in the past more than any of the other ghosts (”the war is over!” “is it, alison? is it?”- he also references the past more frequently than most of the others), and in his past sodomite gay=punishable by imprisonment and chemical castration, back alley hookups, and the constant threat of blackmail and violence. obviously, despite all this, there was a vibrant underground queer history taking place in England during this time & not all of the above is accurate, but it’s what cap would have seen, and the England of the early 20th century is denoted as being a particularly brutal period for lgbtq+ folks (the destruction of the first world war exacerbated rage and frustration, and lgbtq+ people weren’t the only gorup to end up on the receiving end of that, but i digress). this is basiclly just a really long way of me saying that the captain compartmentalising to that degree was, and to some extent is, a survival mechanism. confronting his homoseuxality means confronting what it means for a 1940s man to be a dreaded homosexual, and all of that directly conflicts with the image of ‘the Captain’ he’s built in his mind. 

we’ve seen this in Redding Weddy, where the captain is aware that Havers means/meant more to him than was normal for a captain/2ic relationship (he does attempts to hide his affection- “i shall miss you, Havers. by which of course i mean we shall miss you “he left me, i mean he left for the front”), but is never able to fully verbalise WHY, and it only takes a series of increasingly dramatic prompts before he will even mention the idea of Havers, let alone begin to articulate their relationship. 

all this just goes to prove that for the captain to properly ‘come out’, there needs to be an external inciting incident- he could easily have gone on shadowing attractive men whenever they visit and avoiding interrogating those feelings for another seventy years if Button house remained without alison and mike. 

while at least julian, pat, and robin have noticed that the cap is not the most heteroseual of men (they’re the only ghosts who have visibly reacted when cap says gay shit), they all appear to have decided to just not mention it, which makes alison and mike our wildcards. not only has alison’s ability to see and communicate with the ghosts already connected them more to the modern world than they ever have been, alison, and mike by extension, has a personal stake in the wellbeing/general growth of the ghosts. happy ghosts=happy house, and like it or not some of them are even beginning to become friends. [i probably didn’t need to write all this like explaining my decisions, but i think figuring out the motivations behind everyon just develops the flavour and lets us have a sexy and accurate headcanon]

so,

the episode

while the captain might not consciously know he’s a fruit (derogatory), he is well and truly terrible at concealing the thirst (it’s not his fault things just keep slipping out!)- i love the idea of just having a supercut near the beginning of the episode that just shows that the captain has gotten even GAYER since last season, with slip ups becoming almost a daily occurence, but it’s getting to the point where it’s actually becoming a serious hazard. last week, he was supposed to be looking out for alison while attempted to put up blinds, but one of mike’s friends (who was over ‘helping out’, which mostly meant eating chips and covering himself in paint) walked through the room with his shirt off and paint handprints on the seat of his shorts, distracting the captain from realising that alison’s stepladder was about to give way. 

with the increased presence of non elderly men in the house (the previous owner wasn’t exactly the life of the party) the captain is getting gayer and gayer, but he’s also becoming more and more defensive, while his brisk demeanour and need for control regresses to much more of a season 1 state (a subconscious attempt to regain control as things get close to spilling over). it’s not the first time his repression has almost slipped, he spent much of his life surrounded by soldiers after all, but with no war and no corporeal body he’s got almost nothing to distract himself from it. needless to say, between the safety hazards and the almost agressive defensiveness which derails any interaction, something needs to be done about the captain.

throughout the week, alison tries to find the opportune time to talk to the captain about what’s going on with him for everyone’s sake, but cap keeps masterfully evading any ‘deep’ talk with willful misunderstanding or just straight up dismissal (which at times gets a bit rude), and alison really doesn’t have the time- her and mike are caught up with managing the first official room redecoration and butting heads with a passive agressive delivery driver. insert general shenangigans, but at some point the captain’s whole “accidentally sabotage something by being distracted and then attack anyone who dares even look at him the wrong way afterwards” act causes alison to exasperatedly blurt out “we all know you’re gay! we get it! you like men! you can drop the act!”. there’s no malice or anything but, as we know, when alison gets run ragged things don’t tend to come out quite right.

everything falls silent (and mike is vaguely confused), and the captain just looks like a deer in headlights. as alison catches her breath, pat pipes up with a “it’s alright, cap, we don’t mind- now we can focus on the task at hand”. the captain sort of regains his composure and once again attempts to brush them all off with a scoff and a “i haven’t the faintest idea what you’re talking about. if any of us is distracted, i-it’s... kitty!” but it’s easy to tell he looks rattled. most of his words don’t come out right, and after trying to blame kitty for their failures (she just had the unfortunate luck of being in his line of sight), he ends up doing an awkward little walk away which quickly turns into a full on sprint. mike, having finished processing alison yelling about gay shit to the air and kind of pieced together what must have happened awkwardly chimes in with “it’s okay to be gay!”- alison just pats him on the back (”yeah no he’s gone, mike.” “gone?” “sprinted away.” “huh”)

the episode continues with the captain flat out avoiding alison and the other ghosts to an almost funny extent as the other plots continue. it takes a bit for alison to realise why the captain reacted so badly (in fact, it’s actually mike who remembers that he’s 1940s ghost- “he’s probably just scared and taking it out on everyone else”). while thomas and julian vote for leaving the captain be so they can have some peace and quiet, fanny/pat/alison/robin decide someone needs to talk to him (fanny surprised everyone but after all, she got murdered because her husband had to live in secrecy- if talking to the captain will avert any further crises, she’s happy to make sure someone else does it for her). kitty’s still upset about being singled out, but she knows better than anyone that sometimes all you need is a friend- cue realisation no. 2.

with the captain avoiding everyone, sending in a regular emissary isn’t going to work. they need to find the least threatening person possible, with no agenda or history other than being there to help (a friend, if you will)- cue everyone looking at mike.

a quick offscreen briefing later, we see mike wandering out to the field where the captain has exiled himself- remember that up until this point, the captain was still in conscious denial about his sexuality, so being forced to confront it head on (and finding out that apparently everyone ‘knew’, which for cap would feel like an intimate invasion of privacy/forced vulnerability) would rattle him to the point of self-exile- he might not be able to run from his sexuality, but he can run from people. the thing is, mike can’t see or hear the ghosts, which means the captain can’t be frightened off by any expectations (mike actually talks to/at cap while facing completely the wrong direction, but consdiering the above point, this works rather well). 

the captain was alternating between pacing, fiddling with his swagger stick, and sitting, but he unconsciously stands to attention as mike wanders over. he’s used to mike not being able to see them, so mike asking to sit down takes him by surprise, disrupting his instinct to flee again.

mike begins a little awkwardly (”mind if i sit?” *silence* “...i’m just gonna assume that’s a no. or is it a yes? yeah anyways i’m just gonna sit. so... heard you’ve been going through a rough patch”), and the captain almost scoffs and wanders off, but something about the clumsy earnestness in mike’s voice, the captain’s vulnerable state, and the fact that it’s been so long since cap has had anyone actually check in on him, that he stays put. he keeps standing and staring away from button house, and mike keeps speaking to the empty air to his left, and alison and the ghosts stay hidden behind their bush a few metres away, but at least the captain is listening. for the first time in weeks, he’s not on the offensive.

“i can’t actually see or hear you, so i’m just gonna talk and assume you’re listening. alison mentioned you have a habit of running away but, um, maybe don’t do that please?”

“my mate daniel's gay. uh, homosexual, you’d probably say- did you have gay when you were alive? did it just mean happy? anyway, he didn’t come out- that means tell people- until he left high school. we all kind of guessed it, the other kids at school gave him a real tough time for it, but he just squashed it down. couldn’t imagine that all the things people were shouting at him were true, so he ignored it. he’s doing good now though. got married to his husband last year, currently runs a bookshop. so that’s nice.”

it goes quiet for a bit. the captain hasn’t moved, and we’re still only seeing shots of him from the back, but there’s a little less tension in his stance than there was before.  mike clears his throat before continuing.

“i’m guessing you’re probably pretty scared right now. i would be- i mean not that you should be, you shouldn’t, but coming from your... situation, i’m guessing it’d be hard. no one’s saying you have to be anything you’re not ready to be, but lots of things that are scary are actually not bad. airplanes, skydiving, clowns- well, not the clown from that movie, but he gives clowns a bad rep- i’m sure there are plenty of lovely clowns out in the world. still give me the creeps though.” the captain makes a captain-y noise of assent about the clown comment- he never liked them either. 

mike glances over to the bush where alison and the ghosts were attempting to listen in (they could only catch every few words- mary got particularly concerned about why mike had referenced clowns), and the captain still hasn’t run away, so alison motions for mike to keep going. he starts telling the captain a story from his uni days. it’s got nothing to do with the captain, or being gay, or self-acceptance, or anything like that- it’s just a standard tale of comedic but inventive problem solving. the captain sits himself down next to mike (to his right, avoiding mike’s gaze, and still staring away from button house), muttering that his legs are getting a bit tired. he sits there for a while, and mike just talks. sometimes he circles back to the gay thing, sometimes he just asks the captain questions, before remembering that he can’t actually hear any answer, but then he keeps asking anyway, thinking that cap might need to talk. he doesn’t at first, but slowly he offers up a word or two. and then a sentence, and then maybe more- mike will accidentally cut the captain off, or leave the silence to long, but the captain doesn’t mind (it’s a nice reminder that nothing he says will actually go on to have consequence). at one point, mike gets out his phone to show the captain photos of his mate daniel and daniel's husband, not just their wedding day but casual photos- couples drinks with him and alison, dinners at each other's places, the bookshop. 

alison and the other ghosts have long gone, and the sun is just about to sink below the horizon by the time the captain stands himself back up with the traditional knee crack and grunt. he looks at mike and nods, giving him a simple thank you before turning to walk (not run) back to button house, head held slightly higher and looking more relaxed than he’s been all episode. the captain has still got a lot to figure out, but at least it’s a start.

[i love the dramatic ending but the implication is that alison has to go and fetch mike bc he has no ideas cap has left and is prepared to keep going lol- also by no means is cap suddenly going to ditch his characterisation and become a yas kween gay right away, i didn’t go into the aftermath bc this is alreayd fucking LONG but let me know if you want follow up????}

EDIT: i've rbed this with the follow up/part 2 attached!

EDIT 2, much later: switched out mike's reference to his 'younger brother' to a school friend, since the christmas special confirmed mike only has sisters and we're all about accuracy here

[japes-the-clown]

THE SPONGEBOB SQUAREPANTS MOVIE: AN INVERSION ON “COMING OF AGE” FILMS AND A CRITICISM OF ADULTHOOD

Hi hello hey it’s me Jericho Jay “Japes” Marshall out here with a pretentious love letter to the filmmaking on display in nickelodeons The Spongebob Movie. Yes, I know it’s a kids movie. Yes, I know it’s not that deep. But I’m majoring in english, and deeply depressed, so I need to get this OUT and onto a PAGE.

I have watched this film many times over my lifetime, a few when i was just a kid, then in my early teens, even when i turned eighteen, and now, a month before i turn 20. Every time, I grow a new appreciation for the nuances that this movie brings to the table, and on my most recent watch my own deliverance from childhood makes me relate to the core themes the hardest I ever have. The Spongebob Movie isn’t just a movie about childhood, but a movie about adulthood.

Today, I’m going to make clear exactly how The Spongebob Squarepants Movie criticizes our understanding of adulthood and how society treats the neurodivergent, while effectively turning the “Coming of Age” genre on its head, within its 87 minute runtime.

START: CONSISTENT CHARACTERIZATION

One thing a lot of films (ESPECIALLY kids films) fail to nail is consistently showing aspects of a character throughout the runtime, enough that changes to a character feel impactful and justified instead of rushed and stifled. The best examples of movies that fail to do this are often the marvel movies that people tend to not remember- the first two thor movies, the avengers age of ultron, etc. In these movies, characters certainly have traits, but their personalities and motives can be very weak and make dramatic changes feel A LOT less dramatic. This can be seen in age of ultron, when quicksilver gave his own life to save someone else, which felt like nothing because he wasn't well developed. He wasn't particularly endearing, nor did him sacrificing his life contradict a part of his character. It felt very much like the writers trying to say "Look, this character which was once opposing the avengers, is now dying for one. Please cry." No hate to the writers of Age of Ultron, but it proves itself often to be an unmemorable part of the catalogue.

In the Spongebob Movie, the characterization is ON. POINT. After the introduction, with the pirates rushing in to watch spongebob, we get so much information regarding spongebob as a character.

Pictured: Spongebob holding a piece of cheese like an operator

The first scene of the plot is a dream sequence a large crowded scene at the Krusty Krab, with a customer not receiving cheese on his patty, and it being positioned in the same way as a bomb being located. In the dream, everyone is panicked, and Mr. Krabs is visibly distressed, almost like a damsel. Spongebob comes in, announcing his position as manager, much to the relief of Krabs. He goes in, and puts cheese on the burger (again, very akin to a bomb defusal scene), bringing the perturbed customer out safe and sound. Everyone lifts spongebob up as a hero, which is interrupted by his boat alarm.

This scene is JAM PACKED with stuff that both introduces the character to new watchers and introduces the crux of his arc to everyone else. Spongebob of course is very fond of the Krusty Krab, and wants to be the manager- he wants people to see him as cool, and as a responsible adult. He wants to be the sort of person that can be trusted with big responsibilities. And we also see, most importantly, that he is extremely childish through his faximile of what it meant to be adult. Everything is scaled up; it's a very silly situation, which well suits both the joke and his character as an inexperienced kid. This is one of the most direct ways to convey someone's character, because a dream can be interpreted as a direct port into a character's desires. This being the first introduction to the character in the movie sets the tone for EVERY following situation.

In the next few scenes you see Spongebob's real life, which involves his lengthy morning routine; his life is sort of whimsical, and so too is his routine. He showers by shoving a hose into himself till he bursts with water, he uses toothpaste to clean his eyes but not his teeth, and he puts on pants which he must fold to make. Again, all pretty solid jokes, but also very telling about his outlook. He is funny, weird, and childish, which is juxtaposed by the scene where he's- he's uh- showering with squidward. Squidward is an example of the "adult" that spongebob isn't. This has always been the case, but here his normal routine makes it very clear that other people in this world aren't like spongebob. They shower normally, they brush their teeth, they put their clothes on like normal. Spongebob's world is one of wonder and without responsibility, which makes it questionable as to whether he could handle one.

Pictured: Spongebob's room, adorned with childhood imagery

Pictured: Spongebob celebrating his position as a manager, despite Krabs saying that it was squidward who got it

Even his room in this scene screams "kid". He has toys strewn about, glow in the dark stars, and pictures of superheroes on the wall. He even says "Sorry about this calendar" as he rips a page, personifying inanimate objects as a kid would. The movie is telling you, "THIS CHARACTER IS A KID", but in a way that's masked because it's also just a set up for jokes. It's done so well, in my opinion, that it would go over your head because from your perspective you would be laughing along as spongebob did his wacky antics.

On top of that, his excitement for his assured managerial position at the Krusty Krab 2 continues to be bolstered. He marked it off with a cute drawing on his calendar, for those familiar he changes his normal "I'm ready" chant to "I'm ready- promotion-", and he's even already set up a party to celebrate at his favorite chain, Goofy Goobers, a child's entertainment restaurant similar to chucky cheese, albeit replacing pizza for ice cream. He hasn't just gotten excited, but has this childish anticipation for something which isn't even assured.

Spongebob arrives at the opening of the Krusty Krab 2, where he is so excited he can't contain his glee. He breaks the silence and makes members of the crowd uncomfortable, reinforcing again that spongebob is a standout in a world of adults, and a kid who doesn't understand certain social norms, which society looks down upon. When Krabs reveals that Squidward got the managerial position, Spongebob hyped himself so much that he starts celebrating, not even noticing that he wasn't picked. He gets on stage, and begins to give a speech, to which Krabs interrupts.

The next part I think best illustrates Spongebob's clear ignorance to society: Krabs attempts to subtly tell spongebob that he isn't getting the job, but spongebob repeats everything he says into the microphone. Again, fantastic joke, grade A, but the amount this shows how invested spongebob was. He already saw himself as an adult, someone who everyone would look up to as a manager- he could take the responsibility, and isn't aware of everyone likely cringing in the audience. This is the natural step for him in his mind, especially because of his exemplary work which had been previously celebrated through employee of the month awards. This was not an option for him. There wasn't a world in his mind where he would be outclassed by squidward.

Krabs has to break to him that he lacks responsibility, and that his childishness makes it difficult for Krabs to give him such a job. This might seem harsh, but I think the intro again shows how Spongebob saw the job; he didn't understand what it would be like, fantasizing another level in the menial work structure to be an amazing adventure of a job. People in the crowd reaffirm that in the eyes of society, spongebob is just a kid, a goofball. In my eyes, this is a story not just of childhood, but of neurodivergence. Spongebob isn't normal, and is blocked by society for his ignorance of social norms and sunny disposition. He finds things fun that other people can not, and he places values in completely different things. So he is blocked from the meaningful recognition he desired, despite the obvious evidence of his commitment.

I think this is a mighty interesting dichotomy!!! Simultaneously, spongebob's understanding of the world truly is warped, often resulting in a lack of consideration for others as well as harm for himself when things don't go his way, AND he is a good worker which puts in MANY hours of work without so much of a complaint. This is COMPLEX. You have to ask yourself, as a viewer, "would I give spongebob the job?" The answer can be different and can be REASONED.

And that's JUST spongebob! There are other characters with characterization that mixes into the themes of the movie very well, but I'm going to bring up any related points in future sections.

Okay, Okay. So now you're saying "WOW OKAY GREAT so why does any of this matter?" I'm so glad you asked. VERY glad.

2: THE BREAKING OF A YOUNG MAN'S SPIRIT

THIS is the point of the movie. The obstacle in this movie truly isn't adulthood, but instead self doubt. Spongebob's whole world is turned upside down by Krab's rejection of his basic personality. Spongebob asks himself: is it REALLY okay to be who I am? Am I an adult? Is the world fair? One of the most shocking scenes in the movie is blended so well in tone with the rest that you don't really notice; spongebob eating ice cream to cope with his disappointment, akin to that of adults drinking alcohol, and appearing to be visually "drunk" and washed up. This is BRILLIANT, and a recurring theme, where the true line between adult and childhood becomes blurry and impossible to see. Spongebob, the representation of a kid, gets hungover, spiteful, and angry about the injustice of his situation. This is often how adults act in the fact of adversity, but what's funny is that this too is how a kid would act; getting angry and overindulging, feeling entitled and acting socially immature when he didn't get what he wanted. He walks in to the Krusty Krab literally just to shit talk Krabs. And it doesn't stop there.

Pictured: Plankton finding "Plan Z" and looking at it like a centerfold in a playboy magazine

Almost every character in this movie juxtaposes another, again smearing the line of what it means to be an adult. For example, Spongebob and Plankton are polar opposites; plankton is cold and vengeful, angry at the world around him, and spongebob is a happy person who tends not to take things personally, a friend to all. In planktons first appearances in the movie, he is portrayed with clear adult themes, mocking spongebob, making pinup jokes about plan z, and living in a fairly dark and grey space. But, as the story moves along, we see many similarities; both spongebob and plankton are fairly one track minded, and when spongebob's perception is broken he himself gets a little vengeful. When eugene is put in danger over this, though, we do see that he places the lives of others over his own wants. And, even at the end of the movie, we see their similarities. Plankton reuses the "Sorry Calendar" joke that spongebob used at the start of the movie, drawing another line of what it means to be an adult. Is it childish of plankton to say that? Is the inherent irony he has impactful here? His want for something that isn't his, and his disregard for others in pursuing it feels just like how a younger child may steal the toy of another, without understanding what it means to share.

Pictured: Neptune flipping his shit at his lost crown

Then, there's the character of Neptune. Neptune is a big man baby. He rules the entire land, commands the most respect, and is considered the most powerful person under the sea, and yet, we see that he gets overprotective of his property, prepared to execute anyone who even annoys him. Throughout the film, he's obsessed with chasing an image of youth, as he is bald, and ignores the suffering of the people on bikini bottom to make sure no one sees his bald head. He throws what's equivalent to a tantrum when he finds his crown is missing, and believes a very crude note written by plankton saying that it was eugene who stole it. His character is an "acceptable" child because he's in a position of power, where spongebob is an "unacceptable" child as he is just a working class member of society. And the funniest part is, that he mocks spongebob for wanting to go for the crown, when even he, the strongest person in bikini bottom, refuses to go out of fear.

We see that these "bastions" of adulthood, plankton and neptune, are the ones who are responsible for missteps of society; we're ALL children in the long run, but the strict enforcement of a perceived true adulthood creates a space where they can act immaturely yet those under them/around them cannot. Dennis makes this case even more, as the only thing he does in this movie is hurt others. There's only one thing that seems to truly denote adulthood, and it's cruelty.

Even squidward, the adult that is supposed to be more responsible that spongebob, refuses to go on the quest to retrieve the crown, as he acts mostly in self interest, even later claiming to only care that plankton was stealing the secret formula as it was hurting his own paycheck.

Spongebob is the only one willing to go, willing to defend the man who wronged him, willing to value life over his own interests. He is both child and adult, just as the adults are too children.

As he moves through the plot of this film, he becomes less confident in his disposition, with his naivete causing moments like him and patrick crossing the state line and immediately getting carjacked, or them being put into an uncomfortable situation by all the bubbles they blew when they tried to get their car back. His bright personality is questioned constantly: Only five days to shell city? BY CAR. This is man's country. But weren't we the double bubble blowing babies?

Pictured: Spongebob caught trying to take back the key to the patty wagon when patrick fails to distract everyone

This is made more obvious to him as patrick remains oblivious throughout; patrick is a mirror for him, that acts as a childhood constant, that makes it clearer for him every day the draws of his childishness. There's the moment in the club where patrick's distraction was poorly thought out, and only because he said he wanted to do it adamantly, there's the moment where patrick challenged neptune on how many days they would have to do it, which served no purpose but for his own fun, there's the moment patrick points out the free ice cream trap- he is the unemployed uncritical lens that spongebob is afraid he is.

So everything's fucked, and anyone who is childish is bad i guess!!!

But that isn't so,

3: The illusion of manhood

So we've talked about spongebob's characterization as a naive child, how this is impactful in his transformation into someone who is anxious about that aspect of his personality, and how the society around him is hypocritical in it's own immaturity. But where does this all come together?

Pictured: Planktons dystopian world, which Mindy shows Spongebob and Patrick

It's at spongebob and patricks "conversion to manhood". At his lowest point, spongebob becomes a squidward- he becomes critical of his AND patricks interests, and regards them as childish, deciding that this means that they can't make it to shell city, as it requires them to be adults. When mindy shows them the dire situation back home, she hopes that spongebob's sunny personality and care for others would shine through, but instead he turns to what society has been telling him; it's impossible. He can't do it, he's just a little kid, and there is no point to any of this as he'll fail regardless.

Thinking about it like this, it truly is one of the darkest points in the entire series; spongebob just openly admitted that there was nothing he could do, that all of his friends were goners because he was effectively useless.

Mindy comes up with an idea; she'll trick spongebob and patrick into believing they're men; she convinces them of mermaid magic (their innocence allowing them to believe) and uses kelp to make them think they've matured into adults. Notice that physical modifiers being the only key to this "fake adulthood". With this, they jump off a cliff because they believe that with adulthood, they are invincible.

This is really telling about how the society they're in thinks of being an adult, and relays that to children. There's another level, a distinct separation between spongebob and adulthood, which seemed like the difference between a squire and a knight- being an adult means that you aren't weak anymore (as though he was weak in the first place), and thus you can do things you never thought before. Is it truly healthy that this is how a society tells kids that adulthood is like, for them to enter the world and feel a truly awful financial and literal hellscape waiting for them? uh, you can, you can decide that for yourself i think.

Nonetheless, they survive the fall, and conclude that they really are invincible, able to power through a ravine with their happy go lucky attitude, eventually befriending the monsters which were once trying to kill them. They weren't acting like adults, but the labels themselves made it possible for them to soldier on with the childlike disposition they had. I find that to be powerful. If we were able to be more hopeful as adults, and power through the worst things brightly, could we do great things? Idk but these depression meds sure do taste good nom nom

After crossing the ravine, spongebob and patrick meet dennis, and have their worldview crushed as it's revealed that they are actually still kids. Dennis being the "alpha male" that he is, is characterized by violence and a lack of morality. The pair are saved by a giant boot, which is the first of two humans in this movie. Spongebob and patrick are both taken by the man in the diver suit, as we fade to black, marking the end of their illusion of adulthood.

4: Back from the Edge (of death)

Spongebob and Patrick awaken in an antique shop, realizing that they were surrounded by fish that had been killed specifically for sale as tacky antiques. They are lifted out of their fishbowl, and put under a heatlamp, as their fate is sealed to become a member among those dead fish. In spongebob's final moments, he mourns his inability to be an adult, as well as to reach shell city; but before they both die, patrick points out that they truly did reach shell city, as the crown was within their reach.

This. This is a phenomenal scene. Why? Because of what it means for spongebob's arc.

Pictured: Spongebob and Patrick on their deathbeds, finding happiness

He sees the crown, and realizes that, unequivocally, that even if he didn't bring the crown back, he made it to shell city. Every person he met told him that he couldn't even do that. and he did it. He is a kid, yes, but he's a kid who went where not even NEPTUNE dared go. Everything people said about him, about how him being a kid stopped him from success, was suddenly shattered. He has been asking himself if it's okay that he is a kid, and he saw, unambiguously, that it is. He is allowed to be happy. He can enjoy things that other people don't. He can be naive. He can be himself, no matter what anyone says. And so can you. Great things can be done by people who are "childish", who are "naive", who are kind without expecting a return, all of it. YOU are okay. Your stims are okay, your comfort series are okay, your interest in tropes are okay, YOU'RE OKAY!!!!

with that, spongebob and patrick are dehydrated on the table, and ostensibly die, the kids that they are, shedding one final tear each, forming a heart beneath them.

...

Miraculously, the tear electrocutes that lamp at it's socket, causing smoke to rise and set off the sprinklers, rehydrating the pair, and bringing them back to life. The "Man in the Suit" attempts to capture them, seeing them about to lift Neptune's crown, but the rest of the dehydrated fish come back to life- squirting him with his own glue and beating him to the ground, as spongebob and patrick run out with the crown. David Hasselhoff offers them a ride back to Bikini Bottom, and the pair begin their ride back.

5: The confrontation of Adulthood and Childhood

Pictured: Dennis looking all lame and shit

As spongebob and patrick are being swam back to bikini bottom, the boot under which dennis was crushed rockets to Hasselhoff, spitting him back out to finish the job. The appearance of Dennis, IN MY OPINION, makes him look rather goofy, with his broken glasses making him look more like a office worker than a badass assassin as he attempts to kill spongebob and patrick. Spongebob, in trying to reason with him, is able to ruin his eyes with bubbles, and then survives as dennis gets hit by a raised platform which spongebob and patrick are too low to be hit by.

Having defeated one representation of adulthood, spongebob and patrick are shot down by HasselHoffs MASSIVE MAN TITS with the crown in order to prevent Krab's fate, blocking Neptune's lazer just in time as they crash in.

All seems to be well, but plankton uses one of his mind control helmets (which we'll be getting into later) to enslave even Neptune, putting mindy, spongebob, patrick, and Krabs against the wall.

In another stark moment of characterization, Spongebob tells patrick that "Plankton Cheated", which prompts plankton to tell spongebob that the situation wasn't a kiddy game, and that it was the real world. This sort of distinctions in their ethos tell you how spongebob interacts with justice; he believes in "playing fair", while plankton is bitter and believes in getting what he wants.

Finally, the apex to our plot, is a musical number. Spongebob begins to make a long-winded speech, where he takes ownership of every label he was called as he stood on the stage at the beginning, the similarity between the two events being clear (holding a microphone at an inappropriate time, making a speech as he blocks out input from an adult trying to talk him down). Spongebob then busts out into the film's rendition of Twisted Sister's "I Wanna Rock", "I'm a Goofy Goober". This results in spongebob reversing plankton's whole plot with "the power of rock and roll". Plankton is made powerless, and thrown into a little padded cell.

The final scene in the movie has Mr. Krabs freed from his imprisonment in ice, and spongebob is offered squidwards position as manager of the second Krusty Krab. He seems hesitant, and squidward offers an insightful analysis of what spongebob might be feeling (the typical analysis of a coming of age movie, where the protagonist finds out that what they wanted all along is not what they wanted, but it was what was inside all along). Spongebob refutes that squidwards fly was just down, and GLADLY accepts the job.

AND THAT'S THE MOVIE

6: AN INVERSION ON THE COMING OF AGE GENRE

A coming of age story tends to be one which is focus on the growth of a character from childhood to adulthood, asking questions about what it means to be an adult. A character reaches for their perceived adulthood, and realizes what it means to ACTUALLY be an adult, typically juxtaposing what people think (drugs, parties, sex) versus what the movie postures as the correct adulthood (responsibility). In this, I think that the spongebob movie directly criticizes the position of what "an adult" is, in the sense of how someone acts.

Like we discussed in part 2, every adult character in this movie tends to be very childish in themselves, unable to see through simple ruses, and often very possessive of personal property. I don't think we actually see a child in this movie as a speaker at any point, only really as background characters (in goofy goobers to solidify spongebob as childish, and I believe in the chum bucket as they're lead to an unsafe place by their parents, who are supposed to be responsible). Thus, what is mostly examined is how adulthood and childhood is a very thin line. Squidward, for example, going directly to plankton to accuse him of stealing the formula, instead of taking it to the top immediately, which would have ended this whole thing fairly quickly; that was rather silly, and was the fruit of his need to assert himself as an adult.

Spongebob goes through this movie FIRST not caring much about whether or not he was an adult, and it is only after the social pressure from adults does he start to chase it. He then chases his perceived image of an adult, going on an adventure, and is crushed by the fact that he isn't an adult. Instead of finding what an adult is, he instead becomes comfortable with his existence as a child, finding himself at the end of the movie able to comfortably chase after an ideal again, where in a normal movie he would humbly reject the job he was offered.

This is, truly, what we should all take from this film. Spongebob realizes that people who aren't necessarily socially adjusted or acceptable can do great things, regardless of what the people around them say, especially because the people around them are liable to throw tantrums and be actively harmful to society. He is allowed to find comfort in childish things, and to be naive, because the world needs more people willing to help others. It's a scathing criticism on the imposed adulthood that exists in a lot of coming of age films, which begs us to drop fun in the interest of doing the right thing, as though those two ideas are contradictory.

BONUS: EXTRA STUFF THAT I LIKED

The goofy goober song became really good storytelling, at first marking childishness, then marking a level of discomfort and judgement in the club, then marking spongebob recognizing that his happiness came from what he liked and not some vague idea of adulthood, and finally marking his full acceptance of his childishness, taking the form of rock, the music of rebellion. It's not as subtle as leitmotifs, but it works really well in how the same song can give very different feelings throughout, and inform how we interact with a story.

There are a lot more examples of adults being pressured into childishness, with the connected twins who liked goofy goober at the club, who were beaten senseless for absolutely no reason, which highlights the way that the society hurts people that, by all means, are just as much adults as anyone else. There's of course Plankton's helmets which created a society of people who simply slaved away with nothing to say, taking life as it came and listening to authority.

On top of that, this movie is PRETTY ANTICAPITALIST AND ANTIMONARCHY, despite those things being allowed to continue to exist at the end- monarchy is seen misusing power constantly and often for unfounded reasons, and Spongebob's diligence at work is rejected by a penny pinching Krabs, who cares only about money. Like, THE KRUSTY KRABS ARE RIGHT NEXT TO EACH OTHER? THAT IS SOME MONTY PYTHON ASS SHIT. This year is the first year i laughed at that joke, because it's really some "capitalists are fucking dumb as shit" humor that slipped over my head when i was a kid. The villain literally being defeated by Rock and Roll, which was sung with a message against the oppression of differences in people? Yeah, I think the spongebob movie hated rich mother fuckers.

END: UH YEAH THAT'S WHAT IT IS

So yeah. The movie is good I think. There's a lot more i could go into, but I've been writing this post for hours and at this point i haven't even read it so...

I recommend going back and giving this film a rewatch!!! Pay attention to all the moments where adults act like children/kids act like adults, because it'll make ur brain pop like a zit. Anyways that's me, I'm Jericho Jay "Japes" Marshall, and I HATE facism.

[atomicblasphemy]

I was bored and decided to speculate on the upcoming Owl House episodes

Buckle up, this got way longer than anticipated.

Often I tend to have as much or even more fun with TOH’s b plots as with the main ones, and seeing the memes the fandom I guess that’s kind of a normal feeling. But this last episode didn’t really have one and I’m pretty glad it didn’t.

Here’s how I’ve been thinking of the show, specially when it comes to episode structure. Pretty much in the first few scenes they will go like “hey, here’s an idea.” Then they go on the rest of the episode showing why that is not such a good idea. Case in point, Understanding Willow’s “out of sight, out of mind” only for the episode turn out as an argument for therapy, or that grom episode with Luz unable to answer her mom’s messages only to do so by the end of the episode (even though that is not a full solution, but still, she’s the main character and that looks like it will a main source of conflict until the show’s end... probably). On today’s episode I feel like it came out in two ways: from Luz perspective it came in the form of her indulging King’s narrative and self-image; on his case, well, it pretty much boils down to that whole identity crisis thing.

In other words, although in a certain way there are two big stories being told they both are a part of the same plot line. Moreover, King is a part of the show’s main trio.

Now, this may just be my own perception, but I feel like the last five or so episodes were kind of meant to be some turning point for specific characters, in this sequence: King, Willow, Luz, Amity, Eda, Lilith. Those episodes seem, again, at least to me, to mark some form of shift in the characters story. For Lilith it was her betraying the Emperor, for Eda it was learning who cursed her and her imprisonment for Luz’s sake in a way (learning she grew to care for Luz over her own well-being), for Amity it was her taking a first tangible step towards getting out from her parent’s dominion (which culminates in the events of EE) and becoming her own person, for Luz it was confronting the fact her biggest fear is somewhat related to guilty about how she left her world and her mom and finding in herself (and the friends she made in the Isles) the fortitude to actually confront all that, for Willow it was what I said before (which, btw, ends her whole arc that started on the conjuring episode, the whole thing about her and Amity’s friendship). The only one of those I can’t really see clearly what the episode’s point really was is King’s Really Small Problems.

Again, going on a bit of subjectivity here but I feel like that episode was kind of the show’s lowest point so far. First of, there’s the fact that Willow, Gus, and especially Luz don’t apologize to King because, I mean, they were pretty much about as guilty for everything that happened as him. They did either hijack or forget his day with Luz, so you know... Buuut, still, if I were to hazard a guess as to what the point on that episode I’d say it circles around the line “The King of Demons misses nobody.” early in the episode being contrasted by “Demons do crazy things when they’ve been missing someone.” In other words, the point of the episode, to my best guess would be him starting to deal with a shifting sense of identity.

So, this brings us to the current season. If I’m right in my understanding of Really Small Problems, then that’d mean that Echoes of the Past is picking up on that episode’s thread. Likewise, the same can be said about Escaping Expulsion. And in a sense, both King and Amity’s (moreso in Amity’s case, admittedly) arc seem to have in a way concluded with those two episodes. Moreover, going by the episode’s synopsis the next upcoming episodes seem to also doing something similar: either picking up a previous storyline and finishing it, or starting new ones. Separate Tides would be a bit of an exception, since it was the premiere and had to reacquaint the audience with the world and characters, but even then I feel it sets up a potential point of conflict for Luz in the form of her guilt over Eda’s loss of magic.

Then, again, going off a limb here, but I’d guess that, from episodes 2 to 8 the main objects will be, in this order, Amity, King, Lilith (going by the trailer implying we’ll see her beast form), Gus (who thus far didn’t really have a longer story arc beyond The First Day), Luz, Eda (which, given how it introduces a new character from her past I’d imagine it would mark the beginning of a new arc for her). But I feel bored so I want to elaborate a bit further.

Episode 4: Lilith, maybe (this part is pretty esoteric, to be honest), possibly, starts to come to grips with the consequences of sharing the curse while, due to mamma Clawthorne’s visit, seeing their past in a more nuanced fashion. I mean, Mamma Clawthorne is in the beast keeping coven, her presence while her first born daughter literally turns into a best could make for some interesting potential stories. Anyhow, I think some other interesting thing will have to do with Eda. As I said I can’t really see an arc or something along those lines happening with her as of right now. Now, bare with me while I go on a bit of a tangent. So, in Understanding Willow Willow herself is the object of the story, however in that episode we also get to see the cause of them falling apart was Odalia and Alador threatening Amity indirectly. By doing that the upcoming conflict regarding her gets established. Then next, at the Grom episode, we as the audience learn that Amity is at least attracted to Luz. There’s no point on getting too deep into this beyond this: her crush on Luz works as a strong reason, from her perspective, to stand up to her parents. Then at the Grudgby episode we see her taking active steps towards getting more agency in her life from them when she chooses to play against two people her parents sanctioned as suitable companions. Eventually this would culminate in the EE episode as I already talked at length about. The reason I’m bringing all of this up is because I get the feeling Eda’s upcoming story will follow some similar lines, whatever happens here (and will either be developed or solved on episode 7) will be set up at this episode.

Episode 5: As I said, I don’t really see clearly what Gus’ main conflict is, and I would imagine that this episode will either make that more evident or outright introduce it, so I don’t feel I’m in the position to speculate the specifics. However, we do know that the B plot is Lumity and I’ll need to dwell on this one a bit longer. After season one, I had this guess that this ship would become cannon somewhere between episode 3 at the earliest and 7 at the lastest. The reason I thought so, and I still think there’s no solid reason to reject this hypothesis, was that after WiLW the only thing standing in the way from Amity coming clean about her feelings was probably her relationship with her parents. UW set that up, WiLW took a first step in that direction, EE went through with it. Moreover, I thought that’d be in line with what we had shown of the show’s pacing up until that point. So, basically the situation I see here goes along the lines of setting up a new source of conflict for Amity (in the form of Luz eventually leaving the Isles), and for Luz in the form of (if my guess of Lumity becoming cannon in this specific episode is correct) the start of a new relationship, something she never experienced before, which would make her question whether or not she actually wants to go back to the human realm, or at the very least muddy the water a tad. However, I am not so dead certain they’ll become cannon (and, btw, by cannon I mean simply an unequivocal sign that their relationship changed, however the showrunners decide that should look like.) Moreover, that only gets accentuated if the thing she’s helping Luz with is a portal. In other words, my “prediction” that it’d become cannon around this time was mostly due to me feeling that turning them into a will they won’t they at this point would be tantamount to the show chasing its own tail, but that’d feel uncharacteristic of the show, in light of the first season. That being said, if I’m right about there being this upcoming conflict about Luz having to decide between the Isles and the human realm (which may or may not keep on developing until the shows finale, but I digress), then it wouldn’t necessarily be a problem. If handled well her being uncertain as to whether or not to take the leap with Amity could potentially be an interesting way convey her internal conflict. Still, I think that having those two be together would be more effective in give her one more strong argument in favor of staying in the Isles. Besides, there’s my thoughts about the following episode which would make the will they won’t they approach redundant. Also, the fact Amity is the one

Episode 6: Pretty much would pick up on the place it left Luz in the previous episode, again, if and only if my speculations so far are right. Two things the synopsis doesn’t really make clear: why Luz is having problem hunting a palisman; and who the foe in question is. Now, I know we see her carrying Golden Boi’s staff. I’m choosing to ignore this for now because I would actually have Boscha (who we see in one of the teasers), and who would kind of go along with some hints at her redemption like that “you’re a really good friend...” line. Besides, if this palisman thing is a part of Hexside’s curriculum it would make sense that she’d be in the same situation as Luz. Not to mention that Golden Boi helping her gain access to a weapon she can and most likely will turn against him and his boss seems pretty odd. Ultimately, however, the identity of this foe is inconsequential. The main point of interest for me is the reason why she is having trouble finding herself a palisman. We don’t know the specifics of palisman adoption or creation, so I will try not to depend to much on it. But here’s the gist: getting a palisman as a commitment not only to the palisman itself but to the world. Whatever happens between her and Amity and going by the mad logic I’m using, her sense of belonging would probably be completely scrambled even before the episode starts. Being made to make a commitment like that in midst of an existential crisis of sorts as a means to create internal conflict in Luz, that’s what I’m trying to argue is the point of this episode. Also, before I move on to another thing I think is pretty important and I’ve decided to say it now because I don’t want to rework the structure of a rambling session that’s already way longer than I expected: we see Camilla in the trailer, I think this would be the best moment to put her. The reason for that is simple enough. In the A plot we see Luz trying to decide where she belongs to, and working towards becoming more and more part of the Isles figurative landscape; on the b plot however we would get to see in the form of Camilla that she still has a home in the human realm, that there’s still someone who loves her a lot and is doing everything within her power to get her back or at least to ensure she is safe and sound. Not to mention, it would be a great moment to bring up those letters we see at the end of the Grom episode, but I’ll get to that when I get to that.

Now, that important thing I wanted to talk about: the overall message of the show. I think I said this before but my favorite thing about Luz is the effect she has on the other character, essentially she is the catalyst to their growth. She is the one that ensured Willow would confront her past with Amity resulting in her getting rid of the hang ups that were holding her back allowing her to forge her own path. She is the reason why Amity chooses to stand up for herself. She is the reason why Lilith is capable of hope to rekindle her relationship with her sister thus empowering her to break away from the Emperor. She is the reason why Eda now has some reason to, as she put it herself, “stop wasting away her magic”, she gives her something to look forward to. Hell, even if we are just starting to see it, I’m positive we can make an argument that she’s why King became more open to the possibility he is not who he thought he was, making him see himself more as who he is to the people he cares about than a dethroned king of demons.

In a sense Luz seems to find all other characters in something of a stagnation point of their. A sort of fatalistic view of their own identities, be it in a more “ontological” sense, according to my interpretation, as in Lilith and Amity’s case, or as products of Lady Luck’s whims as for Willow and Eda. {Sidenote: For me at least Lumity’s mutual crush always made more sense on Amity’s end than on Luz’s and in a certain way it still does despite EE. Case in point, if I were to pin point the precise moment her feelings towards started shaping up in a way that makes infatuation possible it would that “I’m not a witch, but I’m working hard to become”. If what I’m saying is not absolute non-sense, then this would have been a “Holy shit. You can actually do that? You can actually have enough agency over your own life to that extent do something like that?”. I mean, their following interaction, at the library has her looking like “Ok, maybe I was just a wee bit of a needlessly belligerent dick just now” after she pushes Luz away from her offering to help when reading to kids.}

To put it succinctly: the message of the show is that your identity, who you are as a person, is not the product  of a pre-existent essence but of who you actively choose to be. That even if one is not capable of deciding their circumstances (like Willow, Eda, or Amity), that are the choices one makes as they go about living their lives that determine their identity. And by centering Luz’s core conflict now as where her belonging lies only for it to be solved at the show’s finale by having her, the main character, effectively having to make this choice, to realize she belongs to wherever she decides she belongs to would be a pretty poignant way to get this point across.

So yeah, if my guesses so far are right this may as well be one of the show’s most important episodes.

Anyway, back to my esoteric predictions about the upcoming episodes...

Episode 7: Eda and Rayne. Now, I don’t to sound like a party pooper or something, but we don’t really have a reason to predict those two having a romantic connection. There’s no reason to necessarily refuse this possibility a priori either though. I mean, the further I get into the future episode the less I have to work with in terms of speculation. We don’t really know where her story is heading, and I feel like I already covered it enough when I was talking about ep 4. But there are two things I want to point out. First, like Mama Clawthorne, Rayne is a figure from Eda’s past, so whatever conflict she may have to sort through from now on stems from her past. The specifics are up to anyone’s guess, so yeah, it is perfectly possible that those two were a couple or something along those lines at some point in the past. But other than that picture that shows that they were somewhat close, we really don’t have much to go by. Second thing, and this is not really all that important. If the foe from episode 6 is not Golden Boi, I think this will be the episode on which the two interact (again, that picture of Luz with his staff, we know they will get to interact at some point, and this seems to be the one episode out of all we have a synopsis for that depends the least on Luz for the main story).

Episode 8: Just imagine me blowing raspberries. I got nothing for this one, except that: a - I really hope Axel Rose does not get to be a guest voice acting role, same goes for Slash and that bassist I keep forgetting the name of; b - I hate this expression, but this really strike me as a “filler episode”, or a breather as I’ve seem someone put it. Still, as much as with anything else I could be wrong here.

But before I move on, there are three very important characters I haven’t talked about enough thus far at least in terms of speculation. Gus, Willow, and Bellos. So I’ll address the three of them just now. Bellos: he is the force that will ultimately make Luz confronting the question about where her belonging lies all but unavoidable; essentially - and I know I must sound like a broken record, but if and only if my take is right - his actions are not all that important to the story and its message because he is less of a character and more something akin to a force of nature. Gus: again, not so sure where his story will go or if he even has one in a more strict sense as the other characters. Frankly that’s one of the  aspects of the show I find the hardest to form an opinion on, unlike the others he sort of feels complete, that makes him pretty neat but also means that there’s less stuff you can do to him, less places you can take his character and develop it. That being said, I think he has a function in the show and he fulfills it pretty nicely. Besides, they can always just go and introduce new aspects to him we just can’t foresee as of now (which might as well happen in episode 5 for all we know). Either way, I have nothing but adoration for this precious boy. Now, Willow. As I mentioned, as far as I can tell her character got pretty much done with at Understand Willow. It was really weird for me when I watched that episode because it is until now my absolute favorite of the series (although Echoes fro the Past is putting up a pretty solid fight), the first thing I thought afterwards was “Idk how many seasons the show has left, but it feels a bit too soon for a defining moment like this and I don’t know what else they can do with her.” I mean, you could argue that the Grudgby episode seems to kinda sorta set up a conflict between her and Boscha, but that story seems to concern more Luz and Amity’s characters, especially the ladder. Willow and Boscha act more as a means to make Amity take that first step and for Luz to learn not to start a mosh pit in a Radiohead concert. That being said, I feel like she is now in a similar position to Gus’: either a new unforeseen source of conflict for her or they simply leave her to occupy a fixed role in the story. Personally, I’d much rather they introduce new stories and conflicts for them, not only that would help push for that overall message I was raving on about, but I also just wanna see more of them. I adore all characters in this show, I have fun with them and want to keep doing so until the show ultimately ends.

Almost done, I promise. Just a tad more of your patience, that’s all I’m asking. I will not revise or edit this so hopefully I’m still making a semblance of sense. I mean, if you’re reading this sentence then it probably means I am. Otherwise I can only ask you one thing: why?

Now, Eclipse Lake, or episode 9. As I said when talking about episode 7, we are now in too distant a territory for me to feel any confident as to my basis. Take all of this as more wishful thinking than anything else. So, you know, if you have a tin foil hat at hand now would be a good time to put it on.

Going by this episode’s synopsis as well as episode 5′s it makes it sound that Amity will become steadily a more central point to the whole portal conundrum. She is the one going on about it more than anyone else. There’s a first a fairly obvious reason why she put herself in that position: she has a gargantuan  crush on the girl and wants to spend as much time as physically possible with her. There’s also a secondary reason why she would want to do that, and for that I’d need to bring up those letters Camilla has or had been receiving.

Now, I’m aware I can’t really make an ironclad argument for her being the one writing them. However, it is more than a bit suspicious that those letters would be brought to attention immediately after we see a piece of writing that we know for a fact was written by her and seeing how closely those two handwrittings match. Not every piece of scenary put by an author necessarily be a Tchekov’s gun, but this one reaaally looks to be the case, still circumstantial evidence so tin foil hats or whatever. Moreover, as I on at length before, Amity’s story up to this point was that of someone learning to be her own person and aim for her own goals, in this sense I can see her decision for writing those letters as an early and not stellarly thought out way to do that even if well meaning. Like a poorly articulated if good intentioned act made by someone who doesn’t really understands why she’s doing what she’s doing, what it entails, or what the full length of the consequences could be. I mean, she is a kid after all, and she is bound to have a few hiccups along her way to self-discovery. Again, I’ll get to it when I get to it. Lastly, however, the second reason why she would have a reason to volunteer to help Luz with her portal situation: if she is the one sending those letters then she has access to some form of a portal herself, be it fully functioning like Eda’s or just capable to dispatch smaller objects that’s not really the point. The point is that, if all I’m saying is right she will be put in a very strange situation. If she is possession of a portal and is “helping” Luz find one, then she’d essentially be lying to her much like Luz herself is in a sense lying to Camilla. Moreover, she’d be at this point one of the characters with the largest amount of reasons to delay Luz’s return to the human realm as much as possible, meaning that the question she’ll have to answer would probably go along these lines: do I act in self-interest, lie or maybe even do some sabotage, and make sure I keep the person I’m growing to love next to me, ooooor do I act accordingly to this love and help her achieve her goal which could potentially mean I’ll never see her again?

Also, season one’s finale had an ambiguous title. Young Blood, Old Souls can just as easily be taken as referring to Eda as well as to Lilith, the two focal points of that episode’s conflict. Likewise here, “Yesterday’s Lies” could be taken as either a reference to Luz’s lies to Camilla, or these hypothetical lies Amity may be telling Luz. That means, in this hypothetical mid-season finale I’m conceiving here these two would be the focal points of conflict (maybe alongside Camilla).

In any case, a possible counter to everything I’m saying here is Dana stating that romance was not the show’s endgame, and that is not what I’m suggesting. I have more to speculate on Amity’s role, so going from that I can say that this would in a way be a continuation of what we saw in EE. Something like: Okay, so you want to become your own person, in order to do that I’ll have to make some tough decisions, here’s your first one. It’s like confronting this infant who just took its first steps with the knowledge she’s actually running a marathon.

Anyhow, I don’t really feel well equipped to speculate on how things would play out on Luz’s end so let’s shake things up a bit and try to see things from Camilla’s perspective before getting to the long awaited conclusion. And by long awaited I mean me, this was more tiring than I expected but what the hell, I’m almost done. I can see the finish line already, so yeah. 

So, Camilla. What we know given the trailer and the Grom episode is essentially this: she is most likely aware Luz never made to the Reality Check Camp in the first place, and that regardless of where she is there’s someone who (up until the Grom episode) was sending her these comforting messages. If and only if, all I’ve said is right then well have a line of communication between one of Luz’s big arguments for staying in the Isles and her biggest argument for coming back.

Hold on to your tin foil hats, y’all need it. Because my next point is: once Camilla finds out that the letters she’d been receiving up to that are more than a bit sketchy (her ooooohhhh face at the trailer could be that) and if she has some means of responding to them, which I mean... That’s the closest thing to a lead as to Luz’s whereabouts she has, she most likely would confront this hypothetical Amity if that’s the case. If the stars align just right there’s a pretty good chance Amity would give the broad strokes of Luz‘s situation in as much a cryptic fashion as she can, as well as start creating some form rappor with Camilla. Meaning that that choice she’d have to make as I mentioned before would get this extra layer of nuance, because now she knows beyond any doubt that if Luz does cross the portal she’d be with someone who deeply cares about her. Moreover, if I’m right about Amity’s upcoming conflict centering around her apprehension with Luz crossing the portal, her correspondence with Camilla could be a way for her to overcome this fear, for better or for worse. In other words, Camilla possibly unknowing giving her potential daughter-in-law the necessary tools for her to grow as a person. And honestly, I think that would be a pretty cool story.

And that could cause a pretty interesting dynamic between the three of them: Luz not sure as to who she wants to chose to become and most likely getting very upset once she learns of Amity’s lie, whilst still wanting (I don’t really have a defense for this I just think it’d be interesting) to keep her first romantic or potentially romantic relationship, while also being worried as to how things would be with her mother considering her own lie; Amity lying to Luz, while trying to balance out her on desires versus her loved one well-being; and Camilla having mixed feeling about Amity or whoever wrote those letters (they did lie to her after all), worrying like crazy about Luz and also feeling a tad upset at Luz’s lie. 

And holy shit I think that does it. I’m done.

Anyone, next finale is “Luz x Camilla x Amity”, that out of the way like Lilith x Eda and Lilith x Luz, my guess is that season 2.5 finale would be “Gus and Willow x Luz” or “Luz x Eda and King”, the finale finale therefore would most like be Luz x Luz.

Ci vediamo.

{Couple of edits I just thought would be important:

1 - I know that considering what I’ve said regarding the mid-season final may seem like a bit too much for a 20 something minutes episode. But I mean, this fandom and Amphibia’s seem to overlap quite a bit, and we all saw the metric ton of information they threw at us during True Colors. All that I’ve said seem to me well withing the realm of possibility.

2 - In the EXTREMELY unlikely chance I’m absolutely on point on everything I’ve just spouted (Despite being purposefully vague. But oh well. We can argue the semantics of vagueness some other time) I’ll consider this fandom as owing me a rendition of The Number of the Beast’s cover art (the album, not the single... not even I am morbid enough for that) featuring the Owl Beast, Belos and Kikimora or the Golden Boi. I call it the Owl Maiden. Will I go aggro if no one does that? No. Do I have means to demand it in any forceful way that would grant that I’d get to see said rendition? hahahaha I obviously don’t. Will I be poutty? Yes, that will 100% happen. But really, that would be for the benefit of us as a community. I mean, that look pretty awesome and you can’t argue otherwise.}

[legitimateluffy]

One Piece Animation Thesis: East Blue

If you would prefer to follow via the master Google Doc, [HERE] is the link! This will be updated as we go through the arcs and is currently planned to be updated weekly!

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Whew hey everyone!

So this is the beginning of a project that I have had in the back of my mind for quite some time and finally decided to start working on. A quick rundown of what this actually is, it’s a somewhat showcase of the animation found within the main One Piece anime (so, no movies/specials/filler arcs between canon arcs etc. although that may be something I will attempt to tackle one day if this does well). This will also include some insight into the anime industry and essentially give some insight on behind the scenes and why certain decisions are made as well as giving names of the hard working animators to their respective scenes. Hopefully this whole thing will continue to give a bit of insight into the One Piece anime as I believe that it is greatly under appreciated and while criticisms of it are valid, there definitely needs to be more of an understanding as to why the anime is the way it is. This will be a long journey ahead so please bear with me! Let’s get started!

The One Piece anime, including movies and specials, is animated by Toei Animation, and they are responsible for many other famous animated properties and adaptations, including Digimon, Dragon Ball/Z/GT/Super, Sailor Moon, Toriko, Gegege no Kitaro among many others. They animate many different series and have a big load to take on. This is something that will be touched on later, because it greatly affects the anime in later years. But for now, I’ll be going through the arcs, starting with the East Blue saga. The East Blue saga is made up of episodes 1-53 (including some filler) and consists of quite actually not that many noteworthy animated scenes, even though it covers many arcs (Shells Town, Orange Town, Syrup Village, Baratie, Arlong Park, LogueTown). Animation throughout this portion of the anime was quite limited, using minimal movement and taking appropriate shortcuts where necessary. Scenes are also quite hard to tell exactly who animated what due to the style consistency. There are a few noteworthy scenes though, but first I would like to introduce the rough structure of how the anime is made. An important part in animation is someone who is the character designer, someone who essentially designs the characters and in this case, attempts to replicate Oda’s style for it to be easily animated. During this part of the anime, the character designer is Noboru Kizumi who would continue to be the character designer for the anime for the next 10 or so years. These are the some of the sheets he made for the main characters:

This is something I’ll continue to showcase as we continue to go through each of the arcs, showcasing the strawhats as they pop up in the story. When the time comes, we will also compare the changes of style and why things have changed. But for now, I’ll just present the first designs.

One Piece at this stage was very cartoony and had quite a different style, especially compared to a lot of the current anime/manga at the time and it still continues to have a distinctive style to this day. Following these sheets allows for a good sense of continuity, which is very important with anime. If anyone out there attempts to draw something without looking at a reference, it’s not going to look quite as well as we want it to. So in using a reference, we can have a better grasp as to how the character looks from certain angles, heights compared to other characters, facial expressions and more.

In order to keep these characters looking somewhat similar so as to not disrupt the viewer’s experience by seeing jarring styles, someone works as a Chief Animation Director. They aim to ensure that characters remain consistent throughout the episode, and that they are on model. So, how is this achieved? Well, we’ll have a look at the process on how something is conceptualised and then put to screen. 

Initially, a script is conducted. Going through the manga, people take what is deemed necessary material and put it into script format. It is important to note that as the anime and manga continue to go on for years, the gap between the anime and manga release shortened significantly, resulting in pacing issues. Keep this in mind for later as this is something I plan to touch on. Then a storyboard is created, having very rough lines in order to convey what is to be created. Here is an example:

A good storyboard can make or break an episode, as it dictates angles, how long scenes linger on screen, etc. Once the storyboard has been decided on, the animating can begin. Scenes are appointed to animators, where they create something called Genga. This is done on paper, similar to how it’s done in other parts of the world. Here are some examples of older Genga:

Even though times have changed and anime has become digital, with some animators now exclusively animating digitally, the anime industry still uses Genga, using paper and pencil to create their scenes. Here are some examples of newer Genga:

Once the Genga has been created, the Chief Animation Director will go in and correct what is necessary to ensure that the style remains consistent. Others may also help participate in this process, such as an Animation Supervisor. Here is an example of a Genga being corrected to ensure that it remains consistent in style:

In doing something like this, some animators can animate great action and keep their lines rough to save time, and an Animation Supervisor can clean it up and make it look good. After this has been completed, the Genga is then made into what is called Animation Cels. This is not exclusive to Japan, as for decades this is a process that has been used. This is a transparent sheet that had the lines and colours painted on, and is then photographed over painted backgrounds. Yeah...A long and dubious process indeed. This is not common place anymore due to how time consuming it is, and with the rise of digital, creating colours, effects, filters and backgrounds are much faster and easier to accomplish. Here are some examples of One Piece animation cels:

I would have much preferred to share cels directly from the anime itself and not the movies but they are quite difficult to come across and have more than likely been sold off from Toei long ago. But they will suffice, as it gives a good idea as to what they look like.

But voila! Animation has been created! All that’s left is music, sound effects and voice over and you’ve got yourself an anime. Wonderful. Easy right? Yeah, not exactly. All of this takes time and patience. And this is something that needs to be remembered. Time. A very important keyword in the animation industry and a lot more important than the word budget that likes to get thrown around. Due to One Piece being a long running weekly series, the animators have a lot less time than, say, My Hero Academia or Demon Slayer, two very prominent seasonal anime. These series do not have more money shoved into them, more budget, than One Piece that results in higher quality and consistent animation, a problem the One Piece anime definitely faces further down the road. Here’s an example:

Michelangelo is one of the most famous artists of all time, due to his remarkable attention to detail in his works present in the High Renaissance period. One of his most famous works is the Statue of David, an incredible piece of work that was worked on for 3 years. However, if you were to tell him to replicate it but say, give him a month, he’s not going to get anywhere near the same results as the piece where he spent 3 years on. It would be quite rough around the edges, and quite rushed. No matter how much money you throw his way, he still won’t be able to get anywhere close to those results. And this is the same with any artist, including animation. This is a big misconception in the anime community, and that is that as long as you throw money at people, they’re going to end up creating incredible works, regardless of the poor time management. That is just not how it works.

This does seem like quite a ramble, and it’s already quite long prior to even reaching the main aspect of this whole project, in which I showcase animators, but this is important background information that needs to be understood prior to delving in. With that very long introduction, let’s now get to showcasing animators!

Some of the animators that were present on many early One Piece episodes include: 

Kazuya Hisada, Masahiro Shimanuki, Naoki Tate, Jin Inaba, Tadayoshi Yamamuro. Please note, there are many others involved animating wise, but these are some key names, and ones that will develop and evolve as the years go on.

Kazuya Hisada is someone who will pop up later and fulfil a more important role in the series, but in the early days he created some great scenes with some snappy timing, while using lines to help convey impact. He is found throughout early One Piece, however due to the limited animation and consistent style thanks to Noboru Kizumi, he can be difficult like most during this era to spot.

Hideaki Maniwa is more prominent in his animation, being more pronounced due to his camera movement on his characters. He uses subtle smears usually on impact to further enhance the idea that whoever is being hit, is being hit HARD. He also created the most animated piece of early One Piece in episode 23 where he creates seemingly natural movement of the background of the ship and water, making the sea feel powerful and heavy. 

So what have we learnt so far. 

Well, there is a lot of hard work that goes into the production of an anime series, and that is no different with One Piece. Early episodes for the most part had not too many interesting scenes animation wise, and the animators essentially got the work done in order to produce and release the series week to week. It will continue to be a bit of a slow start, with arcs like Alabasta and SkyPiea being similar in the regard of not many noteworthy scenes however, we can begin to see the cracks of emerging stars and evolving styles that will later become staples within the series. 

This is it to the first of what is hopefully a long and engaging project! So far it has been quite a read and very lengthy and I apologise for that. Hopefully from here on out we should be able to successfully get through more animators and styles become more distinct and animation continues to evolve. Next up I intend to cover Alabasta.

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A massive thank you to everyone who has participated and uploaded at Sakugabooru! Without it, I would not have been able to make nearly as much as I have without all the hard work in identifying and tagging animators’ work! Most of the footage used to showcase these animators has come from there! I simply just turned the videos into gifs for an easier showcase.

I would also like to issue a big thank you to Animators Corner! The staff listing really helped me in determining who worked on what episode to identify animators and their works!

[thesaltofcarthage]

Loki takes over: Tom Hiddleston on his new TV series and a decade in the MCU

from Entertainment Weekly

Ten years after Hiddleston first chose chaos in Thor, Marvel’s fan favorite God of Mischief is going even bigger with his time-bending Disney+ show.

By Chancellor Agard May 20, 2021 

Tom Hiddleston is Loki, and he is burdened with glorious purpose: After playing Thor's puckish brother for over a decade in the Marvel Cinematic Universe, no one understands the mercurial Asgardian God of Mischief as well as the actor. He can teach an entire seminar on Loki if given the opportunity — which he actually did during pre-production on his forthcoming Disney+ show. In conversation, Hiddleston quotes lines from his MCU debut, 2011's Thor, almost verbatim, and will playfully correct you if you mistakenly refer to Asgard's Rainbow Bridge as the Bifrost, which is the portal that connects Loki and Thor's homeworld to the Nine Realms, including Midgard, a.k.a. Earth. "Well, the Bifrost technically is the energy that runs through the bridge," he says with a smile. "But nine points to Gryffindor!" And when he shows up to the photo shoot for this very digital cover, he hops on a call with our photo editor to pitch ways the concept could be even more Loki, like incorporating the flourish the trickster does whenever magically conjuring something. The lasting impression is that playing Loki isn't just a paycheck.

"Rather than ownership, it's a sense of responsibility I feel to give my best every time and do the best I can because I feel so grateful to be a part of what Marvel Studios has created," the 40-year-old Brit tells EW over Zoom a few days after the shoot and a week out from Thor's 10th anniversary. "I just want to make sure I've honored that responsibility with the best that I can give and the most care and thought and energy."

After appearing in three Thor movies and three Avengers, Hiddleston is bringing that passion to his first solo Marvel project, Loki, the House of Ideas' third Disney+ series following the sitcom pastiche WandaVision and the topical The Falcon and the Winter Soldier. Led by head writer Michael Waldron (Doctor Strange in the Multiverse of Madness, Heels), the six-episode drama sees Hiddleston's shapeshifting agent of chaos step out from behind his brother's shadow and into the spotlight for a timey-wimey, sci-fi adventure that aims to get to the bottom of who Loki really is. "I wanted to explore slightly more complex character questions," says Waldron. "It's not just good versus bad. Is anybody all good? Is anybody all bad? What makes a hero, a hero? A villain, a villain?"  

Even though Loki — who loves sowing mayhem with his illusion magic and shapeshifting, all with a major chip on his shoulder — has never been one for introspection, the idea of building an entire show around him was a no-brainer for Marvel. When asked why Loki was one of the studio's first Disney+ shows, Marvel president Kevin Feige replies matter-of-factly, "More Hiddleston, more Loki." First introduced as Thor's (Chris Hemsworth) envious brother in Kenneth Branagh's Thor, Loki went full Big Bad in 2012's The Avengers. That film cemented the impish rogue as one of the shared universe's fan favorites, thanks to Hiddleston's ability to make him deliciously villainous yet charismatic and, most importantly, empathetic. The character's popularity is one of the reasons he's managed to avoid death many times.

"He's been around for thousands of years. He had all sorts of adventures," says Feige. "Wanting to fill in the blanks and see much more of Loki's story [was] the initial desire [for the series]."

The Loki we meet on the show is not the one who fought the Avengers in 2012 and evolved into an antihero in Thor: The Dark World and Thor: Ragnarok before meeting his demise at the hands of the mad titan Thanos (Josh Brolin) in 2018's Avengers: Infinity War. Instead, we'll be following a Loki from a branched timeline (a variant, if you will) after he stole the Tesseract following his thwarted New York invasion and escaped S.H.I.E.L.D. custody during the time heist featured in Avengers: Endgame. In other words, this Loki hasn't gone through any sort of redemption arc. He's still the charming yet petulant god who firmly believes he's destined to rule and has never gotten his due.

Premiering June 9, Loki begins with the Time Variance Authority — a bureaucratic organization tasked with safeguarding the proper flow of time — arresting the Loki Variant seen in Endgame because they want his help fixing all of the timeline problems he caused while on the run with the Tesseract. So there will be time travel, and a lot more of it than in Endgame. As Loki makes his way through his own procedural, he'll match wits with new characters including Owen Wilson's Agent Mobius, a brilliant TVA analyst, and Gugu Mbatha-Raw's Judge Renslayer. The question in early episodes is whether Loki will help them or take over.

"One of the things Kevin Feige led on was, 'I think we should find a way of exploring the parts of Loki that are independent of his relationship with Thor,' or see him in a duality or in relationship with others, which I thought was very exciting," says Hiddleston, who also serves as an executive producer on the show. "So the Odinson saga, that trilogy of films, still has its integrity, and we don't have to reopen it and retell it."

Yet, in order to understand where Loki is going, it's important to see where he came from.

Hiddleston can't believe how long he and Loki have been connected. "I've been playing this character for 11 years," he says. "Which is the first time I have said that sentence, I realize, and it [blows] my mind. I don't know what percentage that is exactly of my 40 years of being alive, but it's substantial."

His time as Loki actually goes a bit further back, to 2009 — a year after Robert Downey Jr. big banged the MCU into existence with Iron Man — when he auditioned for Thor. It's no secret that Hiddleston initially went in for the role of the titular God of Thunder, but Feige and director Kenneth Branagh thought his natural charm and flexibility as an actor made him better suited for the movie's damaged antagonist. "Tom gave you an impression that he could be ready for anything, performance-wise," says Branagh, who had previously worked with him on a West End revival of Checkov's Ivanov and the BBC series Wallander. "Tom has a wild imagination, so does Loki. He's got a mischievous sense of humor and he was ready to play. It felt like he had a star personality, but he was a team player."

Hiddleston fully immersed himself in the character. Outside of studying Loki's history in the Marvel Comics, he also researched how Loki and the Trickster God archetype appeared across mythology and different cultures. "He understood that he was already in something special [and] it was a special character in a special part of that early moment in the life of the Marvel universe where [he] also needed to step up in other ways," says Branagh, who was impressed by the emotional depth Hiddleston brought to the part, especially when it came to how isolated Loki felt in the Asgardian royal family.  

There was a lot riding on that first Thor feature. For one, no one knew if audiences would immediately latch onto a Shakespearean superhero movie partially set on an alien planet populated by the Norse Gods of legend. Second, it was integral to Feige's plans for the shared universe. Loki was supposed to be the main villain in The Avengers, which would not only mirror how Earth's mightiest heroes joined forces in 1963's Avengers #1 but also give Thor a believable reason for teaming up with Iron Man, Captain America (Chris Evans), and the rest of the capes. Feige first clued Hiddleston into those larger plans when the actor was in L.A. before Thor started shooting.

"I was like, 'Excuse me?' Because he was already three, four steps ahead," says Hiddleston. "That took me a few minutes to process, because I didn't quite realize how it just suddenly had a scope. And being cast as Loki, I realized, was a very significant moment for me in my life, and was going to remain. The creative journey was going to be so exciting."

Hiddleston relished the opportunity to go full villain in Avengers, like in the scene where Loki ordered a crowd to kneel before him outside a German opera house: "It's the unspoken truth of humanity, that you crave subjugation," says the Machiavellian god. "The bright lure of freedom diminishes your life's joy in a mad scramble for power, for identity. You were made to be ruled. In the end, you will always kneel."

"I just knew that in the structure of that film, I had to lean into his role as a pure antagonist," Hiddleston recalls. "What I always found curious and complex about the way Loki is written in Avengers, is that his status as an antagonist comes from the same well of not belonging and being marginalized and isolated in the first Thor film. Loki now knows he has no place in Asgard."

Loki did find a place within the audience's hearts, though. Feige was "all in" on Hiddleston as his Loki from the beginning, but even he couldn't predict how much fans would love him. Feige recalls the reaction at the 2013 San Diego Comic-Con: "Did we know that after he was the villain in two movies, he would be bringing thousands of people to their feet in Hall H, in costume, chanting his name? No, that was above and beyond the plan that we were hoping for and dreaming of." It was a dream Feige first got an inkling of a year earlier during the Avengers press tour when a Russian fan slipped past security, snuck into Mark Ruffalo's car, and asked the Hulk actor to give Hiddleston a piece of fan art she created. "That was one of the early signs there was much more happening with this quote-unquote villain."  

Despite that popularity, the plan was to kill Loki off in 2013's Thor: The Dark World, but the studio reversed course after test audiences refused to believe he actually died fighting the Dark Elves. Alas, he couldn't out-illusion death forever. After returning in Taika Waititi's colorful and idiosyncratic Thor: Ragnarok, Hiddleston's character perished for real in the opening moments of Infinity War. In typical Loki fashion, before Thanos crushed his windpipe, he delivered a defiant speech that indicated he'd finally made peace with the anger he felt toward his family.  

"It felt very, very final, and I thought, 'Okay, that's it. This is Loki's final bow and a conclusive end to the Odinson saga,'" says Hiddleston, who shot that well-earned death scene in 2017.  

But, though he didn't know it yet, the actor's MCU story was far from over.

When Hiddleston returned to film two scenes in Avengers: Endgame in 2017, he had no idea where Loki portaled off to after snatching the Tesseract. "Where'd he go? When does he go? How does he get there? These are all questions I remember asking on the day, and then not being given any answers," Hiddleston recalls. To be fair, it's likely the Powers That Be didn't necessarily have answers then. While Feige can't exactly recall when the writers' room for Endgame first devised Loki's escape sequence, he does know that setting up a future show wasn't the primary goal — because a Loki series wasn't on the horizon just yet.

"[That scene] was really more of a wrinkle so that one of the missions that the Avengers went on in Endgame could get screwed up and not go well, which is what required Cap and Tony to go further back in time to the '70s," says Feige. Soon after that, though, former Disney CEO Bob Iger approached Feige about producing content for the studio's forthcoming streaming service. "I think the notion that we had left this hanging loose end with Loki gave us the in for what a Loki series could be. So by the time [Endgame] came out, we did know where it was going."

As for Hiddleston, he didn't find out about the plans for a Loki show until spring 2018, a few weeks before Infinity War hit theaters. "I probably should not have been surprised, but I was," says the actor. "But only because Infinity War had felt so final."

Nevertheless, Hiddleston was excited about returning for his show. He was eager to explore Loki's powers, especially the shapeshifting, and what it meant that this disruptive figure still managed to find a seat beside the gods in mythology. "I love this idea [of] Loki's chaotic energy somehow being something we need. Even though, for all sorts of reasons, you don't know whether you can trust him. You don't know whether he's going to betray you. You don't why he's doing what he's doing," says Hiddleston. "If he's shapeshifting so often, does he even know who he is? And is he even interested in understanding who he is? Underneath all those masks, underneath the charm and the wit, which is kind of a defense anyway, does Loki have an authentic self? Is he introspective enough or brave enough to find out? I think all of those ideas are all in the series — ideas about identity, ideas about self-knowledge, self-acceptance, and the difficulty of it."

“The series will explore Loki's powers in a way they have not yet been explored, which is very, very exciting.”

The thing that truly sold Hiddleston on the show was Marvel's decision to include the Time Variance Authority, a move he describes as "the best idea that anybody had pertaining to the series." Feige and Loki executive producer Stephen Broussard had hoped to find a place for the TVA — an organization that debuted in 1986's Thor #372 and has appeared in She-Hulk and Fantastic Four stories — in the MCU for years, but the right opportunity never presented itself until Loki came along. "Putting Loki into his own procedural series became the eureka moment for the show," says Feige.  

The TVA's perspective on time and reality also tied into the themes that Waldron, Loki's head writer, was hoping to explore. "Loki is a character that's always reckoning with his own identity, and the TVA, by virtue of what they do, is uniquely suited to hold up a mirror to Loki and make him really confront who he is and who he was supposed to be," says Waldron. Hiddleston adds: "[That] was very exciting because in the other films, there was always something about Loki that was very controlled. He seemed to know exactly what the cards in his hand were and how he was going to play them…. And Loki versus the TVA is Loki out of control immediately, and in an environment in which he's completely behind the pace, out of his comfort zone, destabilized, and acting out."

To truly dig into who Loki is, the creative team had to learn from the man who knows him best: Hiddleston. "I got him to do a thing called Loki School when we first started," says director Kate Herron. "I asked him to basically talk through his 10 years of the MCU — from costumes to stunts, to emotionally how he felt in each movie. It was fantastic."

Hiddleston got something out of the Loki school, too. Owen Wilson both attended the class and interviewed Hiddleston afterward so that he could better understand Loki, as his character Mobius is supposed to be an expert on him. During their conversation, Wilson pointedly asked Hiddleston what he loved about playing the character.

"And I said, 'I think it's because he has so much range,'" says Hiddleston. "I remember saying this to him: 'On the 88 keys on the piano, he can play the twinkly light keys at the top. He can keep it witty and light, and he's the God of Mischief, but he can also go down to the other side and play the heavy keys. And he can play some really profound chords down there, which are about grief and betrayal and loss and heartbreak and jealousy and pride.'" Hiddleston recalls Wilson being moved by the description: "He said, 'I think I might say that in the show.' And it was such a brilliant insight for me into how open Owen is as an artist and a performer.'"

Everyone involved is particularly excited for audiences to see Hiddleston and Wilson's on-screen chemistry. "Mobius is not unlike Owen Wilson in that he's sort of nonplussed by the MCU," says Feige. "[Loki] is used to getting a reaction out of people, whether it's his brother or his father, or the other Avengers. He likes to be very flamboyant and theatrical. Mobius doesn't give him the reaction he's looking for. That leads to a very unique relationship that Loki's not used to."

As for the rest of the series, we know that Loki will be jumping around time and reality, but the creative team isn't keen on revealing when and where. "Every episode, we tried to take inspiration from different things," says Waldron, citing Blade Runner's noir aesthetic as one example.

"Part of the fun of the multiverse and playing with time is seeing other versions of characters, and other versions of the titular character in particular," says Feige, who also declined to confirm if Loki ties into Doctor Strange in the Multiverse of Madness and/or other upcoming projects.

Making Loki was especially meaningful to Hiddleston because they shot most of it during the pandemic, in late 2020. "It will remain one of the absolute most intense, most rewarding experiences of my life," he says. "It's a series about time, and the value of time, and what time is worth, and I suppose what the experience of being alive is worth. And I don't quite know yet, and maybe I don't have perspective on it, if all the thinking and the reflecting that we did during the lockdown ended up in the series. But in some way, it must have because everything we make is a snapshot of where we were in our lives at that time."

While it remains to be seen what the future holds for Loki beyond this initial season, Hiddleston isn't preparing to put the character to bed yet. "I'm open to everything," he says. "I have said goodbye to the character. I've said hello to the character. I said goodbye to the character [again]. I've learned not to make assumptions, I suppose. I'm just grateful that I'm still here, and there are still new roads to explore."

Additional reporting by Jessica Derschowitz

[sevensided]

how did you get into writing fic? i'd love to start but idk even where to begin! I loved adats so I was wondering do you have any advice?

Oh my goodness! I am so flattered you’ve asked me this. Yes, I can absolutely help. I’ll throw a bunch of rambling under the cut.

I started writing fic probably when I was... sixteen years old? A lot of my early works were oneshots. I couldn’t figure out how to do anything plot heavy for the life of me, so I just stuck to AUs or whatever I felt like. I wasn’t in any particular fandom -- I really wrote whatever I had ideas for. I remember I tried once to do a plot-heavy story and I received a review absolutely ripping it to shreds. Like, it was so cruel I cried lol. I ended up deleting the fic. Years later, I get what they were trying to say (basically, more substance, less style), but at the time it cut to the quick. Really, it was only when I was in my twenties that I started writing work that was longer and/or better.

The fandom that helped me actually write plot heavy work was a historical-based fandom. As I’m a historian, it was perfect. I got to use my research skills and knowledge to create works that, above all, aimed to feel authentic. I mainly read historical fiction, so I was familiar with how that genre worked. Miraculously, people loved my work. I think I wrote about ~200k in the period of a year? These were several short stories (20-40k) and a few oneshot filler fics. While I was part of this fandom I also helped organise a Big Bang which was a lot of hard work but was extremely rewarding. Along with that, I interacted mainly with other fic writers, so I spent a lot of time chatting to people about ideas and encouraging other writers, and it just created a lovely medley where no concept was impossible or any line of dialogue too difficult. We supported each other and it was truly like a little commune. I gradually stepped away from the fandom mainly because it was just a part of my life at a very specific time, and almost as soon as that time was over, my love for that story/ship faded, but I firmly believe I figured out a lot of how/what I do now purely through that experience.

Regarding ADATS

With ADATS, it stemmed entirely from wanting to “explain” three months in canon (at the end of season three). I was interested in the idea of season four setting up Will/Mike in canon, and I wanted to test the source material to see if I could draw from what already existed to create something authentic. I began with that simple idea: what happened from July to October in 1985? Then I thought about the major themes I wanted to hit -- family, friendship, coming of age, sexuality -- and I nested them around the bigger concept: how do I get Mike from being ostensibly straight to realising he is gay? That meant thinking of two steps: Mike discovering his attraction to guys; Mike discovering his attraction to Will. Those two concepts were separate “arcs” that needed addressing in different ways. Balance was key to weaving them together and making the reader feel like they knew what was coming (and that they felt smart for putting the pieces together) without just rushing through and going “now kiss!” That’s partly why ADATS needs a sequel, lol: because it’s not finished!

Writing process

The first thing I do when I start to get an idea is I write it down. Sounds obvious. But when you have a killer line of dialogue come to you in the shower and you think “I’ll remember that” -- reader, you will not remember it. You gotta get it down ASAP! I do that the whole way through, as generally I’ll be thinking of scenes I’m stuck on and then it’ll just come to me and I’ll quickly jot it down.

The next thing -- or what I do in the meantime -- is start structuring. I plan. I try to plan a lot. Sometimes it’s okay to write “and something happens here to get them here”, because you’ll figure it out later, but for the most part I’ve discovered that planning is like gold and you can’t get enough of it. I break my work up into generally 3-4 parts/sections, and I treat each section like a mini story. So each part needs a conflict and resolution, and it needs to flow into the next section. You need to have a feeling of things evolving and maturing. Once I’ve planned those little bits, I start thinking about the bigger plot arc and how I can drop in hints along the way. I’m probably not a subtle or skilled enough writer to yet pull off that sort of gasping twist you get in really excellent books, but I’m trying to get there. It’s hard, is what I’m trying to say, but that’s okay, because we’re all learning.

Then I generally do aesthetic stuff. Sounds stupid, probably. But nothing helps me get more into a mood than doing a Pinterest board or -- most of all -- making a Spotify mix. I start thinking about the vibe and the general atmosphere, and then I almost exclusively listen to that mix when I’m working. Sort of like muscle memory? Just to get the creative juices associated with that particular selection of songs.

Another thing I’ll do along with plot structure is character structure. This is a biggie. I mean, a story is nothing without characters. So I’ll just jot down a bunch of bullet points of characters and particular aspects that I want to highlight or remember. I hate continuity errors in fiction. Like, if someone says they work on Maple Street but later in the fic they’re working on Pine Street. I hate that. So I keep note of specific things that my main character might notice at repeated points in the story (colours, places, smells, names, sounds -- so they’re all consistent even as the narrative evolves). That’s another thing -- your characters’ motivations. Not everyone is going to be a huge player, but they all do serve a purpose. The most important character is obviously your main character. I personally think it’s important to let your M.C. be an arse at times. They’re going to be mean, they’re going to misinterpret things or fly off the handle... just let ‘em. Let them be wretched humans, and then bring them back and make them realise what they’ve done. Let them learn! I love consequences in fiction, lol.

At the same time, I’ll probably start writing. We’ve already written down some snippets of neat dialogue or descriptions, but now we should start the actual process. For me, I used to start at the beginning. Usually this was the most fleshed out anyway: I’ll have a clear idea of the beginning and the end, but nothing in the middle. These days, if I have a scene in mind that I can’t forget, I’ll just write it. It will possibly get scrapped or rewritten, but that’s okay, because at least you’ve got it down and now you can devote your brain power to something useful (like figuring out what the middle is supposed to be). I’ll have half a dozen of totally out of context scenes just littered in my Word document that I’ll add to as I go along. Eventually, though, you’re going to start writing properly, and that’s when you write your opening scene.

Opening scenes: super important. Every time I write a scene I think: what is the point of this? What do I want the reader to learn or takeaway? Sometimes you do have filler scenes, but they also serve a different purpose (perhaps to establish a group dynamic or to explore/describe a character’s surroundings). Mainly, though, every scene should push something forward in some way, whether it’s character development or a plot point. So, with an opening scene, I always think you have to establish: where you are; who you are; what they are doing; where they’ve come from (in a philosophical and practical sense); and where they’re going (ditto). That doesn’t have to happen in the first paragraph -- that would be silly. But if you sprinkle that information in over time it’ll gradually build up a picture of your character and that way the reader can get an idea of who they are. You basically need to give a snapshot of what your story is about. This also goes back to the character creator stuff: where they are at the start should be different to where they end up. How that happens is, of course, because of plot, and because you’ve structured everything to the nth degree, we’ve got a very clear progression of that character’s growth (/s easier said than done lol).

General advice

Write down everything: every idea, a bit of dialogue, a description, whatever. Write it down. Doesn’t have to be neat. Just has to be on paper. You can’t remember everything, so if you’re spending time trying to hold those things in your head, it’s taking up space for new ideas to come along.

Structure, plan, structure, plan. Sometimes it’s boring and I hate it. Other times, when I’ve not written in a few days and I open the Word doc and think wtf is this supposed to be, I am very grateful for Past Me for leaving such detailed notes. Seriously, it helps so much. Oneshots don’t really need planning, in my experience. You just get those out there. But multi-chaptered stories really do, even ones that “just” focus on a relationship.

Whatever you want to write, commit to it. Space goblins invade Hawkins? Do it. Eleven and Max find themselves in a cult akin to Midsommar (2019) and must escape? Yes. Just... whatever you want to do, remember that you’re writing it for you. Write what most interests you, what makes you when you reread it go AHHHHH I LOVE THIS!! Because that makes it a thousand times easier to actually get on with the writing when you enjoy what you’re doing.

Write a lot. Every day, if you can, or at least at designated times. Occasionally I have a very specific headspace/vibe I have to be in, but sometimes it just hits me and I’ll say to my partner “I need to write now” and just disappear, lol. The more you write the more you write. It’s so, so, so true. Cannot emphasise this enough. When I wrote that ~200k in twelve months? It was because I literally wrote every. day. Or near enough. Remember that some days you’ll write 200 words, and other days you’ll write 20k (this happened to me with ADATS -- part of the reason I finished it so quickly was because I had sprints of writing 10k+ at a time that only happened because I was in the rhythm of it). Write, write, write. Who cares if it’s crap! No one will see it until you are ready. In the meantime, just write!

Probably last of all (although I could go on and on) is connect with other writers. If you’re struggling to start, sometimes just talking about it can help a huge amount. I hope it goes without saying that you can message me whenever you want, anon or not, and I will talk to you. We can talk about ideas or I can beta stuff, whatever you want! Find like-minded people and talk to them about what you want to do. Another thing this helps is in advertising your work when you do publish. I see a lot of first time fic writers get super down because they publish their magnum opus on AO3 but no one comments. Honestly, it’s because no one knows you’ve published! You don’t have to be tooting your own horn every which way, but just actively talking about your work and even collaborating with other content creators with get you hyped and other people too (and the input and encouragement other fandom members give is just... out of this world. Anon messages helped me finish ADATS when I was really worried I wouldn’t [that’s the truth]. Seriously, support is everything). When you have people excited about your work, you get excited. It’s really as simple as that.

I could go on but this is already horrendously long. I hope even a bit of this helps! If you want to chat or have any more questions, just hit me up any time.

[of-elves-and-mad-hatters]

“The Azure Sky” - Chapter 4 - Lego Elves

Shadows to the Brightest Flame: Series

- The legacy of Lumia’s influence is scarred eternally into the lands of Elvendale. Burdened by a prophecy foretelling her demise and need for a successor, she watches for one capable of such power. Yet her enemies are working steadily to undo all she’s labored so long for, and it is millenia too late to make peace. 

Emily Jones, heir to Eimileen, is a bold girl dedicated to protecting Elvendale, but the world she has grown so fond of is not so black and white as it seems, and the titles of Guardian of Portal and Guardian of Light may hold darker legacies some ancient elves have worked tirelessly to hide. 

In conjunction with the extended version of the Guardian of Light prophecy I wrote previously

Basically a rewrite of all of the Lego Elves & Secrets of Elvendale storylines with an additional arc beyond the Season 4: Into the Shadows. There will be a varying degree of deviation from canon.

Technically a crossover with Lord of the Rings/Hobbit/Silmarillion in terms of worldbuidling, as I set Elvendale as being north of Middle-Earth, cause this is fanfic and I can. So there will be mentions of the Noldor, Sindar, Silvan, and some Tolkien characters, but they will be mostly background. Definitely not an issue if you aren’t familiar with the Middle-Earth fandom; everything will still be easy to understand. 

Book 1: The Azure Sky

Grieving over the unexpected death of her grandmother, Emily Jones is accidentally trapped in another world. Befriending a few young elves in an attempt to find her way home, Emily discovers many secrets about her grandmother’s past, but for every truth she learns two more questions take its place, leaving her vulnerable to darker force inhabiting this realm. 

A rewrite of Unite the Magic

____________________________________________

Chapter 1 

Chapter 2 

Chapter 3

____________________________________________

Chapter 4

Emily watches the golden light of early sunset reflects upon the surface of the ocean, changing shape and hue as the waves roll. The gentle rhythm is soothing, distancing her from the events of the past couple of weeks.

Peaceful, content.

She shifts her position on the wooden bench. She feels the edge of a splinter catch the hem of her shorts, sighs.

It’s all too real to be a dream.

The admittance is not as terrifying as it should be, being trapped in a strange world, but it certainly a beautiful one, vibrant, angelic. A part of her truly would rather stay here a thousand years than suffer another day on Earth, a voice that cares not whether they succeed in finding a way to return her home.

That wistful dream shatters when she thinks of her parents and her little sister, Sophie, wondering where she could be, having only gone to wander in her grandmother’s garden. They would never learn the truth, the mystery forever haunting them.

She leans her head over, watching the water, frowns. “Have we stopped?”

“No, Em,” Azari calls from above the cabin. “We’re just going so fast you can’t feel it.”

“Actually,” Naida corrects, “We’ve stopped. The wind’s died down.”

“Oh! I could build a windmill! Or some wings…” Aira bubbles.

“Someone’s desperate to build something,” smirks Azari.

Farran raises an eyebrow. “Aira, you control the wind.”

Aira pouts. “Fine.” She stands at the bow, raising her hands towards the sky. She starts to sing, or screach. The other elves clamps their hands over their ears as her voice raises in volume. A gale gathers above their heads and with the final note floods the sails. The boat begins to cut across the water.

Keeping her eyes on the map, Naida guides the water telekinetically. Azari makes her way down, sighing with boredom. “How much farther is it…” The boat stops.

Aira frowns. “That gale should have kept us going…”

“It’s alright,” Naida soothes. She strides over to let down the anchor. “We’re here.”

“But where is here, exactly? All I see is a bunch of ocean,” Azari questions, “No offense.”

“The map wouldn’t lead us astray.” As the water elf finishes, new runes appear on the righthand corner of the map.

“The deep shelters all things from curious eyes

Fates of those who should not have dared the sea

Graves graced with the memorials of strangers

Bones piled high and crowned with mermaid’s tears.” Naida reads aloud.

“Well that doesn’t sound foreboding,” Farran chuckles nervously.

The water elf ignores him and turns to the human girl. “Emily, what do you think of all of this?”

Emily shrugs, feeling once again as though she were being tested. “Well, I can barely believe I’m on a boat with elves and in a land with mermaids to begin with, but um, I remember my grandmother telling me that mermaid’s tears were pearls.”

Naida’s eyes shine with approval. “Well remembered.” She turns and bends down, lifting an ornamental rug to reveal a viewing port in the bottom of the boat. Through the glass a shipwreck can be seen. It is strangely arrayed, fully covered in coral and other sea plants, but the wood seems perfectly preserved, almost petrified. The reef extends up a rocky mound towering above the fragmented structure. Intermixed with the coral are hundreds of bones, separated and scattered but perfectly intact, even the skulls. Atop are nestled a group of large oysters, their shells muted in typically muddy greys and browns.

“So the key is inside an oyster?” Emily asks. “That’s kinda cool.”

Farran frowns. “Yeah, but how are we going to get it?”

“I can try,” Naida offers, but their is hesitancy in her voice.

“Wait, you’re going to try and walk down to the bottom of the ocean?” Azari looks incredulous. “Have you ever tried sustaining your magic that long?”

“I’ve come close,” Naida reassures, “And there aren’t a lot of other appealing options.”

“We could get help!” Azari argues.

“No, the fewer people who know what we’re doing, the better.”

“Why? Every elf in Elvendale would give their right hand to help the descendant of the fifth sister!”

“We still don’t know for certain that Emily is related to the fifth sister. The evidence favors that conclusion, but not to the satisfaction of every inhabitant of this continent. And even if we could prove it, the Sisters made enemies by making that portal. We could be endangering Emily’s life.”

“What enemies? Aside from some disgruntled elves on the southern border and a few skeptics, the portals weren’t really controversial.”

Naida frowns. “I don’t actually know,” she confesses, “Only that was what Nuala said, that they made enemies of those who were once their allies. She never explained more than that.”

“Well, I for one don’t think you should risk your life over shadows and boogeymen,” Azari responds. “Farran?” she asks, assuming his support.

“Actually,” Farran nervously runs his hand through his hair, “I agree with Naida. We shouldn’t get anyone else involved.”

The fire elf looks shocked. “Aira?”

Aira laughs nervously, “I don’t know? In the end shouldn’t it be Naida’s choice what risk she takes?”

Azari’s face hardens to one of disbelief. Ever the rebel of the group, she never imagined a day would come when her friends approved of something she considered too dangerous. “I guess I’m outvoted then,” she mutters.

Feeling guilty, Emily opens her mouth to speak on Azari’s behalf, but Naida has already begun forming a tunnel in the water and stepped off the side of the boat. They hold their breath as she wanders down, the tunnel growing until in envelopes the tip of the coral mound covered in oysters. The largest of the group opens its lid, revealing a bed with two shiny white pearls and a blue metallic key. 

Naida grasps the key, flinching as the oyster clamps its shell suddenly closed. Face beginning to strain with effort of maintaining the magic, the water elf hurries back to the surface. She nearly collapses onto the deck, but brushes off the other elves’ help. “I’m fine, just a little tired.”

“That was incredible,” Emily exclaims. Aira and Farran resound the praise. 

Azari crosses her arms, but her frown cracks into a smile. “That was kinda awesome.” Naida returns the compliment with a hug, which the other elves quickly join. Emily stands awkwardly off to the side. 

“So,” Azari’s voice travels from inside the group, “When are we gonna eat? I’m starving.”