#but like a lot of geoff's writing it has the bones of something that could be soooo deeply compelling | Explore Tumblr Posts and Blogs

rpgmgames · 5 years

Photo

February’s Featured Game: Ressurflection

DEVELOPER(S): charlottezxz ENGINE: RPG Maker MV GENRE: Fantasy, Cartoon, RPG WARNINGS: Paranoia, fear and tension, mild swearing and blood. SUMMARY: Ressurflection is a Fantasy/cartoon RPG set in the fictional universe of the Arbvar and taking center stage primarily at the coastal city of ‘Horizon Bluff’. Its story and game play are heavily character driven, with its narrative divided into two parallels told both within and outside the mirror itself. Ressurflection’s core themes draw from our inevitability of fearing death, and that at some point or another, we all must accept it, and to treasure what’s really important in the time that we have.

Our Interview With The Dev Team Below The Cut!

Introduce yourself! *charlottezxz: Hiya this is Charlotte, lead game developer for Ressurflection! I’m some silly, overactive drawing monkey who works a lot with Narrow on Ressurflection! I’m always sketching and conceptualizing monster bois, taking a lot of inspiration from various games, primarily monster hunter! I’ve had avid interest in the Indie scene for a while now and a lot of the great friends I've made have been due to it and a lot of my recent favorite games have come from it! I would have had Narrow say a few things here but he’s hiding in a corner somewhere!

What is your project about? What inspired you to create this game initially? *charlottezxz: Ressurflection started out as what can be described as two separate stories. Myself and Narrow wrote our own stories and every so often we swapped over ideas or combined them together with each other. One day I said to ourselves ‘You know what? This could work quite well as a game rather than just a story’ so eventually Ressurflection was conceived, around the idea of a mythical mirror capable ‘Ressurflection’ the title of the game. We’ve gone through quite a few iterations of the story before it came to its current form and to be honest if we even showed or compared them side by side they’d be pretty unrecognizable as the same thing except for certain characters, locations and the mirror itself to identify its primordial form having any kind of ancestral relevance to how it is today. As for what Ressurflection is about, I think our synopsis can get that across quite nicely! ‘Horizon Bluff has always annually held its ‘Legend of the Wyvern Glass’ festivities. The Wyvern glass was a long lost mythical mirror, once fabled for its power of ‘Ressurflection’ and coveted by a kingdom now all but gone. That is quick to change however with the arrival of the Roulette Runner’s circus to the coastal city of Horizon Bluff. Trouble is soon to set in motion not just the kingdom’s sudden reappearance but the entrapment of one of their own acrobats within the mirror silver. Yet things are soon to worsen...with the spread of a purple ‘corruption’ across the city and the fact that our most unfortunate trouper is far from alone within the mirror, finding himself at the mercy of its ‘Mirror Maiden’. > The apparent all powerful manipulator of its realm…’

How long have you been working on your project? *charlottezxz: Conceptually we have been working on it for 4 years which is hard to even fathom, however that’s more tinkering around the idea for the story and conceiving it as we learnt the engine. The blog itself is hitting its 4th birthday in February! Ressuflection’s development went on as i attended university, so its always been a side lined hobby of ours.Steam says 108 days worth of hours in the engine and most of the game progress other than concepts has been done in 2019. So I could say 4 years for the ideas/stories and concepts and a year of that for actual game making!

Did any other games or media influence aspects of your project? *charlottezxz: We each have our own inspirations, Lost Odyssey, Final Fantasy 9, Xenoblade Chronicles, Monster hunter and many older PSX titles such as Medievil, Tomba and Heart of darkness are great influences and inspirations to me personally. The dark, dangerous environments of Heart of darkness contrasted by some innocent characters, the monster designs in capcom’s franchise and the storytelling and themes with a cinematic approach to cut scenes found in some of FF9, Xenoblade and Lost odyssey, a lost game stuck in the recess of the xbox 360. There are many more but these spring to mind first and foremost. Narrow himself draws inspiration from games such as Earthbound, the Persona series and FF10!

Have you come across any challenges during development? How have you overcome or worked around them? *charlottezxz: We started the project in VX ace to begin with, until MV released. It was in Ace that I experimented learning RPG maker and in the early days of MV too. Although before Ressurflection’s time i also dabbled a bit in XP. MV seemed more in line for what we wanted, as i really wanted to try animating beyond SV sheets and do more, with Java being a bit more flexible and the scope of it being able to allow dragon bones later. However it hasn’t been without its hiccups! Part of that is the sheer amount of time you underestimate games and certain elements to take in their development. That and everything that comes with it, streamlining, trimming the fat...in the past week alone i spent days optimizing pictures, sounds and music in the game to cut down the staggering file sizes they were. So far they have retained their form without being as costly on the MB! Since I do the vast majority of the game development myself, everything takes a lot longer to develop. You underestimate all the little things to consider and that you may need later. By the end of development, I hope to have the vast majority of the game consist of custom assets and be able to truly call it something that is ours. Though that path is long ahead we won’t stray too far from it.

Have any aspects of your project changed over time? How does your current project differ from your initial concept? *charlottezxz: The game itself has always been a story-driven RPG at its heart, although certain game mechanics have been scaled down or developed further from puzzles to battle flow. As mentioned previously, the story has changed considerably which changed the direction of the overall narrative and gameplay as a whole. Certain characters and scenarios have been culled completely too. At its start the story wasn’t as heartfelt nor was the scope of the story all that big - Oh and the game had a time limit, a bit like Majora’s Mask! But it is a lot more meaningful now and we hope that you will enjoy it when the time comes.

What was your team like at the beginning? How did people join the team? If you don’t have a team, do you wish you had one or do you prefer working alone? *charlottezxz: It has been just myself and Narrow for the majority of the development but we reached a point where we wanted to reach out to find a musician for our game. We eventually came across Geoff who has done the majority of our music up until recently. However we have had friends help and contribute along the way such as Harry helping sprite some NPCs for me, Bart helping formulate and do some math balancing, Vaijack has also contributed to music making him our second musical boi and more on the way, our preliminary demo testers( it would take a little to list them all) and more peeps i’ll be sure to credit!

What is the best part of developing a game? *charlottezxz: For me it has to be conceptualising all the little ideas we have and bringing them all into being. This is especially so for any monster and character bois! I spend a lot of time visualizing and planning the design of areas, locales and creatures. Would this thing live here? Why would it be this way? If this is a historical town wouldn’t it have x and x? Then when we ultimately put it together, and all the pieces of the puzzle line into place and then you can just...experience, the final thing, that for me is the best part in developing our game for me.

Do you find yourself playing other RPG Maker games to see what you can do with the engine, or do you prefer to do your own thing? *charlottezxz: I learn best by doing, so more often than not I just dive into things, including the engine blind and tussle around with it. It’s a silly way of doing it, but I've often found myself learning more that way than following tutorials. Although in any game I've played, RPG maker or not, i do like to ponder and deconstruct scenes within them. The Witch's house, Pocket Mirror, Dreaming Mary, Mad fathers and Ib are all wonderful games that are great to learn from, dissect and understand what makes and made them tick. This applies across any game I've played or intend to play! I look at game making as one giant puzzle with lots of intricate little details that need to be solved, it’s more fun and engaging that way!

Which character in your game do you relate to the most and why? (Alternatively: Who is your favorite character and why?) *charlottezxz: There’s some characters I like a great deal, but i can’t talk about as it would be spoilers to the plot, that and it’s hard to pick any overall favorites. Charm comes across as a fun character to write for as she’s quite witty and sarcastic, the kind of dialogue that comes a bit too naturally to me. She’s a budding magical prodigy of the circus under the tutelage of Jerine. She bigs herself up a lot but isn’t quite ready to deal with the problems of the adult world just yet, as much as she strives to get into it. Then there’s the likes of Ashley as well, she’s the loudest circus member and a close friend to Zakai, its ringmaster. She’s a super hard working down to earth country girl who isn’t afraid to get her hands dirty and jump into the thick of things. Honestly I love all the cast, but there’s those two for now!

Looking back now, is there anything that regret/wish you had done differently? *charlottezxz: I would say ideally we should have had all our ducks in a row before we dove into development. My development style is very messy, especially since when we started development we had a lot of learning ahead of us. That combined with focusing on a lot of coursework and real life things meant I often forgot how we made things for consistency. This has improved considerably since i started getting more organised now, keeping lists and things tabbed for reference. My desk has bits of paper kept with it with information I need to retain. I forget far too many things for my own good, but now I'm taking better count measures! I would advise anyone to keep tabs of important information about your game such as consistent sprite style sizes, resolution size, x and y positions of certain things and important variables and switches.

Do you plan to explore the game’s universe and characters further in subsequent projects, or leave it as-is? *charlottezxz: There’s a few ideas bounced about to do side stories for some of the cast of characters in the circus, such as before they became one and the origins of how certain members joined the circus essentially the ‘First Stringers’ and ‘Second stringers’, these being those that joined afterwards. These would be great to do as small little episodes added onto the game post development, but currently they are just ideas and won’t be given too much thought until the game is either done or close to fruition.

What do you most look forward to upon finishing the game? *charlottezxz: My most hopeful thought is for people to enjoy the game and have as much fun and interest in it as myself and Narrow have had in creating it. It’s the kind of game we want to make and hope that the characters and story chime with people enough for people to see the journey through to its end! It’s a big scope of a project but i have endless enthusiasm for it, no matter how long it takes it will get out there at some point!

Is there something you’re afraid of concerning the development or the release of your game? *charlottezxz: That the games story and overall feel doesn’t quite hit the right notes, it's always a little back concern. From a technical perspective I would say that the game might have some oversighted bugs or critical crashes that slip under the radar or not run as smoothly on other PCs on release. We will do our best to optimise the game as much as possible for MV and squash those pesky bugs during testing, but it is on our minds often as a niggling fear.

Do you have any advice for upcoming devs? *charlottezxz: Gut everything from the base project that you know you most definitely will not be needing and give all your files smart tags and naming conventions. It would be great if MV allowed for sub folders, but it does not so naming your files smartly is key to finding what you need. Any of these files you know you will use often in certain ways, make them common events and call for those in events and cut scenes. This saves you mass editing them later. With naming conventions this could be Actor_1_Hurt or Chapter_1_NPC. Anything you want at the top of the list name it with _ to begin with. The bigger our project gets, the more important this has become for us and we hope it serves other inspiring devs well all the same.

Question from last month's featured dev @rojisroomrpg: How do you keep yourself happy and healthy when making your game? *charlottezxz: I’m normally a happy-go-lucky person, so I'm rarely not happy when working on Ressurflection. It's the happy little hobby I devote most of my spare time to. However, recently i would say my hands, wrists and neck have been hurting from spending a little too much time drawing assets and pieces for the game. Taking more breaks and spreading that time with other activities in between has helped to ease that pain and i would like to advise any dev to do so for their own health, including always having one or two bottles of juice, water or whatever beverage always at hand to sip at as you dev away!

We mods would like to thank charlottezxz for agreeing to our interview! We believe that featuring the developer and their creative process is just as important as featuring the final product. Hopefully this Q&A segment has been an entertaining and insightful experience for everyone involved!

Remember to check out Ressurflection if you haven’t already! See you next month!

- Mods Gold & Platinum

#ressurflection #gotm #game of the month #rpgmaker #rpg maker #rpg maker games #ressurflection game #gotm 2020 #2020 #february 2020 #february #indie games #games

90 notes · View notes

rainbowshawn · 5 years

Text

Little Things

A/N: hey!! this is my first time writing so feedback is welcome and encouraged! something quick and easy, hope y’all enjoy 💓

Summary: After a hard day, Shawn knows just what to do to cheer you up. It’s the little things.

Warnings: None. Just fluff and unrevised writing :)

________________________________________

It didn’t take a genius to figure out that you were stressed. Work had been a nightmare, to say the least and you were way past ready to get home. A hefty sigh evaded your chest as you twisted the key to open the front door to your shared apartment. Thoughts of the past week went through your mind as you kicked your shoes off your sore feet.

“Is that my girl I hear?” chimed your boyfriend’s voice from somewhere in the apartment that you couldn’t quite place.

You could only grunt in response, your tiredness taking over quickly once you stepped into your cozy home. You slowly meandered towards your living room, smiling softly at the sight before you. Shawn was propped up on the big white couch with his back facing you; legs spread out under his favorite fluffy blanket. He was fully concentrated on whatever occupied the screen of his laptop and you took this opportunity to sneak up behind him, rubbing your hands across his sturdy chest as you leaned down to press your face to his warm neck. He lets out a soft hum of contentment when he feels your soft breath dance across his skin.

“Hi, my love” he murmured, craning his head back to give you better access to dress his neck in kisses.

You hummed in response, trying to occupy your mind with your work on his soft skin.

“How was your day, honey?”

The mention of your day caused you to immediately tense and you straightened back up.

“It was fine.” you sighed, walking into the kitchen hoping he wouldn’t push the topic any further.

You hoped your tone hadn’t given away that your day was anything less than spectacular. You didn’t want to stress him out with any more than he already had to deal with himself. Between prep for tour, writing, and recording, you were sure he had much bigger things to worry about than your rough week. You knew that didn’t stop him from caring, though. He was always thoughtful, despite anything he was preoccupied with. It amazed you, really. How someone could be so patient with those he loved, with all the things on his plate. The man was the definition of empathetic.

“Mmmm somehow I don’t believe you.” he softly pressed. He shifted to set his laptop on the table in front of him, turning to face you.

“It was okay, just busy. I’m alright.”

He sent you a small frown, accompanied by those soft, honey eyes you love so much. He titled his head thoughtfully, squinting his eyes at you. You avoided his gaze trying to occupy yourself by looking for a snack in the fridge. Your search proved to be pointless as neither of you had the time to run to the grocery store this week. You softly closed the door and rubbed your sore neck, as if to soothe your worries.

“c’mere” Shawn said softly, but sternly. You figured he wasn’t going to take your half-hearted answer. You softly prod over to where he set up camp in the dim room. You observe his mess of papers adorning the coffee table which reminds you of all he has on his mind as well. His hands find your hips as you stand between his legs. He rests his chin on your stomach, looking up at you with those soft eyes as your hands take purchase in his curly hair. He smiles at you as he tugs your body down into his lap.

He pressed gentle kisses to your lips, whispering, “missed you,” between soft pecks. He rested his forehead on yours as he trailed his hands soothingly up and down your tense back, while yours were still busy in his hair. You let out a breath you didn’t know you were holding once you felt his loving embrace.

“Wanna talk about it?” he continued. You grumbled knowing he wasn’t going to let go of his concern until you at least addressed it a little bit.

“Not particularly. Just had a lot to do and not a lot of time. And just little things throughout the day,” you explained, quietly “just feeling a bit overwhelmed. But it’s over now.”

He frowned, “Okay, darling, I won’t press. You know you can talk to me whenever you need to right?” he paused and waited to see you nod your head in response.

“Anything I can do to help? I don’t like seeing you stressed. Let me fix it.” he said while he peppered more little kisses to your cheeks, hoping you could feel all his love. You could. You always could.

You smiled lovingly at the gesture, but shook your head.

“No. Just being here is enough. Your presence alone makes me feel a million times better.” you said. And it was true. Somehow Shawn made everything feel okay, regardless of if it was or not. You always brought each other peace. Finding little ways to keep the other at ease.

Pulling back a little, you cupped his cheek and he nuzzled his face further into your hand, keeping his puppy eyes on you. You took in his appearance now, noticing how sleepy he looked. Your heart softened immediately; your mind instantly forgetting everything that had happened that day. Your focus shifted to the soft boy in your hands.

“‘nuff about me. How was your day, mister?” you smiled, tilting your head.

“It was good. I got a lot of stuff done, actually. Worked on some paperwork Andrew needed from me, finalized some stuff for the studio with Geoff,” he trailed “I’m so excited to show you.”

“I’m excited to hear.” you chirped, perking up.

It always amazes you; how much he can handle. It seems to come so easy to him, but you know otherwise. You couldn’t begin to count how many times you’ve seen the stress of his lifestyle eat at him. He doesn’t like to seem weak so he frequently works himself to the bone. This combination inherently and eventually results in some breakdowns. Him softly crying in your arms while you do your best to soothe him and talk him through the darkness.

You suppose that you two balance each other out in that way. Always there to comfort the other. No matter what. You loved him most like that. Vulnerable and open to your love. He became so soft and needy, soaking up every bit of affection he could. He never minded returning the favor.

“How bout I make you some hot chocolate and we forget about that bad day, hm?” he inquired while he brushed some stray hairs from your face. “We can watch some of that new show you were talking about. I know you’ve been itching to start it.”

“Sounds perfect” you whispered, smiling. The mention of hot chocolate instantly lifting your spirits.

He helped you get up from his lap once he got up to go into the kitchen. He quickly made you a cup exactly how you liked it. Extra marshmallows topped off with some whipped cream. He paid extra attention to put it in your favorite mug. The dusty pink cup was placed gently into your hands moments later and you smiled at the ‘you’re my person’ printed in gold across the ceramic. Shawn had given it to you as a surprise gift one day, after he was out with some of his friends, knowing your mutual obsession with Grey’s Anatomy. No special reason other than it made him think of you. He shrugged off his friends giggles and comments about him going ‘soft’ knowing he’d get to see your smile that he loved so much once he brought it home to you.

“You did that on purpose, huh?” you jokingly accused, gesturing your head to the cup in your hands.

“Maybe I did,” he sweetly smirked “what of it?”

“You’re sweet, bubba.”

You took a small sip, wincing as the hot liquid touched your tongue. You moved forward and set the steaming mug down on the table, taking care to set it on a coaster away from his papers. You felt him shift next to you as he stripped himself of his hoodie. The second you relaxed back into the couch he shoved his hoodie into your hands.

You shot him a questioning look, but took in his shirtless form regardless. He just giggled in response and chuckled, “Go ahead. Get cozy, honey.” nuzzling himself back into the couch behind you. You decide to not question it, and tug the warm hoodie onto your body, immediately feeling calmer once the warmth and his scent filled your senses. He wiggled his raised hands once you finally looked back at him, gesturing you towards his chest. You made yourself comfortable on his bare chest and pulled his blanket over the two of you. His hand made its way to your back as you nuzzled into his neck, rubbing softly. He grabbed the remote with his other hand and clicked around on Netflix, you two falling easily into a conversation while you searched for that show he mentioned. Once you found it and decided that that was what you wanted, he pressed a sweet kiss to your forehead before turning his attention back to the intro that was now rolling on the screen.

You didn’t always have it together, but these slow, easy moments with shawn made it all better. Really, it’s the little things. Somehow his small gestures made you forget your issues in the blink of an eye. You loved your love. It was easy and tender. It was patient and kind, and never did it ever feel like you were alone. Shawn would spend his whole life making sure of that.

#shawn mendes #shawn mendes imagine #shawn mendes x y/n #shawn mendes fic #shawn mendes fanfiction #masterlist

335 notes · View notes

davidmann95 · 4 years

Note

Comics this week (10/28/2020)?

Dark Nights: Death Metal: Rise of the New God: Not at all what was advertised, but that’s a good thing - that throwdown belongs in the main book. This instead sets up an interesting little oddball concept that acts here as a simple pseudo-DC-history-recap device and commentary on the larger storytelling going on in this event, but could go on to play a larger role. Not a ton of meat on the bone here, but I liked it.

Legion of Superheroes #10: There’s a big reveal panel here that channels the kind of Superman-related joy I’ve scarcely felt since All-Star, and in general this issue sets up a ton of interesting new avenues.

Action Comics #1026: Nothing to write home about, but there’s a neat format trick here - I thought it quite literally didn’t work due to some kind of miscommunication along the road to production, but flipping back through it was in fact pulled off successfully.

Wonder Woman #765: This ‘running gag’ and Wonder Woman’s borderline-indifference is incredibly uncomfortable at this point.

Justice League Dark #27: Okay I have *no* idea where the hell this is going from here, but I’m all about it.

Suicide Squad #10: I’m gonna need to see how this twist plays out in the last issue (beyond ‘Taylor wanted to use that character again’), but I’ll admit I look forward to rereading this as a whole after the next issue closes it out.

Batman: Three Jokers #3: I’ll go more in-depth later since several have asked about my overall thoughts on the series now that it’s done. For now, I’ll simply say that post-Doomsday Clock I’ve been convinced that beneath a patina of hackishness Geoff Johns and what he’s trying to say are sincerely pernicious. But guys...what...what if he really is just genuinely a dumb fucking idiot?

Anonymous said: I know you probably dropped that digital only “Superman Man of Tomorrow” book, I haven’t been following it too, but I just read #18 for some reason and I’m so glad I did! It’s entirely set inside what I believe is the coolest Fortress ever (with some great nods to the All-Star Fort Superman), and it’s a really solid adventure one-shot, I really recommend you read it, and if you do, please share your thoughts!

Anonymous said: Needed to pass this along but the latest issue of Superman: Man of Tomorrow by Brandon Thomas feels like something you would love even though it’s a one and done. It’s not Keatinge-tier but it perfectly captures that feel for the Fortress you talk about wanting and has Morse code eyeblinking between Superman and a flying shark.

Superman: Man of Tomorrow #18: I checked this out based on the recs above, and yeah, this one was a hoot! A consistently fun and clever Superman caper, far more than worth the $1.

The Immortal Hulk #39: HELL YEAH, by which I mean JESUS NO. Immortal Hulk is on that roll we love to fear again, baby.

X of Swords: Stasis: I don’t have the slightest clue what’s going on anymore.

Shang-Chi #2: Fun! I’d drop it if it were an ongoing, but this definitely has me onboard for the rest of the mini.

Fantastic Four: Antithesis #3: Not all I’d want from Adams’ crack at the team or probably Waid’s final Marvel project for the time being (if not ever?), but a decent time.

Giga #1: I just don’t seem to vibe with Paknadel the way a lot of folks seem to, and I couldn’t much follow what was happening here anyway.

The Department of Truth #2: Yes, it does indeed keep up the pace after that gangbusters opening. It’s also however a product of rotten timing: a character is introduced here who is if not deliberately Warren Ellis-esque definitely fits that mold, who is major enough that he was surely conceived of prior to the book’s announcement in June 2020, the same month as...well.

Blue In Green: An Image Comics horror OGN covering the days immediately following the funeral of a struggling musician’s mother by Ram V, Anand RK, John Pearson, Aditya Bidikar, Tom Muller, and Ryan Brewer. I want to talk about it as little as possible plotwise beyond that it deals with legacy, art, and sacrifice, but the stylistic vibe here feels like a massive evolution of Morrison and McKean’s Arkham Asylum, meshed with incredible poetic diction and a musty air of nostalgic regret. This is easily one of the most gripping and impressive projects to come out of the medium in 2020, and deserves any and all sales and accolades it manages.

Slaughterhouse-Five: This OGN actually came out several weeks ago, but I only just got around to reading Ryan North and Albert Monteys’ adaptation of the classic, and while my college memories of the source material are too vague to comment on this as an adaptation, this is a towering work in its own right and can’t be recommended highly enough.

#Week's Comics #Opinion

5 notes · View notes

thattimdrakeguy · 4 years

Note

Hiya again, I'm the same person who asked you what qualities you like abt Tim Drake, what do you not like about him? Either from comics now or back then.

Sorry for having not answered this when you gave it to me a few days ago, I also have two other asks I need to answer. My energy has just dropped massively today for some reason, and I didn’t have a confident will to look at Tumblr often besides for dashboard and talking to a friend.

But it’s sort of a difficult question to say what I don’t like about Tim, at least in context to the whole 90s Tim I like and primarily based my blog around. Because when I liked him I accepted him for all his flaws really. He can be passive aggressive towards people he doesn’t like, and a touch condescending, but that’s normally when talking to people like Stephanie who have essentially no idea what they’re doing and bug him.

Like he’s a big social idiot which can cause problems, but I kind of like that about him. He’s sheltered a ton, so it makes sense for him to be socially oblivious and naive, it just adds to his character. Like when I see him be insensitive, I’m not so much bothered that he was, because I can understand it from a character perspective, but it can get on my nerves I can easily see some petty loser fandom person use it to act like he’s a pure jerk or something.

Though using that perspective, it’s still not a lot about Tim.

Anything I’ve had problems with when it came to Tim is just writing problems, not really his character as established.

Like how poorly he got written after the Dixon era, and I do not like Dixon as a person, he sounds like a ripe stubborn right-winger, and a total ass because of that. But he’s also been the most consistent writer for Tim ever, with his main flaws in writing being shoving his freaking O.C. in places she didn’t belong, and never properly letting Tim and Jack advance their dynamic past punishments and Jack being a terrible dad.

After that it just went terrible wrong, like the first time I read the Jon Lewis run, I didn’t really think much of it, but that’s because I was primarily skimming the series more than reading it, and the artist being the same was enough for me not to think of anything. But Jon Lewis made Tim such a pretentious, judgmental jerk, and so self-absorbed in himself like he thought he was higher up. And he made him so unlikable. Tim could be pretty dang judgmental, and be too stuck on his perspective, but that’s more of a social problem more than Tim being something I’d call an actual jerk. When Tim used to be judgmental, it typically came from the right place, normally in the name of morals. But in the Jon Lewis run he’s just a total dick.

And then Bill Willingham, tried to make Tim more standard “cool”, hanging out more with jocks a few times, when Tim is established as preferring the nerd crowd, because despite being quite fit, that’s who he fit in with. And an assistant editor at the time actually described Tim as being someone who is generally meek.

So as ya can tell, they lost the point of who Tim is, and random changes don’t qualify as character development it’s just bad writing. A person doesn’t become a whole other person randomly. That’s bad writing.

The first writer of the OYL era of Robin was pretty good, but I can’t remember his name. Took him back to what made him work before, but in the knew Tim Wayne era.

After that it was a freaking mess, even Dixon couldn’t write Tim right anymore when he came back. Every writer just made him typical angsty teen with a touch of edge. Which makes sense given the context of the OYL era Tim, but then also why doesn’t he have any noticeable traits that are strong and represent himself?

Red Robin sucked. I don’t even begin to like it anymore. The whole “Damian is now Robin” scene was just freaking dreadful from every character perspective, and that was supposed to be the launching pad for a series, that main goal was to write Tim really differently. Chris Yost did okay, like even though Tim was still clearly very different, there was enough of Tim that seemed like he probably wrote him before. But FabNic was just genuinely awful, besides some narration, I can’t see Tim in his writing. He’s just been replaced as far as I feel reading it.

And that’s not even counting Geoff Johns’ Teen Titans run, where his bio describes the general opposite of what he is. I assume also in the name of making him cooler and edgier, but changes like that-- don’t equal good Tim or even basic good character writing.

Or the New 52, which is notoriously bad.

So Tim’s worst quality in a meta sense, is just being shackled to constant bad writers that I feel like never cared about him that much to begin with but was given the job. So most of them just turned out awful on him.

Original Tim I accept for all his personality flaws, because enough work with his character.

Current Tim as he’s written in most issues of the current Y.J. is just a bare bones leader character, who’s treated as being a packaged deal with a toxic girlfriend that doesn’t even make sense in a story context for them to be together or that in-love. They changed how he looks, what he wears, what his alias is. It’s not really Tim.

And the Detective Comics Rebirth era of Tim was a show off-y genius, that was extraordinarily handsome and talented, as well as being on the path to being an actual fascist because he has control issues. But supposedly Tynion, the writer of it, was just writing Geoff Johns’ Tim. Which is not the Tim to immediately go for.

Like literally to me what I don’t like about Tim is how often artists and writers just don’t even seem to pay attention to him when they write him, and if they do it’s not exactly the right guy.

It’s honestly really saddening reading a lot of his comics because of that. I’m just happy I at least have over 100 comics of well-written Tim, that I can read from, that allowed him to be my favorite character.

16 notes · View notes

eternallyvanned · 4 years

Text

hi hi hi, so i’m writing a fic and i need a little bit of help with brainstorming and stuff.

so in the world, it’s been fifteen years since aliens invaded and the current year is 4051. ryan (about 32) is sick with some sort of alien virus. he’s been alone for as long as he can remember. jack (about 35), geoff (about 35) and gavin (about 21) have been together since the beginning of the invasion. geoff (about 21) found gavin (about 6) alone in a grocery store and took him under his wing. geoff and jack (about 21) were friends prior to the invasion, but geoff and jack didn’t find each other until a year after the invasion. they’ve been together since.

gavin’s out scavenging alone (which he’s not even supposed to be out by himself in the first place) when he finds a wounded michael (about 30). he drags michael back to the place they call home. neither jack nor geoff is home when he gets there, but that’s not surprising. they’re out scavenging and that’s the only reason gavin was able to sneak away. he’s attempting to fix michael up when michael wakes up. and michael does NOT wake up peacefully. he wakes up with wild eyes reaching for a gun that isn’t there— and when he finds it isn’t, he ignores his injuries and ends up pinning gavin to the ground trying to figure out who he is and why he brought him here. jack and geoff arrive at that moment and jack points a gun at michael demanding he get off of gavin in a very calm fashion. michael begrudgingly does and he ends up being restrained with rope while jack tends to his wounds and questions him as geoff gives gavin an earful.

they learn that michael is from the rebellion — a group of humans who’ve banded together and are fighting against the aliens— and was with his partner Jeremy (also about 30) doing some scouting for an attack when everything went to shit. they got separated when jeremy threw a teleportation grenade at michael so that he could get away. and that’s all he remembers before waking up there.

meanwhile, ryan finds jeremy, who’s not doing so well and is barely conscious, and takes him back to his one person camp. ryan tends to jeremy’s wounds for a few days before jeremy is finally coherent upon which jeremy tells the story and asks ryan to come with him. ryan is hesitant because this is literally the first human he’s seen in about twelve years and as far as he knows androids don’t have realistic looking bones, but have the aliens somehow figured out how to reconstruct things like that?? but jeremy drags him along.

meanwhile michael is recovering. it’ll take a few weeks, but when he does he’ll take gavin, geoff, and jack to the rebellions main base. when they get there they are introduced to a shit ton of people and michael is deeply upset to find that jeremy hasn’t made it back. gavin meets alfredo (about 28), fiona (about 18), meg (about 22), matt (about 29), and lindsey (about 30). geoff and jack become acquainted with burnie and gus, as well as some of the other older members of the rebellion. they all settle into their life their. gavin even starts to train but finds out he is a danger to everyone around him with a gun in his hands.

ryan and jeremy, a few weeks later are scavenging when they’re attacked by a group of androids. it’s jeremy’s first time away from camp since injured and he’s still healing. things go to shit and in classic jeremy fashion, he throws a teleportation grenade to get ryan away from the situation. ryan wakes up five hours later in the middle of nowhere. he walks for a while and eventually finds somewhere familiar, luckily enough, somewhere he can find the store from. so he does. and he finds the area crawling with aliens and androids. jeremy is nowhere to be found. so ryan goes back to his camp. which also happens to have been found. so ryan with only the information jeremy’s briefly told him, goes looking for the rebellion’s base.

he finds it after a week or two— though it’s more like they find him. ryan is brought in as a possible enemy, treated as they would treat a threat. he definitely doesn’t go down without a fight, managing to take down three of five sent out to apprehend him because he’s been unknowingly close to finding the base. it’s meg who’s there to interrogate him. ryan explains himself, but times have proven that androids are adept liars and they all already have assumed jeremy dead, funeral and all. so they continue they’re interrogation despite ryan’s protests. michael is dragged in at this point because jeremy’s name was mentioned and let’s just say ryan gets a pretty hard punch to the face.

fortunately enough when he wakes up and it’s back to his negotiating, he says something that the aliens would have no reason to know— something that clues michael in. and of course burnie is all apologies when he comes in, some of the medically inclined tending to ryan’s wounds, but none of his apologies stop ryan from throwing the one good punch he feels he deserves. michael rushes to his defense because burnie’s been almost father like throughout michael’s stay at the rebellion’s base but burnie has been the one controlling everything so he admits he deserved it, even if he feels his nose break and blood pours down his face.

ryan and michael form a very tenuous bond over trying to find jeremy though they’re still seconds from ripping each other’s throats out. that’s all i have so far, but i know ryan finds his place there and bonds with geoff and jack. pretty sure he ends up sharing a room with geoff and jack after he and michael are separated so that they don’t kill each other. ryan kind of is really bad with people and has to adjust to being around other humans. a lot of filler happens and then an android is brought in. it’s kind of weird being the one standing over a possible threat but it’s where ryan finds himself along with meg. the android goes by trevor and is almost convincing enough, but something in his coding has messed up and it seems he’s developed a bit of a mind of his own because when they make careful incisions in his synthetic skin or throw punches until his teeth are bloody, the only thing he does is laugh. it’s unnerving and meg doesn’t help with how she almost patronizingly asks ryan if he needs to step away. ryan finds himself worked up which really isn’t a good thing. that added with how much downtime he hasn’t allowed himself to have isn’t great at all. so he glowers at meg, mostly annoyed with just how hot he feels, how thick and boiling his blood feels in his veins. he quietly tells meg to shut the fuck up before he makes an example of her. meg is a bit stunned but doesn’t show it, because she’s more concerned about the bright greenish blue fluid that leaks from ryan’s nose. trevor starts laughing and says something like “oh god it’s worked he has it he has it you’re all gonna die” and meg looks to him for only a second but that second is enough for ryan to collapse to the ground, eyes rolling into the back of his head.

that’s actually all i have so far, but i know they’ll rescue jeremy at some point. any pointers on where to go or hcs that might help me with the universe are very appreciated if you’re willing. 🥺🥺 @ilookbetterinslowmo

1 note · View note

dmellieon · 5 years

Text

BAFTA A Life in Pictures: Martin Freeman

23 June 2019

Read the full transcript from BAFTA A Life in Pictures: Martin Freeman

Briony Hanson: Hello everybody, a very warm welcome this evening, thank you for coming to BAFTA on this very sunny evening and forsaking the sun for what is going to be a very entertaining evening, I think. I’m Briony Hanson, I’m delighted to be your host for this BAFTA Life in Pictures with Martin Freeman. With a back catalogue of well over thirty feature films and even more TV performances, Martin Freeman has a reputation for playing characters that we like, people that are full of wit, full of pathos, occasionally full of a little desperation around the edges. He feels incredibly relatable; we all think we know him from the characters that he plays, and tonight we get the chance to find out if that was all true. We’re going to see a little taster of his work before we introduce him; can we roll the clips please?

[Clip plays]

[Applause]

Ladies and gentlemen, Martin Freeman.

[Applause]

Martin Freeman: Thank you.

BH: Hello, thank you so much for joining us tonight.

MF: It’s my pleasure.

BH: Everyone here probably first met you in The Office.

MF: Yeah, I’d think so.

BH: But there was a bit of backstory before we got there. Can you just fill us in on how you got to the point of becoming a kind of—everybody’s most loveable Tim.

MF: Yeah. That was about five or six years after I left drama school. I was at Central in North London for three years and I’d done a lot of theatre and small bits on TV and short films and stuff, and around about the time I got The Office, I was being seen a lot and doing little bits for BBC Comedy I suppose. I was kind of well known to that department as a young actor who could do—who could sort of be a bit funny, but I never saw that as—you know, I was an actor who could be funny as opposed to a stand-up. But I found myself in the company of a lot of people who were stand-ups I guess, you know, or who had that background, a straight comedy background.

And then yeah I got to The Office actually via, I had done a sketch show that Ricky Gervais wrote on, a sketch show called Bruiser that had Mitchell and Webb in it and Olivia Colman and Matt Holness and it was a sketch show that very few people saw but I first met Ricky there and we’d liked each other. He never said, ‘oh you’re going to be in my thing,’ but about six or eight months later or whatever when I went up for The Office, he wasn’t actually there but Stephen Merchant was there with Ash Atalla the producer and thankfully for me that audition went well. But I was knocking about doing—I was always working, you know, but I wasn’t famous…

BH: Had you always wanted to be an actor?

MF: Yeah. Well from about seventeen, yeah. I joined Youth Theatre when I was about fifteen in Teddington where I grew up and yeah, from about seventeen I thought it was something that I could do. I gradually had the confidence to think that I could maybe have a try at it as opposed to—I always really enjoyed it but I used to look with awe at people who could sight read or make anything look real or effortless and think ‘God that’s amazing,’ and then sort of little by little I thought ‘well I can do that.’ And so I then went to college and auditioned for drama school.

BH: And drama school you dropped out of.

MF: Well no I didn’t drop out but I left slightly early, I left slightly early because I got a job. In the third year, for those not familiar with this, the idea is anyway agents and business people come and see major drama schools in their third year and see young actors and see who they might like and whatever. And a few of us had agents but then the—yeah, I ended up leaving early to go and work with Matthew Warchus at the National Theatre in Volpone and then I did Mother Courage there. But yeah I left a few months early so I didn’t actually, I didn’t properly get my degree from Central.

[Laughter]

It’s been a bone of contention ever since.

BH: When you went to work at the National you’ve talked before about how you were effectively a spear-carrier.

MF: Yeah, yeah, yeah.

BH: Which presumably means you got to watch a lot of people?

MF: I did, yeah absolutely.

BH: And how was that?

MF: It was amazing. It was really—looking back on it I was twenty-three and it was startling really because I’d literally been at Central on the Friday and then I was rehearsing at the National Theatre on Monday and the first person I met there was Simon Russell Beale who was very nice and very welcoming and seemed as nervous as I was, weirdly. But watching him, watching Michael Gambon in that production then in Mother Courage watching Diana Rigg and Geoff Hutchings and David Bradley—it was amazing. And as I say I was doing very little in those productions, any little bits I had believe me I clung on to, but you got to do a lot of looking and learning, it was a fantastic place to learn.

BH: And did they ever contradict what you’d been told at drama school? I used to be involved in a company that trained screenwriters and we would tell them certain things and then put them up in front of Charlie Kaufman and everything they’d been told would be thrown up in the air. Was that the same?

MF: To a certain extent, yeah. I mean I remember first realising—and I didn’t know Michael Gambon, for instance, had a reputation for arsing about. I didn’t know that.

[Laughter]

But he does, he does. Because I was young, what did I know? And then half way through rehearsals he gives this big speech as Volpone where he’s talking to a crowd of people, a sort of mountain bank speech where he’s trying to sell them a load of hooky gear, you know. And he started just making shit up. And I thought ‘ha, that’s very funny, he won’t be doing that for real,’ but he did! He did!

[Laughter]

Pretty much every performance he had this probably four-minute stand-up, and it ended up being stand-up where he—Ben Johnson wasn’t writing about Nancy Sinatra and Pot Noodles, you know—

[Laughter]

That was pure Michael Gambon. So even though that wasn’t exactly—that wasn’t what Matthew Warchus asked him to do, but that’s what he was doing. So yeah, you would never have thought as a sort of serious acting student that that was what the great and the good would be doing. And they’re not all doing that; but that’s part of someone like his greatness actually is he’s loose. I mean thinking about it now, there’s a real—the dual thing of the professionalism, say, the real razor sharp, surgeon-like work of Simon Russell Beale and the really sort of looseness of Michael Gambon—not that he’s not also sort of professional and precise—but two very different approaches, and I think those were a really good first introduction to work for a young person, do you know what I mean? Because I was seeing, I think Michael Gambon would be completely mesmerising in one way, and Simon Russell Beale would be the same in a very different way. But they would complement each other.

BH: And you went from that to The Bill—is that your first credit?

MF: That was my first TV credit. I mean again at the time—I left in ’95, I left drama school in ’95 and for a good year and a half all I did was solid theatre all around the place, but my first TV credit was The Bill, yeah.

BH: Which is probably everybody who’s ever sat in that chair, that’s what they say, The Bill, Casualty…

MF: Apart from Nicole Kidman.

[Laughter]

She did Doctors.

[Laughter]

BH: Why do you think that’s such good training?

MF: Well, not wanting to disparage The Bill; I don’t know that it’s good training it’s just that’s what there was, that’s what was around. It was a sort of a kind of rep for actors really. It ended up being good training because of the speed of it, and you know people using terms that I didn’t know. I didn’t know what anyone was talking about for the two weeks I was on it. So when people would say ‘favour the wall,’ what?! Favour the wall? Oh you mean walk near the wall, right. ‘And if you could just banana over there,’ what the fuck are you talking about?!

[Laughter]

You mean walk in a curve, right OK. But yeah the speed of it, and I was fairly bad on The Bill, I was fairly bad in my little guest lead, but it was a good, very steep, quick learning curve. Through that and through—I’ve always been lucky enough to work, thank God, you want to get better. And so the next—I think the next time I was in front of the camera I knew to slightly just do less. I think the hard thing or the common thing with young actors or actors who don’t work that much, is you put them in front of the camera and they’re going to do all of their acting at one go. They’re going to do all their acting in two lines because it’s very difficult not to, because what else are you going to do? It’s a gradual thing about learning to refine and refine until eventually you are hopefully, unless you really are required to depending on what play you’re doing, you’re hopefully doing nothing at all. And that’s—I think that’s the goal of enlightenment, that’s when you reach Zen is when you’re doing nothing. Or at least what looks like nothing. You’re actually doing loads but it has to look like nothing or people just smell it a mile off.

BH: Let’s see if in The Office by that time you were doing nothing. Let’s have a look at our first clip.

[Clip plays]

[Applause]

Too tragic to even describe. Do you remember the audition process for this? You said you knew Ricky…

MF: Yes I do remember the audition process. I went in actually to read for the part of Gareth who Mackenzie Crook ended up playing brilliantly. I went in for Gareth and it was Stephen Merchant and Ash Atella and I did my reading of Gareth whatever that would have been I don’t know, I can’t remember what I did. And it’s really like a showbiz story and I don’t know if it’s become a showbiz story because I’m naturally an actor and therefore am a twat—

[Laughter]

And therefore built it up to being this, but I’m pretty sure this is really what happened: I was on my way out the door, and I had my hand on the door—I think this is true, I don’t know but I think this is true—and Stephen Merchant or Ash said ‘actually can we get Martin in maybe to read Tim, I think that might be a good thing.’ And I’d seen the first episode script and really liked it so I knew the character Tim, so I sat back down and read Tim and thank God I did because I wouldn’t have got cast as Gareth over Mackenzie because he was so perfect for it. But thankfully that was a good fit, yeah. But I could very nearly have not been in The Office.

BH: Did you like auditioning? Do you like auditioning?

MF: I mean I don’t love it. I don’t think many actors love it, but there is a period where when you start getting offered—if you are lucky enough to be offered work on the one hand it’s a real relief and on the other hand you’re wondering if you deserve it, do you know what I mean? If you’ve earned it because you think have I fought for it or you know… Because you’re really in the trenches when you’re in a room, when you’re in a corridor, you know with twenty other people and you get the part you think ‘oh I won out over those.’ And when you start to get offered things of course it’s delightful and please God I don’t want to then go back to the corridor, but you do think ‘I wonder if…’ yeah part of you wonders if you’re a fraud, yeah.

BH: You wonder who you beat.

MF: Yeah, yeah, yeah.

BH: How tightly scripted was The Office? Did you have room to play with it or did you…

MF: You did have room to play with it, yeah. I think probably what—what I feel happened in the aftermath of the success of The Office was that when—because it looks improvised, because it looks like we’re improvising on camera, people would ask Ricky and Steve ‘is it improvised,’ and basically they came back ‘no, none of it’s improvised. It’s all scripted,’ which of course is true, it was very scripted, it was very scripted. But to say it was not loose would be not true. Anyone who knows—there’s a couple of people in the audience who have known me for a very long time and they know that there’s things that I say that are only me, and I’m sure the same goes for Lucy or Mackenzie, you know. That doesn’t mean I’m going to take a co-write or push to say it was improvised; it wasn’t improvised, it was a scripted comedy that I think they were—a) the scripts were fantastic, but also Ricky and Stephen were smart and generous enough to allow you to be loose with it. Because if you trust the people who are being loose, good things can happen, you know. We weren’t kind of improvising whole scenes on camera or going ‘I think my character should go down—‘ it wasn’t that, it was totally shaped and formed, but yeah we were allowed to be loose. And I think that’s what you see on the show.

BH: And what was the dynamic between the two of them, Ricky being in it, and the rest of the cast?

MF: Well I think—Ricky was and is an amazing person; I’ve not seen him for a long time, but he’s an amazing person in that he struck me as someone who, if he’s not making you laugh at any given time, life is a waste of time. Like it’s not actually worth living unless you are sort of convulsing in pain at something he’s just said. Brilliant, but on the other hand really infuriating if you’ve got ten minutes to go and half a page to do and you think ‘mate, this is your show. What are you—stop making everyone laugh!’ Because deliberately corpsing me isn’t going to get the day finished because I can’t carry on if you’re making me laugh. So it’s like a sort of pathological thing for him I think. It’s a very—I always felt like he was one of the best natural actors that I’d worked with, you know. Like everything he knows instinctively is pretty bang-on I think. And not having been trained in it and not having an actor’s background, he’s—I thought he was amazing.

BH: And what about Tim? I mean Tim’s a really fantastic sort of non-showy, relatively passive character, which is why that sequence is so dramatic, it’s such a big deal for him to do that. Did you like Tim?

MF: I loved him. I really loved him, yeah. Because he was—I was able to put a lot of me in it, there was a lot of my brother Tim in it as well; it felt familiar to me as someone—not that I’m always like that but as someone who is an observer of stuff and finds things ridiculous and awkward and embarrassing a lot of the time, yeah. And as a conduit for that I really enjoyed playing him. As a character he was the funniest person in that office because he had a true, the best sense of humour. For the audience at home obviously David Brent is a hilarious incarnation of a character, but as a real person Tim was a funny bloke and he had a real eye for what was amusing, but he was as happy to keep it to himself as he was to share it. But I liked Tim very much, yeah.

BH: But also amazingly tragic in that scene. It’s almost hard to watch.

MF: Yeah I know. But to give credit to Ricky and Steve, they wanted all that stuff to be as important as the David Brent Comic Relief dance or whatever. There’s sort of The Office Greatest Hits, which usually involve David Brent, understandably because it’s a fantastic character performed fantastically, but the really good B-sides I think are the more sort of straight bits, the more dramatic bits, you know. So it felt, from my career’s point of view, that was a big show. For those of you too young—including my kids, they don’t give a shit—do you know what they like? The American Office.

[Laughter]

They really love the American Office, they barely—that’ll be the first time they’ve seen that.

[Laughter]

BH: But the American Office is only one of many, many different language translations, isn’t it?

MF: Yes it is, yeah.

BH: There’s like a Finnish Office and an Indian Office.

MF: Yes, it was a big show.

BH: Is that a very surreal experience to see yourself—

MF: It is. It is, yeah. I’ve not stuck with the Finnish one as much as the American one. I got more out of the American one than the Azerbaijanian one.

[Laughter]

But it’s horses for courses. But having been in a very big comedy I still felt like because what Tim was being required to do was, you know, it was almost fifty-fifty between the funny stuff and the straight stuff so I was getting the best of both worlds for me as a practitioner because I was flexing both those muscles; it was really nice.

BH: Let’s move from the small screen to the big screen. You did a few bits and pieces and then you came to Hitchhiker’s Guide.

MF: Yeah.

BH: Actually some of those bits and pieces we clipped, that great Love, Actually clip.

MF: Yeah, yeah, yeah.

BH: Did you find that you were getting quite a lot of the same characters sent to you? Yeah.

MF: Sort of yeah. Versions of. I think in the wake of The Office you know, nice sort of nice next-door boys. Lovelorn, yeah. That kind of thing. Which I think happens—I had to make my peace with that because I realised as it went on that that happens to every single person. It wasn’t just happening to me, they weren’t just singling me out, that happens to the greatest actors. Once they’ve made their thing—you don’t think Robert Di Nero got offered a few gangsters? Or Al Pacino? The best people who I’ve always loved, that happens to them, so it’s going to happen to me of course.

I had to accept it and just still do the best work I could do within that, and still try and make it layered and still try to make it three-dimensional. That’s always my entire belief in anything I do; as long as you’re making it layered, as long as the audience believe you for that whether it’s half an hour or two hours of whatever; that for me is the beginning, middle and end of any actor’s job, you know? Whether or not you’re doing a Senegalese accent with a limp, that’s extra, but if I don’t believe you I don’t care. I’ve always tried to give myself that as the main goal. Even if you could say there’s a similarity in the world of parts, OK yeah there is, but there aren’t many people you and I could sit on the stage and name for whom that is not true. Meryl Streep might be one; there aren’t many. People we love and you go yeah but they sort of operate in that world.

Also you have to be realistic about what your playing range is. Not unambitious, because I’m still, you know I’m still really ambitious but also yeah I’m probably not going to play the same parts that X, Y and Z are going to play, or be offered those parts. And that’s where strategy and your own work and your representation’s good skills come in about trying to make people see you in a different light. But yeah, at first of course I was in Love, Actually because Richard Curtis loved The Office.

BH: Let’s move to another totally different world that is the world of The Hitchhiker’s Guide to the Galaxy.

MF: Sorry, yes.

BH: Let’s see.

MF: Do the thing.

[Laughter]

BH: Yes, that’s supposed to happen immediately!

[Clip plays]

MF: Seamless!

[Applause]

BH: So this was your first feature lead.

MF: Yes.

BH: Did you—was there a sense of sort of anxiety or pressure about that?

MF: Oh God no.

[Laughter]

No there wasn’t. And I don’t say that with pride, but no there wasn’t. It all—what I remember about the audition process for that is I was doing an ITV sitcom at the time, I was filming it or I was rehearsing it, and I went for this audition with Garth Jennings and Nick Goldstein, the producer, and Garth the director of this. They had like a boat on the river, presumably… On the top of a tower block! And their office, a company called Hammer and Tongs and they were a very homely environment, they were two of the loveliest men you could hope to meet, and mainly what was in my head in that audition was my ex Amanda had driven me there, and I was aware that she had nowhere to park. And I thought ‘oh I better hurry up.’ And it was going very well, the chat was happening and going on and going on and all I was thinking was ‘Amanda’s going to fucking kill me.’

[Laughter]

Because at no point—it worked, because I got the part—at no point did I think ‘this is a big deal.’ And I think that’s sort of stood me in quite good stead all the time. All the time. Because I’m always basically thinking ‘someone’s double parked.’ That’s what I’m thinking, yeah.

BH: And this is the first time you took on a character that we all knew.

MF: Yeah.

BH: Because of the books, because of the TV series, yeah. Was that, does that—are you able to sort of bring your own stamp to it, or to what extent do you feel free to do that?

MF: I felt very free to do it within the confines of what the character is. And I think that’s true of all of them; I’ve played a few characters now that have been in literature, say, and there’s no point doing it—if I was just going to do an impression of Simon Jones, who’s my boyhood version of that part. Well he’s already done that and he’s done it better than I could do it so there’s no point, you know. So I definitely, I didn’t want a kind of Uncle Bulgaria dressing gown either, I wanted something different. That was towelling and we were doing it in the summer and it was fucking boiling.

[Laughter]

That was more fool me. But yeah I think you have to have your own stamp on it because it makes it fun for you and it makes it not a museum piece or a cover version; it should never be a cover version.

BH: And this one was in the works for a long time, long before you, too, from the ‘70s I think—is that right?

MF: Yeah I think they’d been trying to make a Hitchhiker’s for a long time, yeah.

BH: And Douglas Adams said that he didn’t want to do it because it was like Star Wars with jokes.

MF: Yeah so he had, well he latterly had help with a screenwriter called Kerry Kirkpatrick who helped bring it to life, and Douglas unfortunately didn’t live to see it made, which was a real tragedy actually. But there were people on our firm who did know Douglas and who loved Douglas and we got to meet his family a little bit so it was really nice. It did feel like a film made with a lot of love for him and for the idea and the tone of it, I guess.

BH: And the tone is very, very British.

MF: It’s really more British than I am. Yeah it’s really British.

BH: In a sort of Monty Python way.

MF: Yes, I think so, yes. Yeah, it’s very—and I don’t say this as anything like a slight because Monty Python is obviously a huge influence on my life as I’m sure it is everyone of a certain age’s, but yes, it’s very English university sort of humour, yes.

BH: Were you surprised that it travelled?

MF: I was in a way, but then it didn’t travel that well because we didn’t get to make another one.

[Laughter]

BH: It did OK though!

MF: Yeah it did really well; I could honestly say at that point I’m in a number one film in America and in Britain. Great, I could have retired on that, that’s something to tell your kids. Again, they don’t give a shit, they’re texting.

[Laughter]

BH: Now!

MF: They’re watching the American Office. But that’s something you could say was a successful film, but I remember having dinner with Garth Jennings shortly after it opened and I said ‘do you think there will be another one?’ and it just didn’t make enough, did it. It just has to make a certain amount, and I think it got to number one very quickly in America but it didn’t sustain; there just wasn’t enough there for an American audience or for an international audience. As you say, it’s not even British it’s English, it’s very English, yeah.

BH: You’ve continued with that very poster boy for British humour with The Cornetto trilogy, which I’m gutted we can’t screen.

MF: Right.

BH: And Nativity as well. Can you talk a little bit about those, particularly your relationship with Simon Pegg?

MF: Yeah. Well I’m not Simon Pegg, just to clarify.

BH: Good, that’s why I asked.

MF: We do—the running joke between me and Simon, and John Simm, actually, is that—

[Laughter]

If we’re in a pub or a park we’re sort of each other’s stand-ins for compliments or whatever. ‘I loved you in that Life on Mars’—‘wasn’t me, wasn’t me’—‘yes it was.’ You end up as an actor in the same Rolodex as other people, as other actors. Yes I became good friends with Simon many years ago, and Amanda my ex and Maureen, Simon’s wife, we would see each other a lot and we hung out a lot together and in the course of that yeah, Shaun of the Dead happened. I was actually offered another part on Shaun of the Dead, but I was doing��I was doing a thing called Charles II at the time with Joe Wright for the BBC, and so I couldn’t do it, and so I ended up doing a sort of joke appearance in Shaun of the Dead with an alternative gang. You sort of follow Shaun’s gang and they bump into another gang headed by the sort of people who are a bit like this gang. So there’s Tamsin Grieg and me and Reece Shearsmith as people in this other gang. And that was mine and Simon’s and Edgar’s I suppose joke to the fact that people think me and Simon are similar.

And then yeah Hot Fuzz I play a little bit more in it and then The World’s End I had my biggest role in the Cornetto trilogy when I got my head knocked off by a baseball bat.

BH: Were they fun?

MF: Yeah they are fun because they’re good people. Simon and Nick and Edgar are really lovely people and they’re friends and that shows I think and there’s a lot of love in those films, a lot of good humour on those sets.

BH: And same with Nativity? My son’s favourite film.

MF: Oh good. I love Nativity, I’m really proud of it. And short of—yeah there are some things I’ve done which are big things and very universal, but just below that there’s Nativity actually. I get more compliments for Nativity than almost, almost anything because of the age that it spans. Because parents like it, kids like it and different generations of kids like it; I really like that film. Debbie Isitt wrote that—well I say wrote, we were improvising on camera; she wrote the outline and storyboarded it and directed it. She’s a very smart cookie, Debbie, so smart that I was like ‘well just write a screenplay, please just write words so you don’t have to go through hours of me improvising badly to edit out.’ But she likes what happens between humans when they’re making stuff up on the fly.

BH: Interestingly all the reviews of that talk about the idea that it’s ripe for remake which seems ridiculous because it’s so British that Americans wouldn’t make a film with that as your lead character.

MF: No probably not, probably not. Again, as you said it seems very British I think. But the people from other places I know who have seen it, they do love it. There is a sort of, you know, people who have got kids, kids go to school, there is a sort of universal experience there about childhood and teachers. Not everyone has a nativity play but that thing of a common endeavour of putting a performance on, that’s universal, really.

BH: We should get to Sherlock.

MF: OK.

BH: Let’s see a little clip of Sherlock.

MF: Yep.

[Clip plays]

[Applause]

BH: Again like The Office it’s something that you come to expecting one thing, you expect it to be a comedy or you expect it to be a whodunit, but actually incredibly poignant moments.

MF: Yes, yeah. I always thought it was just—what I was struck by when I read the first episode was just how smart it was and how funny it was and exciting. It really moved along at a great pace, and it was unexpected for me as well because I was sent this script saying they’re looking at you for Doctor Watson—not only me they were looking at a few people for Doctor Watson—and yeah, within the first couple of pages I thought this was really good. And my experience of it was it just got better. That was reading the first script before the pilot, before the first episode, anything. Every subsequent episode that I read, certainly of that first series, was amazing; it was so full. And then the decision was made, we made an hour-long pilot and then it went to ninety minutes and then we were told it was going to be ninety minutes and I thought that was a mistake, I thought ‘well that’s a bad idea, it doesn’t need to be ninety minutes, that’s rubbish. Bloody BBC.’ And I’m really glad that was the decision because it made it like a film; each episode was like a film and that made it like—I think that was partly why people were able to get behind it so much, because there was a lot of it but not too much of it.

BH: With a scene like that are you able to just put it off and go home and make the tea? Do you bring your work home with you?

MF: No. Not for things like that, no. I think what I tend to do is I don’t—I’m always aware when you’re talking about acting that you’re not down a coal mine. There’s hard work and then there’s hard work. But I don’t pretend that doing that costs me nothing or is easy or I’m not literally having a tea and then ‘oh yes love I’ll come and do the graveside scene,’ and all that, because you’ve got to get into a zone, you’ve got to concentrate and got to focus, but yeah, yes, for me generally as soon as you call wrap on a day it’s over. Especially with things like that and I’ve just done a show now I finished last night where there was some quite heavy stuff in that and my feeling is I want to get out of that as soon as possible because I’ve got to go home and I’ve got to see kids and I’ve got to be a normal person and I don’t want to carry that around. But for the duration of the day that you’re filming yeah if you don’t concentrate on it, to be honest, when you see it in six months time it won’t be as good as you hoped it would be. And I’ve been in that, I’ve seen that, and I don’t want to see it again. I want to try and protect myself as much as possible for when I sit down and watch it, often with my kids—I mean they do like some things that I’ve done, they like that—

BH: They like its.

MF: They like that. I want to be proud of it, you know, or as proud as I can be of it. So that does require real concentration. You know, acting is like anything, it’s really easy unless you want to do it well. If you want to be good at something it’s really hard. Football’s easy unless you want to be good; to be good at anything takes real work and application and concentration. For stuff like that, you ask for a bit of that atmosphere on the set and yeah, people always oblige because everyone in the crew wants to be good as well. But after it’s over it’s really over, yeah.

BH: Tell us about the chemistry between you and Benedict, which is famously the thing that makes everyone hysterical. How did you—you hadn’t worked with him before…

MF: No, I’d never worked with him before. I hadn’t—I’d seen him, I’d seen some of his work and knew he was really good. I really did think he was good and when I heard he was going to play Sherlock—because I was sent it, I was sent the script and as far as I remember, and my agent’s here, he can correct me, but I think Ben was attached to play Sherlock Holmes and I thought that’s good, I can see that, he’ll be brilliant at that. And when I finally got into a room with him and just sort of read, it worked, something worked. Neither me nor Ben can take credit for that it’s just luck, it’s good fortune, you know.

BH: I think Mark Gatiss said the way he played Sherlock changed after you were cast.

[Laughter]

I’m feeding you here.

MF: Not my words.

[Laughter]

The words of Mark Andrew Gatiss. That’s not his middle name. No but I think when you’re working with good people—well I mean he hadn’t seen the way I’d play John before but you know Ben had an effect on me. Because your job is to react. You know that old adage of acting is reacting is completely true. Unless you know how to receive something and change accordingly then there’s no good to anyone. Because if someone’s giving you A, B and C and you’re busy doing F, G and J, then it’s pointless; you have to be listening. Ben is very, very good at his job; he’s brilliantly cast in that role, and something happened, some little game of table tennis happened where we were just knocking it back and forth. It was really, it was obvious in the room—I’m not saying it was obvious it was going to be this thing—but it was obvious we worked well together, yeah.

BH: When did you realise it was going to be ‘this thing’?

MF: When it came out. The day it came out I was rehearsing a play at the Royal Court and the day after a couple of people in the cast said ‘that was really good last night, that was really good.’ And that happened more and more and more and grew sort of exponentially over the course. It’s only three episodes the first series, it’s three episodes, and seemingly by the end of the first—I think we all had screenings round each other’s houses for those first three and for the second series as well, but I can’t remember whose house we were at… And I’m very behind on social media and stuff but I remember Mark Gatiss being on Twitter—

[Laughter]

Because that’s where he lives, OK.

[Laughter]

BH: You’ve got a Twitter account I’ve seen it. You’ve tweeted like three times.

MF: I haven’t.

BH: Oh is it not you?

MF: Never me.

BH: It looks really convincing.

[Laughter]

It stops in like 2013.

MF: I don’t say that with pride I just don’t know how to work it. But him sort of relaying to the room all this stuff that was happening. Like with The Office I knew I was very proud of it, that’s all I knew. And I knew while we were making it I had that—yeah, I did. Outside of myself because Paul McGuigan the director was absolutely brilliant; Stephen and Mark, absolutely brilliant; Ben, brilliant. I thought ‘this is going to be good,’ it’s a really good show. But you can’t anticipate the reaction it’s going to have but I knew I was really proud of it.

BH: And then something else that got a bit of a reaction: The Hobbit. Let’s go to Middle Earth now.

MF: Yes, yes. Do that thing.

[Clip plays]

[Applause]

BH: So obviously what we got there was a clip from all three of the films because we couldn’t decide which one to focus on. This is a mega project, three mega films with mega expectations and a mega part. Did you have fear taking it on? Was it an easy yes?

MF: No it wasn’t an easy yes, but for reasons more of family than of anything else, for practical reasons.

BH: Tell us how did you film it? In what period?

MF: I went to New Zealand in January 2011 and my last day was July 2013.

BH: Having done all three back to back?

MF: Not back to back, with a big gap. Two and a half years between the beginning and end but that wasn’t solid, there were gaps in there. The reticence for me was more about family because I was going to be away a long time. Amanda, who I was with at the time, she’s an actor, she’s a working actor, she’s a brilliant actor, and I didn’t feel I could just say—it wasn’t the ‘50s I couldn’t just say ‘right you’re coming with me.’ She had her own life, she had her own career. So that was a big decision for me. All around me people were going ‘well of course it’s a yes, of course it is.’ And I can see why they were saying that but I had two young children and I wanted that all to work, so that was why it was a difficult yes. So again it wasn’t because of a fandom thing or the legacy and literature and films; it genuinely wasn’t that, it was ‘Christ, how am I going to make this work for my family?’

BH: And when you’re performing in it, when you’re doing your day job, do you feel an expectation—all the financiers and everything they know that it’s got to hit certain points after The Lord of the Rings, it’s got to be a kind of mega success—does that translate to the cast or do you just kind of do your thing?

MF: No, no. It didn’t translate to me, not at all. Because Peter Jackson is so sort of omnipresent on those jobs that you know he’s got the weight of the world on his shoulders and he’s probably having to compartmentalise that himself and just thinking ‘I just want to tell this story.’ So he’s probably trying to put the finance stuff on the backburner, all that stuff. It doesn’t, I didn’t feel it filtered down to us, now.

BH: And what about the green screen? Because you were basically standing on a kind of concrete floor with a few twigs around you.

MF: A lot of the time, yeah. There was a fair bit of time that was real and we went—as anyone who’s been there knows, New Zealand is a very beautiful country and it’s got lots of different looks. So we did shoot on a lot of different looks but we were also shooting a lot of the time in a car park, you know.

BH: But is that difficult, is that sort of flexing different muscles as an actor?

MF: It is, yeah. It is flexing different muscles as opposed to being something I hated. I’d much rather look in someone’s eyes and do it. I think McKellan’s told this story, that in the first film there’s a scene where all the dwarves come to Bilbo’s house and Gandalf, right. So there are about 50,000 people in my house and because we’re all small but Gandalf is taller, Ian had to be in a separate set where they filmed us both simultaneously on what they call slave motion. So two cameras are doing exactly the same movements at exactly the same time but filming different sets. So we had—me and the dwarves had each other to look at and a fake Gandalf, like a green tennis ball Gandalf, and Ian just had a load of fucking green tennis balls in his little grief hole. And we all had little earwig ear pieces in so we could all hear what the others were saying on the other set but we couldn’t look into their eyes, we couldn’t hear them the way we can hear each other. It was pretty difficult and I think Ian by his own admission found that pretty depressing, I think, because it sort of went against everything he’d done for the past fifty-five years. We found it hard too but it was beautifully choreographed and you see those scenes in the finished film and it’s worked, it’s beautifully done.

BH: And presumably you can’t see rushes, or if you can—

MF: I wasn’t, no I was certainly in no position either I didn’t want to and I certainly wouldn’t have been shown them anyway.

BH: Would you not normally do that?

MF: No I don’t think—also rushes are kind of different now because for previous generations when people were invited to rushes, you’re generally not now. I mean that’s a thing of the past I think, it’s not happening.

BH: Though it’s a bit surreal with this one where you did do them effectively sort of back-to-back, in that you couldn’t see what you’d done in order to change it.

MF: No, but because the filming period was so long that we could at least—no you’re right, you’re right. Which is why my performance is so uneven. Which explains the Scottish accent in the second one. And so we had to go back in 2013 and do stuff so we kind of were informed by that but I think, I don’t know, you’re playing that part for so long, we’d all played those parts for so long and obviously Ian had done it all those years before, you kind of know what part you’re playing and in some sense, and any actor will know this, it’s sort of wrong anyway to be led by the audience reaction. That’s why I find it not helpful if I’m doing a play to not read reviews during it because I don’t want to start playing the notes of what they did like or didn’t like about what I did.

I think you just have to stick true to what you know you’re playing. And if it’s suiting you and the director and the artistic team that’s what you’ve got to keep doing rather than suiting a critic or your cousin or whatever. You’ve just got to keep going with it.

BH: And given that you spent sort of two or three years in the world of orks and elves and lonely mountains—did it send you a bit mad?

MF: No it didn’t. No, I mean I think a lot of the time you think it’s a mad way to make a living, as an actor.

BH: You mean generally?

MF: Yeah. Whatever you’re doing, I mean I’ve just been doing a very naturalistic set in the real world thing and even then you find yourself in situations where you think this is not what the career’s officer had in mind, you know. But yeah that’s a more extreme version of that and there were times when I and I think everyone on the set of the Hobbit films felt this was just like ‘how is this going to work? We’re filming in a sort of nothing space and it’s going to become this Elvin kingdom or whatever.’ It is—it’s very, very impressive and it’s nothing to do with you. You’re doing you’re bit but you’re a little cog in a massive wheel with—I walked on to the set of The Hobbit for the first time and it was like walking into NASA because there were banks of people with laptops or not laptops but computers just doing this, and it wasn’t like a rehearsal room put it that way, it wasn’t like a normal film set, it was very techno. But all those techno people are also very creative and they’re artists as well. So everyone is going towards the same endeavour but your little bit of acting even though it is ultimately people want to see human experience, all the stuff going on around you and all the spectacle and cleverness is nothing to do with you, you know.

BH: Let’s move to the snowy North American wastes for a bit of Fargo.

[Clip plays]

[Applause]

So obviously everyone knows that this is loosely based on the world that the Coen brothers created for Fargo, which is a much-loved world, a much loved film. Was it much loved by you?

MF: Yeah I really liked it but I wasn’t a Fargo-ologist or anything, I hadn’t seen it multiple times. I’d seen it when it came out, really liked it, loved the tone that they got and that particular flavour they got. But before I did it I hadn’t seen it for a long, long time.

BH: And did you trust that it was going to work, taking the kind of sense and tone and location—

MF: Yeah because I read—again, so much of my job and anything I can take credit for, one of the things is I have to trust my own taste. And this was a thing where my American representation did a fine job in getting to a point where I was being sent an offer for this show—I was filming series three of Sherlock, I was staying in a hotel and I got episode one through and that scene was the clincher for me, I was like ‘I’m going to be doing that with Billy Bob Thornton? Of course I’m going to fucking do it. That’s too good not to do.’ And it was a straight offer and there weren’t—for where Lester Nygaard gets to go in those episodes, not everyone’s seen me do that. So it was really lovely to be offered it and to be trusted with that. Also with that accent and that particular flavour, that’s not something I’m doing all the time and to have that trust is a real confidence boost.

BH: And tell us about that accent because obviously that’s such a massive part of this. Is that constraining or liberating or fun or—

MF: Very liberating. It’s totally liberating. I think when anything is written with an accent in mind, written well with an accent in mind, there’s just that tune in your ear and in a way it can only be said in that accent. It makes complete sense in that accent. I worked very hard at it, I kept it up a lot.

BH: Are the scripts written with that accent?

MF: Billy’s character Lorne Malvo is not because he’s a drifter from somewhere else but everyone else has that tune and it’s everywhere in the script, yeah.

BH: It’s interesting what you said about your character progressed, because Tim in The Office his progression was that he tells Dawn what he thinks; this he becomes a massive killer and hits his wife with a hammer and—

MF: Orchestrates the death of his next wife—

BH: Which presumably is hugely entertaining?

MF: It’s massively entertaining, yeah. Contained within that first episode were so many things that as an actor you want to play. Again it was too good not to. I think, because my managers had always known that I’m just not going to do American TV because in those days, which seems like 100 years ago now, sort of just about or not quite pre-Netflix but just as Netflix was coming up, you had to sign on the line for seven years before you’d even kind of committed to the pilot. I was never going to do that, again because I have a family and I’m not going to up sticks and go somewhere else for seven years. But this was finite, it was ten episodes so they said ‘look read this, I know it’s American TV but it’s only ten episodes; it’s an offer, I think it’s really good.’ And it was, of course, brilliant. Noah Hawley was the writer and show runner and he did a fantastic job of getting that tone of the Coens and just running with it himself. People say to me ‘what was it like working with the Coen Brothers?’ and I have no idea! I’ve never met them! They were executive producers on it but I think that just involved them going ‘yeah you can do it,’ they gave their blessing but we never met them.

BH: We’ve got one final clip and we’re going to go into the Marvel world. So let’s see a little clip from Black Panther.

[Clip plays]

[Applause]

So this is obviously the second outing for Everett.

MF: Yes. Everett Ross appeared in the previous Captain America film in a small part and it was always going to be the deal that Everett had kind of more to do in the Black Panther film.

BH: What was the appeal of him? Because he couldn’t be further from where we started this evening.

MF: Well in his world, like he’s a fish out of water when he gets to Wakanda obviously, but in his world he’s got real high status, he’s kind of within the CIA let’s say quite a big fish, he’s a major sort of dude, you know. And I like—because I’ve played a lot of people who aren’t very confident, and I’ve played a lot of people who are sort of awkward, but I also like playing people who are confident; it’s sort of it’s quite relaxing, do you know what I mean? Just to be able to play someone who walks in the room knowing the room is for him. Again, he finds himself in a world where that’s not the case but on his own turf he has status and it’s kind of fun playing people—it’s fun playing all of it but I like playing people with status sometimes because you don’t get to, you definitely don’t end up kind of doing little tics and stuff that you’ve done a lot before when you’re playing nervous man from Surrey, you know.

[Laughter]

BH: Nervous disappointed man.

MF: Thwarted man.

BH: We talked about Sherlock being a thing. Good grief, did you know this was going to be the thing it became.

MF: Again not to the extent that it was, but when we were making it and before I was doing it I knew people who were very excited about it and I was hearing people very excited about it. I knew it had an audience, we all knew it had an audience and I thought it was really good what was happening on set everyday, I thought it was very impressive.

BH: Because you and Andy Serkis are the only two white actors in it.

MF: I don’t see colour.

[Laughter]

I refuse to see it… Yeah. And obviously I’m old mates with Andy and that was really lovely. I love those scenes between those characters, yeah. They’re great scenes. But I really liked Ryan Coogler who was the director and co-writer and he’s a very smart guy and very, what I liked about him because he’s young, you know, this sounds obvious to say that he cared but he really poured himself into it a lot and took nothing, nothing for granted. You could see it was work, he was going to work every day and not leaving anything in the locker, as they say.

BH: How does it work when you enter that Marvel universe? How much control, how much is dictated about your performance or what the film looks like?

MF: Nothing felt dictated, actually, no. It felt—the joy for me in all the work I’ve done, and please God continue to do, is I’ve eked out enough space for myself in my working life that I have autonomy, I don’t mean autonomy like I’m in charge, of course I’m not in charge, but in terms of between action and cut I don’t want to have gone home that day thinking ‘I wish I would have tried that,’ I try everything and I want to be satisfied, I want to be sated. And that felt like that on Black Panther, it was—regardless of size, my thing always is regardless of whether it’s a tiny indie film or a huge Marvel film, your job is the same and your relationship with the director should be the same. It’s an artistic one and it should be a craft one. Whether you’ve got billions or two quid, you want to make the scene the best you can and you’re trying to work out how that’s possible. That’s what I loved doing on Black Panther as well; we had a lot of chats about who he was and what his place in this world was, as Ryan did with every character. It’s the same job; it’s the same relationship you have on Nativity! or anything else, you know. You’re just trying—between action and cut you want the audience to believe what’s happening, the end. That’s your only job really.

BH: I don’t want to get all Desert Island Discs about it, but if there is a favourite character you’ve—

MF: The Beatles.

[Laughter]

BH: Have you got a favourite out of all these characters?

MF: No. No I haven’t. There are things I can’t imagine, the way my working life has gone I can’t imagine not having done The Hobbit or Sherlock or The Office, and now Black Panther as a recent addition to my working life, of course I’m very proud of that, proud to have been part of something that feels—it’s an artistic endeavour but it’s also a sort of social and cultural phenomenon as well.

BH: And obviously people want you to go back to things, they want you to do another Sherlock, they want you to do more Black Panther, which of course you’re going to do—

MF: Yes, please God

BH: Do you—are there directions that you want to go in?

MF: I mean a lot of them are unknown by me at the moment. What I’ve started to do and what I’ll hopefully do more of is be behind the creation of things and the actual the sort of coming to fruition of things. I like that. I like having a vote and not just having an opinion.

BH: Might that extend to writing and directing?

MF: I think I would need to get more confidence with those things, especially with writing. Because people say to me when I have this conversation sometimes with writers, because of course writers don’t see writing as this thing. So a lot of writers have said to me, ‘well you could write, you’re allowed to,’ and I’m like—it seems to me still like something that people from another planet do, like music. How do you do that?

BH: What about directing, though?

MF: I could see that more, but even then. I don’t know I would need to get more confidence in that. And again, so many people have told me well it’s a question of delegation: you get a good editor, you get a good DoP, all this stuff, and I know that’s always true but the stuff that you have to do before you start shooting and then after you start shooting, I’m not sure my brain works like that. I’m not sure that I can do the months of pre- and the months of post-. I don’t know.

BH: Co-direct.

MF: Maybe. But my favourite thing is acting. I think I’m quite good at acting.

[Laughter]

But genuinely I think that’s what I have to offer and I’m not exactly backwards in coming forwards with my opinions on a set or in a rehearsal room. I definitely want my flavour to be in there, but I like the collaboration of it. And again directing is also collaborative if you’re smart, if you’re a good director, but I don’t know. I don’t know if my brain is there for ‘OK now three months we’re going on another recce to some other place and I have to care as much about what rucksack someone’s wearing.’ I don’t care. Some people are fantastic at that thankfully, but I love my job and so many actors come to writing because they’re not acting, do you know what I mean? So in their downtime when they’re not getting parts they do that. I’ve been very lucky; I’ve not had that. I mean I know at some point I will and everything is finite but I’ve been very lucky; I’ve worked. I’ve always had that muscle worked, I’ve always had that satisfied.

BH: And throughout your career you’ve sort of flip-flopped between film, TV and theatre as well. Do you have a kind of first love out of those three disciplines, and are they different?

MF: They are quite different but again as I say your job is always the same, your job is just to make the audience believe for the duration of the play or the film or the television episode just to believe you’re that character. That’s it for me. The execution of it, of course, is different. But I don’t know that I have a first love. I learned everything through theatre, the basics, the rudiments of acting I learned in a Youth Theatre in Teddington with a couple of people who are here tonight as a teenager. And I owe that a lot. But I also know myself that I have quite a low boredom threshold and that I don’t want to do a run for eight months or a year or even six months; I’m not necessarily built for that because I like to move on, I’m quite restless like that. I do sort of—they’re like children, you love them all equally. They’ve all got different value but all equal value in a way. When I haven’t done a play in a while I’m desperate to do a play, and sometimes filming drives me up the fricking wall because sometimes the monotony of it or just the relentless ‘we’re going again, OK we’re going again. Christ.’ Filming walking up a hill fifty-six times or something. But then the monotony of doing a play eight times a week for months and months… So that’s why I quite like keeping on the move and being a moving target and doing a bit of that. It keeps me sane otherwise I feel like I atrophy.

BH: We’re going to take some questions from the audience. Just while we sort some microphones out, I believe there is one on either side, let me just ask you—do you know when you’ve done a good job? Do you feel, you know, do you do a take and go ‘do you know what I’ve nailed it.’

MF: Occasionally yeah. You’re not supposed to say that are you? But occasionally yes.

BH: And has that got better as you’ve gone—as you’ve done more and more?

MF: Your own gauge for that?

BH: Say again.

MF: My own gauge for that?

BH: Yeah.

MF: Yeah I think it has. With anything, whatever you do as a job you should get better at it the more you do it. If you’re a carpenter you should get better with wood twenty years after you start; so yeah the hope is you’ve got better and your experience tells you that probably will work and that won’t work. The job I just finished yesterday there was a day that I really had to admit that it wasn’t happening today. And professionally you are still at a baseline level and you have to deliver something, but whatever inspiration or Holy Spirit that you hope is going to descent on you, it sometimes doesn’t. You have to be OK with that. And again not that anyone else will necessarily agree or think that take was different, but just so you can think ‘I did the best I can possibly do there,’ some days unfortunately that doesn’t happen. Experience tells you to not kill yourself over it.

BH: Perfect. Let’s take some questions we’ve got a couple, one on either side down here. You first, or whoever gets the mic first. Don’t be shy, go for it.

Q: You were talking about accents. Is that a big part of learning acting process, studying it? Is that a big part of acting when you learn?

MF: What, sorry?

Q: Sorry my accent. Is learning accents a big part of acting process—

MF: Oh accents. Yeah, when required, yeah. I don’t think… I mean accents should be a by-product of whatever character you’re playing. Not every great actor is brilliant at accents and that doesn’t mean they’re a less brilliant actor. But I think if you are doing an accent, if I come out and I’m playing an American and I sound Swedish I will have failed.

[Laughter]

Q: Like for the accent from Fargo it really changed from the voice you—

MF: Yes it does in that sense it does—I played a Glaswegian in a film a few years ago and things make you feel differently, yeah. I mean an old friend of mine he saw Fargo and he’s not an actor but he was embarrassed because he thought my accent was terrible.

[Laughter]

BH: He’d never met anyone from Minnesota.

MF: No exactly. He hadn’t quite clocked that it was meant to be—he thought it was just a general American accent. And he thought ‘Martin’s shit at accents.’

[Laughter]

Which again may or may not be true but when he figured out it was a specific kind of one he gave me a pass. But yeah I think accents make you, like anything, speaking is a physical act so if you’re speaking in an accent different to your own one it makes you feel a different way. So in that sense it’s very important. I would rather see a truthful, good performance in someone’s own accent than a showy-offy performance in a different accent. Because it still has to be truthful and real.

Q: Thank you.

BH: And down here and then up here.

Q: Hello. My question is, because you have done lots of work adapted from books and novels and some of those are different, like Sherlock is just taking the core of the books but The Hobbit we know Peter Jackson was really faithful for the original materials. My question is for you as an actor taking part in adapted work do you take more care translating the word from the screenplay to the visual arts or do you also consider the original materials as well? And can I ask another question? And another question because you mentioned when you’re acting you like to give more options to the director, like you offer opinions to the director—do you think a film or TV series is a kind of collaborative work or does the creative work come from the director like we usually say the directors are the authors.

BH: You’re not going to say it’s all from the director, are you?

[Laughter]

MF: I like collaborating and I like giving choice. I’m a big believer in if we’re going to do sixteen takes of something we may as well try everything in those sixteen times. If you’ve got the first one and the director says ‘that was great, let’s do it again,’ there’s no point doing it sixteen ways the same. As long as you’re not disrupting anyone else’s process, a) it should be fun, and as I said I have a low boredom threshold and I want to try everything out, but also I’ve got one eye on the edit for the director to give them choice. And I think it’s much better for the director, and I’ve heard this from many directors, it’s nice to choose that or that or—and they’re distinct, different flavours. As long as they’re part of the same story, it’s fine. I just want to give myself license to have fun and have freedom.

The other question being about the adaptations: Ian McKellen was very, very quite religious about having Tolkein on set all the time and he kept going back to the books. And I see the value in that definitely, and obviously we know how good Ian McKellen is and how fantastic Gandalf is, so that obviously has great value. But also I’m aware that we’re not strictly speaking doing—Tolkein’s not on set, I mean he hasn’t written the screenplay; the screenplay’s written by Philippa, Fran and Peter, and that’s what we’re actually dealing with. So beyond knowing—I like to know the source material definitely, but myself, rightly or wrongly, will probably be less referential to the source material than the screenplay because it’s the screenplay I’m actually doing. Thank you.

Q: When you’re looking at a script and trying to decide whether to take on a project, what sort of qualities in the script are likely to make you decide to go with something? What do you find compelling?

MF: I suppose tonally what I find interesting is if it doesn’t feel like it’s been written by a committee or it doesn’t feel like it’s been written to tick boxes but it feels authored, I suppose. If it feel like—whatever that voice is, if it feels like someone means it then that’s always good. Beyond that, then it’s just about whether someone can write. But there are plenty of scripts that I’ve really liked and some that I’ve done that are not you know they’re not Oscar Wilde in terms of grammar and they’re not beautifully written, but if they’re real and if they’re real as far as that writer is concerned I’m always interested in that. I like people who aren’t begging to be liked and I like scripts like that. Comedies that aren’t begging for your laughs but just set out their stall and if you like this great, if you don’t then fine.

BH: Have you got better at reading scripts?

MF: Yes I suppose I’ve got quicker, to be fair. Whether that means I’ve got better I don’t know, but I hope I haven’t got worse. Yeah I suppose you know your own process for when you read scripts. The old cliché is true: People read scripts wanting this to be their next thing. Every script that comes on to my laptop I hope I love this. So that’s why, with that in mind—it’s like when you see something really good, if I see say Fleabag, right. That looks to me—obviously it’s brilliantly written, brilliantly crafted as it turns out, but at first you just think this is someone writing whatever the hell she likes, just making up any old shit she wants to.

[Laughter]

Without much deference to the process or what should be in a programme; it’s someone’s imagination gone like that on a page. I like that; I like the boldness of that. That’s obviously not always going to work, but if you’re good and if you’re smart then it’ll work. I like people taking a bit of a punt, I suppose. And for me personally if a director or writer sends me something I haven’t played fifteen times before, that’s obviously something as well.

BH: Question this side, and then there.

Q: Hi, I’m a big fan of your theatre work and think you’re brilliant. I liked you in Richard III… My question is your acting is very much layered characters; how do you build up these characters. A script is paper but you build up someone who has a backstory and history, etcetera. What is your regular procedure to build up these characters? Thank you.

MF: My procedure would vary. For someone like Richard III I suppose that’s something that’s been performed lots and lots and lots over centuries so at the same time you’re trying not to just recreate someone else’s Richard III but you’re also aware there are parameters there if you know what I mean. There’s definitely a structure there that works so you should probably follow the structure. Generally speaking, like every actor does, just flesh it out make it three-dimensional. The page is absolutely one thing, and I think your job as an actor—I think my job is to elevate the material. And that sounds possibly very pretentious and presumptuous, but it is sort of your job. If the writing is very good, let’s—I mean what a noble hope to try and make it even better. That’s not by rewriting it but just by making it totally human and again as I say offering choice. At the same time I don’t believe in railroading a script or a scene and thinking ‘I’m just going to pull this and make it something else.’ It has to serve the story; I think if what you’re doing isn’t ultimately subject to the story and the point that the director and the writer want to make, it’s surplus to requirements. You have to kind of get out whatever individual creative thing you want to do and whatever show-offy bits that you want to do, but it has to serve the common thread I suppose. Sometimes you see someone’s pulling over here but the story is going over there but they want to show you how they can fucking juggle or something. And it’s like who cares? No one cares and they’re not serving the scene or the story. I don’t know, I like to yeah—I like to make things relatable and real. I don’t have—as you can see I don’t have a procedure. I wish I had a better answer.

BH: There was a question there, yep. And then we may have time for one more.

Q: Hi. I think you’re very inspirational and I really like your confidence and I think it’s something you really need to be an actor because I imagine it’s really tough. Do you have any advice for an aspiring young actor who wants to start a career hopefully?

MF: Is that you?

[Laughter]

Q: Yep.

MF: Well the only thing I did and the thing that I always feel is that I hope you love it, because you’ll need to because it’s hard. It’s hard to make a living at and it’s hard to even make a bad living at. It’s hard to just stay in poverty you know, because just to get this job and get that job, you know like if you even just get three jobs vaguely in a row that’s—you’re doing well, you know. I think love it, firstly; try and be good before you be anything else I would say. You seem like a sensible person, but yeah try and be good before you’re famous or try and be good before you’re well-known or anything. Because I think ultimately if no one else—and part of the reason we do what we do is to share it—but if no one else is ever going to see it or if no one else is going to be lucky enough to have this fortune; I am very lucky to have some of the public reaction to some of the things that I do, but say if that wasn’t going to happen, do I think I’ve done a good job? Do I think I’ve been good or do I think I’m improving? So I think attending to the craft side of it I find very important, I think. Having fun is important, not taking yourself too seriously is important, but I don’t know, having a thick skin is probably the thing. I don’t know. I joined Youth Theatre and then I was lucky enough to get into drama school, so that was my route in but not everyone has the same thing. If you want to act, find somewhere you’ll be able to act, whether it’s a local amateur dramatics company or a youth theatre or whatever, you know. Because that’s where you really find out if you want to do it rather than trying to get an agent and being famous. You better be doing it because you love it, because if you don’t love it it’s a terrible job.

[Laughter]

It’s a hard enough job if you do love it; it’s a cruel job sometimes if you love it. So make sure that connection is there before anything else I would say, and good luck.

BH: One final question. No pressure, make it a good one.

MF: Not you. Not these undercover midgets. Little people.

Q: You said that you leave work at work…

MF: I what sorry?

Q: You leave work at work. I was just wondering if there’s a part you’ve played that you felt was actually hard leaving it at work, not bringing it home with you or—

MF: There are plenty of things that I remind myself all the time or am reminded of the fact that I find a lot of it hard, as in I think ‘God I can’t do this very well.’ Just as I think ‘I’m quite good at acting, I’m quite good at this,’ there will usually be something that happens where I think this is completely eluding me and I’m not getting it at all. You forget how difficult on a day-to-day level it can be. Not as far as bringing stuff home with me, no; I never bring characters home with me ever because I’m not mad.

[Laughter]

I don’t think there’s any—there’s nothing good about bringing a character, you don’t get points—in my opinion, this is my school of thought, there’s no virtue in bringing a character home with you and treating your wife like a twat just because well I’m playing this. Oh good man, great. There are plenty of things that are hard because from a practitioner’s point of view you’re not getting, but not—no I’ve never found that thing about bringing… For me, the heavier the scene, the more emotionally hard the scene, I find humans—never mind actors—at some point in every funeral someone will laugh and find the joy in something. In the worst, worst, worst human situations they often actually they look for humour and laughter. So if I’m doing something quite heavy you can’t wait to laugh and all that. So that’s why I never bring heaviness home. I mean my kids will tell you—don’t talk to them—but were you to ask them—don’t ask them—

[Laughter]

I’m heavy enough anyway, I’m a fairly moody bastard anyway, so I don’t need that from work. I get made very happy by work and I get made deliriously happy by work but no, if I’m playing a real nasty, nasty manipulative person as I’ve occasionally done, I have never found that a problem at home. Because I��ve got enough of that in me anyway, do you know what I mean?

[Laughter]

There’s enough of that in all of us that you don’t need to rely on the excuse of playing a part like that because it’s all in you anyway, you know?

BH: We’re going to go and ask your kids now if that’s actually true.

MF: Don’t ask them anything!

BH: I am so sorry that we’ve run out of time. Thank you all for your questions and for being here, but most of all thank you so much Martin Freeman.

MF: Thank you so much. Appreciate it, thank you.

[Applause]

source: http://www.bafta.org/whats-on/a-life-in-pictures-martin-freeman

#Dee posts #martin freeman #bafta #transcript #life in pictures #23 June 2019

27 notes · View notes

a7xlizardqueen · 5 years

Text

Title: Your Knight in a Sweater Vest

Overall Rating: NC-17

Overall Warnings: Parental bullying, mentions of bulimia, nudity(?), drinking, partying, cursing, very slight mention of war and trauma, smut

Pairing: Reader x Steve Rogers

Summary: When you need help dealing with your rude and overbearing family, your best friend Steve Rogers comes to the rescue. Modern!AU - For @barnesrogersvstheworld Writing Challenge Shot Through the Heart

Chapter: 1/10

Word Count: 1,638 words

Chapter Warnings: None

-X-X-X-

The bar was packed as you squeezed yourself through the crowd, searching for a group of familiar faces. It was Friday, which meant only one thing: meeting up with the guys at your favourite spot for beer and wings. Afterward you’d probably play pool and keep your eyes out for someone to hook up with.

“Yo, Y/N, over here!”

Sam is peering over the crowd, waving his hand in the air. He, Bucky, and Steve are already packed into a booth, a pitcher of Bud half empty.

“What, you guys start without me?” you ask, sliding on to the bench next to Steve.

“That’s what happens when you’re late,” Bucky scolds, sliding over a fresh glass.

“Dude, not even five minutes.”

“Five minutes is still late, Y/N.”

“I’ll remember that next time you’re late, James.”

“Now, now, children, settle down,” Steve smirks. "You're both late as often as the other."

You and Bucky smirk and he winks. Steve is always the peacekeeper between you two. Not that you don’t like each other, just the opposite, but you have kind of a love-hate relationship, as if you’re each other’s annoying sibling.

The waitress comes around, blonde girl with big tits. She smiles at all the guys, and ignores you. You’re used to it. Downside to being the only woman in a group of men. You order five-dozen wings, another pitcher, and a round of shots of Honey Jack.

“Kay, so, game at my place Sunday?” Sam asks.

“You got it, man,” Steve says and Bucky nods.

The shots come and before anything else is said you clink your glasses and shoot back the sweet, amber liquid.

“What ‘bout you, Y/N?”

You shake your head, “Sorry boys, no can do. Prior engagement.”

“Hot date?” Steve smirks.

“I wish,” you pause and take a large gulp of your beer to stall for a moment. The guys’ questioning faces don’t relent. “I’ve got a barbecue at my mother's house to go to.”

Their immediate reaction is to look concerned, quickly followed by angry.

“What the hell are you doing even talking to her?” Bucky’s brow furrows, “She treats you like shit.”

“She's my mother, Buck. Besides, it’s not so bad anymore.”

“I don’t believe you for one damn second, doll. You always make excuses for that family.”

You swallow the lump in your throat. Sam, Steve, and Bucky are quiet, unhappy with you.

“There’s something more isn’t there?” Steve asks.

You nod and whisper, “He’s back.”

“Who’s back, Percy’s back?!” Bucky’s fist hits the table with a thud.

“You mean that asshole that had you starving yourself?” Sam asks.

“That asshole who had you working out so hard you passed out and had to be rushed to the hospital?”

“He doesn’t want to get back together, does he?” Steve asks.

You shake your head and call the waitress over for another round of shots, doubles this time.

“No, he just wants to show off his new girlfriend and tell me how much better she is then me. And how much more successful he is then me.”

“Want us to come beat his ass?” Sam offers.

The wings arrive and you all dig in. You laugh and shake your head.

“No, that would be a seriously unfair fight.”

Bucky laughs, “Dude still skinny as shit?”

“You know it.”

“Never skip leg day!” Sam yells.

The tension of the previous minutes has lifted and your plight is ignored for a while as you watch a random soccer game on the TV and continue to stuff yourselves with beer and wings and whiskey. After another round you head over to an empty pool table, you and Steve against Bucky and Sam. As Bucky and Sam rack up the balls Steve hands you a cue and says quietly.

“Seriously, Y/N, if you want some back up, I’m there.”

You sigh, of course he would offer. Steve was one of those seriously good guys that always tried to do the right thing.

“And how would you help?”

He shrugs, “I dunno. But I could at least stick up for you. Be there to let everyone know how great you’re doing with your life.”

“Really, Steve, I don’t need a cheerleader.”

Steve smirks, “Damn, now what am I gonna do with my pom poms?”

“Y/N, your break!”

-X-X-X-

Friday night ended rather uneventfully. You drank more. You played pool. Did a bit of dancing. Went home. No one got lucky that night.

Sunday rolled around. It was a hot day so shorts were a must. You still had a hard time showing off your legs, especially around your family, but if you tried to cover up with pants you’d regret it. Besides, Sam was always telling you to show off the body you’d worked so hard for. He’d kill you if you told him you hid it away. You paired it with a thin white button up, rolling up the sleeves to your elbows. You knew your outfit wasn’t nearly as fancy or feminine as your mother’s or your sister’s surely would be, but you’d mostly abandoned the need for their approval by now, anyway. Mostly.

The look of utter disappointment was exactly what you’d expected, followed by the obligatory scolding for your tardiness. The tardiness was completely intentional, of course, the less time you spent with them the better.

Your mother and sister were visions of perfect beauty. Hair shiny, bouncy, not a flyaway in sight; and they were both wearing long flowing maxi dresses. It made your $5 bargain store shorts and shirt seem frumpy.

Then there was the ex, Percy. He wasn’t typically good looking. His face held too much expression, almost goofy, his eyes and lips large on his narrow face and his dark hair was unruly, sticking up in every direction. He wasn’t particularly tall, and had a thin body with just enough muscle to counteract any fat. But he had a certain charisma in the way he carried himself and the way he spoke that captivated people. It had certainly captivated you once.

His girlfriend was beautiful. Like a movie star from the 1950’s. She dressed like one too. And she was so damn nice that it was hard not to like her. Even though you tried, very hard.

You milled around the barbecue mostly, sipping your beer and trying to avoid conversation. You don’t often get what you want, though.

“Long time no see, Y/N, how ya been?” Your stepdad’s work associate asks as you try to slip quietly by to get yourself another beer.

“I’m fine, Geoff, how are you?” You answer politely, looking down at your empty bottle.

“Oh, just fantastic. Did your stepdad tell you we made a killing this year? Yeah, Jan and I are gonna take a trip to Hawaii to celebrate.”

And thus began the extremely exciting and titillating conversation of the world of insurance. Somehow the man was able to talk about the most boring subject in the world for an entire half hour. You zoned out after about five minutes and only came to when he finally asked you a question.

“What is it that you do again?”

Great, the question. Everyone always asks that question. Normally you wouldn’t care, you enjoy telling people what you do for a living. Just not this crowd.

“I’m a woodworker.”

“Oh. So what does that mean, exactly?”

“I build things out of wood. Furniture, sculptures, you name it. Some of what I make is my own design, whenever I get inspiration; a lot is custom building stuff. I also do antique restoration. And I teach yoga and self-defence at my buddy’s gym.”

“How interesting. And is there a lot of money in the woodworking business?”

“Probably not as much as in the insurance business,” you shrug and back away, “if you’ll excuse me, I’ve been empty for far too long.”

All these people ever talk about is money. They base their ideas of success on how much money can be made, not how happy something can make you, or someone else. Your favourite thing in the world is seeing the amazed looks on a client’s face when you bring their ideas to fruition, sometimes better than they could have imagined. But conveying that feeling to these vultures was impossible.

“Good to see you again, Y/N,” his voice interrupts you before you can even take five steps and you once again look down at your empty beer and sigh; you’re gonna have to upgrade to whiskey.

“Wish I could say the same for you, Percy,” you turn and paste a fake smile onto your face.

You don’t know why, but he still makes your stomach tie into knots every time you look at him. He broke your heart, and you got over it. You did. There isn’t a bone in your body that wants to revisit the lack of a relationship you had with this man for one year. And yet when you look at him, especially with her on his arm, you think about how long it’s been since a man has touched you. You think about how long it’s been since a man looked at you with desire in his eyes. You look at him and your body yearns, and aches for what could have been.

“You’re breaking my heart, babe,” he feigns pain with a hand over his heart.

“Oh, if only I could.”

“No date again?”

“Well, I didn’t want to make you jealous.”

“How kind of you.”

“Y/N, why didn’t you tell me you had a guest coming?” Your mother rushes over.

“What are you talking about?”

“Don’t worry, there’s plenty of food and beverages, but really Y/N, it’s quite rude. Please tell me next time so I can be prepared.”

“Mother, what are you talking about?”

“Hey, honey, sorry I’m late.”

#shotthroughtheheart3k #steve rogers #fanfiction #modern!au

4 notes · View notes

theghostofashton · 6 years

Text

“don’t say that.”

yeah um. today sucked. this is major projection, based off a couple things i read on @bisexualgawsten (i made a post with screenshots if you want to see it. it’s the last thing i posted. but anyway yall should follow them if you don't lmao i have their notifs on bc i check their blog too many times a day to be considered healthy)

but yeah heavy depression and anxiety trigger warnings i'm sorry

Geoff's been gone for over three hours.

He said he'd be back in two. He said he was just going out with some old friends for dinner and he wouldn't be gone long. Have a couple beers, catch up, he'd be back before Awsten knew it- And Awsten swallowed hard at that part. He remembers how thick the saliva felt in his throat, sticky, clinging onto his windpipe as it slid downward and made a bed for the nausea to lay on.

He knows Geoff drinks. He's seen him drunk too many times to count. Even before they started dating, whenever they'd go out to parties or end up at the occasional bar, Geoff would get caught up in all the action and pressured into taking more shots than he planned to and end up completely inebriated. It's not new. It's not different. He's done it so many times before and everything's been fine.

It feels different tonight.

Tonight, there's a blurry fog over him, a permanent fixture of shower steam over his eyes. It's the kind of shower that doesn't feel cleansing. It's traveling in swirls up his back and each one peels back a layer from his chest, one by one until the only thing that's separating the wrecking ball from slamming into his heart are his ribs, shaking in his chest cavity as they try to hold themselves up.

The pain is a paintball that's long splattered. It coats the wall of his skull thickly, dripping down in a constant flow, like droplets collecting on the edges of a water bottle. There's always something there when the bottle is turned upside down, always one more droplet to fall and sink and absorb into his body to sprout a new pain plant.

Tonight makes every other bad night this week seem like heaven.

Tonight he thinks about everything, thinks back to the aching eyes and tearstained cheeks and crack that had formed in his heart, how it got bigger and bigger as more pain funneled in, filled it up until he felt like he was bursting. The ache was so big, it was so much – he didn't think it was possible for one human being, one body to hurt like this. Tonight he thinks about staring straight ahead, about the home he made amongst the tangled sheets and rumpled covers and damp pillowcases, about looking at the wall but not really seeing it. It was like the worst x-ray vision ever, being able to see through and inside and imagine, look through his life through that shower steam filter, like he was floating while everything else zoomed past.

Tonight he thinks about Geoff and how he's finally out of the house, out with his friends, out with people who don't have devastation and disappointment and depression. Tonight he's Geoff Wigington, who laughs obnoxiously at stupid jokes and drinks beer and lets no traces of it's gonna be okay, love. I'm here for you spill from his mouth. Tonight he's Geoff Wigington who doesn't have a useless sack of flesh waiting for him at home, Geoff Wigington who gets to be Geoff Wigington, gets to take a break from Awsten's Caretaker, for a night.

He knows Geoff is tired of it. He has to be. It's gotten particularly bad in the past few months. The experts say at least one depressive episode constitutes major depressive disorder. He's had two in the past month. Weeks straight of not being able to drag himself out of bed, not being able to get his ass up and go on any of the cute dates Geoff had planned, fly to LA to record songs, start working on ideas for the new music video...weeks straight of not being able to do anything except lay there and let the hornets drill into his bones until he was nothing but hollow, let them pierce his skin and settle themselves among the holes they've made. He was defenseless and he was invaded and they've spread like a disease.

It's been three hours and Geoff isn't back yet and his phone has lost ten percent battery in almost that amount of minutes from how many times he's checked it. It's been three hours and he doesn't know what's going on because Geoff is the type of person that texts him all the time, especially when he's like this. He can't lie back and stare at the wall unless he throws his phone on the floor because it's constantly lighting up with messages, 'I love yours' or cute selfies or teases of a surprise (usually food) Geoff's bringing home that night. Geoff's a great texter.

It's been three hours and Geoff isn't back yet and his phone has lost ten percent battery from how many times he's checked it.

What if he's gone-

"Stop." The word feels like knives cutting up his throat. He hasn't used his voice all day, feels like.

What if he left you-

"S-Shut up."

What if he finally had enough of your shit what if he's gone what if he left you what if he's done for good what if he's gone forever what if you were too much for him what if you were too much for him what if you were too fucking much for him-

"N-No!" He sits up with a start. The breaths are coming fast. Too fast. He can't keep up. They happen in quick succession. He presses the heels of his hands into the mattress and gasps his way through the series of pants.

He's gone he left you he had enough that's why he hasn't called that's why he hasn't texted that's why he isn't back yet he's gone he left you he's had enough you're too much for him too much too much too fucking much you drive everyone away you don't let anyone love you what the fuck is wrong with you why can't you let someone love you why do you have to be such a depressed piece of shit all the time-

He flops back down to the bed and turns his face into the pillows as the tears really start. They soak warmly against the fabric and move, slimy, against his face. He can't stop shaking. The room is spinning around him. It's the worst roller coaster ever and he wants to get off.

He bites his lip and tries to hold a sob back. It balls up at the exit of his mouth, sends out sparks and flames and ignites his entire body. He has no choice but to let it slip.

He wants Geoff. He needs Geoff. He needs the arms around his torso and the chest to bury his head into, the hands rubbing at his back and kisses against his temple. He needs Geoff's fingers buried in his hair, the rubs at his scalp that – on some days – are the only reason he gets to sleep, the scent that wraps around him, tendrils warming up every part of his body on the numb days. He needs Geoff he needs Geoff he needs Geoff-

He knows why. He gets it. He understands. Being with someone like him is like having a burden instead of a boyfriend. He's sad all the time and writes too many depressing lyrics and gets angry a lot and overreacts to everything; he never wants to leave the house and hates being social and gets anxious in the places there is absolutely nothing to be anxious about. Being with him is like dating the largest case file in the world. He's a sack of flesh with too many problems and a head that won't shut up and it annoys even him most days.

He doesn't blame Geoff.

He wouldn't want to be with him either.

...

He curses loudly as he drops his key, scrambles to grab it and press it into the lock once more.

He's never been in a traffic jam that bad. It was bumper to bumper with absolutely no movement – he probably could've gotten out of his car and walked home faster – and it went on for over three exits on the highway. The restaurant his friends chose was a fair drive; it wasn't too far, but it did involve getting onto the highway and driving for a bit. He thought they'd be done before the road started to get clogged, but to their luck, it ended up being the polar opposite.

He finally pushes the door open and steps inside, immediately reaches down to unlace and toe off his shoes. He hangs his jacket on their coatrack and unwraps the scarf from around his neck.

"Awsten? Sweetheart, hey, you still up?"

His heart is throbbing. It's pulsating new waves of pain by the second. The signal was so bad and the drive was so long and it seemed like everything that could go wrong did, a cocktail of consequences that culminated with him not being able to reach Awsten and tell him what was going on.

He hopes he didn't worry too much.

"Aws?" He lowers his voice in case Awsten is sleeping, walks through the apartment and into their shared bedroom. And then he stops.

He can hear it. Tiny whimpers and choked sobs are coming from their bed. The blankets are tangled and tossed together in a way that completely eclipses Awsten from view. All Geoff knows is that he's crying. "Fuck, sunshine, what's wrong?"

The next few moments unfold so fast that he barely registers them.

Awsten practically falls out of bed and runs the short distance to connect them, jumps up – and Geoff thanks whoever is up there at this very moment for his quick reflexes – and into his arms. He buries his face in his shoulder and wraps his legs around his waist with a gasping sob, and then he's crying again.

And Geoff's own heart feels like Awsten just took a hammer and smashed it to smithereens. He rubs Awsten's back and holds him tightly. "Easy, easy love. You're okay. Try to breathe. Whatever's wrong, we can fix it, I promise."

He lets Awsten down a couple seconds later, but takes him into his arms as soon as his feet touch the ground. Awsten wraps his arms around his neck and he moves his to Awsten's waist, bringing him as close as physically possible without completely crushing him. "I'm here, I'm right here, angel. What happened? Talk to me. What's got you this upset?"

Awsten doesn't answer. He moves one hand up to his back, just below the blades of his shoulders, and starts to rub. Awsten's hair is tickling his nose and poking at the corners of his mouth and he puckers his lips, pressing a kiss to the soft strands. "I can't help you if I don't know, love. What happened?"

"I-I-" Awsten hiccups and lifts his face to meet his eyes. "I thought you left."

"Left?" If this is going where he thinks it is...

"Me," Awsten spits out. "You said two hours and then it was three and you wouldn't answer and you didn't text me like you always do and I just- thought you didn't want me anymore." He pauses. His voice is choked. "That you'd finally given up on me?" He phrases it as a question and goes silent afterward, stares up at Geoff with his bloodshot eyes and wet cheeks and quivering lip.

"Awsten..." He trails off with a shake of his head. He knew. He knew this would happen. He knows Awsten's anxiety too well for him to not have seen this. He knew Awsten would worry, he knew that his mind doesn't do well with worry and skyrockets things with completely plausible explanations to mythological heights. He pulls his hand from Awsten's back and moves both to cup his cheeks, to keep Awsten looking him in the eye. "Sunshine, I would never. I love you, okay? I love you with everything in my heart. You're the love of my life. I would never leave you. I never want to." He takes a breath and rubs his fingers along Awsten's jawbones. "I'm not going anywhere. You'll always have me, I promise."

"I just- you didn't- you usually, I-" Awsten stammers. "I'm sorry."

"We finished in two hours," he explains. "And then I hit so much traffic on the way back, angel, I promise I would've texted you if I could. But my phone didn't have signal because it was a dead zone and it was bumper to bumper for three exits straight. It was a mess. I promise you, swear on my life, I would've texted you if I could."

He knows what Awsten needs. He's been doing this long enough to memorize it. No amount of reassurance is enough for someone with depression. The disorder is like a monster perched on your shoulder, digging its claws into skin and pressing its words into brain, he doesn't love you he wants to leave you he already left you you don't deserve him. He knows that no matter how many times he says some things, Awsten may never believe him. He's okay with that. He'll keep saying it until it happens.

He feels the arms around his front again. Awsten presses his cheek against his chest with a whimper of finality. "I'm sorry...I just- I didn't hear from you and I assumed- fuck I'm so stupid, I'm sorry."

"Hey." He pushes Awsten back to hold him at arm's length. "Nothing about you is stupid, okay? This was just a shitty miscommunication. I love you, with all my heart. That's never going to change. I'm never going to leave you. I want you, for the rest of my life. Don't forget that."

"I just- sometimes it feels like too much," Awsten says. "Like I'm too much. And I don't want you to feel like you have to. Take care of me, yknow? 'Cause you don't. And if it ever does get to be too much...you can leave. Don't feel like you havta stay 'cause I won't be okay if you leave. I mean, I won't, but...don't let that keep you here-"

"Sunshine, stop, don't say that." He cuts Awsten off and tangles a hand through his hair. "You are not too much, okay? That's such a bullshit concept. You will never be too much. You have depression and some days are worse than others and sometimes they're all in a row, but that's part of it, love. You know that and I know that. You can't control this. You didn't ask for it. It sucks and I hate seeing you in pain, but if you think I'm going to leave you over it..."

"I just- don't you want someone easy? Someone that doesn't take this much work?" All that's left of his heart is dust. He hates hearing Awsten talk about himself like this; like he's a problem over a person. He hates knowing that this beautiful, radiant, big-hearted angel thinks so little of himself, because Awsten is just that. Beautiful. Radiant. Possessing a heart that barely fits in his body.

"I want you," he murmurs. He tilts Awsten's chin and presses their lips together. "Okay? You are all I want, for the rest of my life."

"Are you sure?"

"I've never been surer about anything."

#this is a mess #but i just needed something today #i wrote so much today damn #waterparks #waterparks fanfiction #awsten knight #geoff wigington #gawsten #gawsten fanfiction #neha writes #depression tw #anxiety tw

14 notes · View notes

paranoid-fighter · 6 years

Text

Original Fiction: Chapter 7: “Oh. Great.”

Alternatively: Meet Fred.

(Trigger warnings: bodily harm, mutilation - Geoff has to investigate a corpse.)

The only consistent thing about crime scenes were the people.

There were always people.

They stood on the edges, behind the ribbon-laced barrier, staring and talking amongst themselves. He had learned not to pay them any mind as he worked, but they were always still there.

Watching.

Listening.

Talking.

They usually spoke in hushed whispers as they stared at the crime scene with looks of horror or confusion on their faces. Other times, their voices drowned out the din of the city as they shouted their frustrations to the world. And, sometimes, they would cry.

He hated when they cried.

There were plenty of sounds that Geoff hated - nails on chalkboards, dog whistles, the birds outside his bedroom window and plenty more besides - but the sound of a broken soul was, by far, the worst. Those cries could pierce through even the noisiest environments and would all but shatter the stone facade that Officer Simeon wore. He found himself longing to help those broken souls, to comfort them, and sometimes he did just that, sitting with them as he lent them a shoulder. Other times, he would simply do his job, knowing that his investigation would bring them the comfort that he himself could not provide.

Geoff stepped out of the squad car and stared at the scene just yards away.

The people were there, as they always were, and they were talking.

He squared his shoulders and walked towards the cordoned area. The men and women who had gathered around hardly paid any mind as he walked up to the shiny yellow ribbon and ducked under it. They stepped aside, scarcely adknowleding the officer - and why should they even notice him, Geoff frowned as an armored officer strode past him, when the area was crawling with SWAT?

He came to stand just before the doorway of the building, having tried and failed to identify the officer in charge of the scene. He didn't want to go further into the building without alerting someone else of his presense, but--

--that person had done nothing but stare at him ever since he arrived on the scene.

Geoff was used to this by now - he tended to draw stares - but this was different, felt different. That man wasn't just staring at him.

That man was looking for him.

Geoff began walking towards the staring stranger, frowning as the man gave him a slick grin before turning on his heel and walking towards a nearby alley.

He stopped and stared at the man's retreating back - why was he walking away? After all of that staring, he thought the man would at least want to--

Geoff's frown deepened as the the other man stopped and looked over his shoulder, brown eyes meeting Geoff's blue. If looks could kill, Geoff knew he'd be dead from the man's pointed stare.

With a quick glance around, Geoff ducked back under the flimsy barrier and followed the stranger as his hand came to rest on the pistol's grip. He knew this was a risky move, but he also had a feeling that this man wasn't here because he was curious about the crime scene...

"About time," the man said as he lit a cigarette. "Never thought I'd get you away from the rest of them." "What do you want?" Geoff asked. He blew a cloud of smoke over a denim-clad shoulder. "Just trying to give you a letter." "Who wrote it?" "Someone y'all are gonna get real familiar with here soon." "What?" Geoff's eyes narrowed. " You're getting a new ally soon, Alpha. He's one of ours. Sort of. He's gonna help y'all with this little sitch-e-ation." The vampire clamped down on the cigarette in his mouth. "We thought we could handle the ghouls, but we was wrong." His gaze returned to Geoff. "We're askin' you for help before we have to invoke the old bond." "Old bond?" The stranger frowned. "The oath between yours and mine. Y'all know this. Was told you swore it, too." He took a step closer. "We're all fighting the same fight, 'specially since we got all them ghouls running around." Another draw from the cigarette. "Time's come for us to help each other. Well," he chuckled, "not you and me specifically, but you get what I'm saying, yeah?" He smiled, his fangs glinting in the shadows of the buildings. "Can I give y'all this damn letter now?"

Geoff's brow knit as he took a half-step forward. His hand never left his holstered gun. "You can put it on the ground and then keep walking down the alley." "That's it? That's how y'all're gonna treat me? I risk my own life to meet you at a crime scene crawling with cops and y'all won't even let me hand you a piece of paper?" "You're one of Jean-Claude's vampires, aren't you?" Geoff had a feeling he already knew the answer. "Yeah, he's my master, but he ain't my sire. He killed my sire." The vampire chuckled. "How'd you know I was one of his?" "Lucky guess." Geoff said flatly. "Now, where's this letter?" "Right here." He pulled a folded piece of paper out of his old jacket. "Come take it, Alpha. I ain't gonna bite you."

Geoff cast a quick glance around the alley before walking up to the vampire. He grabbed the letter out of the man's hand...

...and shoved it into his pocket.

"Y'all ain't even gonna read it?" The vampire sputtered. "Nope. Not right now. I'm here to look at the latest ghoul victim." "Ah. Yeah, got it." He exhaled, shoulders slumping with disappointment. "Just curious, though. I saw him writing it out and I'm real interested in what he said. Not often this guy shows up, let alone says something." "What's this guy's name?" "Nocte." The name was stretched over three syllables. "Real secretive; spooky. Wears a mask." "A mask...?" He blinked before shaking his head. "Good to know." Geoff looked around the alley, frowning when he couldn't see the body. "What do you know about this victim, mister...?" "Fred." "Fred." Geoff echoed, staring at the vampire before him. "Hi, Fred. I'm Geoff." "I know." Geoff faltered before mentally shaking himself. "Alright; can you show me where the corpse is, Fred? I'd like to get this over and done with." "Sure thing; follow me. Body's not in the building, so we should be nice and alone while you work."

Geoff glanced over his shoulder at the empty alley and the armored vehicles on the street. "So the diversion was staged why, exactly?" A shrug. "Building was crawling with people. Now it ain't." "But the body wasn't inside, or so you said." "Well yeah, but there was people around the building, too. Now they ain't." Fred began walking. "'sides, I ain't the one that ordered the diversion. I was just told to wait for you."

The officer stared at the vampire's retreating back before falling into step behind him. This whole situation sat poorly with him, but he had no other options than to play along. Fred knew where the body was and had been told to wait for him - presumably by Jean-Claude. With a sigh, Geoff came to stand next to the vampire. "Y'all got a strong stomach?" Fred glanced over at him. "Yes." "Good. Y'all gonna need it; this ain't pretty." "I can handle it." Fred held his gaze for another moment before slowly nodding. "Alright. Body's just past the dumpster over there. Knock yourself out." He snuffed his cigarette out and flicked the butt into the dumpster. Lighting another cigarette, Fred walked away as Geoff pulled a pair of gloves out of his pocket and approached the body...

Fred joined him a moment later.

"Ghouls did a good job on him." Geoff said nothing as he took pictures of the corpse. "They always go for the soft flesh first. Ate the junk clean off before moving to the guts and thighs. Something stopped the feast before they got to the arms. They don't like the arms, though. Too much bone there, but they'll eat it if they're hungry enough. They always do. Better than hogs for that, y'know. Can't chew through bone like hogs can, but y'don't gotta starve ghouls to get 'em to eat a body."

Geoff paused at that, slowly turning to face Fred. "Really?" "What?" "You just compared ghouls to hogs." "Yup. It's a good comparison. Both'll eat anything if hungry enough. Hogs are smarter, though." Another pause. "How much do you know about them?" "Ghouls or hogs?" Fred laughed. "I know enough about both, but I know more about ghouls. Y'pick up a lot when you hunt 'em. There's some people that consider me an expert on 'em." He puffed his chest out. "Jean-Claude--" Geoff cringed at the brutalized pronunciation. "--himself called me up a few months back. Imagine my surprise, gettin' called by Master Daemonis himself," Fred continued on, oblivious to Geoff's grimace, "it was like winnin' the lottery. He sent a car for me and put me up in a nice place with good pay. Ever since then, I've been helping him hunt ghouls down, but I ain't been able to find the source. Well," Fred paused as he wiped some ash off his jacket, "the main source, that is. There's too many for just one nest." He held the cigarette between his teeth. "Was working with Elizabeth, y'know, but she got mauled." "Mauled? Jean said she had been attacked, but mauled?" "Yep. They worked her over right good and proper, they did. We got her safe, but, well, she ain't gonna be walking any time soon. Or ever." Fred shook his head as he exhaled. "Y'all better be careful, Geoff, or you'll end up just like her." "Understood..." Geoff finished taking his pictures and looked over to the vampire. "There's still more I need to do. Is there anything else you needed to tell me?" "Naw, that's it for now. Oh," he pulled a card out of his jacket pocket, "here. If you need me, give me a buzz."

Geoff took the card and stared at it. "You made business cards." "Man's gotta advertise." Fred grinned. "Well, Geoff, unless y'all gonna tell me what Nocte wrote, I'll see you later." Geoff hesitated but slowly took the letter and unfolded it as Fred all but trembled in anticipation.

The script was neat and uniform; it would've looked more at home on a computer screen than on the woven paper. "He wrote this?" Geoff asked in disbelief. "Yup. What's it say?" "Geoff, I have been tasked to help you with eradicating the ghouls. I will be in touch. Nocte." He frowned down at the paper. "That's ominous." "I wouldn't worry; Nocte's only dangerous if he's here to kill you." "Oh. Great." Geoff's frown deepened as Fred laughed.

"Y'all have a good day, Geoff. Stay safe." The vampire turned and walked down the alley, leaving a very confused Geoff standing next to a mostly eaten corpse...

#geoff simeon #jean-claude daemonis #vincent antares #nocte #paranoid-fighter writes original fiction #fred the southern vampire #trigger warnings apply #tw bodily harm

4 notes · View notes

davidmann95 · 7 years

Text

Superman Starter Pack

First and most importantly, before we go into petty commercial concerns, let’s remember the meaning of the day I orginally posted this. Because friends, it was no ordinary day: it was Miracle Monday, the anniversary of Superman triumphing over no less than the biblical prince of darkness himself (or at least a respectable substitute), and it was so awesome that even though it was expunged from humanity’s collective consciousness, they still instinctively recognized the third Monday of May as a day of good cheer to be celebrated in Superman’s honor from now until the end of time.

I know I write plenty about Superman on here, but with as much as a pain as comics can be to get into, I’m sure at least some of those I’m lucky enough to have follow me haven’t been able to find an easy in for the character. Or maybe a follower-of-a-follower or friend-of-a-friend is looking for a reasonable place to start. So in the spirit of the season, I’ll toss on the (admittedly already pretty massive) pile of recommended starting points on Superman: ten stories in a recommended - but by no means strict - order that should, as a whole, give you a pretty decent idea of what Superman’s deal is and why you should care, all of which you should be able to find pretty easily on Comixology or a local bookstore/comic book shop.

1. Superman: Birthright

What it’s about: It’s his origin. He gets rocketed to Earth from the doomed planet Krypton, he gets raised by farmers, he puts on tights to fight crime, he meets Lois Lane and Lex Luthor, he deals with Kryptonite, all the standard-issue Superman business.

Why you should read it: It does all that stuff better than anyone else. He’s had a few different takes on his origins over the years due to a series of reboots, another of those tellings is even further down the list, but the first major modern one pretty much hit the nail on the head first try. It toes the tricky line of humanizing him without making you forget that hey, he’s Superman, it’s high-action fun without skimping on the character, and if there’s any one story that does the best job of conveying why you should look at an invincible man-god all but beyond sin or death with no major inciting incident in his background as a likable, relatable character, this is it. Add in some of the best Lane and Luthor material out there, and it’s a no-brainer.

Further recommendations if you liked it: About a decade before writing Birthright, its author Mark Waid worked with Alex Ross on what ended up one of DC’s biggest comics ever, Kingdom Come, the story of a brutal near-future of out-of-control superheroes that ultimately narrowed down to being about Superman above all else, and one of his most popular and influential stories of all time at that. Years after Birthright he created Irredeemable, the story of a Superman pastiche named Plutonian gone murderously rogue and how he reached his breaking point, illustrating a lot of what makes Superman special by way of contrast.

(Since Superman’s had so many notable homage/analogue/pastiche/rip-off/whatever-you-want-to-call-it characters compared to other superheroes, often in very good stories, there’ll be a number of those stories on this list.)

2. Superman: Up, Up and Away

What: Ever seen Superman Returns? That, but good. Clark Kent’s been living and loving a normal life as a reporter and husband after a cosmic dust-up in one of DC’s event comics took Superman off the board for a year, but mounting threats demand his return to save Metropolis again, if he still can.

Why: If you’d rather skip the origin, this is as a good a place as you’ll find to jump onboard. Clark and Lois both get some solid characterization, a number of classic villains have solid screentime, there’s some interesting Kryptonian mythology sticking its head in without being too intrusive, a great overarching threat to Metropolis, and it captures how Superman’s powers work in a visceral sense better than almost anything else. If you just want a classic, pick-it-up-and-go Fun Superman Story, this is where to go.

Recommendations: If you liked this, you’ll probably be inclined to enjoy the rest of co-writer Geoff Johns’ run on Action Comics, including most popularly Legion of Superheroes and Brainiac, both with artist Gary Frank. Another series tapping into that classic Superman feeling pretty well - regardless of whether you enjoyed the original show or not - is Smallville: Season 11, showing the adventures of that series’ young Clark Kent once he finally becomes Superman. Peter Tomasi and Patrick Gleason’s run on the main Superman title under the banner of DC Rebirth tried to maintain that feeling, properly introducing Jon Kent, Lois and Clark’s 10-year-old-son, as Superboy in what seems to be a permanent addition to the cast and mythology; your mileage on its success may vary, but Volume 2, Trials of the Super Sons, represents the best of it. And the current Superman work by Brian Bendis - beginning with his The Man Of Steel miniseries and spinning off into both Superman and Action Comics - while controversial, presents a very similar take on Superman to the one seen in Up, Up and Away and a similar sensibility, to very positive results.

3. Superman: Secret Identity

What: He’s Clark Kent, an aspiring writer from a farm town in Kansas. Problem is he’s only named after the other guy, an ordinary teenager who’s put up with crap his whole life for being named after a comic book character in an ordinary world. But when he suddenly finds himself far closer to his namesake than he ever would have imagined, it becomes the journey of his life to find how to really be a Superman.

Why: The best ‘realistic’ Superman story by a long shot, this doesn’t sideline its heart in favor of pseudo-science justifications for what he can do, or the sociopolitical impact of his existence. He has the powers, he wears the costume to save people (though he never directly reveals himself to the world), and in-between he lives his life and learns what it means to be a good man. It’s quiet and sweet and deeply human, and probably one of the two or three best Superman comics period.

Recommendations: If you like the low-key, pastoral aesthetic, you might enjoy Superman for All Seasons, or Supergirl: Being Super, and the one-shot Man and Superman by Marv Wolfman and Claudio Castellini has something of a similar down-to-Earth feel. I’d also recommend Jeff Loveness and Tom Grummet’s Glasses in Mysteries Of Love In Space. If you’d like more of writer Kurt Busiek’s work, his much-beloved series Astro City - focusing on a different perspective in the superhero-stuffed metropolis in every story - opens with A Dream of Flying, set from the point of view of the Superman-like Samaritan, telling of his quiet sorrow of never being to fly simply for its own sake in a world of dangers demanding his attention.

4. Of Thee I Sing

What: Gotham hitman Tommy Monaghan heads to the roof of Noonan’s bar for a smoke. Superman happens to be there at the time. They talk.

Why: A lot of people call this the best Superman story of the 90s, and they’re not wrong. Writer Garth Ennis doesn’t make any bones about hating the superhero genre in general (as evidenced by their treatment in the rest of Hitman), but he has a sincere soft spot for Superman as an ideal of what we - and specifically Americans - are supposed to be, and he pours it all out here in a story of what it means for Superman to fail, and why he remains Superman regardless. It sells the idea that an unrepentant killer - even one only targeting ‘bad guys’ like Tommy - would unabashedly consider Superman his hero, and that’s no small feat.

Recommendations: If you read Hitman #34 and love it but don’t intend to check out the rest of the series (why? It’s amazing), go ahead and read JLA/Hitman, a coda to the book showing the one time Tommy got caught up in the Justice League’s orbit, and what happens when Superman learns the truth about his profession, culminating in a scene that sums up What Superman Is All About better than maybe any other story. Tom King and Andy Kubert’s Superman: Up In The Sky, while not without blemish (there’s a rightly-controversial chapter involving Lois that precludes universal recommendation), is a similarly humane look at Superman and the clash of his iconic power and mortal limitations. If you appreciated the idea of a classically decent Superman in an indecent world, you might enjoy Al Ewing’s novel Gods of Manhattan (the middle of a loose pulp adventure trilogy with El Sombra and Pax Omega, which I’ve discussed in the past), starring Doc Savage and Superman analogue Doc Thunder warring with a fascistic new vigilante in a far different New York City.

5. Superman: Camelot Falls

What: On top of a number of other threats hitting Superman from all sides, he receives a prophecy from the wizard Arion, warning of a devastating future when mankind is faced with its ultimate threat; a threat it will be too weak to overcome due to Superman’s protection over the years, but will still only just barely survive without him. Will he abandon humanity to a new age of darkness, or try and fight fate to save them knowing it could lead to their ultimate extinction?

Why: From the writer of Secret Identity and co-writer of Up, Up and Away!, this is probably the best crack at the often-attempted “Would having Superman be around actually be a good thing for humanity in the long term?” story. Beyond having the courtesy of wrapping that idea up in a really solid adventure rather than having everyone solemnly ruminate for the better part of a year, it comes at it from an angle that doesn’t feel like cheating either logically or in terms of the characters, and it’s an extremely underrated gem.

Recommendations: For the same idea tackled in a very different way, there’s the much better-known Superman: Red Son, showing the hero he would have become growing up in the Soviet Union rather than the United States; going after similar ideas is the heartfelt Superman: Peace on Earth. The rest of Kurt Busiek’s time on the main Superman title was great too, even if this stood easily as the centerpiece; his other trades were Back In Action, Redemption, The Third Kryptonian, and Shadows Linger. Speaking of underrated gems, Gail Simone’s run on Action Comics from around the same time with John Byrne was also great, collected in Strange Attractors. And since the story opens with an excellent one-shot centered around his marriage to Lois, I have to recommend From Krypton With Love if you can track it down in Superman 80-Page Giant #2, and Thom Zahler’s fun Lois-and-Clark style webcomic Love and Capes.

6. Superman Adventures

What: A spinoff of Superman: The Animated Series, this quietly chugged along throughout the latter half of the 90s as the best of the Superman books at the time.

Why: Much as stories defining his character and world are important, the bread and butter of Superman is just regular old fun comics, and there’s no better place to go than here for fans of any and all ages. Almost all of its 66 issues were at least pretty fun, but by far most notable were two runs in particular - Scott McCloud, the guy who would go on to literally write the book on the entire medium in Understanding Comics, handled the first year, and Mark Millar prior to his breakout success wrote a number of incredibly charming and sincere Superman stories here, including arguably the best Luthor story in How Much Can One Man Hate?, and a full comic on every page in 22 Stories In A Single Bound.

Recommendations: Superman has an embarrassment of riches when it comes to runs of just plain fun comics. For the youngest in your family, Superman Family Adventures might just be what you’re looking for. Supergirl: Cosmic Adventures in the Eighth Grade would fit on your shelf very well next to Superman Adventures. Superman: Secret Origin, while not the absolute best take on his early days, has some real charm and would be an ideal introduction for younger readers that won’t talk down to them in the slightest, and that you’ll probably like yourself (especially since it seems to be the ‘canon’ Superman origin again). If you’re interested in something retro, The Superman Chronicles cover his earliest stories from the 30s and 40s, and Showcase Presents: Superman collects many of his most classic adventures from the height of his popularity in the 50s and 60s. Age of the Sentry and Alan Moore’s Supreme would also work well. For slightly older kids (i.e. middle school), they might get a kick out of Mark Millar and Lenil Yu’s Superior, or What’s So Funny About Truth, Justice, and the American Way? And finally, for just plain fun Superman runs, I can’t ignore the last year of Joe Casey’s much-overlooked time on The Adventures of Superman.

7. Superman vs. Lex Luthor

What: Exactly what it says on the tin: a collection of 12 Luthor stories from his first appearance to the early 21st century.

Why: Well, he’s Superman’s biggest enemy, that’s why, and even on his own is one of the best villains of all time. Thankfully, this is an exceptionally well-curated collection of his greatest hits; pouring through this should give you more than a good idea of what makes him tick.

Recommendations: While he has a number of great showings in Superman-centric comics, his two biggest solo acts outside of this would be Brian Azzarello and Lee Bermejo’s Luthor (originally titled Lex Luthor: Man of Steel) and Paul Cornell’s run on Action Comics, where Lex took over the book for about a year. Also, one of Superman’s best writers, Elliot S! Maggin, contributed a few stories here - he’s best known for his brilliant Superman novels Last Son of Krypton and the aforementioned Miracle Monday, and he wrote a number of other great tales I picked some highlights from in another article.

8. Grant Morrison’s Action Comics

What: Spanning years, it begins in a different version of Superman’s early days, where an as-yet-flightless Clark Kent in a t-shirt and jeans challenged corrupt politicians, grappling with the public’s reaction to its first superhero even as his first true menace approaches from the stars. Showing his growth over time into the hero he becomes, he slowly realizes that his life has been subtly influenced by an unseen but all-powerful threat, one that in the climax will set Superman’s greatest enemies’ against him in a battle not just for his life, but for all of reality.

Why: The New 52 period for Superman was a controversial one at best, and I’d be the last to deny it went down ill-advised roads and made outright bone-stupid decisions. But I hope if nothing else this run is evaluated in the long run the way it deserves; while the first arc is framed as something of a Superman origin story, it becomes clear quickly that this is about his life as a whole, and his journey from a cocksure young champion of the oppressed in way over his head, to a self-questioning godling unsure of the limits of his responsibilities as his powers increase, and finally an assured, unstoppable Superman fighting on the grandest cosmic scale possible against the same old bullies. It gives him a true character arc without undermining his essential Superman-ness, and by the end it’s a contender for the title of the biggest Superman story of all.

Recommendations: Most directly, Morrison did a one-off mini-sequel to this run in Sideways Annual #1, where he gets to give his creation of t-shirt Superman a proper sendoff after he was quickly retconned out of the main line. Outside of this, Greg Pak’s runs on Action Comics and Batman/Superman, and Tom Taylor/Robson Rocha’s 3-issue Batman/Superman stint, as well as Scott Snyder, Jim Lee and Dustin Nguyen’s blockbuster mini Superman Unchained, are the best of the New 52 era. If you’re looking for more wild cosmic Superman adventure stories, Grant Morrison’s Superman Beyond is a beautiful two-part adventure (it ties in to his event comic Final Crisis but largely works standalone), and Joe Casey’s Mr. Majestic was a largely great set of often trippy cosmic-scale adventure comics with its Superman-esque lead. For something a little more gonzo, maybe try the hilariously bizarre Coming of the Supermen by Neal Adams. And while his role in it is relatively minor, if we’re talking cosmic Superman-related epics, Jack Kirby’s Fourth World has to be mentioned - it’s soon being reisssued once again in omnibus format.

9. Superman: Whatever Happened to the Man of Tomorrow?

What: More than just the title story, DC issued a collection of all three of Watchmen writer Alan Moore’s Superman stories: For The Man Who Has Everything, where Superman finds himself trapped in his idea of his ideal life while Batman, Wonder Woman and Robin are in deadly danger in the real world, Jungle Line, where a deliriously ill and seemingly terminal Superman finds help in the most unexpected place, and Whatever Happened to the Man of Tomorrow?, Moore’s version of the final Superman story.

Why: Dark Superman stories are a tricky tightrope to walk - go too far and you invalidate the core his world is built around - but Moore’s pretty dang good at his job. Whatever Happened you should wait to read until you’ve checked out some Superman stories from the 1960s first since it’s very much meant as a contrast to those, but For The Man Who Has Everything is an interesting look at Superman’s basic alienation (especially in regards to his characterization in that period of his publication history) with a gangbuster final fight, and Jungle Line is a phenomenal Superman horror story that uncovers some of his rawest, most deeply buried fears.

Recommendations: There are precious few other dark Superman stories that can be considered any real successes outside a few mentioned among other recommendations; the closest I can think of is Superman: For Tomorrow, which poses some interesting questions framed by gorgeous art, but has a reach tremendously exceeding its grasp. Among similar characters though, there are some real winners; Moore’s own time on Miracleman was one of the first and still one of the most effective looks at what it would mean for a Superman-like being to exist in the real world, and the seminal novel Superfolks, while in many ways of its time, was tremendously and deservedly influential on generations of creators. Moore had another crack at the end of a Superman-like figure in his Majestic one-shot, and the Change or Die arc of Warren Ellis’ run on Stormwatch (all of which is worth reading) presented a powerful, bittersweet look at a superman’s attempt at truly changing the world for the better.

10. All-Star Superman

What: Superman rescues the first manned mission to the sun, sabotaged by Lex Luthor. His powers have reached greater heights than ever from the solar overexposure, but it’s more than his cells can handle: he’s dying, and Lex has won at last. This is what Superman does with his last year of life.

Why: I put this at the bottom since it works better the more you like Superman, but if you’re only going to read one story on this list, this one has to be it. It’s one of the best superhero stories period, and it’s everything that’s wistful and playful and sad and magical and wonderful about Superman in one book.

Recommendations: If you’re interested in the other great “Death of Superman” story, skip the 90s book and go to co-creator Jerry Siegel and Curt Swan’s 60s ‘Imaginary Story’, also one of the best Superman stories ever, and particularly one of Luthor’s best showings. If you got a kick out of the utopian ‘Superman fixes everything’ feel of a lot of it, try The Amazing Story of Superman-Red and Superman-Blue! The Supergirl run of Steve Orlando tries to operate on a pretty similar wavelength, and was definitely the best thing coming out of the Superman family of books at the time. The recent Adventures of Superman anthology series has a number of creators try and do their own ‘definitive’ Superman stories, often to great results. Help, ostensibly a Lex Luthor story by Jeff Loveness and David Williams in DC’s Beach Blanket Bad Guy’s Special, is in fact as feel-good a take on Superman’s relevancy as there is. And Avengers 34.1 starring Hyperion by Al Ewing and Dale Keown taps into All-Star’s sense of an elevated alien perspective paired with a deep well of humanity to different but still moving results.

#Superman #Opinion

1K notes · View notes