#for that one single comic; I read a post about those two lines

[meltedmush]

I did a bunch of SVSSS doodles to cope while I was in the 2ha pit 😭

[gonnalosemydougdimmadomedamnmind]

It's literally impossible to read bat fanfiction because it's all based off those ridiculous fanon tropes that spread like crazy and people take as fucking biblical!!!!! Dick was never a jerk to Jason when he was Robin- they got along because Dick is mature as hell and in one retelling- Jason was a jerk to him!! And when he came back as Red Hood he had literally not a single damn reason to treat Dick like shit! Not a damn one! But he did, didn't he? Cause he's the fucking asshole! How dare you make Dick grovel towards that bastard! Dick has only ever tried to help him! Reached out during his Batman run, over and over! Also- Dick never put Jason in Arkham with Joker just a few cells down???? What the fuck! The Joker and all those other fuckers had been broken out of Arkham by Black Mask already for like the whole run??? Jason went to Arkham after losing to Dick, and Gordon put him in there because One he fucking deserved it, Two the literal circumstances?? And at that point!! Arkham was fucking rehabilitated itself!! By Dick!!! Because Bruce had him go undercover there for real, and Dick was actually tortured there before he got out!! So Dick put in the work to get that shit in order to actually help people!!

Dick never chose Damian over Tim- Tim refused to engage with him over his grief, shut him out, and left of his own devices! He never told Dick his suspicions on why Bruce was alive, never! And Tim is not the one to bring Bruce back either, there's a whole team at that point! Dick learns Bruce is alive through tossing his 'dead' body into a pit and the body comes to life as a zombie. Tim didn't tell him shit! Tim is also not a little crybaby- Damian cutting his line was a fucking blip on the page, he was momentarily shocked, that was it! He put Damian on his Hit List, which is why Damian cut his line. And his first attempt at "murder" is just pushing Tim off the dinosaur statue in the cave, he didn't go all assassin on him! Also Dick wasn't even there the first incident and wasn't told about the second incident. Alfred is the one who gave Damian Robin and Dick accepted him because he saw that Damian needed help! He needed guidance! He didn't fucking fire Tim the way Bruce fired him, and fuck all of you for thinking that Tim or Jason or fucking anyone has more right over Robin than Dick Fucking Grayson! He tried to promote Tim and Tim walked off. How dare yall make Dick fucking grovel towards that bastard!!!

Jason did try to kill all three of them!! Why does everyone just gloss over that like what the fuck??? Why does he get a pass for every shitty thing he's done??? "Bad writing" stfu this is the same dude that without hesitation kills random criminals, people who deal drugs, do you know how many random ass people deal drugs??? Jason doesn't give a single shit about being his own type of hero or saving Gotham his own way, nor do the people think of him as their savior!! Are you people fucking delusional?? I saw a post that said citizens would trust Jason over CASS and I cannot Believe the hallucinations yall are seeing???

It is literally downright impossible to find fics about Dick or Damian or Cass or fucking any of them that doesn't include these literal bullshit fanon takes!!! It's impossible!!! This fandom sucks!!!! You don't even need to go buy the comics, all these popular takes have been debunked right here on tumblr!!!! Also Dick can do literally everything!! He's hypercompetent as hell, die mad about it!! Jason doesn't like Wonder Woman???? Where the fuck did that come from??? Wayne Family Adventures is not real!!! Those people could not BE more out of character!!! Look at Bruce for crying out loud!!! Yall know that man ain't act like that!

Edit: leaving this here in case anyone wonders what my hot take is towards this question I was asked: "have you considered tho, that fanon is more fun..."

Well of course fanon is more fun if you're a fan of Jason or Tim. Fanon actively caters towards those two pasty white boys. Fanon actively shits on Dick and Damian though. And for Dick? He literally never did that shit! It is all made up! It's literal character assassination?? But by the fans?? And for Damian? He was 10!!! He grew up as an assassin! He was actively trying to grow with Dick's help! How can yall see him as the bad guy?? And not the literal bad guy, (Jason), and the 17 teen year old who literally fought him back btw, (Tim), like old boy did not act victimized the way you people portray. And Jesus for Cass? Cass is just a prop in fanon. So what exactly about this should be fun to me? Like seriously.

[doctorofmagic]

BLOOD HUNT PREDICTIONS (and spoilers!)

Okay, I see everyone is struggling to keep it cool because of what just happened today in Blood Hunt #1. But honestly I'm very excited to put the pieces together (also very HYPED!!!). So here are my thoughts (and my friend Red's, thank you, my darling) on what we gathered so far through clues, covers and solicitations.

Obviously, spoilers.

Well, first thing I'd like to establish is that people will probably feel lost if they haven't read the last Blade volume. Thankfully, yours truly did! Which means I can provide some context:

Just recently, Blade released an ancient evil called the Adana by accident. To make it up for this mistake (which would lead to the end of the world, basically), he had to embrace his full vampiric powers by drinking Dracula's blood (they're in a kinda complicated relationship right now, not friends nor enemies but necessary allies). That also meant that he was corrupted by its evil.

Plus, as I said it many times, Blade has a deep respect for Stephen because of the Montesi Formula, which resulted in the extinction of all vampires. Yes, Stephen did it once, and I'll get back to it because I think it's REALLY important.

Since we established that Blade might be corrupted, let's move on to the next topic.

Is Stephen dead?

My best guess is "not really".

In Blood Hunt, we see that T'Challa sacrificed himself to protect Cap America Sam and the rest of the Avengers who survived the first strike. But is T'Challa gone? Luckily, I follow Farid Karami on twitter and he posted a few inks he did for Black Panther: Blood Hunt. And guess what? That's right, we'll about to have vampire!T'Challa!

Besides, we all know that the next Doctor Strange issue will feature Wong and vampire!Stephen. What we didn't know was how Stephen would fit in the plot, but thanks to the variant cover I posted last week, we do now: he'll be guiding his allies via his astral form.

Now, how can the Sorcerer Supreme deal with the vampiric threat? It was shown that Stephen and Clea are looking for the Montesi Formula again.

For those who don't know, the Montesi Formula is a spell from the Darkhold that can wipe every single vampire off the face of the Earth. Stephen already used this spell once when he fought Dracula (and Blade was there, hence the respect he holds for Stephen). Unfortunately for them, Wanda has just recently absorbed the Darkhold within her body as a way to gain autonomy from Chthon (as seen in Darkhold: Alpha and Omega). Besides, Wanda was captured by the Bloodcoven, which means she can't do much right now. In addition, as hinted by Blade himself, she won't use the Montesi Formula, mostly because the character can't be involved in another kind of genocide (thanks, Bendis). And that leads us to the next topic.

Who could do it? The very one character who would overcome morals on behalf of his people, the same one who already appeared in the first issue: Doctor Doom. And if we think about it, he has two advantages already: 1) he's second in line to be the Sorcerer Supreme, and 2) as already established, he'd do anything to protect his planet and, most importantly, Latverians.

It's also important to reiterate that an astral form is not as powerful as the body+soul. With Stephen's strength limited, it's not that crazy to imagine that he could pass the mantle to Victor for a limited period while they find the spell. "Why not Clea?" I don't know. It's already established that managing the power of two sorcerers supreme is extremely hard and draining. Could be another reason as well. I'm just trying to find a coherent train of thought through this variant cover here:

Still, we're left with a very important dilemma. We have nice vampire allies in current comics: Brielle (Blade's daughter) and Soldier and Reese from the Midnight Mission (Moon Knight), the three of them being characters to be featured in the tie-ins. Well, not to mention Stephen and T'Challa, and maybe some more to be turned in the next issues. This is why I don't think the Montesi Formula will happen. Jed won't kill THE Black Panther, let's be real. So what's next?

We're expecting a plot twist at some point, and Blade will have an important role here. He's set to have another solo title this year, probably following the consequences of his actions. But there's a high chance someone else is involved. Let's check this panel once more:

Atlantean rituals.... Where did we hear about it before? That's right, Sorcerer Supreme #11!

During the old age, Varnae become ruler of the vampires and was brought back by Marie Laveau in modern age, fighting Doctors Strange and Voodoo. His last appearance traces back to Blade when he and his friends confronted him. Frank Drake sacrificed himself in an explosion to kill Varnae, and that's the last time we hear about him.

But see how the pieces come together? Blade, Stephen and Varnae. It makes sense that things would center around these three. And this is why I'm very excited. It's not a surprise that I love Blade and Stephen's relationship, and all these elements would make a wonderful drama, one that I'm really looking forward to!

Overall, I'm not worried about status quo or anything like that. I know things will work out in time, and seeing so many of my favorite characters involved in an event written by McKay only makes it better!

And that's it! Feel free to add your thoughts on this post! And see you all next week with Doctor Strange #15! 👀

[hadesisonlyalad]

yk i dont post a lot on tumblr but we all saw that red flags post so im gonna take a moment of ur time to say something on each merc and the red flags listed for them. im doing a read more incase u havent seen the “mercs red flags” headcanon post and it does not flood ur page

both the medic and engie things with “not wanting to spend time with you/wont make time for you” is SUCH bullshit if that was the case they wouldnt even date you. and then ur telling me engie tf2, DELL CONAGHER, would NEVER want to take you on a date? like ever??? u are INSANE. And then sorry to tackle medic and engie in the same paragraph but they had a lot of common “””””red flags””””” that were listed. why would he yell at you. he hardly even yells in general (based off comics and voice lines) if anything hes just kinda a loud person 💀 AND YOU BRINGING UP ONE THING WONT MAKE HIM SUDDENLY IGNORE YOU FOR DAYS LIKE?? he KNOWS hes committing medical malpractice btw. he would not leave you for bringing that up he is WELL AWARE of what hes doing. and we see him CANONICALLY DISCIPLINE ARCHIMEDES IN MEET THE MEDIC, WHY WOULD HE TOLERATE HIS BIRDS ATTACKING YOU????

also why are we listing an addiction as a “red flag” what the fuck is wrong with you. i get not wanting to date someone with an addiction, its a valid concern, but thats SO much more serious than a “red flag” or “ick”??? LIKE ARE YOU OKAYYYY???????

AND THEN HEAVY’S RED FLAG IS “he has trauma” FUCKING. PACK IT UP GUYS IG IF YOU HAVE TRAUMA YOU CAN NEVER BE IN A RELATIONSHIP. (/s) WHAT IS WRONG WITH YOU.

i’m fine with the miss pauling ones, at least two of them, because yeah, it’s canon that she doesn’t have the most time and i imagine if ur not a merc or work in that area a relationship might be a bit hard? but shes an honest person, i don’t think she’s gonna lie to you. idk im very neutral about the pauling ones, if anything theyre the most in character of this shithole list.

all i have to say for pyro is like. yk those people who hc pyro as aroace except theyre super weird about it? like theyre either infantilizing them or have weird ableist feelings about pyro? yeah thats the vibes im getting. actually wait where did u pull codependent pyro from actually wtf

i think the “tryna live like hes 20” thing for spy is really fucking funny 💀 like go girl go live through that middle age crisis!!/j no but seriously. hes dating you hes gonna think you’re a 10, and even then YOU’RE SAYING IF YOU AGE AT ALL HE’LL LEAVE YOU??? CANON MILF LOVER SPY. “OFF TO VISIT YOUR MOTHER!” SPY TF2. WILL LEAVE YOU IF YOU GET OLD AND AGE AT ALL…? HE LIKES HIS WOMEN LIKE HE LIKES HIS WINE MOTHERFUCKER: AGED. sorry bad joke lets keep going uh- i think the other hcs are garbage too i just really hate specifically this spy hc. just this one specifically.

im not a sniper connoisseur, my friend will is way better versed in sniper’s characterization, but even i know this isnt sniper. “thinks if he argues long enough he’ll win”…? “cannot support you in anything”?!!?! “IF YOU’RE HIS FRIEND AND YOU TWO GET INTO A BAD ARGUMENT PREPARE TO NEVER SEE HIM AGAIN” IM GENUINELY AT A LOSS FOR WORDS. I JUST. I DONT..? WHAT DO I EVEN SAY. I DONT K N O W WHAT TO SAY. BUT IF I DID KNOW WHAT TO SAY I’D BE SAYING VERY BAD THINGS.

i dont think scout is misogynistic- i see why people think that but me personally i just think he has no game and people mistake it as violent misogyny for some reason. but. listen we know scout is a dick we do okay but he loves women. why would he cheat on you.? bro he’d be glad u picked him 😭 AND THEN THE PERIOD THING?? he was raised by a SINGLE MOM do you REALLY think shes gonna raise him and let him think that way about a natural body function. im speaking entirely from the single mom experience and the answer is NO!!!! also how is loving your mother a red flag. being the youngest child is also a red flag, i guess. and having issues with his dad. (/s) also, second verse same as the first: IF HES DATING YOU HE THINKS YOU’RE A 10 WHAT IS SO HARD TO FUCKING GET ABOUT THISHXWHBVWBWBXvqvsbs?1?2!2’wndjwke

uhhh soldier wasnt. here for some reason. so nothing to say about him.

anyway leave ur opinions below. i rly dont wanna get into any tumblr drama or internet drama at all bc it scares me dearly and im always self conscious about leaving a bad digital footprint especially over something as petty as tf2 drama but i cannot stand for this slander I CANNOT‼️‼️‼️‼️ sorry if u also think im mischaracterizing anyone here i only put hours of studying into my fav mercs and thats. abt it,, listen im silly okay

[jccatstudios]

I have been following your soc comic adaptation and it just so good!!! I love how you draw them!

I have just one question: Why did you not include Inej's opening musings about Kaz on the first page? (Kaz Brekker didn't need a reason etc) I actually really like how there is not text on the first two pages, it's really atmospheric and moody so this really is not a criticism, I don't want to insult you. I guess I was just wondering what the thought process behind that was?

Oh, I've been wanting to talk about this for a while! Buckle up, this is gonna be one of my long comic rants. (Also, no offense taken at all! Anyone's welcome to question my artistic choices and I'm always happy to take critique, even though that isn't your intention.)

So, the thing is I actually planned on including that first paragraph into the comic! Here's when I first shared the thumbnails on here. Just for the sake of this post, I'll insert them here too.

The boxes are meant to be where excerpts of that introduction would go. When I was creating the thumbnails, I was thinking about how iconic these lines were and how well they introduce the world and characters. I even finished the pages with the intention to include those lines. This is from my original csp file.

When I lettered it all out, I felt like something wasn't right...? Hard to explain. I wanted silence for the opening and the narration took that away. I then thought about the reader who'd go into this without reading the novel first, wondering if they'd be thinking, Who's this Kaz Brekker guy? Is it this character on the page? It's clearer in the book, but I didn't think it paired well with what I drew. I didn't want any confusion. It's also Inej's chapter, and while Kaz's parts take up most of it, I still wanted it to feel like her POV and her story. We can hold off officially meeting Kaz until page four.

But the main reason I took it out comes down to my philosophy when it comes to comic adaptations. I believe that an adaptation should use the original story in the best way for the secondary medium. A comic adaptation should play to the strength of comics, not the original source material.

Time and time again, I see a lot of comic adaptations of books try to use a book's strength instead of a comic's. When that happens, you get pages upon pages of narration boxes and exposition that could've easily been told in a single panel's image. If you want to read excerpts from the original novel, go do that! They're beautiful and well-crafted and you should be reading the original anyway! If you're making a comic adaptation, make a comic, not an illustrated version of the novel (that's a whole field of its own).

This whole thing really ties well into what I'm doing for Chapter 3. Kaz is such an internal character, his chapters have a lot more exposition that isn't setting description or character actions. I've had to do a lot more of my own writing for this chapter than the last just to turn that exposition into his own voice as an internal monologue. Sometimes, it's just a change from "he" to "I," but there are other times I've had to write new dialogue and find ways to naturally flow between thoughts. If I didn't do the work to adapt the expository text and instead just put in narration boxes of text from the book, there would be a greater disconnect between the reader and Kaz. Third-person limited works great in books and doesn't separate the readers from the story, but in comics, first-person internal dialogue keeps the readers inside the scene better.

If I were to redo Chapter 2, I think I would try to find a way to incorporate the information from the chapter intro better. I think by losing the intro I initially planned to include, I didn't establish certain ideas very well. Ketterdam and Kerch are established later on pages 4 and 5, but I don't think I ever go back and mention The Barrel. Also, the idea that Kaz is deliberate, even if his reputation says otherwise, is important too. I've made sure to fix this kind of issue in Chapter 3 and keep record of what kind of information I'm losing as I adapt it.

[ashkgray]

Fan-fiction Requests [ OPEN! ]

Hello! I'm Gray, a writer and comic artist with a couple published works. Right now, I'm opening fan-fiction requests! Read the rules below the cut, drop your request in my inbox and I might write it and post it on AO3. Hate it? Welp, no money lost there. Love it? Great! Consider tipping me through Ko-fi! That's all!

An ever-changing list of the media I'm willing to write fics for can be found here.

I'm most likely to write for whatever's in bold. If you don't see a fandom in there but still want to see me write a fic for it, feel free to inbox me asking if I've seen it before sending a request in! Same goes for ships. I've too many things on there to list my ship preferences, so feel free to inquire about those too.

What I WON'T write:

Outright smut. Trust me, I won't do it right. SLIGHT foreplay and fade-to-blacks work fine though.

Pedophilia and Adult/Minor ships, incest, non-con, dub-con and other such bullshit.

Fics for media I'm unfamiliar with.

Anything I'm uncomfortable with.

Mulit-chap fics. ( Unless I feel like it )

What I WILL write:

Shipfics, even for ships I'm not into.

Platonic, familial, antagonistic, queerplatonic relationships and whatever else.

Fics where a character develops in one way or the other.

Fics where a character devolves.

Fix-its. ( Especially for BBC Merlin. )

First and third-person fics ( but third person is preferred ).

Here's a sample of my writing in the form of a quick mini-fic.

She was an Opera Singer. Shoddy but blessed with the luck of a thousand clovers. He was an architect. Top of the line. Designed the very site of their demise. I met them both on the same day. They didn’t seem to know one another and yet the glint in her eyes was so in-tune with his that I first pegged them for lovers.  I’m here to assure you they were certainly not. She had a husband that wasn’t him, and he had a wife that wasn’t her. It just so happened that they were in a similar predicament. Coincidentally. Otherwise there’s no way they would’ve come to me.  I took care of it at a fair price: a couple of dollars and two lifelong friendships. Lifelong for them, that is. My life's still ongoing.  It was throughout the span of that friendship with me that something not particularly favourable had blossomed betwixt them. A ponderable passion. It was nothing sensual or emotional, but maybe spiritual– it was like they were both part of something the rest of the world wasn’t in on.  You know– one day she came up to me and she said something to the effect of... “I wish we’d both just disappear together”  But also without one another.  Her eyes told me the latter bit.  I didn’t expect them to go out like that, though. Definitely not. I didn’t even know she could sew! Oh and with that joint will, too, no less! How ironic.  Somehow, they look happier this way.  But, what do I know, right?  I’m nothing but a humble apothecary, really, nothing more.  That’s all I can tell you — because it’s all I know. So won’t you go on with that marvel of a will now? It’s getting late. 

I'd recommend only tipping after you see the fic just to make sure you didn't send money out for something you don't like. This is also because I reserve the right not to fulfill every single request. So the only way to be sure it'll come through is to wait 'till the fic is up!

[voltstone]

…about the clementine comic (again): why is she illiterate?

I've already written an exhaustive essay about the Clementine comics written by Tillie Walden, and that was before the first book was out. It was more of a discussion of what was already seen from the teaser, Walden being an…interesting choice to write this, but more than that, it was to preemptively stake the claim that no, it isn't canon. Not in the way that's just "ew I hate this I refuse," but more so, "the games (and character) by design and functionality do not allow for single interpretations to adequately continue the story."

These comics can be…a canon. But not the canon.

In the same way as The Walking Dead Game's (TWDG) fanfiction, like my own where I'm writing only my canon interpretation, the others who do the same, and so on.

(This right here is the essay, by the by.)

It has been a couple years since then. I have read both comics, and there is a lot I can say about them. I may one day, but not right now.

Instead, I want to direct attention to how…weirdly anti-apocalyptic it is?? Because it bothers me. A lot. That I'm watching a Clementine as a character get reduced to a kid who doesn't know how to read or write, doesn't know how to dress and care after a wound...

All things necessary for survival—the reading especially within an apocalyptic setting. Which. No. I'm not kidding. I do mean that.

Before I really indulge in my grievances, however, I will start by outlining the world that TWDG has established, and what it actually takes to survive within it.

(And yes, this is another lengthy post.)

[Surviving the Apocalypse]

Throughout the games, we ultimately see the apocalypse under two overarching eras. The initial stage is calamity. The walkers swiftly overrun what people upheld as a stable, and very secure way of life. And the fact that it only takes one factor to destroy the "we're untouchable" notion, it's terrifying. (Which, on that note, though the undead is an extreme, we did maybe learn this post-COVID. Ergo, stories like these may resonate a little bit better than they had before.)

What's different about The Walking Dead (TWD) as a universe is that…, the true calamity arguably doesn't hit until later, because the dead themselves aren't what really destroys the untouchable mindset as before. In most universes, such as The Last of Us, it's something contagious that you don't want. However, it is also something to overcome and fix. Though the dead in TWDG's cousin is far more brutal, if you isolate them, or find a way to vaccinate…, there could feasibly be a future where the fungus is more akin to rabies or the black plague rather than a devastating change in society.

Because that's how diseases like these work. They will never go away, especially if humanity mishandled their responses to them. Rabies is still out there, because it is a violent disease (am also under the impression that walkers is very synonymous with rabies, but I digress). The Black Plague? That whole thing? Yeah, the plague itself is also still out there. The problem was solved by nature, where a fire torched all of London.

But since then, we have vaccines. We know better (…I hope) in how to appropriately respond. And…that's the best we can do. Pathogens will always dictate life.

Of course, this isn't to undermind what outbreaks as seen in those other stories do to the world. They evidently are a turning point, if not the end, of humanity's way of life. The reason why, however, falls more in-line with a society being greatly unprepared, and a virus, fungus, whatever being the perfect amalgamation that spreads rapidly. It's what we as humans have gone through, will go through, to an absolutely extreme. Complete annihilation. That kind of deal.

Here's the thing about TWD, and I honestly could go on and on with this (and why it's my favorite apocalypse I've seen in fiction):

The bite is not what does it. Everyone is infected.

And the longer you think about it, that in itself will not end. I'm in the camp that it would be maternally passed-down given how blood circulation works within pregnancy, so. You know.

The point here is TWD as an apocalypse is very unique in this one change. It fundamentally breaks how people approached these kinds of stories. The walkers are not particularly fast because they don't have to be. They are a looming presence. As they deteriorate, because they're so slow-moving (as apposed to clickers), they manage to tell their own stories in how they died. You can see if they were bit, or starved, or shot… List goes on.

They are representative of nature reclaiming the world, and on top of that, a dangling threat to anyone who has the gall to think they're above it.

Because they're not. So either make sure your head is shot, or deal with walking around like a mangy pile of rot.

It changed how people approached this because rather than a devastating outbreak, this feels like a sort of damnation. There is a very bleak sense of finality to this universe—to the point where… Yeah. They could live on, try to find a cure, but this is it.

This is the true calamity of this world—not the walkers themselves, but the fact that they are there to stay, there is no going back. At least, for a long, long, long time. You can't just isolate them. If someone dies the wrong way, there could be one in the room right with you. Hence…making sure your head is shot.

And as with in the games, it is such a bleak reality that it forces people to just move on.

Which they do. The way to survive this initial era is, amongst a wide scope of things, to accept the fact and carry forth.

The characters that don't, and are simply too rooted in the past, like Katjaa… Well, they don't make it, do they? There's a reason why we don't see that many unable to let go after the first season, because they don't last. If they do, like with Tenn, it's because they got lucky and had a community to fall back on. Regardless, given what we see with Katjaa, Season One (S1) is this time.

The second era of the apocalypse is seeding. Both in the literal sense, and symbolic.

I'm not talking established communities, no. The closest we get to that is the boarding school, given they do have established practices. But, with how many things need to be done, the schoolkids are still within this second era.

Season Three (S3) is arguably the first season of the four solidly within the second era. Sure, there are still scavengers, but there are also several communities at once—enough so that the conflicts between end up being why they fail, not purely the dead. This leaves Season Two (S2) to be the fitting chaos that ensues between the eras, where much of the world is scavenging, they're reminded of how cruel winter is actually, but there are already solid efforts in building communities; then, Season 4 (S4) as well within the second era, with clear signs that there is the gradual chance of establishment.

The second era requires not only what the first proposes—moving on—, but also a sense of ingenuity. They're left with the scraps of the past world, but that past world also grew out of the earth, so they can cobble those scraps and earth together and make something out of it. We have Prescott on the airstrip; that is the epitome of cobbling things together. There's Richmond, and Howe's Hardware as well, where it's making use of the scraps left behind to establish proper farms. Then Ericson's as a meld of both—the kids have their structure, but they needed to feed off the land. (Not quite at the farm stage like the others were.)

All of what I've discussed thus far, however, is on an overarching scale (and isn't exactly exhaustive either). It can be extrapolated and used in reference to an individual's survival, but there are ways to better articulate an individual's survival than just…get the fuck over it, and build a farm.

And what's interesting is there is a vast difference in requirements depending on how they choose to survive.

With a community. Or. Alone.

The benefits to a community is you yourself don't have to encompass the three traits to survive. (Oh, yeah, this essay will have three primary traits of surviving on an individual scale; obviously there will forever be more nuance, but…shush. I'm typing.) Within a community, you can rely upon others that do encompass the three traits—and it doesn't have to be all in one person. The people within a community can specialize in skills.

And the schoolkids best emulate this.

Tenn and Willy, though they have their own skillsets, are example of those who need to rely on others. Both have the school, though they are closest to Violet and Mitch respectively—those, if asked, would likely be considered the closest thing to caretakers that either boys have.

And right alongside them, Louis, because my man…would like to say he's allergic to work, but really, it's the self-doubt. Now, if not a person who is reliant, he is good for raising spirits. He knows games to play. He brings entertainment.

There's Marlon, who's the well-spoken leader. Ruby, who plays nurse. Aasim, who…writes? Writing's important and stuff in the apocalypse, right?

(Yes. It is. Again, we will get to that, so, hush-up.)

Rosie. Dog. (This is also very important. You can pet her!)

Mitch was likely the muscle, or something along those lines. Omar, the cook.

I would say Brody sits near the "needs to rely" camp, given her anxiety, though, she does actually pull her weight, ergo, support. You can task her with anything. She'll likely be able to do it, such as with fishing and hunting.

Violet was also probably another support, though it is difficult to really tell at the beginning because she's withdrawn from the rest of her people. (I've always felt the Violet we meet at the start isn't who she was before the twins left. Of course, Violet is Violet, but… Depression, and stuff. Probably BPD stuff.) Here's the thing though: come to find, Violet is also another thing.

That being deputy. She can step-up and play leader when need be, but will step down because that isn't quite what she is—hence why the leadership ultimately goes from Marlon to Clementine by the end. This has Violet be the ultimate support. She can do whatever, fill in the leadership role, so on and so forth.

As the community develops, the others will find more nuances in themselves like these. Beyond what I've outlined, and the present nuances already in S4.

The thing with this line-up to understand is there's huge variety here. Not only in the nature of each role, but also their complexity. Because…, turns out, there's a lot to living.

Which. I mean. All of that is no shit, Sherlock. Because yeah.

When I go on about, say, Violet, it's to explain a very specific concept that one word is not going to do. There's a specific reason why I say deputy, and not second-hand; there is a thing where roles will and do change depending on circumstance, and time. (As with Willy (and Tenn) when he grows up, and when Louis becomes more confident.) But this doesn't mean it's more important. When I say "Omar, the cook," or "Ruby, who plays nurse," neither are to designate either as lesser roles.

They're actually crucial. Because no fucking shit. You need to eat. You need to learn how to mend yourself.

It's why those roles are so…simple. Because title alone says everything.

Certain roles, like Violet's (which…may or may not be ironic), are very community-centric. Others, like Omar and Ruby's, are fundamental to just life. And what you see is within communities, those fundamentals go from just skillsets to an art or to a science. When you have people who specialize in each, they are given the time and space to truly understand the ins and outs of what they're doing.

Cut to alone.

Those like Clementine.

Surviving alone is difficult because not only are all of these crucial roles in the community on one set of shoulders, there has to be great sacrifice. Of course, a leader or deputy isn't needed because there's just one. The social aspect of a community is not present.

With that social aspect follows specialization of the core fundamentals.

You need to eat. You need to learn how to mend yourself. And defend...

When you are on your own, without the security of a home, you are not given the time nor the space to truly know those ins and outs. So, when you look at those like Clementine, yes. She's not going to know little tricks, or the sciences, in what she does. The stitching for example:

Clean it. Sew the fucking body part shut. Wrap if you can. There you go, you just did stitching.

Which she does. However, S2, part of why the dog bite (oh, and yes, comic people? yeah, there's supposed to be a deep, concerning scar down her left forearm) scarred the way it did is because 1) …um, she was in a shed, dunking-back apple juice in between sutures in my case, getting jumped by a dead dude, and 2) the stitch-work was very rudimentary. Enough to close the wound and have it heal, sure. Then, S3, the same with Javi; Kate upon inspection does mention that she sees it bleeding through, indicating that again, it's very rudimentary. But, we have Eleanor examine it, and she notes that it is satisfactory, so long as it's looked after.

Had someone like Ruby, or better yet Eleanor (who Dr. Lingard complimented this exact skill) done it, they would have known different stitch techniques that not only closes the wound tight, but also leaves minimal scarring. And the other things, like how to adapt the techniques to different parts of the body, because…no, you really can't just stitch a knee like you would a back.

But again, Clementine didn't have the time to really learn the specifics. She's busy learning how to cook, and hunt, and defend, and scavenge supplies, drive, shoot, car maintenance, feeding a child, taking care of the child, protecting the child, prioritizing necessities…

Essentially, in terms of community vs solo, it's an argument between the specialized, and the jack of all trades.

Stay with me now. I'm not exactly done going over what is needed to survive, because there are more. There's the three traits I mentioned. But as I babble on, once the discussion over the comic begins, I do hope it's clear as to why I am going through these things as meticulously as I am.

Now we get to why Clementine of all girls would be able to live in this kind of environment. She's a kid, but like…young adult given the context. (I'm sure the medieval ages wouldn't argue.) She's like…stupid, or something. She only went to so much school, and we all know that only smart people graduate from school. I never met a dumbfuck at college ever! No!

…got a little side-tracked.

Genuinely though, what is it about Clementine?

I'll start this with a curveball:

What is the dumbest thing that she has ever done within the games?

There's room for debate, but the majority will probably point to S1, where she goes on to trust the voice at the other end of her radio—the voice being the Stranger's.

It's the decision that we, as an audience, thought Clementine was above doing even at that age. It's also what ultimately kills Lee.

Here's the thing, though:

Clementine putting faith into the Stranger wasn't just a child being stupid. For one, she is…eight/nine. So. A child. But, two, it was an exercise of her greatest flaw:

"She's a puzzle."

Something that is brought up, time and time again. To my mind, it's most notably done by Katjaa, whenever they're beside the train, and Duck is of ailing health. Clementine sits on her own log. Doesn't respond much to Lee, not until Chuck (as a breath of fresh air) comes to join the party.

See, she heard a voice from the other end of this radio—one of two (including the hat) mementos she has of her family—, and the one thing that she had in way of sanctuary. The Stranger said the right things, so she kept to herself with that radio, and let her desperation flourish.

Finding her parents was the one thing she wanted. So yes, through a child's gullibility, and a man's manipulation, she believed the wrong person.

We see this sort of flaw propagate time and time again. Granted, it does depend on the player's interpretation of her for S2 and S4, given we play as her, but in S3 where she's (quite literally, for the most part) out of our hands, what does she do? She keeps to herself. What happened to A.J? was a question on our minds, largely because of her reluctance to open up. Clementine lies to Javi about the New Frontier, then she turns around and explains her lie…, reveals her branding…, purely for survival's sake, not because she wholeheartedly trusts him.

Of course, in S3 it's understandable that she doesn't just open up to Javi. That game covers only a handful of days—short of a week by the end—, with the exception of the flashback sequences. (As opposed to S1, across several months, S2, a few weeks to a month, give or take, and S4, which sits about the same.)

Still, however. This is absolutely a part of Clementine's character: she's reserved. Without the player, her first inkling is to keep herself from the topic of conversation.

The thing to understand about this flaw, and how it bleeds into the comics, is that…I think(?) Walden acknowledged this part of her character. But…half of it.

The reason why comic Clementine pulled away from the boarding school is because she…, as she does…, kept to herself after her leg, got into her own head, and thusly ran off. I will say, I do agree that Clementine would be an absolute fucking mess with her leg gone because she has to rely on people again. (Which is devastating because of her specific trauma: à la parentification.)

Now…, run away…? Um…

(…it's also this specific trauma that… Um. Yeah no, she would not leave A.J.)

Whatever. Not the point of this essay.

The other half of this flaw, the half that the comics blatantly miss, speaks to quite an…insightful aspect of Clementine:

She is a very, very perceptive individual. Because the thing we see in S1 is that she's not just quiet. She's watching. She's observant. Clementine is quiet, not only because she gets into her own head, but because she's taking in the world, and so she notices things that other people don't pick up on.

Throughout S1, there will be moments where Lee can try to sugarcoat things, particularly after Duck's bite, only for Clementine to say it plainly:

"You don't know that."

Those moments speak to a kid who knows the difference between reality and not, and telling Clementine that she won't get snatched or bit is…not reality. It will likely happen, and it does.

Other moments, she'll notice details in the environment. She can point them out. Help Lee, as with getting into the train station. Make a comment, like in Hershel's barn with the "dookie"/shit/manure.

Or, back in the drugstore, where Carley (…not too subtly) outs Lee as a murderer in front of Clementine. …which, of course, Clementine picks up on. (The trigger for this is to pick up the photo of Lee with his family, hence why it can be before or after moving the desk.) To which, upon leaving the drugstore's office, she'll ask about it, and you'll have the option of being open and honest, sugarcoating it, or just flat out lie.

Staying in the drugstore! Lee asks for something to bar the entrance. Walkers are scratching to get a nibble. And? Immediately, she goes to his dad's cane (cuz that man ain't using anymore!).

S2. Same spiel. Because…, oh boy, incompetence is rampant as it turns out, and as I've stepped into adulthood for myself, I've come to appreciate that season as essentially "Clementine learns why the motel family fell apart, adults are grown ass children, she has to babysit them— KENNY, DOWN! STOP IT! STOP BITING THE RUSSIAN!— throughout a winter."

Because. Newsflash. Adults? About as stable of a concept as a table with a missing leg, then another one of mangled-together cutlery. And I will forever adore stories from a kid's perspective slowly realizing this fact.

(…also, parentification's a knocking. It wants in.)

Then, S3, where she gave up being the hero, but still…, somehow…, rattles off exactly what the player needs to do and where to get the tools when stealing a truck because she just can't help herself.

…okay, I think I've done enough. S4 also speaks for itself.

Point being, Clementine is a very perceptive, very resilient, and very adaptive person. It's why she out of all the kids she comes across is the one to survive.

Sarah immediately comes to mind as someone who really struggled with adapting. She can, but the tragedy of it is that it's not in time. Too little, too late. (Circumstances also don't help.)

With Gabe (if he dies), same kind of thing. He always struck me as someone painfully unaware of how good he had it, and how bad everything else was. And he needed to grow up. Fast. But again, that alone isn't what saves him—his uncle, and/or Clementine do(es). If he's saved at all, anyway.

Duck? Same fucking thing. And it was his death, through Chuck, that spurred Lee to start teaching Clementine the basics.

To which she adapts, and she adapts well. Their first outing doesn't go…all that great. Clementine freezes. But, throughout S1, she does shoot her first walker (with Omid, or in Crawford). If Lee cannot fight off the Stranger, she will be the one to kill him. And then, of course, the whole Lee death scene thing.

The second season starts off with Omid dropping because of a neglected gun. (Clementine freezes again.) Change is always on rocky road—despite the season prior, she still had a lot to learn, and she did throughout said season.

Perceptive, and resilient, and adaptive. To be those is the ticket to survival. Those are the three.

So why…does it seem like the comics don't know?

[VANCOMYCIN]

To anyone unaware, vancomycin is not a random string of letters for Clementine to work her mouth through. In fact, she knows how to read it. Had to, in order to inject this medicine into A.J within S3—whether or not she goes through with it is dependent on player choice.

Vancomycin, to give a better idea of the sheer desperation she was in, is not something to treat the common cold or flu. It's to treat Gram-positive bacterial infections—hence why it wouldn't necessarily work for colds or flu, given most are virus-borne—, and is generally synonymous with more serious infections.

Meaning. A.J was genuinely sick.

(My hunch is bacteria-borne pneumonia.)

I don't know what most of the fandom assumed, but it was not just a little bug. It was…bad. And a legit miracle that he survived (whether it be without the injection, or…with the injection where Clementine poked the syringe through his shirt? Game? Graphics?).

What likely happened was, somewhere down the line, he either just caught something on an off chance (the world hasn't been sanitized), or he got too close to danger and got himself sick that way off of one of the walkers/animals around. (If it was pneumonia, he likely inhaled something.) Regardless, Clementine was at a point where she…just did not have the resources to help him, would not know where to look, wouldn't feasibly be able to scavenge for it, and so she joined the New Frontier (whether or not you had her agree initially) because it was just that bad.

It is a heavy drug. Not only does it give insight as to why Clementine chose to join regardless of your choice for her, it also explains why the group threw her out for even handling it. It's not like aspirin that's easy to come by.

And, of course, there's the pronunciation of it. As with every medical term like this, it looks and sounds convoluted, but as you break it down, it's pretty straightforward.

Keep this in mind as I rattle on further. I find the vancomycin to be a very succinct contrast to what I take issue with in the comics.

Speaking of, the comics.

Hello there.

…Clementine.

The Clementine Comics, by Tillie Walden, read as a hard reset on the series, from S1 onward. Which yes, is the core issue. There was no effort in even trying to continue off from S4, it was just a way to have Clementine still run around, while avoiding the whole Telltale-RPG implications of a continuation.

So, if you're somehow out of the fandom and you're reading this, hi? Welcome. This is why people are upset about the comic, and for once, no, it's not just because this fanbase is being…unhinged. (In a bad way.)

On top of the plot decisions, however, there are things that just prove Walden was not the artist for this project. The artstyle is an interesting(?) fit for TWDG, but ultimately is an aside. There's the focus on romance. There's the dull characters.

And then there's Clementine herself. Very out of character, and that's coming from someone whose Clementine has…made decisions in her life.

What this essay will focus on, however, is the choices made to have Clementine incompetent.

Medically so.

In the first book, Clementine is taught how to clean and dress her amputated leg. I can get behind learning how to wrap the thing properly, because it is a different part of the body, and it's a different angle—on herself, not someone else.

But she asks…why she needs to clean it. Like she doesn't know. Clementine has to be taught that.

This kind of ignorance then follows her into the second book, because she fell ill (and slipped into a month-long coma??), largely due to her not cleaning the wound. Her leg had an infection. And it spread.

…okay. Um.

That's very interesting considering Clementine:

(S2) Got bit by a dog, felt like she needed to take care of it herself due to circumstances, cleaned it, sutured the wound with fishing wire, and then went to bandage it (before getting attacked). (By the way, the scar is not on comic Clementine. So.)

(S2; optional) Can sit beside Rebecca during her pregnancy to help, but then does have to assist with the walker/lurker problem.

(S2) Tended to Kenny's lost eye because he was beaten by a walkie-talkie by cleaning it.

(S2) Probably had to deal with that whole wound in her shoulder, you know, from the FUCKING RIFLE SHOT, either with Kenny, Jane, those at Wellington, or on her own (feat A.J). (No, they did not patch it up because time, and it went clean through. When Jane and Kenny fought, Clementine just had an open bullet hole.)

(S2/S3) Had to take care of a baby. With Jane or Kenny or in Wellington, and/or on her own.

(S3; alone S2 ending) Broke her finger on a car door to the point where she (presumably) had to amputate and cauterize the finger herself.

(S3) THE WHOLE VANCOMYCIN THING. I WILL GET BACK TO THAT.

(S3) Cleaned and sutured Javi's arm after he got shanked (cuz Gabe… never mind).

(S4) Twas a great start. Car accident—boo boo head.

(S4) Had to patch-up A.J cuz he got shot by a shotgun. And was in recovery for two weeks.

(S4; optional) Louis/Violet gets their finger chopped off. Probably helped deal with that.

(S4) Um. Her leg? You know. The one she lost, and the schoolkids managed to get her stable. Willing to bet Ruby would lose her fucking shit if it wasn't cleaned properly.

And that's just what we do see, in regards to Clementine personally.

Do I…have to go on and explain why it's fucking stupid that she doesn't know the basic information she had to learn in the comics? No?

Okay. Good.

I will get back to it, because I think this choice is indicative of a larger issue. We'll get to that weird…bias the comics have with Clementine being negligent and ignorant to all things medical.

Because now, we're here.

Not only is Clementine ignorant medically, she struggles to read her way through a dictionary. There's scenes of her sounding out words like she's in preschool.

For what reason?! Because in a world where people don't have higher education, they just don't read and write?! What?!

Okay, so, no, I didn't outline precisely why reading and writing (more so reading) is crucial of a skillset to have within an apocalyptic setting. I will do so now.

Because it's the crux of this essay. Hence why I've given it its own section. (…that's what this is, by the way.)

Why is it, exactly, "so" important Volt? Society's gone!! You don't need to read!

Listen up, ✨ dipshit ✨ This is an apocalypse. Not a nomadic setting.

Okay, that was a little mean. If you're asking this, you're not a dipshit.

Anyway, I am being genuine here. To the point where even implying that nomads by nature are illiterate is also…wrong. Because that's not necessarily true either, but assuming so falls into such an ignorant bias that people in 1st world countries have. (The same that the comics have.)

And this bias is the reason why I really, really want to have this discussion because the comics really rubbed me the wrong way with this, and, I'm kinda sick and tired of reading other people implying the same thing.

So let's start here:

What distinguishes us from the rest of the animal kingdom? Why is it we consider ourselves more intelligent?

The answer boils down to one thing:

Our mouths.

We can talk. And in doing so, we can communicate to each other very complex and nuanced concepts that require articulation beyond body language and emotion.

It's why we're able to distinguish things like envy versus just being irritated by someone. Because frankly? They physically feel the same because they are the same emotion. The context is what differentiates envy vs irritability. The why.

"I feel [this] because I want what they have." vs "I feel [this] because they're being stupid right now."

The [this] is the same. The body only has so many ways it can tell you what you're feeling, so it ends up boiling down to very basic emotions, where they can be felt at different extremes, or in unison. So. You know. Think Inside Out. What makes envy special is…you have to take context into consideration. Yes, it is also irritability, but it goes beyond that. And it requires language to communicate such a thing.

When you look at animals, that's why they're "unintelligent." They respond to what they feel the way they do because they don't have a way to articulate it. So they just react. Rather blindly in our eyes. Same thing with babies. They haven't gone through language acquisition just yet—they're in the same boat. It's also why a lot of dog breeds are said to "have the same intelligence as a 3 year old." It's related to language. They feel the same emotions, or whatever equivalent (can't claim I know how their bodies process emotions). However, they physically cannot exercise language verbally. Ergo, they're more or less stunted in the acquisition.

And then you have that we are wired to speak. Our mouths by design are made to verbalize complex sounds. A lot of our brain power is in being able to talk, or at least comprehend patterns in speech if the individual is mute. I for one was a child who rarely spoke for my first ~4/5 years, but I knew what people were saying. (Funnily enough, I was a lot like A.J.)

Beyond emotions, it's also to communicate things rather than [follow me, are you following, I'm looking at you, follow me,] it's "okay, I'm going over here, meet me by this tree." There's immediate clarification. There's a passage of thought between two brains. We don't have to interpret body language as much, we have to comprehend words.

To the rest of the animal kingdom, that makes us already mind-readers. Given that people are honest, and can articulate well, we literally are.

…it's also this emphasis on verbal language that has people be real fucking shit a reading body language, but whatever.

The point here is language is so fucking important. And there's a reason why we started writing things down. Some of the first records of written language, hundreds upon hundreds of years ago, were to keep track of agriculture. We also forget things, so we wrote those down. Heard of the Iliad? The Odyssey? Those were orally passed down for generations, but Homer decided to scribe them so they weren't forgotten. (From what I remember, he wrote those during the Hellenistic era of the mythos. …I want to say the stories come from the Mycenaean times?)

And above all.

Long distance communication. Or. Leaving behind knowledge.

So there would be couriers. There would be scholars who learned from scrolls of scribes decades before them.

(In modern times…, labels on products so that you know what it is, how to use it… Just a thought.)

Language is what makes us different. And by proxy, writing helps us retain that.

It is never something people are just going to abandon when the world goes to shit. If anything, it's going to be the one thing people will grapple onto by the skin of their teeth.

Out of the two, yes, language would come first. There are many cultures that lived (even thrived) without having a true writing system, and did just fine because the culture had such an emphasis on oral tradition, or other ways in cementing their culture to the test of time. A lot of the Native American cultures come to mind. Nowadays, however, there's been an effort to have them written so they aren't lost because…colonialism. I don't really need to explain that, but I do think the history is important to understand (the linguist in me is also morbidly fascinated). In summary, however, the way in which these cultures were torn apart rattled people, and people saw their way of life was evaporating with every person lost. They couldn't leave anything physical behind.

I do bring this contrast to light, however, because there is a detail to understand about an apocalyptic setting, and its relationship with written word: it's reflective of what society fell. If the society before was like a lot of the Native cultures, where their culture was recorded through oral traditions and other practices, then sure, I would expect the people left behind to be "illiterate". …at least, in terms of writing. They're literate in those oral traditions and practices.

But, that's not TWDG. What we have is a society that is reliant on writing. So much of our world is articulated through an alphabet printed onto a surface.

In any case, back to the apocalyptic setting.

Another thing is, yes, we do see language come before writing. In survival, it does land people in situations where it's "I don't have time, I've been starving, I'm going to grab all the food in this place before the books." Of course. Then you have that books are heavy. You're not going to realistically carry a library around. You're going to choose other things that would help immediately.

Like a knife. Or a gun.

Those do better bashing heads in than a book (but a tome wouldn't do that bad).

Here's the thing though. To step back to how reliant our society is on writing, I don't think people realize just how much they read. (Hint: you're reading right now. You had to read in order to navigate this page.) So here's the follow images of things that, in an apocalypse, are pivotal for survival, and requires of you reading comprehension:

Signs. Food labels. First Aid labels. Maps. Manuals. Guidebooks.

You need to know where you're at. You need to understand what it is you're eating, how to cook it, and quality (ex: expiration). You need to understand first aid, what you're working with and how to apply it. You need to know where you're going. If you have equipment (like, say, a car) that you're not privy to, but need it, you need to learn basic maintenance. If you're not familiar with how to do certain activities (how to make jerky, how and where to put your urine/fecal matter), you can learn in a guidebook.

Literacy is about self-sufficiency. And each of these represent different aspects of how to live off of the scraps of a failed society.

Signs are pretty straightforward. They're articulated landmarks, and given how streets are, they're good to follow for navigation. If they're signs for complexes, they're a good way to know where you should scavenge should you be looking for a specific thing. Ex: hardware supplies; you're trying to build a camp. Either it's get lucky, or go over to someone's garage, or go over to a hardware store.

Food and First Aid labels are different things—the way they're organized is very different—, however, they serve the same purpose: those are there to inform consumers how to eat/utilize. Even though each have a very specific language, they are designed so that people not specialized in food or medicine can use them. This also applies to a lot of agriculture. Things like seed packets. Or anything that can be planted. If it has a consumer-base, there's a label on it. If it doesn't have instructions, it will most likely inform what it is.

Maps is where we start to get into more "optional" territory. Do you necessarily need a map to survive? No. It would be a life-saver to know where you are, even away from where the society was established. It would also tell you where the next town vs city is (which, to someone like Clementine who may be inclined to avoid cities, she would know which roads to take).

Manuals and guidebooks, again, are the same. They also fall into the kind of thing where weight now has to be considered.

But. Here's the thing: how many people know how to go camping? How many people were ever in boy/girl scouts? And how many more people didn't have to learn any of that because society promised security and the fact that…we don't need to focus on survival?

Okay sure, go on and on and on about how people who knew those skills already and prepped for the apocalypse would be the ones to survive. Because, uh, don't know about you, that's not necessarily how that works (luck is always a thing, and people surprise you), but also, within TWDG, I can only come up with so many people who would fall into that camp: Lilly, Mark, maybe Larry (military experience), Christa (got the vibe), Pete. Um… …Carver? He talked about, like, sheep and stuff. In reference to people, sure, but like… Uh. Hm. Well shit.

You know all the people who didn't have the experience before the apocalypse? Everyone. Fucking. Else. Including Clementine.

This is the reason why manuals and guidebooks are invaluable. They speak to a luxury because you do have the space and capacity to carry them around, so that you can gather what knowledge they have. And people just don't know this shit. Community helps, because you may meet someone who does, or has read up on it, so you don't have to. But when you're alone? …kinda a really, really good thing to have.

And none of that is going into how important books are in just passing the time. People get bored. Books are nice if you got a bum leg.

Regardless, my point should be quite clear. Sure, reading and writing will not be important in the same immediate regard, and neither will be as prolifically done as it was before. Within an apocalypse, it's not about texting, or emails, or news reports, or essays… None of that. Ergo, they're designated as an investment that weighs heavy (quite literally). It takes time to read. It takes strength and space to lug them around. You may not have any.

However. With all of what I raised, it goes back why it is, actually, so fucking important to be literate to some capacity. And to build upon that literacy. Because these people are not just living in caves. They're not in a place where humans have never gone before—quite the opposite.

Which makes it an apocalypse.

In order to navigate within the carcass of a fallen society, you need to be able to comprehend the very scraps that you're taking from said society. It left behind food, and medicine, and tools, and machinery, and knowledge. To just put that all to waste because you can't read?! Really?!

And what about a life-and-death situation where it entirely depends upon your skills in being able to read and comprehend information given to you?

I'm going to go back to the vancomycin now.

It's not something the game harps upon, but it is significant enough to Clementine's arc in S3. This medicine, regardless of injection, is why she could not see A.J, and why she had such a resentment for the New Frontier. They said they could help. In her eyes, they instead left him to die.

It is also a significant point of interest as far as this essay is concerned. Because this scene alone encapsulates all of what I'm rattling on about:

The medicine itself is a scrap of her past society. They're not making these anymore, and while I can…question how good that medicine would be by this point in time after the apocalypse (shots do have an expiration date; they also need to be stored appropriately, like in refrigerators or freezers), the vancomycin represents a limited, valuable resource.

Clementine's comprehension of what this medicine is, and why she needs it, speaks to something far from an ignorance medically. She is competent. She even knows to ensure there aren't air bubbles trapped in the syringe (hence why she lets some of the drug out before injecting; air bubbles can lead to…really nasty ways to die).

How she actually knows which drug to use, well… Either someone wrote it down for her, or she wrote it down herself. Maybe Dr. Lingard told her, or she found a resource somewhere and realized that's what she needed. It speaks to literacy, despite the challenge medical terms often have—even for medical professionals themselves.

This…is what it takes to live in an apocalypse. You have to be perceptive, and resilient, and adaptive.

Part of that adaptation is being perceptive of your environment. This environment asks you to read it—because it says everything, wears its heart on its sleeve. Ergo, you have to adapt by learning how to read.

Maybe not novels, or scriptures, but specific things. Like signs, or labels. Maps.

But this comic, it falls into a bias that a lot of people have.

And that bias bothers me. A lot.

[Why Does This Hurt Me So?]

There are three reason why this just does not work for me.

First of which, Clementine's characterization. The continuity of it. I really don't have to go on about this, since if I do, I'd just regurgitate all of what I've established before. For the sake of this section, it's just that Clementine is medically competent, just not in a specialized sense, and she knows how to read to get by. (She even starts to teach A.J how to both read and write.)

Now we'll get to the larger points of discussion.

Secondly...

How the fuck did Tillie Walden get this project?

Say what you want about the artstyle, or the characterizations, or the narrative. None of that is really what this essay is on, but are all viable criticisms down this same line of thought. You have the artstyle being very whimsical…, but…since when has TWDG been about whimsy? Or the characterizations? Which…, by now, we know about that—again, I don't need to regurgitate. Then, the narrative too? Why does it read like a romance by the time the second book comes around, rather than a story of survival?

Actually, that last one may be relevant to this after all.

Walden does not write apocalyptic works. Of course, there is no correct way in writing an apocalypse, but I'd argue this is one of the wrong ways. Not only do these comics misinterpret the bulk of Clementine's character, and precisely why she's been able to survive as long as she has—to the point where her playing the games at all is put into question—, these comics also have a strange notion on basic intelligence, and does the thing where people without school are just…stupid, almost, if not plainly illiterate.

It goes against what I've outlined as a mark of an apocalyptic setting—the survival both within nature, and within the rotting shell of the society it once was.

And, it feeds into this bias that I keep bringing up.

That bias is the third reason, and it's not a comment on Walden herself, because she's far from the only person I've seen/heard make the same assumption(s).

The bias I refer to is what I'd like to call the Modern Intelligence Fallacy. I'm confident that I and this essay are far from the first to comment on this…thing people do.

Essentially, it's whenever people judge the past and/or present group of people for being "dumber" than the current society they're based on, solely because "we're modern; we have technology, and medicine, and schools. And we know how to read and write too." It's when people undermine other cultures and/or time periods because they themselves are ignorant to what intelligence actually means.

Going back to Native Americans, and any cultures alike that didn't have a written structure. I've heard people make comments and assumptions, rather ignorant ones. But the fact is, no. The lack of a writing system is not indicative of intelligence, it's indicative of what the culture valued, and how they wanted to express that.

Part of why writing is such a core element in many European cultures, for example, is because…colonization. Look at English, and why it's such a patchwork language. They had to find ways to communicate long distance, because have of them were separated be countries between. Ergo, they wrote. Nowadays, there's telephone, or video. Then, there are other contexts which beckoned for writing, but I digress.

With a lot of these Native cultures, they valued community. That's why so many of their traditions fall within that, and that's how they communicated and passed down their history. Essentially, they just found other ways to do what the other cultures around the world were doing, and it worked for them, so what of it?

The attitudes behind this fallacy doesn't care, however. This bias does put value on the presence of language in written word in regards to intelligence, and an overall sense of superiority.

Yes, I've gone through and maintained that I do not believe, for a second, that Clementine is illiterate, and I've been defending that tooth and nail. I also do put value in language—I'm a writer, and I love linguistics. Of course I do.

And that's the awkward bent in this essay.

So, I must say, the thing to understand is…it's not really about the language itself. It's the attitudes behind the bias.

You here to argue that Clementine isn't as competent reader/writer like a girl her age would be now? (…present issues with the school system aside,) yeah. Probably.

But then why…does the comic have her be negligent with medicine? To the point where it comes across as, "Yeah, Clementine! Clean your wound! Everybody should know that! And that's just the basics!

"Silly kid in an apocalypse! She needed a grown adult to carefully explain it to her!! Oh boy, we would be so lost without our society now!"

This is why I've also taken note on the medical throughout all this. Because the medical practices aren't really related to literacy. You can be told, like Clementine was in the games, and go from there.

In the comics, however, the moments where she's told about how to take care of her leg, and the moments where she is learning how to read… They read the same. Because they are the same. They're commenting on this weird idea that humans would be stupid without our current advances, which is ridiculous because in order to have said advances…, we needed to be learning this shit before in order to create them.

These moments come from this Modern Intelligence Fallacy, and it bothers me because, let's face it, we're just as smart as we've always been.We have more knowledge. Whether it's we pass them down through specific traditions, or we've written them down to share beyond time and distance. But in terms of intelligence… No.

Do you know how many stupidass people there are out there?

There's tons of them. If anything, there's more of them now because they can rely on their communities to do the heavy lifting. And they saddle themselves right beside the people who need to rely on others, and not by choice.

I'm talking as though I'm not one of them. I don't know. I might be.

I did accidentally melt two plates in microwaves on two separate occasions so. If you want to take my words with a grain of salt, fine.

With that, though, hopefully my point(s) came across well enough.

[Conclusion]

And now I am left here. With…this.

I'm not as resigned as I was of TWDG since the comics came out, because quite frankly, there's so much to these comics where…it just feels like I'm not watching Clementine. Whether it be I'm on a couch silently judging someone else play the games, but nodding along to play nice, or just…this isn't the character at all… Yeah, I'm still stewing on it. But, I have my fanfiction, and I have the games. It is easy to ignore the comics.

The reason why I've decided to write this is 1) I find it interesting, 2) the bias people have is SUCH a pet peeve of mine, and 3) I am BAFFLED by Skybound. I honestly don't know what qualified Tillie Walden to write this, to the point where I'm frankly impressed.

It's one thing to hire someone who's unfamiliar with the franchise in hopes of an objective and new perspective, or an artstyle to try something new and unique...

And entirely another to hire someone who either isn't interested in writing, or doesn't know how to write, the genre. There are so many ways to go about writing in an apocalypse, but at its core, it will always be "no matter what, humans are going to human." This is how you can have stories of hope in an apocalypse. Or have them be bleak. And so on. With TWD, it's always been a meld of both.

Because it's human are going to human, this…bias towards any scenario where people are not traditionally educated gets in the way. Because "traditional education" is not traditional, actually. It's societal. What is traditional is people learning an array of skills to survive, much of which is medicinal, and with writing… That's dependent on the environment. Way back when, in times where the world didn't rely on literacy, absolutely not many people would be literate. But in eras where so much hinges on at least being able to navigate?

Or or, in times where you are relying on a recent past that did write and read as much as it did for survival? Um. Yeah. You do need to be able to at least read, if not write as well, for communication's sake. Which I didn't go much into, but oh well.

And this right here is what TWD is set in. This universe isn't a hard reset. You're effectively just going back a couple hundred years. All the infrastructures and scraps left behind are still there, just not maintained.

So… Yeah. I don't get it. The most I can fault Walden for is being negligent, but this is just…Skybound, not caring enough about this story to the point where they'll hire anybody for some reason.

I also don't get the bias people have about intelligence, and stuff, but I really…, really don't want to go on a spiel again. It incites violence within me. I've already gone and done a mini spiral over the comics themselves, and they were kinda but not even the point.

Ah well. I'll just crawl back to my hovel now. The links to some of the linguistic concepts I raised are below, if you want to do any additional research. The specific articles are more generalized to give a broad picture, but can be used as a jumping off point should they pique an interest.

I'm just gonna continue to write about my alcoholic Clementine.

Hope you enjoyed.

:)

Linguistic Articles:

History of Writing Systems (1), (2) ; Language Acquisition (1)

Native American Language History (1), (2), (3)

[themuskrater]

I just played and finished Gotham Knights for the first time

And I have a LOT of thoughts. I might go in depth on certain things in other posts, but I want to kinda go over my general thoughts and feelings about this game. Spoilers ahead for:

First things first, if you want this to be "Arkham: Gotham Knights", you are going to leave very disappointed. The game's reception was hurt pretty bad by comparisons it to the Arkham series. Arkham is a masterpiece. Gotham Knights is very good at what it wants to accomplish, but comparing it to Arkham feels unfair. I mean...I'm gonna do it anyways, but I'll compare them with the intention that the Arkham games and Gotham Knights set out to accomplish two different things

The Good:

•By far, the best aspect of this game is the scripted moments between the Batfamily. This game features Nightwing (Dick Grayson), Batgirl (Barbara Gordon), Red Hood (Jason Todd), Robin (Tim Drake), and Alfred. It's very clear this is the aspect the developers put the most focus into and it really pays off. It gives me the same feeling as reading "Batman: Wayne Family Adventures". If you just want to see the Batfamily interact and support each other, you're gonna love this game

•While it took me a while to get used to, I really fell in love with the art direction of this game. The skyline of Gotham City is gorgeous. I love the way the bright neon signs illuminate the low hanging fog giving everything a sort of colorful haze. And while I don't love every suit design, I think the customization let's me really like most of them. Batman especially looks really great in this game. His suit in this game is inspired by his look in the Rebirth comics and it translates beautiful

The Bad:

• I'm genuinely confused by the characterization of Mr. Freeze in this game. His motivations are all over the place to the point that I wonder if WB Montréal decided to combine Victor and Nora Fries into one character. At the beginning of the Mr. Freeze side mission, it's explained that Mr. Freeze had given up crime because Batman had promised to help develop a cure for his condition, but now that Batman is gone, he's back at it. Victor doesn't normally care about his own illness, he just wants a cure for Nora. But Nora is never mentioned in this game. Even weirder, nothing he does in the story is ever to cure his condition. SO WHY DID HE STOP CRIME IN THE FIRST PLACE IF HE DOESN'T EVEN CARE ABOUT FINDING A CURE AND HE JUST WANTS TO FREEZE GOTHAM!? It's just a weird creative decision to take

•Yeah so this one isn't a big deal, but at one point in the story, a cat sneaks into The Belfry and the Batfamily just kind of adopt it. It stays there for the rest of the game. You can't pet the cat. I know this isn't important, but it actually made me genuinely sad when I found this out

The Ugly:

•To call this game underdeveloped would be a compliment. I wouldn't call it unpolished, because the game runs perfectly as intended in my experience. I didn't encounter a single bug or crash. But the story and the gameplay feel half-baked, which really sucks considering those are the two main aspects of a video game

•In the gameplay department, combat is passable but the skill ceiling is REALLY low. It reallys very restrictive in what you're actually able to do, but the combat by itself isn't so bad that it isn't fun.

Traversal on the other hand is awful. All the characters use a grapple to get around, but there's no momentum, so you feel like you're barely moving. You stop and lose all momentum between grapples. Arkham also has a grapple gun but it allowed you to string multiple grapple points and keep your momentum through them so they'd be more fluid and you keep your speed going

The Batcylce is also not great. It's REALLY slow and despite the added movement lines around the screen to provide the illusion of speed, you're barely moving faster than the cars on the road. Again, compare this to the Batmobile in Arkham Knight. I did not love the Batmobile in Arkham Knight, and I outright hated the Riddler races, but it was fast and you could really feel the speed in it

Finally you don't actually unlock the ability to glide or any of the other weird traversal abilities if you're playing as anyone other than Nightwing or Batgirl until you complete the Knighthood challenges. Locking an essential traversal ability behind an option set of challenges is weird to say the least. I don't have much to say about gliding, it controls fine but feels slow compared to Arkham

•Lastly, the story of this game isn't bad for what is is, but is disappointing when you realize it had the potential to be so much better by including two characters who are absent from this game: Kate Kane Batwoman and Damian Wayne Robin. The game is set up as a sort of gang war between the The League of Assassins lead by Talia Al Ghul and The Court of Owls lead by Jacob Kane. Both of their child are members of the batfamily, but were weirdly excluded from this game. Including them as playable characters could have made the conflict more personal and interesting.

Additionally, Catherine Kane, Kate Kane's step-mother, is the current anti-vigilante Commissioner of the GCPD. Her daughter being Batwoman would be great character drama that goes completely unexplored. As is, Catherine is a one dimensional, underdeveloped character. And Damian could be shown as torn between the recent death of his father and the re-emergence of his mother in Gotham City. These characters feel like obvious inclusions for the story of this game but are missing without any explanation

In Conclusion:

This game has a lot working against it. I couldn't even fit half of my thoughts into this already way too long rant. The game is just average in the gameplay, mediocre in the story, but absolutely phenomenal in the inter-character relationships. I compared it to Wayne Family Adventures earlier, and if you love stuff like that and want more of the Batfamily being supportive and wholesome to each other, you'll love this game. And I think that's genuinely the main appeal of Gotham Knights. But if you're not interested in the characters and just want a Batman action game, it's passable, but you'd be better off playing any of the Arkham games

[garthofshayeris]

How can all of Garth’s personality, relationships, and history became irrelevant to the current comics runs? What happened?

Great question! After Flashpoint happened, the Dc Universe reset. For a lot of comics, there were no major character or lore changes. However, the Aquaman comics got a major overhaul.

It’s important to note that Aquaman lore has changed over the years, but the changes were either slow or the kept much of the same characterization, but updated certain aspects. For example, although Death of a Prince takes place in the Bronze Age of comics, it was playing off dynamics already established in the Silver Age, and the story was tweaked slightly when the post-crisis reboot happened, so the events were still relevant in Volumes 4-6 (80s-early 2000s). The lore expanded to say, these major elements are still here! We have changed some things, and here they are! And this is how it effected what you might be familiar with, etc.

Then comes the New52. In order to make the comics easier for newcomers to read, about 90% of the characters and Atlantean history were removed completely from canon. This includes Garth, who was the longest-running humanoid supporting character!! (Topo the octopus is the longest-running returning character, and for the record they also got rid of him)

They re-did Arthur’s backstory (adapted to something similar to his Silver Age origins) and some characters, like Orm, were completely re-done as well to fit the new lore. They did not do this for Garth; in fact, every major element of his character that tied him to the story was removed. His kingdom I mentioned in that last ask? Gone. Atlan, the wizard who trained him? Gone (although they do re-use that name, the New52 character named Atlan is not Atlan from previous stories). The rumor about purple eyes? Actually not gone, but they did completely change what it meant and when we meet an entire community of purple-eyed Atlanteans, Garth is not among them. (Purple eyes have been an element to his character since his introduction, btw)

“But comicvine says Garth appeared in the New52!” I hear you cry. Technically true. But here’s a fun fact: they “teased” his return on the last page of one comics, and his design was so off from all previous versions that the fans did not know who he was supposed to be. Why? He was wearing a color Garth was never seen in, sporting a strange tattoo on the wrong side of his face (those lines aren’t a tattoo in pre-flashpoint btw…it’s a scar, that Atlan gave him) and because Garth had always, always, always been the child that Arthur adopted…the fact that he showed up as a fully formed adult with no connection to Arthur was so strange that even the Aquafans did not make the connection!!

This character, a mercenary who never spoke to Arthur, appeared a few more times before being quietly re-set in Rebirth.

Now, let’s recall that the comics removed all aspects of this character’s connection to the story, including the very fact that he was essentially Arthur’s adopted child. This is STILL TRUE in Rebirth. I cannot think of a time that Garth spoke directly to Arthur in any of the comics, but Mera said once that Arthur basically paid for Garth to go to Magic Underwater Wizard College, which is something that exists for some reason. Also he dropped out of Magic Underwater Wizard College because his girlfriend died, but we don’t know that woman’s name and he has literally never brought it up outside that single comics.

I want to say, I am not against changing backstories. Garth has had two and a half backstories since the 60s! But they grow and expand to fit the new world they live in. The writers took time and energy, they poured their hearts into making this new character appeal to their brave new world. But DC has not given Garth that same grace these past 15ish years. They had so, so many chances as well! They could have rewritten him in a way that was satisfying to his old fans. But they do not give a shit about Garth.

You see. DC wants to trick you. They want to say “everything is canon now” and not have to put in any effort. except my dears, the Aquaman comics are so complicated that they cannot exist at the same time. Because sure, maybe we can say Garth is no longer royal, because that kingdom his parents ruled no longer exists. But without that bloodline, why is he the most powerful Atlantean sorcerer? Did he never complete a highly emotional task of claiming his birthright, and accepting the death of Tula so he can heal his emotional wounds? Oh. Tula is alive? And now related to Orm? And they hardly know each other? Well, he just went to Magic College and he’s good for absolutely no reason at all. Is he still close with Arthur? I’m not sure. Arthur paid for college, but has never spoken to Garth. Garth is absent from all major life events in the Aquafamily. He has never met Arthur’s biological kid. He has no useful role inside a comic that he used to be an integral part of, his usual role has been split among others. So there goes his backstory. There go his emotional connections. Goodbye to the major emotional highs and lows as well. Goodbye to his personality traits, intentionally written to be played off of Arthur’s. Goodbye to any kind of role in the narrative; when you can replace his character with a nameless extra, is he really part of the story?

And when you remove all of that…what is there to like about this character, anyway?

[thepastisalreadywritten]

You can’t keep a good dog down, Charlie Brown.

When NASA launched a mission to the moon last week, the unmanned cabin included a stuffed Snoopy in an orange flight suit.

The space beagle was among the small items that serve as “zero gravity indicators,” which visually signal that the capsule has reached “the weightlessness of microgravity.”

Turns out, the agency couldn’t have picked a better pop culture symbol:

For seven decades, Snoopy and the rest of the “Peanuts” gang have defied the forces of time, freed from the gravitational pull of trends.

The globally beloved cartoon characters still pop up daily in comic strips, books and gift shops, as well as in animated specials, both new ones and the classic holiday programs such as “A Charlie Brown Christmas” that now stream on Apple TV Plus.

“Peanuts” is in the ether as surely as the jazzy Vince Guaraldi Trio riffs that bounce along the airwaves once Christmastime is here.

This year, the headquarters of Team Peanuts in Santa Rosa, California, has another reason to hold gatherings at its museum and library and ceremonies at its ice rink:

It’s the centennial of the birth of “Peanuts” creator Charles M. “Sparky” Schulz, who was born 26 November 1922 and raised in St. Paul, Minnesota.

Schulz died in February 2000, the same weekend that his final original strip was published.

Yet what he launched into the zeitgeist in 1950 remains a cultural touchstone. On Saturday, many syndicated cartoonists will mark the centennial in their strips.

So why does “Peanuts” endure so strongly — remaining so firmly woven into the fabric of popular culture — when so many aspects of mass entertainment all but disappear?

Jeannie Schulz, widow of the cartoonist and president of the Charles M. Schulz Museum’s board of directors, puts it concisely:

“Sparky tapped into a universal humanity and translated it into simple lines with a subtle humor.”

Those elegant, poignant, slyly simple lines curled and curved their way into religion and sports and war and mental health and love unrequited.

To mark the centennial, The Washington Post asked celebrities from various areas of achievement what Schulz’s creation has meant to them.

‘As good as anything ever’

Producer Lee Mendelson approached Schulz in the mid-’60s with an idea: Coca-Cola was interested in a TV project.

Out of that seed grew one of the two greatest animated Christmas shows to emerge from that decade: a classic that, like “How The Grinch Stole Christmas,” melded the genius of artistic minds.

Schulz teamed with animator Bill Melendez and, working under a deadline of mere months, the three men created “A Charlie Brown Christmas,” a masterpiece that daringly led with its heart.

Charlie Brown battled seasonal depression, Snoopy engaged in flights of fancy and Linus Van Pelt delivered the biblical monologue that, out of the mouths of a babe, still moves viewers regardless of age or faith.

“Over the course of my life, I’ve probably watched ‘A Charlie Brown Christmas’ more times than any single episode of television,” late-night host Jimmy Kimmel says. “It’s one of the main reasons I decided to have more kids.”

Kimmel thinks that special reflects the larger excellence of what a boy from Minnesota ultimately gave to the world.

“As soon as our daughter Jane learned to read, I bought her all the ‘Peanuts’ anthologies,” the comedian says. “I bought an original drawing of Snoopy by Charles Schulz that may very well be a forgery. I cherish it even if it is.

“The best of Peanuts is as good as anything ever. For me, it’s one of the greatest achievements in American art and literature.”

Pixar chief creative officer Pete Docter, director of such films as “Inside Out” and “Up,” says that brilliance was firmly rooted in the comic strip, which launched in fewer than a dozen newspapers before eventually being syndicated to thousands, becoming one of the most widely read strips in the world.

“Schulz was brave enough to talk about human, adult, often non-funny things in his strip,” Docter says. “He featured kids dealing with anxiety, insecurity, jealousy, unrequited love, which gave ‘Peanuts’ a real weight and importance.”

Growing up in Minnesota himself, Docter was drawn into a world that stays with him today.

“As a kid, I was totally hooked by Snoopy and the escapist fun and humor of that character,” he says.

“But whether Schulz was conscious of it or not, it was those deeper emotional things that made me continue to read into adulthood. Those deceptively simply drawn characters have real complexity and depth."

“And besides, they’re still funny 70 years later. How many comic strips can claim that?”

Bay Area author Gene Luen Yang considers how Schulz’s comic evolved from revelation to quiet revolution.

Says Yang, author of such graphic novels as “American Born Chinese”:

“He is so influential that pretty much every strip-format comic today, whether in the newspaper or on the web, has borrowed a bit of that innovation.”

‘We stayed close’

Ever the athlete, Schulz embraced baseball, golf and hockey from a young age. He grew to love sports like tennis and these passions regularly found their way into his strip.

Before he befriended some professional athletes well into his career, though, Schulz could not have known how much he buoyed them.

“As a young skater growing up, it was always fun to see the comic strip and celebrate everything we experienced at the rink,” says figure skater Scott Hamilton, who won Olympic gold in 1984.

“To see the ‘Peanuts’ [characters] come alive on the ice made it seem like what we were doing was more than just skating. We had a place in popular culture.”

Schulz relocated to Northern California in the late ’50s, but you couldn’t take the Minnesota boyhood out of the man.

In Santa Rosa, he built the Redwood Empire Ice Arena, also known as Snoopy’s Home Ice, in 1969. And there, in the early ’80s, Hamilton began working with Schulz on ice shows.

(The skater will host “Sparky’s Ice Spectacular” at the venue on Saturday to mark the centennial.)

“Sparky was very hands-on in everything he did,” Hamilton says.

“In one of the productions I did for him, he had this dream of doing a cocktail party where I got to play the host of the party.

That character was interested in a girl at the party, but she gets swept off her feet by another guest, kind of like his stories of the Little Red-Haired Girl in the comic strip. Just when it seems he lost the girl, she comes back after all the other guests had left.”

Adds Hamilton, “To see how much Sparky loved that production made it one of my all-time favorite skating memories.”

Schulz also became a strong supporter of equality in sports, which included joining the board of trustees of the Women’s Sports Foundation, founded in 1974 by tennis icon and civil rights activist Billie Jean King, to “advance the lives of women and girls through sports and physical activity.”

Schulz would not only draw Snoopy serving aces. He would also reference his friend King.

“Sparky was actually very shy, and his comic strips were a great source of inspiration and comfort for me, especially as I traveled the world during my tennis career,” King says.

“I knew if he added my name to a ‘Peanuts’ strip, he was checking in on me and wanted to have a chat.

“We stayed close until he passed, and I will always cherish that.”

’A perfect pairing’

Mendelson, who died in 2019, believed in creative serendipity. He once told The Post that the first time he heard the music of Vince Guaraldi — while driving across the Golden Gate Bridge — he thought he might use it someday.

Singer-songwriter Ben Folds views Guaraldi’s music as inseparable from the classic “Peanuts” animation it accompanied.

“When you match the music with ‘Peanuts’ and the era and what it was doing and saying, then it starts to hit like Beethoven Piano Sonata time,” Folds says of Guaraldi’s sunny West Coast sound that “distilled jazz into something popular.”

Guaraldi’s “Peanuts” songs and the animated specials were “a perfect pairing,” he says, adding that the music “just gets the vibe.”

That “loomed large” when Folds was asked to write theme music for the recent streaming Peanuts special, “It’s the Small Things, Charlie Brown.”

He meditated on Guaraldi’s music rather than trying to imitate it: “I didn’t try to drop riffs. I just went with the color.”

‘Pursue their dream’

This month, “Jump Start” creator Robb Armstrong appeared on a Schulz Museum panel with other celebrated cartoonists to share personal stories about the Sparky they knew.

As he sat onstage, Armstrong appreciated that Schulz “made other budding artists either realize their dream, pursue their dream or smooth the road on their journey.”

“He was one of the most grand-hearted human beings I’ve ever encountered,” Armstrong says.

A 6-year-old Armstrong was inspired by “Peanuts” in the summer of 1968, when Schulz integrated the strip by introducing a Black character: Franklin.

Armstrong’s reaction: “I’m in this strip.”

(About a quarter-century later, Schulz gave Franklin the last name of “Armstrong” in a salute to his friend and syndicated colleague, an honor the “Jump Start” creator calls “otherworldly.”)

Barbara Brandon-Croft, the trailblazing creator of the comic “Where I’m Coming From,” also responded strongly in 1968.

“I was excited to see a Black character in ‘Peanuts.’ Even if Franklin’s presence was only that — a Black kid amongst the group — it absolutely made a difference,” she says."

“When you grow up as an ‘other,’ which is what this country laid out for us, when you see yourself represented, it gives you a sense of belonging.”

‘The cool astronaut’

Schulz, a World War II Army veteran, was long fascinated with aviation.

NASA and “Peanuts” have a long relationship that includes the Silver Snoopy Award, which is bestowed upon outstanding NASA contractors and employees.

In 1969, Schulz appeared in public alongside the Apollo 10 astronauts who rode in the module called “Charlie Brown.”

That was also the year that a future astronaut was inspired by Snoopy and space.

“In 1969, the Mets won the World Series, [astronauts] landed on the moon and I went to see ‘A Boy Named Charlie Brown,’ the new animated feature, at Radio City Music Hall, says Mike Massimino, an engineering professor and space adviser.

“It all happened within a few months of each other, and it kind of set up the passions for the rest of my life.”

That year, Massimino received a stuffed Snoopy astronaut toy as a gift.

In 2009, on his second NASA space mission, Massimino took that same Snoopy toy into space, a symbol of his lasting attachment to “Peanuts.”

Noting that his attempts to become an astronaut failed three times before he was accepted, Massimino says he admires Charlie Brown’s spirit of optimistic resilience.

“Charlie Brown is the friend and person I wanted to be, and Snoopy is the cool astronaut I wanted to be,” Massimino says.

Adds the astronaut, “I think it’s the greatest comic strip and characters ever created.”

[joanvisitsrome]

tombs and trolls : scene 1

HEYYYY YOU GUYS!!!! quick disclaimer before you start reading. this is a LONGGGG project, so please don't expect quick updates. I have like three scenes done, and it usually takes a few weeks to grind these out. I'll be happy to take requests for these (although, smut will not be accepted) and see any fan content on this. I can also post picrews/backstories to all the characters if you'd like.

comment to be added to the taglist! all support is appreciated.

also, credit to @beep-boop-01, my best friend, to working on this with me. this wouldn't have been possible without him so like thanks pookie <3

NARRATOR: (walks on stage) Ladies, Gentlemen, and the random bee that will torment the audience for the majority of this show, welcome to my universe. (the lights will focus on each character as they’re mentioned) Today, we follow the literal face of chaos (JAMES looks up and waves, not a single thought behind his eyes), a troubled princess (MARION does a small but humble curtsy), the “heartthrob” (QUINN winks and points finger guns at the audience)(beat) Okay, don’t ask me, I was given ten dollars to say that. Next we have your average cottagecore girlie (MYLAH twirls around, smiling), a chaotic fighter (CARRAN starts to walk forward but trips and stays where they are) , and a clueless victorian child.

OLLIE: (offended, putting her hands on her hips) Huh?

NARRATOR: Did I stutter? Now don't interrupt me, I’m in the middle of the best monologue you’ll ever hear. Anyway, before THIS one interrupted me, I was going to say… wait, what WAS I going to say?

QUINN: You were going to talk about how EVERYONE in this group thinks I’m the HOTTEST one here.

NARRATOR: I will NOT be falling for that again. Anyway, these few, uhm, very, INTERESTING individuals, are on a mission to find the coveted enchanted necklace of spotify.

MARION: I’m telling all of you peasants, THIS is the way to go!

OLLIE: (While the conversation continues, OLLIE exits the line of adventurers and starts picking flowers behind the group to make a bouquet)

CARRAN: (shaking their hands mockingly) OHHHH, of COURSE little miss princess always knows best!

MARION: YOU think you know better?

JAMES: (Raising his finder nerdily)  Um, actually 🤓

EVERYONE (excluding JAMES and NARRATOR): SHUT UP JAMES!

NARRATOR: Wow, it’s like I'm not even here. (they walk around the stage in between the people as they continue arguing [as the next lines are being said]. The narrator exits the stage after they walk around each person)

OLLIE: (completely clueless) You guys, look what I made! (she happily shows her creation)

QUINN: Oh, for me? Thanks, sugar 😉

MYLAH: (grabs the flowers) let me see those. (she examines the flowers and gasps) Ollie, this is a very rare spider lily! Not a lot of these grow! You can’t just pick them!

OLLIE: I'm sorry 👉🏼👈🏼

MYLAH: (sighs) I forgive you. I understand that not everyone has the same knowledge as me when it comes to flowers. (she gives the bouquet back to OLLIE)

NARRATOR: (off stage) What if that flower was poisonous?

OLLIE: (screams and drops the flowers)

NARRATOR: (chuckles) Wow, you guys will really fall for anything.

OLLIE: (comically furious) You’re actually so annoying. I hope you fall in a ditch somewhere in the middle of night and accidentally EAT a poisonous flower-

JAMES: Okay, okay, why don’t we calm down a wee bit? (he pulls Ollie in for a hug and pats her on the head)

MARION: (annoyed and disgusted) Okay, while you two... LOVEBIRDS do your thing, we have something much more important on our hands. We NEED to have a plan on how we’re going to look for the enchanted necklace of spotify.

CARRAN: Marion, you’re always SO desperate to get things done. Why can’t you sit back, and just… enjoy the environment around you?

MYLAH: I second that.

QUINN: (looking around) I do suppose it’s very pretty here. But not as pretty as you. (they turn around and wink at MYLAH)

MYLAH: (Trying to hide her flustration) Oh, won’t you stop. (She swats her hand playfully)

MARION: Can everybody stop flirting with each other for one minute!?

CARRAN: (Proudly) I wasn’t flirting.

MARION: We all know why, Carran. You’re not confident enough to flirt.

CARRAN: (registers the insult, but doesn’t respond verbally)

JAMES: (Now out of the hug with Ollie) Do any you have a map? Ollie and I want to know how close we are to a flower shop.

MARION: I do!

MYLAH: Can I see it?

(MARION unrolls the map and holds it out. CARRAN jumps in and cuts the map into two with their sword.)

MARION: What was that for?

CARRAN: Do we REALLY need a map? Why can’t the adventure guide us instead?

MARION: You are insufferable.

OLLIE: How are we going to navigate this without a map? What if we get lost? Or get eaten? Or poisoned? Or lost? Wait, I already said lost. (she puts her head in her hands, continuing to fret)

MAROIN: (rolling her eyes) See what you did? (she quickly pulls out her wand and the map is fixed immediately)

CARRAN: Well, you fixed it.

MYLAH: How about we try to be safer, Carran?

CARRAN: (after taking a bit to think about it) Perchance.

MARION: (rolls her eyes) Alright, here’s the map. What path are we thinking?

JAMES: (pointing to a spot on the map) We should take this one because there’s a flower shop along it.

OLLIE: YES! LET’S DO THAT ONE!

MARION: No, we can’t take that route! That’s the long way! We don’t have enough time to take it! We need to take THIS one!

CARRAN: And cross right through that troll patch? No thank you!

MARION: So what do you propose we do? Take the long way and find that someone has already taken the necklace? If people know that we’re out looking for it, they’ll start looking for it too.

CARRAN: We could just… not mention the necklace to anybody other than ourselves?

MARION: (facepalms) Carran, how STUPID can you be to think that we’re the only people that actually know about the necklace? Also, what kind of fighter are you that you’re afraid of trolls?

CARRAN: What kind of sorcerer are YOU that you don’t cast a spell on all of us to just do whatever you say?

MARION: My magic teachers didn’t exactly teach me how to do that.

MYLAH: Okay, may I interject this? Why don’t we break up into teams of two? We could cover more ground that way. I’ll go with Quinn.

OLLIE: And I’ll go with James!

JAMES: Yeah!

CARRAN: I am NOT pairing up with Marion!

MARION: And there’s NO WAY I’m pairing with Carran!

MYLAH: Well that’s just too bad. Everybody else is paired with. You’ll have to deal with it 😗

MARION: Ugh!

CARRAN: (mumbling) I can’t believe I’m teamed with Marion, out of all people 🙄

QUINN: Well, I’M just SO flattered that Mylah chose me. No offense to you guys. You guys just don’t get me the way Mylah does.

MYLAH: All I did was compliment your hair and you then haven’t left my side.

QUINN: Well, I’m not seeing you complaining. (They put their arm around MYLAH’S shoulder.)

MARION: So now that all of you guys are just GUSHING about how much you love your partners while I’m left with this one, (she points at CARRAN, who mouths “bite me” to MARION,) can we PLEASE figure out which way we’re all going to go?

OLLIE: (Raising her hand immediately and jumping) I want to go the flower way!

JAMES: (Looks at her and smiles, nodding along with her.)

QUINN: Mylah, what are your thoughts on going down the path with the river? 

MYLAH: (surprised) How did you know that rivers are my favorite type of nature to walk by?

QUINN: (looking at MYLAH straight in the eyes) Just a hunch.

MYLAH: Are you always like this?

QUINN: I can be HOWEVER you want me to be 😉

Mylah: (Squirms out of flustration)

MARION: Well, it looks like we’re left with the forest.

CARRAN: Can’t we just go to the tomb?

MARION: And how are we going to get to the tomb? Magic?

CARRAN: You’re a horrible sorceress.

MARION: Are you going to keep complaining or are you going to listen and follow my plan?

CARRAN: Well, will you shut up if I do what you say?

MARION: Fine!

CARRAN: Fine!

(Both exit the stage annoyedly)

QUINN: (Their arm still around MYLAH’s shoulder) Why don’t we go to the rivers now?

MYLAH: Sure!

(QUINN and MYLAH exit the stage)

JAMES: To the flower shop?

OLLIE: To the flower shop!

(They hold hands and skip, exiting the stage. The curtain closes)

hey! you're still reading!

did you like it?

and out of curiosity, who was your favorite character? favorite part so far?

[batsplat]

id be very interested in any post of yours on the vale/jorge dynamic!!! and as a marc fan first human second i think this would also shed more light on how exactly 2015 became what it did… vale is, as we know, very bad at forgetting and extremely bad at forgiving

(this post is now posted) I do still have a few more open-ended asks in my inbox about this rivalry that I'll get to at some point, but I just wanted to quickly have a crack at this one specifically. you can kindaaaa read between the lines of the post I linked to if you want to know where I stand on this issue, but I don't say it explicitly and I might as well actually do that lol. and my stance on 2015 is that the valentino/jorge rivalry... really does not feature all that heavily. absurdly little, given they are the ones having an actual title fight. they retroactively remember to get mad at each other once all the drama has actually happened - and then suddenly you do get their history worm its way through the cracks. like, actually 2016 is way more interesting for their interpersonal relationship than 2015 is!! but 2015 is... well, it's just not that relevant. by valentino standards, you don't even really get the sense he's motivating himself through the power of spite or anything. he literally just wants his tenth - jorge being his title rival is only relevant insofar as that's his teammate

I don't actually think the maxim of valentino being bad at forgetting and forgiving really holds in this specific relationship. I've banged on about this distinction a few times by now, but to me there really is a substantial and noticeable difference between how valentino approaches the marc/sete rivalries and the way biaggi + casey/jorge get treated. the former camp involves rivals valentino was friends with, blokes he was genuinely fond of on an interpersonal level before they really butted heads competitively - and as a result there's a relationship to burn down. as a result, valentino is hurt by what happens. that's the basic precondition valentino needs not to forgive and forget: he needs to feel like a friendship has been betrayed. with jorge, there's none of that! they never had anything remotely like a close relationship with each other; if anything it's a fair bit colder than the casey dynamic is pre-2007. which means there's really nothing to forgive and forget! valentino gets over the entire 2008-10 dramatics comically quickly... like there's still a bit of needle in 2011 but once he realises there's no real competitive justification, he just kinda goes *shrug* eh, whatever. he's still bickering with casey in 2012, but those two did seemingly get a weird kick out of their squabbling and valentino also dropped that completely around mid-2013 (casey ofc did Not). like these people said some nasty shit about each other... but with both jorge and casey, valentino is extremely willing to drop it when he doesn't really think there's a point any more. as a result, valentino and jorge get on better in valentino's ducati years! it'd really only been a brief period where they're properly at war - but that period is so memorable it's how that teammate relationship gets remembered these days

basically what I said in the jorge/valentino post:

and this maybe deserves a more in-depth post... but of course it's worth pointing out that in their second teammate stint, they once again take their sweet time getting to the actual drama. 2013 they're being perfectly cooperative and honda's cute little internal war is hogging all the headlines, 2014 is basically fine with a bit of corporate espionage for flavour - hell, even 2015 is okay until, like, the very end. they're asked about their relationship every single week that year, to the point where valentino starts making gags about how him and jorge have been keeping relationship diaries and will release them at the end of the year. (drop the diaries, kings.) there's also a very sweet 'ooh you've learned so much from valentino' jorge moment that very much thematically follows on from the 2008-10 post:

Lorenzo explained an incident where, ahead of the season-finale race in Valencia, he approached a journalist to request a specific question was asked to irritate Rossi. "At the airport I told her that at the press conference she had to ask me if Valentino deserved the title,” Lorenzo said.  “For me it would not have been deserved. I wanted to put pressure on him to feel inferior.  “I also created that rivalry through the press."

which... good on you, jorge, but. what. and also... why

point is, even in their actual title fight in 2015, a bunch of different factors conspire to ensure that valentino is focused more on marc than he is on jorge. one big, big reason is that valentino + jorge basically never actually cross paths on track that whole year for more than like, a minute, which is one of the things that made that season so funky. it's maybe a little unsatisfying to go 'that long post I wrote isn't actually super relevant as backstory' and it doesn't not matter, but in a way the really interesting bit is... you'd kinda think it'd matter MORE. their history should be more relevant than it is to this story!! it's weird that it played such a small role! and, again, it does come back into the picture in 2016... they were proper mad with each other then! I reckon they did get to the point where they even managed to hurt each other, where that was something reciprocal! which is fun and compelling, but even there they do manage to mostly Get Over It at some point that very same year. in the end... despite all this history, despite this intense three year stint as teammates the first time round - somehow we ended up with another title fight between the pair of them with a super controversial finish but that interpersonal relationship is very nearly irrelevant. quirky innit

[thedevotionaltour]

your posting about brat pack has got me so curious

ohhhh my feelings on bratpack are both So Complex and Extremely Easy. i'm gonna put this under the cut bc it accidentally got long. and then this got long too IM SORRY. this got so damn rambly. anyways. what i deem important i'll keep up here

summary of feelings: underground gritty take on superhero sidekick story contains both well done genuine critiques of the genre and its fans but i think has some contempt in there, too (but then again, who can blame a guy). offers interesting ideas. has some piss poor writing in there where occasionally trying to satirize something just makes it into exactly what it's trying to critique if not handled well. READ THE REVISED TPB INSTEAD OF THE SINGLE ISSUES AS THE REVISIONS MAKE THE STORY MORE IMPACTFUL and reminds us that capitalism is the upholder of evils. and lets itself breathe here and there a bit more and allows for more depth. though if you want to read both for comparison, i wouldn't advise against that-- rereading it in the tpb form as opposed to when i just read it as single issues helped me with some of the meh feelings i had about it.

it is also a comic i will absolutely say right now is NOT one i would recommend to everyone. at all. i'd say if you are not a fan of american underground comix, this may not be to your taste. but if you're willing, or enjoy edgier comics even with no underground experience, and enjoy comics that satirize the cape genre, it's worth giving it a go. and please keep in mind that not only is richard veitch's career from an undergound background, it is also the 90s. so it's good to keep that in mind, too.

also, important to note content warnings on the comic itself include homophobia, sexual abuse, racism, and misogyny. alongside other things, but i think those are the most important to be upfront on. this isn't a here and there thing with it-- they are major points through the whole story and will be carrying it along.

final important statement: i am so sad for all these children and wish the heroes would die.

and here is a link to the comic!

i think a good background context for this is to my understanding, it's was partially written as a response to the jason todd vote to kill hotline and how people acted about it afterwards. well, inspiration at least, not quite sure on the response part at all. im trying to vaguely remember things right now. the comic as a whole is satirical poking and prodding about it. for some further context, jason todd had only died two years ago when this began publication.

the comic is a very gritty, edgy superhero style story, talking about all the dark parts and the "you know, this wouldn't be all the fun in real life, now would it?" stuff. so these kids are going through the fucking ringer of abuse, life as child soldiers who are both idolized and despised by the public, and are seen as icons as opposed to people. and that it's adults who are putting children through this. you get the awesome reminder of it is not as easy to survive being blown up as dc and marvel may have you think just because you're the hero!

as mentioned before, it's a story that is a satirical and critical deconstruction of the superhero genre, sidekick and young hero groups in particular. author richard veitch's career started in underground comix and it shows through and through. i think it has a lot to offer in how it handles its critiques, how it points out the hypocrisy in the fan culture. it also has a lot of blunders with it too. sometimes when trying to satirize misogyny and homophobia within the fan culture and stories, it just winds up as actually misogynist and homophobic writing.

a lot of where my more negative feelings on it definitely lie in the realm of sometimes the line between crit/satire and then just contempt for the genre and its fans feel occasionally blurred. i think a lot of this comes from some parts of the writing i find really mishandled. a lot of my critical feelings also come from the aforementioned homophobia-- i have. many feelings on the character the mink. i think it is absolutely possible to write a gay sexual child abuser. i think it is very much possible to write a character like him, stereotypical flamboyancy and all. but i also think the caricature gets pushed too hard sometimes, and it leaves a very nasty taste in my mouth. i know exactly that this character and his sidekick are meant to be an exaggerated portrayal of the homophobic beliefs and gay interpretations surrounding batman and robin. knowing that fact and what it's meant to be does not make that better and mean it is done well. i think it could have been handled a lot better. maybe if i returned and reread after sitting with this comic for a while, my opinions would change. as of right now though, they remain... less than pleasant.

i am willing to hear someone out if they wanted to say, "eiffel, i think your feelings are truly more discomfort as opposed to veitch having handled this story point poorly, and here's why the writing with the mink is not actually as bad as it feels". but i will also say i dont think every second of it was bad. again, i think there are some interesting approaches here and there with it, and as a function overall in the group of heroes, none of them are any better than him. but it's. hooh. oh boy. oh boy. it's a lot. get ready for every stereotype about the flamboyant gay molester you could imagine.

mink is also not the only caricature here-- all of the heroes are meant to be some caricature taken to the extreme with the heroes they're meant to mock.

THAT BEING SAID I REALIZED I HAVENT ELABORATED ON LIKE. THE BASICS OF THE HEROES AND STUFF AND WHO THEY'RE PARODYING. It's obvious when reading but since I don't know if you'll read it, I'll say it here. Midnight Mink and Chippy are Batman and Robin, Moon Mistress and Luna are Wonder Woman and Wonder Girl, King Rad and Wild Boy are Green Arrow and Speedy, and Judge Jury is a combo of Captain America and Judge Dredd (and one more character?) while Kid Vicious is meant to be Bucky. The last one I couldn't figure out until TvTropes told me bc despite loving heroes my knowledge on many of them is highly limited to a few of them.

anyways, this is also where i really try to remember that veitch's background lies in underground comix, which are the most edgiest and pushing your boundaries comics you can come by. and it's also the 90s. oh god it's the 90s. it's the 90s in the way it's 2008 when the comic kick-ass was published. but i also think i can recognize when it's just me having to sit through some discomfort and when some stuff just becomes distasteful. i think he handles the other characters better, though. or maybe i just choke them down easier. again, i'm willing to hear someone out if they'll talk me through it in a convincing way.

however, my enjoyment of it comes from that i do enjoy a good darker hero story. i do! i will always prefer a hopeful for humanity and that's why it's worth is superhero comic, but that's mostly for actual hero comics in the genre that are not critiques or satires. when a comic lets it be known this is entirely its purpose, then it's better than guy who just hates hero wrote a superhero comic, for some reason. knowing veitch has a background in heroes is what makes some parts of this a bit easier to take in good faith, but like. i wouldn't be surprised if there was absolutely some contempt and bitterness interwoven into it, too.

i think the sidekicks are a really interesting cast, and i like them. my favorites are chippy (cody) and luna. my heart goes out to them sooooo much. everyone talks about how much they want mink to die for sexually abusing chippy but no one talks about how moon mistress was... also sexually abusing luna. 100%. not the same way as mink with chippy, clearly, but luna was absolutely 100% sexually exploited too. so i think moon mistress should die badly too.

with the revised tpb of brat pack, i think it's good how it shows what the actual driving force behind all the insane abuse these children go through; it's capitalism. the heroes sold their imagery to companies for money, and so they have to uphold it to continue their funding. their greed and selfishness is what causes harm.

it also goes into how vigilantes are highly conservative reactionary as a concept politically speaking. politics and superheroes are a long as fuck conversation with a lot to talk about, and im just not totally qualified for it, nor am i gonna go into it here. but it's less exploring the reactionary side of heroes as wooooaaaaah edgy looook at this guys the heroes are actually ~baaaad guuuys~ as too many people in non critical comics like to pull (and then do a piss poor job at it bc they dont understand what actually makes vigilantism bad as a real life thing. bc they arent trying to point out the actual bad politics of superheroes-- they just wanna see a good guy be a bad guy without further thought. but instead of just doing that, they want to think they're being oh so smart about it. so it sucks bad most of the time.), and i think it's honestly a more sincere approach that actually understands what it wants to say about that. because it understands capitalism as a system that upholds abhorrent abuses. and for all the shit i think it does wrong, i will say that veitch understands the phrase "abuse of power comes as no surprise" in this story.

anyways this is getting... really long! apologies! and it's super duper rambly for which i also apologize!! my feelings on brat pack are mixed, but i've come around to this comic way more the longer i've sat with it. it's not perfect, no comic is, but it is. definitely for a certain crowd. and i do, ultimately, consider myself part of that crowd, even if im certainly not envisioned in it most of the time. i'm also sorry if you were looking for way more stuff on the story as opposed to my feelings-- i feel like i can't give a lot on the story, especially bc i sometimes feel unsure how to explain without also spoiling too much and also i just cant remember a lot of what happened outside of some pretty key plot points. i've only read it twice, and it was like, twice in two days! like, in april.

overall brat pack does some things right, i think it does a lot of things wrong, but what makes it a comic i find worth reading is that it does offer some interesting ideas and approaches, and i think it has some neat characters. i think it falls in the realm of "mediocre story with insane potential will stay with you even more than a really fantastically written story you love". for me, at least. again, i don't think this comic. but there's a lot it could do better. and what it does do right (and honestly even what it does wrong) highly compels me.

... and i can't help but enjoy an edgy superhero satire.

[sanversandfriends]

Fic isn't just an act of repair as Henry Jenkins says, but sometimes a safe place in which to tear everything apart. Here to talk about diving into those darker and grittier character spaces is @nerdsbianhokie, a writer who's been captivating Sanvers and Director Sanvers fans for years.

Tell us a little about yourself. How did you get started writing fic? Have you written for other fandoms? What are your favorite tropes?

Over two decades ago, I was six years old and reading a new book and had the sudden realization that I wanted to make people feel like that book made me feel. Since then, I've been a writer. The first fic I wrote was before I even knew fanfic was a thing. I was barely thirteen years old and all about CSI and had this vivid idea of a very short scene. I quickly found places where fic was hosted, and began to read and post.

Since then, I've moved through fandoms, sometimes staying for a time, like with Bering and Wells, other times only lingering for a brief moment. I watched Supergirl between season 1 and two, after learning that Maggie Sawyer, one of my favorite comic book characters (one of the first openly lesbian characters in mainstream comics? out before the comic code was done away with? what's not to love) was joining the show. I didn't watch beyond the first few episodes of season 3, but the characters have a hold of me and aren't letting go.

Since my time in the Bering and Wells fandom, angst and aus have been my favorite spaces to play in. Exploring darker spaces in the safety of fiction has always been a draw of writing to me, and the Supergirl characters can fit so well in so many different universes.

What were your inspirations for this particular story? What was it about this/these ships that grabbed you?

This fic started as a tumblr post by magicmumu2 about Alex and Maggie reuniting years later because their kids keep getting in trouble at school. I then made it sad by giving Alex a recently dead wife.

I really fell into the idea that Alex and Maggie did move on after their breakup, but then remeet at a later point in their lives. When thinking on how Alex might move on in a way I find interesting, I landed on my beloved Lucy Lane. My ultimate ship for Supergirl is Director Sanvers, so I've written all combinations of Alex, Maggie, and Lucy over the years, but the idea that Alex was happy with Lucy, but then lost Lucy and found Maggie again while still mourning, really pulled me in

Has the time spent away from your story changed your outlook or approach to any of the storylines or themes? Have you had any new inspirations or breakthroughs/revelations in the meantime? 

The time away hasn't really changed much, as I've been distracted by so many other fics, but having new eyes on it has really helped me figure out some things I was stuck on that kept me from working on it more.

 Any advice for new or aspiring fic writers?

Write. The best thing you can do is get ink on the paper. Writing is an art that needs to be practiced just like any other. As somebody with a degree in creative writing, I think the time I've spent writing and the amount of writing I've done has, cumulatively, done more for me than all the classes I took. 

If you were going to promote this fic with a single line, what would it be? 

A deep look into grief and healing, mourning and love.

If you’ve already posted some of your work, please provide a link. 

This is the original post, with the prompt and my initial addition.

I have also posted two separate fics that aren't part of this one but are in the universe as I worked out how Alex and Lucy got together and their family dynamic.

[freakingoutthesquares]

Preaching From The Pulpit Words: Roy Wilkinson, Photographer: Karl Lang Taken from Sounds, 27 June 1987 Transcript: Acrylic Afternoons

Sheffield popsters Pulp are creating a haunting music which is virtually without peer in the Britain of 1987. We meet them on the eve of the release of their new LP 'Freaks'.

The album's called 'Freaks', for as the opening line proclaims, "Nature sometimes makes mistakes". There they are over there, and if you must avert your eyes, don't cover your ears because Pulp have a qualification for you. "These freaks we're talking about, they're just normal people gone a bit wrong. It's sad but don't bother crying: they still eat and drink and watch TV just like anyone else. And they smoke."

The freaks who populate this record's "ten stories about power, claustrophobia, suffocation and holding hands" are resolutely ordinary, characters you're far more likely to see through the front room windows than down at the fairground. In fact, far from being Pulp fictions, these blighted souls are very real: a lot of them play in the band, and if that sounds funny then that's alright, because Pulp are comic band. I know this because their singer and lyricist Jarvis Cocker told me: "A lot of our songs deal with fairly mundane things which are a bit over dramatised - it's a bit like a comic."

As well as being a bit like a comic, Pulp are a bit like a mixture of slapstick comedy and some understated macabre novels. I know this because I read it in a magazine. Then again, you should never believe what you read and in the light of Jarvis' claim that his namesake Joe once installed a gas fire at his house, it's difficult to know whether to believe him. The one thing you can safely say about Pulp is that they are out on a limb, one that may or may not be reconnected to a body with seven more and two heads.

Pulp are a Sheffield band and 'Freaks' is their second album, following 1983's long forgotten 'It' and a handful of singles, and houses their current 45, 'Master Of The Universe'. Pulp's core of Cocker and violinist/guitarist Russell Senior are creating a haunting music which is virtually without peer in the Britain of 1987, their nearest relatives being The Band Of Holy Joy. The similarities come with the way both have fostered a host of neglected styles (waltzes to crooning balladry), transmuted mundanity into a grotesque, projected an overriding mood of melancholy and drawn on a wealth of literary references.

Pulp have been compared to anything from Brecht to author Ian McEwan to Mills & Boon. Along with books they've been juxtaposed with buffoons, a pre-AIDS epidemic of jesters that includes Leslie Crowther, Peter Glaze and Charles Hawtrey. It's a curse the band have mixed feelings about. Jarvis: "All those references make us seem a bit contrived when hopefully it's quite raw, getting at emotional nerve endings. It's not as if we go, 'let's do a song about the latest novel we've read'. I don't mind people comparing us to Ian McEwan because I like his stuff (psycho sex dramas) but when someone says Charles Hawtrey (Carry On's bespectacled, ineffectual butt), you don't think 'cheers pal!'." Russell: "In Sheffield we get more 16-year-old kids at our concerts than we do post graduates in Cabaret Voltaire studies."

Pulp songs are direct, stripping emotions down to a naked unsightliness and then coating them with a pervading sense of gloom. "I've never been a very carefree adolescent," says Jarvis. "I wouldn't go out with me if I were you. All those types of songs are basically about one girl who I went out with and unfortunately it went from being quite an innocent thing to being a very traumatic thing without either of us knowing why. The freaks thing is like getting divorced from the rest of the world through something like that relationship. The other reason we called it 'Freaks' was because we always get called freaks, the escape party from One Flew Over A Cuckoo's Nest, stuff like that. When we play live, everybody dwells on the fact that I'm thin with specs, he (Russell) looks like Count Dracula, Candida (keyboards) although she's 23 looks 14, while Pete (Bass) looks like a football hooligan. We were always getting called freaks so we thought let's call the LP 'Freaks' just to... put two fingers up."

As far as Jarvis is concerned he's not an eccentric. Throughout our conversation he maintained a slightly resigned blank faced jocularity but keeps his speech prosaically direct, miles away from the contrivance that Pulp's press might lead you to expect of this 23-year-old with his long limbs and disgusting brown crimplene 'slacks' which terminate six inches short of his ankles: as does Russell, a slight man of 26 with a ghastly pallor and a down at heel clerkish air.

Nonetheless this pair's conversation does dispel a lot of Pulpish preconceptions. It does, that is, until you ask them what they do in their spare time. It seems that this pair have a sideline which is Dickensian enough to fit in with their public image. Get down on that Davenport for these two Arthur Negus' of rock are heavily into... antiques. "Antiques Roadshow is our favourite programme," says Russell. "Our ambition is to see one of our records on there. If you want any 50's art deco then Jarvis is your man. I like Italian 17th century paintings but I haven't been able to get hold of anything yet. That's what I'd eventually like to deal in because I like beautiful things. At the moment I can only afford ugly things."

Frustrated sensualists priced outside paradise, that's Pulp for you.

[radonx9]

Rosetta Falls is coming to an end very soon.

It feels strange to be saying goodbye to a project i’ve been working very hard on for the past 2 and a bit years now, but Rosetta Falls will finally be wrapping up soon. I originally intended for the comic to only be about 100 - 120 pages in length and I originally intended for it to be wrapped up by the end of ‘21. I guess it all got away from me a bit, ahahaha. Oh well.

I have the last 6 or so pages all planned out and ready to draw, so expect to see those last pages all uploaded in one big final post. 

Once I’ve finished with RF and the last pages are all posted, I intend to write up a longer post (an essay, really) about the making of this comic, it’s conception and inspirations, the actual process of making a longform comic, the difficulties of making a long form comic while being a neurodivergent individual suffering from various mental illnesses, the lessons learned along the way - both practical and philosophical - and ultimately what all this has meant for me over the past two or so years.

I hope you have enjoyed the journey of reading Rosetta Falls thus far if you decided to check it out. If not then that’s okay, there’s already too much stuff to watch/read/play/hear in the world as there is, I can’t exactly expect every single person that happens upon my blog to dedicate their time and energy to my weird, messy, longform comic that they might end up not even liking. If you think you may like to read it at some point, then the whole thing pinned to my blog for the foreseeable future should you want to give it a read in full at some point further down the line. No pressure though, of course.

Once the essay goes up and RF is said and done I intend to take a looong break from making comics, ahahaha. I’ll get into it more in the actual essay itself, but this break has been a long time coming and one I sorely need after two whole years of work. I do intend to make more comics in the future, though next time I aim to make them much shorter and more straightforward in terms of execution, spending several years on one project is extremely taxing and exhausuting and it’s not something I want to repeat with my future projects, for my own sake.

I hope you are all doing well, and I hope you all look forward to the conclusion of this comic that’s been a long time in the making and the accompanying essay.

Thank you, and take care.