#he's a fantastic writer and storyteller

[cloama]

New Forever Fave has been cemented.

[roscoehamiltons]

i was thinking about this the other day actually but despite being a george hater, i actually don't mind reading fanfic involving him? idk i think how he's depicted in fanfic makes him way more interesting than he is irl

[britneyshakespeare]

also general hospital is "my mom's soap opera" and she does have ownership over it. to me. it's not independent of my mom; it does not have its own identity. my mom has been watching general hospital longer than she's been w my father. general hospital is like an auntie to me

the guy who plays lyle menendez in the horrible ryan murphy thing is from my mom's soap opera. i never realized he was my age

[silverybees]

Interview with writer of Sherlock & Co podcast

The hosts of the I Hear of Sherlock Everywhere podcast have just published a fantastic long-form audio interview with Joel Emery, writer and co-creator of Sherlock & Co.

A few interesting notes in no particular order:

Their Watson, Paul Waggott, lives New Zealand, so he's recorded remotely

Atmos was recorded on real Baker St, on the tube and local buses

They plan to keep Holmes and Watson under one roof :-)

They haven't cast Mycroft or Lestrade yet, are holding out introducing them to a story where they're really highlighted. Since the podcast is doing really well, they're hoping maybe to get someone cool to do those roles

Updating the stories involves giving the women more agency, gender-swapping some

No grand story arc is planned (the idea of it stresses Joel out) and Moriarty isn't going to have threads out to all over the other stories

They'll be doing the novels but figuring out how to do them concisely because 12 episodes would be too much to keep track of

Audio storytelling is handy because you can, say, set The Greek Interpreter in Greece without having to take a crew (or anybody) to an actual location

Taking some stories where there are upper-class, rich folks and setting them amongst more ordinary people (so Thor Bridge isn't going to be set in the grand gardens of a country estate, rather in East London )

Interestingly they acknowledge the three audiences:

the Sherlockian audience who'll want Sherlock Holmes Content

the "Johnlock community" audience who is generally younger and want "diversity to be explored in all its forms" and wants something flamboyant and different and want "that relationship between the two men to be intimate in some respects, but really powerful and centre-stage"

and the general podcast-listening public, listening to the podcast on their commute, just as the original fans of Conan Doyle read the stories in the Strand, on theirs

[artbyblastweave]

i only learned recently from a friend's who much more comic literate than I that magneto's backstory as an Auschwitz survivor wasnt planned from the start, which surprised me since it seemed to me a really integral part of his character. anyway, twofold question: how common is it to see capes with backstories tied to very specific historical events, and, as time inevitably passes and real world survivors of those events pass, how do they justify having their characters still alive and kicking? (stay safe on your mountaintop friend)

Depending on how wide you cast the net, this is a pretty big list! There are a lot of comics who's characters cutting-edge ripped-from-the-headlines origin later became a very specific historical event, or at least Of A Specific Moment, in a way the writers had no reason to anticipate the franchise would run long enough to have happen. But to shed pedantry and hone in on some specific ones;

The big one, of course, is Captain America. Superficially Cap's contemporary origin comes with a baked-in means of him making it to the present day- he gets stuck in the ice and then gets unthawed. The fly in the ointment, though, is when he unthaws. When they first brought him back into rotation in 1964, his stint in the ice was only around 20 years; long enough for there to be a significant culture shock, but not long enough that his entire social circle was dead or even culturally sidelined. Nick Fury is still around and kicking ass as a zeitgeist-appropriate 60s superspy. But the further the sliding timeline hauls forward his implicit date of release, the more it changes the tone and tenor of the resulting story. Losing twenty years is different from losing fifty years (as was the case in The Ultimates, where he very explicitly comes back during the Bush years as part of the book's commentary on The War On Terror) and those will both be way different from when we inevitably hit the point where he's lost 100 years and he's the cultural equivalent of a Civil War Vet or something. There's strength to all of those stories but they're undeniably different.

Iron Man's origin was originally explicitly tied to the Vietnam war; he was captured by a detachment of "Red Guerillas" while consulting for the US military and the South Vietnamese government. Unfortunately U.S. foreign policy to this day has prevented this from ever becoming an unresolvable storytelling issue.

The Fantastic Four are a case where their origin was intimately tied to the space race; their untested, cutcorner spaceflight was expressly an attempt to show up the Russians. The extremely specific political context of their test flight is something that sort of gets brushed off; the Ultimate incarnation (written by Warren Ellis) threaded this needle deftly by having the accident be a dimensional expedition instead, circa the early 2000s. I'm not actually sure how the urgency of their test flight is currently contextualized in 616 continuity. Anyone got their finger on that pulse?

The Punisher was also originally a Vietnam vet- but through the jaded cynical lens of the 1980s rather than the straightforwardly peppy and jingoistic lens that defined Iron Man's debut in the 60s. Current continuities I believe have mostly bitten the bullet and updated his origin to the invasion of Afghanistan. However, an interesting decision in the Garth Ennis-spearheaded Punisher MAX continuity of the early 2000s- where Punisher is literally the only costumed vigilante- is that they bit the bullet and posited a version of Frank Castle who really has been killing criminals nonstop since shortly after his return from Vietnam in the 70s, a man well into his 60s who's survivability and efficacy at killing are edging up against the boundaries of magical realism.

Hulk I feel sort of deserves a mention here- he's in a sort of twilight zone on this issue, as there was, uh, a pretty goddamn specific political context in which the Army was having him make them a new kind of bomb, but you can haul that forward in the timeline without complete destruction of suspension of disbelief. Pretty soon it'll be downright topical again.

To circle back around to The X-Men, Claremont introduced a lot of historical specificity with the ANAD lineup. Off the top of my head, Colossus was explicitly a USSR partisan (updated to a gangster forced into crime to survive in the mismanaged chaos of the USSR's collapse in the Ultimate Universe) and Storm was orphaned by a French bombing during the Suez War. More to the point, the timing was such that Magneto, in his upper-middle age, had a pretty strongly defined timeline vis a vis his ideological development vs Xavier; child during the holocaust, Nazi hunter who eventually rifts with Xavier during the mid-to-late 60s, and then the two of them spend their years marshalling their respective resources before coming to blows during the quote-unquote "Age of Heroes," whatever the timeline looked like for that in the 80s. And it was a timeline that held together pretty damn well in the 80s, but it's gotten increasingly awkward as time's gone on. The Fox films completely gave up on having it make sense, near as I can tell. In the comics they've had all sorts of de-aging chicanery occur that very pointedly ignores what an odd timeline that implies for everyone else in the X-books besides Magneto. The Cullen Bunn Magneto standalone from 2014-15 I remember actually leaned into playing up the idea that he's just old as shit and dependent on so many superscience treatments to remain functional that he's basically pickled, which was a take I liked; the comic ended when he died of exertion trying to stop two planets from crashing into each other, right before a brand-wide universal reset. When the MCU was at it's peak and people were wargaming how to integrate the X-Men (lol) you occasionally saw people float "fixes" for the issue, such as making Magneto a survivor of the Bosnian Genocide, or making him black and a survivor of the Rwandan genocide; I remember that this consistently drew a lot of ire from people who (reasonably) thought that his Judaism and connection to the holocaust were deeply important to his character, continuity be damned. But yeah, he's a character dogged by specificity in a way only Cap even slightly approaches. If this is a tractable problem I'm not going to be the one to tract it.

Interestingly, I'm genuinely having a lot of trouble coming up with stuff that's analogous to this at DC comics- almost universally the core roster updates into any given time period much more smoothly. Furthermore, DC stuff has always been much more willing to eschew Marvel's World-Outside-Your-Window philosophy in favor of deliberately obfuscating the time period via the Dark-Deco aesthetic of BTAS's Gotham or the retrofuturism of STAS's Metropolis.

The closest you get to this kind of friction is The Justice Society, who, pre-crisis, were siloed off in a universe where superheroes had existed since the 40s and there was no comic book time, so they were all in their upper-middle-age to old age now, with their kids and grandkids as legacy capes. Post crisis they were (and are) kind of an awkward fit in DC continuity; in the scant few JSA comics from the 90s and early oughts that I read, surviving members of the WW2-era lineup like Alan Scott and Jay Garrick were absolutely written as dependent on their metahuman physiques to have endured up to the present day. I think they're still doing stuff with those guys. I don't know how. I do understand the impulse, though. I also never throw anything out.

[raymantogether]

Rayman Together Community Spotlight #3 - Clairiphi

Rayman Together Community Spotlight #3 - Clairiphi

Introduction:

Have you ever made your own Rayman comic book series? Growing up, I spent thousands of hours outside of playing the Rayman series creating comics and drawings, making my own adventures for Rayman and his friends. However, I never could create something as captivating and truly unique as the Rayman Nightmarish Series. Rayman Nightmarish stole my heart and is something that I have followed since 2020. Every few weeks to months, I eagerly anticipate the next chapter. There is something so personal about the art style and original characters, which I fell in love with. Every strip is full of personality and charm. I had the pleasure of meeting Clairiphi, AKA Chiara, during my visit to Ubisoft Milan. In person, Chiara is just as amazing as her series. So when I decided to make this Community Spotlight Series, I just had to make a segment on Chiara and her Rayman Nightmarish series.

1. Please introduce yourself.

"My name is Chiara; I go by Clairiphi on the web, and I'm a storyteller from Sardinia (Italy) who dabbles into drawing to accompany her stories. I hope one day, not too far from now, to become a professional comic writer if the comic industry in Europe gives me the chance. For now, I sadly remain an enthusiastic hobbyist."

2. What are you currently working on in the Rayman Community? 

"I’ve been publishing my fan comic Rayman Nightmarish for a few years with the frequent help of my partner Francesco (@thepinna on Instagram and Cara), who is a professional illustrator and studied as a comic artist as well. Without his teaching, I would be nowhere near where I am with my skill level. He taught me how to storyboard, how to efficiently use a drawing tablet, and helped me train my writing skills. He also offers his direct artistic input from time to time, when work hours permit him (for example, while I did the storyboards and pencil sketches for chapter 11, he did inks and colors)."

3. What is your inspiration behind Rayman Nightmarish?

"One December evening I was particularly bored and haven’t been writing since the beginning of high school, but that evening I was coming from a long period of frustration regarding the school path I chose, and coincidentally, I was also back on my Rayman obsession because I was playing Legends and Origins. I had this fairy character (Waaty) and a horrific, almost lovecraftian villain (The Lighteater) in mind for a while, and all of a sudden I said, “You know what? Let’s stop daydreaming and write an actual story!” I took a huge empty notebook from my desk drawer, and a bunch of years later, here we are!"

4. For any newcomers, what is the story of Rayman Nightmarish about?

"With Rayman Nightmarish, I aimed to narrate a classic Rayman adventure, with the humor, the combats, the voyage across fantastical places... And zombies! Yeah, I love horror, and of course there was going to be a twist. But no worries! This is still a story for all ages, like Rayman always was after all.  An ancient evil called The Lighteater is rising from the depths of the sea and is going to bring a dark plague that will soon turn The Glade of Dreams into The Glade of Nightmares. Of course it is Rayman's job to save the day once again, with the help of Globox and a few unexpected friends, like Waaty, the livid dead fairy with strange clairvoyant abilities...and many others along the way! Will he be able to do it this time? Very likely knowing his records, but this could actually be more challenging than he thought."

5. Is there anything new or unreleased you can share?

"I’ve actually been working on a new original fantasy series for a while. The story is already all planned, I'm in love with the characters and every process I came across during the planning of the plot. I hope with all my heart that I'll be able to bring it to life, not as a webcomic but as a fool-blown series for comic stores’ shelves."

6. What made you fall in love with the Rayman series?

"When I was a little girl, I didn’t have much social skills, and my first ever playmate, before my brother was born, was my dear cousin, who one day came to me with a copy of Rayman 3; his parents got him somewhere during a trip. That game changed my brain chemistry because as soon as I saw the fairy council level, I was hypnotized, and I wasn’t even the one playing! The music, the scenery, the jokes—I don’t know, but every time we played it, I came home wishing I was still in that world. Then a few years later, my cousin got a PS3 and gave me and my brother his PS2, Rayman Raving Rabbids, and Rayman 3. I was so happy! My first ever “comic” was a very cringy Rayman fanfiction I wrote in middle school, kind of an ancestor of Rayman Nightmarish in a way, haha! I thank my cousin every day for showing me that game that evening, and if he were still here today, I bet he would think Rayman Nightmarish looks pretty sick (especially in comparison to his middle school predecessor)."

7. What is your favorite Rayman game?

"I think it’s pretty clear by now that it’s Rayman 3 since it comes with so many dear memories, but I really liked playing both Origins and Legends in co-op with my brother when they came out. They were really fun to play with others! While I’ve always considered Rayman 3 like an intimate journey to take alone in a fantasy world, as silly as it sounds. Haha!"

8. Who is your favorite Rayman character?

"I’m going to be very unoriginal and say it’s Rayman because it’s true."

9. Tell us about your time at Ubisoft Milan.

"It was better than Disneyland! I felt like a kid again being able to hang out with a team of professionals behind a whole videogame. Not only was I happy, I felt seen, like, “Woah! These guys know I exist and even asked me to come here, hello???” Pretty surreal experience!"

10. Other than playing Rayman, what are your favorite things to do?

"I’m going to be completely honest; I haven’t been playing a Rayman game since the dawn of time. Haha! Back when I was a little girl, I wasn't much of a gamer and only played Rayman games because I didn’t care for the others. Now I love my switch, and I found many more games I love to spend time with. Rayman still has a special place in my heart, because it’s thanks to it that I found out I was actually meant for writing stories. Two of my other favorite things to do (besides writing and drawing, which are obvious) are reading books and watching movies, and in both cases, my favorite genre is horror. I also like to play fantasy TTRPG games like D&D or Pathfinder from time to time; they are very stimulating for the imagination."

11. Tell us something interesting or funny about yourself that we might not already know. 

"I’ve actually graduated (both bachelor’s and master’s degree) from a music conservatory in classical piano and never taken a single class in any art school. Sometimes I feel stupid about my past choices, and sometimes I’m glad because learning to play an instrument on a professional level has helped me build discipline and time management skills that helped me greatly in the writing process."

12. Do you have any hidden talents?

"I don’t know much about "talent,” but I do love to sing in my car, and I can memorize the entire script of a movie if I like it a lot. Haha! I remember when I was in elementary school, I used to recite Madagascar to myself when it was past bedtime, but I didn’t want to sleep."

13. What is one thing you can’t live without?

"Besides my air conditioner, I think I would go insane if something happened to any of my writing devices. I keep all my notes scattered between my computer, my iPad, and many physical journals. While clouds are essential, sometimes I just need an actual piece of paper and a pencil to figure out a scene or a plot point."

Want to discover more about the Rayman Nightmarish series? This is my link tree where new readers can find the best social media platforms to either catch up with the story or stay tuned for any exciting news:

[surely-sims]

SMALL SIMBLR SATURDAY SHOUTOUTS !!

AKA an excuse for me to yell about how much I love these incredible free CC creators and throw flowers at them.

@lumenniveus - LxN CC ���

LxN makes some of the most interesting, whimsical, and creative CC that i think the community at large is so lacking. Every time I load up his CC In my game I find myself smiling and laughing at all the love and little jokes he includes. Please Please Check out his stuff if you haven't already. I think he might be the most tragically slept on BB creators.

▶ Check out LxN Here!

@hamsterbellbelle 🌸

HamsterBelle is one of the most brilliant creators I've come across in this community. Not only is she crazy smart and makes some of the coolest cyberpunk CC I've ever seen, she is also a mind blowing builder and takes the time to write out some incredibly helpful tutorials. I've learned so much from her whether she knows or not haha. 🐹💖

▶ Check out HamsterBellBelle here!

@nolan-sims 🌼

Not only is Nolan a goddamn pillar of this community for many years but she's also an incredible, sweet, and wonderfully talented creator and friend. Her CC is always so well thought through, completely original, and lovingly detailed. We definitely don't deserve her. 😭💗

▶ Check out Nolan here!

BONUS ROUND: 💐

All these creators are amazing and I would carve their names into the stars but ya'll would shoot me if this post kept going and going down your dash that long.

⭐ @gilded-ghosts Amazing amazing vintage CC, thoughtful, beautiful original meshes and textures. ( X ) ⭐ @myshunosun Myshuno deserves all the hype and praise her CC gets. She's an absolutely lovely human and has saved my ass once or twice too. ( X ) ⭐ @dallasgirl79 DallasGirl makes the best heels your sims will ever wear. Hard stop. I will not be taking questions at this time. ( X ) ⭐ @doctorsimcraft A dear friend, an amazing writer, builder and maker of delightful vintage Build/Buy CC too. ( X ) ⭐ @vyxated HOLY FUCK. Vxyated is crazy intelligent. Their work with CAS rooms and now the new Rig Plus Helper is mind blowing. ( X ) ⭐ @adjusted-karma ( X ), @simmireen ( X ), @herecirm-warcry ( X ), @rebouks ( X ), @madebycoffee ( X ) Beautiful people, beautiful poses. Also Ireen runs @ts4-poses which is a goddamn godsend to this community. ⭐ @twentiethcenturysims ( X ), @chere-indolente ( X ) Fantastic Historical CC from two very good eggs. ⭐ @jellymoo ( X ), @laeska ( X ), @xldkx-cc ( X ) Three lovely and fantastically talented CAS creators that put a ton of thought and effort in going the extra mile with their CC and it absolutely shows. ⭐ @awingedllama Anna is smart, skilled, and deserves all the flowers she's gotten this year. We really do love to see it. ( X ) ⭐ @kamiiri Some of the best hairs that have ever graced my game. I am actually obsessed. ( X )

If I missed anyone I apologize, but please know every single free CC creator makes my heart grow a little bigger every day. 💖 And to my fellow Creators, Storytellers, Simmers - Go make weird shit, make something that makes you laugh, make something that brings you joy. Cause y'know what? That joy bleeds into your work and we can all see it and feel it. That joy is infectious and special and THAT is what makes this community worth being a part of.

xo, Anne 🦐

[havendance]

Year One vs Zero Year: A Tale of Two Batmen

(You can also read this on AO3 if you want)

In the introduction to the Batman: Year One collected edition, Dennis O’Neil writes about the impetus behind the post-crisis reboot—things had become dated and it was time to revamp their most iconic characters: Superman, Wonder Woman, and Batman. “The writers assigned to the task had quick and clear ideas about how to update Superman and Wonder Woman, but Batman was a problem. He was fine just as he was.” Batman: Year One was not a story that was trying to reinvent Batman, it was a story that was trying to distill him, to revisit and retell his origin for a new era of DC storytelling. Whatever you may think of Frank Miller, he and David Mazzucchelli certainly succeeded with that goal.

While I don’t have a nice clear editorial quote like that for Batman: Zero Year, it’s clear that Synder was trying to do the same with the story. Zero Year is a Batman origin for the new era of storytelling that was the New 52. It has its nods to Miller—it has to, simply existing after Year One’s influential rewrite of Bruce’s origin—but it owes far more to the Batman of the golden age in it's story beats. It is not just Batman: Year One for the New 52, it is the Batman origin of the post-flashpoint comics, it's art and storytelling reflecting this Batman of a new era.

Batman’s origin has always been consistent in its strokes: Bruce Wayne’s parents are killed by a mugger. Devastated, the young boy swears to devote his life to justice. He trains both body and mind, until finally ready to begin, a bat flies through the window, and he takes it as an sign that he should become Batman—a creature that strikes fear in the hearts of criminals. It can be summarized in a page or two to get the audience up to speed.

(Batman’s Origin as told in Batman #47)

Neither Year One nor Zero Year change any of the fundamental pieces, but the narratives that surround them are vastly different. Year One seeks to tell a Batman origin grounded in reality as much as it can. In an afterward by David Mazzuchelli in the Batman: Year One collected edition he writes that “with year one, we sought to craft a credible Batman, grounded in a world we recognize”. The main enemy that Bruce Wayne faces is corruption: in the police and in the leading families of Gotham. Beside Gordon and Alfred, the other members of the Batman mythos that are present are Selina Kyle, just beginning to put on the catsuit and Harvey Dent prior to becoming Two Face, both of them surrounded by plausibility and grit. The Joker gets a single name drop at the end. It takes up four issues and covers the span of a year, covering the emergence of Batman’s mission

In contrast, Zero Year is bombastic. It’s a story full of bright colors and fantastic events: explosions, blimp chases, and Gotham city cut off and run as the Riddler’s personal fiefdom. It’s longer—spanning 10 issues—and covers a significantly shorter period of time. In it, Batman faces the Joker, The Riddler, and a bone-mutated mad scientist foe who’s name I don’t remember. Pamela Isley and the Penguin are alluded to as well. The giant penny plays a role in the plot. It calls back to many pieces of golden age lore, such as Bruce’s Uncle Philip Kane, and his love interest Julie Madison. (For a more modern retelling of the golden age Batman’s origin, see Secret Origins (1986) #6)

(The Batman: Year One and Batman: Zero Year trades. Please also note that the Year One trade contains at least an extra issue’s worth of bonus content at the end, where the Zero Year trade only has some variant covers)

There is also a difference in attitude between the two origins. Year One is a comic that is trying to escape the bounds of genre; Zero Year is a comic that revels in it. Part of it is the tone—Year One is setting itself in contrast to the Batman of the past in its commitment to realism rather than melodrama. Part of it is the art. In terms of color, the original printing of Year One and Zero Year are very similar. In Year One, this is because of technical limitations. There are only so many colors, most of them bright, and still Richmond Lewis works to create a strong sense of atmosphere to highlight the noir-type story that is being told. Zero Year uses these colors as a deliberate homage to comics of the past. It’s filled with bright pinks, blues, yellows, and greens set in contrast to each other. It’s beautiful. It’s also a clear stylistic choice.

Richmond redid the colors of Year One for later reprintings. While beautiful, they are far more subdued and muted. It’s clearly the sort of look they wanted for Year One from the beginning, but could not achieve. In contrast, Zero Year stands out from the comics surrounding it in the first half of the New 52 precisely because everything else is illustrated in this overly realistic dull and gritty style.

(Batman #405 — original printing vs recolor)

(Batman (2011) #22 vs Batman (2011) #1 — These comics have the same colorist, but clearly different philosophies guiding them)

This can also be seen in the Batman costumes themselves. While both Year One and Zero Year are drawing from the same original Batman costume from Detective Comics #27, they take different parts. Year One’s Batman suit has a simple and streamlined black and grey. The Zero Year suit keeps the purple gloves.

(From left to right: Batman in Detective Comics #27, Batman #405, and Batman (2011) #24. While the image from Detective Comics #27 is faded, note that the gloves are purple)

This contrast isn’t just in the origins themselves—it is the comics that surround and follow them as well. Year One and Zero Year are origins for two different eras of Batman. I’ve read primarily post-crisis Batman comics and am less familiar with the pre-crisis era, so I can’t say how much of the storylines that followed were specifically picking up on Year One’s influence, and how much was just the natural change in storytelling direction, but throughout the major Batman events of the Post-Crisis era, there is a throughline of sensibilities that they share with Year One. AsYear One set out to tell the grounded origin of the Batman, so do many of the foes and challenges he faces have this grounded nature to them as well. They all still have a larger than life feel, but the foes Batman faces tend to fall into the categories of crime (Knightfall, War Games), natural disasters (Contagion, Legacy, Cataclysm), and himself (all of them, but more specifically Murderer/Fugitive and arguably a Lonely Place of Dying as well). These are events that start from a realistic starting point that are magnified. Earthquakes, outbreaks of disease, a gang war—these are all things that could happen to any city. Any man could lose a son or be framed for murder. The heightened nature of these stories is what separates them from the real world.

(Even an event like No Man’s Land, with its premise of ‘Gotham getting kicked out the United States’ that stretches the suspension of disbelief, is intensely focused on what this means for the city that remains. It cares about grounding the fantastic events in real reactions.)

In contrast, post-flashpoint events tend to have this more fantastical feel. The Night of the Owls does not put Bruce up against ordinary corruption among the elite, but against a masked conspiracy with immortal assassins at their disposal. The driving force of Robin War is not the idealism of the We Are Robin movement against a city that doesn’t like or trust them, but a power play by the Court of Owls. In Night of the Monster Men, Batman and co. fight Kaiju-like monsters; there are themes of contagion throughout the story, but this isn’t a hopeless fight against that ancient enemy of humanity that is disease, it’s a thrilling, action-packed fight. One approach is not necessarily better than the other, but they are fundamentally different paradigms of storytelling. I remember reading Night of the Monster Men at the same time as the lead up to Bruce Wayne: Murdere/Fugitive and thinking that they didn’t feel anything alike.

 Unlike Year One, Zero Year does not feel like a origin point for this shift in narrative focus. The beginning of the new52, while having the benefit of being the beginning of a new era, also isn’t it—these storytelling trends could be seen in the comics leading up to Flashpoint as well. If I had to pick an event that started to show this shift, it would be Batman RIP. Morrison’s love for silver age comics and deep cuts to lore lead it to having that same fantastical feel. While the Batman of Morrison’s run is nominatively the one of Year: One, he fits more in line with the storytelling motivations of Zero Year—the callbacks to older ages (Morrisons’ Batman definitely wore the purple gloves), the extreme feats of survival, the larger than life events. Year One was an origin for an era that had come to an end.

A new Batman origin was inevitable, if for no other reason than the constant passage of time. One of the big differences between Year One and Zero Year is the sheer difference in the type of technology Batman uses in each. In Year One, there is no Bat-Computer. Bruce has his grappling hooks, his smoke bombs, his ultrasonic device that summons hoards of bats—It’s all far too simple for a Batman of today’s world. Zero Year has computers everywhere and Batman’s gadgets are upgrading to fit the glitz and advancement of the modern era. The New52 gave DC the chance to revisit it and for better or for worse, no one could call Zero Year, ‘Year One only set 30 years later’. Both works are products of their times, and both works show the audience not only the basic beats of Bruce’s origin, but also what a Batman story looks like. Together, they show the way that he has evolved as a character over the years. Maybe in 15 years, DC will put out another origin epic for Batman. Chances are, he’ll have changed yet again.

[kaspavanlortsyal]

Let It Be Enough - 1 Year Anniversary

"You will always be enough."

This beautiful art was commissioned from the incredibly talented Elle Noir (twitter/instagram/deviantart)! Thank you, Elle, for bringing this beautiful moment in their story to life.

This time last year, I posted the first chapter of Let It Be Enough on AO3. The butterfly effect of my simple desire to share my silly little story is unbelievable. In one year it garnered over 50k hits on AO3, and that isn't even the coolest part. I made lifelong friends, found a community of wonderful writers, and fell in love. I reflect upon 2023 and bear witness to the power of storytelling. I never thought that I'd still be writing fanfiction about Petra and Miles a year later in the form of my Fairytale AU, The Memory of Stars, and yet here I am.

The world of Avatar is magnificent. It gives me hope that the highest grossing movie of all time is an allegory about colonialism. It emphasizes the importance and beauty of our connection to the Earth (or in the case of the Na’vi, Pandora), and condemns corporate greed. I sincerely love Avatar, not just because of the nostalgia, but because of how bold it is in its storytelling.

Stories are the backbone of society. For all of human history, we have told each other stories. Stories shape our worldview and helps us convey emotions and ideas. Every person finds their own truth in the shape of words.

James Cameron is a fantastic storyteller. However, he is also a white man, and some stories are not his to tell. Many aspects of the Na’vi are drawn from real world indigenous cultures. I understand that he consulted various groups in his development of the Na’vi, but if you enjoy Avatar, I strongly encourage you to seek out own voices stories as well. Our world is troubled and complicated, but I truly believe that it gets better each time someone opens their mind to traditional indigenous knowledge. That gives me hope more than anything: the will to listen. 

One of my favourite books: Braiding Sweetgrass by Robin Wall Kimmerer (If you're a fan of audiobooks, Robin reads the audiobook herself and it’s incredible. I highly highly recommend picking this up, especially if you like plants.)

Also, if you are playing Avatar: Frontiers of Pandora, please dedicate time to researching Residential Schools and their dark legacy in North America. You will better understand the real world inspiration of the Ambassador Program, but more importantly, you will be offering a listening ear to the important stories of survivors. Feel free to add more book suggestions to the comments as well!

Thank you for being here. 

[leonardcohenofficial]

hello i would love to hear your general thoughts re: tenmartha if you feel like sharing them

okay so many thoughts about dr. martha jones and the doctor but one of the main ones is that despite popular (misogynoir-driven) belief, martha's character as written is much stronger than people give the series credit for. i think so much of her very strong character development and arc (based in her growing into her self-sufficiency, which was always there from the start and demonstrated in her constant analysis and questioning in the search for the most info to make the right decisions) is overshadowed by fandom racism, too much focus given to the unrequited crush storyline (which is also key to her arc, but is also something that she very distinctly and importantly gets over!), and general "she's not rose" sentiment. i think it's really interesting that unlike rose or donna whose narrative arcs need them to become super-human, martha essentially becomes the doctor's equal by the end of her run, if not surpassing him given the fact that as a human, she doesn't have those same otherworldly powers as him.

while i think the narrative of season three ultimately lets her come out on top, i think there is a big cost to that, for both martha the character and for the viewers. even separate from fandom racism there are so many moments of racism in the series that i don't think actually do anything to further the storytelling (literally fuck the whole human nature/the family of blood storyline) and that puts a damper on much of that whole year for me despite loving the characters. i also understand why the doctor (via the writers) is constantly comparing martha to rose, but the moments where martha calls him out on it—while they are certainly there—aren't always enough. i think that fact that martha also begins as fairly dependent on the doctor's validation (which like. makes total sense, she has no idea how all this works and is getting thrown into insane scenarios with no info from the jump) gets reduced to calling the character "needy" which just simply isn't true. this is also something that i think people focus on a bit too much rather than seeing how that particular character trait shifts throughout her season.

all this to say, when tenmartha is good, it's fantastic. freema agyeman and david tennant's chemistry is so on point, and that saves a lot of otherwise mediocre-to-bad writing. from the jump martha is shown to be so SO fucking smart, self-reliant, willing to take risk, and uninterested in the doctor's bullshit; when the doctor isn't just whining in the post-rose hangover or treating her like crap, he recognizes how powerful she is AND how much potential she has to continue to hone her skills, which is why he trusts her so inherently and ends up leaning on her so much during that season. the fact that he manipulates her emotionally to me is equal parts hard to watch and based writing-wise in a lot of the aforementioned -isms AND interesting character development from him because we haven't really seen that type of messy fucked up (human) behavior from the doctor. and then martha leaves on her own terms, which no other companion has gotten to do (clara's storyline feels different in that regard to me). she realizes she doesn't need him, arguably becomes his equal (or surpasses him) in terms of skill, and makes it out alive. imho that's a pretty big accomplishment.

[mulderscully]

having deep thoughts about nandermo again. like. they really do have, in my personal opinion, the most fasinating m/m relationship of all time simply because they are such a slowburn relationship that it allows for their relationship to grow and develop gradually and for us as an audience to become as attatched to them as they are to each other which is something i really miss in most lgbtq+ media.

i keep thinking about how much their relationship has changed from season one to now and how when you look back, so much about it just clicks together perfectly.

what stands out to me after 5x05 is nandor telling guillermo that they (really him, obv) are fine without him, when we see over and over again that this is absolutely not true. and so much of this ties back to how the foundation of their relationship as master and familiar is about the fact that guillermo wanted so desperately to be a vampire, perhaps out of some sense of needing to belong somewhere. along the way, at some point in over ten years, their relationship stopped being about that. at some point they grew to love each other- and tbh it does not matter if that love is platonic or romantic or somewhere in between. they love each other in a way neither of them really understands or want to face.

this is so much more evident through nandor, and it's such fantastic storytelling because while they have this massive inherent power imbalance, the writers flipped the script and made guillermo more powerful than nandor in every way - physically, emotionally, mentally! and this isn't a slight to nandor. nandor likes that guillermo is strong and could kill him! and the only reason either of them is alive is because the love they have exists beyond vampire/slayer and master/familiar.

the juicy part though, is that nandor has obviously been afraid of guillermo being turned because then he won't have any real reason to stay, to be with him, to take care of him. and in season five, unknowingly, this is actually what is happening and it's why nandor is so desperate. he can feel something is different about guillermo, he can feel the distance between them that he has always feared - but he doesn't understand why it's happening. he just knows he feels unseen by the only person who has ever seen him and that causes him to lash out despite all he wants is guillermo to want him just as bad.

AND GUILLERMO DOES! because if he didn't love nandor, why does he hide that he has become a vampire? why does he stay? why does he keep being a familiar, despite getting what he always THOUGHT he wanted? because he loves nandor. because it's not about being a vampire, and maybe he doesn't even want it anymore because he had already become powerful in his own way. he also just wants nandor to see him. and because he loves nandor so much he is purposely creating this distance between them. the show has established multiple times that guillermo can fend for himself, esp now with vampire strength on top of what he already had. he isn't afraid of nandor killing him. he's afraid of hurting nandor, he's afraid of nandor killing himself.

it's just so good: it's SO good. this is not the type of relationship that can be told in a season or two. i love enjoying this ride.

[sueheesblog]

Let's talk about some stuff! SZN 3: SPOILERS I watched the season after I saw some spoilers on X and from friends lmao. I didn't sleep. Sorry for the typos n shit. I need to vent.

- First off, Syd and Cousin carried the whole fxcking SZN on their backs, while Carmy was too busy being a psycho. Ayo n Ebon deserves all the awards. JAW is a fantastic actor - 10/10 for all 3 of them. Everyone else did great too, Napkin was 😭😭😭 AYO DID THAT. Those 3 are legends in my eyes!!!! If Ayo leaves or if the writers do her dirtier in SZN 4 I'm DONE. I cried for her this SZN, n for Carm too.

- All of Sydcamry scenes for some reason gave me butterflies even though they drifted farther apart each eps. Syd getting Carmy's dish was top tier - incredible writing from the writers. I just need them to explain more - what is the purpose of having Syd n Carmy tied together - if Claire is so great why not tied her to Carmy? Why does she seem like someone who died, haunting Carmy like his toxic boss? She more unbearable this season n I think it's intentional.

- Some ppl were saying Claire had alittle more substance this SZN and I beg to differ. She's like a dead gf to me. Her scenes with Carmy are so cold, dead, and heavy - like a burden. She triggers my anxiety n I don't know y - n I don't want to be mean, but just how their scene are edited, it literally puts me at the edge of a panic attack. The writers had the audacity to call her PEACE. I did not experience peace watching her scene and I think Carmy feels the same way from the jump. So, Fxck no, she ain't PEACE, that's Syd and it's obvious.

- Claire being labeled as PEACE makes no sense - the writers are trying too hard n it's make me sick. If she's so great, let her n Carmy run/manage The Bear.

- Syd is the invisible string that's holding everyone together in this chaotic sh!thole, while babysitting Carmy and keeping him from combusting. Unc, Nat, Pete, COUSIN, Marcus, and everyone else are staying afloat because Syd is the fxcking life vest that's strapped to their chest.

- Syd is calm, organized, observant, caring, considerate etc. Yet, these fxcking writers said Claire was peace- that line had my blood boilingggggggg.

- Syd's relationship with her Dad is everything

- Sydcarmy is sooo far apart it physically hurts. They didn't even do ther sign thing over their chest this season.......I get this feeling (just a FEELING) that Syd might be in love or has a crush on CARMY 😭😭😭. The margin wider scene gave me that vibe. When you like someone, you notice every little thing they do. There were times I wanted her to hug him soooo bad, I just felt like if she did if would've grounded him. He really needed a hug this season.

- Something I think some of you might have missed. Remember SZN1 Ep1 when Syd said her dad ate at The Beef on Sundays. We got confirmation from Carm, in SZN 3 that The Beef/The Bear only closes on Sundays. 😂😂🤣😂 (this was in the scene with him n Claire in a dark room or whatever. It might have been a dream scene idk) So, Carm knew Syd lied. I need the writers to have Carm n Syd talk about it and the meal she had in NYC. These are only a few important stuff they hid in the storytelling and I need to know WHYYYYYYYY.

- Carmy had a panic attack during service. Syd's voice took him off the edge. And I must say, her voice could really calm me down too lmao.

These fxcking writers are lowkey abusing Syd at this point. She's being stretched thin, and again this is also why I think she's in love with Carmy. It hurts her, but she's so into him, connected to him physically n mentally. It's really hard for her to let him or The Bear. It reminds me of the time Donna said "I make things pretty for others, but no one makes things pretty for me" not being verbatim lol. Syd did sooo much heavy lifting this SZN and no one noticed it, they all subconsciously over look her and gave all praises to Claire and making her the peace and angel.

- We finally saw Syd broke tf down in ep 10. Baby girl couldn't be strong anymore. She doesn't want to leave Carmy or The Bear but after the round table talk with the workers from Ever. She realized that Carmy - the person she idolize or even love/crush on, might not be good for her. Carmy is trying but the communication is lacking so bad, and on top of that he's pushing her away.

At this point, the partnership agreement seems like a trap to keep her. If Unc cut his connection to The Bear that's going to be Syd last straw. And if she leaves, I kinda see Tina, Marcus, and maybe COUSIN going with her or they will stay and give Carmy HELLL for losing her. The tables would turn. Everyone is so hang up on Claire leaving, if Syd leaves, Claire would go straight through the window. That would be the moment of realization (for all of them. Especially Carmy) that the woman he really NEEDS is Syd and not Claire. But for some reason, they all think Syd ain't going nowhere which is so naive. She got a bigggg offer and I can't wait to see when she tells Carmy. Would he confess her importance to him to keep her? Would he beg her to stay? Would he listen more or communicate more to keep her? Would he ask her what would make her stay at The Bear? Or would he be a b!tch and tell her to go cauase it's a great opportunity? And then after confess that he's having a hard time letting her go. Very interesting stuff.

- Last thing - Unc talking to Syd. I was shock he was looking to Syd for answers as to what's going on with Carmy. This was also telling. Unc believes or senses that these too are CLOSE. And Syd being a good gf/partner kept her mouth closed. SYD is an angel sent from heaven, cause I would be so done with The Bear😭😭😭😭.

We saw that Carmy and Syd are having conversations that we are not seeing on screen. For example, he asked her about her new apartment. When did she tell him?? He then asked about her dad. Sir, what about her dad? Did she tell him about the annoying bathroom exchange? Are they sharing more about their personal life that we, the audience is not seeing? So many fxcking questions in SZN3.

This is just my thoughts. I saw the season once so this not an analysis.

[thelifeofchuckmovie]

There are multiple Stephen King-centric stories to emerge from this past week pertaining to some anticipated upcoming Stephen King movies. And there was an update from writer/director Mike Flanagan regarding how his adaptation of The Dark Tower series is co-existing with his developing Exorcist movie.  

Not only has Flanagan been talking about The Dark Tower, but he’s made a couple of fantastic revelations about his new movie The Life Of Chuck (based on the Stephen King novella of the same name), and we have some major behind-the-scenes news regarding director Francis Lawrence’s The Long Walk, which has started production and added to its cast. The King Beat is here to catch you up on all of the developments. Let’s dig in!

Mike Flanagan’s Description Of Tom Hiddleston’s Big Dance Sequence In The Life Of Chuck Will Make You Want To See The Movie Immediately

Anyone who has read “The Life Of Chuck” has long known that dancing would be a crucial element of Mike Flanagan’s adaptation. After all, the middle section of the three-part story is entirely about an impromptu bit of body moving in public when the titular character gets caught up in the music being played by a busker. That being said, it’s nonetheless fascinating to learn how Flanagan is approaching the sequence in the adaptation – and based on his recent comments, it’s going to put broad smiles on the faces of anyone who watches it.

The most recent episode of the podcast Talking Scared features a number of professional storytellers discussing their favorite Stephen King short stories, and in the 30 minute interview with Mike Flanagan, the filmmaker goes into deep detail about the Life Of Chuck dance sequence. In the movie, Tom Hiddleston is playing the titular Chuck Krantz, and his performance is evidently so delightful that it actually left Flanagan’s face hurting from smiling too much. Said the writer/director,

It's one of those that you read it in a book where dancing is described. And I think King did a really good job with that. You read it in a script where dancing is described. But when you see it and hear it, and we're talking, it's a five-and-a-half minute scene. It's substantial... I've watched people when they watch this, and even people who have seen the movie dozens of times and worked on it... when we were on set filming, it took four days to shoot it, and my face hurt from smiling that long, that sustained, for four straight days. Like, my cheeks hurt by Friday. And, that's the thing I see, is you watch this smile break out over everybody who's, who's watching it.

This description of the sequence in the new film is exactly what one would hope for. The second section of the novella is all about celebrating the random joys of life, with Chuck finding himself caught up in the moment listening to music and finding a wonderful dance partner in a beautiful stranger who also happens to be walking by. It’s a sequence full of effervescence, and it sounds as though Mike Flanagan has worked particularly hard to capture it on screen.

The filmmaker also helped clarify why it is that the movie is earning comparisons to Frank Darabont’s The Shawshank Redemption – which is a film that can be described as an antidote to cynicism. Flanagan explained that his approach for The Life Of Chuck was to make the work sweet but not overbearing:

That joy comes in and it's not saccharine and it's not forced at all. It's kind of undeniably purely joyful. And there are so few opportunities in storytelling to exist in a moment utterly devoid of cynicism and not trying to force an emotional reaction where you're presenting something so purely what it is that the natural human response is to put down the guards and just let yourself be happy to experience it.

If that sounds like it is a very different mode for Mike Flanagan – a filmmaker best known for his work in the horror genre – you’re not wrong, and he said as much in the interview, adding,

I've never worked on anything that had that opportunity. I'm going the other way. I'm way more interested in making people uncomfortable and scared. [Laugh], you know? That's my whole business. And so to exist in a story that was just bringing forth this kind of earnest and bittersweet and realistic and honest joy and introspection. It's my favorite movie I've ever gotten to work on for that reason.

That’s a terrifically exciting sentiment given the extreme quality of Mike Flanagan’s filmography – but that’s not the only cool update that we have from him this week about his new Stephen King adaptation.

Mike Flanagan Reveals One Key Way The Life Of Chuck Will Differ From His Previous Stephen King Adaptations

Mike Flanagan’s love of Stephen King’s work is unquestionable, and it’s obviously reflected in his work. Gerald’s Game and Doctor Sleep feature details that are changed from their respective source material, but they are primarily very faithful adaptations. There is, however, one thing that the upcoming Life Of Chuck has that those two movies don’t, and that’s voice over narration that brings King’s words directly to the screen.

In the Talking Scared interview, Neil McRobert highlights a particularly beautiful passage from “The Life of Chuck” about the character reflecting on his impromptu dance while dying from cancer, and while discussing the material, Mike Flanagan explained how the film adaptation demanded that the prose being directly brought to the screen:

Frequently, when you look at things like that, the concept of narration in a movie, it's wildly improperly used, and it's a crutch in a lot of cases. It's unnecessary or it's distracting. This is one of the only times in my life where I looked at it and said, 'It is essential to this story that King's prose be driving and structuring the movie.' And I'm so glad that, that we did it that way. I don't want to spoil who narrates the film, but that's a big part of it. And having the right voice to these words is critical.

Continuing, he added that there is plenty in the story that is visually captivating in The Life Of Chuck, but that voice over narration was a necessary component in bringing it together. Said Flanagan,

It's a literary experience that has some incredible cinematic weight to it. It's visually incredible to watch the stars burn out or to watch a wonderfully classically choreographed dance number or two. All that is there. But then more than any other thing I've ever worked on, the prose was essential. And not just as a King fanatic, not just as a Constant Reader, but just for this particular story, it had to be there.

The Life Of Chuck is set to make its world premiere this fall at the Toronto International Film Festival, and being a completely independent production, it does not yet have theatrical distribution. Fingers are crossed that will change following its Canadian debut and that the movie will find its way to theaters before the end of the year.

[zahri-melitor]

What was the purpose of the New 52? Was it really a failure?

There’s a loaded essay topic!

The purpose of the New 52, to my best understanding, was stated to be the opportunity to tell stories that were less weighed down with continuity and allow a clear starting point for new fans to hop on board and start reading comics.

Basically, COIE and Post-Crisis is a successful version of what they wanted! COIE did in fact reset the universe and make a nice clear boundary for fans, and while if you dig in, particularly to 1980s comics, it wasn’t always as clean or tidy as people think of it being, and it created some weird discontinuities requiring additional retcons (Donna’s everything being the most famous, particularly to tumblr), it created a 25 year long largely coherent story where characters grew and changed over about 5 in-universe years of narrative.

Let’s look at Wally, because he’s emblematic of it. Wally in 1986 was a young adult who just lost his father figure, was expected to step up and take on a role he had never expected to need to take, especially that young, and was a kid from a fairly conservative background who had never examined his views.

Wally by 2011 was a fully grown adult who had a wife, kids, extended family, a career, was fully respected in his role as the Flash, and had found his views becoming significantly more progressive over time as he was exposed to more of the world.

This is fantastic long form story telling. The problem is to tell long range generational storytelling is that you have to be willing to allow those legacies to occur and the character focus to shift. And that makes fans of older characters, particularly the ones giving up their legacies, mad and long for their faves to be back in their prime.

Enter the New 52.

New 52 was an attempt to cut this Gordian knot. If they created a new timeline where superheroes only had 5 years of history, then that meant that the classic Silver Age headline characters couldn’t be ‘too old’ to still be realistically running around doing what they do. They had to be in their late 20s-early 30s! Young! Hot! Spritely! Relatable to a new generation!

While some of these characters did have 70+ years of history, the thing is that nearly 50 years of it (1938-1986) had already been compressed and glossed down to basics. Nobody can actually tell you what happened the year Dick Grayson was 14 years old. You can build one from old storylines if you wanted to have it! But it's not as easy as pointing to a run of comics and saying "during this Dick was 14".

This left two significant problems in tension with each other:

The intention to make Bruce, Clark, Hal, Barry, Ollie, Arthur, Diana etc about 30ish years old and the key adult members of the DCU to revolve stories around.

Everyone from the Titans on down therefore had to get significantly younger to fit into a 5 year history, but a lot of these characters ALSO had active fans and writers wanted to use them.

And then, on top of that? Because the intention for resetting to a new universe was to remove the burden of backstory from storytelling, the editors and various offices...never sat down and worked out together what the new history contained.

This led to the wild situation where The Flash, for instance, was reset to a pre-1986 state where there wasn't even a KID FLASH, and basically every member of the Garrick-Allen-West-Chambers-Mercury Flash Family not named Barry Allen or Iris West had ceased to exist (and uh, given it's the Flashes, only ONE character with each of those names existed). While over in Batman, the writers tried to hang onto everything and they cut ten years out of the timeline mostly from discarding Dick's history, so that Bruce had 4 Robins in 5 years.

This obviously created a lot of the issues. Because there was no structure as to what was in or out in the new universe, writers just...did whatever. And contradicted each other. And when they realised the contradictions, tried to write retcons to excuse it. (Was Tim Drake Robin or not? Depends on which writer you ask!)

Was it successful?

In the short term, in terms of sales? Yes, absolutely. DC managed to get a bunch of new readers in, as was the financial intention. It also did allow for a shift in focus on some characters: it's where basically all of Damian Wayne's stories that people like as stories (and not as concepts) exists; it's where Jason Todd's modern characterisation as an antihero and dynamic with the other Bats was established; it brought back a bunch of older properties that hadn't been seriously used in years back into the spotlight; due to the fixation on having 52 titles running at all times it gave a lot of characters opportunities to headline titles that hadn't got that in a long while, and the opportunity to try out different styles of storytelling; it provided the opportunity for modern rewrites of origins for some characters that needed some retcons applied - Morrison's Superman is well regarded and both Aquaman and Green Arrow's origin rewrites for instance put things together more coherently and discarded some outdated elements. Blue Beetle's rework of Jaime's history to keep the main elements but excise the fact it was so reliant on Infinite Crisis was actually better considered than people give it credit for.

The bigger issue was the lack of planning meant that the timeline became a burden on the whole initiative, particularly given how many fans were asking for the return of beloved characters and dynamics that had been wiped away or rendered unrecognisable in the reset. On top of that, there was the conception that they could just abandon the whole timeline again at the end of 5 years and start over, so large radical changes were fine and wouldn't have ongoing effects.

Also, the initial boost of sales from being able to announce brand new titles, like every time an #1 is announced, trickled away. Yes, it was the entry point for a generation of new fans. But also it wasn't any more turnover in terms of new fans than in any other period, on the long term view. There were still more people who were comics fans of DC who were long term fans than there were new fans, buying comics 2-3 years in, and those are the sort of fans who DO want the continuity back. They've got decades of favourite stories that they were told no longer mattered, and they wanted them to matter. And they lost a whole chunk of fans who reacted to New 52 like it was a contact poison and...stopped buying DC comics.

And so, like a pyramid scheme or a shell game or a company expanding too fast, it started to fold in like a pack of cards. DC found itself frantically relaunching more and more titles in 2014 and 2015 as they tried to regain the new feeling momentum of 2011. Their timelines needed people who cared deeply about the characters to go over things and reinterpret them to make things flow, and most of the people interested in doing that were trying to reinstate pre-Flashpoint continuity elements.

And that's why eventually, in 2016, we got Rebirth.

I don't think it was an outright failure. There are salvageable elements. But I think the damage it did to the company reputation and to their ability to exploit what makes cape comics distinct and unique as a storytelling form far outweighed the benefits gained.

And the recovery process from trying to turn the situation around has been long, drawn out, and is still ongoing for some characters.

[raineydays411]

Hi! I just read your works and wanted to say how spectacular your writing is and how amazing you are.First, before I get emotional, I got a couple idea for My Fathers Daughter. These are just a few thought running around my head, no pressure whatsoever.

Christmas family dinner with the Avengers

Wade and Peter hanging out at the mansion (Wade breaking stuff, Peter sticking to walls randomly, ect.)

Y/N screams at night (because of nightmares) after she's rescued and Christine tries to comfort her but Y/N doesn't recognise her and cries for Pepper

Alfred taking her out shopping

Y/N sneaks out but gets recognised as Y/N Stark by her next boyfriend (idk if you want Pietro or an OC) but he doesn't tell anyone, just shows her an ice-cream store he likes or something

Wade, Peter and Y/N 'prank war' the Batfam

So now that's all out of my head, I can think again. I know that you are a fantastic writer and a great person. Writers like you are the reason I joined Tumblr and inspiration for all the thoughts that live in my head. You know how to make me cry over a fictional character, squeal with joy when you update, spend hours thinking about your works. You are a truly wonderful person with a beautiful soul. Don't forget to take care of yourself as well. Stay hydrated and keep doing things that make you happy.May your fortunes be good and luck finds you everywhere.

~ wildsideofthewolves

This is literally the sweetest thing anyone one has ever said to me im crying lmao.

Thank you so much, I think I've mentioned how insecure I am in my writing and storytelling so to hear this is really reassuring. I have been taking a bit of a break as I just started a new job and have been focusing on my mental health. But that doesn't mean I have forgotten about any of you nor have I forgotten about this story.

[turtleblogatlast]

hey!!! this is less of an ask and more of a fic rec tbh 😭 but have you read 'I May be Invisible, but I Still Look Good" by Dandy over on Ao3???? It's after the movie AND Leo-centric and like he gets cursed so his spirit is ripped out of his body. It's like 125k words of wonderful storytelling

OH- but for an actual question, do you have and fic recs?? or any AU's you think people should go check out?

I tried answering this before and it erased my reply orz

ANYWAY YES I HAVE read this and I absolutely love it with every fiber of my being.❤️ 100% one of my top fics to read in this fandom that I even go back to for a reread more than once. The characters are perfectly done and the set up for the story is believable with a fantastic payoff, highly highly highly recommend to anyone who hasn’t read it yet.❤️

As for recs, I’ve always been terrible at giving recs since my memory is very bad especially for ones I haven’t read in a while.😭 Off the top of my head I can recommend (note these are practically entirely Leo-centric since he’s my special guy you understand (the others aren’t forgotten at all though!!!) - and most of these are very very well known so you’ve likely already read them…):

[Note many of these are unfinished and may remain that way - please no one harass the writers for more, let them write at their own pace if they choose to write at all]

- The Neon Void by sugarpastels is absolutely incredible, the dramatic irony of it all as we follow Leo in the state he’s in and see just how broken all the Hamatos are by his “death” is just 👌👌👌 The fact that this places with one of my favorite tropes aka “Leo being in the Prison Dimension longer than canon” is just so good. Genuinely a thoroughly gripping tale that I highly recommend. It’s not complete yet (a lot of this list isn’t) but what is there is so amazing please read (though you most likely have read it already haha)

- little kid with a big death wish and firefight by remrose are another two you’ve likely seen but by god are they worth the read. Firefight isn’t done yet but it and death wish are so amazingly well written and really go into how trauma affects people differently and how ties with family can be tested in traumatic situations. Hard subjects definitely but very maturely done. (Also I misread firefight as firelight for way too long before I realized it-)

- Power Up and Times Five by pickedcarrotsandradish are both unfinished but I can’t care because what we were given is so good that I’m fine with them as they are. Both deal with Leo’s insecurities and bad feelings about himself and, very importantly, the fics go into how these insecurities establish a base for Leo’s very real flaws and how those flaws push him to act the way he does. Very interesting and compelling stuff here!! Power Up especially does really cool things for the boys’ mystic power ups, especially Leo’s, and I loved reading about the ins and outs of what they could do.

- Race Against Life, Death, and the EPF by Cass_Phoenix is just so engaging to read??? Like I love the entire set up for it - it’s feels so fresh and like you’re in Leo’s desperate situation yourself. I was so excited whenever a new chapter came out because the atmosphere was so well done.

- A Mixed Bag by GreatlyBlessed is SHOCKINGLY not Leo-centric for once haha. It’s not completed, but again, like the others above it is so good that I recommend it anyway. This story is actually a crossover between four sets of TMNT (‘87, ‘03, ‘12, and Rise) and the dynamics set up in it are SO fun I love it. Team 2 is my fave because you have literally all my faves on that team how could I not?? I also highly appreciate that everyone gets a chance to shine and that there’s no bashing at all, they’re all just very much in character and it’s refreshing to read ❤️❤️❤️

There’s a LOAD more that I could recommend I’m sure but I don’t remember them off the top of my head at the moment.😭 If I remember I’ll come back and add them in!

(Forgot about AU’s- honestly there’s some that I see and catch up on when I see them but there’s just so many that it’s a bit difficult to keep track of sometimes! I’d have to go around and fully look through many before having a solid answer haha! The ones I do see are always so well done though, I may come back and add them here if I remember 😅)