#however this thing does have a personality and backstory written down

[muscariiaart]

the menace himself, magnus chase, but if he were kinty. I actually like how this turned out so I am indeed posting it. I named him SummerHowl (summer = sword of summer, son of frey god of good weather, "warm and Sunshiney". howl = the call/peace of frey? w/e that move was called, also wolf howl. for I am devious)

I tried to make the lightest color look like sun dappling in some areas. also spot the hidden runes, there are two of them.

this was fun though! maybe I'll make all of floor nineteen into kittycats one day. just for funsies

[miraculouslbcnreactions]

Do you agree that Chloe only cared about Adrien cause of his social status ? Cause that's what Astruc has said on Twitter regarding how Chloe viewed her friendship with Adrien. Do you believe this intent of their relationship was portrayed correctly in the show ?

I think that this statement accurately describes the way that Chloe was written in season one. She never read as Adrien's close friend and we got scenes like these two from Dark Cupid where she wanted his autograph to show off for some reason:

Chloé: Hi Adrien, sign here please. Adrien: (sighs) Oh, come on, you know I hate signing autographs, Chloé. Chloé: Oh, that's not what this is. This is a petition against cruelty to hamsters. Have you seen some of the ugly sweaters they are forced to wear? It's appalling. (Adrien begrudgingly signs the poster. Chloé hugs the poster and Sabrina smiles before they notice Marinette who is digging through a trash can as she pulls out a sheet of paper.)

[Scene change]

Chloé: Keep dreaming all you want girls but the boy is mine. (Sabrina nods before unrolling the poster, the girls gasping) Aurore: "To Chloé, the most awesome girl in the world and the love of my life. Signed, Adrien." (All the girls begin to cry, then Chloé looks at one girl who tries not to burst out crying) Chloé: Uh, she's not crying enough.

However, much like Alya's obsession with Ladybug's secret identity and Adrien's ability to leave his house, this part of Chloe's character disappeared after season one, making it feel like something they tried and then decided to discard. While that's not a sign of great writing quality, it's also not a neon warning sign. It's not unusual for formula shows to have these kinds of growing pains. First seasons often have random things that contradict later seasons such as everything about Nathalie's season one writing.

So while season one backs this read, I don't think it's fair to say that Chloe read this way any time after season one and season one is full of things that got discarded, so it's not grasping at straws to say that season one Chloe wasn't fully formed. This is especially true because of the way the writers reintroduced her in both Origins and season two.

Origins introduced many new elements such as Adrien's social isolation and the wish that was driving Gabriel to terrorize Paris. In other words, it's the episode that lays the groundwork for the entire show. If a thing is in Origins, then it matters because the writers only had 40 minutes to establish every important element for how they want these character to be read. This is a problem because Origins didn't make Chloe a vapid mean girl who clung to new boy Adrien. Instead, Origins had Adrien walk into school, see Chloe, and call her by name, leading her to reply with a dorky childhood nickname:

Adrien: Hey, Chloé! Chloé: Adrikins! You came!

She's also the only person who knows that Adrien will be starting school this year because, for some reason, Origins made the choice to elevate Adrien and Chloe's relationship to close childhood friends. That is NOT the kind of move you make if you want Chloe to feel like someone who only cares about Adrien for his fame. While that may potentially happen in real life, this is a story. The writers have full control over the characters' backstories. Who in their right mind picks a childhood friends backstory to complicate things if they don't want Chloe to really care about Adrien as a person?

Despair Bear only further contradicts this "Chloe doesn't care" idea by having Chloe break down over the idea of Adrien ending their friendship:

Jean: Mademoiselle does not look very happy, today. (lifts up a plate of luxury chocolates and offers them to Chloé.) (Chloé grabs the chocolates all at once and eats them, concurrently, and then weeps) Chloé: Adrien says I have to be nice to everyone or he won't be my friend anymore! How can he do this to me, Jean-Michel? Jean: Uh, my name is... hm, never mind. Ah, perhaps Mademoiselle can see comfort with Mr. Cuddly? (Chloé is delighted and grabs Mr. Cuddly, her teddy bear, and hugs it)

[Image description: Chloe crying and eating chocolates because Adrien said they can't be friends anymore]

This is not the kind of reaction you give a character who doesn't care about Adrien on a personal level. She comes across as caring about him deeply. If she didn't care, then she'd probably just brush him off and say, "Your loss." But she doesn't. She reacts with the same sort of sorrow that we see when her parents are akumatized or when her mother refuses to acknowledge her.

We also see her go out of her way to try to appease Adrien by throwing a party and forcing herself to play nice so that he stays her friend. She only stops playing nice when he promises that they'll stay friends:

Adrien: That was a great idea of inviting Marinette's dad! Chloé: I know. This way, no one can be mad at me for calling the fire department. I'm really nice now, did you notice, Adrikins? Even Ladybug said so! Didn't she, Jean-Pascal? Adrien: I'm proud of you, Chloé. I think you've proven that you're capable of making an effort to be nicer to everyone. Chloé: Aww, Adrikins! So we'll always be best friends, forever? Pinky swear? Adrien: Pinky swear! Chloé: (Exhales and saunters off) (To Kim) So, those macarons are dreadfully ugly. (Kim sighs.) (To Mylène.) Those are so greasy, you can see yourself in them. (Mylène cries and faint.) (To Marinette.) Urgh. Too disgusting for comment. (To Rose.) Those look horrible. (Rose faints.)

That is more effort than Chloe has ever put into anything on screen and that's a problem because - once again - this is not how you write a vapid mean girl who doesn't care. This is how you write someone who actually cares about Adrien. They even chose to show us young Chloe and young Adrien being cute during Chloe's "flashback" to getting her teddy bear:

[Image description: Teen Chloe surrounded by drawings of important childhood memories with her teddy bear. We see her getting the bear from a faceless figure, holding the bear as her mother walks away, sleeping with the bear, holding the bear while she cries, and excitedly showing the bear to a young Adrien]

There's also the issue that, after season one, Chloe doesn't seem to actually care that much about social clout. At that start of this post, I used a scene from Dark Cupid specifically because it feels kind of out of character for her. In the later seasons, Chloe may flaunt her social status and think that it makes her better than others, but she doesn't do things like the poster thing because that requires her to care what random people think and that's just not how she reads. Chloe reads more like someone who doesn't care what most people think because she thinks that she's better than them (or, at least, she wants to think that. Chloe has the potential to be a fun little ball of self-hatred and doubt, but either way, she is acting like she doesn't care what other people think outside of a very select group.)

I think this really shows when we compare Chloe to Lila. Lila reads like someone who cares about social clout. Someone who is desperate to be seen in a certain way. Someone who sees dating Adrien as a status symbol and nothing more. Chloe reads like someone who sees Adrien as the only person of her caliber, so of course they'd get together. That's a subtle, but very important difference. It's the difference between someone who doesn't have social clout and needs Adrien to get it and someone who already has social clout and therefore doesn't need a popular boyfriend to prop her up. She just thinks dating an unpopular boy is beneath her.

I've mentioned before that Chloe reads SUPER aroace to me and this is actually why. To me, it comes across like she does actually care deeply about Adrien, but she has no true romantic or sexual feelings for him or even any clue what those feelings actually feel like. Given the way her parents' relationship is written, I also don't see Chloe having a healthy idea of what a romantic relationship looks like. I think she sees it as a way to show off how much better you are then the nobodies of the world because love is for fairytales. Marriage is about alliances of wealth and power and Adrien is both wealthy and her childhood friend, so of course they'd get married! They already know that they can at least tolerate each other. Why look for a different match?

In summary: the writers may have wanted Chloe to be a vapid mean girl who didn't care about Adrien as a person, but they completely failed to write her that way after season one, so she comes across as genuinely caring, but unable to express those feelings in a healthy way because of her own issues and poor childhood.

[alsfunkyalbum]

I redrew some of my old Undertale sancest Ship Children from sometime between 2018-2021

(Click Image for better quality)

!! IGNORE THE FACT THAT IT SAYS SUGAR I MEANT TO PUT CANDY !!

If you don't ship these, that's cool neither do I. If you do ship these, that's also cool, here's some kids to add to your day. When I made these a while back I basically just put a bunch of Sanses' names into a cup and pulled out two names, just to make ship kids for. However I really love them so much I wanted to give them another try at being my OC's. So here they are with much better designs and decent personalities. Hope you enjoy them as much as I do.

--

Old designs and Extra fun facts/info about them located below!

Old Designs (in order from right to left in the above picture):

--

They don't have much backstory or reason as to why they are alive, so if you'd like just make up how they were born. Sexualities can also be up to your interpretation, cuz I feel too lazy to give them any.

Anyways onto some fun facts (not at all sorted by the way).

Tricks has two separate ways to write his name because his name was never ever officially written down by his parents, so he fluctuates between both

Despite Fresh's dislike for curse words Ivy has the vocabulary of a sailor. He takes pride in his salty mouth

Vero is sometimes nicknamed Vamp/Vampire, not only because of his snaggle tooth but also because he dresses in dark, fancy clothing

Fable looks up to Dream and wishes to be like him someday

Contrary to Fable, Trix absolutely despises Dream for never being around when she was younger. However Trix loves his little sister and would never put her admiration against her.

Despite not at all being blood related the entire group considers each other cousins (minus the ones who are ACTUALLY "blood" related)

Ivy has a horrid fashion sense. While he doesn't understand how to make things match he does know he loves layering his clothing

Vero refers to the markings on his face as " Face Bananas"

Vero is selective mute

Tricks, despite being a skeleton, enjoys makeup and would practice either on Vero, or Fable (Ivy's always too shy to ask)

Fable likes to play pretend and play with dolls (like any kid should)

Vero enjoys crocheting

Error has a slight hatred for Ivy (Ivy and Vero don't care so much)

The majority of Ivy's closet is all clothes that he stole from his parents. It's often way too big for him to wear but that never stops him.

Trix's favorite colors are Pink and Yellow (if that wasn't obvious enough)

Ivy is a huge trouble maker and loves dragging Vero along with the trouble

Trix wears acrylic fake nails

If they were asked to choose a favorite parent the list would be: Vero-Error since he is kindest to him, and spoils him a little | Ivy-Killer since he lets him get away with most trouble making | Tricks- Lust because at least he acknowledged his existence | Fable-Dream since he was the coolest hero ever

Trix dislikes curse words, so she tries to keep Ivy's mouth clean as much as possible (especially around Fable)

Vero and Ivy adore Fable, so much so that they'd bend at her will if need be. They'd do so much for her.

And I guess that's it for now. If you have any questions about them, shoot me an ask or DM, I may or may not have an answer.

[ourimpavidheroine]

So let's talk about Alexandra Rowland's Running Close to the Wind. (And yes, of course there are mild spoilers, but I'm trying to be careful with them.) I don't review books, but I do recommend them, so that's what this is from me: a recommendation.

It is no secret that Rowland's A Taste of Gold and Iron is a book I love deeply and wholeheartedly. I have gabbled on at length about it before and read it...you know I'm not sure how many times I've read it. A prince and his bodyguard falling in love is a thing for me, and the book is gorgeously written. I also love their Chant books (prepare to have your heart broken, is all I am going to say) so I felt sure, going in, that I would love Running Close to the Wind.

Now here's the deal. RCttW is a hands down, knocks you on your ass hysterically funny book about pirates. I found myself laughing aloud many times during reading it, disturbing my cat and at one point, laughing hard enough that I woke up my kid. (Sorry about that!) It's advertised as being funny, and it delivers on every single count.

But also? Underneath all of the madcap hilarity it has some scathingly pointed things to say about religion and capitalism. There is a speech that one of the three main characters gives in the end of the book that is absolutely breathtaking in its fury, and by breathtaking I do mean that literally. It took my breath away. I read it; took a very deep breath and read it again. And then I read it aloud, just so I could hear the words.

Those of you who have read A Taste of Gold and Iron (as well as the recently released novella Tadek and the Princess, and how very dare you, Alexandra Rowling) know about the Mahisti Dynasty and its ruling sultans, descended from merchants. RCttW picks up pretty much where AToGaI left off; however, it is about pirates and none of the characters from AToGaI are in this book. (1) That does not mean, however, that the Mahisti Dynasty is not a part of this book. Because it is. It really, really is.

Most of the reviews I've read about this book focus on the humor. And as I said, it is brilliantly funny! That being said, Alexandra Rowland cited the late Sir Terry Pratchett as an influence, and honey, they were not kidding. If you know anything about Pratchett's work you know that he never missed an opportunity to really skewer injustice to the wall, and Rowland lives up to his legacy here. In other words, come for the wickedly funny and terrifyingly lucky little queen Avra Helvaçi and stay for the savage roasting that follows.

So let's talk about Avra Helvaçi, shall we? Avra is a dubiously (yet also mystifyingly) successful spy, in his mid-thirties, who takes partial retirement in the beginning of the book due to just a little spot of treason. I mean, it's really TREASON but Avra wasn't really trying to be treasonous, he just got bored and wondered if he could maybe, you know, get away with it? (All of the ADHDrs out there, raise your hand if You Know.) Avra cannot shut up and stop whining for the life of him, can't stop poking at people and walking the fine line of will I fuck him or murder him? (keep that hand up, ADHDrs) and is incredibly lucky. Weirdly lucky. No, really, how the fuck is this guy, this lackluster spy, this inveterate reader of his universe's version of the Tarot, this man who hides on top of wardrobes when things get dicey, this lucky?

Then we've got Captain Teveri az-Ḥaffār, on-again/off-again lover of Avra, pirate extraordinaire (okay, okay, okay, maybe a little cash poor at the moment), terse and out to prove themself, constantly simmering with anger, refusing point blank to let anyone else care for them. It takes awhile to get into Tev's backstory, but what we do know right away is that despite Tev's rather intimidating façade, they care very deeply for their crew and will do just about anything for them, including a whole lot of personal sacrifice that seems to go pretty much unnoticed by just about everyone (except the dubiously successful spy, see above).

And lastly we have Brother Julian, a smoking hot 12/10 monk and brilliant scholar, an alchemist, a revolutionary who has taken a vow of celibacy but who can't keep his eyes off of Avra. We all want to fuck Brother Julian, even those of us who actually don't want to fuck him. Yeah. He's that guy. Blond hair to his knees and wicked ass and all. Brother Juuuuuuuulian.

Before I move on to the plot I do want to give a shout out to all of the secondary characters. They are written with so much love as well. They are all characters in their own right, all of them unique in their own ways. That's not an easy thing for a writer to do, but Rowland succeeds brilliantly here. All of their secondary characters have backstories that I, for one, would love to read. It's rare to get that kind of depth to a character that only gets a few mentions, but Rowland's character work has always been exquisite, and only gets better as they keep writing.

But on to the plot! The comedy really pays off here. There's a cake baking contest towards the end of the book that had actual tears in my eyes. (When I was six a seagull snatched an ice cream cone right out of my little hands, so let me just say that I heartily approve of the seagull security part of the contest.) But trust me when I tell you, the book starts off funny and is funny until the very end. I don't want to spoil too much here, but there is a beginning, middle and very satisfactory end to the plot, so rest assured it succeeds.

The book is also cheerfully, filthily sexual, with mentions of well-stocked dildo boxes, blowjobs (I HOWLED at a particular image of pythons), a cabin on the ship formerly housing a spooky dentist (2) but now reserved for nooky, friendly prostitutes and a queer-normative world that doesn't include either homophobia or transphobia. (There is no actual sex on screen, however - so for all the verbal smut, there is a fade to black way of handling sex.) Listen, if you can't appreciate a well-crafted dick joke, then this probably isn't the book for you. The rest of you, however, will love it.

Underneath the humor is where this book really gets you, though. The politics! The mental health issues! The PTSD! The desperation of poverty in the face of capitalism! The lingering impact of restrictive religion! Motherfucking colonialism! Why does Avra hide? Why does Tev constantly resort to anger? Why does Julian, who took a vow of celibacy, torment others sexually? Yes, it's funny. Until it isn't. Until characters have to take a step back and realize that they are causing harm to others because of the harm that was done to them. Oh yes, my friends. It's there, hidden under the dick jokes. Rowland wants you laughing, they delight in your laughter, but they are going to stab you when you least expect it. (Ow, okay? Ow.)

At the same time, however, there is a deep and achingly sweet exploration of a threesome, of how a fraught relationship between two people can be healed and made whole with a third person who completes all of them. It is so very rare to see a true threesome explored this way, where it's not purely a sex thing (3) but rather how a real relationship, a supportive and healthy relationship does not always have to follow what we as readers consider "normal".

The thing is, though, that there are probably a lot of readers who are never going to register the revolutionary heart of this novel. (And that includes quite a few of the reviewers, yeesh.) They will come for the dick jokes and the fast-paced humor and miss out on what Rowland is actually trying to say here. Because Rowland doesn't hit readers over the head with said revolutionary heart. There's no heavy-handed obvious lecturing here (save the monologue I mentioned above); Rowland doesn't hold your hand or shove it into your face. It's called subtext, friends, and Rowland is a master. It's there. But you have to read a little deeper. Rowland expects their readers to find it on their own, much the same as Pratchett always did. And I am here to tell you, FIND IT.

I don't think it's a bad thing that folks aren't seeing past the dick jokes in terms of book sales and Rowland being able to pay their bills, but I urge all of you to read it twice. Read it the first time for the humor, for the madcap adventures and the dirty sea shanties and Brother Julian with his shirt off. (Please read it for that.) But read it again, for all the things that Rowland has to say about these very human characters of theirs, and the flawed world they live in. Because I promise you that Rowland has so many good and important and yes, decisive things to say about it.

Go on now. Go and buy it. (Or borrow it from your local library.) Read it. Have some cake while you're reading. (Be aware that the US and UK covers are very different, so don't get confused and then pissed like I did for a hot minute when my pre-order arrived in Finland with the UK cover and I thought they'd sent me the wrong book.)

(1) There is a mention of the Sultan. Which made me laugh so hard my asthma tried to kick in.

(2) We never meet said spooky dentist, but it's Rowland's genius at character work that makes us really, really, REALLY want to meet the spooky dentist.

(3) Not that there's anything wrong with the sex thing, just ask them.

[kaelidascope]

In light of some dirty laundry found, I'd like to set the record straight about a threat that was made against me and my work

Since I'm being accused of stealing or copying a roleplay that was done between 2021-2022, here's the facts. The roleplay started with a concept that I had made about a magic college school for another roleplay that never went anywhere and was then repurposed for this one with a new partner. The question was popped on 2/23/21 and we began on 2/25/21.

It lasted the span of a little over a year and went through several rounds of development, a few attempted rewrites, and a spin off sequel revolving their kids. It was a good split between actually roleplaying the characters and also just hours upon hours of talking/plotting as one does. Usual exchanges between creators. We never posted the roleplay publicly anywhere, so it was never officially 'published', nor were any legal steps taken to get rights reserved. I'm fairly certain a discussion happened once about turning it into a book but both parties were not on the same page so it never went anywhere. We did ofc share it with close friends and just talked about it in general.

I also drew quite a bit of art for it, and we both collectively commissioned better artists for art for the characters as well. I did not put in nearly as much money as my roleplay partner did, but I did most of the concept art to provide as reference.

After the friendship ended and the roleplay was put to rest, I pulled the OCs that I had exclusively made to start working on a new concept. I had no intention of using anything that wasn't mine. The new concept was entirely removed from it's original source, meaning different setting, different characters, different everything. It was just repurposed OCs that had new backstories and purposes and new ones that I had made to replace characters I didn't own. However, despite the change, I was threatened with a Cease and Desist form pulled off Google by my previous roleplay partner because I made a vague tweet showing progress of the reworked characters (Rowen, who was in the original roleplay, and her love interest, Lyra, that was meant to be a replacement design for a character I did not own). Lyra shared a physical likeness to the original character, Emi, that was owned and played by my roleplay partner that they designed using an AI generator and then I later drew concepts for [white complexion, black hair, blue eyes]. I took it down as requested, sent it back to the workshop, consulted several professionals to make sure any likeness was scrubbed away, and put it on the back burner for further development so I could be left in peace.

I made this disclaimer post back in December 2023 about any likeness my own OCs would share in future projects and their affiliated partners on twitter. At the time, the names and designs were still being changed so Rowen Santiago was a placeholder while I was waiting to hear back from legal advice. I never said I was taking what was originally written and publishing it 'as is'. I'm allowed to use my original character designs for different purposes.

Ultimately, I came to the decision after a lengthy back and forth to scrap my own OCs original personality and design and start from scratch. Only a few things survived that can have lines drawn between the original roleplay design and the new story concept [the magic collar, werewolfism, Hispanic descent, wolf eyes] but that's nothing new. I have a lot of werewolf OCs. I've got an entire series dedicated to werewolf OCs. The new story concept is more military and racism based set in a fantasy dystopian universe than a magical school romance trope set in English Europe. The new story isn't even set on Earth, it's so far removed from where the original design came from it's not even remotely close to this roleplay. The kind of prose and worldbuilding featured in this new work is similar to the fanfiction I already write and am known for [The new world building will be somewhat similar to a setting I already made as far as fantasy science themes go. See Midnight Menagerie]. I also have several designs that look similar to each other (see MM Blake and Tessa for example. Same hairstyle. And MM Yang's entire physique was scraped from Rowen's whole vibe) though I can say my art style is improving enough to where I don't suffer from same face syndrome anymore (at least I hope!). All my bases were covered, everything was a brand new start over and nothing from the original roleplay was touched.

Well, even after a whole year and a half later post cut-off and small meltdown, it's apparently still living in their head rent-free that I am stealing their work and threats are still being made both anonymously and by name!

So I'll tell y'all what, for anybody who's curious, go ahead and have full access of all the notes and docs that I supposedly 'stole' and you tell me if my future works are stealing lol since you wanna wave it around like it's a big scary threat to get me any time I draw sapphic content that isn't fanart. The only things I will not include on this post is the commissioned work because I don't know who originally did them and therefor I'm not sure what their reposting terms are

Anything listed as [NOT ME] was not written by me. Otherwise everything else is either by me or was collaborated on (like the roleplay exchanges)

Misc Docs

Rowemi timeline 2.0

Figure Skating Practice

Emi/Lauren Relationship Notes

Pregnancy Arc Notes

Project Blackbird Notes

Worldbuilding Notes

Rowen Build Sheet

Rowen Notes

Emi Build Sheet (NOT ME)

Emi/Mom Relationship Notes (NOT ME)

Rewrite Docs

Prologue

Episode I

Shorts

William's Lament

Another Secret in the Pile

Rowen's Invitation

The Meeting (NOT ME)

The Hospital Visit (NOT ME)

Simon's Suggestion (NOT ME)

The Date (NOT ME)

Original Roleplay Docs

Part 1

Part 2

Part 3

Part 4

Part 4.5

Part 5

Part 6

Part 7

Artwork Done By Me

Genuinely I'm not sure what y'all hope to accomplish by obsessively sending me hate mail and empty threats like I'm supposed to care and be effected by it. I haven't even looked at it since I quit Deviantart lol it has nothing to do with my current projects and it died when I cut you off. You never even knew what the new novel project was about, so you really had no grounds to threaten me with that email or the anonymous inbox submissions. You also slipped up and sent one with your actual user after I turned that off, that's how I figured out you were still obsessed with me after all this time. I encourage you to do something with your ideas someday. While you weren't the healthiest friendship I've ever had, the roleplay was fun to engage in. Maybe working on something new will bring you the peace of mind you're looking for and help you move on.

[chibishortdeath]

Alright I’ve thought about, I’m gonna actually start posting some of my criticisms of Netflixvania starting with the first season. I actually have a notepad document on my computer somewhere that’s just various rants about it that I’m gonna take from lol

Rant under a cut cause it’s long, spoilers, and also cause uh tldr I do not like the show 💀

Ok let’s start from the beginning of the show, episode one.

The first episode isn’t terrible, it’s a bit rocky, some red flags here and there for what was to come, but that’s kinda expected of animations like this. It usually takes them a couple episodes to pick up and grow into their own, so I was skeptical, but not gonna knock it entirely when I first saw it.

My biggest criticism of this episode was the complete missed opportunity to introduce certain characters from this section of the series’s story. Imagine if they had shown Isaac and Hector in the background of the castle or something at this point for foreshadowing later, as they would’ve already been studying under Dracula at that time. Imagine if that old woman Lisa helped ended up being one of Lyudmil’s family members, cementing them as friends of her for later. Alas, Netflix just decided not to use most of the already written backstories for most characters. But eh, that’s getting into nitpick territory.

And then the second episode happens… I honestly genuinely hate the concept of the Speakers and it’s because they completely replace a much more interesting (especially for the tone and themes they were going for) group for Sypha to be a part of: The Church. In the game, Sypha is a witch, something that’s currently not very good to be at this time, however the church employs a bunch of male wizard soldiers. This is already a perfect opportunity set up and ready to go for them to make their points of the church being hypocritical, add some intense dramatic irony with maybe the audience getting to know Sypha is a witch before anyone else does and seeing her interact with a bunch of people who would have her dead if they knew, and create a super conflicted situation where these church soldiers all die during their encounter with the cyclops, but yet they scrapped it for uh random group of magic users that kinda exist entirely for a plot that didn’t need a new device to work. And Sypha just being all hood down and no hiding just takes away something interesting about her character, making her kinda bland in the process. Like it’s one thing to have the Girl™️ who owns the braincell trope and another to have a character with some actual immediate conflicts. They totally could’ve played up the “oh no if Trevor knew would he kill me” dynamic, especially with witches being commonly lumped in with ‘monsters’ in a lot of other media and Trevor being ya know a monster hunter. And already just from this one design choice she completely loses her symbolic putting the hood down scene for much later in the story to show that she actually trusts people and feels safe enough to not need to hide anymore because she’s got people on her side now.

Also the lack of Grant is just a crime in itself. Grant could’ve worked perfectly as like the everyman of the group. Hell, with his background of being a former noble turned thief presumably after hard times to straight up losing his entire hometown to flames and leading a revolution about it, Grant literally has like almost every common not magical vampire hunter person experience. He could’ve given the group any of those perspectives and been told the perspectives of the vampire hunting life he hasn’t had, ya know? And he’d help differentiate the personalities and humors of the group in general. I literally can’t think of a negative to having Grant in the group.

So we were robbed of character development for Sypha and the existence of Grant, what’s next—

The Bishop character is someone that could’ve been interesting if he was written with any kind of nuance, but instead he’s extremely on the nose and blatantly laughably evil. Otherwise this guy is pretty forgettable besides how lame it was that they used Blue Fangs to kill him instead of ya know an actually recognizable enemy. Like the Blue Fangs design wouldn’t be bad if it was in literally anything else, but compared to the designs of most Castlevania monsters it’s just really lame. I’d’ve even accepted a Warg or something, idk. Personally I think having Death walk in taking the form of Zead and going through that speech while eventually turning into the skeleton form we know him as woulda gone hard but for some reason Death isn’t a thing until seasons later which sucks.

I also absolutely hate Alucard and the Cyclops being in the catacombs! Hate it! The Cyclops kinda had like a courtyard area for it and made sense being there since it was standing guard on the way to the castle. Literally what it is even doing in the catacombs 💀💀💀. Standing guard for… eepy Alucard? Why??? And the whole sleeping soldier thing or whatever they called him is just so obviously an excuse to have him appear faster and make it seem like it tied into the plot. Alucard absolutely should not have been introduced to the main group this early on because again that robs him of a bunch of opportunities for background and character development. He got maybe the one oh no dad don’t commit mass death that’s bad scene and nothing else when they had plenty of time to show him initially following his fathers orders and eventually growing to stand against him. And again??? Missed opportunity for anything radio drama related??? Like if there’s any opportunity to get any of that story more known it’s in an animation? And besides, it’s less work to just use whatever materials and supplemental materials already existed for the game!

Dracula’s Curse and CoD have:

Two games

Two manuals

Three manga (TokyoPop and Preorder)

A couple game guides

Flashback sequences in a radio drama

Flashback sequences in SotN AKA: the game everyone knows

A ton of references in later games cause IGA is a big Dracula’s Curse fanboy

Pachinkos

That is plenty of material to make an animation based on, especially because most games don’t get half of that, especially not NES games. They were literally handed like the NES game to adapt lottery and decided not to scratch like half the ticket 💀💀💀.

Alucard also being able to levitate kinda negates a lot of things. Like what the hell is the point of having a bat/mist form and a double jump then? If he can just be flying vampire Jesus immediately or whatever people call him idk. And you can’t tell me Alucard wouldn’t be painfully embarrassed if someone ever saw him shirtless come on this is the guy that wears like 5 layers of clothing in every game he’s in to the point that even in the modern era he’s choosing a suit over casual clothes. Every action he makes in this introduction to him is obviously fanservice for the sake of fanservice with very little thought behind it, except I’m not feeling very served right now. And having Trevor kinda lose that fight is a reoccurring problem this show ends up having: putting down other characters just to make certain ones get the cool fanservice moment. Contrary to what the writers of this show may believe, it actually doesn’t make me go “oh wow, Alucard is so cool and much badas”, it just feels weird and uncomfortable that Trevor is getting cheated out of one of his canon achievements because the writers preferred one character’s tits more than him.

So, basically, the show starts out with missed opportunities, concepts and characters getting cut out, watered down versions of characters that did make it in, cheap fanservice, poor explanations for things, etc etc. this all culminates into a resounding m e h + dread for later seasons being worse (boy was I correct on that fear lol).

Here’s some other things for the first season I didn’t know where else to fit:

None of the humor hit for me at all, like not a single joke. The humor was either a no response at best, but definitely a physically wincing from secondhand embarrassment at worst. Related to this, I feel like most of the dialogue reads like either someone who just learned what swear words are and thinks they’re really cool and funny or genuinely forced. At times most of the characters talk with the same delivery, cadence, personality, etc, it’s really obvious they were all written by the same person or group. And that even goes for background and side characters, too. This is a criticism I’ve never seen said: I really don’t like the voice acting in this show. I’m sure it’s no fault of the voice actors at all, but there were times in this where I either could not hear characters properly or could not understand characters properly and I had to watch it with closed captions on. The clearness and volume of the characters voices varies A LOT even just between scenes sometimes. And that combined with all the characters having really similar speech patterns, there were a lot of times where if I looked away from the screen, I genuinely could not tell if it was Alucard or Trevor speaking cause it sounded like it could reasonably have been either of them (and in some cases it literally didn’t even matter that much which character was saying what). It’s an absolute tragedy that the color schemes in this show are not remotely similar to Dracula’s Curse too. I understand why some color combos wouldn’t make it for eyestrain reasons, but the pixel artwork in all the NES titles is beautiful. Same goes for music, like I am never going to forgive this series for using Bloody Tears for a Dracula’s Curse ‘adaptation’ and not Beginning or Aquarius or Dead Beat or Ghost Ship or Clockwork or— ya know? These are two things that the series are really known for so you’d think with some of the fanservice they did they’d be all kinds of ready to use stuff like that for more of it.

Anyway, past season one is when I started watching the series primarily through clips/episodes reposted on YouTube or elsewhere cause I had completely lost any interest in it. I’ll probably go through synopsises online again for season 2 just to try to better remember what happened in that one because I do remember having very little good to say about season 2 as well and I gotta do that research so I can hate things properly :3.

There’s a certain part of this where I just kinda blanked on things to even say, partially because Season one is kinda bland in general, but partially because I started getting sleepy while typing. So if I feel like I missed anything season one specific I’ll just put it in the beginning of the season two post. d(_ _ )

[xcal1bur25]

Genya Shinazugawa: The Main Character Who Wasn't

Okay, so the context isn't crazy necessary, but this post basically sums up some of my past thoughts on demon slayer's issues. I'd like to expand on a point I make at the very end there, about adding Genya to the main character squad from the start and why it's such a mindblowingly genius writing choice that the fact that Demon Slayer fails to do so is the single greatest criticism I can levy against it.

Allow me to explain.

You see, Genya Shinazugawa is the single most competently written and interesting character in the entire series. He is introduced even earlier in the story than Zenitsu or Inosuke, and the fact that he is not made part of the central squad from the get go only becomes more of a sin against good writing the more screentime he gets. See, unlike the other handful of Actually Pretty Damn Good characters Demon Slayer has, Genya isn't just a good character in a vacuum - he's very specifically the perfect narrative foil to Tanjiro.

To explain why this is so absolutely critical, we have to explain a bit about Tanjiro, and the context in which a character like him does and does not work. Tanjiro Kamado, as a protagonist. Is a very simple character. He has a very straightforward, cliche backstory. He has a pretty simple personality. Now, that's not necesarily a bad thing! but the way that you make a character like Tanjiro interesting is via contrast. Contrast his innate kindness and positivity with the harsh world he exists in, and with his own even harsher past. Contrast his personality with the personalities and pasts of those around him. Contrast his personality and outlook with those who have lived similar stories - and Tanjiro's story is, outside of a few key details, common in the corps indeed. Contrast Tanjiro, who should be the next in a long line of slayers who join up to avenge their families, with the status quo and the paradigm shift he and Nezuko represent to it. Making a character like Tanjiro interesting relies on having him exist as a point of comparison to the people around him. He's not amazingly interesting in a vaccum, but he can be interesting if put in the right groups and situations. And the story does, to an extent, understand this. It does not, however, understand that the best way to do this is to make Genya a main character.

See, remember what I said about Tanjiro's backstory being common within the corps, give or take a few details? Yeah, okay, so Genya is another case of that, with his backstory differing from Tanjiro's in just the right places to spark some amazing contrast between the two. Not to mention, the end result of that backstory is that Genya's brother becomes a Hashira, which not only adds depth to his motives and personality, but gives him an inbuilt connection to the organization that's central to the story, one that must inevitably be addressed during the course of the main plot. This is what we call narrative efficiency, or colloquially, actually good writing. Not so mention the fact that Genya’s backstory is, in fact, extemely compelling and serves to inform his personality and motives in a believable way.

It's not just on a backstory level that Genya works as a foil to Tanjiro - He contrasts Tanjiro on a personality level, fitting right in as a Lancer archetype. While both are innately selfless, brave, and heroic, Tanjiro is outwardly kind and friendly, wheras Genya is bitter and angry. He's not a bad person, or even a worse person, as when it comes down to it he's just as much of a hero as Tanjiro, but he's a lot more abrasive, hardened by his hard life in a way that Tanjiro seemingly wasn't despite similar circumstances.

Things get even better when you compare them on a fighting style level. See, Tanjiro uses Hinokami Kagura, which was derived from the original breathing style of the first demon slayer. His fighting style is the origin, the secret hidden power of the past, passed down via tradition. In a way, his is the most traditional demon slayer fighting style. Meanwhile, Genya can't use breathing styles at all - and oh boy does that help his inferiority complex when his brother is a damn Hashira - which forces him to use a workaround. Genya abandons all standard slayer tactics, and uses the iconic demon slaying weapon of the modern age - a motherfucking sawed off shotgun. He then proceedes to steal his enemies own powers by eating them, which is both hardcore as hell, and is the exact sort of thing you would expect to see out of a shounen party of unconventional misfits. The most traditional demon slayer, made to contrast with the most unconventional. Both uniquely skilled in ways no other slayers are.

So not only is Genya just…a phenomenally well conceived and awesome character overall, he also is the perfect foil to Tanjiro, who we’ve already established, is a character who relies on narrative foils to be interesting.

So why is this man a side character? Why is your foil-reliant main character paired up with the three worst-written characters in the entire story? Just…why, in general?

TL;DR: Genya Shinazugawa deserves better. He deserves main character status.

[epickiya722]

Okay, I ranted about it in my tags of another post, but I'll say it here. And I know some of you ain't gonna like it.

The amount of hate Mei Mei gets is an example of how people can't actually handle complex and/or evil female characters.

Now before anyone says anything, I'm not saying you should like Mei Mei or you shouldn't hate her. Just really think about what I'm about to say next.

Do you hate Mei Mei because of her character (how she treats people, her personality, etc,)? Or do you hate her because she's a woman?

If it's the former, think about this and see if your answer changes.

Think about all the male characters you like that are complex and/or evil and why you like them. Did your answer change? In fact, do you like a male character worse than Mei Mei?

Now, here's the thing.

It's really odd to me that people will be like "we need more complex female characters" and yet when we get those female characters, the fandom acts like they shouldn't exist.

"Oh, she's a bitch."

"She should die."

"She deserves all the pain and suffering."

And yet, male characters who are just as bad or worse easily can get people glazing the hell out of them and dropping panties. Where is that same hating ass energy? Don't you want the male character to die, too?

That's an issue. Do you see the issue?

Still using Mei Mei as an example.

I doubt, I do, that Gege intends for people to like Mei Mei. Quite the opposite. The way her scenes are written and drawn makes me feel like the mangaka wants us to feel intimidated by her in a bad way. We're supposed to feel uncomfortable by her relationship with Ui Ui. We should feel some hate towards her.

However, not because she's a woman. It's because of her character. She's not written to be a good person.

This is going to sound awkward, but if you hate Mei Mei because she makes you uncomfortable gender be damned, then you're hating her right.

You hate her now just as you would if she was a man.

I'll use Sukuna for example for comparison. He does has his fans (as does Mei Mei), but he does have his haters.

However, it's not because he's a man. People don't hate him because he's a man.

It's because he's downright damn evil. He murders, he tortures, he uses and abuses, he doesn't care who you are he'll cut you down. The only person we know Sukuna actually never wants to kill and never shown any sort of annoyance to is Uraume. People say Gege is glazing Sukuna and are mad because it seems he keeps winning, but has no one stop to think THAT'S THE POINT?!

You're supposed to be frustrated that Sukuna is still around. Gege keeps throwing Sukuna in our faces to make the audience mad. Not to troll. It's how stories work. You should feel different emotions. Especially with bad people like Sukuna.

If Gege wanted us to sympathize with Sukuna, Sukuna would have been gotten his sad backstory. But no, when there was a chance for that (fight with Hajime), we get a line of Sukuna saying he was unwanted or whatever and him just brushing it off. That right there is a sign of an explicitly evil, unsympathetic villain. (We might get a sad backstory later, who knows, but I kinda doubt it.)

Now apply all that I just said about Sukuna to Mei Mei and rethink over this.

Do you hate Mei Mei because she's a woman or because she's a bad person?

To end, can you actually handle complex female characters? Can you hate a female character who is evil or ambiguously evil and/or complex because that's how the author may intended (or she just isn't your kind of character) and not because she's female?

[sleptwithinthesun]

a personal (and very extremely late) fill for the🤞and 🥰 prompts on the spring prompts list, written for t/im d/rake from d/c c/omics. yes, i'm aware it's summer. however, i started this fic over two years ago and it needs to be done.

2K words, next part of the t/imber college au. hope you like it!!

"Look at me for a second?" Bernard asks, tapping the eraser end of his pencil against his notebook a couple of times, just to ensure that he has Tim's attention. It lands just to the right of his half-finished sketch of his roommate, who's typing a lab report up on his laptop on the other side of the library table. 

Tim complies, glancing up and making brief eye contact to show Bernard the slowly-emerging freckles scattered over his cheeks and the ever-present, bruise-like bags under his eyes. They've been getting worse lately, probably due to the arrival of the spring season and its various allergens, even though Tim started taking Benadryl towards the beginning of March. They're now a week into April, with allergy season in full swing.

Bernard's gaze sweeps over Tim's face, and then he squints down at his drawing. After a moment of deliberation, he goes back over Tim's lash line and carefully shades a touch lower and darker than he was previously. "Thanks." 

"No problem," Tim replies, coughing quietly into a fist a second later. It sounds chesty, same as it has been for the past few weeks, and Tim just keeps going, like someone's scratching at his lungs. Which, to be fair, is probably how he feels about the whole thing. He's been getting worse at night recently, waking both himself and Bernard up at early hours in the morning with coughing fits. 

There's not much either of them can do about it, though, and Bernard's not been sleeping well, anyway. Not to any fault of Tim; he's just been… wondering. About some things. Regarding Tim, sure, but not because of him. Nevertheless, he's been staying up with him until his roommate manages to fall back asleep congested snores emanating from his side of the dorm. 

Not for the first time since they'd arrived at the library, Tim suddenly drops his chin towards his chest, eyes pinching shut tightly before his shoulders give a minuscule jerk forwards. He barely manages a shallow inhale before the motion repeats twice more, and then blinks a few times, sniffling quietly into his sweatshirt sleeve. Also not for the first time, Bernard murmurs, "Bless you."

"Ugh, sorry, I don't think I'm dohh—" He cuts himself off with another silent double, and then a third pair for good measure. "Oh, fuck me," Tim mutters, a bit breathless. 

"Christ, bless you times... how many even was that, seven total? They're so quiet; it's hard to tell." Tim nods to confirm the number, his eyes bleary from sneezing as he rubs a knuckle against the side of his nose to quell the remaining itch instead of responding verbally. "Bless you times seven. Why do you sneeze like that, anyway?" 

Tim blinks at him, clearly confused. "Like what?"

"Like… you're completely stifling to the point where they're silent." Bernard fumbles to explain, trying to find the right words without sounding insane. "I don't know anyone who can do that without using their hands or something. It's kind of... uh, impressive, to be honest, but can I ask, why do you sneeze that way? Is there a reason, or is it just...?"

"I don't know," Tim says, then shrugs. "I never really thought about it. It's polite, I guess, to make them quieter. Doesn't bother anyone else."

And Bernard-of-several-months-ago would have simply been content to have even gotten an answer out of Tim in the first place, would have accepted his word without a second thought. But Bernard-of-now can see the little flicker in Tim's eye, the one that means he's lying to him, which makes no sense, because what does Tim have to lie about?

It's a sneeze. There's no backstory to it, as far as Bernard is aware of. It's simple, it's thoughtless, it's inherent. Sure, he knows that people can hold back their sneezes if needed, but at it's base, it's a reaction, and one that's hard to control. The level to which Tim can manipulate his own, though, speaks to something far more complicated than Bernard can even begin to form connotations to.

For now, he has to let it go. Everything about Tim is a mystery, and the code to deciphering him is written between the lines of Dick's offering of his and Jason's phone numbers. So, unless Bernard texts one of them to ask why Tim sneezes weirdly, which is quite possibly the most bizarre question he could even raise, he's on his own.

Don't let it be said that Bernard Dowd doesn't love a challenge.

-

Over the remainder of the week, Bernard keeps an eye on Tim as if he's a sentry assigned to stand guard over him. He does feel weird about it—almost stalkerish, which, honestly and a bit embarrassingly, isn't exactly new to him—but it's not like Bernard's trying to learn anything he didn't already know about Tim's personal life. He lives in the same room as Tim, for crying out loud. Objectively, he's not doing anything wrong. At least, that's how Bernard justifies it to himself.

He's aware that he's being all Bernard about it, looking too deeply into it when, in reality, it's probably nothing more than Tim preferring not to draw attention to himself. At the same time, Bernard can't help but feel as if there's something more to it. After all, Tim decided to hide the fact that he was missing a whole-ass organ for a semester; he truly wouldn't put it past Tim to somehow have a buried trauma about sneezing. It would only make sense for him.

To be perfectly honest, though, Tim is boring.

Bernard didn't notice it in their fall semester, when Tim was being avoidant for the most part and didn't trust Bernard enough to reveal anything about his personal life. Apparently, he wasn't missing out. Tim studies more than anything, and even when he's not studying, he's doing homework or reading or something equally uninteresting. It makes his observation of his roommate very dry.

Until the moment where he invites Tim to sit outside.

They're moving through the quad together, Tim having just attended his linguistics class and heading into a free period while Bernard's done with classes for the day. The April weather is gorgeous, with a nice breeze cutting through the heat of the day. It's so nice, in fact, that Bernard asks—

"Want to stay outside for a bit?"

Tim's steps pause for a moment, hesitating. "Why?"

Bernard can barely stop himself from staring in shock at him. Sure, he grew up in the city, but he spent every moment that he could in the park. "it's... nice?" he ventures. "Plus, you could use more sun."

"First, rude. Second, if you insist." Tim sighs, glancing around for a place to sit. "As long as we're not directly in the sunlight."

Bernard rolls his eyes. "Sure, whatever. Vampire."

Tim scoffs at him, following Bernard as they move to take a seat in the shade underneath a tree. He only seems vaguely annoyed, meaning that he does actually care, at least a little bit. They're not at the point yet where Tim's comfortable being jokingly annoyed or mad with Bernard, since Bernard did it to Tim once and ended up sending Tim into a spiral for the next day over whether he was actually upset.

So. His annoyance here is at least vaguely interesting.

"hn'x! ngt! hnk'tt!"

"Bless you," Bernard murmurs. Tim shakes his head and immediately goes to sneeze again, sitting up with his head tipped back slightly, eyes half-shut, mouth partly open as his breath hitches quietly.

"hh...hi'h? hHhh—" He's trying to hold it back and is failing miserably. "—hk't! hxxt! hn'gt! h'hHn'gt-sh!"

"Bless you."

"Why'd you want to be out here?" Tim asks, voice nasal. His head immediately bobs down toward his chest again, nose pressed into the crook between his thumb and pointer finger to at least give himself a semblance of modesty. This set is even more numerous than the first, each sneeze coming in rapid succession.

Bernard sits up straighter in alarm. "Uh... exactly how allergic are you to pollen?"

Tim's response is another rapid set of sneezes.

"You need to get better at putting your foot down," exclaims Bernard, grabbing Tim by his free wrist and hauling him upward as Tim sneezes again and again, each perfectly stifled and barely making any sound. The only reason, Bernard reflects, that he can hear them is because Tim's sneezing too much to fully have control.

"You're—gxt'sh!—telling me," Tim gasps out. Mockingly, he attempts to add, "You could use more su'h'nxt! hxt'ch!"

"Okay, Sneezy, let's get back to the very climate-controlled indoors," says Bernard, hastily dragging him toward the building.

-

Tim's lying down on his bed when Bernard walks into their dorm, three days after the incident, absently staring up at the ceiling. There's nothing taped up there—Bernard checked.

"You okay?"

"Fine," replies Tim. "Just... thinking."

Bernard sets his backpack down next to his bed, placing the binder in his hands down on top of his comforter to ensure he doesn't forget about the homework in it. "Anything in particular?"

Tim shrugs, which is his way of saying Yes, but I don't want to talk about it. Bernard had given up on trying to interpret all of Tim's nonverbal signals on his own and reached out to Dick the day after Tim's allergy attack; Dick had informed him that reading Tim was like learning a new language. He wasn't very communicative at best, even with members of his own family, and it took Dick years to figure everything out. Jason is still struggling, apparently, which Dick attributes to Jason being in college while Tim was adjusting to living with the Waynes. He's gradually been passing tips onto Bernard, trying to make his living experience a tad easier.

Uncertainly, he walks over to Tim's side of the room, stopping just short of sitting on the bed with his roommate. Looming over him feels like an equally terrible option, and Bernard just stands there for an awkward moment.

"This is a little creepy."

"You're one to talk," Bernard says before having the chance to properly filter himself. He's trying to get Tim to open up, here.

Tim huffs out a laugh, then sniffles quietly. "Just sit down."

Bernard does. Neither of them say anything for a long minute, with the silence frequently broken by Tim's soft sniffles as he continues fighting off the pollen in the air.

"You know you can sneeze, right?" he blurts out. Tim doesn't blink. "Like, around me. I don't mind, I promise."

When Tim doesn't respond, Bernard keeps rambling. "It's just that, every single time I've seen you sneeze you're stifling. No matter what. Even if you're alone in the room, you don't make any noise, and, like, it's worrying me. It's not, um, normal. Not that you're not normal, obviously, but—"

"Bernard."

"Yeah?"

"Shut up."

Bernard rolls his head to look at Tim. His roommate is still looking at the ceiling instead of at him, but he's talking.

"I was..." He pauses, starts over. "My parents very much believed in the adage of children being seen and not heard. To them, my silence wasn't an expectation, it was a strict necessity for me."

"Tim..."

"For whatever reason, they included normal bodily functions in that." Tim scoffs, but it's devoid of any feeling, as if he's making the noise only because he's expected to show disapproval toward his parents. "Coughing, sneezing, anything like that was taboo. So, I learned to keep quiet."

"You know that's not okay, right?"

"I've heard that nearly a thousand times from Dick and Jason." Now, he turns to face Bernard. "I'm aware."

Bernard sighs. "Do you believe it?"

A moment of silence. Three different emotions pass over Tim's face, too quickly for Bernard to parse through them all, but something sad is certainly there. "I'm working on that," he says eventually.

"That's good," replies Bernard, and they fall back into silence before Tim sneezes adorably, much like a baby kitten.

"hk'sh'iew!"

"Oh my God."

"Shut up!"

[throwntotheair]

Tl;Dr

Homestuck in both canon and post canon have a remarkable throughline re:

John as a Person

Dirk as a Character

John consistently hyper aware of the narrative to the point of looping back to thinking only he could be real

Dirk consistently hyper aware of the narrative and embracing it to the point that he can only submerge himself further as a narrator

They give each other a reach around and deny everyone their personhood and agency

(Candy John is maybe improving but also maybe this is part of Ult Dirk's plan)

Anyways, I think they should kiss

My personal opinion is that John is kinda boring as a character - and wasnt that his whole point? average kid with an average life - loving father, suburban house, no tragic backstories just the folly of being a teenager

But if we sink into the verse and treat him as a person, he's almost believable. He was a fun guy (pre-canon), and then became horribly depressed and consequently awful (post-canon)... But like we've probably walked by a thousand Johns in the real world who maybe didnt become gods but who still treat the world like its not a part of them and theyre going through some shit that makes empathy real fucking hard - making them unpleasant to be with

John is a believable person

Dirk is a character - all the way to how he was Dave's Bro - this bigger than life figure. Who does all this crazy and cool shit - with all the irons in the fire, with all the sicknasty tricks, etc. etc.

Dirk always seemed to be framed as someone who could never be real. So he can't become a believable person and his whole journey to villainhood is just another way for him to run away from his own (for lack of a better term) humanity.

It all circles back to the idea that John is a loser because he's basically an everyguy. I could meet a guy like John on the street and think there goes another divorcee father at forty. but if Dirk walks down the street, you will always look twice - you will always watch. That's Dirk's whole deal

And a good long way that canon and post canon seems to fight is because Dirk thinks that people want a spectacle - they want the keyfabe - they want the wrestling match

But the spectacle works best as an opening gambit - it works best as a way to grab people, hook them in - people come for the spectacle

People stay for John. And Rose. And Dave. And Jade. And (insert favorite character here).

They want people to form parasocial relationships with so they can read and be changed however minutely - however infitisemally. We can't as a matter of fact feel things about characters as written without the double think of "oh for a second that felt real". And Homestuck's general navel gazing into the nature of fiction has utterly forgotten the most important question of all

Why do we tell stories?

[aetherceuse]

So.

It's been a few weeks since I announced taking a step back from Lusamine's blog, and, I think I'm at a point where I can put my struggles into words.

Before I get into my issue, I'm politely asking that this post is read and digested. In the past, whenever I post about something that I am struggling with in terms of roleplay and community interaction, my post has been used as a springboard for the dash to turn into "vent hour." That isn't what I want. I'm genuinely asking for people to read this, to digest it, and respect the fact that I am having a major issue with writing this character, which has been preventing me from actually being active-- and it is rooted in how the muse, and her information, has been treated.

I'm not tagging this as drama, because it is not drama. This isn't pointed at any individuals, because frankly, it's an issue I have had with writing villains my entire life, and it's only been amplified on Lusamine's blog in particular.

For starters: Lusamine is a beloved muse of mine. She is one of my favorites to sit down, dissect, and write about. It's important for people to understand that all of my canon muses are retellings in a way, but with Lusamine, that's ESPECIALLY important to understand. This Lusamine is not canon, she is a retelling, with her own backstory and world-relevant lore that is very important for people to read, grasp, and understand before proceeding forward with interactions.

However, it doesn't seem as though people really-- respect that, or even bother to read the bio and headcanons that I've written on her. I can tell, because a lot of the interactions I get are people reacting to canon events that haven't happened in my retelling. Mother Beast, for example, hasn't happened, and I've stated that multiple times over and over, yet that seems to be falling on deaf ears.

I really need my writing partners to actually read my content, and understand what I'm doing. I don't write headcanon posts and bios just because I wanna take up space on Tumblr dot com. I write them because they're a crucial part of what I'm doing.

And honestly-- that's not even the biggest issue I've had.

It is EXHAUSTING to open my ask box on a daily basis, and deal with asks sent in just calling her: bitch, cunt, 'Lusa-mean', 'Lusa-bitch', whatever. I don't think you guys understand how mentally taxing, and depressing that is for me. I get it. I'm writing the villain. Lusamine hasn't done great things. But I feel as though people are forgetting that there is an actual, human person sitting behind the inbox, who is writing a character that he loves-- and instead of getting thoughtful engagement, it's a barrage of "bitch." I've had to block people for doing this (IF you are reading this post on the dashboard, that means you're not guilty of doing this.).

But, this extends to the dashboard too. I feel as though I cannot write or do anything without someone dash comming or being automatically aggressive the moment Lusamine even so much as opens her mouth.

It's really, really not fun to be minding my business, and receive asks, IM's, or dash comms of this nature-- especially when I'm trying to write a complex character. I pour my heart and soul into what I write. And it's really sad that I have all of this stuff that people could be reading, interacting with, and reacting too-- and instead people just focus on all of the potential trauma that Lusamine could subject them to. It's not fun. At all. It really makes me feel like shit. I don't want to be used as the target of someone's parental trauma. Just because I am writing a villain, does not mean I am consenting to be nothing but an angst punching bag. I want to write stories, not just receive one-liners and zingers and "AH HAH, GOTCHAS!" in my ask box.

Frankly, I do not have nearly this much of a problem on any of my other antagonist blogs. Even though I'm still subject of whump at many times, it's not nearly as bad anywhere else, as it is on Lusamine's blog. It's really discouraging, and it makes me feel like I'm writing something that people don't really have any care or interest for. I get that my writing can be a little strange and off putting. I know that I dig into uncomfortable topics. It's not for everybody, but, I've never been the type of person to try and appeal to the greater audience. I'm very niche.

We talk about communication in this community a lot. We talk about wanting to interact. We talk about feeling as though engagement is down. And while I sit here and write this, I'm reflecting on that ongoing issue. I really feel as though we can improve the health of peoples' experience in this RPC if we-- y'know-- actually sat down, read what our partners are writing-- and ask questions/engage with it.

I don't know when I'll return to Lusamine's blog. I'm not deleting it obviously, I've put a lot of hard work into her character. But, until I feel as though there's a genuine interest in reading what I have going on, and engaging with it fairly, I'm going to keep my focus on Proton-- because, honestly, I feel really insecure on this account. At least over on Proton, it seems as though people are reading my glitch lore, respecting my muse/worldbuilding, and interacting with it. And it means the world to me. I hope to have that here one day too.

[fantasyinvader]

I think something that clicked for me is the whole teacher angle, as well as how the game handles giving out information. The game asks you to guide your students, and in turn is trying (in spite of the translation) to guide the player as well. That the game itself is a lesson in how to be moral, but rather than spell that out it instead wants the player to figure this out for themselves. We know from the devs interviews they deliberately designed the game and story so that the player would not find out everything in a single playthrough,

The game wants players to piece everything together by working together. Hell, in essence even understanding Houses requires the player to rely on others in defiance of Edelgard's philosophy rather than playing the game over and over again. The game doesn't want to tell us it's moral, it wants us to figure it out by thinking.

Let's look at it with the fact that the devs said they only expected players to finish 1-2 routes of the game. They expected most players to pick the Black Eagles house, either because Edelgard initially was supposed to come off like the obvious hero or because she's a cute girl. However, they said that siding with her is about having different beliefs than the rest of the game and ultimately lead to oppression because, surprise, she's the one playing the part of the villain. How does this work then?

Well, for starters her own route makes it clear that she's a very manipulative person, keeping her allies in the dark while telling them lies to make herself look good. Silver Snow backs this up in Japan, with her actually saying she was attempting to sway the player to her side. This would also explain the inconsistencies between her character arc in Safflower and the route's endings, she effectively faked character growth for PR purposes and even her supports are about her managing to bring people around to supporting her and her ideals. However, what she does in the endings is more in line with the ideals she spouts in Azure Moon during the parley. Those ideals, however, were informed by her understanding of Fodlan's history as well as her experiences with the experiments, which is contradicted by Verdant Wind giving the players and alternate account as well as outright saying Edelgard was manipulated into going to war. This is backed up by Flower, as we learn Edelgard's version of history was passed down to her from her father after Hubert had already revealed that he was an Agarthan puppet and directly contradicted Edelgard's claims about who was behind the experiments and how she should have told you this, which brings us back to her being manipulative and trying to sway the player to her side. On top of that, it shows she misunderstands Fodlan much like Claude, but Claude was able to see that his views were based on first impressions and how wrong it was to hate people without getting to know them.

Rather than saying all that, the game expects us to figure this all out ourselves. That we are supposed to fight Edelgard as the game was written around Silver Snow and it's story. It's why it frames the choices that lead to joining Edelgard, to have different beliefs that the rest of the game, as “changing the story.” Silver Snow is the natural progression of events, on the same level as Moon and Wind. It's the moral path in light of the reveal of what Edelgard has been up to.

You are a freaking teacher. You're meant to guide your students, help them become fine upstanding adults, not let them guide you.

I mean, it still leads to a frustrating game. The reveal happens and then the game pretty much puts Edelgard's real mask back on. Characters will explain things that directly contradict her, or even have legit reasons why joining her would go against their character or backstories. People learn revelations but seemingly forget about them. All because the game wants us to figure it all out ourselves. That it doesn't want to tell us what to think, but rather tell us how to think as pretentious as that sounds. And hell, that's probably the reason why the translators got things so wrong because the game was telling them X but when we were supposed to pick up Y which contradicts it and use it to figure out Z. Convoluted to say the least.

[keen-observations-x]

HASHIRA : WHO'S YOUR FAVOURITE??

Me and some friends have been bickering about this for a little while now: I love all of them dearly, they are all very well written characters with beautiful designs and amazing casting as well, but I will admit that my personal favourite Pillar is Sanemi -

MANGA READERS GET IT OKAY??

(Okay there's an unhinged yap from here - scroll down if you want to go straight to the poll x)

HOWEVER. I will also admit that he has done some things that are genuinely not okay, and I will not defend him fully for it - like the wee incident with Genya in Season 5 Episode 5 (He literally tried to blind his little brother and that is insane - Boo Sanemi on that one okay.)

But he had a beautiful design, a good reason for what he is doing, a tragic past, and is just so darn silly so yes your honour, I love him

(I personally just find him to be a very relatable character in some senses too - being the oldest sibling, and thus looking out for the younger ones (even if it calls for you to be perceived as cruel), finding it hard to forgive people, the anxiety, the VISIBLE sleep deprivation - just to name a few.

But then there are things the other Hashira have that he doesn't! Like three wives, an INSANELY relatable backstory for teenage girls (Well that was aimed for Mitsuri but I suppose he does kinda have one of those, huh?), siblings!

And that's what's got me so stumped. I love them all but I uh, clearly have a favourite. But I wanna see who has the most fans this far!

(Taking into consideration that some people who vote will not have read the entirety of the manga, so their votes might be a little altered seeing as they wont have seen all there is to these characters just yet x)

OKAY NOW TO THE POLL:

(And feel free to give your reasons for your vote in the comments!! X)

[magentagalaxies]

Kids in the Archive: Episode 8

welcome back to kids in the archive! the show where i highlight iconic kids in the hall sketches that i have procured the original scripts for and break down a behind-the-scenes comparison of script and screen

Previous Episodes: Episode 1 - armada finale ("do we make it?") Episode 2 - fran & gordon: the vacation Episode 3 - comfortable Episode 4 - cathy & kathi: is he? Episode 5 - danny husk: kidnapped! Episode 6 - trappers Episode 7 - sizzlers & the bank

on today's episode, i bring you the highly revised s3e17 sketch that is Darcy and Francesca!

i've always enjoyed this sketch - francesca fiore is one of my favorite scott characters and i really enjoyed both darcy pennell show sketches and i wish they did more. however the reason i'm showcasing it today is because this is the most any kids in the hall script has deviated from the final product out of the ones i've read so far. i've had scripts with a slightly different ending beat or a change in casting, but aside from the sketches that never made it into the show at all, this one presents the most interesting alternate universe where this aired as written, and raises questions about why these changes were made in the first place

Darcy's Personality

The first thing you'll notice in this script is that darcy pennell has a bit more of an edge. her opening song's lyrics reference mood swings and lithium (we stan a bipolar queen), she gets mad when she can't parse francesca's nationality, there's a line where she talks about having a thing for the tin man from wizard of oz, she even sits behind a desk! okay, the desk thing isn't that edgy, but that also shows us how the setup of this show differs as well, with darcy constantly calling to unseen camera men with increasingly ridiculous names.

a bit of this edge remains in the sketch that aired - like referencing the show's previous episode as giving makeovers to the women on death row (a line that was added since it does not appear in this script), or teasing the next episode as darcy joining the hell riders (which is still in this ending). however, these jokes are juxtaposed with the daytime-talkshow-positivity and mom-vibes darcy gives off otherwise. i think this works, both because the contrast makes both traits pop and because it plays to kevin's strengths. some of my favorite beats are not in this draft - while script-darcy pulls out popcorn to watch the clip, screen-darcy puts on nonfunctional glasses so she can get used to them. while script-darcy complains about subtitles, screen-darcy talks over the clip by saying "what a lovely wall!"

Francesca Fiore Lore

the sequence of darcy trying to parse francesca fiore's nationality is a bit more drawn out and includes specifics of francesca's global backstory:

personally, i like the final sketch's version of this conversation much better - quickly going back and forth setting up a country she's from and then denying being from that country. i also like the ending of the screen version's conversation better - where instead of getting mad, darcy is somehow able to grasp that francesca is somehow irish. however, this lore-dump is also interesting considering as this is only francesca fiore's second appearance. the first page of the text has to justify her as being "from hazy movie," the only sketch she's been in thus far.

The Censorship

by "the censorship" i don't necessarily mean the sketch itself was censored (or do i?), i mean that in the alternate universe this sketch provides, it's abundantly clear the theme of this sketch is censorship! sure, censorship is referenced in the final sketch (the clip of francesca's movie being cut, francesca's line "shoot shoot bang bang kill kill is fine, but show seven genital and everybody go crazy"). however, the script goes even farther.

after the clip concludes, darcy commiserates with francesca, saying any time she tries to bring up anything controversial, the camera just cuts to calming beach footage until she brings up hairstylists. then this happens:

following this, we have the same francesca line about violence being allowed but not sex, and darcy teasing her next episode.

so what do we make of this? well, the kids in the hall have always had issues with censorship from networks over the years, and the juxtaposition between censoring sexuality while allowing violence unfiltered has been part of scott's work for years. a decade after this sketch, he'd be taking on this subject again in his one-man-show The Lowest Show On Earth, whose poster (featuring scott with what appears to be semen on his face) would cause controversy, leading scott to comment on how if it was blood there would be no issue. interestingly, the topic of censorship became even more prevalent during the amazon prime revival decades later, because while scenes of sex and nudity were more acceptable, the third kind of censorship (censoring discussion of controversial topics, like darcy runs into) was even more prevalent. this topic is also going to be a staple of the buddy cole documentary, and i wonder what scott thinks of this alternate script

so why was the censorship commentary toned down? i have three theories:

a) they were censored (either the network didn't like their portrayal of the censors being met with violence or the violence was so gratuitous that it was not allowed on television) b) it was too expensive to shoot (a lot goes into filming a sketch like this - location, special effects, the cost of filming itself) c) it just wasn't that good

personally, as interesting as i find the kids in the hall's (specifically scott's) relationship to censorship to be, i'm inclined to go with the third option. this alternate ending makes a point, sure, but it's not as funny. i don't think i'd be returning to the sketch as much as i do if this script was the version that aired. even when looking at the youtube comments on this upload, the top comments are all referencing jokes that aren't in this draft. the darcy theme song, "what a lovely wall", and bruno counting the genitals in the clip are all iconic moments and as much as i love satire, i think these sillier moments make the satire itself stronger.

but i'm glad i have this look into what this sketch could have been, to make me appreciate the process.

[real-fire-emblem-takes]

As a Grima fan I don't not understand the very massive side of the fanbase from what I can see, that woobifies Grima. Like yes I am on the side that agrees Robin and Grima are the same to an extent; I see them as two consciences in the same body (I know this isn't at all canon however and true canon is Robin is possessed by Grima many things make that clear). But even if you have the hc they are the same one side does very evil and bad things and that's Grima. And yet I see often when seeing Grima posts oh he didn't actually kill anyone he had others do it for him or he was faking being evil the whole time, he feels bad about it all, he cares about Robin actually and no??? He's evil in Awakening. Like that's...his thing that what he existed to do. He was supposed to be a Loptous expy and I never see anyone arguing Loptous isn't actually evil. Having that Echoes backstory makes him different from Loptous now and it's fascinating; now he's FE Mewtwo, but he's very much a large ham of a villain, frankly he reminds me of those over the top 90's Disney villains, Scar, Hades, etc or a comic book villain there's reason for why he's the way he is BUT he loves being a little evil shit manipulating others, murder, hording his power over them, talking down to them; and thrives on it. That Forging Bonds in FEH with Fallen Chrom was the perfect example to show how nasty he was. NOW if you want to expand on him out of Awakening like in FEH go nuts Zenith is like a pocket where anything can happen and that's what makes it so fun for any character take them away from the things that tie them to their world and you can develop so many characters in creative ways but in the base game? He's the evil world destroying despair dragon, he's not faking anything, he doesn't feel bad about anything in canon; please let him be a horrible angry bitter little person/dragon/creature you don't need to look at Awakening and twist the very basic character he was written as to make him something he's not, it's okay to like the evil dragon because he's terrible, those are generally just fun characters!

.

[hellomystraightlacedfriend]

Of the High Evolutionary and Spider-Woman - and why I like Jessica Drew's Second Origin Story the Most

Like a lot of Marvel characters, Jessica Drew has experienced retcons and revisions to her history. In her very first appearance, 'Arachne' was told by Hydra General Vermis that she was originally a spider but was transformed by the High Evolutionary into a woman with spider-like properties. (1st Origin, found in Marvel Spotlight #32: written by Archie Goodwin, with art by Sal Buscema.)

However, this origin was immediately retconned in her very next appearance when it was revealed that Vermis told Jess this story to make her feel disconnected from the rest of humanity. Vermis and Hydra brainwashed her into believing that they were the only people who would want anything to do with her. They were her only hope for survival and acceptance. (The fact that Jess was young and very naive and her pheromones actually did have an unnerving effect on other people made this idea even easier to swallow).

In this version, Jessica Drew was the daughter of Jonathan and Merriem Drew. Jonathan was the research partner of Herbert Wyndham, who would later become the High Evolutionary. When Jess became sick from exposure to uranium as a young child, she was given a cure (made from spider blood), which gave her her powers.

This was Jessica Drew's 2nd origin story (developed largely by writers Marv Wolfman, Mark Gruenwald, Chris Claremont and their respective artists), and the one that was hard canon from the 1970s up until 2005. It's also the backstory that is still used in Marvel handbooks and was the one given in History of the Marvel Universe (2019).

In 2005, Brian Michael Bendis and Brian Reed wrote a 5-issue mini called Spider-Woman: Origin. And while I get why certain changes were made - obviously, there was an effort to simplify/streamline Jess's backstory - I just hate a lot of them. In stripping it down, many aspects of Jess's backstory that I found unique and personally fascinating were lost.

Also, some of the changes actually made things more complicated - like the decision to retcon Wyndham into just a Hydra general. Because the High Evolutionary is a key character in other characters' backstories - like Adam Warlock and the Maximoffs - this decision didn't really stick/was ignored by other writers. Because of this, Spider-Woman: Origin does not fit into the broader continuity of the Marvel Universe.

So today, I wanted to go over what I enjoyed about Spider-Woman's 2nd origin, and examine the changes that were made afterwards.

Before I proceed further, though, I do think it's only fair that I acknowledge that Bendis was responsible for really bringing back Jessica Drew as a character and making her a little less obscure. Also, there are definitely choices he made with the character that I like/find interesting, like: developing her friendship with Carol, continuing her relationships with Wolverine and Nick Fury, and getting her Spider-Woman title/costume back, among others. I even really enjoyed the whole Veranke imposter thing, which I know pissed off some fans.

That said, I still have a very visceral reaction to some of the ways Bendis handled Jessica Drew - and how some fans treat him as the end-all-be-all for the character.

So, let's go.

Part 1: The Man Who Would Be God

Okay, so the thing that probably offended me the most is how Spider-Woman: Origin turned Wynham into just a nondescript Hydra General. The reason for this is because the High Evolutionary and the Drew family actually have a very tightly wound history, and Bendis obviously wanted to stress Jess's relation with Hydra. But even though the High Evolutionary doesn't have a lot of comic book appearances (under 200 as of today) he has been quite an influential character, playing an important part in the Maximoff twins, Adam Warlock, and Spider-Woman's backstories - and also making recurring appearances in X-Men, Avengers, Thor, and even Spider-Man comics.

Also, I just like him. Like yeah, the dude's a piece of shit, but I find him interesting as a character - so that is why I am starting with him and who he is in the main Marvel Universe.

Note: While I am not going to give specific dates, this was originally supposed to take place around the 1920s - 30s. The time period isn't vitally important, though, in my opinion. It was more just that this was supposed to take place some 30+ years before the main Marvel events (like the Avengers, X-Men, and Fantastic Four forming).

Also, no, the High Evolutionary's whole "evolving" animals into more "advanced" versions of themselves isn't scientically accurate - but I like chewing on the thematic elements it creates.

So to begin, Herbert Edgar Wyndham was born in Manchester, England, into what was probably once a well-off family. However, his father’s passing (when Herbert was still young) seemed to have put financial strain on the family. Due to this, Herbert's dream of attending Oxford University to further his studies in genetics depended entirely on him getting a scholarship or sponsorship.

This didn't seem completely out of the realm of possibility - because young Herbert was something of a genius who was already pouring hours of his free time into obsessively studying the genetics of rats.

Herbert had become fixated on the idea of improving the world through accelerated evolution - and he wanted to be the one to do it. He'd even made a machine that he hoped would evolve the rats into later stages of rat evolution. Although all of his attempts so far - which had mostly been bombarding rats with radiation - had just ended with dead rats. But as much as their deaths saddened him, Herbert wasn’t one to give up.

Now Herbert was living with his mother, and she completely doted on him, so when Herbert got an invitation to attend a major genetics conference in Geneva, she was the one to go to all of their relatives to collect money, so he could go on his trip.

And this is where he bumped into a young American - Jonathan Drew, a student at Yale specializing in arthropods.

The two of them hit it off right away - Herbert seeing in Jonathan a fellow "visionary," as Jonathan Drew wanted to use the genetics of spiders to 'improve' the human race - making them less susceptible to toxins and disease.

During the convention, Herbert and Jonathan attended a lecture, where the speaker warned against the dangers of genetic tampering - saying that more theoretical research needed to be done into the long-term effects. Over dinner, an angered Herbert complained to Jonathan about this, when he suddenly felt dizzy and went out to get some air. There, he was approached by the inhuman geneticist Phaeder, who gave Herbert the genetic information he needed to perform his experiments.

(Although Phaeder didn't actually introduce himself as Phaeder, he just gave Herbert a stack of papers and then fucking left. Apparently, Phaeder gave out information like this to other human geneticists as well - like some weird fairy godmother or twisted Prometheus - but his reasons for doing so aren't relevant to this story).

Shortly after this, Herbert did end up getting into Oxford, but he blew the opportunity by spending all of his time working on a machine to turn animals into more "evolved" versions of themselves. When he couldn't even manage a demonstration on what he was working towards, he was kicked out of Oxford.

After getting kicked out, Herbert finally made a successful attempt with his machine - a machine which he had named his "genetic accelerator." He "evolved" his pet dalmatian - enhancing its intelligence to that of a chimpanzee and getting it to walk on its two back legs.

Herbert was estatic. However, the poor dog was accidentally shot by hunters, who then called it "a freak of nature." This led Herbert to believe that the only way for him to keep his "creations" safe was to keep them away from the rest of humanity.

So, he met back up with Jonathan, who had married a European woman and was now living in Europe.

Note: The nationality of Jessica's biological mother is inconsistent across sources, sometimes said to be English, sometimes French. Sometimes, she is listed as being born in Transia. Also, I guess she could have been born in Hungary, too, because of the whole Viper thing. (We'll get back to that.)

Jessica Drew's place of birth, however, is universally London, England.

Anyway, Herbert reconnected with Jonathan Drew, who now had a young daughter named Jessica. Jess seemed a pretty outgoing and affectionate child as she immediately climbed up on Herbert, something her mother scolded her for, but Herbert said he didn't mind.

Herbert and the Drews decided to pool their resources together to create "a citadel of science." Jess's mother, Merriem, had just inherited a tract of land in (the fictional Balkan country of) Transia - in the shadow of Wundagore Mountain. So that's where they decided to set up their base.

Herbert sold his mother's house (without fucking asking her!) for building money. (He'd already persuaded his mother to move into her sister's place so he could rent out the house for money for his experiments - which really demonstrates his complete but rather oblivious self-centeredness.)

With these plans in hand, Herbert, Jonathan, Merriem, and little Jessica all moved to Wundagore together to start their new lives.

Part 2: Wundagore

When Herbert and the Drews got to Wundagore, they immediately heard rumours from the locals that there was an evil spirit trapped in the mountain, and werewolves and vampires living close by. There was, in fact, an evil spirit trapped in the mountain - the evil elder god Chthon - but Herbert and Jess's parents (in a very Dracula moment) dismissed the nearby villagers as superstious simpletons.

Their arrogance grew when they found that the soil in the land they owned contained a lot of uranium ore. Now they would be wealthy! Interestingly, though, this turn in fortune did not cause any friction between Herbert and the Drews, as even though the land was technically Merriem's, Jonathan assured Herbert that they were all full partners in this venture.

Note: It's funny how especially compared to how Bendis and Reed wrote the Wyndham & Drew relationship (in Origin) as being pretty much purely professional - in Mark Gruenwald's hands, Herbert Wyndham and Jess's parents come across as having a rather unconventional closeness.

Herbert especially seems quite fond of Jonathan Drew (even though he often expresses waryness of humanity as a whole), and the fact that their finances are all so willingly tied together is very interesting to me. It would be more expected, particularly in a villain's origin story, for there to be more infighting around money. Instead, Jonathan and Herbert like each other enough that this never became a problem.

Herbert and Jonathan started working on their citadel of science, but because the engineer they hired to build it was obsessed with outerspace, they got a lab with space-faring capabilities. Jonathan was like "is this really necessary???" But he had bigger problems.

His young daughter had collapsed on the dirt she was playing in. Because even though Jonathan warned Merriem to keep Jess away from the dirt, they were both pretty neglectful in actually watching their daughter. Jess was now suffering from uranium poisoning that had been building in her little body for months. She was sick and quickly dying.

In a panic, Jonathan injected his young daughter with the experimental spider-blood serum he had been working on. However, Jess didn’t respond. Herbert then offered to use his genetic accelerator on Jess, but Merriem argued against it. She thought that it was too late for Jessica, and accused her husband and his partner of just using Jess as a guinea pig. Against her wishes, Herbert did put Jess in his genetic accelerator, merging Jess's genetics with those of the spiders.

However, Jess still seemed completely unresponsive, and Herbert put her in an induced coma/partial suspended animation in the hopes that the serum would slowly cure her over time. Angry and distressed that her daughter had been experimented on for what seemed to her no reason, Merriem rushed off into the night - and was killed by a werewolf.

Note: Okay, I wanted to pause here, because I actually highly prefer this version of Jessica Drew getting her powers to the one in Spider-Woman: Origin - where she accidentally gets spider DNA beamed into her body while she's still a fetus.

I just find it more interesting seeing these characters have this genuine fear and panic about their little girl dying - and maybe it resonates with me more because my little brother became very sick when he was three years old and eventually died (and I spent quite a bit of time in children's hospitals growing up) but there's also more nuance in this origin.

For some reason, Bendis and Reed made Jonathan and Merriem Miriam more black-and-white figures, with Jonathan being painted as a guy who secretly hated his daughter - because he's weirded out by her spider DNA - but still used her to advance his research. Whereas Jess's mother was presented as a much more sympathetic figure, as she was first taken in by her husband lies about her daughter being sick and thus the testing on her being necessary, and then later when she found out this wasn't true, she fought to defend her daughter from him.

But in the 2nd origin, especially in the parts penned by Mark Gruenwald, neither of Jess's biological parents was actually perfectly "right." Here, it is pretty clear that although Jonathan genuinely wanted to save his daughter's life, he also really wanted to see if his serum would work, and he very much wanted the glory of that success. However, Merriem was going to stand in the way of her daughter possibly surviving - because on principle, she didn't want her daughter to be used as a science experiment. Jonathan's motives were not close to being 100 percent pure, but if Merriem had gotten her way, Jess would have absolutely died.

Which is more unique for a Marvel backstory, because there are so, so many bad father/nicer mother narratives in Marvel. Which I am not saying this isn't a dynamic that doesn't occur often in real life, but I feel like Jessica's story was more about all her guardians failing her one-by-one.

But anyway, Merriem was killed by a werewolf, and it was Herbert who found her body. Not really believing in werewolves but also not wanting Jonathan to become biased against nonhuman life, Herbert staged the death to look like a fall.

Jonathan was absolutely devastated: first his daughter had become sick/comatose and now his wife was dead. Herbert tried to think of ways to console his despondent friend, but it wasn’t long after this that Herbert woke up to a note from Jonathan Drew, saying that he couldn’t stand being there anymore without Merriem, and he was going back to America. Jonathan left Herbert the citadel, and his daughter.

Part 3: The New Men and Recreating Camelot

So, Herbert found himself alone and lonely in his now completed citadel. The only person with him was his former partner's unconscious child. He decided that he would be a father to this abandoned little girl, and well, any daughter of his was going to have a world-class education. So he set up audio recorded lessons and lectures to play in her cryogenic chamber while she slept.

Herbert was (unsurprisingly) still lonely. He couldn’t really talk to Jessica (and she didn’t seem to be getting better), so he had this whole empty citadel to himself. To keep his mind busy, he set to work on making himself the perfect suit/armour to protect himself from environmental toxins. But also as a 'just in case' - even though he did not believe in werewolves or werewolf folklore or any of this crap about a demon living inside the mountain - he made the suit silver-plated on the outside.

When his perfect silver-plated hazmat suit was completed (after an intense process of trial and error), Herbert started wearing it all the time. It wasn't long, though, before his mind started itching to work on something else, and his thoughts drifted back to the evolved dog he had "created" before.

He started acquiring both domestic and wild animals from all over: lions and tigers and bears and pigs and cows and sheep. And he started putting them through his genetic accelerator. Those that survived and showed successful signs of intelligence, he called his "New Men" - though he would also more affectionately refer to them as his "children."

The New Men were absolutely bewildered by this whole process, but Herbert assured them they would adjust to this new way of existence. He had them watch educational tapes until they gained the ability to speak, and he started to feel a little less lonely.

Then, joy of joy, Jonathan Drew returned to Wundagore. Herbert was like, "I missed you. It hasn't been the same without you!" And Jonathan was like "Actually, I'm not Jonathan. I'm the ghost of 6th century wizard who took possession of your friend's body to warn you that you are in grave danger." And Herbert was like 😯 (Quotes aren't exact exact but pretty damn close).

Herbert didn't believe the whole ghost possession story, but he decided it was "a harmless mental disorder" caused by Jonathan's grief. So when "Jonathan" suggested they teach the New Men to be lance-wielding knights, Herbert decided to commit to some long-term LARPing to make his friend happy. Besides, this new code of honour would guide his New Men, make them civilised. Also, he did enjoy being the king of his castle. This is when Herbert started going by "the High Evolutionary" - a title that "Jonathan" encouraged.

Now Jonathan was, in fact, being possessed by a 6th century ghost. A guy named Magnus, who had come to Wundagore to warn Herbert that all his drilling into the mountain had awakened a dormant demon. Herbert - the High Evolutionary did not want to hear about this, though. He was like (paraphrasing):

"John, dear John, or Lord Magnus - however you want to be called, you can tell me all you want about how you used to work with Morgan Le Fay, before she murdered you with her bare hands, but don't speak to me of demons. I am a man of science™ There are no demons, and there is certainly no demon trapped in my mountain."

But like I said before, there was, in fact, an evil spirit in the mountain. He had been bound to it by Morgan Le Fay and her followers back in the 6th century - once she realised she couldn’t control the spirit she had summoned.

But back in the 20th century, time passed. A decade went by. The New Men, now called the Knights of Wundagore, kept training. Jessica Drew kept sleeping, and in her sleep, she aged very, very slowly. She had still not fully recovered from her sickness, and the High Evolutionary wondered if she ever would.

Then, one stormy night, a woman on the point of giving birth came to Wundagore and gave birth to twins. The mother slipped away in the night, leaving a note asking for the High Evolutionary to find her newborns a good home.

It was during this time that Chthon attacked, and Herbert/the High Evolutionary came face to face with a fucking Elder God. He and his knights fought back but were quickly overpowered, and Herbert watched in horror as many of his "children" were dashed to pieces in front of him. Luckily, Magnus ended up being able to put Chthon back into his dormant slumber, using a magic book called the Darkholde. However, not before Chthon put a piece of his essence into one of the twin babies: the girl who would grow up to be Wanda Maximoff, aka the Scarlet Witch.

Note: Not related to Spider-Woman: Origin directly, but I have seen other people bring up Bendis' erasure of Wanda's chaos magic (in his Avengers Dissambled Arc) and speculate that he was trying to write Chthon out of the Maximoff twins' backstory and out of the Marvel Universe. This is most likely true. For some reason, Bendis seemed determined to take all the magic away from Wundagore Mountain, which - is something I'm not a fan of.

Back to the story though, one of the surviving New Men, a cow-woman who Herbert named "Bova" (derived from a Latin word for cow) was tasked with taking care of the infants, while the High Evolutionary looked for a new home for them. He ended up placing the infants with Django and Marjya Maximoff, a Romani couple who were unable to have children of their own.

Note: Sorry, another complaint...it’s just super weird in Spider-Woman: Origin that the whole Bova in evolved cow is made out to be a delusion put in Jessica Drew’s mind by Hydra, and that Bova is actually a human woman named Bova????? I'm sorry, but why the fuck would that be her name? Did her parents hate her?

Also, it's just annoying because Bova doesn't have a purpose in the story other than to be a vehicle for the writers to be like "oh, yeah, we are retconning the High Evolutionary and his New Men! Yep, they never existed. Mhm, Hydra made them up entirely to mentally torture one child."

It seems evident that someone thought that this origin was too weird, but I just – aghhhhhhh. Okay, let’s move on.

After this, Magnus departed, saying that his duties there were done and that he had to relinquish Jonathan's body and return to his grave. But he also told the High Evolutionary that he would miss him and tasked Herbert with not neglecting the daughter of the man whose body Magnus had borrowed.

Part 4: Leaving 'Paradise'

It would still be years, though, before Jessica Drew finally woke up well from her prolonged sleeping beauty slumber. When she did wake up, her memories of her parents and her former life were very dim. She had been so young when she had gotten sick that she didn't remember anything clearly from before. So this strange world of talking, anthropomorphic animals and a knight's code of honour and all that - that was the world she really grew up in.

Note: I think that's part of what made me fall so hard for this backstory. Something about how casually and naturally Jess relayed it all to Nick Fury when looking back years later: the "High Evolutionary" promising to raise Jess like his own daughter, animals with the intelligence and faculty of human beings, the desire to recreate Camelot. They were all presented as the most normal things in the world, which is what really gripped me.

Because that is how a child raised in a bizarre environment would take it in - as their normal. And as someone who grew up in a cult, well, I really resonated with that. I mean, there are other ways that Jess's upbringing resembles being brought up in a cult (which I'll talk about a bit more soon) - but even the just talking about bizarre things as if they are completely straightforward (because that was your lived experience) is so interesting to me.

I also really like the idea of Jess being raised in a knight-centred culture, because this actually gives more context/insight into her character. Like why she has more negative emotions around being "a coward" than she does about killing people. Or why one of the things that pisses her off the most is seeing someone attack someone who is weak/defenceless, and why Jess would go in for the kill against the attacker in those situations. Of course, anyone would be upset about that, but there is a such level of anger there that we can see this goes against one of her core beliefs. An honourable knight is going to defend the weak, and hurting someone who is weaker than you is utterly despicable.

And it's just interesting that these values are following her even to this day, even though they were put in place by someone who was neglectful/abusive.

That's getting a little ahead of the story though:

So, when Jess woke up she had only physically aged to around 10 years old (or in some sources her early teens) - even though she had been asleep for over three decades. However, because she'd been in a coma-like state all this time, emotionally, she was still younger.

The High Evolutionary immediately placed Jess in Bova's care. He claimed he would be like a father to her, but he was preoccupied. His confrontation with Chthon had had a huge impact on him. For the first time, he had been come across something he couldn’t explain and was so much more powerful than him. That had rattled him, had shaken him to the core.

It's also possible that witnessing so much death and having his friend effectively abandon him a second time had resulted in Herbert becoming more emotionally detached. When he did interact with Jessica, it was mostly to examine the abilities he and Jonathan had given her.

One of the darker implications from around this time is that Jess has an ability to be resistant to toxins, but the way the power works is that she has to be exposed to a poison, endure the effects of it, heal from it, and then she will have an immunity to it. The fact that she already has a very clear understanding of how that power works in her first solo series suggests that multiple poisons were tested on her before it.

Looking back at this time in her life, Jess also expressed that she mostly felt like a labratory animal (which could be one reason why she has such a strong affinity towards characters like Logan/Wolverine or even the Hulk.)

Note: I will say that Spider-Woman: Origin does also have Jess be a test subject (although Jonathan is the perpetrator instead of The High Evolutionary.) I also do think the writers of the mini did enough research into Jessica Drew that they did try bring forward some of the same themes.

Sadly, one thing that was lost in this new origin was Jessica Drew seeing her father/father figure as a god/God. It's just one of my favourite things in stories where parental figures are lifted up onto this worshipful pedestal, and in this case, it makes a lot of sense. The High Evolutionary did save Jess's life, and he had cared for her even after her biological father abandoned her. He was her saviour.

Also, all these people around her - the New Men - they saw the High Evolutionary as God, because he was the one who had brought them to this new level of consciousness, and if he wanted to, he could also take that away. The New Men had also basically been taught that their whole purpose in life was to serve the High Evolutionary. This was readily accepted by most of them, and while others, like Bova, would go on to ponder if there was more to their existence, no one at this time was really questioning the High Evolutionary's authority. He was their king, their God, their everything.

And this does remind me of how cult members are "supposed to" and how many people in cults do view cult leaders. Add to this that the High Evolutionary did not allow outsiders (with very exceptions) into Wundagore, and that he forbade the New Men and Jessica Drew from ever leaving, and you have a very isolated and insular environment. Which is very, very cult-like.

There is also something about how the High Evolutionary can and later does devolve New Men - whether that be as punishment, or because he thought it was a mistake to evolve them up in the first place, or just because he was tired of a particular New Man - that makes me think of the dehumanisation that often takes place in cults. How personhood can be given or taken away.

Not that this is the only way to view the High Evolutionary, especially since he does eventually become more and more actually godlike in power and is even referred to as "God" at some points - you could also see the High Evolutionary as critique on God or how God is perceived, or well, something else entirely I suppose.

However you want to look at it, being "God" isn't always easy. Which Herbert was starting to realise.

Because the New Men saw him as this omniscient being, the High Evolutionary was getting flooded with questions. So, to bear the brunt of that barrage, the High Evolutionary recruited Jane Foster (yes, that Jane Foster) to be the New Men's new teacher. That way he could concentrate on what was really important to him.

Which, if you thought that would be spending some quality with his adopted daughter...well, no, that wasn't even on his radar. What he wanted to do was work on his genetic accelerator, with the hopes of making more advanced New Men.

It was just the hand that fate had handed him, his duty to make a perfect world, yada yada

Now Thor (Jane's love) happened to see Jane being taken off to an isolated location and thought she had been kidnapped. He came down to Wundagore, and basically walked into an ongoing battle.

The High Evolutionary had been making adjustments to his genetic accelerator, and had beamed a different type of isotope at the wolf he was evolving up. The wolf ended up coming out more "advanced" than the other New Men: smarter, more capable, but also filled with hate - towards the High Evolutionary and all of humanity. Declaring himself to be the "Man-Beast," the evolved wolf quickly took control of the genetic accelerator, and made new New Men - ones who would be loyal to him and help him overthrow the High Evolutionary.

A battle ensued, with Thor joining forces with the High Evolutionary, the Knights of Wundagore, and Jessica Drew to put down the Man Beast's rebellion. (This would be the first time Jess would use her venom blasts in a fight.) The Man-Beast and his underlings were defeated, but the High Evolutionary was again shaken. For the first time, he wondered if he had made a mistake tampering with evolution. Thor certainly thought so.

Finally, the High Evolutionary decided that humanity and his New Men couldn’t peacefully coexist. So, taking all but a handful of his New Men into his spaceflight-capable citadel, he took off for the stars.

Jessica Drew watched in Bova's arms, as her home lifted off the ground and disappeared into the sky.

Note: I don't know why, but I just find the image of Jess watching her home and her father/God disappear into outerspace never to return to her again particularly poignant. I especially ruminate on this when thinking about her and Carol, and how they see outerspace so differently. Carol having such positive connotations with it, and Jess such negative ones. It would just be interesting if it went all the way back to their childhood. (Even though, of course, a big reason why Jess hates/is scared of space is the whole being kidnapped/held captive by Skrull thing.)

But to return to the story, Jess and Bova and the rest of the New Men have to go on and adjust to life without their "God." Now none of the New Men, besides Bova, had really shown Jess any love or acceptance. They had tolerated her presence because the High Evolutionary had called her his daughter. However, now that the High Evolutionary was no longer there, well, things were different. The New Men started to become more and more vocal about their dislike for Jessica Drew.

The reason why they disliked her basically came down to two things. 1) at this point time Jess was instinctively/subconsciously giving off alarm pheromones that upset people around her 2) the fact that she had both human and spider DNA upset the New Men's sense of order. The High Evolutionary was fully human. They were animals brought up to personhood, but Jess was neither of those things, so they did not know how to view her.

Also, now that the High Evolutionary was gone, Jessica Drew was the only none New Man around, and though she begged and pleaded for their acceptance, the New Men just became more and more hostile towards her.

Finally, Bova decided that this was getting way out of hand, and she and Jess agreed maybe it would be best if Jess left and tried her luck among humankind. At this point in time, Jess was physically around seventeen, but because she was still catching up from spending a chunk of her childhood unconscious and had lived such an isolated existence, she came across as younger and was certainly very naive.

Despite this, Bova did not go with the child she had been ordered to take care of. Not that I actually exactly blame her in this situation. It had never been her decision to have or take care of a child. Also, she probably thought that Jess had a higher chance of being accepted if she weren't with a talking cow. Bova would have also wanted to stay with the people/community she knew and cared about, and would not want to go to some stranger place where she knew she would be shunned.

This did lead, however, to Jess going out into the world alone, a child among strangers. And in very mutant backstory fashion [even though Jess is not mutant - well, at least, not as of yet] Jess ended up accidentally killing a human man with her powers. (She was suddenly startled and hit him with a venom blast.) This led to the village turning against her, and a terrorist organisation - Hydra - coming to her "rescue."

Part 5: Hydra

After this point, this origin and Spider-Woman: Origin become a lot more alike. In both origins:

Jess joins Hydra when she is physically seventeen but emotionally/mentally younger (because in both origins she spends a sizable chunk of her childhood unconscious.) She is lied to/brainwashed in some way. She is then trained to be a spy/fighter/assassin. A guy named Jared starts a manipulative relationship with her, as he becomes her boyfriend and handler. Jared allows himself to be captured by S.H.I.E.L.D., so that Jess will come and rescue him and kill Nick Fury. Jess breaks into Fury's location, but while she is there, it is revealed to her that Hydra - and Jared specifically - have been attacking innocent/defenceless people. Jared tells Jess that their relationship was fake/that he never loved her/that he found her disgusting - before he ends up dying by her hand. Jess then ends up killing Otto Vermis. Fury tries to recruit her to S.H.I.E.L.D., but she slips through his fingers.

Some differences include:

1.

In Spider-Woman: Origin Taskmaster is shown to the one who trained Jessica Drew. This is more an addition than a contradiction to anything that was previously canon. And it's something I do actually like/have no problem with.

Well, the one nitpick I have is Taskmaster taunting Jess's costume - which would not bother me in isolation. It's just that Bendis put her back in this costume, only to have multiple people make fun of it, so whenever I see a character doing that, I hear it in Bendis' rather than the character's voice.

I also would have kind of preferred if Chris Claremont's addition to the costume's history was included. Basically Claremont had it be Jess's idea - that she fought for - to have the costume be not the usual Hydra green.

The brightly coloured costume is not great for stealth work, but I would say that it could speak to Jess's character. The colours are interesting because they are typical of poisonous animals, so the costume is like a warning sign. It could speak to Jess's sense of fairness or even her cockiness to go after her enemies in red and yellow and black.

It would also make a lot more sense to why she kept using the costume after leaving Hydra, even though that wasn't the smartest decision. If she chose the colours and felt like this was her first successful rebellion after being controlled all her life, yeah, that would give a lot more emotional/sentimental value to the costume.

I also like this idea because the person who designed Spider-Woman's original costume was actually a woman, the Marie Severin.

2.

In previous versions Otto Vermis was the Hydra general Jess was serving under, and who she killed by bending the wing of his plane and making it crash. But because Spider-Woman: Origin plays musical chairs with the characters, Wyndham (instead of being the High Evolutionary) is the Hydra general, and Vermis (instead of being the general) is just a Hydra guy Jess sleeps with for information about her father's whereabouts and then kills after he tries to kill her.

Now I don’t think it's totally out-of-character for Jess to start a sexual relationship with someone she is not attracted to in order to save/protect someone she loves, because the upper limit to what she would do to protect the people in her life is very high, but I still thought this was well, unnecessary.

3.

In Spider-Woman: Origin, Jonathan Drew is killed by Viper because he finally decides he doesn't want to be involved with Hydra anymore. In Spider-Woman (1978) after finally returning to America, Jonathan Drew is killed by an American congressman because Jonathan uncovered the motives of this group he was doing research for.

I will say that Spider-Woman: Origin is neater - is that the word? - more contained with Jessica Drew's parents' deaths. Miriam Drew is killed by her husband in front of her daughter, and then Jonathan Drew is killed by Hydra, specifically Viper. But in my opinion, the addition of having Jess see her father kill her mother in front of her doesn't really add anything to her character. And because earlier in Origin, they also had Jonathan Drew not like Jess from birth, it just kept making me think of Brian Banner, and how this backstory fits Bruce Banner better.

For some reason, it also really irritates me that Merriem/Miriam is made out to be the vastly better parent, and I don’t like how this has continued into newer comics. Maybe this is an overreaction, but I feel like I'm being spoon-fed this idea that all biological mothers are instinctively more loving and nurturing.

Speaking of biological mothers though, I did say I would get back to Viper. So, basically, the story behind Viper and Spider-Woman is just that Chris Claremont wanted Viper to be Jessica Drew's mother, so he made that retcon in Spider-Woman (1978) #44. However, J. M. DeMatteis, who was writing Captain America comics parallel to this, apparently didn’t like this idea, or someone didn't like it, so the retcon was retconned a year later (in Captain America #281.) So now Viper wasn't actually Jessica Drew's mother. Morgan Le Fay had just planted false memories in Viper's mind to make her believe that she was Jessica Drew's mother.

Which I mean I don’t really mind either scenario. I would be cool with Viper being Jess's biological mother, but also Morgan Le Fay did want to be the one to kill Jessica Drew (after Jess refused to swear eternal fealty to Morgan Le Fay and instead skewerd Morgan with her own sword), so I could totally see Morgan fucking with Viper's mind/memory just so that Viper would hesitate and not beat her to killing Jess.

4.

Okay, I am just going to make note of one other difference, and then I'm done, I'm through.

Weird thing: Jessica Drew unexplainably attending San Francisco State University in Origin takes me out of the story more than the not-scientifically sound explanation of being "extensively educated by the High Evolutionary during stasis." I actually find it pretty easy to accept the story logic of Jess learning languages and the contents of books subconsciously.

But not only does Jess attending university not fit with Spider-Woman (1978) or any of Jess's earlier appearances, but it leads to so many unanswered questions, like (if she wasn’t learning anything in the ten years she was in a coma) what was her schooling like up to this point? How did she get into university without a prior education, or transcripts? Like maybe she's just sitting in on a class, but that is not explained either. Nothing is explained.

Okay, I'm finally done now. Thanks for reading, and if you'd like, I'd love to hear your thoughts on the subject too!

Sources:

Thor #134-135 (Stan Lee/Jack Kirby)

Marvel Spotlight #32 (Archie Goodwin/Sal Buscema)

Marvel Two-In-One #29-#33 (Marv Wolfman/Ron Wilson)

Spider-Woman (1978) #1, #5, #6, #20, #35, #37 (Marv Wolfman/Carmine Infantino; Mark Gruenwald/Carmine Infantino; Chris Claremont/Steve Leialoha)

Avengers #187 (Mark Gruenwald, Steven Grant, David Michelinie/John Byrne)

The Saga of the High Evolutionary (Mark Gruenwald/Paris Cullins & Ron Lim), found in:

X-Factor Annual #3, The Punisher Annual #1, Silver Surfer Annual #1, New Mutants Annual #4, Fantastic Four Annual #21, Amazing Spider-Man Annual #22, X-Men Annual #12, Web of Spider-Man Annual #4, West Coast Avengers Annual #3

Collected by bringbackwendellvaughn here:

Scarlet Spider Unlimited (Glenn Herdling/Tod Smith)

Quicksilver #9 (John Ostrander, Joe Edkin/Ivan Reis)

Marvel Atlas #1

Official Handbook of the Marvel Universe Vol 1 #5

Official Handbook of the Marvel Universe Vol 1 #14

Official Handbook of the Marvel Universe Vol 2 #15

Official Handbook of the Marvel Universe: Avengers 2005

All-New Official Handbook of the Marvel Universe A to Z #5

FF: Fifty Fantastic Years

History of the Marvel Universe (2019) #4 (Mark Waid/Javier Rodriguez & Alvaro Lopez)

Spider-Woman: Origin (Brian Michael Bendis, Brian Reeds/Jonathan Luna, Joshua Luna)