#i wrote two stories where the whole plot was ��they hang out a bunch and then they fall in love”

[feltwrong]

so much respect for authors who write plotty things!

[yokohamabeans]

It’s been a minute, guys! I can’t even begin to describe how immensely sorry I am for posting the fic-writing ask game and taking THIS LONG to answer them... The cheek of me, an absolute clown!!

Huge, big thank you to my lovely moots (@obsidieneyes , @shions-chin-scar , @highviews , @penrose-quinn) and the anon who sent in the asks!! As I’ll be answering every single question on the list, I thought I’d just consolidate all of the asks in this post. Here goes! 

1. Do you daydream a lot before you write, or go for it as soon as the ideas strike?

The former! Usually I get an idea, then daydream about it to flesh it out a lot before actually writing it down, so I can put out a whole scene and have a smoother flow. Actually, even writing the lines themselves take a lot of daydreaming; I often have to rethink, write, reread and rewrite everything I have typed out... It’s way too time-consuming tbh...

If you’re asking about specific ideas / scenes, I usually read or watch a bunch of related media (e.g. for ROAC, it’s a ton of crime shows and documentaries) and try to get inspired by them!

2. Where do you get your fic ideas?

Kinda cliched, but everywhere, I think. Sometimes I’ll see something on the street and try to ‘put into words’ what I’m feeling about it, then see if I can channel that into writing. This is mostly cuz I think characters are also humans with a myriad of fleeting thoughts, so if I can just highlight some random thought they have in my fic, I think it may flesh them out a lot more.

3. Do you share your fic ideas, or do you keep them to yourself?

I keep them to myself (excluding the drafts and snippets I post here). I kinda lead a double life, noone in IRL knows I write fanfic hahaha

4. How do you choose which fics to write?

Tbh, it’s all about which stan I’m obsessed enough to write about first, then all about how much ‘potential’ the story ideas I have for a full-fledged work! (i.e. can the plot go anywhere, do I have enough themes and motifs to sustain the whole fic etc.)

6. What’s the last line you wrote?

"Lighten up, will you?" drawls Ran from the seat beside. His smile is bright in contrast to the brewing storm. "It's sacrilege to walk into a hostess club with a glum face."

"We're walking into business," Kakuchō retorts, narrowing his eyes at the glass of whiskey in Ran's hand. "You can be a little less relaxed about this."

5. How many wips do you have?  What fandoms/pairings are they for?

I guess 2? They’re ROAC (TokRev, Kakucho/OC) and Liar, Liar (KnB, AkashiOCKise), though I don’t think Liar, Liar has been in ‘progress’ as of late.... It’s taking a long hiatus but I swear I have plans to finish it!

7. Post a snippet from a wip.

Well, that much you must agree with Mama. Utsu and Yū and the women of Murasaki aren’t supposed to exist in the real world. But with the lion’s share of your salary going to her and the Mara-kai, you needed a second job, and a girl clutching only a high-school diploma didn’t have many options. Service jobs like store-keeping or waitressing were out of the question—you will never have the strength to deal with human beings all day and all night.

8. Post an out-of-context spoiler from a wip.

You roll your eyes at Pierre. This old fogey must be out of his depth if he thinks he's worth that much. Still, you agree just so you can hang up quickly. The bartenders at Murasaki will know how to swap it with something cheap. 

9. Does this word [chosen by asker] appear in your current wip?

Hmmm, there wasn’t a specific word chosen so Imma skip this question, I think I’ve posted enough snippets for now! 🤪

10. Do you work on multiple wips or stick to one fic at a time?

Stick to one.... I used to be able to write two fics at the same time, but because I hyperfixate, my attention usually goes entirely into a single story/character at a time.

11. Do you write scenes in order, or do you jump around?

I write them in order always, so I can keep the flow and make sure I don’t repeat words/phrases! Sometimes, I get the inspiration for a future scene and just pen it out somewhere for release and future use, though!

12. Do you outline your fics?  If yes, how detailed are your outlines?  How far do you stray from them?

Oh yes! Pretty detailed, in my opinion, for scenes I have very clear ideas about (e.g. bullet point story boards). I usually stray from them when actually writing them though, but I still keep the essence nonetheless.

13. Do you listen to music while you write?  If yes, what have you been listening to recently?

No, I’m the kind of person who needs total silence to work / study / write...

14. What is your favorite location and position to write in?

I wouldn’t call it favourite, but more of ‘I have no choice to’: It’s on the train during my commute hahaha

15. What’s your favorite time to write?

Whenever I am free these days.... (i.e. daily commute....) 🥹

16. Do you write by hand, on your phone, or on your laptop?

Mostly on my phone (via GDocs) these days!

17. Do you have a writing routine?

Not at all, but I suppose writing while commuting is kind of a routine since it happens at a fixed time almost every day?

18. Do you enjoy research?  Which fic of yours required the most research?

YES!!! Well, I’m pretty much only writing ROAC but yes it required A LOT of research for the yakuza / hostess / Japan underworld setting! I also researched tons about the Japanese mythology/folklore, Buddhism and Journey to the West so I can weave metaphors / allusions into my writing. Well, needless to say, I also look through the TokRev Manga and its related official media so I can get the timelines / characters right too.

19. Do you enjoy creating OCs or do you prefer to stick solely to canon characters?

Let’s put it this way..... all but one of my fics are OC fics 🥸

20. Do you prefer writing AUs or canon fics?

Both actually, but because I write OC fics, they are kinda AU? But I always make sure I follow canon as much as possible!

21. Do you prefer writing chaptered fics or one-shots?

Chaptered fics! In case you can’t tell, I’m long-winded af... I got lots to say.... 🧑‍🦳

22. Do you title your fics before, during, or after the writing process?  How do you come up with titles?

All three! Sometimes, I get inspired or really like a quote and decide to make it the title (aka titling before writing), or I write the story/chapter and base the title off it (aka titling during/after writing). 

23. Is writing the beginning, middle, or end of the story easiest? Hardest?

For me, the beginning is the easiest because I’m fresh with lots of solid ideas. Hardest will be the middle, cuz I usually already have an ending in mind. It’s just how to get there!

24. How do you choose whose POV to write in?

Tbh, it’s more like whatever I feel like hahaha. I used to write in 3rd POV cuz that’s what I’m most comfortable with, but recently the 2nd POV is fun too!

25. What’s your favorite part of the writing process (worldbuilding, brainstorming/outlining, writing, editing, etc)?

Hands down: brainstorming/outlining. Editing comes a close second cuz that usually means I already have things down and done.

26. What’s your least favorite part of the writing process?

Writing is the most torturous. But also the most fulfilling, I guess!

27. What area of writing do you feel strongest in?

I actually feel really confident about dialogue. It’s the easiest and most fun, IMO, cuz it’s easy to put into words what people will say off the top of their head. Dialogue can also reveal a lot of a character too. 

28. What area of writing do you want to improve in?

Exposition. Especially because ROAC has a lot of worldbuilding, I struggle really hard to explain the settings / things cuz I don’t wanna make it dull and flat, and yet using too many metaphors will make it unnecessarily flowery. I really wanna be able to explain things in an engaging way!!

29. What’s something about your writing that you’re proud of?

Hmmm.... Characterization I suppose! 

30. How much do you edit your fics?  Do you edit as you write or wait until you finish the first draft?

I edit them as soon as I write. Every single line is a product of overthinking... Which is why I’m so slow....

31. Do you use a beta reader/editor?

Nope! I personally like to be ‘responsible’ for my own fics, so it’s all me babeh!!

32. Do you take fic requests?  Why or why not?

I’m sorry to say that I don’t... I’m struggling to write my own fics as it is....

33. Is there a specific word count that you hold yourself to/enjoy writing the most?

In the past I keep it at about 3~4k per chapter. Nowadays (for ROAC) it’s about 4~5k per chapter, though I think I’ve been exceeding it hehe.

34. How much of your personal life/experience do you include in your fics?

Not a lot, but I suppose I sometimes weave in my own thoughts / perspectives!

35. What’s your favorite fic you’ve posted?

Within my very limited number of fics.... ROAC? I think the prose for it is the best I’ve written so far (though the bar wasn’t that high to start with hahahahaha).

I recently re-read (the re-written) Liar, Liar, and have to say I also really like my prose in that too!

36. What fic are you proudest of?

ROAC, again haha! Specifically, I’m really chuffed with how Chapters 1 and 4 turned out. 

37. What fic has been the hardest for you to write?

Incidentally, ROAC Chapter 5...... Half of it is Kakucho’s POV and about Bonten / Mara-kai gang things, which is hard for me to write about cuz I (fortunately) personally have no experience in crime, so I have to research a lot! It’s also really hard to write from the perspective of adult Bonten in some ways, cuz they’re likely quite different from their teen selves in the manga.

36. What is your most self-indulgent posted story?

Every single OC fic I post has been nothing but self-indulgence......

38. What’s your most self-indulgent wip?

Um, ROAC? (I’m sorry to repeat my answers.... ROAC is all I have 🥹)

39. What is your favorite world that you’ve created for a fic?

Long ago I took on a Tobirama fic set in Yoshiwara (or the Naruto world version of it) and I really loved the whole world built around it! The theme of Edo period Japan has always been something I loved. It’s not published (or written, really) though. Tbh, if I ever finish ROAC and Liar, Liar, I’d like to go back to it....

40. Who’s your favorite character you’ve written?

Kise was really fun to write in Liar, Liar. Ran too actually! 

In terms of OCs, Yua and Mama are really interesting to write. Saeri (from Liar, Liar) was hilarious and breezy to write too ‘cuz the fic was really light-hearted and ‘slice of life’ish!

41. What’s your favorite title that you’ve come up with?

I’ve already taken it down, but Past Tense Events (my Rindou/Reader fic) was a really cool title I think! It was inspired by a poem I read somewhere, but I can’t remember which it is now...

42. Is there a trope or idea that you’d really like to write but haven’t yet?

I’m not someone with self-restraint, so I think I’ve pretty much gotten everything I wanted to write down in a doc draft/outline somewhere!  

43. What is your favorite genre to write?

Romance cuz I’m a sap hahahaha! Well, the dark crime genre tone of ROAC is fun too so far! 

44. What genre/trope do you tend to write the most?

Romance, or Rom-Com, based on my old fics.

45. If you could only write one type of AU for the rest of your life, what would it be?

Fantasy ancient/feudal Japan AUs!!! I love Japanese myths!!

46. Is there a trope that you’ve written before but are now sick of?

I think I drenched Liar, Liar in second-hand embarrassment a lot in the rom-com meet-cute way in my first iteration of it. It was really fun back then but thinking back, it was way too much hahaha

47. Who is your favorite character to write for?  Has this changed since you’ve started writing for that fandom?

Hmm Kakucho, I think? I think it kinda changed in the sense that I got even deeper into his character than I intended to (for example, ROAC was meant to be a Reader/OC fic but I ended up going into the direction of a character study). The thing about Kakucho is that we get just enough information from the manga about him to form a definite idea of what he’s like, but not enough to dictate it, so we can exercise some imagination and creativity too. This is what I think, at least!

48. What fic of yours would you say is the best introduction to you as a writer? 

I want to say ROAC but I think I’m a rom-com kind of writer by nature, so maybe Liar, Liar?  

 My favourite and proudest work is still ROAC though!

49. How would you describe your writing style?

THIS IS A REALLY HARD QUESTION!!!! 

I genuinely have no idea. But when I write, I want my lines to ‘mean more than they let on’? I like to use metaphors and similes, and when writing in the POV of characters (especially Yua) I hope to have some edge to it too. I’m sorry y’all, I have no idea how to describe my writing style...

50. Does what you like to write differ from what you like to read?

Not at all hahaha my interests in reading and writing are aligned! When I write, I like to look for inspiration too so I often read works in the same genre for it!

51. What’s the average word count of your fics?

Based on my 2 works on AO3, it’s about ~4.5k per chapter!

52. What is the most-used tag on your ao3?

“Original Characters” and “Slow Burn”

...pretty accruate picture of my fics, tbh!

53. What’s the fandom/pairing distribution of your posted fics?

...............They’re all Canon/OC fics.................

54. Have you noticed any patterns in your fics?  Words/expressions that appear a lot, themes, common settings, etc?

I like this question! I think I often write the theme of ‘fate’ and ‘destiny’. The idea of fated lovers / soulmates is so cliched but romantic to me.... Recently, I notice I use a lot of ‘conversation filler’ words or phrases in ROAC, like ‘well, xxxx’ or ‘come to think of it’ or stuff like that. I think I’ve been influenced by Japanese writers cuz I noticed they like include those in their narratives too (or at least, the English translations of them).

55. Are there any fics that you would change or rewrite if given the chance?

I already rewrote Liar, Liar, which was something I’ve wanted to do for a long time. 

If I ever have the time or energy, I wanna rewrite Past Tense Events!

56. How conscious are you about including symbolism or foreshadowing in your fics?

VERY CONSCIOUS!!!!!! And I’m over the moon whenever my incredibly perceptive and clever friend, Obsidian (@obsidianmooneyes) picks up on them hehehe

57. Do you have a favorite piece of figurative language you’ve written?

Tbh I’m not too sure what this question means, but I guess I’ll just post a piece of my writing that I like and has figurative language!

You remember his eyes when you held his face—wide and strained for what you might do next. (Even you were in fear of what you might’ve done.) They swallowed you in like gravity, consumed you whole and made you wonder: what if, in that instance, you were to let yourself fall? To crash on his lips like an asteroid upon Earth, and obliterate the world around you? Would it be so disastrous?

58. Have you participated in any fic events/writing challenges?  If yes, what were they and did you enjoy them?

No, unfortunately.... 100% because of my lack of time, and also I can never meet a writing deadline....

59. In ROAC, what inspired the idea for the plot?

It’s all in the title, my friend! The OG folklore, Requital of a Crane! (Tsuru no Ongaeshi)

60. In ROAC, what’s your favorite scene that you wrote?

Hmmmm.... The favourite scene I think is still in the works and not published yet, but among what’s already out, I think it is the mahjong scene in Chapter 4!

61. In ROAC, is there a deleted scene/idea you wish you could have included?  Why did it get cut?

YES! In the yet-to-be-published Chapter 5, I have an entire scene of Yua interacting with Mitsuya. (Yua buys her dresses for the club from him, and is also a deliverywoman for his supplies and materials, so they have a friendly client type of relationship.) I wrote the whole scene out but deleted it because it was taking too much space and time away from the real plot... Though, thinking back, maybe I should’ve included it simply becaue Mitsuya is really cool (lmao), and I think there was some characterization of Yua in it. (I may or may not include it in future chapters, or at least give it a mention, though!)

62. What was the hardest part of writing ROAC?

Getting into the perspective of criminal Bonten. The underworld is something very real and complex, so I don’t wanna write Bonten and Mara-kai as a ‘movie-ish’ kind criminal organization. Bonten’s mindset and way of thinking will thus be very mature, dark and different from mine, so I think it’s hard to get or write about them in a ‘realistic’ way, if you get what I mean. 

63. If you rewrote ROAC now, would you change anything?

Hmmm... Not really tbh, I think I’m pretty satisfied with how things are going in it so far. Though of course, if I read it again in like 5 years I will probably have many things I wanna change about it.

I also have plans to write other spin-offs too, about Yua in other timelines! 

64. If you wrote a sequel to ROAC, what would happen in it?

As it happens I DO want to write a sequel to ROAC. Especially with the new happy ending in TR! The sequel will probably be something short about Yua and Kakucho / Ran / Tenjiku’s relationship in that timeline. 

65. What’s a fun fact about ROAC?

In my early drafts, Yua’s supposed to have a younger sister that she revolves her whole life around. She was supposed to be in debt just to take care of her after their parents died. Then I decided to scrap it because it’s kinda cliched, and I wanted Yua to be more ‘alone’ and relate more to Kakucho haha. I don’t regret this decision though!

66. If a fic was titled [insert made up title], what would this story be about/how would you write it?

No particular requests for this question, so Imma skip this!

67. Are there any fics that influenced you to write the way you do?

OH many...... Abalone on the Shore by unolvrs and WHITE NOISE by 1keshi got me into writing in 2nd POV. Blackkat (on AO3)’s prose is also an absolute inspiration!

68. What are your favorite fics at the moment?

GREEN LIGHT by PENROSE-QUINN!!!

INTOXICATING BEAUTY by OBSIDIANMOONSTONES!!!

KILL THE DIRECTOR SERIES by HIGHVIEWS!!!

All super gorgeous writing!! Anyone who’s been on my blog knows how much I love them! Obsidian tears your heart out but Kadie (highviews) will salve it with her adorable rom-com romps. Then, you lull yourself to sleep with the familiar comfort of Pen’s fic!!

69. Are you subscribed to any writers on AO3?

Hell yeah!! I don’t know if I clicked the ‘subscribe’ button but I defintiely check the profiles of the writers I’ve mentioned in this post a lot! (unolvrs, 1keshi, penrose_quinn, ObsidianMoonstones, highviews, phen0l/maokitty, blackkat)

(I’ve also been creepily lurking around phen0l‘s writing..... exquisite.... especially this Dabi fic: Higher than the Mountains, Deeper than the Sea TRULY PHENOMENAL)

Special mention goes to razbliuto for her cleverly, unique writing in the One Piece fandom!! Sophie (from Methyl Nitrate Pineapples) is absolutely ICONIC as an OC!!!

70. Do you spend more time reading or writing?

Tbh, discounting articles I have to read for work/school, I have to say writing... and even so it is minimal.... I haven’t really had the time to read recently....!!

71. What’s your favorite writing compliment you’ve gotten?

Every compliment I get is my fave, I’m serious!!! But special mention goes out to Obsidian’s super detailed analysis of ROAC on AO3..... To have your work so thoroughly understood by another is an indescribable feeling..... 

72. What do you tend to get complimented on the most about your writing?

Based on the comments so far, I would say the intricacy or details in my fic! Which I’m eternally grateful for because I have to say I worked hard on all the research!!! 

73. Do you have a fic you wish got a bit more love?

Hmm.... Liar, Liar I suppose? (since it’s just the other one of my fics atm, and I really liked how it turned out) But it’s on hiatus so maybe not....

74. Is there a particular fic that readers gravitated towards that you didn’t expect?

I don’t consider it a fic, but the headcanon posts I’ve made about Tenjiku blew up quite a bit more than I was expecting! 

75. How do you deal with writing pressure, whether internal or external?

Thankfully all of my moots and readers have been sublimely kind and understanding about how busy I am IRL, so I don’t get a lot of ‘external’ pressure! As for internal, I think I just try to chip at my works (but clearly to no progress so far)

76. Why do you enjoy writing fanfiction?

Two words: SELF INDULGENCE!!! Also because I get to imagine a totally ‘new’ perspective through my OC, and explore things and themes I don’t in real life! 

77. What motivates you during the writing process?

Wanting to push my ideas out to the world I think! And I’ll come off as a sap for this, but comments from readers too haha!

78. Do you have any writing advice you want to share?

I still don’t think I’m the best person to give writing advice, but I think this holds true a lot: WRITE WHAT YOU WANT!! And most importantly, write for yourself. If you’re writing for ‘exposure’ or likes / views, it’ll be easy to get discouraged if you don’t get the reception you were hoping for (I’ve been down that path). But if you’re just writing whatever the hell you want, then you’re gonna be satisfied no matter what comes out most of the time, IMO!

80. Free space - asker can come up with any writing or fic-related question they want!

Hmmm no specific question for this either, but I’ll just drop a small tidbit about ROAC! There will be an entire chapter devoted to Ran’s POV, late in the fic hehe! (Tbh, I may even write a spin-off sequel set in a timeline where Kakucho didn’t survive and it’s just Ran and Yua)

NGL this took quite a bit out of me, but it also made me reflect and think about my writing a lot so I enjoyed every second of it!! Again, really sorry that it took my almost half a year to answer these....I wish you all nothing but the best for 2023!

[gurugirl]

Can I be honest? I'm gonna be because I need to understand this. I hope it doesn't come across as rude though because I don't mean it like that.

So I started reading your stepdad harry series/blurbs idk what to call them exactly. And I'm a bit confused. Well to be fair I haven't read all of it but the ones I read and thought was important didn't make much sense to me. Is it not supposed to make sense? Like all the fics are happening with the same characters and same universe right? Or is it just idea based like you have stepdad stepdaughter and mom and you got an idea so you write and it doesn't have fit into an established world or plotline (sorry my English is shit and idk how to explain this but i hope you understand what I am trying to say)?

The first of the collection is when they have sex for the first time, through out that fic it's evident that it's their first time and she definitely didn't come across as a virgin. Then later on there's another story (reader request I think) where he takes her virginity. But that doesn't make sense unless it's just different universe kinda yk? Like how you have a professor harry series and you also have a professor harry one shot and they're both different characters. It's just the first of the stepdadrry series being their first time and then there being another 'he takes her virginity' story in the same series just doesn't make sense to me. Like these two can be different stories yk?

Ik this is not a big deal but I'm kinda obsessed with timeline and things making sense when they easily can but they don't. I'm sorry I'm bothering you with this. And I haven't even read the whole thing but I just couldn't get past it. I'm so sorry

Also like I wanna know what's Harry's deal with his wife and what's her deal with Harry because he's close to her daughters age and she didn't think that's gonna be awkward. Harry likes older women yes but did he feel anything for her when they were dating or was it just money and did he feel anything for her before he started this affair with her daughter. What does his wife feel about her after the wedding, does she love him? Does she talk to her daughter about how much she loves him? I wanna know. In the first fic it was mentioned they got married 5 months ago, and yn met him when they were already dating for few months and she's 22 and in Harry's pov fic it says she was a virgin. That still doesn't make sense. Because the first ever fic seemed to give a total different idea. And I'm fucking annoyed with myself because I'm taking this way too seriously but I can't help it. What is wrong with me godddd

AHHH! Yess yes yes! So stepdad!h was always meant to only be the first post - a one-shot/blurb but I kept getting requests for more scenarios, etc. There's no timeline really. There's no heavy plot. It's literally just a bunch of random asks that I write for their universe. There might be a tiny bit of timeline happening in some parts but overall there's nothing solid there to hang onto. The virgin thing... yeah that was a request that I fulfilled for a follower who asked for it - even tho we already kind of saw their first time (with the first blurb I wrote) and she absolutely wasn't a virgin in my head when I wrote that first part. But some followers wanted to pretend she lost her virginity to him so I wrote it. It doesn't line up with anything.

When I did stepdad!h I was new to writing fic so it was kind of practice for me in a way? It's definitely not my best work and I wouldn't recommend that au to anyone bc I don't LOVE the idea of it with Harry being such a dick - but I did have fun writing them.

It's okay that you're trying to find a timeline and want it to be cohesive. Most everything else in my masterlist is more cohesive and timeline driven but stepdad!h is just a random collection of requests that I fulfill and it's not something to focus on as a true series.

I hope that makes sense hon! And the only reason I don't delete stepdad!h from my masterlist is bc I still have followers who really like it and even if it's not my proudest work, it's good to look back at how far I've come since I started writing that au.

xoxo

[1d1195]

HIIIII it’s been a while i’m so sorry i’ve just had a terrible time since i sent my last ask :// summer is soooo kicking my ass but i am trying to persevere !!🫡 LMAO

MAKING HIM TAKE BUZZFEED QUIZZES IS SO SMART OMG I NEED TO TRY THAT !!! he said Steal My Girl 😂😂 lil basic but i can’t blame him it is a bop, we both go crazy when that one comes on

I SAW THE NEWEST UPDATE ON THE my-boyfriend-is-trying-to-be-a-writer-thread and SAMANTHA I CANT WITH YOU LMAOOOOOO this thread is so funny i just love that IT KEEPS GOING dw queen i devoured that 10k traditional chapter as if it were 1k🫡🫡🫡

also queen just wanted to let you know your stories follow me everywhere🥹 saw a framed poster on etsy titled ‘Wildflower Garden’ and it was SOOOOOOOOOO protection coded💔💔 it was a bunch of pretty flowers and it had Sweet Creature lyrics “wherever i go, you bring me home”😭😭 i love them sm he would totally buy it as a present for her on a random tuesday and they would forever hang it up in their home😭 and i saw a video on insta and i was CACKLING😭😭 some girl was talking abt how her dentist had his fingers in her mouth and she said something inappropriate and i was like ‘this is basically the plot of chapter 2 of Toothpaste’ HAHAHAHAH

i saw you posted Most and it looks SOOOO interesting but i really can’t lie im scared to read it cause everyone and their MOTHER are in your inbox hating on some bitch named lauren ??? i don’t know her AND I DONT NEED TO TO KNOW THAT IM NOT GONNA LIKE HER EITHER😭😭 THE PEOPLE HAVE SPOKEN !!! once u post part 2 i’ll def read it🙂‍↕️🤞

I STARTED LOVE AND OTHER WORDS LAST NIGHT ??? I ALREADY LOVE IT i’m barely a hundred pages in and i’m soooo invested in their story. what gets me is homegirl KNOWS he’s the love of her life and HE KNOWS IT TOO ?? and i’m just sitting here like “make out already ???🤨” HAHAHAHA but i know it’s not that easy😔 but i will defff let you know what i think as i read some more

idk if im stupid or what but i had NO clue Christina Lauren was TWO PEOPLE AHAHAHAHAH i opened the back cover of the book and i was like😦😦 ive seen SOOO many people talk about and recommending their books yet i never knew that ?😭 i think co-writing books with your bestie is SOOO amazing omg

HOW ARE YOUUUU ?? I MISS YOU SO MUCH 💕💕 catch me up on everything, big or small it doesn’t matter 🫶🫶🫶

~🎶

Oh no! I'm so sorry to hear you weren't doing well! I hope everything is okay, feel free to vent if you need to 💕 I'm so happy to hear from you, but don't feel bad about late replies, I'm happy to hear from you at all 💕

Steal My Girl reminds me of fall (the whole album does) but that was my favorite of their first song album drops. It really fit the vibe. The music video always makes me laugh. I never knew I needed to see Louis with a chimp until then 😭 A LITTLE BASIC. I'm SCREAMING. Good for him though, I don't think that's an obvious choice for casual listeners. I love it!

HAHAHAHAHA I feel like I'm truly living a double agent life. I feel a little bad but I will never tell him. He'll live without knowing. You're so kind 😭 10k of Harry being sick is usually where I start rereading Traditional. I don't think I've reread parts 1-5 since like maybe a week after I wrote them 😂

Omg that's so cute 😭 I think about that a lot, if my writing pops up in people's lives. Someone a while back sent a message that their parents got a new washer and dryer and her mom tested it with like one sock and it made her think about Love and Dryer Sheets and I just thought that was so cool 😭 I LOVE the idea of her buying the poster for her on a random Tuesday. I feel like Toothpaste is going to be simultaneously the most relatable one and least relatable one as idk if I know any hot dentists 😭 but that's really funny nonetheless!

I think I remember you telling me that you don't like to read unfinished stories? I think you did it with Dolcezza maybe; no worries either way. But knowing that, you may want to sit this one out until I get like part 2 AND 3 posted? I feel like I'm going to get "SAMANTHA -🎶" in my inbox and nothing else if you read it before it's done 😂 But yes, we HATE Lauren here. But of course I want you to read it when you have time/want to 💕 I would love to hear your thoughts!

I'm so happy you're loving it! MAKE OUT ALREADY LITERALLY. I just loved their story so so much he's so in love with her I cannot. It gets a little deeper but it hooked me so fast I couldn't put it down. I think I read it in one day.

YES. I forget how I figured it out, if I also read the back cover or if I was googling them or something idk. But it's SO cool they write together! I wish I had a writing bestie to do that with, but anyway!

I'm doing well! I think when we last chatted I was STRESSED™ over everything and now I'm MUCH less stressed thankfully. I'm really not doing a whole lot these days. Just trying to enjoy the summer even though the weather is crappy af lately. Too hot to breathe one day and then raining off and on for hours. Can't do anything outside. I made a yummy pasta dish for dinner last night and other than that, my life is pretty boring.

I hope you're doing better, I've missed you so much as well! I hope that things calm and settle for you so you can relax and enjoy 💕

xoxo

[independent-beat]

This reply really made me think. Apologies for the long post and obviously, spoilers ahead.

I think a lot of my problem with Kit’s death is based on how it felt like intentional expectation circumvention.

So, to me, this feels very much like Cassie went, “Oh shoot. I wrote a family tree and an epilogue with a bunch of information about these kids. And now I’m writing a new series about these kids. I can’t have it end the same way it does on the family tree, or else I gave away the ending too soon!” Especially since the family tree includes Grace being accepted into the main gang and returning to the name Cartwright, which, if Grace served the same role she does in TLH currently, would be a massive game changer for her character and a huge spoiler. So small changes to the tree (Cordelia’s mom being Sona not Colette, birth and death years of some characters, etc.) all mean the tree is overall wrong, but nothing would be different enough. Something big has to change for the tree to not be a spoiler.

We know Tessa and Will only had 2 kids, as referenced by Magnus and Catarina(?) in TMI. We know Tatiana doesn’t have any other biological Blackthorn children because Rupert dies in Clockwork Princess. So, in order for those two lines to continue to our TMI/TDA heroes, both James and Jesse need to have partners by the end of the series. (I guess technically there are other Blackthorn lines, but we don’t hear about them really at all)Gabriel and Cecily are heavily implied to be Alec and Isabelle’s ancestors, since we hear repeatedly how much Alec looks like Will and Isabelle wears Camille’s ruby pendant (which Will gave to Cecily), but we don’t know how many children they had. Neither TMI nor TID specify.

So, the easiest place to change the tree without changing the big picture narrative (James and Lucie have magic demon powers, Tatiana is in cahoots with our Big Bad, Jesse is dead but not, etc.) is in the Lightwood family. Therefore, Christopher has to either die or not end up with Grace. Killing him can serve more of a narrative purpose (ups the stakes, gives our main cast someone to avenge, shows that no one is immune from war no matter how kind and noble they are, etc.) and so that’s what Cassie did. Give him a backup brother to carry on the line and blow up the tree. Sure, fine.

What I don’t like is how much Cassie set up Christopher/Grace, and teased fans that maybe they would be endgame, when all along she knew she couldn’t do that. We spend most of Chain of Iron and Chain of Thorns where the only person who sees past Grace’s actions to the person below is Christopher, even Jesse struggles to see the sister he loves. We see Grace respect Christopher’s knowledge and kindness and see him as a man she wouldn’t want to manipulate, even if she could. We hear Christopher advocate for Grace to the Merry Thieves. We’re set up with a redemption arc through the power of love and friendship. We’re given this whole story that, to me, feels far more authentic than the Matthew/Cordelia fakeout. It feels like authentic respect and camaraderie that could become love with time and effort.

And sure, many relationships don’t work out. People do die in real life and their potential partners have to move on without them. But this is a YA novel. This is a book where the ships matter just as much as the plot. This is a book where main cast characters die and are either brought back (Jace…twice), hang out as a ghost (Jessamine and Livvy), or are saved through magic intervention (Jem). Simon’s ‘death’ is circumvented through plot armor and hand waving. And that’s okay! This is a book where the bad guys lose and the good guys win and true love can overcome any obstacle!

And it’s not like I particularly shipped Christopher/Grace, Grace had a long way to go to be anyone remotely tolerable. Christopher couldn’t date Grace without invalidating James’s trauma. Hell, Kit could’ve been ace based on his depiction! I just didn’t love reading two books worth of laying the foundation for a potential relationship just to have the rug pulled out like “SIKE! You thought!”

But here, a true relationship built from an imperfect person trying to make up for the sins of the past and the smart and kind person who believes in her, can’t exist because otherwise we just read 3 books to end up with what we already knew. And so, we spend thousands of pages of buildup to get an abrupt 180 and a “SIKE! You thought!” because it was too predictable otherwise.

This isn’t to say I particularly “shipped” Christopher and Grace. Grace still has a long way to go to atone, even a little. Christopher dating Grace minimizes James’s trauma. Christopher could realistically be ace or demisexual based on his depiction. It’s not that I wanted this ship to happen, more so that I feel it’s disingenuous to spend 2 books laying the groundwork just to pull the rug out for the sake of a shocking twist.

Q&A, spoilers, COT

VERY SPOILERY. DEATH AND STUFF.

shadowbooker asked:

Hi Cassie!

I love Christoper so of course I’m devastated about what happened to him. Was his death always planned or something you came up with while writing book 3?

------

I knew Christopher was going to die before I started writing Chain of Gold. There are a few hints I think in Thorns, but I wanted his death to be unexpected, to hit our characters out of nowhere — and to hit the readers the same way. But indeed, the reason Alexander, his little brother, exists is partly simply so we would know who carries on the Lightwood line down to Alec etc. — because it was never going to be Christopher.

[kcabyap]

Dearest Etienne.

Hi again, I’m having kind of a troublesome day today... not to bother you with my troubles but long story short, due to the pandemic I had been refusing to go out with my “friends” or even visit, and today I saw their posts on Instagram that they had a sleepover without even inviting me ;-;

Can I request a headcanon of the MC finding out their friends back in the human world have kind of removed them from their lives after she’d been in the devildom for so long and the brothers (and if you wish to) the (un)datables comforting them? :x

I particularly enjoy your writing and that’s why I come to you, as always hehe :3

With love,

Emi ♡

P.S: I’m hoping you don’t mind my often requests and that they do not bother you. :>

Dearest Emi! I'm really sorry that happened to you... that was really lame of your 'friends' to do that, though if you ask me, you're absolutely doing the right thing by staying away from others during the pandemic; it's the best way to stay safe. Still though, I really hope you feel better soon and that your day gets better. I absolutely don't mind the requests, and I'm so happy that you like my writing! I did all the brothers, all the undateables, and a platonic one for Luke, and I hope you enjoy! ❤

The Brothers And Undateables Comforting The Human When Their Friends Forget About Them

— The Scenario

Tears stung in their eyes as they scrolled through their social media feed, their jaw clenching. Pictures upon pictures flew past as their thumb idly swiped their phone's screen; pictures of their friends together, laughing, joking, smiling... Pictures of their friends all being happy together during the year they had been away in the Devildom...

Pictures of their friends acting as though they weren't even gone; as though they didn't even exist.

It wouldn't have felt so bad if any of them had really acknowledged them after they'd come back. It wouldn't have felt so bad if they'd gotten more than awkward greetings, a few mildly curious questions before their 'friends' lost interest, one or two awkward get-togethers where they just felt out of place and out of the loop...

As soon as they got a chance to return to the Devildom for a while, they practically leapt on it. They saw no reason to stay in the human world, with a bunch of humans who had forgotten about them so shockingly quickly.

But when they did return to the place that felt more like home than their home did, seemingly their sorrow was still noticeable...

— Lucifer

Nothing gets past Lucifer, least of all the sadness of his most cherished human; he senses it without them saying a word.

He'll offer them an embrace; one that's close, genuine, firm enough to be comforting but delicate enough to not be fearsome.

Whether it's a fancy dinner at the Devildom's nicest restaurant, or a quiet night in his room listening to records, he'll do whatever they'd like to cheer them up.

This man is a wonderful listener and he'll be sure to tell them how very much he and his brothers appreciate them, how foolish their so-called friends were for their actions.

(...though inside, he'll absolutely be plotting for those so-called 'friends' to meet some manner of unfortunate situation...)

— Mammon

His human is upset? Oh, Mammon is not going to leave them alone until they tell him what's up; this man loudly wants to help.

He's absolutely appalled. How the hell could anyone not be happy to be with them?! How could anyone just forget them!? He could never forget them...

Lots of hugs, tight - maybe a little too tight but he means well - and loving and supportive, as he tells them (in his tsundere way) just how great they are.

He'll take them out for a night on the town to forget all about those stupid 'friends,' to remind them of all the fun stuff in the Devildom!

By the time the night's over, there's no way the human won't feel cared about; not when Mammon so clearly adores them.

— Leviathan

See this is exactly why normies don't deserve someone as fun and interesting and cool and cute as MC! (N-Not that he thinks they're cute, don't be stupid...)

He'll talk with them about how much their 'friends' suck; he can relate, there are a lot of people he doesn't get along with too.

Whatever their favourite anime is, Levi's absolutely willing to binge it with them; or whatever their favourite game is, he'll play it with them!

It's in his own shy, stuttering, tsundere way, but he tells them that he'll never betray them like that... they're his Henry, after all.

And... he'll give them a hug. Even though his heart is pounding and he's sweating buckets, he wants to show that he cares.

— Satan

...He's smiling sweetly as they tell him what happened, but it's one of those smiles that is barely hiding his deep and burning anger.

He hates their 'friends.' He tells them how awful those 'friends' are, how they never deserved a friend as beautiful as them, how he'd make them all suffer if he could...

Once they get past his, well, wrath, Satan's happy to cuddle his human close and soothe them by reading them a good book.

If they want to go out, he'll take them along on one of his wanders around the Devildom. The stray cat who goes around recently had kittens, after all!

He'll be extra protective, extra affectionate, to make sure they know that they're always welcomed and loved by him.

— Asmodeus

Pleeeeeeeease, human, please tell Asmo what's wrong! He's going to be pouting and clinging to their arm until they tell him...

When they do tell him, his eyes are angry, and he's immediately stealing them away to his room.

So. Many. Cuddles. He's so physically affectionate, and he'll tell them how wonderful they are in-between peppering adoring kisses over their cheeks.

He's keeping his human to himself! Stress is bad for the skin, so he'll pamper them with skin creams and face masks, and he'll paint their nails and coo over how cute they are...

Again, it'll be impossible to feel unloved when Asmo is around to adore them so much.

— Beelzebub

Beel is a bit like a soft puppy, and the puppy eyes when the human tells him what happened are real.

How could anyone forget about them...? How could they be so mean? The human's the most generous person he's ever met...

He just wordlessly opens his arms and lets them cuddle into his strong form, holding them tight.

He'll cook for them; whatever they want, and in big quantities, enough for them to share as they catch up and joke together.

Words aren't exactly Beel's strong suit, but it's so clear how much he cares, and it's so heartwarming.

— Belphegor

Okay, first the human will have to pry him off of them and wake him up. (Belphie has clearly missed his human bodypillow...)

His sleepy eyes will narrow in anger once they tell him. How dare anyone be so mean to his human...?

He'll assure them that those people never deserved them; those people aren't worth anything, they're not worth worrying about.

Lots and lots of cuddles, his hands gently massaging their shoulders to soothe and relax them...

It's hard to feel upset when you're asleep or being cuddled, and Belphie has them covered for both of these things.

— Diavolo

He... does not understand. How could anyone brush off such a fascinating, beautiful, wonderful person...?

He'll offer a hug, though he'll be a little tentative about it; he doesn't want to hurt his dear human... they're much smaller than him...

Being the prince - and, uh, having a bit more money than sense - Diavolo will happily take them out on the town and spoil them.

In fact... he'll throw an entire ball in their honour! The whole Devildom will arrive in his castle to celebrate their return!

Anything to make the human happy... They're so special to him; if they're being treated wrong in the human world, he'll show them that the Devildom loves them.

— Simeon

This man is ready to become the human's literal guardian angel in that moment; he looks so very sad.

His embrace is gentle, warm, and delicate... being hugged by Simeon kind of feels like being hugged by a cloud.

He'll cup their face, telling them that while humans can be cruel, they aren't all like that... but no matter what the humans do, he'll always be there for his favourite one.

If they want to come up to the Celestial Realm with him, he'll do what he can to pull some strings and bring them with him.

That night, he'll read them a bedtime story that he wrote... one about an angel who falls hopelessly in love with a sweet, kind human.

— Solomon

Ah. He sympathises. Other humans can be... difficult sometimes; he's been shunned and forgotten about by people in his time too.

But never fear! He'll cook them a nice dinner! (...it will not be nice, but it will have been made with love.)

He'll try to distract them from how they're feeling by telling them fantastical tales from his long, long life.

But... he'll be sure that they know: in that long, long life, they're the most special person he's ever met.

The human's 'friends' might have hurt them, but not all humans are bad... Solomon's proof of that.

— Barbatos

He knew this was coming, and so he isn't the most outwardly upset about it... though make no mistake, he is upset that they're feeling bad.

Being a butler, he's used to serving, and he wants to spoil the human to make them feel better.

They're going to be treated to tea, cakes... quite literally the royal treatment, from the prince's own butler.

His way of caring is quite reserved, but he makes sure to let the human know how much he enjoys their company, how glad he is that they're back.

And although he doesn't give hugs often... he'll happily make the exception for them, even giving a rarely seen blush and a rarely heard laugh.

— Luke

What?! Their friends just... abandoned them? Didn't want to spend time with them? Ignored them?

He's immediately barking at demanding Simeon to let you hang out with them at Purgatory Hall for a while!

He'll be their friend instead! He'll bake them lots and lots of sweet things, to make them feel better.

He's only a kid, so he isn't exactly the world's best at advice or comfort or anything like that...

But the little guy cares, and he cares loudly, letting the human know that their 'friends' were totally wrong to pass up on such a fun person!

[thebookreader12345]

750 Followers Celebration - Q&A

Thank you so much for supporting me through this journey! You guys don't know how much this means to me. Every single one of you is amazing.

Below the cut are my answers to the questions that you all submitted.

Q: Do you think Jay is going to become Sergeant this season? A: There has been a lot of debate over this question because of the past few seasons and all of the "Easter eggs", like the sergeant exam poster hanging in the background of the show. In my opinion, I do not believe Jay will become Sergeant. Yet. I think it won't be until the beginning of next season because, if this is a possible storyline, I would expect that the producers and writers would make the finale of season 9 about Voight stepping down/getting promoted, etc.

Q: Did Chicago Justice deserve more episodes? A: I'm sort of split with this question. I loved the fact that there was a big episode involving Kevin, and they always included people from Med, Fire, and PD in some of the episodes. However, the whole plot of the episodes was kind of slow because it wasn't like they were police officers and could go out and chase suspects and arrest people and what not. Their job was just to gather the evidence and then present it in court. I think for many, the show fell flat because there wasn't much action, and part of me does agree with that, but the whole idea of the show itself was kind of cool.

Q: What would make you stop watching each Chicago show? A: This is a tough question because I've only ever dropped one show that I can think of, and it was only because the plotline got really dumb. Maybe if some major characters died in each show I'd stop watching it? But then again, I love the One Chicago universe so much that I don't think even that would stop me from watching. So yeah. I really don't know.

Q: Do you believe in magic? A: As much as I would love for magic to be real, I don't believe it is. But I feel like everyone thinks that way. Cause lets be honest, Harry Potter and Disney make magic look so cool. However, we all know deep down somewhere that it's almost impossible for certain things to be real, and magic just so happens to be one of them.

Q: Are you superstitious? A: I'm not the most superstitious person out there, but I do somewhat follow a few superstitions. Whenever I find a penny on the ground with heads facing up, I pick it up because I believe I'll get good luck. Doing the whole "fingers crossed" thing is something I do a lot. I believe you shouldn't open an umbrella in the house or else you'll receive bad luck. Broken mirrors are bad omens. Those are the top 4 I believe in, but other than that, I'm not really too superstitious.

Q: Is your perception of yourself similar or the same to how others perceive you? A: I mean, I would hope so. I appreciate my level of smarts, and whenever my friends acknowledge them or compliment me on them it makes my day. However, with that, people think that I'm always only doing things to boost my intelligence. For example, I love to read. So whenever I say that I didn't do much over the weekend, people always assume that I read a bunch, when I really didn't. Or that I always study for tests or do homework like a week before it's do. That is not the case. But for the most part, I believe my perception of myself is the same as how other people perceive me.

Q: Who is your favorite couple on each One Chicago show? A: Okay, so for Med, there aren't really any couples at the moment besides Maggie and Ben, whom I love but they aren't my favorite, so I'm gonna pick a past couple. When I first started Med, Manstead was my prime ship, so I'll choose them. Will had been pining after Natalie for so long so I was glad when they finally got together. For Fire, it's gotta be Kelly and Stella. They were literally made for each other, and they support each other with everything. Also, they are so cute together and all of Firehouse 51 ships them as well! And for PD, while I do love Burzek, Upstead is my favorite ship at the moment. I've seen the connection between Hailey and Jay since season 5. You don't understand how angry I was in season 7 when Hailey was so close to confessing her feelings. So season 8 made me very happy when Jay and Hailey finally got together.

Q: Jay and Lindsey or Jay and Hailey? A: I respect everyone's opinions on this matter, so hopefully you all respect mine. I thought that Erin was almost toxic in a way for Jay. She continuously broke his heart when all he wanted to do was help him. But what really does it for me is that she left Chicago without telling him goodbye. Hailey, on the other hand, has pushed Jay to seek out help when he needed it, like when she recommended he take seeing a therapist seriously to help with his PTSD, and she is always there for him, no matter what. That's why I believe Hailey and Jay are the better pairing.

Q: Which character death got to you the most? A: There have been too many sad deaths in the One Chicago world. But if I had to pick one, I've gotta go with Otis on Chicago Fire. Otis was always one of my favorite characters, even way back when I watched Fire with my dad when it was first coming out. He was witty and funny, and his friendship with Cruz was everything. So, when I watched the episode where he died, I was full on balling. I had to pause the episode for 10 minutes because I couldn't stop.

Q: Who is your favorite character on each show and why? A: I'm gonna do favorite male and female character because I've got too many favorites from each show. On Med, my favorites are Will and Natalie. Will has been my favorite since day one, and I like that he will go out of his way to help patients, even if it means he could get in serious trouble. Natalie, even though she's not in the show, always pushes for the best of care for her patients, and whenever she dealt with kids it was always the sweetest thing. On Fire, I like Kelly and Sylvie. Kelly is so headstrong and driven, and he will do anything to protect the other members of Squad 3. Sylvie is such a hard worker and you can tell she is passionate about her job. I feel so bad that she's had to go through so many partners. On PD I love Jay and Hailey. Jay has not always been my favorite male character. Back when I watched the show for the first time, I adored Adam. However, I love that Jay has such good morals and is always pushing to do the right thing even when Voight disagreed. Now, it took a few episodes for me to warm up to Hailey, but after seeing her be so badass, it was hard not to like her.

Q: Where do you get inspiration for your stories?/How do you get inspiration when there's not a request? A: This question is always hard to answer because I really don't know. Most of the time I'm fulfilling requests sent in by you guys and I just write what comes to the top of my mind. If there are requests that are not requested and I come up with them on my own, chances are I saw the plot somewhere else, like in a book or show or movie, and I just tweaked it a bit to fit the One Chicago universe. Either that happens, or while I'm trying to fall asleep, I make up random scenarios in my head, and if I find one that I really like, I'll make a note of it on my phone so I don't forget it, and then I'll write about it.

Q: Do you think Brett and Casey are endgame? Why or why not? A: I'm gonna go with yes on this one. Now, Brettsey is not one of my top ships in the universe. However, they are cute together, and I've been expecting them to get together for a while. The two of them, even when Gabby was around, had a great relationship and always cared for each other. Plus, Matt jumped out of a firetruck to go help Sylvie when the ambulance flipped. He was willing to risk an injury just to make sure she was okay. And now that they are officially together in Chicago Fire, you can see that they really love and care for each other.

Q: What inspired you to start writing? A: I always seem to get this question whenever I do a q&a, but that's okay because I don't mind talking about it. I first got into stuff like this as a reader. Basically, I went on to Wattpad and Tumblr to read other people's stories. I had no intention of creating my own. And then, one day, I started imagining myself in some of the fandoms I was apart of, and I thought, "If I'm imagining myself in these fandoms, chances are others are too," and I began creating stories that followed the plots of movies and shows exactly, just adding Y/n in it. However, that got tiring after a while because I wasn't able to have much freedom because I was following a set script, and that's when I remembered I had a Tumblr account I never used. So, I revamped my account just a little bit and started posting story ideas I had that I couldn't post on Wattpad because either they didn't fit with the stories or they were for someone I didn't write for on Wattpad. And now, here we are. For anyone interested, I've posted this before but I'll post it again, my Wattpad handle is @Writer_Reader05.

Q: Jay or Will Halstead? A: I'm sorry, but I really can't choose between the two of them. I love them both so much. Will and Jay are two of my favorite characters in the whole One Chicago universe. While they do have some qualities that I'm not the fondest of, at the end of the day, I adore the both of them, and I could never choose between them.

Q: Who would you rather date: Jay or Will Halstead? A: Why do you guys do this to me? I love them both so much! But, if I have to choose, I'm gonna pick Jay. The only reason is because I like the characters in PD more than Med, so if I'm dating Jay, chances are I'm friends with Hailey and Adam and all of Intelligence. Will is just as awesome as Jay though and I feel like sometimes people sleep on that.

Q: Which of the requested fics you’ve written is your favorite? A: I think I'm gonna have to go with a Jay Halstead x reader I wrote titled Two Becomes Three. Something about the plot just makes me smile. And to think of Jay being a father......So yeah, while I have so many amazing requested fics thanks to you all, that one has to be one of my favorites.

Q: What’s your favorite series you’ve written so far? A: I love all of the series I have written. Something about creating a whole story that's more than just one part is always fun. If I have to pick one series, I'm gonna pick On the Loose. It was the first series I wrote on Tumblr and the plot of it is something I'm really proud of. However, From the Big Apple to the Windy City, Identity Loss, and Difference of Opinion are all amazing! The first two are finished series and the last one still has a few chapters left to go. Go check them out if you haven't already.

Q: What's your favorite imagine you've come up with and why? A: I don't have a lot of fics that are solely my ideas. Most of my stories have plots that were sent in by you all. However, if I had to pick a favorite out of my stories, it'd be Back Home for Christmas, a Halstead Sister fic I released when I was somewhat new to the platform. Something about writing sibling fics always makes me happy because I get to express the familial side to the characters.

Q: If you had to be roommates with 5 of your mutuals/fellow writers, who would you pick and why? A: I love all of my fellow writers/mutuals so much! I know how much work we put into whatever we post, and most of us are very active on this site. As for who I would pick to be my roommates, I'd choose @hereforhalstead @fighterkimburgess @halsteadlover @resanoona @sylviebrettsey because I feel like we'd all have great conversations, mainly over One Chicago. And every Wednesday night we'd all watch the episodes live together and experience them as a group and then freak out over what happened..........Now watch me fantasize about this all day.

Q: Do you listen to music when you write? A: It depends. On some days when I plan that I'm gonna write, then yes, I do put on some music. When there are days that I have a few minutes to spare, I don't put on music just because I'm only writing for a few minutes and I don't want to waste time. But mostly when I'm writing I do play music in the background.

Q: Do you know how your fics/stories end before you finish writing it? A: This is a really interesting question. The answer is no, I do not know how I'm gonna end a fic before I finish writing it. The only story I had a set ending for was my series On the Loose, but that one wasn't even fully planned out until I got a chapter or two in. Obviously, if I get a request that includes a set ending, like two characters get together or something like that, then I know what the ending will be. Otherwise, I have no clue.

Q: Have you ever met someone who had a very similar personality to your own? Did you get along? A: You know, I can't say that I have. Everyone is different in their own way, and that's what makes us all unique. I would imagine if I did meet someone with a similar personality we'd get along because we'd basically be a carbon copy of each other, but who knows. Maybe our similar personalities would cause us to clash.

Q: Do you hold yourself to higher standards than you hold others? A: Not really. I know myself more than anyone else so I know what my limits are and when I've reached them. With people, on the other hand, I always feel like they can be doing more with themselves and their lives. So I do not hold myself to higher standards than others.

Thank you to all of you who sent in questions! I never thought I'd reach 750 followers on this platform. The only reason I have is all thanks to you wonderful people out there!

@winterberryfox @maximeevansblog @scarletsoldierrr @i-like-sparkly-things @dreamingmanip @soph0864 @ryliegh8 @lorenakaspersen @wanniiieeee @nevertoofarfromivar @securityfriendly-jay @pinkbay-love @stephie123

[facets-and-rainbows]

Blue Exorcist 10th anniversary book Q&A session

The 10th anniversary book has a section where Katoh answers 100 questions submitted by fans on Twitter, so here they are translated/paraphrased! May contain manga spoilers up to the recent flashback arc, so be warned.

(Note that I’m playing it very fast and loose here because there are A HUNDRED OF THEM, so not exact wordings, but it should capture the gist. Lemme know if there are any you want elaborated on)

1. Katoh likes the feel of traditional drawing more than digital but is impressed with how far digital has come

2. Meph THOROUGHLY ABUSES spacetime to watch all his shows and ensure that he gets all the merch he wants

3. Did the girls take all of Yukio’s school uniform buttons in middle school? Yes, they did (apparently it’s like A Thing for girls to ask for a button from their crush at middle school graduation, based on some sad movie from the 60s where a guy who got drafted as a kamikaze pilot gave a girl one of his uniform buttons to remember him by)

4. Rin's tail is about a meter long

5. There are tons of servants working at Mephisto's mansion. Belial is in charge of them

6. Katoh borrows from all sorts of neat real locations when making settings

7. Katoh identifies with pretty much all the characters the most! Except Lucifer.

8. Demon designs she's proud of include the impure king and hachirou, pretty much anything that was the main one in an arc

9. Katoh lists a bunch of her favorite musical artists/music she’s listening to recently: King Gnu, Official Hige Dandism, Kenshi Yonezu, BAD HOP, Sakanaction, Keyakizaka 46, Hypnosis Mic, Aimer, B’Z, Queen Bee.

10. Awww the rabbit manga that characters are often reading isn't just Robo to Usakichi, it's an even older one that she drew as a little kid

11. She likes industrial style interior designs

12. Rin and Yukio alternated who got the top bunk growing up, because they couldn't agree on it lol

13. Katoh cares a whole lot about panel layouts and speech bubble positions, might even be her favorite part of the process (it shows!)

4. Katoh does NOT have a mashou, lol

15. Rin has probably been practicing in secret so he can learn to carry stuff with his tail

16. Izumo probably got into shojo manga around 1st grade, her mom had some around the house

17. Specialty dishes: Rin - lots of stuff but especially nabe Yuri - stuff you can throw together quickly Shiro - stuff he learned from Yuri and/or cookbooks, alongside teaching Rin Yukio - Does. Not. Cook.

18. Can't pick a favorite place she's been on research, but there's no place like Japan

19. Kinzou's band isn't currently meeting because demons, but he's probably still thinking of new songs

20. Hardest characters to draw: anyone with detailed flowing hair. Hardest to write for: Lightning and Gedouin. She had to go read books about serial killers specifically for material for Gedouin, lol 

21. Suguro actually gets a dorm room to himself, though allegedly Yukio is technically assigned as his roommate, lol. Didn't end up that way what with Yukio being a teacher and also Rin’s whole...situation

22. Shiemi makes some of her own hair accessories! Cute

23. Katoh doesn't mind if you include stuff with fan letters but check with the editor first

24. Time for making each chapter: Planning/storyboarding: 1-5 days. Sketching: 3-5 days. Drawing/inking: the rest. Just...the rest of the time

25. Neither Suguro nor Izumo have dated before and neither is currently dating. But that's probably just because things were hectic for them! It could happen

26. Yukio breaks 5 or 6 pairs of glasses a year, someone get this kid a strap or something

27. How many spare glasses does Yukio have? Check the fanbook lol it's in there (dang it Katoh)

28. The demon she wants us to pay the most attention to is Lucifer. Because plot.

29. What's under the Order's big meeting table? It's a BOTTOMLESS PIT and if you fall in it you DIE that's what makes it COOL (laughs)

30. What are the job requirements for the angelic legion? Literally just Arthur liking you and inviting you to join

31. She WANTS to do more character profiles but just hasn't gotten to it

32. Rin's tail feels like a cat tail, texture wise

33. The "red Assiah fire" is literally just actual fire nothing special

34. Rin's current hair color is light blue fading to white at the ends

35. Thoughts on Rin's growth: she likes that he stays positive in awful situations and she also thinks it's very main character of him to face the past instead of avoiding it

36. Mephisto didn't purposely surround Rin with stuffed animals when he woke up after going crispy. Mephisto's bed is just Like That

37. Kurikara was based on a cool sword she found in a sword book, but that one was technically just a ceremonial sword. The symbol on it us a Sanskrit letter kaan (sp?) associated with Fudou Myouou

38. Kuro can communicate with normal cats and hangs out with them often

39. Sometimes Shiemi's skirt is extra fancy around the hem what's up with that? Apparently it's an optional accessory that comes with the skirts help I haven't noticed this and don't know any fashion terms in any language

40. When coloring, Katoh always tries to have an overall theme in mind ("emphasis on blue" etc) so it comes together in the end

41. Yes the twins are genetically related to Shiro because of Goro (she says they're like his nephews but I say GENETICALLY at least they'd be indistinguishable from his children)

42. Strongest mom of all the strong moms around here? Yuri! Did you SEE her give birth??

43. Are you careful about your own health Katoh-sensei? Not particularly! Her mom has had to bring her food at work sometimes! Don't do this at home kids

44. At the dating events Shura goes to, does she drink cocktails in moderation? Yeah, she probably downplays her normal drinking habits at these things. But normally she's down for just about any kind of drink

45. Lucifer just really likes oysters okay

46. How many pages of manga does Katoh draw in a day? If she's being good about self-care: three. Maximum number ever: TEN

47. Mephisto is one of those folks who can eat like a garbage compactor and never gain weight. Possibly because his body resists that sort of change the same way it resists aging etc

48. First food Rin cooked: fish burger type patty. Yukio's favorite things Rin cooks: fish simmered in soy sauce, yellowtail with daikon radish. It's fish all the way down

49: Did Rin ever get more monthly allowance from Mephisto? It doubled! He gets TWO 2000 yen bills now (rip) [T/N: That's uh, that's USD $37.26 a month or 33.10 euro]

50. Why isn't Rin more popular with the girls? He gets nervous talking to them, plus he's too oblivious to notice even if he DID have some fans

51. Why change Suguro's hair? She gets bored with keeping everything the same, and she wanted a visual representation that he was getting serious and going into kind of a training arc

52. Things Katoh pays extra attention to when drawing: trying to capture the feel of whatever she's drawing (like "that looks warm and soft" or "I bet that guy stinks" cough Lightning cough)

53: Does Rin take after Yuri more? (He's got her eyes!) Katoh tried to draw Yuri so she looks like both twins. Personality, too - Yukio has her smarts and Rin has her optimism

54: Do you ever wanna be like Mephisto? Well she'd like to be able to get away with just ANYTHING EVER, but no, let's not be like Mephisto

55. Konekomaru not only carries around a cat toy in case he meets any cats, he MAKES cat toys to carry around based on what he thinks the cats would like

56. How'd you come up with Shima? Go read the fan book!

57. Do the kids have Twitter/Instagram accounts? Rin - probably not. Konekomaru might be on some social media. Paku and Izumo are totally on instagram

58. Is there something Rin makes that you wish you could try? All of it! That's the whole idea! He's good at cooking!

59. Will we ever have a (G-rated) reveal of what ALL of Mamushi and her family's tattoos look like? Maybe! She'll think about it

60. Does Arthur have a repertoire of different hairstyles? Not really, he just puts some of it up on the top. Heck he might even have people to do that for him

61. If you wrote a shojo manga what would it be about? She'd have to do a lot of research before even coming up with a story, since there are so many style differences between the genres aside from just the subject

62. The other two of Mephisto's top 3 favorite foods: Cup ramen and....f-fried bubblegum?? Is that a THING???

63. Where do you start when drawing a character? Usually the outline of their face but if it's a complex pose/composition she'll start with whatever's in the foreground (like hands)

64. If Katoh could have a familiar, what demon would she choose? Mephisto. As the all-powerful author, she might actually be able to command him as a familiar!

66. If you swapped Yukio and Rin's relationship around what would change? not much, you'd pretty much have Rin going to the Illuminati and Yukio going to the past

67. Top 3 foods/souvenirs to try in Kyushu? Well she doesn't know what’s good CURRENTLY but when she was there she always used to like burdock tempura udon, hakata torimon (a kind of manju with white bean paste inside), and Chikae style cod roe. today I learned Katoh went to high school in Kyushu

68. Katoh listens to music a lot while she's storyboarding, then when she and the assistants are all drawing and inking they put various videos/movies and stuff on in the background

69. For all his hitting on girls, is Shima actually popular with the ladies at all? He's got enough girls in his life that he probably COULD find a girlfriend if he really wanted, but the double agent thing tends to get in the way. He still wouldn't be as popular as Yukio though (side thought/translator’s note: Shima would be proud of being number 69.)

70. Katoh has the ending planned out in a big-picture way, but there are still a few details here and there that she's fretting over

71. It's cute when the boys put their ties over their shoulders when they're working on something! Where'd that come from? She just figured a tie might get in the way and that seemed like a realistic way to get it out of the way

72. Looks like Yukio is getting some facial hair! What about Rin? They're both about the age for it, but maybe Rin can't grow a beard yet. Maybe a little peach fuzz here and there

73. Katoh's favorite blue exorcist merch? There were some exorcist licenses a while back, and the exorcist pins. Basically it's really cool that these little accessories she drew ACTUALLY EXIST NOW, LIKE YOU CAN HOLD THEM IN YOUR HANDS

74. Okay realtalk how long do we have left, I don't want the series to end yet? We're solidly in the second half by now but it's not, like, ABOUT to end yet

75. Katoh would be a Knight meister, based on what characters she likes to play in games and such

76. How many people in the whole exorcism cram school? More than you think! She doesn't give a number but apparently licensed exorcists also attend classes for new meisters, etc, so there's a wide age range attending

77. How's Arthur feel about, like, studying Taming on the way to becoming Paladin? He's at least mostly accepted that you have to use demons to fight demons effectively

78. Konekomaru started wearing glasses in his first year of middle school, so like 7th grade (more recent than I thought!) He has one spare pair, in contrast to Yukio lol

79. Katoh's current obsessions? Ghost/scary stories! She's even been going to live readings of them recently

80. Media Katoh consumes for inspiration? A wide range of foreign teen drama, horror/suspense, shojo manga, light novels, anime, etc. Special focus on things where two boys are in conflict or there are brothers involved

81. If they weren't exorcists what jobs would they have? Rin - chef. Yukio - doctor. Shiemi - uh, florist?

82. Inspiration for the design of True Cross Town? Katoh and her assistants gathered up a bunch of references, picked out stuff they felt matched the tone, and mashed them all up together

83. Did you use any references etc for the school/exorcist uniforms? She says she probably should have but she just kind of made them up before publication

84. Favorite part of drawing? For color pages, picking out a color scheme. For black and white, drawing in all the little details (though she doesn't always get time to lately)

85. Once again confirms the demon kings' weird hair is a representation of their horns. ADDS THAT PEOPLE WHO CAN'T SEE DEMONS CAN'T SEE THE WEIRD HAIR

86. Now that Yukio's at the Illuminati, where's he gonna get his Jump SQ and spare glasses? Well he probably never planned to stay for long, but hey it's a big ship and they might have an optometrist and/or newsstand there

87. Do you base the demon characters on any references etc? Not really, she just gets a general idea of popular demon designs and then makes up her own in her own style

88. Merchandise Katoh personally wants to have made: stuff that an adult could just use in their day to day life. Also, it's not gonna happen, but if her favorite figure brand made AoEx figures she could die happy

89. If Beelzebub's host body was a beautiful woman, how would Shima react? Would the womanizing win out over the bug phobia? Katoh replies that Shima would probably just faint from being near a girl that pretty, before the bugs even got involved

90. Will the twins ever get to smile and eat dinner together again?? We'll just have to wait and see!

91. What do you check at a "scenario check"? what's a scenario check man I dunno They check for people being out of character or the setting feeling off. They had a lot of these checks for the anime, but they also do them for the drama CD, games, and all that other stuff where multiple authors are involved

92. Why does Shura use baldy as an insult for people who are clearly not bald? She feels like they have some kind of metaphorical, mental kind of "baldness" and she's calling them out on it. Whatever that means

93. After Blue Exorcist ends, what do you want to draw next? She has SO MANY IDEAS, SO MANY

94. Did Katoh make up the Shinto chants that, for example, Izumo used against Gedouin? They're assembled from bits of actual Shinto prayers according to what feels right in the scene

95. Yukio reads the Jump SQ, right, and, just hear me out here, he likes gag manga, right? Does this mean he reads Salaryman Yukio? It's something he would read, but let's say that in the AoEx universe there's just a very similar manga that he finds oddly relatable

96. What do Yukio and Shima do in their free time on the Dominus Liminus? oh my god you guys this ship has so many amenities.  Yukio probably spends time reading in the library, which they totally have. There's also, like, a gym, and a movie theater, and a THEATER theater, all of which are free. Shima probably hangs out at the pool (!) and goes to the movies, and hits on illuminati girls, lol

97. Easiest character to draw? The ones with boring simple hair, lol. Lightning gets an honorable mention for ALSO not having eyes in most shots, but Rin wins--he was specifically designed to be easy for Katoh to draw because that's what you want in your main character

98. How do demons understand gender? They just possess whatever feels like the best match to how they feel in Gehenna, whether that's a man, or a woman, or a rat, or whatever

99. Where do you start when you're coming up with a story? She starts with character design and how the characters relate to each other. Currently she's just continuing an existing story, so she works on splitting up the overall plot into episodes and fleshing it out with scenes and information about characters

100. When do you feel most happy? She honestly feels like she lives a very happy life overall. Mentions noticing a lot of little things, like how nice her cats' heads smell when she cuddles them or taking a nice cold refreshing drink of water. There's happiness in everything. aww.

[tookishcombeferre]

Awwwwww! *bows* A-thank you! Yeah. That actually, ironically, the whole "Sorcerer's Secret" thing also came off a conversation with Spouse Unit 1. We were talking about how the 3 Good Fairies seemed to know what "The Sorcerer's Secret" was. It seemed like it was some kind of actual academic theory. Maybe not an overly well known one. But, it was one they had heard of. So, I thought, well ... what if it was? That's not implausible. It also seems like, based on the culture of the two schools, that RPA would be more accepting of it than Hexley. So, while it may have been developed at Hexley, the Good Fairies would be more into adopting it as a practice. Hence, why they're actually aware of it. It also seems more like a pedagogical practice than an actual taught principle. This is also where a certain beloved faun teacher's youthful studies may or may not weave their way into the intricate tapestry of Hexley Hall's vine draped walls. But, I'll leave that thread hanging. Gotta keep some secrets. I also have an entire country built for Fionn based on the fact that he looks like the centaur from Tilly's wedding who, cannoncially, speaks - I believe - Irish. Warning Major Info Dump Incoming: I've called the country Fionn comes from Ulster after the "Ulster Cycle." That being one of two major collections ... yeah ... we'll call 'em collections ... of Irish lore. The Ulster Cycle includes a bunch of stories in it and was developed from the oral tradition of Northeast Ireland. Those were eventually written down and collected in this group of stories. Cú Chulainn, who am OBSESSED with, comes out of the Ulster Cycle. Which is why Ulster was named Ulster. Fionn mac Cumhaill's story may be, generally more popular, but Cú Chulainn is ... I could tell you that story 8 different ways because I've read and listened to probably 20 versions of it in my 30 years of life. I'm *obsessed.* I've read just about everything I could get my hands on that W. B. Yeats' wrote about him when I studied in Ireland. I've listened to podcasts. Every time one of my friends finds a song about him they send it to me. Like, I *love* Cú Chulainn. He is so awesome. Look him up! Y'all look him up! His story is tragic. It's an old timey war story, so it's really gruesome. I'll give that warning. But, it's so good. So. Good. Anyhow, Fionn's name comes from the main hero, Fionn mac Cumhaill, of the other kind of most famous collection of Irish stories This group of stories is generally called the "Fenian Cycle." There are several Irish stories that don't fit into these two Cycles, but the most famous ones come out of these two kind of "books" as it were. (The Legend of Manannán mac Lir is one of my favorites. He's in both cycles. But, his actual story, story is really beautiful. All his kids get turned into swans by a curse, and it's really sad. The Swan Princess, as a fable, was actually, I believe, loosely inspired by the Scotch-Irish myth.) (Whoops ... got a wee sidetracked.) But, anyway, that's the method to my madness. I really tried to do my homework to keep with the show's naming conventions and plots. I think, if I were to really sit with it, a bulk of the names of places, characters, etc. have some connection to famous pieces of literature. Merlin isn't just there as a call back to Sword in the Stone. Morgana is actually a character in Arthuriana. (You probably know that. She's pretty famous.) The wee-sprites are a call back to Gulliver's' Travels as well as being just a play on true fair folk in the Scotch-Irish tradition. Most of them are destructive little monsters. So, yeah, there's a whole *ton* of those little references tucked in there. So, yes. I did my homework. I very much did my homework. Also, bonus headcanon for making it this far is that Cedric is the one who taught Amber to speak fluent "Ulsterian." The reason she knows conversational Ulsterian is because of him. RPA may have taught the greeting. She can speak the language because he lived there, he learned it, and he taught it to her.

Cedric for ask game- 1, 12, 14, 25

1. Why do you like this character? Okay. So, ever since I watched Avatar: The Last Airbender, I have been a sucker for a well written redemption arc. However, if I were to get into specifics, I think there's a lot to explore in this character from a literary perspective. He's complicated. Very complicated. His motivations make a lot of sense even if he goes about things in ways that aren't objectively moral. Which, honestly? That is stuff you don't see in children's TV much since Gargoyles or other things from the 90s and early 2000s. He has the backstory and personality of a Shakespearean tragic hero. He reminds me of like if you shoved Macbeth and Hamlet in a blender in the best way possible, and then, somehow, came out with Macduff? IDK how that works, but that's what happened. Secondly, I find him relatable to my literal life. Zuko hit me when I was just a little younger than Zuko's age. I saw Sofia the First, for the first time in earnest, as I approach 30. I am, exactly, the right age to relate to Cedric's personal issues. So, I like him because a lot of the stuff he deals with is the stuff I'm processing in my own life. Aging parents. Trying to repair a difficult relationship with my own dad as we both grow older. Realizing I might not be able to fix everything that's missing there, and trying to walk the line between indifference and cynicism. Check. Trying to form a solid relationship with a/my child and teach them things. (Granted my squish is biological, but still. Check.) Trying to look past my own personal failings to create a better world for my kid and future generations. Check. Trying to look past what people say/ have said about me and others like me to see the intrinsic good in myself despite my nuanced set of identities. Check. Realizing that my kid just existing in my life is what gives me hope to see myself as great. And, maybe, just maybe, that's a lesson I can teach my kid without them having to go through all the crap I've gone through to learn it: we are great because, unmasked, in our fullness, together with others, we are greater than in isolation. So, I like him because it's easy to walk his journey and see some elements of my own life and where I'm at personally. And, you know what? The show does a nice job presenting this struggle. I feel less alone in my own crap when I watch it. I've got a buddy to walk in my adult problems with while my kiddo gets a princess to learn how to be a good person alongside. I LOVE that. It's truly something we both get something out of, which, is, like, SO supremely rare. As a parent, I just cannot express how much I care about that. Bluey might be the only other program I can think of that does "both" as well as Sofia does. Like, I don't know if there are any other fans in this fandom who are parents. But, man ... Cedric hits because *all* of the life stuff he's dealing with is stuff that, like, is so real. Especially the stuff with his parents. Oof. I don't know if any of y'all have had parents age. But, it's a different beast y'all. It makes you think about things, it makes you want to retreat, and it makes you want to fix things - all at the same time. Sorry if that's a lot. But, when we talk about Cedric being an adult, this is what we mean. So, I just kind of fell in love with Cedric's character because in so many ways his story just kept slapping for me from every angle.

[gumnut-logic]

Thunderfam Appreciation Post

I’m giving this a new post to prevent scroll city, but the original and several reblogs can be found by clicking the above link. Also, it’s an excuse to post a piccy of Virg cos any excuse, really :D

Many thanks to @willow-salix for writing this question list :D

Before I start, I just want to say that I value every member of this fandom. I’m often hopeless at communicating in group settings so I don’t speak to many peeps, but that is my failing, not anyone else’s. You are an amazing group and you have supported me and each other just brilliantly over the last nearly three years that I have been hanging with you guys. Thank you ever so much for all your wonderful support and encouragement. I’ve had so much fun and created so much stuff…you guys are amazing. Thunderfam rock!

Please note that my memory is pathetic and I will fail to mention everyone. Please do not take any offence if you aren’t listed below. That does not mean I don’t value you, I do, it just means I have swiss cheese between my ears.

-o-o-o-

Your favourite writer of your favourite boy.

@i-am-chidorixblossom  You are a whumper and comforter after my soul. You speak the Virg :D @vegetacide I adore your turn of phrase and your description is to die for.

The person who's stories you will always read.

I try to read most fics that come across my dash, but there are a few that have me jumping up and down. @i-am-chidorixblossom , @vegetacide , @tsarinatorment , @scribbles97 , @the-lady-razorsharp , @janetm74 Of course, I regularly fail at this as some of you write a huge amount of fic and I am often playing catch up, but fic!

Who wrote the first fic you read in this fandom.

I landed on FF.net back in May 2018. I immediately ran into @the-lady-razorsharp who I knew from another fandom ten years prior and she was absolutely wonderful, drawing me in and introducing me around. I gobbled up several of her fics in the process.

Person you can talk to for the longest without a break.

I am hard to get started, persistence is required, but once started, it is usually hard to shut me up. @scribbles97 @vegetacide and @tsarinatorment have all discovered that. Dangle a Virg, a plotline and stand back.

Person you can't be trusted to be left alone with.

Um, @vegetacide and I have plotted out the entirety of Warm Rain together…poor Virg. Add @the-lady-razorsharp into the equation and Virgil ends up with a beard, dressed in leather and riding a Harley – that was a hilarious evening.  Between @tsarinatorment and @janetm74 Virgil gets grey hairs and has to go rescue Scott – because Scott inevitably ends up in the story :D  @scribbles97 gets the blame for Gentle Rain – expand your horizons she said ::headdesk:: But then there was the time I left one random line about Eos visiting Virgil in the shower and went to bed. I woke up to hilarity and chaos as Thunderfam took the idea and ran with it! Love you guys :D

Person whose fic made you cry the most.

I know there were at least two fics that made me cry, but for the life of me I can’t identify them. I did cry writing my own fic – Flannel – and don’t tend to reread it for that reason. Purupuss traumatised me with A Quiet Day to the point I had to put it down and walk away for a bit ::wails::

Person whose fic made you laugh the most.

I have no idea. I know there are fic out there and I know I’ve read it, but without a complete list of everything I’ve read, I don’t have a clue.

Person whose fic made you think the most.

Aaaargh, I don’t have a master list so can’t remember everything. Staring at my paltry favourites list on FF.net (which was mostly gathered three years ago and never maintained), Purupuss’ ‘Brothers in Arms’ and her whole Quiet series has me wanting to write a Scott-Virgil telepathic fic (and she has given me permission to run with the idea, I just haven’t actioned it yet). Counterpoint by Swallow and Amazon is amazing and likely contributed to Sotto Voce.

Person you have laughed with the most.

I’m really not liking this ultimate one person idea. I’ve laughed with a lot of people in this fandom. I’ve candy cannoned a bunch of you as well :P There has been mad plot cackling, evil conspiring, fic written to stir pots and delight on purpose. Hell, I’ve even written fic that was purposefully a giant virtual hug because I’m so far away that even if half the world wasn’t in isolation, I couldn’t hug most of you. Sure, I talk with some of you more than others, and there is laughter in those chats…oh, god, so much cackling, poor, poor Tracy boys. But then there are also so many smiles both vocalised and not. Thunderfam is one of my happy places. Bring on the belly laughs :D

Your comfort fic that you'll go back and read again on a bad day.

I will often resort to my own fic when I’m really down simply because it helps me get to sleep :D and it is kinda tailored to me ::grins::  (and my memory is that bad I often forget what I wrote anyway – yes, it is that bad) But there are also a few on my FF.net favourites list. Mostly hurt/comfort in a Virg flavour. Cheesycheese, nhsweetcherry, A Small Rescue by Nalina, Breathe Easy and Under the Weather by @loopstagirl – several of hers, in fact – the Virg ones :D Pretty much anything that has Virg fainting and being looked after apparently :D Chiddi and Veggie fic, of course.

Favourite piece of fan art.

I have never been so honoured by artists before. This fandom has some amazing skills and I have been gifted some beautiful works. You guys are amazing (I keep saying it like a broken record, but you are).

Again, I’m stuck on having to list one and I can’t. I think Fanart Appreciation Month in January pretty much summed up my opinion.

Who have you known the longest in the fandom.

@the-lady-razorsharp followed by @vegetacide both wonderful peeps. I can’t miss out on @weirdburketeer either for her amazing support almost from day one.

Favourite OC.

I have to say that I really enjoy reading about Ray from @i-am-chidorixblossom ‘s fics :D He is so gentle and kind and just ::sigh:: Virg likes him lots :D Selene by @willow-salix is, of course, a major presence in the fandom and amazingly written. @hedwigstalons ‘ Claire is lovely.

Person who supports your work the most.

The Thunderfam? There have been some wonderful people who support all the time. @hedwigstalons  @cg29 @janetm74 @weirdburketeer in particular have been amazing support liking and commenting on just about everything I write. I honestly don’t know how they do it. Plus several peeps over on FF.net and Ao3 who support me over there.

And then there are the poor souls who put up with me in chat and listen to my wibblies and whining and character checks and field random chunks of writing that get thrown their way. @scribbles97 @vegetacide @the-lady-razorsharp  @tsarinatorment @i-am-chidorixblossom @onereyofstarlight @godsliltippy  @willow-salix @janetm74 all have had random passages thrown at them at all times of the day and night by a crazy me begging for feedback. Does this work? Is this in character? Am I insane? What the hell is Scott doing? Is this John??? I give up, tell me what to do? Virgil is driving me insane! So, um, yeah

Person who's progress you are the most proud of.

I love those peeps who appear in fandom who start off poking around commenting and generally being lovely and then all of a sudden get out their own pens and start writing and they are frickin’ amazing! Both @janetm74 and @hedwigstalons come to mind in this department. Like holy cow – ‘here is my first fic and I’m not sure’ ::reads it:: Omigod! Where did you come from? That was amazing. Sit down here now, keep doing that writing thing, bloody hell! I think being brave enough to pick up a pen and join in is a major thing :D

Person who's story you think is underrated and should be read by more people.

If I find fic I like, I reblog it and shout about it. What I like is definitely skewed in a Virgil direction and this dictates often what I’m going to read first. I can’t reblog what I haven’t read. So, this equation will always be skewed by ‘reasons I haven’t read a fic’ which mostly involves either Virgil or the fact I’m juggling RL. So, my answer to this is if I think a fic needs to be shouted about, I shout about it.

Something you think people would say about you.

She’s nutty.

Silliest 'thing' you do with someone.

I’ve been known to write fic on the fly directly into chat windows to try and distract peeps going through shitty times.

Favourite pairing you now Stan because of someone's fic.

Virgil/Kayo because of @vegetacide for reasons I have blamed her for multiple times. @the-lady-razorsharp and @weirdburketeer were accessories to the fact.

Favourite headcanon from someone's fic.

Um, Virgil and coffee? I got that from somewhere and it has infiltrated my fic…a lot.

Ultimately, though, I feel most people I interact with contribute to my fic and how I’m feeling. This has been a wonderful experience. I try to return the support as much as I can, but sometimes it is a juggle between writing more, my stupid fluctuating mood, the demands of RL and my own creative drive. I hope I’ve helped a few peeps, because you guys have certainly helped me ::major group hug::

And yes, I hug a lot, because to be honest, I have no other descriptor to communicate how I feel, so you get buckets of hugs :D

Tagging the Thunderfam. Feel free to grab these questions and run with them. You’re all part of the gang whether you write, read, art, gif, screenshot, chat, babble, stare at Virgil all day...I know I do a lot of staring.

Nutty

(Thunderfam rocks!)

[itsthenovelteafactor]

Vanya and the Phantom

I asked and y’all answered (special thanks to @schizoidwire and @the-aro-ace-arrow-ace  and all the people who responded to my earlier post for encouraging me!), so it is time for how The Phantom of the Opera song introduction can be read as a look into Vanya’s self-narrative and also foreshadows future events in a really subtle and interesting way. 

I’m channeling my inner Elliot and going into full conspiracy mode. This is gonna be a long one, y’all. 

Part One: In Which I Expose Myself as a Former Theater Kid

So, for those who aren’t familiar with The Phantom of the Opera, it was originally a novel by French writer Gaston Leroux back in 1909. In 1986, Andrew Lloyd Webber rewrote it as a musical. For purposes of my analysis here, I am just going to be discussing the musical because 1) the score used in the opening scene is from it and 2) I’ve never read the book. (If anyone out there has read the book and wants to weigh in, please do!) 

It’s a very aesthetic show, and draws on a lot of gothic themes and imagery. The plot follows an opera house, and specifically a young chorus girl named Christine Daaé. I’m not going to explain the whole show plot in detail because wikipedia exists, but I will do a quick overview here and point out some things as they relate to things I’ll be discussing later. Also there will be a test after and it will NOT be multiple choice.

The show begins when the opera house is sold to new owners who 1) just want to make money and 2) do not respect the opera house’s resident ghost (who isn’t really a ghost, but we’ll get to that later.) When the Phantom makes his presence known, and freaks out the resident prima donna singer (who will be relevant later) Carlotta, who says she won’t sing under these conditions. It is then that Christine appears. She’s quiet and humble and has always lived in the background, but is incredibly talented. The woman who runs the chorus (also owner of the opera house’s resident braincell) suggests Christine sing the part. She does, and is amazing. Everyone is blown away, and she’s catapulted into instant fame and success. 

We later learn that Christine has been studying under the Phantom, who appears to her in mirrors. She calls him the Angel of Music, and thinks that he was sent to teach her by her recently deceased father. He isn’t. He’s actually pretty malicious, and is obsessed with Christine, wants to control her voice, and doesn’t like her dating anyone. Which is a bit awkward when her childhood friend shows up and promptly falls in love with her. 

Anyways, Carlotta is jealous of the attention Christine has been getting and threatens to leave prompting the new owners to cut Christine from the program. The Phantom doesn’t like it at all, sends a bunch of letters, things escalate, people are murdered, and the whole first act ends with the chandelier falling from the ceiling and crashing onto the stage (which is done with really cool effects, oftentimes beginning the show hanging over the audience. It’s a BIG MOMENT and one of the most iconic ones from the show. This will also be relevant later.)

Act two takes place a few months later, wherein no one has seen the Phantom. Shock of all shocks, though, he’s not dead. He’s been writing an opera and he wants Christine to star in it. More stuff happens, you learn the backstory of the Phantom (which is pretty sad, ngl, but in no way makes him less of a creep) and the story ends with the Phantom kidnapping Christine and giving her an ultimatum: stay with him forever, or he kills Raoul (aka childhood friend/romantic interest guy). She agrees to stay with him and he’s so moved by her compassion that he lets them both go and disappears forever. 

Part Two: Casting the Characters

That’s interesting, Rosie (note sarcasm) but you said this was about The Umbrella Academy? I did, in fact. So, we meet Vanya when she’s playing a medley of songs from The Phantom of the Opera. Since it’s primarily the melodies and not one of the orchestral pieces from her performance later (I don’t think), we can assume she’s just playing it for herself (which is nice! good on you, Vanya). 

Maybe she’s never seen the play and just likes the score, but for purposes here, let’s assume she’s familiar with it. 

You can tell a lot about a person by the stories they connect with (for example, I like TUA because I like fun sibling dynamics, found family, music, and being sad). And I think that it makes sense that The Phantom of the Opera would be a story that resonates with Vanya. The overlooked chorus girl finds power in music, and, after years in the background, is finally given a chance to show how special she is. 

So, yeah. I don’t think it’s outside the realm of possibility that Vanya sees herself as Christine. There are some discrepancies, sure, but this is Vanya’s self-narrative, which we learn pretty much immediately is unreliable. (Love her, but it’s true.) And if Vanya is Christine, then we can try and tap into her perspective to look at some other characters. 

Anyways remember Carlotta (the prima donna opera singer who always got the spotlight and tried to destroy everything good that happened to Christine because she felt threatened that someone might be as good/better than her whose entire personality and role in the story I just summarized, rendering my plot recap useless)? Carlotta is how Vanya views Allison. (Kind of all her siblings, but her relationship with Allison is the most important here.)

Think about the scene in the cabin? 

“You couldn’t risk me threatening your place in the house! You couldn’t handle the fact that Dad might find me special!” - Vanya, having a mental breakdown.

This always struck me as an interesting accusation to throw, since prior to this moment, I don’t think there was any indication that Allison had ever felt threatened by Vanya. She excluded her, sure, and wasn’t super friendly at times, but the idea that Allison has been pulling strings to keep Vanya out of her spotlight is new. But that is exactly the role Carlotta plays in Phantom. 

Fun fact! At one point in the musical, the Phantom enchants Carlotta so that she loses her voice right before coming on stage. 

Part Three: The Phantom of the Opera is there

So based on everything I’ve said so far, the most straightforward reading is then, that Leonard Peabody/Harold Jenkins (who for purposes here I’ll call Leonard) is the stand in for the Phantom, which works... really well. Both in helping to understand Vanya and also because it foreshadows the twist of season one in a really cool way.

So, the Phantom appears to Christine first not as an enemy, but as a friend and teacher, who encourages her to be more confident in her abilities. He trains her to develop her singing ability. While the teacher-student dynamic is actually inverted initially with Vanya and Leonard, from the get go, he is showering her with compliments, encouraging her to be confident in her abilities, and, at least on the surface, supporting her in a way she hasn’t been supported before (he’s a trash human but an expert manipulator). 

But, in the play, the Phantom is also very possessive over Christine and her power (er, I mean voice). He also is perfectly willing to kill and/or hurt people who he views as standing in the way of Christine and her success (see the aforementioned Carlotta incident). Which is exactly what Leonard does to Vanya. He kills the first chair violinist to help her get it, and orchestrates a whole master plan to get her to reveal her powers on his terms. 

Even the part where he starts “training” her to use her powers kind of resembles the second act of the play. The Phantom wrote a play for Christine and she’s going to star in it, whether she wants to or not. 

(One could even make the argument of the parallels between Christine believing the Phantom was sent by her father to teach her and Leonard showing up because of his revenge scheme against Vanya’s father, but I honestly don’t have much support for that.) 

Part Three: Two Conflicting Narratives

So, as you might’ve noticed, I sort of have two different threads of analysis going on right now. 1) The Phantom of the Opera parallel is part of Vanya’s self-narrative and in it she mischaracterizes Allison, making her more suspicious of her motivations and 2) Leonard Peabody is clearly the Phantom and doesn’t bother being subtle about it. I hope that I’ve been convincing (or at least intriguing) for you to get to this point, because here is where they come together.

Vanya has this parallel going, but she doesn’t see Leonard as the Phantom. In the beginning at least, he’s her Raoul. If I had to guess, I’d say Reginald Hargreeves is the Phantom in Vanya’s self-narrative (says he’ll train her but wants to manipulate her and keep her locked away for himself, strict teacher who doesn’t really care about her well being, wearing a mask to appear more normal/human... she wouldn’t exactly be wrong). Leonard, on the other hand, is Vanya’s supporter. He validates her, and believes in her, and taker her side when Carlotta and the opera house owners (er, the rest of the Hargreeves children) gang up on her and conspire to keep her out. 

This is all building to, of course, the final confrontation. The Phantom says Christine has to pick one or the other. When Allison comes to talk to Vanya, Vanya feels as if she’s been given an ultimatum and lashes out.

And that’s where everything (including this parallel) starts to crumble. 

(I honestly don’t know a lot about the other characters and how they fit in. I suppose we could have Five = Raoul if we ignore romance plot and focus on the childhood friend that hasn’t been seen in a while angle? And maybe also Pogo = Madame Giry. Vanya doesn’t really have any friends to be Meg.) 

Part Four: It’s All About the Moon

So that is kind of the gist of The Phantom of the Opera as a window into Vanya’s self-narrative theory, but there are a couple of other loosely related ideas I thought I might as well bring up since this thing is already ridiculously long. 

Remember how I mentioned the chandelier is like, THE scene from The Phantom of the Opera back in part one, and said it’d be relevant later? Bringing that back now, because I’m going to pull a Luther and connect everything to the moon. 

So, to get the obvious out of the way, the moon exploding and the chandelier coming crashing to the stage are similar because something falls, breaks into a bunch of pieces, destroys a bunch of stuff, and creates a powerful and memorable image to close off before an act/season break (the next installment of which begins with a time jump). 

Additionally, it’s worth mentioning that The Phantom of the Opera is told out of order. The opening scene shows a grown up Raoul at an auction for the items left behind after the opera house closes, and it switches to the past as the remains of the chandelier rise upwards to the ceiling, Phantom’s theme swelling (it’s a really cool moment, tbh). Following the prologue of The Umbrella Academy, we switch to the present with two images: Vanya alone on the stage, and then Luther alone on the moon. Which has a kind of symmetry that might mean nothing, but is still kind of cool. 

(Also the item that Raoul buys from the auction is a music box with a monkey crashing symbols on top of it. Which might mean nothing.) 

Part Five: How is she STILL talking about this? (AKA Conclusion)

To be honest, this is more a very tangled “things I noticed and thought were interesting” discussion than a formal essay with any clear thesis. While there is a chance that this was all coincidental and I’ve gone full Pepe Sylvia, the music selection in The Umbrella Academy is one of the things that they seem to be really deliberate about. 

I would love to chat with anyone about this theory, so feel free to reach out in the notes or message me! My inbox is always open. Much love, and thank you for reading, if you got this far! ❤️

[duhragonball]

So, Terminator 3.   T2 was such a huge hit that everyone just assumed a third movie was a given, but it took twelve years for it to finally happen.    The Wikipedia article has a section about the delay, but it’s really long and complicated, and I’m not that interested anymore.   The main takeaway is that James Cameron, who directed the first two movies, wasn’t involved in the making of T3.   Apparently, he really wanted to do it in 1995, but by the time the rights and everything got squared away, he got busy doing Titanic and Avatar or whatever else, and he decided that he’d already told the story he wanted to tell in the first two movies.   But he did tell Arnold Schwarzenegger to go for it if he got an offer.  

I guess the reason I’m explaining all of this was because I always thought Cameron did make T3, and the reason Linda Hamilton wasn’t in it was because of hard feelings over their divorce in 1999.  Which sounds kind of dumb now that I type it out.    A fan would think that, because they see actors appearing or not appearing in movies as the ultimate sanction, but for them it’s strictly business.   Arnold was in T3 because they paid him $30 million, not because he desperately wanted to play the character again.   According to the Wikipedia article, Hamilton wasn’t in the movie because there just wasn’t much they could do with Sarah Connor in the story.    Her role was to prepare John Connor for his own role.   This movie features him as an adult, so there’s nothing more for her to do.    Hamilton recognized this, and declined to participate.

I think T3 had a lot going against it, because it had so much to live up to, and fans of T2 had been waiting so long.   I think everyone wanted the T3 movie James Cameron might have made in 1995, but what they got in 2003 was this movie, which didn’t quite live up to the hype.   I’m not sure anything else could have lived up to the hype, though.    T2 had some mighty big shoes to fill.  

The big problem is that it’s basically the same plot structure as T2.  Two more Terminators come from the future and they fight over the life of John Connor.   After escaping the bad Terminator, John tries to stop Skynet from taking over and nuking humanity, and they end up having a final showdown with the bad Terminator along the way.  It really is the same movie in a lot of ways, so it just begs to be compared to T2, which only magnifies its flaws.  

The main difference is that John thought he already stopped Skynet years ago, so he’s horrified to learn that he only postponed the inevitable.    He goes to a lot of trouble to try again, but the audience probably already anticipates that this won’t work.  T2 was ambiguous about this, but T3 actually shows the nuclear missiles launching and destroying their targets.   So it’s kind of a downer to watch.   We even learn that Future John will die in 2032, because the good Terminator in this movie was the one who kills him, before he got reprogrammed to protect Present John.

The other difference is the addition of Kate Brewster, who’s fated to become John’s second-in-command and wife.   The bad Terminator was actually sent to kill her and other would-be Resistance leaders, until it discovers John and changes priorities.    Future Kate is also the one who sends the good Terminator back in time.   I never fully understood Kate’s purpose in the movie, since she’s basically a spare John, but I think they needed a viewpoint character.    In T1, Sarah was the viewpoint character, then it was John in T2.   But in T3, Sarah’s dead and John already knows all about this stuff, so there needed to be a new character with a special destiny.   The trouble is that I don’t think Kate gets a chance to digest this very well, probably because we’ve already covered this twice before already.  

I think this is the movie where the time travel stuff really went off the rails.  T1 was very consistent about establishing a predestination paradox.   T2 hinted that the future could be changed, but never made it clear whether it actually changed or not.   The value was in the attempt, not the result.   But the T-850 tells John that “Judgement Day is inevitable”, and that he only postponed it from its original date in 1997.  So they managed to change the future, just not enough.   Fair, but how does the T-850 know this?   Shouldn’t he be from the same altered future, where Judgement Day happened in 2003?  

Also, this movie introduces more Terminator varieties.   In the first movie, the T-800 is stated to be new in the future.   Then in the second movie, the T-800 admits that the T-1000 is much more sophisticated, because it’s an “advanced prototype.”   In this movie, the T-850 claims to be obsolete, and says the T-X is much more advanced.   So it sounds like Skynet was busily inventing better Terminators for these missions, except it shouldn’t have had time for that.   It lost the war and had to use the time machine as a last-ditch effort.  It’s weird enough that it used the time machine three times, but it shouldn’t have had years to do this.   The Human Resistance captured the time machine shortly after winning the war, right?   I really hope T4 explains some of this.

Roger Ebert called this movie “Essentially one long chase and fight, punctuated by comic, campy or simplistic dialogue."   The first 24 minutes are fairly dull, but once it gets rolling, it’s pretty fun to watch.    But he’s right.   When I watched all the DBZ movies in 2019, I realized that Movie 7 is just one big fight scene, with some slice of life stuff at the beginning to set things up.    T3′s basically the same, with very little else to occupy its time.   T1 had the relationship between Sarah and Kyle, and T2 had Sarah’s hangups and John’s bonding with “Uncle Bob”.   T3 really only has Kate and John hanging on for dear life as their protector drags them through the story.    It’s a fun chase, with lots of guns and explosions and breaking stuff, but there’s not much more to it.  

So what’s good about this movie?  What makes it really stand out?   Well, for openers, the T-X is pretty cool.  The T-1000 was going to be difficult to top, and I don’t think the T-X ever succeeded, but it wasn’t for lack of trying.   She has liquid metal on top of an endoskeleton, so she can disguise herself, but she can’t seep under doors and stuff like that.   Also, she has weapons built into her body, so she’s the only time traveler who could actually bring future weapons with her into the past.   Also, she can control machines, like when she hijacks a bunch of police cars and fire trucks to help her chase down John.   She’s ridiculously overpowered, and she does not give a fuck who knows it.  The previous Terminators at least attempted to keep a low profile, revealing themselves only when ready to attack, but the T-X just wreaks havoc all over the place.    She’s not worried about the authorities or a lack of firepower, or anything at all, so she’s free to execute her mission with reckless abandon. 

Second, I take some solace in John Connors personal crisis in this movie.  He was kind of chill about the whole thing in T2, because he got his mom back and he had a cool robot pal, and they seemed to have the whole Skynet problem figured out.     In this movie, Sarah’s dead, and he doesn’t know what to do with himself.  He can’t quite believe that Judgement Day won’t come, so he lives off the grid and tries to avoid everyone.   He doesn’t want the Future War to happen, but at the same time, his life has no purpose without it.   Later, he becomes despondent and says that he must not be the chosen one after all, because he’s no leader and he never was.  

Except, he is, and he has to be, and he becomes one at the end of the movie, when he finally accepts his fate.   There’s something very powerful about the shot of Kate holding his hand as he prepares to give orders to the other survivors on the radio.  They’re stuck in this dark future now, and they have to see it through together.  

I think, whenever I watched these movies before, that I never really “got” John Connor as a character.  In T2 he was a kid, so I just wrote him off.   He wasn’t John Connor yet, so it didn’t matter much.    In T3, he seemed extremely pathetic, and I took his lack of confidence at face value.   I thought he really wasn’t ready to lead, and he only ended up in that role by default.    But this time around, I see how in T2 he was the moral center of the good guy team.   Sarah was lashing out at everyone and the Terminator only cared about mission objectives, but John kept reminding everyone of the value of human life, and what they were all fighting for.   Even as a kid, he got “it” in a way that others didn’t.   In T3, he’s demoralized, but he still knows how to do this stuff, and how to lead.  He just doesn’t feel motivated until the final act of the movie.  

That didn’t stick with me when I first saw this movie in ‘03, but I’m older now, and less sure of myself than I used to be, and all the validation I get feels hollow and unconvincing.  Like John, I may be aware that I have the capacity to do things, but it doesn’t always feel like it’s enough.  That’s what T3 has that T2 doesn’t.   It’s that crisis of confidence that separates the two films, although it’s subtle enough that it’s easy to overlook. 

[something-tofightfor]

hey there! I just wanted to say I really like your stories! I also wanted to offer some constructive criticism to you because I enjoy your writing a lot and I think you're very talented. I've noticed in a lot of your writing, you trail off sentences (usually in dialogue but also in portions where the reader is thinking). While I know it's used for developing the atmosphere, it can be a little difficult to read continuously, feels a little stilted, and sometimes it's difficult to understand what someone is trying to say or what they're thinking (ex. "so that's why...." or "he never said....." not everyone is able to follow along with that same train of thought the character has and can't come to the same conclusion you are trying to lead them to.) I've noticed you use this a lot for the feeling that someone is having a difficult time sharing their feelings and being vulnerable. Again, this is in no way meant to make you feel bad! I just wanted to share what I've found while reading your work and what might help improve your storytelling in the future. 😊 thank you for all of your hard work and keep writing great stories!

Hey, anon! Thank you for sending this.

I know that the style is off-putting to some, and I understand that wholeheartedly. I’ve said here and on AO3 before that when I trail off mid sentence and it isn’t because a character is being interrupted, it’s because they’re unsure of what to say or think next, because it could be any number of things. I *want* readers to fill in their own blanks. i want them to imagine that the dialogue could have gone multiple ways. I want them to wonder what comes next.

I won’t ever leave you hanging entirely, though. The “missing” parts of sentences and speech and thoughts are never integral to the story, so if you can’t follow or figure out *exactly* what I was thinking as I wrote it, you aren’t going to miss out on an important plot point. A lot of times, other characters will jump in and speak, or the original person will continue the thought a sentence or two later, or I’ll even answer it with description in following sentences.

Because here’s the thing: people don’t always speak in full sentences, especially when they’re unsure of themselves and/or with people they know well - and that know them well. Full and formal sentences aren’t how people speak or think 100% of the time IRL, and so I reflect that in my writing. I think constantly spelling out full conversations and giving every sentence the same type of structure sounds and feels very unnatural, so I choose not to do it when I write stories. When I have thoughts, a lot of times they could (and do) lead in a bunch of different directions, and I want these reader characters to feel the same way - unsure, nervous, excited, scared … all of it.

I appreciate you sending this message and pointing it out - and I absolutely thank you for reading my work, but I can tell you that this stylistic choice within my writing won’t be disappearing any time soon. For example, in Magnetic, as reader and Din became more comfortable with each other, and got to know each other, it happens less. (At least in dialogue, thoughts are another thing entirely.) So the goal is to use these choices to show character growth and progression over time, which for me feels effective. The same goes for Buried, which is literally featuring a Reader character that is missing memories, and trails off in thought and speech when she does not know what comes next - or what happened in the past. She cannot fill in those blanks, and neither can Jack … And as the author, I can’t either because that spoils the whole story!

If this style of writing isn’t for you, I understand. And if you have to stop reading or unfollow me, I get that, too. Gotta curate your own experience on this site and on other social media to best suit your needs.

I have tried to use this method less with more recent works, but like I said, I won’t ever completely eliminate it, because it’s a part of how I write in the same way that flowery, poetic language or choosing to use no dialogue or writing in all short sentences are parts of the way other people write.

I hope you have a good night, and a good weekend!

[davidmann95]

So... Morrison’s 10 part interview on All-Star Superman, along with all other older Newsarama articles, just seem to have ceased to exist. One does not simply live without having those interviews available to reread... Can I find them anywhere else?

Rejoice! I finally borrowed a computer I could put my flash drive into, and emailed myself my copy of the Morrison interview. Here it is below the cut, copied and pasted direct from the source way back when, available again at last:

Three years, 12 issues, Eisners and countless accolades later, All Star Superman is finally finished. The out-of-continuity look at Superman’s struggle with his inevitable death was widely embraced by fans and pros as one of the best stories to feature the Man of Steel, and was a showcase for the talents of the creative team of Grant Morrison, Frank Quitely and Jamie Grant.

Now, Newsarama is proud to present an exclusive look back with Morrison at the series that took Superman to, pun intended, new heights. We had a lot of questions about the series...and Morrison delivered with an in-depth look into the themes, characters and ideas throughout the 12 issues. In fact, there was so much that we’re running this as an unprecedented 10-part series over the next two weeks – sort of an unofficial All Star Superman companion. It’s everything about All Star Superman you ever wanted to know, but were afraid to ask.

And of course there’s plenty of SPOILERS, so back away if you haven’t read the entire series.

Newsarama: Grant, tell us a little about the origin of the project.

Grant Morrison: Some of it has its roots in the DC One Million project from 1999. So much so, that some readers have come to consider this a prequel to DC One Million, which is fine if it shifts a few more copies! I’ve tried to give my own DC books an overarching continuity intended to make them all read as a more coherent body of work when I’m done.

Luthor’s “enlightenment” – when he peaks on super–senses and sees the world as it appears through Superman’s eyes – was an element I’d included in the Superman Now pitch I prepared along with Mark Millar, Tom Peyer and Mark Waid back in 1999. There were one or two of ideas of mine that I wanted to preserve from Superman Now and Luthor’s heart–stopping moment of understanding was a favorite part of the original ending for that story, so I decided to use it again here.

My specific take on Superman’s physicality was inspired by the “shamanic” meeting my JLA editor Dan Raspler and I had in the wee hours of the morning outside the San Diego comic book convention in whenever it was, ‘98 or ‘99.

I’ve told this story in more detail elsewhere but basically, we were trying to figure out how to “reboot” Superman without splitting up his marriage to Lois, which seemed like a cop–out. It was the beginning of the conversations which ultimately led to Superman Now, with Dan and I restlessly pacing around trying to figure out a new way into the character of Superman and coming up short...

Until we looked up to see a guy dressed as Superman crossing the train tracks. Not just any skinny convention guy in an ill–fitting suit, this guy actually looked like Superman. It was too good a moment to let pass, so I ran over to him, told him what we’d been trying to do and asked if he wouldn’t mind indulging us by answering some questions about Superman, which he did...in the persona and voice of Superman!

We talked for an hour and a half and he walked off into the night with his friend (no, it wasn’t Jimmy Olsen, sadly). I sat up the rest of the night, scribbling page after page of Superman notes as the sun came up over the naval yards.

My entire approach to Superman had come from the way that guy had been sitting; so easy, so confident, as if, invulnerable to all physical harm, he could relax completely and be spontaneous and warm. That pose, sitting hunched on the bollard, with one knee up, the cape just hanging there, talking to us seemed to me to be the opposite of the clenched, muscle-bound look the character sometimes sports and that was the key to Superman for me.

I met the same Superman a couple of times afterwards but he wasn’t Superman, just a nice guy dressed as Superman, whose name I didn’t save but who has entered into my own personal mythology (a picture has from that time has survived showing me and Mark Waid posing alongside this guy and a couple of young readers dressed as Superboy and Supergirl – it’s in the “Gallery” section at my website for anybody who can be bothered looking. This is the guy who lit the fuse that led to All Star Superman).

After the 1999 pitch was rejected, I didn’t expect to be doing any further work on Superman but sometime in 2002, while I was going into my last year on New X–Men, Dan DiDio called and asked if I wanted to come back to DC to work on a Superman book with Jim Lee.

Jim was flexing his artistic muscles again to great effect, and he wanted to do 12 issues on Superman to complement the work he was doing with Jeph Loeb on “Batman: Hush.” At the time, I wasn’t able to make my own commitments dovetail with Jim’s availability, but by then I’d become obsessed with the idea of doing a big Superman story and I’d already started working out the details.

Jim, of course, went on to do his 12 Superman issues as “For Tomorrow” with Brian Azzarello, so I found myself looking for an artist for what was rapidly turning into my own Man of Steel magnum opus, and I already knew the book had to be drawn by my friend and collaborator, Frank Quitely.

We were already talking about We3 and Superman seemed like a good meaty project to get our teeth into when that was done. I completely scaled up my expectations of what might be possible once Frank was on board and decided to make this thing as ambitious as possible.

Usually, I prefer to write poppy, throwaway “live performance” type superhero books, but this time, I felt compelled to make something for the ages – a big definitive statement about superheroes and life and all that, not only drawn by my favorite artist but starring the first and greatest superhero of them all.

The fact that it could be a non–continuity recreation made the idea even more attractive and more achievable. I also felt ready for it, in a way I don’t think I would have been in 1999; I finally felt “grown–up” enough to do Superman justice.

I plotted the whole story in 2002 and drew tiny colored sketches for all 12 covers. The entire book was very tightly constructed before we started – except that I’d left the ending open for the inevitable better and more focused ideas I knew would arise as the project grew into its own shape...and I left an empty space for issue 10. That one was intended from the start to be the single issue of the 12–issue run that would condense and amplify the themes of all the others. #10 was set aside to be the one–off story that would sum up anything anyone needed to know about Superman in 22 pages.

Not quite as concise an origin as Superman’s, but that’s how we got started.

NRAMA: When you were devising the series, what challenges did you have in building up this version of the Superman universe?

GM: I couldn’t say there were any particular challenges. It was fun. Nobody was telling me what I could or couldn’t do with the characters. I didn’t have to worry about upsetting continuity or annoying people who care about stuff like that.

I don’t have a lot of old comics, so my knowledge of Superman was based on memory, some tattered “70s books from the remains of my teenage collection, a bunch of DC “Best Of...” reprint editions and two brilliant little handbooks – “Superman in Action Comics” Volumes 1 and 2 – which reprint every single Action Comics cover from 1938 to 1988.

I read various accounts of Superman’s creation and development as a brand. I read every Superman story and watched every Superman movie I could lay my hands on, from the Golden Age to the present day. From the Socialist scrapper Superman of the Depression years, through the Super–Cop of the 40s, the mythic Hyper–Dad of the 50s and 60s, the questioning, liberal Superman of the early 70s, the bland “superhero” of the late 70s, the confident yuppie of the 80s, the over–compensating Chippendale Superman of the 90s etc. I read takes on Superman by Mark Waid, Mark Millar, Geoff Johns, Denny O’Neil, Jeph Loeb, Alan Moore, Paul Dini and Alex Ross, Joe Casey, Steve Seagle, Garth Ennis, Jim Steranko and many others.

I looked at the Fleischer cartoons, the Chris Reeve movies and the animated series, and read Alvin Schwartz’s (he wrote the first ever Bizarro story among many others) fascinating book – “An Unlikely Prophet” – where he talks about his notion of Superman as a tulpa, (a Tibetan word for a living thought form which has an independent existence beyond its creator) and claims he actually met the Man of Steel in the back of a taxi.

I immersed myself in Superman and I tried to find in all of these very diverse approaches the essential “Superman–ness” that powered the engine. I then extracted, purified and refined that essence and drained it into All Star’s tank, recreating characters as my own dream versions, without the baggage of strict continuity.

In the end, I saw Superman not as a superhero or even a science fiction character, but as a story of Everyman. We’re all Superman in our own adventures. We have our own Fortresses of Solitude we retreat to, with our own special collections of valued stuff, our own super–pets, our own “Bottle Cities” that we feel guilty for neglecting. We have our own peers and rivals and bizarre emotional or moral tangles to deal with.

I felt I’d really grasped the concept when I saw him as Everyman, or rather as the dreamself of Everyman. That “S” is the radiant emblem of divinity we reveal when we rip off our stuffy shirts, our social masks, our neuroses, our constructed selves, and become who we truly are.

Batman is obviously much cooler, but that’s because he’s a very energetic and adolescent fantasy character: a handsome billionaire playboy in black leather with a butler at this beck and call, better cars and gadgetry than James Bond, a horde of fetish femme fatales baying around his heels and no boss. That guy’s Superman day and night.

Superman grew up baling hay on a farm. He goes to work, for a boss, in an office. He pines after a hard–working gal. Only when he tears off his shirt does that heroic, ideal inner self come to life. That’s actually a much more adult fantasy than the one Batman’s peddling but it also makes Superman a little harder to sell. He’s much more of a working class superhero, which is why we ended the whole book with the image of a laboring Superman.

He’s Everyman operating on a sci–fi Paul Bunyan scale. His worries and emotional problems are the same as ours... except that when he falls out with his girlfriend, the world trembles.

Newsarama: Grant, what are some of your favorite moments from the 12 issues?

Grant Morrison: The first shot of Superman flying over the sun. The Cosmic Anvil. Samson and Atlas. The kiss on the moon. The first three pages of the Olsen story which, I think, add up to the best character intro I’ve ever written.

Everything Lex Luthor says in issue #5. Everything Clark does. The whole says/does Luthor/Superman dynamic as played out through Frank Quitely’s absolute mastery and understanding of how space, movement and expression combine to tell a story.

Superboy and his dog on the moon – that perfect teenage moment of infinite possibility, introspection and hope for the future. He’s every young man on the verge of adulthood, Krypto is every dog with his boy (it seemed a shame to us that Krypto’s most memorable moment prior to this was his death scene in “Whatever Happened To The Man of Tomorrow.” Quitely’s scampering, leaping, eager and alive little creature is how I’d prefer to imagine Krypto the Superdog and conjures finer and more subtle emotions).

Bizarro–Home, with all of Earth’s continental and ocean shapes but reversed. The page with the first appearance of Zibarro that Frank has designed so the eye is pulled down in a swirling motion into the drain at the heart of the image, to make us feel that we’re being flushed in a cloacal spiral down into a nihilistic, existential sink. Frank gave me that page as a gift, and it became weirdly emblematic of a strange, dark time in both our lives.

The story with Bar–El and Lilo has a genuine chill off ammonia and antiseptic off it, which makes it my least favorite issue of the series, although I know a lot of people who love it. It’s about dying relatives, obligations, the overlit overheated corridors between terminal wards, the thin metallic odors of chemicals, bad food and fear. Preparation for the Phantom Zone.

Superman hugging the poor, hopeless girl on the roof and telling us all we’re stronger than we think we are.

Joe Shuster drawing us all into the story forever and never–ending.

Nasthalthia Luthor. Frank and Jamie’s final tour of the Fortress, referencing every previous issue on the way, in two pages.

All of issue #10 (there’s a single typo in there where the time on the last page was screwed up – but when we fix that detail for the trade I’ll be able to regard this as the most perfectly composed superhero story I’ve ever written).

I don’t think I’ve ever had a smoother, more seamless collaborative process.

NRAMA: The story is very complete unto itself, but are there any new or classic characters you’d like to explore further? If so, which ones and why?

GM: I’d happily write more Atlas and Samson. I really like Krull, the Dino–Czar’s wayward son, and his Stalinist underground empire of “Subterranosauri.” I could write a Superman Squad comic forever. I’d love to write the “Son of Superman” sequel about Lois and Clark’s super test tube baby.

But...I think All Star is already complete, without sequels. You read that last issue and it works because you know you’re never going to see All Star Superman again. You’ll be able to pick up Superman books, but they won’t be about this guy and they won’t feel the same. He really is going away. Our Superman is actually “dying” in that sense, and that adds the whole series a deeper poignancy.

NRAMA: Aside from the Bizarro League, you never really introduce other DC superheroes into the story. Why did you make this choice?

GM: I wanted the story to be about the mythic Superman at the end of his time. It’s clear from the references that he has or more likely has had a few super–powered allies, but that they’re no longer around or relevant any more.

For the context of this story I wanted the super–friends to be peripheral, like they were in the old comics. The Flash? Green Lantern? They represent Superman’s “old army buddies,” or your dad’s school friends. Guys you’ve sort of heard of, who used to be more important in the old man’s life than they are now.

NRAMA: Some readers were confused as to how the “Twelve Labors” broke down, though others have pointed out that Superman’s actions are more reflective of the Stations of the Cross (I note there’s a “Station Café” in the background of issue #12). Could you break down the Twelve Labors, or, if the cross theory is true, how the storyline reflects the Stations?

GM: The 12 Labors of Superman were never intended as an isomorphic mapping onto the 12 Labors of Hercules, or for that matter, the specific Stations of the Cross, of which there are 14, I believe. I didn’t even want to do one Labor per issue, so it deliberately breaks down quite erratically through the series for reasons I’ll go into (later).

Yes, there are correspondences, but that’s mostly because we tried to create for our Superman the contemporary “superhero” version of an archetypal solar hero journey, which naturally echoes numerous myths, legends and religious parables.

At the same time, we didn’t want to do an update or a direct copy of any myth you’d seen before, so it won’t work if you try to find one specific mythological or religious “plan” to hang the series on; James Joyce’s honorable and heroic refutation of the rule aside, there’s nothing more dead and dull than an attempt to retell the Odyssey or the Norse sagas scene by scene, but in a modern and/or superhero setting.

For future historians and mythologizers, however, the 12 Labors of Superman may be enumerated as follows:

1. Superman saves the first manned mission to the sun.
2. Superman brews the Super–Elixir.
3. Superman answers the Unanswerable Question.
4. Superman chains the Chronovore. 
5. Superman saves Earth from Bizarro–Home.
6. Superman returns from the Underverse.
7. Superman creates Life.
8. Superman liberates Kandor/cures cancer.
9. Superman defeats Solaris.
10. Superman conquers Death.
11. Superman builds an artificial Heart for the Sun.
12.Superman leaves the recipe/formula to make Superman 2.

And one final feat, which typically no–one really notices, is that Lex Luthor delivers his own version of the unified field haiku – explaining the underlying principles of the universe in fourteen syllables – which the P.R.O.J.E.C.T. G–Type philosopher from issue 4 had dedicated his entire life to composing!

You may notice also that the Labors take place over a year – with the solar hero’s descent into the darkness and cold of the Underverse occurring at midwinter/Christmas time (that’s also the only point in the story where we ever see Metropolis at night).

It can also be seen as the sun’s journey over the course of a day – we open in blazing sunshine but halfway through the book, at the end of issue #5, in fact, the solar hero dips below the horizon and begins the night–journey through the hours of darkness and death, before his triumphant resurrection at dawn. That’s why issue 5 ends with the boat to the Underworld and 6 begins with the moon. Clark Kent is crossing the threshold into the subconscious world of memory, shadows, death and deep emotions.

Although they can often have bizarre resonances, specific elements, like the Station Café, are usually put there by Frank Quitely, and are not necessarily secret Dan Brown–style keys to unlocking the mysteries. I think there might be a Station Café opposite the studio where Frank Quitely works and the “SAPIEN” sign on another storefront is a reference to Frank’s studio mate, Dave Sapien. At least he’s not filling the background with dirty words like he used to, given any opportunity

NRAMA: For that matter, do the Twelve Labors matter at all? They seem so purposely ill–defined. They seem more like misdirection or a MacGuffin than anything that needs to be clearly delineated.

GM: They matter, of course, but the 12 Labors idea is there to show that, as with all myth, the systematic ordering of current events into stories, tales, or legends occurs after the fact.

I’m trying to suggest that only in the future will these particular 12 feats, out of all the others ever, be mythologized as 12 Labors. I suppose I was trying to say something about how people impose meaning upon events in retrospect, and that’s how myth is born. It’s hindsight that provides narrative, structure, meaning and significance to the simple unfolding of events. It’s the backward glance that adds all the capital letters to the list above.

Even Superman isn”t sure how many Labors he’s performed when we see him mulling it over in issue 10. 
When you watched it happening, it seemed to be Superman just doing his thing. In the future it’s become THE 12 LABORS OF SUPERMAN!

NRAMA: And on a completely ridiculous note: All–Star Superman is perhaps the most difficult–to–abbreviate comic title since Preacher: Tall in the Saddle. Did you realize this going in?

GM: Going into what? Going into ASS itself? In the sense of how did I feel as I slowly entered ASS for the first time?

It never crossed my mind...

Newsarama: I’d like to know a little more about Leo Quintum and his role in the story. He seems like a bit of an outgrowth of the likes of Project Cadmus and Emil Hamilton, but in a more fantastical, Willy Wonka sense.

Grant Morrison: Yeah, he was exactly as you say, my attempt to create an updated take on the character of “Superman’s scientist friend” – in the vein of Emil Hamilton from the animated show and the ‘90s stories. Science so often goes wrong in Superman stories, and I thought it was important to show the potential for science to go right or to be elevated by contact with Superman’s shining positive spirit.

I was thinking of Quintum as a kind of “Man Who Fell To Earth” character with a mysterious unearthly background. For a while I toyed with the notion that he was some kind of avatar of Lightray of the New Gods, but as All Star developed, that didn’t fit the tone, and he was allowed to simply be himself.

Eventually it just came down to simplicity. Leo Quintum represents the “good” scientific spirit – the rational, enlightened, progressive, utopian kind of scientist I figured Superman might inspire to greatness. It was interesting to me how so many people expected Quintum to turn out bad at the end. It shows how conditioned we are in our miserable, self–loathing, suspicious society to expect the worst of everyone, rather than hope for the best. Or maybe it’s just what we expect from stories.

Having said that, there is indeed a necessary whiff of Lucifer about Quintum. His name, Leo Quintum, conjures images of solar force, lions and lightbringers and he has elements of the classic Trickster figure about him. He even refers to himself as “The Devil Himself” in issue #10.

What he’s doing at the end of the story should, for all its gee–whiz futurity, feel slightly ambiguous, slightly fake, slightly “Hollywood.” Yes, he’s fulfilling Superman’s wishes by cloning an heir to Superman and Lois and inaugurating a Superman dynasty that will last until the end of time – but he’s also commodifying Superman, figuring out how it’s done, turning him into a brand, a franchise, a bigger–and–better “revamp,” the ultimate coming attraction, fresher than fresh, newer than new but familiar too. Quintum has figured out the “formula” for Superman and improved upon it.

And then you can go back to the start of All Star Superman issue #1 and read the “formula” for yourself, condensed into eight words on the first page and then expanded upon throughout the story! The solar journey is an endless circle naturally. A perfect puzzle that is its own solution.

In one way, Quintum could be seen to represent the creative team, simultaneously re–empowering a pure myth with the honest fire of Art...while at the same time shooting a jolt of juice through a concept that sells more “S” logo underpants and towels than it does comic books. All tastes catered!

I have to say that the Willy Wonka thing never crossed my mind until I saw people online make the comparison, which seems quite obvious now. Quintum dresses how I would dress if I was the world’s coolest super–scientist. What’s up with that?

NRAMA: Was Zibarro inspired by the Bizarro World story where the Bizarro–Neanderthal becomes this unappreciated Casanova–type?

GM: Don’t know that one, but it sounds like a scenario I could definitely endorse!

Zibarro started out as a daft name sicked–up by my subconscious mind, which flowered within moments into the must–write idea of an Imperfect Bizarro. What would an imperfect version of an already imperfect being be like?

Zibarro.

NRAMA: I’d like to know more about Zibarro – what’s the significance of his chronicling Bizarro World through poetry?

GM: It’s up to you. I see Zibarro partly as the sensitive teenager inside us all. He’s moody, horribly self–aware and uncomfortable, yet filled with thoughts of omnipotence and agency. He’s the absolute center of his tiny, disorganized universe. He’s playing the role of sensitive, empathic poet but at the same time, he’s completely self–absorbed.

When he says to Superman “Can you even imagine what it’s like to be so different. So unique. So unlike everyone else?” he doesn’t even wait for Superman’s reply. He doesn’t care about anyone’s feelings but his own, ultimately.

NRAMA: The character is very close to Superman, so what does it say that a nonpowered version on a savage world would focus his energy through that medium? Also, does Zibarro’s existence show how Superman is able to elevate even the backwards Bizarros through his very nature?

GM: All of the above. And maybe he writes his totally subjective poetry as a reflection of Clark Kent’s objective reporter role. The suppressed, lyrical, wounded side of Superman perhaps? The Super–Morrissey? Bizarro With The Thorn In His Side?

But he’s also Bizarro–Home’s “mistake” (or so it seems to him, even though he’s as natural an expression of the place as any of the other Bizarro creatures who grow like mold across the surface of their living planet). He feels excluded, a despised outsider, and yet that position is what defines his cherished self–image. He expresses himself through poetry because to him the regular Bizarro language is barbaric, barely articulate and guttural. And they all think he’s talking crap anyway.

It seemed to make sense that an interesting opposite of Bizarro speech might be flowery “woe is me” school Poetry Society odes to the sunset in a misunderstood heart. He’s still a Bizarro though, which makes him ineffectual. His tragedy is that he knows he’s fated to be useless and pointless but craves so much more.

NRAMA: Zibarro also represents a recurrent theme in the story, of Superman constantly facing alternate versions of himself – Bar–El, Samson and Atlas, the Superman Squad, even Luthor by the end. Notably, Hercules is absent, though Superman’s doing his Twelve Labors. With the mythological adventurers in particular, was this designed to equate Superman with their legend, to show how his character is greater than theirs, or both?

GM: In a way, I suppose. He did arm–wrestle them both, proving once and for all Superman’s stronger than anybody! And remember, these characters, along with Hercules, used to appear regularly in Superman books as his rivals. I thought they made better rivals than, say, Majestic or Ultraman because people who don’t read comics have heard of Hercules, Samson and Atlas and understand what they represent.

For that particular story, I wanted to see Superman doing tough guy shit again, like he did in the early days and then again in the 70s, when he was written as a supremely cocky macho bastard for a while. I thought a little bit of that would be an antidote to the slightly soppy, Super–Christ portrayal that was starting to gain ground.

Hence Samson’s broken arm, twisted in two directions beyond all repair. And Atlas in the hospital. And then Superman’s got his hot girlfriend dressed like a girl from Krypton and they’re making out on the moon (the original panel description was of something more like the famous shot of Burt Lancaster and Deborah Kerr kissing in the surf from “From Here To Eternity.” Frank’s final choice of composition is much more classically pulp–romantic and iconic than my down and dirty rumble in the moondirt would have been, I’m glad to say).

Newsarama: Tell us about some of the thinking behind the new antagonists you created for this series (at least the ones you want to talk about...): First up: Krull and the Subterranosaurs...

Grant Morrison: We wanted to create some throwaway new characters which would be designed to look as if they were convincing long–term elements of the Superman legend.

We were trying to create a few foes who had a classic feel and a solid backstory that could be explored again or in depth. Even if we never went back to these characters, we wanted them to seem rich enough to carry their own stories.

With Krull, we figured a superhuman character like Superman can always use a powerful “sub–human” opponent: a beast, a monster, a savage with the power to destroy civilization. For years I’ve had the idea that the familiar “gray aliens” might “actually” be evolved biped dinosaur descendants, the offspring of smart–thinking lizards which made their way to the warm regions at the Earth’s core.

I imagined these brutes developing their own technology, their own civilization, and then finally coming to the surface to declare bloody war on the mammalian usurpers! It seemed like we could develop this idea into the Krull backstory and suggest a whole epic conflict in a few panels.

Dom Regan, the Glasgow artist and DC colorist, saw the original green skin Jamie Grant had done for Krull, and suggested we make him red instead. Jamie reset his color filters and that was the moment Krull suddenly looked like a real Superman foe.

The red skin marked him out as unique, different and dangerous, even among his own species. It had echoes of Jack Kirby’s Devil Dinosaur that played right into the heart of the concept. A good design became a great design and the whole story of who Krull was – his twisted relationship with his father the Dino–Czar, his monstrous ambitions – came together in that first picture.

The society was fleshed out in the script even though we see only one panel of it – a gloomy, heavy, “Soviet” underworld of walled iron cities, cold blood and deadly intrigue. War–Barges that could sail on the oceans of heated steam at the center of the Earth. A Stalinist authoritarian lizard world where missing person cases were being taken to work and die as slaves in hellish underworld conditions.

NRAMA: Mechano–Man?

GM: An attempt to pre–imagine a classic, archetypal Superman foe, which started with another simple premise – how about a giant robot villain? But not just any giant robot – this is a rampaging machine with a raging little man inside.

Giving him a bitter, angry, scrawny loser as a pilot turned Mechano–Man into a much more extreme and pathological expression of the Man of Steel/Mild–Mannered Reporter dynamic, and added a few interesting layers onto an 8–panel appearance.

NRAMA: The Chronovore – a very disturbing creation, that one.

GM: The Chronovore was mentioned in passing in DC 1,000,000 and would have been the monster in my aborted Hypercrisis series idea. It took a long time to get the right design for the beast because it’s meant to be a 5–D being that we only ever see in 4–D sections. It had to work as a convincing representation of something much bigger that we’re seeing only where it interpenetrates our 4–D space-time continuum.

Imagine you’re walking along with a song in your teenage heart, then suddenly the Chronovore appears, takes bite out of your life, and you arrive at your girlfriend’s house aged 76, clutching a cell phone and a wilted bouquet.

NRAMA: One more obscure run that I was happy to see referenced in this was the use of Nasty from the old Mike Sekowsky Supergirl stories. What made you want to use this character?

GM: I remembered her from the old comics, and felt her fashion–y look could be updated very easily into the kind of fetish club thing I’ve always been partial to.

She seemed a cool and sexy addition to the Luthor plot. The set–up, where Lex has a fairly normal sister who hates how her wayward brother is such a bad influence on her brilliant daughter, is explosive with character potential.

They need to bring Nasty back to mainstream continuity. Geoff! They all want it and you know you never let them down!

NRAMA: Speaking of Mike Sekowsky, I’m curious about his influence on your work. I have an odd fascination with all the ideas and stories he was tossing around in the late 1960s and early 1970s – Jason’s Quest, Manhunter 2070, the I–Ching tales – and many of the characters he worked on, from the B”Wana Beast to the Inferior Five to Yankee Doodle (in Doom Patrol), have shown up in your work. The Bizarro Zoo in issue #10 is even slightly reminiscent of the Beast’s merged animals.

GM: Those were all comics that were around when I was a normal kid, prior to the obsessive collecting fan phase of my isolated teenage years. They clearly inspired me in some way, as you say, but certainly not consciously. I’d never have considered myself a particular fan of Mike Sekowsky’s work, but as you say, I’ve incorporated a lot of his ideas into the DC Universe work I’ve done. Hmm. Interesting.

While I’m at it, I should also say something about Samson and Atlas, halfway between old characters and new.

Samson, Atlas and Hercules were classical mainstays of old Superman covers, tangling with Superman in all those Silver Age stories that happened before he learned from his friends at Marvel that it was possible to fight other superheroes for fun and profit, so I decided to completely “re–vamp” the characters in the manner of superhero franchises. Marvel has the definitive Hercules for me, so I left him out of the mix and concentrated on Atlas and Samson.

Atlas was re–imagined as a mighty but restless and reckless young prince of the New Mythos – a society of mega–beings playing out their archetypal dramas between New Elysium and Hadia, with ordinary people caught in the middle – and Superman.

Essentially good–hearted, Atlas would have been the newbie in a “team” with Skyfather Xaoz!, Heroina, Marzak and the others. He has a bullish, adolescent approach to life. He drinks and plunges himself into ill–advised adventures to ease his naturally gloomy “weighed down by the world” temperament.

You can see it all now. The backstory suggested an unseen, Empyrean New Gods–type series from a parallel universe. What if, when Jack Kirby came to DC from Marvel in 1971, he’d followed up his sci–fi Viking Gods saga at Marvel, with a dimension–spanning epic rooted in Greek mythology? New Gods meets Eternals drawn by Curt Swan/Murphy Anderson? That was Atlas.

Samson, I decided would be a callback to the British newspaper strip “Garth.” Although you may already be imagining a daily strip about the exploits of time–tossed The Boys writer, Garth Ennis, it was actually about a blonde Adonis type who bounced around the ages having mildly horny, racy adventures.

(Go look him up then return the wiser before reading on, so I don’t have to explain anymore about this bastard – he’s often described as “the British Superman,” but oh...my arse! I hated meathead, personality–singularity Garth...but we all grew up with his meandering, inexplicable yet incredibly–drawn adventures and some of it was quite good when you were a little lad because he was always shagging ON PANEL with the likes of a bare–breasted cave girl or gauze–draped Helen of Troy.

(Unlike Superman, you see, the top British strongman liked to get naked. Lots naked. Naked in every time period he could get naked in, which was all of them thanks to the miracle of his bullshit powers.

(Imagine Doctor Who buff, dumb and naked all the time – Russell, I’ve had an idea!!!! – and that’s Garth in a nutshell.

(Sorry, I know I’m going on and the average attention span of anyone reading stuff on the Internet amounts to no more than a few paragraphs, but basically, Garth was always getting naked. In public, in family newspapers. Bollock naked. Let’s face it, patriotic Americans, have you ever seen Superman’s arse?

Newsarama Note: Well, there was Baby Kal-El in the 1978 film...

(Brits, hands up who still remember the man, and have you ever not seen Garth’s arse? Do you not, in fact, have a very clear image of it in your head, as drawn by Martin Asbury perhaps? In mine, Garth’s pulling aside a flimsy curtain to gaze at the pyramids with Cleopatra buck naked in foreground ogling his rock hard glutes...).

Anyway, Samson, I decided, was the Hebrew version of Garth and he would have his own mad comic that was like an American version of Garth. I saw the Bible hero plucked from the desert sands by time–travelling buffoons in search of a savior. Introduced to all the worst aspects of future culture and, using his stolen, erratic Chrono–Mobile, Samson became a time–(and space) traveling Soldier of Fortune, writing wrongs, humping princesses, accumulating and losing treasure etc. Like a science fiction Conan. Meets Garth.

Fortunately, you’ll never see any of these men ever again.

Newsarama: How have your perceptions of Superman and his supporting characters evolved since the Superman 2000 pitch you did with Mark Waid, Mark Millar and Tom Peyer? The Superman notions seem almost identical, but Luthor is very different here than in that pitch, and so is Clark Kent. Did you use some aspects of your original pitch, or have you just changed his mind on how to portray these characters since?

Grant Morrison: A little of both. I wanted to approach All Star Superman as something new, but there were a couple of specific aspects from the Superman 2000 pitch (as I mentioned earlier, it was actually called Superman Now, at least in my notebooks, which is where the bulk of the material came from) that I felt were definitely worth keeping and exploring.

I can’t remember much about Luthor from Superman Now, except for the ending. By the time I got to All Star Superman, I’d developed a few new insights into Luthor’s character that seemed to flesh him out more. Luthor’s really human and charismatic and hateful all the same time. He’s the brilliant, deluded egotist in all of us. The key for me was the idea that he draws his eyebrows on. The weird vanity of that told me everything I needed to know about Luthor.

I thought the real key to him was the fact that, brilliant as he is, Luthor is nowhere near as brilliant as he wants to be or thinks he is. For Luthor, no praise, no success, no achievement is ever enough, because there’s a big hungry hole in his soul. His need for acknowledgement and validation is superhuman in scale. Superman needs no thanks; he does what he does because he’s made that way. Luthor constantly rails against his own sense of failure and inadequacy...and Superman’s to blame, of course.

I’ve recently been re–thinking Luthor again for a different project, and there’s always a new aspect of the character to unearth and develop.

NRAMA: This story makes Superman and Lois’ relationship seem much more romantic and epic than usual, but this one also makes Superman more of the pursuer. Lois seems like more of an equal, but also more wary of his affections, particularly in the black–and–white sequence in issue #2.

She becomes this great beacon of support for him over the course of the series, but there is a sense that she’s a bit jaded from years of trickery and uncomfortable with letting him in now that he’s being honest. How, overall, do you see the relationship between Superman and Lois?

GM: The black-and-white panels shows Lois paranoid and under the influence of an alien chemical, but yes, she’s articulating many of her very real concerns in that scene.

I wanted her to finally respond to all those years of being tricked and duped and led to believe Superman and Clark Kent were two different people. I wanted her to get her revenge by finally refusing to accept the truth.

It also exposed that brilliant central paradox in the Superman/Lois relationship. The perfect man who never tells a lie has to lie to the woman he loves to keep her safe. And he lives with that every day. It’s that little human kink that really drives their relationship.

NRAMA: Jimmy Olsen is extremely cool in this series – it’s the old “Mr. Action” idea taken to a new level. It’s often easy to write Jimmy as a victim or sycophant, but in this series, he comes off as someone worthy of being “Superman’s Pal” – he implicitly trusts Superman, and will take any risk to get his story. Do you see this version of Jimmy as sort of a natural evolution of the version often seen in the comics?

GM: It was a total rethink based on the aspects of Olsen I liked, and playing down the whole wet–behind–the–ears “cub reporter” thing. I borrowed a little from the “Mr. Action” idea of a more daredevil, pro–active Jimmy, added a little bit of Nathan Barley, some Abercrombie & Fitch style, a bit of Tintin, and a cool Quitely haircut.

Jimmy was renowned for his “disguises” and bizarre transformations (my favorite is the transvestite Olsen epic “Miss Jimmy Olsen” from Jimmy Olsen #95, which gets a nod on the first page of our Jimmy story we did), so I wanted to take that aspect of his appeal and make it part of his job.

I don’t like victim Jimmy or dumb Jimmy, because those takes on the character don’t make any sense in their context. It seemed more interesting see what a young man would be like who could convincingly be Superman’s “pal.” Someone whose company a Superman might actually enjoy. That meant making Jimmy a much bigger character: swaggering but ingenuous. Innocent yet worldly. Enthusiastic but not stupid.

My favorite Jimmy moment is in issue #7 when he comes up with the way to defeat the Bizarro invasion by using the seas of the Bizarro planet itself as giant mirrors to reflect toxic – to Bizarros – sunlight onto the night side of the Earth. He knows Superman can actually take crazy lateral thinking like this and put it into practice.

NRAMA: Perry White has a few small–but–key scenes, particularly his address to his staff in issue #1 and standing up to Luthor in issue #12. I’d like to hear more about your thoughts on this character.

GM: As with the others, my feelings are there on the page. Perry is Clark’s boss and need only be that and not much more to play his role perfectly well within the stories. He’s a good reminder that Superman has a job and a boss, unlike that good–for–nothing work-shy bastard Batman. Perry’s another of the series’ older male role models of integrity and steadfastness, like Pa Kent.

NRAMA: There’s a sense in the Daily Planet scenes and with Lois’s spotlight issues that everyone knows Clark is Superman, but they play along to humor him. The Clark disguise comes off as very obvious in this story. Do you feel that the Planet staff knows the truth, or are just in a very deep case of denial, like Lex?

GM: If I had to say for sure, I think Jimmy Olsen worked it out a long time ago, and simply presumes that if Superman has a good reason for what he’s doing, that’s good enough for Jimmy.

Lois has guessed, but refuses to acknowledge it because it exposes her darkest flaw – she could never love Clark Kent the way she loves Superman.

NRAMA: Also, the Planet staff seems awfully nonchalant at Luthor’s threats. Are they simply used to being attacked by now?

GM: Yes. They’re a tough group. They also know that Superman makes a point of looking out for them, so they naturally try to keep Luthor talking. They know he loves to talk about himself and about Superman. In that scene, he’s almost forgotten he even has powers, he’s so busy arguing and making points. He keeps doing ordinary things instead of extraordinary things.

NRAMA: The running gag of Clark subtly using his powers to protect unknowing people is well done, but I have to admit I was confused by the sequence near the end of issue #1. Was that an el–train, and if so, why was it so close to the ground?

GM: It’s a MagLev hover–train. Look again, and you’ll see it’s not supported by anything. Hover–trains help ease congestion in busy city streets! Metropolis is the City of Tomorrow, after all.

NRAMA: And there’s the death of Pa Kent. Why do you feel it’s particularly important to have Pa and not both of the Kents pass away?

GM: I imagined they had both passed away fairly early in Superman’s career, but Ma went a few years after Pa. Also, because the book was about men or man, it seemed important to stress the father/son relationships. That circle of life, the king is dead, long live the king thing that Superman is ultimately too big and too timeless to succumb to.

NRAMA: There is a real touch of Elliott S! Maggin’s novels in your depiction of Luthor – someone who is just so obsessive–compulsive about showing up Superman that he accomplishes nothing in his own life. He comes across as a showman, from his rehearsed speech in issue #1 to his garish costume in the last two issues, and it becomes painfully apparent that he wants to usurp Superman because he just can’t be happy with himself. What defeats him is actually a beautiful gift, getting to see the world as Superman does, and finally understanding his enemy.

That’s all a lead–in to: What previous stories that defined Luthor for you, and how did you define his character? What appeals to you about writing him?

GM: The Marks Waid and Millar were big fans of the Maggin books, and may have persuaded me to read at least the first one but I’m ashamed to say can’t remember anything about it, other than the vague recollection of a very humane, humanist take on Superman that seemed in general accord with the pacifist, hedonistic, between–the–wars spirit of the ‘90s when I read it. It was the ‘90s; I had other things on my mind and in my mind.

I like Maggin’s “Must There Be A Superman?” from Superman #247, which ultimately poses questions traditional superhero comic books are not equipped to answer and is one of the first paving stones in the Yellow Brick Road that leads to Watchmen and beyond, to The Authority, The Ultimates etc. Everyone still awake, still reading this, should make themselves familiar with “Must There Be A Superman?” – it’s a milestone in the development of the superhero concept.

However, the story that most defines Luthor for me turns out to be, as usual, a Len Wein piece with Curt Swan/Murphy Anderson– Superman #248. This blew me away when I was a kid. Lex Luthor cares about humanity? He’s sorry we all got blown up? The villain loves us too? It’s only Superman he really hates? Genius. Big, cool adult stuff.

The divine Len makes Lex almost too human, but it was amazing to see this kind of depth in a character I’d taken for granted as a music hall villain.

I also love the brutish Satanic, Crowley–esque, Golden Age Luthor in the brilliant “Powerstone” Action Comics #47 (the opening of All Star #11 is a shameless lift from “Powerstone”, as I soon realised when I went back to look. Blame my...er...photographic memory...cough).

And I like the Silver Age Luthor who only hates Superman because he thinks it’s Superboy’s fault he went bald. That was the most genuinely human motivation for Luthor’s career of villainy of all; it was Superman’s fault he went bald! I can get behind that.

In the Silver Age, baldness, like obesity, old age and poverty, was seen quite rightly as a crippling disease and a challenge which Superman and his supporting cast would be compelled to overcome at every opportunity! Suburban “50s America versus Communist degeneracy? You tell me.

I like elements of the Marv Wolfman/John Byrne ultra–cruel and rapacious businessman, although he somewhat lacks the human dimension (ultimately there’s something brilliant about Luthor being a failed inventor, a product of Smallville/Dullsville – the genius who went unnoticed in his lifetime, and resorted to death robots in chilly basements and cellars. Luthor as geek versus world). I thought Alan Moore’s ruthlessly self–assured “consultant” Luthor in Swamp Thing was an inspired take on the character as was Mark Waid’s rage–driven prodigy from Birthright.

I tried to fold them all into one portrayal. I see him as a very human character – Superman is us at our best, Luthor is us when we’re being mean, vindictive, petty, deluded and angry. Among other things. It’s like a bipolar manic/depressive personality – with optimistic, loving Superman smiling at one end of the scale and paranoid, petty Luthor cringing on the other.

I think any writer of Superman has to love these two enemies equally. We have to recognize them both as potentials within ourselves. I think it’s important to find yourself agreeing with Luthor a bit about Superman’s “smug superiority” – we all of us, except for Superman, know what it’s like to have mean–spirited thoughts like that about someone else’s happiness. It’s essential to find yourself rooting for Lex, at least a little bit, when he goes up against a man–god armed only with his bloody–minded arrogance and cleverness.

Even if you just wish you could just give him a hug and help him channel his energies in the right direction, Luthor speaks for something in all of us, I like to think.

However he’s played, Luthor is the male power fantasy gone wrong and turned sour. You’ve got everything you want but it’s not enough because someone has more, someone is better, someone is cleverer or more handsome.

 Newsarama: Grant, a recurring theme throughout the book is the effect of small kindness – how even the likes of Steve Lombard are capable of decency. And Superman gets the key to saving himself by doing something that any human being could do, offering sympathy to a person about to end it all.

Grant Morrison: Completely...the person you help today could be the person who saves your life tomorrow.

NRAMA: The character actions that make the biggest difference, from Zibarro’s sacrifice to Pa’s influence on Superman, are really things that any normal, non-powered person could do if they embrace the best part of their humanity. The last page of issue #12 teases the idea that Superman’s powers could be given to all mankind, but it seems as though the greatest gift he has given them is his humanity. How do you view Superman’s fate in the context of where humanity could go as a species?

GM: I see Superman in this series as an Enlightenment figure, a Renaissance idea of the ideal man, perfect in mind, body and intention.

A key text in all of this is Pico’s ‘Oration On The Dignity of Man’ (15c), generally regarded as the ‘manifesto’ of Renaissance thought, in which Giovanni Pico Della Mirandola laid out the fundamentals of what we tend to refer to as ’Humanist’ thinking.

(The ‘Oratorio’ also turns up in my British superhero series Zenith from 1987, which may indicate how long I’ve been working towards a Pico/Superman team-up!)

At its most basic, the ‘Oratorio’ is telling us that human beings have the unique ability, even the responsibility, to live up to their ‘ideals’. It would be unusual for a dog to aspire to be a horse, a bird to bark like a dog, or a horse to want to wear a diving suit and explore the Barrier Reef, but people have a particular gift for and inclination towards imitation, mimicry and self-transformation. We fly by watching birds and then making metal carriers that can outdo birds, we travel underwater by imitating fish, we constantly look to role models and behavioral templates for guidance, even when those role models are fictional TV or, comic, novel or movie heroes, just like the soft, quick, shapeshifty little things we are. We can alter the clothes we wear, the temperature around us, and change even our own bodies, in order to colonize or occupy previously hostile environments. We are, in short, a distinctively malleable and adaptable bunch.

So, Pico is saying, if we live by imitation, does it not make sense that we might choose to imitate the angels, the gods, the very highest form of being that we can imagine? Instead of indulging the most brutish, vicious, greedy and ignorant aspects of the human experience, we can, with a little applied effort, elevate the better part of our natures and work to express those elements through our behavior. To do so would probably make us all feel a whole lot better too. Doing good deeds and making other people happy makes you feel totally brilliant, let’s face it.

So we can choose to the astronaut or the gangster. The superhero or the super villain. The angel or the devil. It’s entirely up to us, particularly in the privileged West, how we choose to imagine ourselves and conduct our lives.

We live in the stories we tell ourselves. It’s really simple. We can continue to tell ourselves and our children that the species we belong to is a crawling, diseased, viral cancer smear, only fit for extinction, and let’s see where that leads us.

We can continue to project our self-loathing and narcissistic terror of personal mortality onto our culture, our civilization, our planet, until we wreck the promise of the world for future generations in a fit of sheer self-induced panic...

...or we can own up to the scientific fact that we are all physically connected as parts of a single giant organism, imagine better ways to live and grow...and then put them into practice. We can stop pissing about, start building starships, and get on with the business of being adults.

The ’Oratorio’ is nothing less than the Shazam!, the Kimota! for Western Culture and we would do well to remember it in our currently trying times.

The key theme of the ‘Dark Age’ of comics was loss and recovery of wonder - McGregor’s Killraven trawling through the apocalyptic wreckage of culture in his search for poetry, meaning and fellowship, Captain Mantra, amnesiac in Robert Mayer’s Superfolks, Alan Moore’s Mike Maxwell trudging through the black and white streets of Thatcher’s Britain, with the magic word of transformation burning on the tip of his tongue.

My own work has been an ongoing attempt to repeat the magic word over and over until we all become the kind of superheroes we’d all like to be. Ha hah ha.

 Newsarama: The structure of the 12 issues involves both Superman’s 12 labors and his impending death. Do you feel the threat of his demise brings out the best in Superman’s already–high character, or did you intend it more as a window for the audience to understand how he sees the world?

Grant Morrison: In trying to do the “big,” ultimate Superman story, we wanted to hit on all the major beats that define the character – the “death of Superman” story has been told again and again and had to be incorporated into any definitive take. Superman’s death and rebirth fit the sun god myth we were establishing, and, as you say, it added a very terminal ticking clock to the story.

NRAMA: When we talked earlier this year, we discussed the neurotic quality of the Silver Age stories. Looking at the series as a whole, you consistently invert this formula. Superman is faced with all these crises that could be seen as personifying his neuroses, but for the most part he handles them with a level head and comes across as being very at peace with himself. You talked about your discussion with an in–character Superman fan at a convention years ago, but I am curious as to how you determined Superman’s mindset.

GM: I felt we had to live up to the big ideas behind Superman. I don’t take my daft job lightly. It’s all I’ve got.

As the project got going, I wasn’t thinking about Silver Ages or Dark Ages or anything about the comics I’d read, so much as the big shared idea of “Superman” and that “S” logo I see on T–shirts everywhere I go, on girls and boys. That communal Superman. I wanted us to get the precise energy of Platonic Superman down on the page.

The “S” hieroglyph, the super–sigil, stands for the very best kind of man we can imagine, so the subject dictated the methodical, perfectionist approach. As I’ve mentioned before, I keep this aspect of my job fresh for myself by changing my writing style to suit the project, the character or the artist.

With something like Batman R.I.P., I’m aiming for a frenzied Goth Pulp-Noir; punk-psych, expressionist shadows and jagged nightmare scene shifts, inspired by Batman’s roots and by the snapping, fluttering of his uncanny cape. Final Crisis was written, with the Norse Ragnarok and Biblical Revelations in mind, as a story about events more than characters. A doom-laden, Death Metal myth for the wonderful world of Fina(ncia)l Crisis/Eco-breakdown/Terror Trauma we all have to live in.

The subject matter drives the execution. And then, of course, the artists add their own vision and nuance. With All Star Superman, “Frank” and I were able to spend a lot of time together talking it through, and we agreed it had to be about grids, structure, storybook panel layouts, an elegance of form, a clarity of delivery. “Classical” in every sense of the word. The medium, the message, the story, the character, all working together as one simple equation.

Frank Quitely, a Glasgow Art School boy, completely understood without much explanation, the deep structural underpinnings of the series and how to embody them in his layouts. There’s a scene in issue # 8, set on the Bizarro world, where we see Le Roj handing Superman his rocket plans. Look at the arrangement of the figures of Zibarro, Le Roj, Superman and Bizaro–Superman and you’ll see one attempt to make us of Renaissance compositions.

The sense of sunlit Zen calm we tried to get into All Star is how I imagine it might feel to think the way Superman thinks all the time - a thought process that is direct, clean, precise, mathematical, ordered. A mind capable of fantastical imagination but grounded in the everyday of his farm upbringing with nice decent folks. Rich with humour and tears and deep human significance, yet tuned to a higher key. We tried to hum along for a little while, that’s all.

In honor of the character’s primal position in the development of the superhero narrative, I hoped we could create an “ultimate” hero story, starring the ultimate superhero.

Basically, I suppose I felt Superman deserved the utmost application of our craft and intelligence in order to truly do him justice.

Otherwise, I couldn’t have written this book if I hadn’t watched my big, brilliant dad decline into incoherence and death. I couldn’t have written it if I’d never had my heart broken, or mended. I couldn’t have written it if I hadn’t known what it felt like to be idolized, misunderstood, hated for no clear reason, loved for all my faults, forgotten, remembered...

Writing All Star Superman was, in retrospect, also a way of keeping my mind in the clean sunshine while plumbing the murkiest depths of the imagination with that old pair of c****s Darkseid and Doctor Hurt. Good riddance.

 Newsarama: This is touched on in other questions, but how much of the Silver/Bronze Age backstory matters here? What do you see as Superman's life prior to All-Star Superman? (What was going on with this Superman while the Byrne revamp took hold?)

Grant Morrison: When I introduced the series in an interview online, I suggested that All Star Superman could be read as the adventures of the ‘original’ Pre-Crisis on Infinite Earths Superman, returning after 20 plus years of adventures we never got to see because we were watching John Byrne‘s New Superman on the other channel. If ‘Whatever Happened To The Man of Tomorrow?’ and the Byrne reboot had never happened, where would that guy be now?

This was more to provide a sense, probably limited and ill-considered, of what the tone of the book might be like. I never intended All Star Superman as a direct continuation of the Weisinger or Julius Schwartz-era Superman stories. The idea was always to create another new version of Superman using all my favorite elements of past stories, not something ‘Age’ specific.

I didn’t collect Superman comics until the ‘70s and I’m not interested enough in pastiche or nostalgia to spend 6 years of my life playing post-modern games with Superman. All Star isn’t written, drawn or colored to look or read like a Silver Age comic book.

All Star Superman is not intended as arch commentary on continuity or how trends in storytelling have changed over the decades. It’s not retro or meta or anything other than its own simple self; a piece of drawing and writing that is intended by its makers to capture the spirit of its subject to the best of their capabilities, wisdom and talent.

Which is to say, we wanted our Superman story be about life, not about comics or superheroes, current events or politics. It’s about how it feels, specifically to be a man...in our dreams! Hopefully that means our 12 issues are also capable of wide interpretation.

So as much as we may have used a few recognizable Silver Age elements like Van-Zee and Sylv(i)a and the Bottle City of Kandor, the ensemble Daily Planet cast embodies all the generations of Superman. Perry White is from 1940, Steve Lombard is from the Schwartz-era ‘70s, Ron Troupe - the only black man in Metropolis - appeared in 1991. Cat Grant is from 1987 and so on.

P.R.O.J.E.C.T. refers back to Jack Kirby’s DNA Project from his ‘70s Jimmy Olsen stories, as well as to The Cadmus Project from ’90s Superboy and Superman stories. Doomsday is ‘90s. Kal Kent, Solaris and the Infant Universe of Qwewq all come from my own work on Superman in the same decade. Pa Kent’s heart attack is from ‘Superman the Movie‘. We didn’t use Brainiac because he’d been the big bad in Earth 2 but if we had, we’d have used Brainiac’s Kryptonian origin from the animated series and so on.

I also used quite a few elements of John Byrne’s approach. Byrne made a lot of good decisions when he rebooted the whole franchise in 1986 and I wanted to incorporate as much as I could of those too.

Our Superman in All Star was never Superboy, for instance. All Star Superman landed on Earth as a normal, if slightly stronger and fitter infant, and only began to manifest powers in adolescence when he’d finally soaked up enough yellow solar radiation to trigger his metamorphosis.

The Byrne logic seemed to me a better way to explain how his powers had developed across the decades, from the skyscraper leaps of the early days to the speed-of-light space flight of the high Silver Age. And more importantly, it made the Superman myth more poignant - the story of a farm boy who turned into an alien as he reached adolescence. I felt that was something that really enriched Superman. He grew away from his home, his family, his adopted species as he became Superman. His teenage years are a record of his transformation from normal boy to super-being.

As you say, there are more than just Silver Age influences in the book. Basically we tried to create a perfect synthesis of every Superman era. So much so, that it should just be taken as representative of an ‘age’ all its own.

In the end, however, I do think that the Silver Age type stories, with their focus on human problems and foibles, have a much wider appeal than a lot of the work which followed. They’re more like fables or folk tales than the later ‘comic book superhero’ stories of Superman when he became just another colorful costume in the crowd...and perhaps that’s why All Star seemed to resemble those books more than it does a typical modern Marvel or DC comic. It was our intention to present a more universal, mainstream Superman.

NRAMA: In your depiction of Krypton and the Kryptonians, you show the complexity of Superman’s relationship between humanity and Earth even further. Krypton has that scientific paradise quality to it, but the Kryptonians are also portrayed as slightly aloof and detached, even Jor-El. But from Bar-El to the people of Kandor, they’re touched by Superman’s goodness. What do you see as the fundamental difference between Kryptonians and Earthlings, and how has Superman’s character been shaped by each?

GM: My version of Krypton was, again, synthesized from a number of different approaches over the decades. 
In mythic terms, if Superman is the story of a young king, found and raised by common people, then Krypton is the far distant kingdom he lost. It’s the secret bloodline, the aristocratic heritage that makes him special, and a hero. At the same time, Krypton is something that must be left behind for Superman to become who he is - i.e. one of us. Krypton gives him his scientific clarity of mind, Earth makes his heart blaze.

I liked the very early Jerry Siegel descriptions where Krypton is a planet of advanced supermen and women (I already played with that a little in Marvel Boy where Noh-Varr was written to be the Marvel Superboy basically). To that, I added the rich, science fiction detailing of the Silver Age Krypton stories and the slightly detached coolness that characterized John Byrne’s Krypton, which I re-interpreted through the lens of Dzogchen Buddhist thought, probably the most pragmatic, chilly and rational philosophic system on the planet and the closest, I felt, to how Kryptonians might see things.

We also took some time to redesign the crazy, multicolored Kryptonian flag (you can see our version in Kandor in issue #10). The flag, as originally imagined, seemed like the last thing Kryptonians would endorse, so we took the multicolored-rays-around-a-circle design and recreated it - the central circle is now red, representing Krypton’s star, Rao, while the rays, rather than arbitrary colors, become representations of the spectrum of visible light pouring from Rao into the inky black of space. In this way, the flag, that bizarre emblem of nationalism becomes a scientific hieroglyph.

Showing Krypton and Kryptonians was also important as a way of stressing why Superman wears that costume and why it makes absolute sense that he looks the way he does. I don’t see the red and blue suit as a flag or as rewoven baby blankets. There’s no need for Superman to dress the way he does but it made sense to think of his outfit as his ‘national costume‘.

The way I see it, the standard superhero outfit, the familiar Superman suit with the pants on the outside, is what everyone wore on Krypton, give or take a few fashion accessories like hoods and headbands, chest crests and variant colors. In fact, all other superheroes are just copying the fashions on Krypton, lost planet of the super-people.

Superman wears his ’action-suit’ the way a patriotic Scotsman would wear a kilt. It’s a sign of his pride in his alien heritage.

 Newsarama: Although All–Star Superman ties in with DC One Million, you style of writing has changed dramatically since then.  How do you feel about One Million now?

Grant Morrison: I just read it again and liked it a lot. Comics were definitely happier, breezier and more confident in their own strengths before Hollywood and the Internet turned the business of writing superhero stories into the production of low budget storyboards or, worse, into conformist, fruitless attempts to impress or entertain a small group of people who appear to hate comics and their creators.

NRAMA: Obviously, this book is the most explicit SF–Christ story since Behold the Man, only...happy.  Superman/Christ parallels have existed for decades, but this story makes it absolutely explicit, from laying his hands on the sick and dying to...well, most of issue #12.  You’ve dealt with Christ themes before, particularly in The Mystery Play, but outside of the comics, how do you see Superman as a Christ figure for the “real” world?

GM: The “Superman as Christ” thing is a little too reductive for me, and tends to overlook the fact that Superman is by no means a pacifist in the Christ sense. Superman would never turn the other cheek; Superman punches out the bully. Superman is a fighter.

When did Christ ever batter the Devil through a mountain?

The thing I disliked about the Superman Returns movie was the American Christ angle, which reduced Superman to a sniveling, masochistic wreck, crawling around on the floor, taking a kicking from everyone. This approach had an odd and slightly disturbing S&M flavor, which didn’t play well to the character’s strengths at all and seemed to derive entirely from a kind of Catholic vision of the suffering, martyred Jesus.

It’s not that he’s based on Jesus, but simply that a lot of the mythical sun god elements that have been layered onto the Christ story also appear in the story of Superman. I suppose I see Superman more as pagan sci–fi. He’s a secular messiah, a science redeemer with tough guy muscles and a very direct and clear morality.

NRAMA: Continuing the religious themes, in issue #10, you have Superman literally giving birth to himself, both philosophically and as a character – a nice little meta–moment showing how Superman inspires a world where he is only fiction.  How did that idea come about?

GM: It came from the challenge we’d set ourselves: as I said, issue #10 had been left as a blank space into which the single most coherent condensation of all our ideas about Superman were destined to fit.

I wanted to do a “day in the life” story. So much of All Star had been about this threat to Superman himself, so we wanted to show him going about a typical day saving people and doing good.

Then came the title “Neverending,” which comes from the opening announcement – “Faster than a speeding bullet!...” of the Superman radio show from 1940, and seemed to me to be as good a title for a Superman story as any I could think of. It seemed to distil everything about Superman’s battle and his legend into a single word. And the story structure itself was designed to loop endlessly, so it went well with that.

 On top of that went the idea of the Last Will and Testament of Superman. A dying god writing his will seemed like an interesting structure to use. Then came the idea to fit all of human history into that single 24 hours. And then to show the development of the Superman idea through human culture from the earliest Australian Aboriginal notions of super–beings ‘descended” from the sky, through the complex philosophical system of Hinduism, onto the Renaissance concept of the ideal man, via the refinements of Nietzche and finally, down to that smiling, hopeful Joe Shuster sketch; the final embodiment of humanity’s glorious, uplifting notion of the superman become reduced to a drawing, a story for kids, a worthless comic book.

And also what that could mean in a holographic fractal universe, where the smallest part contains and reflects the whole.

Of course the next panel in that sequence is happening in the real world and would show you, the reader, sitting with the latest Superman issue in your hands, deep within the Infant Universe of Qwewq in the Fortress of Solitude, today, wherever you are. In “Neverending,” the reader becomes wrapped in a self–referential loop of story and reality. If you actually, seriously think about what is happening at this point in the story, if you meditate upon the curious entanglement of the real and the fictional, you will become enlightened in this life apparently. According to some texts.

NRAMA: On a personal level, you’ve explored all types of religions and philosophies in your work.  What is your take on religion and how it influences humanity, and the Christian take on Jesus Christ in particular?

GM: I think religion per se, is a ghastly blight on the progress of the human species towards the stars.  At the same time, it, or something like it, has been an undeniable source of comfort, meaning and hope for the majority of poor bastards who have ever lived on Earth, so I’m not trying to write it off completely. I just wish that more people were educated to a standard where they could understand what religion is and how it works. Yes, it got us through the night for a while, but ultimately, it’s one of those ugly, stupid arse–over–backwards things we could probably do without now, here on the Planet of the Apes.

Religion is to spirituality what porn is to sex. It’s what the Hollywood 3–act story template is to real creative writing.

Religion creates a structure which places “special,” privileged people (priests) between ordinary people and the divine, as if there could even be any separation: as if every moment, every thought, every action was not already an expression of dynamic ‘divinity” at work.

As I’ve said before, the solid world is just the part of heaven we’re privileged to touch and play with. You don’t need a priest or a holy man to talk to “god” on your behalf: just close your eyes and say hello. “God” is no more, no less, than the sum total of all matter, all energy, all consciousness, as experienced or conceptualized from a timeless perspective where everything ever seems to present all at once. “God” is in everything, all the time and can be found there by looking carefully. The entire universe, including the scary, evil bits, is a thought “God” is thinking, right now.

As far as I can figure it out from my own reading and my own experience of how the spiritual world works, Jesus was, as they say, way cool: a man who achieved a state of consciousness, which nowadays would get him a diagnosis of temporal lobe epilepsy (in the days of the Emperor Tiberius, he was crucified for his ideas, today he’d be laughed at, mocked or medicated).

This “holistic” mode of consciousness (which Luthor experiences briefly at the end of All Star Superman) announces itself as a heartbreaking connection, a oneness, with everything that exists...but you don’t have to be Superman to know what that feeling is like. There are a ton of meditation techniques which can take you to this place. I don’t see it as anything supernatural or religious, in fact, I think it’s nothing more than a developmental level of human consciousness, like the ability to see perspective – which children of 4 cannot do but children of 6 can.

Everyone who’s familiar with this upgrade will tell you the same thing: it feels as if “alien” or “angelic” voices – far more intelligent, coherent and kindly than the voices you normally hear in your head – are explaining the structure of time and space and your place in it. 
This identification with a timeless supermind containing and resolving within itself all possible thoughts and contradictions, is what many people, unsurprisingly, mistake for an encounter with “God.”  However, given that this totality must logically include and resolve all possible thoughts and concepts, it can also be interpreted as an actual encounter with God, so I’m not here to give anyone a hard time over interpretation.

Some people have the experience and believe the God of their particular culture has chosen them personally to have a chat with. These people may become born–again Christians, fundamentalist Muslims, devotees of Shiva, or misunderstood lunatics. Some “contactees” interpret the voices they hear erroneously as communications from an otherworldly, alien intelligence, hence the proliferation of “abduction” accounts in recent decades, which share most of their basic details with similar accounts, from earlier centuries, of people being taken away by “fairies” or “little people”.

Some, who like to describe themselves as magicians, will recognize the “alien” voice as the “Holy Guardian Angel”.

In timeless, spaceless consciousness, the singular human mind blurs into a direct experience of the totality of all consciousness that has ever been or will ever be. It feels like talking with God but I see that as an aspect of science, not religion.

As Peter Barnes wrote in “The Ruling Class”, “I know I must be God because when I pray to Him, I find I’m talking to myself.”

 Newsarama: When we spoke earlier this year, you talked about some of your ideas for future All Star stories. Are you moving forward on those, or have you started working on different ideas since then?

Grant Morrison: I haven’t had time to think about them for a while. I did have the stories worked out, and I’d like to do more, but right now it feels like Frank and Jamie and I have said all there is to be said. I don’t know if I’m ready to do All Star Superman with anyone else right now. I have other plans.

NRAMA: You end the book with Superman having uplifted humanity – having inspired them through his sacrifice and great deeds, and with the potential to pass his powers on to humanity still there. Do you plan to explore this concept further, or would you prefer to leave it open–ended?

GM: I may go back to the Son of Superman in some way. At the same time, it’s best left open–ended. I like the idea that Superman gets to have his cake and eat it; he becomes golden and mythical and lives forever as a dream. Yet, he also is able to sire a child who will carry his legacy into the future. He kicks ass in both the spiritual and the temporal spheres!

 NRAMA: The notion of transcendence – always a big part of your work. But the debate about All Star Superman is whether or not it "transcends its genre." Superman becomes transcendent within the series itself, and inspires the beings on Qwewq, but does the work aspire to more than that? Is it simply the greatest version of a Superman story, and that’s enough?

GM: That would certainly be enough if it were true.

It’s a pretty high–level attempt by some smart people to do the Superman concept some justice, is all I can say. It’s intended to work as a set of sci–fi fables that can be read by children and adults alike. I’d like to think you can go to it if you’re feeling suicidal, if you miss your dad, if you’ve had to take care of a difficult, ailing relative, if you’ve ever lost control and needed a good friend to put you straight, if you love your pets, if you wish your partner could see the real you...All Star is about how Superman deals with all of that.

It’s a big old Paul Bunyan style mythologizing of human - and in particular male - experience. In that sense I’d like to think All Star Superman does transcend genre in that it’s intended to be read on its own terms and needs absolutely no understanding of genre conventions or history around it to grasp what’s going on.

In today’s world, in today’s media climate designed to foster the fear our leaders like us to feel because it makes us easier to push around. In a world where limp, wimpy men are forced to talk tough and act ‘badass’ even though we all know they’re shitting it inside. In a world where the measure of our moral strength has come to lie in the extremity of the images we’re able to look at and stomach. In a world, I’m reliably told, that’s going to the dogs, the real mischief, the real punk rock rebellion, is a snarling, ‘fuck you’ positivity and optimism. Violent optimism in the face of all evidence to the contrary is the Alpha form of outrage these days. It really freaks people out.

I have a desire not to see my culture and my fellow human beings fall helplessly into step with a middle class media narrative that promises only planetary catastrophe, as engineered by an intrinsically evil and corrupt species which, in fact, deserves everything it gets.

Is this relentless, downbeat insistence that the future has been cancelled really the best we can come up with? Are we so fucked up we get off on terrifying our children? It’s not funny or ironic anymore and that’s why we wrote All Star Superman the way we did. Everything has changed. ‘Dark’ entertainment now looks like hysterical, adolescent, ‘Zibarro’ crap. That’s what my Final Crisis series is about too.

NRAMA (aka Tim Callahan): Continuing with the theme of transcendence: The words "ineffectual" and "surrender" are repeated throughout the book. Discuss.

GM: Discuss yourself, Callahan! I know you have the facilities and I should think it’s all rather obvious. 


NRAMA: What was the inspiration for the image of Superman in the sun at the end? (I confess this question comes as the result of much unsuccessful Googling)

GM: I didn’t have any specific reference in mind - just that one we‘ve all sort of got in our heads. I drew the figure as a sketch, intended to be reminiscent of William Blake’s cosmic figures, Russian Constructivist Soviet Socialist Worker type posters, and Leonardo’s ‘Proportions of the Human Figure‘. The position of the legs hints at the Buddhist swastika, the clockwise sun symbol. It was to me, the essence of that working class superheroic ideal I mentioned, condensed into a final image of mythic Superman, - our eternal, internal, guiding, selfless, tireless, loving superstar. The daft All Star Superman title of the comic is literalized in this last picture. It’s the ‘fearful symmetry’ of the Enlightenment project - an image of genius, toil, and our need to make things, to fashion art and artifacts, as a form of superhuman, divine imitation.

It was Superman as this fusion of Renaissance/Enlightenment ideas about Man and Cosmos, an impossible union of Blake and Newton. A Pop Art ‘Vitruvian Man‘. The inspiration for the first letter of the new future alphabet!

As you can see, we spent a lot of time thinking about all this and purifying it down to our own version of the gold. I’m glad it’s over.

NRAMA: Finally: What, above all else, would you like people to take away from All Star Superman?

GM: That we spent a lot of time thinking about this!

No. What I hope is that people take from it the unlikelihood that a piece of paper, with little ink drawings of figures, with little written words, can make you cry, can make your heart soar, can make you scared, sad, or thrilled. How mental is that?

That piece of paper is inert material, the corpse of some tree, pulped and poured, then given new meaning and new life when the real hours and real emotions that the writer and the artist, the colorist, the letter the editor translated onto the physical page, meet with the real hours and emotions of a reader, of all readers at once, across time, generations and distance.

And think about how that experience, the simple experience of interacting with a paper comic book, along with hundreds of thousands of others across time and space, is an actual doorway onto the beating heart of the imminent, timeless world of “Myth” as defined above. Not just a drawing of it but an actual doorway into timelessness and the immortal world where we are all one together.

My grief over the loss of my dad can be Superman’s grief, can trigger your own grief, for your own dad, for all our dads. The timeless grief that’s felt by Muslims and Christians and Agnostics alike. My personal moments of great and romantic love, untainted by the everyday, can become Superman’s and may resonate with your own experience of these simple human feelings.

In the one Mythic moment we’re all united, kissing our Lover for the First time, the Last time, the Only time, honoring our dear Dad under a blood red sky, against a darkening backdrop, with Mum telling us it’ll all be okay in the end.

If we were able to capture even a hint of that place and share it with our readers, that would be good enough for me.

[mst3kproject]

Ghost of Dragstrip Hollow

This movie has no dogs, which is a shame because the title definitely sounds like a lost episode of Scooby-Doo.  What it does have is Elaine Dupont from I Was a Teenage Werewolf (and the Beach Girls and the Monster) and Russ Bender from It Conquered the World (he also wrote Voodoo Woman, which makes him indirectly responsible for Curse of the Swamp Creature), in a genre crossover that reminds one of Catalina Caper and is even less successful. It’s also even less funny.

Our heroes are a bunch of super-cool hot-rodding thirty-year-old fifties teens who speak in painfully embarrassing slang. They’ve been evicted from their headquarters and need some new digs, but all their efforts to find a place have come to naught… until an elderly lady offers them her house at Dragstrip Hollow. It sounds like it’ll have everything they need, as long as they don’t mind that it’s haunted.  The gang is a little unnerved by strange events their first evening at the house, but ultimately decide that if nothing else, it’s the perfect place for a Hallowe’en party.  What they haven’t realized is that with everybody in costumes, the monster in the basement will be able to walk among them un-noticed!

This is yet another movie that sounds like a good time but is actually almost unwatchably boring.  A party in a haunted house with a monster who just wants to have a good time?  I’m up for that!  But Ghost of Dragstrip Hollow is only an hour long, and spends most of that time dithering around doing absolutely nothing.

There are two potential main characters.  One is Lois, a young woman who’s far more interested in cars and racing than in boys and makeup, much to her parents’ chagrin. Her mother believes this is a phase she’ll grow out of, but her father keeps trying to encourage her to be more feminine and never gets very far.  This sublot drops out of the movie halfway through, without ever coming to any kind of conclusion.  Lois is also at odds with Nita, a member of a rival racing gang.  Lois spends most of the movie refusing to be goaded into a racing rematch with Nita, but eventually gives in, and their climactic race takes place off-screen while we watch the band at the Hallowe’en party try to play their instruments while dressed as bedsheet ghosts!  Nothing comes of it.

The only thing Nita’s gang does through the whole movie is show up at parties they haven’t been invited to, exchange insults with Lois’ friends, and then leave.

The other potential hero is the reporter who’s doing a series of articles on rebellious teenagers.  He quickly makes friends with the kids, becoming an honourary member of their club, and apparently helps them search for a new headquarters. In spite of this, he doesn’t actually have an arc.  He sympathizes with these young people from the beginning, and based on the questions he asks it’s pretty clear he wants to show that their cars and racing are a harmless hobby rather than a gateway drug to crime.  This opinion doesn’t change over the course of the movie.  Neither does his insistence that the house is not actually haunted, even as unseen hands light his cigarette for him and untie his bow tie.

Most of the movie is totally useless – like the slumber party at Lois’ house, which serves no purpose except to make a joke about women taking too long in the bathroom.  I’m sure that was already tired and unfunny in the 50’s. Or the old lady’s opinionated pet parrot, who provides annoying commentary that makes already not-funny scenes even less funny.  I was sure the parrot was going to be a plot point, because one of his demonstrated talents is imitating a police siren and the hot rodders are worried about getting in trouble with the cops.  Surely during a climactic race the parrot will trick Nita into pulling over, allowing Lois to take the lead!  But no, that can’t happen because that would be useful.  Nothing in this fucking movie is allowed to be useful.

All of this bullshit, with the slumber party and the stupid parrot and the old lady being bad at playing the flute… and the rival gang showing up and then leaving… and the musical numbers, one of which has no lyrics except a guy saying Geronimo! and then firing blanks at the ceiling, and this is played twice… and Lois’ parents and the reporter hanging around and the short guy with the tall girlfriend… all of this drags on and on and on and takes up three quarters of the movie and has literally nothing to do with the plot!  The fact that the club needs a new place to hang out is introduced pretty early but then gets shoved aside until almost the end.  You’d think we ought to see them trying to find a place until eventually being forced to settle for the creepy old house in the middle of nowhere, but no, we sit through forty minutes of nonsense and then suddenly arrive at characters talking about it.

The haunted house must be the actual plot because it’s the title, but it isn’t worth waiting for.  When the club arrives to take a look around, there is indeed a monster creeping around causing mischief.  And it’s definitely a monster, not a ghost – although there is also a ghost. In fact, when we get a good look at the beast shortly thereafter… it’s the fucking She-Creature.

I’m not even kidding.  It is literally the She-Creature without the dumbass blonde wig and with the chitinous tits toned down into chitinous pecs.  This thing creeps around and growls at people, then turns up at the party to dance with a couple of girls before getting its mask ripped off (I told you this was an episode of Scooby-Doo!) to reveal, and I promise you I did not make this up, I could not make this up, a bitter stuntman with a high squeaky voice. He looks a little like Lois’ father and I thought for a moment we were doing a Beach Girls and the Monster thing here… but no, he’s a totally different character.  Why is he dressed up as a monster haunting this old house with a collection of special effects equipment he keeps behind the fireplace?  Because nobody appreciated his performance as the She-Creature.

He actually says that.  Fuck this movie!  The monster suit isn’t even bad enough to be funny.  In fact, it looks better here than it did in The She-Creature or Voodoo Woman, possibly because the lighting allows us to actually see it!

Oh, and as I mentioned, there’s also a ghost, but he left because he didn’t like the rock and roll music.

In order to find the creature’s secret lair, they ask ‘Amelia’, the nerdy guy’s superintelligent, talking, self-driving hot rod.  This machine speaks in a deep, somewhat ghostly voice, and isn’t mentioned or even hinted at until the movie’s almost over.  People accidentally blundering into secret rooms behind the fireplace is a time-honoured tradition in movies, but apparently that wasn’t good enough for Ghost of Dragstrip Hollow.  No, they had to have a deus-ex-machina supercomputer fire-breathing car figure it out without even saying what the clues were.  Fuck!

I’ve watched several films for this blog that left me with the impression that the people making them knew what parts go into a movie but not how to put them together.  I don’t think the makers of Ghost of Dragstrip Hollow even knew what movies are made of – or if they did, they were actively contemptuous of that ingredients list.  Their film seems to have been cobbled together from bits of several stories, without including enough of any single one to really get a plot.  Remember Face of the Screaming Werewolf, which really was made of random bits of two other movies?  Ghost of Dragstrip Hollow is about as coherent as that.  It feels like there’s at least another hour of material missing somewhere, which would deal with things like Lois’ relationship with her parents or the rivalry between the two racing clubs.  It feels like anything that would help unify this story, or bring proper closure to any of the plotlines, was deliberately left on the cutting room floor, just to piss me off!

I only laughed once in the entire movie, at a bit where the parrot complains about his mistress’ bad driving (he wails and me so young!).  The rest of the time I couldn’t even find it ironically funny.  When I wasn’t rolling my eyes at the attempted jokes I was staring at the screen in bafflement because I couldn’t figure out what the movie was trying to do. What ought to be plot points are quickly forgotten, or else resolved with nonsensical trifles and then thrown away. The result is confusing and ultimately deeply frustrating.  I mentioned Scooby-Doo, but that’s not even a fair comparison, because the unmasking of the villain in Scooby-Doo always includes the reveal of a master plan.  The monster in Ghost of Dragstrip Hollow is just fucking around.

I hate this movie.  It’s not even a movie.  It’s just a bunch of unrelated things that happen to the same set of characters, without even any laughs to make it worth watching.  They could have filmed an hour of their asses pressed up against a windowpane, and it would have annoyed me less.

[clockworkouroboros]

hey this must seem like a really slime brain question, but how do you start/where do you start/where can you start reading the edas? i’ve been meaning to ask someone for a while you just seemed the least threatening

Not slime brain at all! Tbh you must have read my mind, anon, because I was just thinking about putting together a bit of a guide to the EDAs recently. I’m super excited about anyone reading these books because I do so love them, so I definitely was excited to get this ask!

As to the “where” of reading the EDAs, I’m not going to share a link to download PDFs in a post like this, but I am definitely willing to share such a link privately. While some of the books are definitely worth buying physical copies (in my opinion), it gets expensive. I mean, there are over 70 books in the series. (Especially with a lot of the really good books; I spent something like $50USD to get Interference Books I and II.) I think literally anyone on this website who talks about the EDAs has a link to PDFs, so asking literally anyone would be a safe bet. The rest of this post is going to be under a cut, because this is gonna get lengthy.

So. Reading the EDAs. There are a few questions to keep in mind: are you a completionist? Are you interested only in specific companions or specific story arcs? Do you just really want to see why everyone is talking about this Fitz dude and why he’s so in love with the Doctor? Do you just want to know which books aren’t really worth your time? Do you just want pretty Paul McGann? (which is totally valid, by the way.)

So, uh. I’m just going to go through the EDAs and make notes, which is why this is gonna get long real quick.

The Eight Doctors: I know it’s the first book in the series, but it’s more than okay to skip it. There’s basically no plot, it’s weirdly sexist, and although it introduces a companion, it fails to actually, y’know, introduce her as a character very well.

Vampire Science: Yes! Good book! Properly introduces Sam, the companion. Has a lot of things, including Eight with kittens, Eight baby-talking to bats, butterflies!, and great characters.

The Bodysnatchers: Not...that...great. If you’re a huge Litefoot stan, go for it. Otherwise, feel free to skip.

Genocide: Would recommend. The beginning of some good character development for Sam, a fairly short book, and again, interesting characters. 

War of the Daleks: Well. Uh. Imagine Journey to the Centre of the TARDIS, but boring. And there’s a sleazy guy who tries to hit on the Doctor’s underage companion. And Daleks. If that’s your cup of tea, go for it. 

Alien Bodies: First of all, this is a great book. Fantastic. Showing just how good experimental Doctor Who can be. It’s also the start of a very big arc that doesn’t fully resolve until The Ancestor Cell. Would recommend, and if you’re interested in the War in Heaven/Faction Paradox arc, this is your starting point! I have a physical copy of this one.

Kursaal: Unpopular opinion, but I enjoyed Kursaal. It’s not objectively great, but it’s fun. Featuring pretty Paul McGann, insulting people in Latin, and truly impressive displays of gardening. And, uh, gore. There’s some nasty gore. Not important in terms of arcs, so feel free to skip.

Option Lock: Listen, I love Justin Richards as much as the next person, but this book isn’t that great, nor is it all that important in the grand scheme of things. Not terrible, but probably not your time if you just want the highlights.

Longest Day: Okay, uh, I kind of detest this book, but it’s also the beginning of a mini arc that goes through Seeing I. All you need to know is the Doctor and Sam get separated. I wouldn’t really recommend.

Legacy of the Daleks: Not worth it.

Dreamstone Moon: A good read! One of those solid but not spectacular stories. Just good Doctor Who.

Seeing I: definitely would recommend. Featuring some much-needed Sam character development and an important thing for Eight (*cries*) that will come back in a bunch of other novels. Also refers back to some of the events of Alien Bodies. I have a physical copy of this one.

You can skip both Placebo Effect and Vanderdeken’s Children. 

The Scarlet Empress: Yessss, it’s really good. Standalone and a mix of sci-fi and fantasy, plus it introduces Iris Wildthyme, who is amazing and I love her. I have a physical copy of this one.

The Janus Conjunction: Unpopular opinion, but I liked it. It’s not amazing or anything, but it’s solid sci-fi pulp. Featuring pretty Eight. And a lot of gore. It’s by Trevor Baxendale. He kind of specializes in great descriptions and lots of gore.

Beltempest: If you’re into experimental Doctor Who, try this. If not, it’s not arc-important to anything, and it’s really, really weird, so feel free to skip it. I like it, though.

The Face-Eater: Kind of gross. Not that memorable. 

The Taint: This book isn’t objectively good, but it introduces a new companion, and that new companion is Fitz Kreiner, so I still have to recommend it. I just love Fitz so much. What a loser.

Demontage: A good story, and another good look at Fitz as a character! Standalone.

Revolution Man: Very important Fitz character development. And a good story. I have a physical copy of this one.

Dominion: There’s one scene that’s kind of gross, but beyond that, I believe it’s important for Sam. And it isn’t a terrible book, either.

Unnatural History: Yes. Yes yes yes. This is one of my all-time favorite Doctor Who stories. It’s important to the arc begun in Alien Bodies, so you’ll want that and Seeing I as prior reading. It’s. So good. I have a physical copy of this one.

Autumn Mist: Autumn Mist isn’t bad, but I’d say it’s skippable. Addresses some of the hanging threads in Unnatural History.

Interference (Books I and II): So uh. Interference comes in two books, both written by the same person. The story is fantastic. There’s a lot of torture, especially in the first book. Sam leaves. Fitz, uh, has some important character things. It introduces Compassion, a new companion. Resolves some of the arc begun in Alien Bodies and expands on it. I have physical copies of both books.

Most of Compassion’s novels are really good. I would feel awful about telling someone to skip The Blue Angel, The Taking of Planet 5, Frontier Worlds, Parallel 59, The Shadows of Avalon, The Fall of Yquatine, and Coldheart. Of that whole group, I’d say Parallel 59 is the most skippable? Maybe?? But the long and short of it is that all these books are really good. The Taking of Planet 5, The Shadows of Avalon, and The Fall of Yquatine are all important to the War in Heaven arc.

The Space Age and The Banquo Legacy are skippable. I know a lot of people who like the latter, though so maybe give it a try! I personally didn’t like it, but that’s only my opinion, which is very subjective!

The Ancestor Cell: Uh. Resolves the story arc that’s been going on since Alien Bodies. So if you’ve been following that arc, yeah, it’s important. Do I like the book? Well, that’s a different question. I like parts of it. It also has a few very big very important Spoiler-y things that are important to the rest of the series.

The next five books are all part of a new arc, usually called the Earth arc. The Doctor (SPOILERS, but it’s Eight, so is it really?) has amnesia, and he’s stuck on Earth. I’d say four of the five books aren’t really bad, but some are more worth reading than others. They’re all interesting in that they examine an amnesiac Doctor really well.

The Burning: skippable. I don’t remember most of the plot. I vaguely recall the Doctor being really, uh, violent? (Part of the whole amnesiac thing.)

Casualties of War: super gory. Not terrible, but not a favorite of mine. I have friends who enjoyed it, though!

The Turing Test: yes pleasereadityesit’ssogoodplease - uh. A great queer novel, actually? Featuring Eight and Alan Turing? Made me cry, but like, it’s good?? I still haven’t bought a physical copy but I’ve been meaning to.

Endgame: Terrance Dicks, who’s an old hand at Doctor Who and also wrote the first EDA, the one I said not to read? He wrote this. And it’s amazing. Pretty standard Doctor Who fare, with characters that Dicks created but only he ever used, but it’s real good. Real real good. I loved his characterization of amnesiac Eight.

Father Time: warning: I kind of hate this book. It’s in my three least-favorite EDAs. I have...a lot of issues with it. That being said, it’s apparently a fan favorite. A lot of people like Father Time, and that’s okay! It’s a highly rated EDA that I just so happen to detest! If you want to try it, go for it, just know that I personally wouldn’t recommend it.

Escape Velocity: This book ends the earth arc, brings back Fitz, and introduces the new companion, Anji. It’s also not that great of a book, but hey, it’s important because it gives a lot of background for Anji’s character that will be instrumental in her character development.

EarthWorld: a lot of these upcoming books are standalone, and a lot of them are pretty good. EarthWorld is no exception. Would recommend. Lots of great hijinks.

Vanishing Point: Not a bad book, not a favorite. I’m not recommending it, but I’m also not trying to dissuade anyone from reading it.

Eater of Wasps: Uh. As the title suggests, maybe don’t read the book if you have a bee/wasp/stinging insect phobia. No, I definitely don’t know this from personal experience. :)))))) Other than that, though, a good book.

The Year of Intelligent Tigers: Yes. 100%. Read this book. Please. You won’t regret it. Eight has a composer boyfriend named Karl, there are giant tigers, this kind of solidifies Eight/Fitz/Anji as a favorite TARDIS team for me.

I’d say that The Slow Empire and Dark Progeny are both skippable. Not that they’re bad, but they’re not on the same level as a lot of the other books being put out in the series at this time.

City of the Dead: so good. I don’t know if you’re an Eight audio fan, anon, but Lloyd Rose also wrote the audio Caerdroia, and she brings the same kind of humor to this novel. Gosh. It’s so good. 

Grimm Reality: very dense, but enjoyable. It takes most people forever and a day to finish, though, just because there’s so much going on.

Adventuress of Henrietta Street: this is where the new arc begins. :) It won’t hurt you at all. :) If you’re interested in any of the Sabbath-related arcs, this is the starting point. :) There are various ending points for this arc, alternatively at Camera Obscura, Timeless, and Sometime Never.

Mad Dogs and Englishmen: ridiculous and good. If you just read Adventuress, you need a book like this. And it’s good, anyway. Talking poodles. From outer space. Standalone.

Hope: important character development for Anji!

Arachnophobia: A bit scary. Still would recommend. Standalone.

Trading Futures: it’s really telling how good the books are at this point that this is the weakest one in my opinion. I just have a chip on my shoulder about Lance Parkin EDAs, apparently. (He wrote Father Time, as well.) It’s not bad, but if there’s one in this whole sequence that I would consider skippable, it’s this one.

The Book of the Still: Yes. Please. Heck. The best description of Eight I’ve ever read, and there are a lot of good ones across the 74 or so books I’ve read featuring Eight. Also, if you’re a huge Eight/Fitz shipper, this is the book for you! I spent like $30USD on a physical copy it’s definitely worth every penny.

The Crooked World: Yes. Ridiculous and goofy and silly and also surprisingly deep. Try to imagine the Doctor and co. landing on a cartoon world, with cartoon physics. Now imagine that, but it’s got an interesting and heartfelt plot underneath the cartoon hijinks.

History 101: A good book, and important to the Sabbath arc started in Adventuress! Would rec.

Camera Obscura: Another Lloyd Rose book, one that kind of ends a large part of the Sabbath arc, and just really good. Heck. So good.

Time Zero: this one will rip your heart out in the first few pages and you’ll thank Justin Richards for it. Also begins a new arc, but of all the arcs you could read, I’d recommend this one the least. Each book after this through Timeless is part of this arc. It gets pretty depressing.

The Infinity Race: Not bad, not good. Take it or leave it.

The Domino Effect: Wouldn’t recommend. Seriously.

Reckless Engineering: Not...terrible. But depressing.

The Last Resort: Super confusing, very arc-heavy. Not that it’s bad, just that it’s not good.

Timeless: ends the arc started in Time Zero and has some good bits. Anji’s last EDA, so if you like her, I’d recommend it. Also introduces Trix, the new companion! (Sort of...)

Emotional Chemistry: If you like Fitz, read this book. There’s other plot, but a large part of it is Fitz character study. And I love it.

Sometime Never...: One of my favorite Justin Richards EDAs. Great character work. Fun story. Ends the Sabbath arc.

Halflife: If you ship Eight/Fitz, read this book. Otherwise, it’s not a bad book, but you could do better things with your time. I vaguely recall some Trix character development, but the Eight/Fitz is what really sticks with you.

The Tomorrow Windows: Douglas Adams Lite. Not as funny as Douglas Adams. Overall impression: meh.

The Sleep of Reason: Wouldn’t recommend. Trix is referred to as “the blonde bitch” 90% of the time, the Doctor and co don’t even make any appearances until nearly 100 pages in, and it’s just kind of disappointing. Martin Day, the author, has this weird fascination with mental institutions? Weird and kinda yikes.

The Deadstone Memorial: It’s Baxendale, so it’s gory. But it’s not bad! One of the better late EDAs, imo. And for the subject matter, it’s surprisingly wholesome.

To The Slaughter: Now this, this is what I’m talking about. One of my top Eight/Fitz/Trix stories, alongside Emotional Chemistry and Sometime Never. (And what the hell, Halflife. What can I say: I love Eight/Fitz.) It’s got some great Fitz characterization, I love Trix, and I love Eight. Really the half-a-brain-cell-at-best team. We stan.

The Gallifrey Chronicles: Nah. Don’t bother. Not really worth your time. Unless you want to read it and cry about the vore with me.

So there you have it! A ridiculously in-depth look at my EDAs recommendations! Uh. You can always start from the beginning, or you can go based on recommendations or what looks like it will suit your fancy, or you can pick an arc and read it through to the end. There’s really no perfect way to read them. Please, please dm me or something if you want a link to PDFs of the books, I’m happy to share it, and I hope you enjoy the EDAs!!