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caguaydreams · 4 years ago

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A thorough analysis on why Vah Medoh’s dungeon theme makes me want to cry

Yep, that’s an accurate title. Hi there! do you have a moment to hear about Breath of The Wild soundtrack? posting for yet a third time in hopes that tumblr won't hide it. I'm so tired

What started as a quick and harmless post, pretending to simply point out a couple of things, rolled downhill, out of my grasp and turned into a massive snowball of a short essay. How and why did this happen? Well, I assume a lot of people know about this song, and know what I’m talking about when I say that it makes me tear up and sob uncontrollably with every change in key as the seconds tick by and I spiral down into a dwell of misery from where I struggle to find the exit and to later recover.

……No?…..At the VERY LEAST it makes you a little uncomfortable. And I state this with much certainty, because after reading hundreds of comments everywhere online where this song is present, I picked up on a vast majority of people who expressed to feel the same way I did when it came down to our current music subject. See, statistics don’t lie… normally. So, naturally, my intrigue got the best of me. I wanted to find out exactly why this soundtrack was mercilessly stirring up everyone’s emotions, so I caved in and we ended up with this.

Buckle in, fellas.

Out of all Divine Beasts’ dungeon themes, Vah Medoh’s is the one that I can’t sit through. Not without growing antsy and wanting to turn it off as soon as possible. I find it genuinely difficult to listen to, and it’s not only because Revali is my favorite character and the song is just, plainly put, depressing, mind you.

We’ll start from 0 terminals activated.

It opens up similar to the other three dungeon themes; the pace is slow but eerie, gives off the impression that it sounds broken somehow. Something is off here, and it’s easy to figure out what that is from the get go: you’re basically entering a majestic, ancient, mechanical mausoleum, where everything went terribly wrong a century ago. Someone is gone, someone you knew, someone who was probably close to you, but it’s impossible to be sure. You don’t remember a thing, and this entire ordeal is confusing at best, and terrifying at worst. It’s your duty to make things right again.

It’s the same for all four Divine Beasts upon entering, save for the obvious little differences that separates them from each other and make them unique. Ruta’s is played on a major key, adhering to a sense of hopefulness. Naboris’s begins with a startling smashing of the piano keys, much like thunder of a sudden lighting strike. And Rudania’s theme starts threatening, dangerous, like scalding lava.

But now, back to Vah Medoh. The tone here is… alienating. The dissonant chords are all over the place, and feel disconnected, cold. It’s almost as if someone doesn’t want us to be here, or just like the elusive key, our presence is unexpected. Fitting, for a Divine Beast that’s high above the land, impossible for most to reach, yet we somehow made it. Apart from the piano, we have the occasional hint to rito culture, in the shape of a short, synthetic version of the rolled chords at the very beginning of Rito Village. A quiet reminder of where we come from. There is also, of course, the morse code distress signal, but we’ll talk more about that later.

As soon as this formal introduction is over, we finally get to the more, say, intimate stuff. Oh, and wouldn’t you know, it’s just tragic.

One terminal activated.

There’s no better short way I can describe this passage, other than anxiety-inducing. Especially when the strings come into play, and there’s two reasons I can think of why I feel this is an important thing to point out:

1- Characters and Symbolism.

I tend to associate stringed instruments, all of those which compose the violin family, with rito culture. And Revali, most specifically. In Creating a Champion we can see the early concept art and designs for all or most major characters in the game, and Revali’s highlighted rough design might be the one that changed the most throughout proper development of the character, out of all champions. He looks quite different from our usual depiction of him, it’s fascinating. What truly catches my eye, however, is the design of his bow.

You thought bird puns were bad? Oh boy, how do you feel about Revali having a bow that looks like a violin/cello/viola??? And do you need a bow to play it also??? Like, is it even an instrument or it’s nothing more than a mere fashion statement?-

Anyway. I believe this was originally going to be a not-so-subtle wink to rito culture, being heavily musically inclined as we can see and conclude for ourselves. Perhaps Revali was going to be a musician as well, now how cool it that!

Needless to say, the idea was eventually scrapped. But one detail I am CERTAIN carried over to the character we know and love today(okay not all of us love him but seriously if you dislike him why are you still here lol): strings. The association between bows(weapon) and stringed instruments, aside from being a quite clever and creative one, goes beyond the concept art and remains strong as part of Revali’s character, settling for having a presence via score. After all, Revali is a master of archery, so in that way it makes sense to keep strings as symbolism to reinforce the idea and drive it home.

But can you guess what other thing Revali excels at? That’s right: flying. He’s the only rito we know of who successfully managed to take advantage of wind currents and bend them to his will. And do you know what musical instruments are often used to evoke the feeling of flight and gale? If you thought of bowed strings, you’re correct! Unfortunately, I couldn’t find much support on this topic online, so you’ll have to take my word for it. I am most certain that this is fact, although not something worth discussing on the Internet, by the looks of it.

Anyhow, violins/cellos/etc are ever-present whenever we’re close to Rito Village or dealing with a rito related mission. Attack on Vah Medoh, for example, features a sequence of strings that is meant to evoke the strong winds we’re fighting against in that particular moment(*). Another great example is The Final Trial, the song that plays at the shrine of resurrection nearing the end of the Champions’ Ballad. Preceding the activation of each terminal, you’ll notice that a new instrumental element joins the crowd: the first one corresponds to the tambourines, related to the zora and Mipha; the second one are strings, referencing the rito and Revali, etc. I tell you, the moment I heard this during the trial I almost started crying like a baby. And, although strings have a lot to do with Rito culture in general, they tie most strongly to Revali, since he was the champion of his people, and his legacy carried over throughout the years. His accomplishments became material of folk tale, a legend, a source of pride and inspiration for the village. And let’s not forget that, at the end of the day, Revali is the crucial and foremost connection Link has to this place. Other than appeasing Vah Medoh, Link’s responsibility here is to free his past fellow champion’s spirit from Ganon’s malice. The soundtrack is referencing Revali first, and by extension his devotion to his home.

With all that in mind, let’s move on to our next point:

2- Nowhere to Go.

You shoot the canons, land on top of the Divine Beast, do what you gotta do, activate the first terminal and the soundtrack goes off unannounced. Like some sort of surprise anxiety bomb. The rhythm turns fast, the melody erratic, incredibly desperate in its execution. There’s this sheer despair, fear, this feeling of suffocation almost, which are so well achieved in this particular piece.

And that is, partially, because a quite familiar resource is used here as well; one that we’ve heard before in songs such as Rito Village or Revali’s theme. You could even think of it as a motif: two notes are played in an semitone interval, repeatedly and in quick succession. For the sake of later convenience, we’ll call this the Flight Motif, now let me explain why. In Breath of The Wild, this semitone loop is often followed up by some form of resolution. In Rito Village, formerly known as Dragon Roost Island(**), that resolution consists of a graceful descent of the melody, from a high that was built up previously during the motif. On the other hand, if you listen to Revali’s theme, you’ll notice that the interval repeats itself for a couple of times as thought charging up, to then rise fast and determined into a triumphal reprise of Revali’s distinctive assigned melody. This juxtaposition supposes the difference that lays between common rito flight and Revali’s trademark ability; both musical sequences are speaking of flight, albeit in two different languages depending on the way to achieve it. While the rito traditionally use their wings to glide and let themselves get swayed by the air currents Buzz Lightyear style, Revali takes full advantage of his flying capabilities to somehow create an updraft of his own, rising meters above the ground whenever he likes or needs to.

So, now that I layed out my base of thought when focusing on the strings, this’ll be much easier to explain. We’ve settled what the instruments themselves are a symbolic representation of Revali, in this scenario specifically. He was the only one inside Vah Medoh, and the score is, in a way, a retelling of what we can vaguely assume went down here during the Great Calamity, as much as it is what sets the tone and ambience for Link’s mission. But what are we hearing exactly? What we talked about, the Flight Motif, is being repeated nonstop. And that’s the thing, remember how I mentioned that this sequence usually finds resolution at the end? Well. Inside Vah Medoh,… it never does. The melody picks up in numerous occasions, but it’s not nearly as graceful, or calculated, as we’ve grown used to by now. It gets tangled and lost, and then inevitably falls to the ground in disarray. The pattern repeats itself, reaching higher after a handful of failed attempts, but no matter how much it tries, the cycle never ends. What used to tell us about flying and freedom in the skies, has morphed into an almost sinister musical incarnation of a tornado, and there is no way out of this trap. What do you think it must feel like to mindlessly flap your wings against wind currents so strong and violent, that it is impossible to get anywhere nearby, let alone take off every time you lose your balance. Or every time you’re shot down. On top of that, trying to aim and fight back in whatever short breaks and opportunities you get, at an enemy that’s much more powerful and relentless, who’s using your own element as a weapon to destroy you… it’s a risk Revali surely had to take in order to put up a fight. Even knowing full well that the odds were not in his favour, that he was most likely going to lose this battle, that he was going to die. Let that sink in. I’ll skip the activation of the second terminal, since there’s barely any change registered in the theme in general. So-

Three terminals activated.

I know this post is supposed to be a breakdown of the song purely, but that doesn’t mean there’s no place for a little theorising, and the following scrutiny is also quite relevant for our discussion. Bear with me for a bit. I’ve read almost everywhere about people’s most common interpretations on the Divine Beasts SOS signals, and how everyone thinks that Revali’s coming in last (a few seconds later than the other champions) has to do with him holding on for longer. Or, also, overconfident as he was, it means that the idea of calling out for additional support didn’t cross his mind until it was too late, and that’s why the beeping sounds more frantic and panicked than the others’ when it does appear. After giving it some thought myself, I’m betting on the latter option holding more ground, and that’s not all. I want to touch upon a detail of the piece that I never acknowledged was there until very recently(after seeing myself obliged to listen to this song fully and a handful of times, suffering every minute of it for the sole purpose of this analysis. It’s okay I didn’t need my heart anyway). Soon after activating the third terminal, the SOS signal disappears, or grows distant and faint enough that we can’t make it out from the background anymore. In its place, we’re confronted by this… shrill, piercing and painfully slow tune. It sounds synthetic, artificial, devoid of life. And it’s funny, because you know what it reminds me of? I’ll tell you:

A heartbeat flatline sound.

And I want to highlight that this doesn’t happen in any of the other Divine Beasts themes. All their SOS signals carry on, but Medoh’s is no more. This abrupt stop, followed by this bone-chilling tune…. makes me believe that Revali was the first of the champions to fall. A few days ago I came across SuperZeldaGirl’s video on a similar topic, theorising that this could very much be the case. There is not much evidence to support this claim other than some visual cues that could be suggesting to it, but after I found this in the soundtrack, and if we’re to rely on it for anything, I believe Revali was either the first champion to be ambushed by Ganon, or well…. the first to be killed. It is plausible, because short after Calamity Ganon unleashes his power, Revali parts from the group and flies directly to Vah Medoh, and he very well could’ve been the first pilot to arrive.

On this note…. we’ll have to wait and see for ourselves, when Age of Calamity provides long-awaited answers to many of our questions.

Four terminals activated.

An interesting melody is being played on what, for me, would qualify as a glockenspiel or a celesta, which are keyboard based instruments that produce a sound similar to that of a music box(***). If you want to pay more attention to it, I suggest listening to Vetrom’s Instrumental Mix Cover of the theme, where they practically zoom in on this part of the song (keep in mind that it uses the All Terminals’ time signature so it’s being played faster). For some reason, this particular addition makes me feel profound empathy. The sound of this instrument could be described as cute or childlike, magical, even. It is more often than not used to represent innocence, but I highly doubt that’s specifically the intention here. Much like the leading strings’ melody, the melodic contour of this one is trapped in a loop of going up and down constantly, but the difference is that this time around it sounds more under control. And much more uniform too. It doesn’t lose focus or takes risky, fruitless leaps, but rather chooses to stay on a path of waves that consistently rises and falls without taking detours. Like a determined battle strategy, giving it your all. You fall, but get back up again, and try again, and again. It reminds me of Revali’s approach to training, being persistent to the point of overworking himself. He had discipline nailed down to a tee, which I also think served him well in combat. It’s not just about being hard on yourself, either, but being confident and having complete faith in your abilities; believing that you’ll make it. For this to appear now, that the SOS signal is almost completely gone, is significant because it means that by this point, being so close to success on Link’s behalf, the music is sparing genuine encouragement for once, in spite of the tragic outcome of the past and the danger of the current situation. But, in all honesty, this is probably just me reading too much into it. Perhaps the composer just thought this addition sounded pretty bitching and there’s not much else to it, which is completely fine. Although, intentional or not, sometimes coincidences do happen, and at the end of the day, interpretations like this are a form of appreciation for an artist’s work and for what they can unknowingly accomplish.

All terminals activated.

This is the moment when the song finally lightens up. Notice how the strings abandon the wave pattern for a more even contour. The beat quickens, the melody stabilizes. At first I thought, coming from our flight analogy, that this meant a cease in movement entirely, and it was partly one of the reasons why the song in general makes me anxious. But thinking about it now, …there is something different going on here. The strings are playing on a steady rhythm. It resembles a march, it’s like a pounding heart. It’s a lively, hopeful statement. And what’s interesting is that, up until this point, there was so much fear and helplessness present in the score, even going as far as to reach a dead end when we activate the third terminal. But that’s it, isn’t it? the music just keeps going further.

It’s saying: this isn’t over yet. Even after complete and utter defeat, there’s still hope and an underlying wish to overcome this predicament, and we started to hear this as soon as a fourth terminal is activated. The melody we previously talked about? it’s here as well, and its beat is much more daring and confident.

And I just want to say… this is so powerful. Because this sentiment is deeply tied to the game’s story and Revali’s character arc. You see, he is introduced as someone who resents Link for being the manifestation of his failure, in a way, because Revali has trained arduously his whole life to be where he is, to be recognised. And yet… this hylian gets chosen by a magic sword and some tale of divine destiny and, apparently, that’s all it takes for him to be deemed the hero that will save the land. In Revali’s eyes, Link has done nothing to prove his worth before him, so it is easy to see why he despises the silent knight so much; he is yet another individual that was born into their destiny. Meanwhile, Revali has had to build his reputation from the ground up, earning him a place among the greatest warriors of Hyrule, and even then he finds himself surrounded by people who grew up praised for being born gifted. We can see how Revali is the odd one out, and can map out the reason for him acting so antagonistic towards Link.

But once we’re on Medoh, things start to change. When Link enters the Divine Beast, Revali greets him with disdain, as per usual. Of course, Link has no recollection of whatever happened a hundred years ago, other than a small glimpse of the rito champion talking down to him, a memory that came and went in a flash. So as Link, we more than expect Revali to act cold and mocking, which he does. He provides us with as little help as needed in order to free Medoh, reluctantly, shielding his wounded pride over having to wait for Link, of all people, to come to their rescue. But you can hear him starting to open up bit by bit(I wish I could translate his dialogue directly from Japanese but I’ll make do with a couple of dubs and other numerous sources from translators online). With each little step Link takes towards success, activating the terminals, the perception Revali has of him shifts from one of resentment to one of genuine admiration and respect. By the end of it all, he is willing to not only cheer on Link during the boss battle, but to trust him with his life’s worth achievement. And once left alone, he admits defeat and lets go of his bitterness, realising that he was wrong to underestimate Link, and later wishes he could’ve had a chance to measured up to him. To take all of this into consideration and work with it in the soundtrack I think it’s genuinely splendid. And for once, I am grateful that it ends in somewhat of a positive note that puts my soul to rest. I still have a hard time listening to the first two thirds of the entire thing, but now I can look forward to a hopeful and earnestly heartening conclusion for all the pain that this composition puts me in. I must admit that it’s beautifully and brilliantly crafted, and that I am enamoured of it regardless.

That is why I wrote roughly 4k words about it! I hate myself!

If you’re as crazy as me about the soundtrack of this game, I recommend you read the published cd interview with the composers themselves! if you haven’t already. I just found it yesterday(unbelievable but it’s true) and… after writing all of this and checking it out, I felt validated. It sure is a one of a kind feeling.

Alright folks, we’ve made it to the end. Congratulations for sticking around and thanks being interested in my nonsensical rambling!

I also hope that you, like me, will now be unable to listen to bowed strings without being reminded of Revali. Good luck!

————– Annotations/Sidenotes/Whatever

(*)The Flight Motif(in point number 2) is also present in this track. We can hear it in the background right after the Rito leitmotif, as per usual. It starts with a clarinet, I think, before the strings take the lead. (**) Note that the Flight Motif only comes into play in the Breath of The Wild rendition of the song. (***)I strongly associate this instrument with Mipha, given that it is used in her theme, in every “response” to the initial melody. It can be heard in Attack On Vah Ruta, as well, it enters the scene when the notes Mi(E) and Fa(F) are played. The initial tune, Si and Do(B and C) are played on a clarinet or oboe, wind instruments just like the flute that leads Sidon’s respective theme. The celesta can also be heard inside Vah Ruta, activating the first terminal…. when the song really takes a turn just like Medoh’s. Mipha has nothing to do with the song of this analysis, however. We must understand that instruments, although they are attached to characters/various story elements in some cases, can always be used outside of that context, for that is the nature of an orchestral soundtrack. If you have this many tools at your disposal, you will make good use of them.

#Revali #Vah Medoh #botw #loz #aoc

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hihopelessromantics · 2 years ago

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Oh god they just start coming to Liones in waves. More and more Meliodasess. The citizens wonder if it will ever end. The city district planners are quaking. There are already 65 conspiracy theories. None of them make sense even remotely except for number 3, which was simply, “the supreme deity did this.” The conspiracy theorist offered no elaboration. On a totally unrelated note, Meliodas needs to have a word with Merlin about that new hobby she said she had found.

The mysterious rulers of Danafor SHOULDhave their own lore. Definitely. Just a little… for the world building… and the angst…

It never occurred to me that it would be interesting to examine the hive mind au with Liz specifically. Maybe it’s because she has a soft spot in all our hearts but there’s something special about that reincarnation’s relationship with Meliodas. It would be fascinating to examine how their relationship came to be in an au like this - so much potential for emotional bonding since they’ve both got so much they keep quiet about but in this specific situation Liz could get a very clear glimpse through his cheery facade when they first met, with Meliodas obviously Not being your average carefree happy go lucky guy. She would definitely be one of those people in Danafor who went ohohohoho no. we are not pretending this is completely normal.

There’s no hiding the hivemind forever, but in an attempt to make her more comfortable… would he try? He’d do anything for Ellie, even self destructive bs. Now…maybe… that plays a role in how Liz realizes he has no ulterior motives concerning her. When she finds out he hasn’t just been excited to have a Girl around. He’s been basically tripping over his own feet to figure out how to make this version of her at LEAST not be afraid of him if he can’t make her comfortable around him, to the point where the hivemind has devolved into a sort of disorder they haven’t seen in centuries. Ahh the angst potential

In addition, I imagine that he’s actually rather insecure about whether or not she can truly love - would choose to love, ‘if she had the chance’ - all of him. (Now figuratively AND literally!) But I can imagine that just like all the reincarnations before her, after falling in love with Meliodas, she would come to love the hivemind in her own special way.

For Liz I think that despite her initial shock and whatnot she would become adjusted to the hivemind pretty quickly, taking it more in stride than any Liz before her. She has a harder time becoming comfortable with Meliodas the person, in accordance with her backstory and all that. Her admitting that the hivemind aspect of their relationship never truly bothered her all that much, even at the beginning, would be a touching moment for them. Liz wouldn’t be able to keep track of Meliodas no matter how many were in the near vicinity. It would drive her crazy since he can always seem to find her with ease. I think that she would find the amount of Meliodasses comforting once she got used to it and would love being tactile with all of them as she goes about her day. Chasing them out of the kitchen was a hassle but she continued to do so for at least a year before she finally gave in and let them help her with some basic tasks around the kitchen, just to make it easier for all of them. Definitely not because he was so eager to help and she appreciated the company even if cooking abominations were occasionally, inexplicably, created whenever he tried to help a little too much.

Savage Elizabeth is so fun but my brain needs to marinate in more imagination juice before coming up with headcannons for her. Thoughts anyone ?

For Elizabeth Liones I would imagine she would love the opportunity to really show Meliodas that she not only accepts him the way he is but considers it as something she loves dearly. Knowing she’s the one he trusts to be by his side and she’s the one he wants to confide in is probably one of her favorite things in the whole world. So. She would really just love being able to shower him with as much affection as he showers her with. She’s got a big heart and it just feels right for her to be able to love meliodas, “even in this state.” it breaks her heart that he’s insecure about the trouble it may cause her in their daily lives, since ever since she was very young she can only remember being overjoyed by his existence. Also, since there’s so many of him he can’t run away from her. (Turning the tables ha ha. She definitely starts remembering their games of hide and seek when she was a child and eventually is able to find every single meliodas, wherever they are, without help) Probably when they were just getting to know each other more deeply she would just go from meliodas to meliodas trying to find one she could comfort by helping him talk about whatever was on his mind, not really understanding how the hivemind works and meliodas not having wanted to explain it to her. I can just see his realization that this is Her. The Elizabeth he loved, has always loved. (The supreme diety cries in “HOW DID I MAKE THEIR BOND STRONGER BY DOING THIS. NO! IT WAS SUPPOSED TO BREAK THEM. HOWWWWW”)

I’d love to see how Liz would react to this au honestly. would the altered curse make her more defensive? Would she be horrified, asking if he was always like this. Who did this to him, was it hurting his soul or something, this can’t be healthy for one mind to maintain, is it really so painful you can never tell Anyone? (‘I’ll make them pay…’)

NnT AU where the Supreme Deity fucked up her curse and instead of just reviving Meliodas everytime he died, the curse also duplicated him like Hydra heads. Everytime one of him dies, he wakes up with another one of him beside him.

By the time the manga starts, there exists a small army of Meliodasses in Britannia. You could make up a village consisting of just him.

There’s still only one Elizabeth though, so they all stay together.

When he’s taken in by Liones, Baltra has to build a new city block/area/district just to fit him.

The good news is, Elizabeth always has like 10 Meliodasses protecting her, making her pretty much untouchable. The bad news, there is not enough alcohol in the entirety of Britannia to quench the thirst of the Meliodas Army.

#sullina nnt #nnt hivemind meliodas au #meliodas #nnt #nnt au #nnt shitpost

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btsandvmin · 4 years ago

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What made you like Jimin individually and Taehyung individually ? And do you have a slight preference between the two ?

I love all the members so much, and for me picking a bias is still kind of difficult. I have concluded that I do bias both Jimin and Tae but kind of switch between them at different times for different reasons. As for a bias wrecker I legit cannot choose and it changes all the time.

The way I got into BTS was through the BST MV and then trying to learn the members (the first one I learned and checked up on was Namjoon). I also got fascinated by the BU storyline as storytelling and analysis/reviews is a big hobby of mine (the fandoms I’ve been in are many, and character/story analyses/reviews/theories are something I have engaged in a lot).

On top of that I work in the media industry and have an interest for visual storytelling as well and I got hooked by the concepts, the beautiful MV and the both story-based and symbolical clues they left. I also loved their music and like groups in general because of the interesting vocal dynamics you can create. Basically, BTS managed to hit all my buttons and I had to look up more.

Mind you, I barely knew the members' names properly and I was already investigating the meaning of their MV and storyline. I listened to their album and loved the songs before I could tell which member was who. (Both Awake and First love made me cry without even knowing the lyrics). I also have to mention how much I love both of Vmin’s voices, who are both very unique and interesting. I basically biased their voices before I knew who they were. (Fun or sad fact but I am really bad with faces and actually learned the members' singing voices before their faces.)

Let’s just say that I got into the music and visuals/concept first, and then started to consume material to get to know the members. They all also had incredible chemistry between each other and reminded me a lot of one of my favorite j-pop groups with their dynamics.

What I started to watch was “get to know them” videos and recent interviews and clips, meaning from BST era. It was hard for me to not notice Jimin (even though vocal line were the ones I had the hardest time separating from each other in the very beginning). And perhaps even more so since the introduction videos tended to have a lot better and varied things to say about Jimin amongst vocal line. But even on his own Jimin simply stood out to me during the BST era when I joined. He took a lot of space in the group as a performer (especially with his high notes, his dancing, his hair and his outfits all combined) but also as an individual in off stage material. I fell for his voice and performance and the “Jimin effect” was hitting me hard.

I also related to him a lot. I am a sort of clingy but shy person who is a perfectionist and likes being in control. I also thought he was both cute and funny without being too over the top with things like aegyo (I mean, we all know he is horrible at it when he tries to do it on purpose). I think the way Jimin is so open (though private) makes him easy to understand and relate to. He has a lot of different moods and there is an honesty in how much he shows us even though he clearly still remained in control.

As time went by, I found myself focusing on Jimin more than the other members and I realized my bias. I was simply drawn to him more than the others from the start. That in turn brings me to Taehyung... Because honestly, at the time it was impossible not to notice their closeness. And looking up a lot of old material, where Jimin was there was also Taehyung. They were very clingy and had a lot of cute interactions. One of the first things I watched of their more off-stage material was also Bon Voyage in Scandinavia (being from there myself I was extra curious) and the Vmin moments in there just cemented their bond for me.

I am not saying I only appreciate Tae for ship reasons, simply that Vmin got my attention early on and that did make me focus more on Taehyung as well. I thought as many that he was a bit odd, but very funny and playful, that he was incredibly good-looking (my opinion from the start was that JK and Tae were the most good-looking) but also a bit difficult to read. Taehyung made me want to understand him, and I was interested in him for quite different reasons than how I related to Jimin. I love him for his way of thinking and how he seems to have this innocence or happiness in the small things about him. Like, Tae getting lost in Sweden but still being happy about the small adventure, enjoying himself and stopping to blow on a dandelion might just be one of the most endearing things I have ever seen. (Honestly, another point I relate to Jimin on so much is his love for Tae and how he just makes us smile no matter what he does.)

Of course, as they change and as I get to watch them more, the more I find to love and appreciate (as well as flaws of course) and now I would say all the members are just very precious to me and I love them both for who they are on their own and for their bond as a group. It is impressive and not to be understated how rare it is to find a bond like theirs. I have seen many groups, and few are as compatible as BTS, and few seem to truly love each other the way they do.

But as for bias it will likely always be Jimin and Taehyung unless there is some drastic change.

For Jimin I love the way he dances while controlling every fiber of his body, the way he pours love into all his relationships but isn’t afraid to call people out, the way he keeps getting funnier (I think Jimin’s sense of humor is so underrated), the way he acts like an angel but actually has the whole world fooled (and he knows it), the way he shows his emotions so animatedly no matter if he gets annoyed or laughs with his whole body, the way he knows his principles and stands his ground when he believes in something, the way he works so hard to improve and better himself both as a performer and as a human, the way he thinks about things deeply and is so eloquent with how to express it, the way he is there for both ARMY, his members and even strangers because he is empathic to his core. There is a lot to love with Jimin, and he always makes sure to return that love when deserved.

For Taehyung I love the way he stand against the norms, the way he shows it’s ok to be different and embrace himself and others without judgement, the way he almost plays with us when he performs, the way he sings with such emotion and how he loves to express himself through all kinds of art forms, the way he learns and take in valid criticism but isn’t afraid to call bullshit, the way he knows when to be serious but also the importance of having fun, the way he is both the biggest dork and a fierce performer at once (I mean he can be so unapologetically silly and then suddenly switch to lethal seduction), the way his unique way of thinking opens up to new points of view, the way he can’t help but show his excitement or love for something and wants to share it with the people around him. He goes all out when he loves something and doesn’t hide his opinions when he doesn’t. Taehyung is just a very honest (though perfectly capable of lying and fooling us thank you very much) and incredible person that I both admire and adore.

There is just so much, and even small things get to me, like don’t get me started on their smiles, or even just their habits when they laugh... (how Tae usually laughs quietly but once in a while will let out these light giggles, or the way Jimin seem to automatically covers his face when he laughs).

I love them both to death (as all the members). It is not easy to just sit down and pour years of love into words, but I tried. I love them both as singers, performers, artists, and humans. I also love them as soulmates and how much they both just spread love and positivity to the people around them. The impact they have had on me, and surely many of you, is hard to comprehend. I am so lucky and happy that I decided to become a fan of this wonderful group and these wonderful people.

Phew, that was a lot wasn’t it? All opinion based, probably a bit hard to understand and not very well structured either. This is all just a flow of consciousness, and I likely forgot to mention a lot of things I could have said. Even so I hope you found it a nice read. :) Thank you for the ask.

#taehyung #jimin #vmin #kim taehyung #park jimin #my story #vmin appriciation #my post #btsandvmin ask #btsandvmin answer #btsandvmin #vmin blood sweat and tears #bts

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ladycatofwinterfell · 4 years ago

Text

Observations

@leialannister welcome back <3

This one is different from the rest of my fics since it’s mostly from Cersei’s POV. Basically she sees some intimate moments between Ned and Cat during the royal visit to Winterfell and her feelings are all over the place.

Catelyn leaned towards him when Ned sat next to her.

“Cersei Lannister considers me ugly” she said.

How could anyone find his wife ugly? Catelyn was the most beautiful woman Ned had ever seen. Her hair and her eyes, her charming smile and the grace with which she moved. The rest of the men in the hall had been gawking at Cersei Lannister all evening, with her fancy southern dress and hairdo, but Catelyn had a natural beauty that he didn’t believe even the queen could match.

“Jaime Lannister considers me old and stupid” he said.

Ned didn’t like the smirk that was always on Jaime’s face. He could not see the man anywhere in the hall at the moment and that was a relief. There was just something about Lannisters that irked him. And Jaime Lannister especially. It reminded him of when he had found Mad Aerys dead and Jaime on the throne, something he would much rather forget.

“We make quite the match” Catelyn chuckled.

They needed not assure each other of anything. Both of them were well aware of that you shouldn’t trust anything a Lannister says.

“We do, don’t we?”

She lifted her cup and he did the same. He loved the smile on her face. That smile that he usually only saw when they were alone. After feasts and gatherings when she put Lady Stark aside and instead told him exactly what she thought.

“To being ugly, old and stupid” Catelyn said dryly.

Ned laughed, then repeated her words and both of them drank. She was already in her cups, he could tell by the very lovely blush that covered her cheeks. But it was not enough for it to be noticeable in any other way if you didn’t know her well.

She leaned even closer to him and lowered her voice to a whisper.

“She looks at me like she wants me dead.”

“Who?” Ned asked, very confused about whoever wanted his lady wife dead.

“The queen.”

~*~

They truly were disgusting. Cersei couldn’t find a better word for it. Ever since they arrived at Winterfell she had seen the looks they shared with each other. The little smiles and gentle touches. A hand on an arm, a hand on a shoulder, a hand at the lower back. Even kisses. A kiss on a forehead, a kiss on a cheek, a kiss on the lips. They certainly were not afraid of showing their affection for each other. In ways that were not appropriate.

Cersei found herself watching them multiple times during the feast. It was in a way fascinating. Seeing them lock eyes with each other from across the room and share a smile before going back to their conversations. Despite the crowded hall they always managed to find one another.

She saw how Lord Stark walked over and sat next to his wife. She immediately leaned towards him and said something. He seemed to consider for a moment before answering. Whatever he said brought a smile to Lady Stark’s face. After another exchange of words both of them raised their cups and made a toast to something that made both of them laugh. And during all of it that spark was in their eyes. Like they were young, experiencing their first love. It was ridiculous.

For just a moment Catelyn Stark glanced over her husband’s shoulder and met Cersei’s eyes. It only lasted a second, then Stark was urgently whispering to her husband.

“Why do you find Catelyn Stark to interesting, dear sister?”

She looked at her little brother. Tyrion had stayed out of the way most of the time, she didn’t even know when she had last seen him. But there he was. He had a way of just showing up from nowhere.

“I don’t.”

“I don’t believe that. Why are you staring?”

She didn’t answer. Mostly because she didn’t know. Why was she staring? What about Catelyn Stark and her piece of ice for a husband was it that interested her? Both of them were deadly dull. Quiet, solemn Eddard Stark and uptight Catelyn Tully. One could see in their eyes that they considered themselves better and much more honorable than everyone else.

“She was a lot prettier when she was younger” was what she ended up saying.

It was true. At least mostly. But still her husband looked at her like she was some great beauty. Perhaps he felt obligated to do so. Yes, that had to be it.

“But she’s still pretty, isn’t she? One might even say beautiful. Hair like that is hard to find. And I think Lord Stark is aware.”

She was nowhere near as beautiful as Cersei was. Had never been. Her husband was even plainer. And still you wouldn’t be able to tell that from how they watched each other.

“He’s in his cups.”

“Ah, but from what I have heard they are like this always.”

“And who did you hear that from?”

“People talk. Whores, most of all. It is said that Lord Stark never leaves his wife’s bed.”

No one to be trusted, in other words.

“I find that hard to believe.”

No man would be satisfied by such a proper lady as Catelyn Stark. Surely she would never agree to anything but lying back and staring up at the ceiling. But maybe that was all Eddard Stark needed. It did seem reasonable. Perhaps he, like Stannis, saw lying with a woman as nothing but a duty. But then Catelyn Tully was at least prettier than Selyse Florent and surely more enjoyable.

“And why is that?” Tyrion asked. “You see, some people are not unhappy in their marriages.”

“She’s too boring to keep a man in her bed. It’s easy to tell.”

“Have you never heard what is said about women with red hair? And what is said about Tullys?”

She had heard enough. Robert had always preferred red headed whores and he had never been shy about telling her about it. Even better if they came from the Riverlands. Cersei had a sneaking suspicion of that maybe all that was more related to Catelyn Tully than she would have liked. Of course he had said to her a few times that he would have much preferred to marry Catelyn instead, but she had not put too much thought into that. He had been angry and drunk, she never thought too much about what he said in those moments.

“And Lady Stark whelps every other year. Who do you think got all those pups on her?”

“Only one has the Stark look. For all we know it could have been anyone.”

She let her husband have his bastard among her children, but she looked at the boy with bitterness and had made sure he was out of the way during the feast. And Cersei wouldn’t be surprised at all if it turned out that one or more of the little Starks weren’t wolves at all. She even understood it.

“I don’t think Lady Stark would have time to be unfaithful considering how much attention her husband pays to her.”

“And do you think she enjoys it?” she asked.

Cersei certainly didn’t believe so. No, both of them were too proud and dutiful to let themselves to submit to something so unrefined as pleasure and lust. And Eddard Stark had no passion in him at all. He was without emotion, he had ice water in his veins instead of blood. Duty, that was all.

“The servants say that if you happen to walk past Lady Stark’s door at night you are sure to hear her.”

Tyrion raised his eyebrows suggestively and that was when she decided that she had had enough. She didn’t want to talk to him anymore. And she didn’t want to spend more time thinking of Lord and Lady Stark and their really annoying marriage. She needed to find some decent company.

And despite that she couldn’t help taking the longer way back to the chambers she had been given after having made sure that Myrcella and Tommen were sleeping. The way that just happened to pass by Lady Stark’s chambers. A complete coincidence, of course. She was not in the least curious. She had simply taken a wrong turn, lost her way. Winterfell was large, and confusing. She has only been there a short while and she already hated it.

But maybe, just maybe, her curiosity was sparked when she walked down the corridors and heard a very breathless laugh cut off by a sharp moan. She had been forced to listen to Catelyn Stark’s tedious voice enough for her to immediately recognize it.

A small fragment of light spilled out into the darkness from a door that was not properly closed and Cersei slowly moved towards it. If anyone was to see her there she would have to have their tongue cut out to keep them from speaking about it.

She had known what she would see, she was no halfwit, but it was different than what she had expected. She really wasn’t supposed to look, but still there was something that kept her from continuing back to her chamber.

Catelyn Stark sat in a chair in front of the hearth of the room and her husband kneeled before her. Kneeled. What sort of husband kneeled before his wife? Not Robert, that was a thing to be sure of. Lord Stark on the other hand, kneeled. Kneeled beneath his wife’s skirts. While the wife in question sat leaned back in her chair, her eyes closed and her lips parted. Her breathing came rapidly in between moans and soft sighs.

And Cersei had never hated a person more than she hated her in that moment. Happy. The damn woman looked happy. And that was no wonder when her husband took such careful attention to her pleasure in an act that brought him no pleasure at all. And that would in no way get her with child. He did it just for her. Her husband. Not some lover, her husband. Not that Jaime would have done that anyway, no, despite being a lover and not a husband he was too proud for pleasuring a woman with his mouth. Catelyn Stark needed not stray, she had everything she needed in her marriage bed.

Tully opened her eyes and Cersei drew away from the door a bit so that she was more covered by the shadows, but the other woman only looked down at her husband while she lifted a hand and ran it through his hair. And it was that thing that truly disgusted Cersei. How even in the heat of passion, even when he had his tongue between her legs, Lady Stark looked at her husband fondly, lovingly and touched him ever so gently. Not for a moment one could be spared from it.

She really had seen enough, she didn’t have to see more and she didn’t want to more. But still it was like she was frozen to the spot. The bloody castle was doing it to her, it was too cold.

Suddenly Tully shuddered and a cry escaped her lips as she found her release. Shameless, like some wench you could find in a brothel, she called out her husband’s name. The difference was that her cry was honest and not an act, she needed not pretend because she wasn’t obligated to. She wasn’t paid for it. Cersei could feel the hatred grow in her with each passing second.

“That was much needed” she smiled when she collapsed against the backrest of the chair.

The sated bliss on Tully’s face was infuriating. Cersei wanted to hurt her just seeing it. She had been satisfied when she needed it. She didn’t endure coupling with her husband, she enjoyed it and desired it. Small wonder when he did that sort of things for her.

“I suspected so” her husband chuckled and got up from the floor.

Lord Stark offered his lady a hand and pulled her up from the chair. He pressed a kiss to her forehead when she stood and she leaned against him. Despite being Lord and Lady Stark it was very much not a moment between a lord and his lady, it was a moment between a husband and a wife.

Ugh, disgusting. Cersei was just about to leave, to return to her own bed and try to sleep and forget what she had seen, she really wanted to forget, when she heard Tully’s next words.

“Entertaining the royal family is tedious business” she said.

“At least the Lannister side of it.”

“They are all quite unpleasant.”

And for a moment Cersei almost said something, but that would certainly raise some questions about what she had been doing there so she bit her tongue and kept quiet. If she raised awareness to it they could be punished. They should have been punished for speaking about her and her family like that. But Robert would never let anyone touch the Stark and his bitch. She hated them all.

Lady Stark left her husband and walked over to the looking glass that was standing in a corner. She seemed to consider a moment before frowning.

“You have made a mess of me.”

It was quite true.

“There is no one here but us, you need not concern yourself with how you look” he said. “But I think you are beautiful. Especially now.”

“There’s no need for flattering me, my love, you have me already” she smiled. “Help me unlace so we can get to the point, will you?”

He came to stand behind her. They had their backs to her, but Cersei could see their reflection in the looking glass. Catelyn was watching her husband intently as he began to work with the lacing at the back off her gown. He kept his hands where they were supposed to be. The lord and the lady were definitely not sober and still no drunken groping occurred despite Lady Stark’s promise. And he had not been angry with her for telling him to help her unlace. No wonder she seemed so completely unafraid of him, he was no wolf with her, he was a pup. She could jape with him without having to fear anything. Had Cersei even politely asked Robert to help her out of her gown he would have threatened her with violence. Not that she wanted him to help or touch her at all, his hands on her disgusted her. With Jaime she rarely undressed, they didn’t have time for it.

Only when he needed to push his wife’s gown down over her shoulders did Stark let his hands leave her back. He very gently swept her hair out of the way and when he did so he also leaned forward and pressed a kiss to the back of her neck.

“I love you.”

“And I you.”

Could it get more nauseatingly sweet? She didn’t think so. But at least she could not fault them for it that time. As far as they knew they were in private.

Ned Stark whispered something against his wife’s neck that Cersei couldn’t hear, but that seemed to appeal to Catelyn Stark.

“Touch me. Feel how much I want you.”

Any septa would have died on the spot had they heard those words coming from a highborn lady’s mouth.

Just then Cersei realized that the looking glass was positioned so that the door was visible from it. And that she was as well. And just in that moment Catelyn’s gaze moved away from her husband’s reflection.

Cersei quickly backed away and fled down the hall. She tried to be as quick and quiet as she could. Once she was around a corner she stopped and held her breath.

“Cat, what is it?” she heard Lord Stark ask.

“The door wasn’t closed and I almost could have sworn that I saw someone. But I must have imagined it. It’s either that or the keep is haunted.”

Cersei heard the door close and she breathed a sigh of relief. What was she even doing? Spying on the Warden of the North and his wife in the middle of the night. She was the Queen of the Seven Kingdoms, what was she doing sneaking around the castle like some peasant that wasn’t allowed to be there? She was higher than that and better than both Lord and Lady Stark.

She wondered what Jaime would have thought about it. He probably would have laughed and come up with some clever jape. He was good at that, her twin. Maybe she could tell him. Not all of it, of course. But she could say that she had happened to walk past Lady Stark’s chambers. It had not been his turn to stand guard outside Robert’s chambers, he would most likely be in his own rooms. She could go to him. Yes, that she would do.

#i honestly don't know what this was #but i have had this idea in my head for a while so i figured it was time to write it #i hope it was okay #cersei lannister #catelyn stark #ned stark #ned x cat #my fic

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davidmann95 · 4 years ago

Note

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.

#All Star Superman #Grant Morrison #Superman

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loki-hargreeves · 5 years ago

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Loki x Reader - You Dedicate A Song To Him (Karaoke)

Warnings: alcohol consumption, vulgar language, secondhand embarrassment, fluff? just some fun (?) content and soft!Loki for a change Word Count: 3,000+ Summary: After moving to Midgard, Loki joins the Avengers. You’re an Avenger too and after a mission gone well, you decide to celebrate. That’s when Loki sees your drunken side. You seem to be both intoxicated with alcohol and the god of mischief himself. Author’s Note: Please know that everyone is different when they’re drunk. I wrote this based on what I’m familiar with. For once, I tried to keep angst out of this. I tried. Besides, writing soft!Loki is actually fun. Please enjoy! 😊

Third POV

The night had gotten a wild start and the chaos didn’t seem to be ending any time soon. Y/N had returned from a mission with her teammates after spending a week in the cold woods of Siberia. Once they reached their mission target and came back home, they were more than happy to celebrate their victory. After all, it felt great to be back after such hard work.

Loki was one of her teammates. He was new to the Avengers and they still didn’t trust him, nor did he believe they ever would, not completely. Despite the fact Loki had told them about Thanos, it didn’t seem to change much. Luckily, Y/N seemed to appreciate him. Even the kid, Peter Parker, dared to at least attempt to try to Loki. Even if the god didn’t vocalize it, he appreciated both of them. Especially Y/N. They had gotten much closer during the mission. They had split up and worked in pairs. Luckily, Loki had worked with her and they learnt a lot of each other. Y/N was much older than she appeared. The root of her powers was older than any living human on Midgard. Centuries ago, her family had been cursed by a witch. The rest of her family had unfortunately died, but Y/N, back then still a child, had fallen into a deep sleep. She had woken up from it after being disturbed by HYDRA. The evil organization had tried to take use of her powers. At least, she learned how to control them, but under the wrong circumstances.

That’s why she was so happy to be an Avenger. She could put her powers to good use. Besides, she felt understood while talking to Loki. He too had gone through terrible things.

So here they were, at a bar in the city that never slept.

But Peter was too young to drunk, which meant Loki would celebrate with Y/N. He did not expect the night to turn out the way it did.

The mortals had taken shots of something that smelled awfully sweet, which was why Loki had declined. Midgardian booze was nothing like the booze they had on Asgard. Unfortunately, Asgard was destroyed and the inhabitants of New Asgard back in Norway couldn’t magically get the ingredients from the destroyed realm. Alcohol wasn’t important for Loki, so he didn’t mind. He had a glass of red wine and he did his best to keep up with Y/N and the rest.

After several drinks that had burnt her throat, she began to loosen up and relax – if embarrassing herself counted as relaxation. It took a while for the alcohol to take a toll on her, but once it did, she was wild. It even surprised Loki, who had seen a lot in his long life.

“It’s my turn!” Y/N seemed beyond excited when the man called her name on the karaoke stage.

Loki had no clue what would happen. “Have fun,” he wished her sweetly, watching her get up and squirm through the people in order to reach the stage. Some people whistled when they saw her, which Loki didn’t necessarily like, but he had learned it was common in such places that were full of drunk people. People could be dirty. Some were simply dumb.

The song began to play and right off the bat, the people that recognized the song hurried onto the dance floor. For some reason, the lights on the dance-floor turned pink, making the aura of the place feel very intense, almost romantic. Loki didn’t think much of it, not yet. Although, Loki knew she would probably be embarrassed in the morning, he was happy to see her happy. When she was sober, she was definitely more closed off.

“Hey, Loki!” Y/N yelled his name in the microphone as the music blasted in the background. It threw him off guard and he tilted his head to look at her, afraid she’d say something foolish. “This one’s for you!” She continued proudly, making heads turn into Loki’s direction. Some people cheered her on.

Dear gods…

For me? He thought, confused. Was she serenading him? Was this normal Midgardian behavior?

Loki felt his cheeks heat up from embarrassment. He wasn’t used to people showing him any signs of affection this publicly. Bucky and Sam, who were nearby, couldn’t resist their laughs as they heard Y/N. The duo were good friends with Y/N and they did their best to get along with Loki. It wasn’t the worst, but sometimes they got on Loki’s nerves. Just like they did now. To make it worse, they headed to Loki’s direction and squeezed into the booth, sitting with him. They really wanted to make the most of the moment, didn’t they? They were practically gleaming!

Instead of brushing her off completely, Loki simply smiled and hid his embarrassment by taking a sip of his drink, hiding his face while doing so. Loki had fun, knowing he would remember this perfectly the next day, but he also wished he could be swallowed whole by the booth he sat in.

“I didn’t know there was something between the two of you,” Sam teased Loki a little bit, hoping not to push his buttons. Honestly, he was too drunk to really care.

Loki only shot him a cold glare, clueless as to what he should say. What lead Sam to the conclusion that there was something between them? Sure, they were close – that was undeniable, but it wasn’t romantic. Or was it? Nothing was set in stone, so Loki assumed what was between them was purely friendly banter with some innocent flirting. Alright, he had to admit he did feel for her, but he would never act on it. She was so…good.

That’s when she began to sing.

(True – Spandau Ballet) “…So true, funny how it seems, always in time, but never in line for dreams. Head over heels when toe to toe. This is the sound of my soul, this is the sound-“

Y/N wasn’t drunk; she was wasted.

Yet her singing sounded good. Loki would’ve focused more on her beautiful voice if it wasn’t for the lyrics. It had only been a few seconds, but he could feel his heart pounding against his chest. What was happening?!

“…I bought a ticket to the world, but now I've come back again. Why do I find it hard to write the next line? Oh, I want the truth to be said!” Y/N sang surprisingly clearly, never taking her eyes off Loki. It appeared the alcohol gave her a boost of courage. Loki couldn’t imagine ever stepping foot on that stage. He’d rather stay in the safety of the booth nearby.

By now, some of the drunken people had begun to sing along. Although it seemed like everyone else was having fun and ignoring Y/N’s feelings, Loki noticed it. She seemed serious, although she was drunk. He felt that she meant some of the things she sang, she basically poured her emotions into it. Could it truly just be the alcohol?

“…With a thrill in my head and a pill on my tongue, dissolve the nerves that have just begun. Listening to Marvin (all night long!). This is the sound of my soul, this is the sound-

Always slipping from my hands, sand's a time of its own. Take your seaside arms and write the next line, oh, I want the truth to be known…”

As odd as it was, Loki began to relax a little bit. Perhaps, it wasn’t that bad. There was a saxophone break in the song and Y/N stood there in silence for a while, as a sweet smile decorated her face. She seemed to happy. Whatever it was she was doing, she enjoyed it and Loki adored that. Even if it was just a drunken thing, it was nice. Surely, it would make him question things later, but Loki would try to push his thoughts away. He was a master at that.

“…This much is true, this much is true (huh huh), this much is true, I know, I know, I know this much is true…” as the song came to an end, some people applauded cheerfully, having clearly enjoyed the song Y/N had chosen to perform. She got off the stage after handing over the microphone to the man controlling the karaoke system.

“Wherever you are, Loki, someone sure adores you!” The man said into the microphone, clueless to who Loki actually was. Just like that, someone else got on stage and another song began to play. Loki didn’t have time to think over it as Y/N returned to the table, squeezing her way next to Loki, which she had to do by crawling over Bucky and Sam. She looked a little clumsy doing so.

“I hope you liked it!” Y/N said loudly over the music and grabbed her drink, sipping on it excitedly. Her behavior fascinated Loki.

Loki felt someone kick his leg under the table. The next moment, Bucky just smirked at him, as if he was trying to silently hint something. It was a different side from the man Loki was used to seeing at the compound. Ignoring the super soldier, Loki returned his attention to Y/N. “It was amazing,” he told her, seeing how happy it made her. Loki might’ve been cold to others, even frightening, but over time he had learned to let his guard down with her and he enjoyed it.

“That was so cheesy Y/N,” Bucky joked, making the woman roll her eyes.

“What? The song is iconic!” She argued playfully, not minding Bucky’s comment. They were friends, after all.

“If you want an iconic love song, you should try Careless whisper!” Sam butted in, almost wishing she would sing it. That would definitely make the mighty god flustered!

Sam’s suggestion seemed to thrill Y/N. “Sam, you’re a genius!” She slurred. “I should totally sing it.”

Bucky had to cut off her joy, “too late, doll. It’s too late to sign up.”

“Fuck!” She cursed, making the men laugh, and then she leaned against Loki’s shoulder, as if it was the most normal thing to do. Loki tensed up when he felt her head against his body. What was she doing? Why didn’t he mind it? He wished dearly that she wouldn’t bee too embarrassed all sobered up. “You’re soft.”

“What?” Loki spat out in shock. Bucky and Sam exchanged surprised looks, making it very clear they were drunk which definitely made them think like teenagers. How infuriating.

“Your jacket! ‘s so soft, Loki,” Y/N mumbled and rubbed her fingers up and down Loki’s arm. She seemed enthralled by the material of his clothes.

Loki looked at her drowsy smile and knew she would fall asleep soon if she stayed like that. She was quite comfortable by Loki’s side. Perhaps too comfortable, because falling asleep in a bar wouldn’t be ideal. Loki put on a tough face and acted like he didn’t care too much, “Are you tired?” He asked her. He would gladly take her to the safety of her own bed. It was getting quite late.

“Me? Tired? You must be joking!” Y/N denied the obvious truth, her cover breaking even more as she yawned. With anyone else, this type of behavior would annoy Loki, but he had to admit she was quite precious like this. It was the contrary of her Avenger self. She could be scary while in action. He had also figured out she was a skilled actress, or liar as some would say, which clearly didn’t apply to her drunken state.

“Thor and the others already left,” Bucky informed them casually. It meant that they were the only ones still at the bar.

If even Thor had left the party, it must’ve been quite late!

“I’ll just finish… er- I’ll finish this drink,” Y/N bought herself a little more time while holding onto her half-empty glass. It was fair enough.

By the time she had finished her drink and they had gotten out of the warm and loud bar, Y/N had to hold onto Loki to stay on her feet. Loki, Sam, Bucky and Y/N could’ve called for a safer ride to the compound, but the three drunk Avengers got into a cab and Loki had to join them. He was too worried of what kind of trouble they would get into if he let Y/N out of sight. Sam sat in the front, chatting with the driver as the rest were in the back. Y/N was in the middle seat and she still leaned against Loki. He didn’t mind it. Loki had his arm wrapped around her shoulders, which made it easier to sit in the small car. It was definitely a tight fit.

“You smell good,” she kept mumbling the weirdest things. Loki didn’t show it, but her words affected him more than she’d ever know. He knew she was drunk, and it could all be drunken nonsense, but her little compliments felt oddly nice.

They finally arrived at the compound and surely enough, the alcohol had lulled her into a heavy sleep. Loki sighed once he realized he had to carry her. It wasn’t a problem for him, but he knew he would hear about it for weeks if his brother caught a sight of them. Thor was an oaf who knew exactly how to piss off Loki if he wanted to. He supposed it was just part of brotherhood.

The path was clear, which was a relief for Loki. Her body was limp in his arms. Loki wondered how many people would ever dare to put their unconscious bodies near him. It was clear to him that she trusted him, which meant more to him than he wanted to admit.

It was nearly five in the morning once Loki had put Y/N on her bed. Kindly, he took off her shoes and wrapped her blanket above her so she wouldn’t wake up cold. Knowing she would definitely have a headache in the morning, Loki decided to put a glass of water on her nightstand. Just as he was about to leave, she caught his attention once more.

“I like you…so, so much…” The woman mumbled, half-asleep.

Loki looked at her in shock. He told himself she was just drunk, but nevertheless, her words made his heart swell and blood rush through his body. It was sweet of her. Deep down, Loki wondered if she spoke the truth. If she did, he would be really thrilled about it. Nervous, too. It had been a very long time since Loki last cared for anyone romantically. “Sleep well, Y/,” He brushed his thoughts away. She had already fallen back to sleep. Then he retreated to his own quarters. Despite how strange the night turned out to be, he had a good time. Who would’ve thought? Prince Loki of Asgard had a good time in the middle of drunk mortals.

Morning came and Loki decided to get up. He hadn’t gotten much sleep, but he was a god, so it didn’t affect him too much. He decided to use the gym while the rest were still asleep or taking care of their hangovers. During the entire morning, Loki failed to get Y/N off his mind. He wondered how she would react to him now that she was sober. How much did she remember? Would she be embarrassed?

A ’swoosh’ sound of the doors sliding open caught Loki by surprise. He hadn’t expected company at the gym. He took a break from running and he turned to look at the door.

Y/N stood there, frozen in shock as she looked at the god – covered in a thin layer of swear, only wearing green top and black trousers.

Memories flooded to her mind at the sight of him. She faced away from him, seemingly embarrassed. “Oh…hey,” She broke the silence. Her voice was a little harsh, probably because of last night.

“Good morning, Y/N. How do you feel?” Loki wondered. He was genuinely curious to know how that amount of alcohol affected her.

She avoided eye-contact with him by playing with her water bottle. “Well, it could be worse. It’ll pass,” She answered his question.

Loki knew she remembered, possibly more than he expected her to. If he didn’t ask her about it, she would probably act like this around him for a long time. With a sigh, he stepped off the treadmill and walked closer to her. Loki was a little nervous to mention it, but he knew how to hide his own feelings. “How much do you remember?

His question made her eyes open wide and she seemed to get flustered. “Too much,” Y/N was quick to say. “Look, I’m sorry, Loki. I must’ve put you in such an uncomfortable situation. I understand if you don’t want to see me right now.”

Was she serious?

“Don’t be silly,” Loki was quick to reassure her, “I’m alright. It was quite amusing, I must say.”

A smile grew on her tired face. Loki could almost feel her relief radiate to him. He had no clue she’d be so nervous. Did it mean that she had meant the things she said? Or was she simply embarrassed?

“Thanks for getting me inside. I didn’t mean to fall asleep on you either. Gosh, I was so drunk!” Y/N quickly saw the humor in the situation and giggled at herself.

Did she have any idea what she was doing to Loki? “I couldn’t just leave you, now I could I have?”

A/N: I really wish you enjoyed this! Your feedback and/or a reblog would make me so happy <3 I heard the song on my playlists and that’s where I got the idea for this fic.

#Loki #Loki Odinson #Loki Laufeyson #Loki x Reader #Loki imagine #Loki x You #Loki x Y/N #Loki fanfiction #Soft!Loki #tw alcohol #tw alcohol consumption #Loki x Reader imagine #Tom Hiddleston Loki

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roughentumble · 4 years ago

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I would like to hear.. your silence of the lambs series opinions......

series as in, the new clarice tv show that's out? haven't watched it yet. series as in, those old movies that feature anthony hopkins as hannibal lecter? surely!

fair warning, i probably dont have anything new to say that hasnt been said before, considering these are all long since classics, and my thoughts might be a little disjointed.

it's difficult to sum up opinions about it on the whole, since the movie quality honestly varies so wildly, and as i recall basically every single movie had a different director lol. also like, there's definitely a reason silence of the lambs stood out as The hannibal movie that got talked about and went into The Annals Of Film History n' all that. there's something about jodie foster's performance that's particularly electric(though that could be nostalgia talking, i suppose)

the opportunities she had, as an actress, to really show emotion on her face, like the claustrophobic close-ups we got were really intimate and interesting, added to the sense we were getting into her head. that HANNIBAL was getting into her head. i've already used the word intimate, but really, the long drawn out conversations/monologues between her and hannibal are just that-- intimate. you have to have stellar performances to pull off that much dialogue, and shots that intensely focused, where a face takes up so much of the screen. but it works! because hopkins and foster are fantastic actors, and jonathen demme is a good director.

there's a reason a lot of people didn't like the switch to julianne moore, and i would say it isnt entirely moore's fault. ridley scott, for one, is simply a different director with different ideas of shot composition, which changes how the character feels pretty drastically when the style so heavily informed your feelings for her. but also, in general, the film just kind of approaches clarice from a different angle, which is pretty bumpy territory to go into on the tail of switching your lead actress. not only is moore just really different from foster, but we've gone from this kind of invasive intimacy with hannibal probing her in confined spaces, to her being on the chase. in particular what sticks out to me is a chase sequence where she's trying to find hannibal in a crowded mall.(i think it was a mall?? its been a minute since i last watched the film haha) despite how the crowd might lead to a sense of claustrophobia, these are wide open shots with lots of spinning and movement, no time for introspective face journies. it's a chase in a totally different sense than before, and that i think is major difference in tone. which isn't to say it's a bad choice, or a loss, or that it's worse, just that it's fundamentally very different material that moore was given fo work with. of course her performance differed from fosters!

i still think jodie foster did it better, but some folks were too hard on julianne moore. if anything, hold beef with the writers and new director for pivoting tonally(although, dont do that either, i think it was an interesting shift. the scene with her and hannibal, where hannibal fries up that dude's brain was SO GOOD, i loved loved loved the return to a twisted sense of intimacy for that scene, and a few others, and that sense of return wouldn't have hit the same were the whole movie to follow the same tone as demme's work.)

also quick sidebar, when i watched hannibal(the movie from 2001) i was BLOWN AWAY by realizing, in retrospect, just how absolutely perfectly micheal pitt nailed the role of mason verger in hannibal(the tv show). vocally, he sounded almost identicle to the og performance, WHAT!!! major props, i love micheal pitt. so cool

manhunter 1987 or whatever year it came out is garbage and we dont talk about it. it was physically painful to watch. my poor mother made us stop watching hannibal movies for the rest of the day because it literally put her in physical pain. it's so 80s i want to vomit. do not recommend.

red dragon was pretty good, and if you entered the series of films armed only with knowledge of hannibal nbc, gave some really fascinating context to some of the events therein. edward norton's performance was fine-- didn't blow my mind, but i do love to watch him on screen. anthony hopkins' portrayal of a free hannibal, on the run, who still can't help but taunt the police and stick his nose into investigations was shockingly compelling, despite how much of a cliche trope that's become in recent years. can't say i recall anything interesting to say about the directing, but it certainly doesnt hold the same intimacy of the previous films-- but then again, we've lost the intimate character of clarice, swapping her out for graham(who simply isnt as close, or interesting, or compelling, when he isnt on nbc and shaking like a wet chihuahua)

hannibal rising, the last film in the series, was very very very bad. BUT, unlike manhunter 198whatever, it managed to be fun about it! lots of very goofy deaths and things to make you roll your eyes, stupid character motivations and odd acting choices. but it seems aware, on some level, that it's the last and the silliest of the entries into this particular film series, which earns it some good will. whether or not its worth a watch comes down to how much you're willing to consume everything with the name hannibal on it, and whether you can abide by a hannibal that isnt played by sir anthony hopkins.

OK. ok. we're getting to the end of my thoughts here, kids. i prommy.

it's also, despite every single part of it that i enjoy and that brings me joy, almost unforgivably racist and transphobic. the weird exotification and obsession with asia(and japan in particular), especially when none of those elements felt important or relevant to the story was consistently shocking, and consistently present in essentially every single hannibal movie, ESPECIALLY ones that dealt with his childhood. it didn't ever feel like a natural part of the story, where they happened include people from another culture or anything, it felt like the author's fetish. i never truly understood how these reoccuring themes and symbols were meant to tie in with the rest of the story, even after an entire film set in the past, showiing hannibal's childhood and how he came to live with a japanese woman. it was weird! it was uncomfortable! it was bad! even hannibal nbc couldnt make it not weird. i'd love a hannibal movie with a japanese person in it who WASNT treated really, really, really weird. but i dont think i will ever get that.

and like. wrt transphobia-- do i even need to say it? buffalo bill's been talked to death. we all know the issue there.

if a japanese person, or a trans woman, came to me and said "shawn, everyone says its a classic, but i cant bring myself to watch [insert hannibal movie here]" i would not blame them. it isnt the whole movie, but its enough to feel real bad, scoob.

its not enough to make me fall out of love with silence of the lambs, or hate hannibal(the film, god thats a confusing name), or even hate the film series, but its something that deserves tl be talked about. i've heard lots of discussion on the transphobia, but basically none on the racism, which is a real shame. sometimes it feels like no one else even noticed it, and it really leaves me floundering, because its like-- its RIGHT THERE and its so weird and bad. thomas harris, what the fuck

OKAY I THINK THATS ALL MY THOUGHTS FOR NOW?????? i could maybe come up with more, *shrugs*, but i'd need more time at least.

summary:: very problematic, and not because he eats people. but overall some of the films are fantastic, and silence of the lambs does hold a special place in my heart. and even if i didnt like it nearly as much, i'll defend hannibal(the film with julianne moore) till im blue in the face, because even if it didnt quite capture lightening in a bottle it still brought some interesting things to the table. decent enough movie series with enough variation in film tone and quality to make watching them all in a row enjoyable, because it keeps things from getting stale. (could probably have done with SOME consistency tho, lol, they were really flying by the seat of their pants. they had hopkins and that was IT, only thing that carried over from production to production lol)

#im exaggerating wrt that last line abt hopkins #they couldve had other people in the staff that worked on multiple films in the series #i havent looked THAT much into it

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the-odinson · 4 years ago

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Thor 🗲 Intro

“Fortunately, I am mighty...”

OOC PORTION —

NAME: Danny

PRONOUNS: he/him

AGE: 23

TIMEZONE: GMT +1

TRIGGERS: None

IC PORTION; BASICS —

CHARACTER NAME: Thor Odinson

FACECLAIM: Chris Hemsworth

AFFILIATIONS: The Avengers

AGE: 1500s/appears mid 30s

SPECIES: Alien (Asgardian)

IDENTITY: Public

DOES YOUR CHARACTER LIVE IN THE MOUSEHOLE? IF SO, WHAT ARE THEIR DUTIES? Yes, but he doesn’t particularly like it there. He doesn’t feel the effects of the cold, but Thor has never liked being confined so prefers to get outside as much as possible. Thor has decided to take on the role of a hunter/gatherer. The vast forests of Europe aren’t too dissimilar to the Asgardian wilderness and, while the beasts aren’t as ferocious as back home, what’s a king to do if not revel in the hunt? When needed he will also help with aid work: he can cover great distances with ease and carrying heavy loads is hardly a problem for him.

DESCRIBE SIX TRAITS (3 positive, 3 negative) YOUR CHARACTER HAS AND HOW THESE AFFECT THEM:

Dependable: A man of his word, Thor is trustworthy and reliable; an asset in any team and to anyone who has a favour to ask. Endearing: Those who truly get to know Thor speak of him with admiration; his warm smile and welcoming personality don’t come to all, but if he lets his guard down you’re guaranteed a friend with whom you feel truly comfortable. Benevolent: Thor (usually) means well and (usually) tries to be kind to anyone he encounters. His exterior may come across as brash but there’s no malice involved, often just a difference in culture and upbringing. Obstinate: While being headstrong may not always be a negative thing, Thor hates to admit he’s wrong and has a tendency to steamroll down a chosen path rarely reassessing whether the choices he made were the right ones or simply the first ones. Distrusting: Thor enjoys being social but mainly around those he’s close to. He can appear a little hostile to strangers: while he wants to believe in the good in people, he’s been around long enough and seen a lot of the universe to know of the potential darkness inside them too. Reckless: Thor often acts on impulse and charges into situations unprepared. This can lead to serious damage caused to both himself and those around him.

POWERS AND/OR ABILITIES: Super strength: Son of Odin and King of Asgard, Thor is physically the strongest of all Asgardians, with feats including being able to go one-on-one with the Hulk and other powerful entities. Flight: Thor’s magical axe Stormbreaker grants him the ability to fly. Electricity Manipulation: Thor is capable of generating electrical energy within his body and can expel it in the form of lightning bolts. Using Stormbreaker makes the energy generation and expulsion much more powerful and efficient. Weather Control: Similarly, either with or without Stormbreaker (although with Stormbreaker is easier), Thor can control the sky and create storms. Durability: His Asgardian physiology grants much more durability than a human one, able to shrug off energy blasts and recover from injury much quicker. Thor can also survive in space and alien atmospheres. Allspeak: Also called the All-Tongue, Asgardians speak a magic-based language, granting the ability to understand and be understood in all the languages of the Nine Realms. Bifrost: Stormbreaker also gifts Thor the power to summon the Bifrost, the Rainbow Bridge connecting all realms, allowing intergalactic travel between worlds in a matter of moments.

WEAKNESSES: There aren’t many things on Earth that could pose a threat to Thor, so it’s hard to pinpoint any specific weaknesses. Perhaps for someone like Thor, the word god comes up so often that he sometimes forgets it’s not true: he is mortal and, while far more durable than a human, he can get injured and he can get killed, a fact that he often brushes to the side when charging into battle. However he has become far more self-aware after losing an eye (and almost his life) to Hela.

IC PORTION; DETAILS —

WHAT BROUGHT YOUR CHARACTER TO SOKOVIA?

Sokovia is where the majority of Thor’s allies are, and he needs their help. His world gone, his people stranded on the nearest hospitable realm in need of a home; Thor knew of a place where the Asgardians could blend in and live peaceful lives. The problem is, however, it seems Earth is not quite at peace right now. When he couldn’t track down the Avengers in New York, he followed the trail to Novi Grad. His priorities are conflicting: while he came back to Earth to ask the Avengers’ help in establishing a new Asgard on this planet, he feels he should stay to try and help his friends however he can in aiding the Nomad’s cause.

DID THEY SIGN THE ACCORDS? WHY OR WHY NOT?

No - the whole Accords situation is mostly unbeknownst to Thor due to being offworld at the time of signing. From what he can gather, it isn’t something that would appeal to him. He feels the affairs of humans are mostly petty ones and, despite his growing acclimatisation to Earth and its customs, he doesn’t understand why humans have to be so divided about, well, pretty much everything.

PROVIDE 3-5 HEADCANONS RELATED TO YOUR CHARACTER: 1. Although Thor is an alien, he has spent enough time on this planet (in both modern and ancient times) for the culture shock to lessen so that now Earth to Thor is more comparable to a human travelling to a different country - he acknowledges that the differences are neither better nor worse and he chooses to respect them. He knows he will make mistakes and appear strange, but sees that now as an opportunity for personal growth. 2. One thing he doubts he will ever understand however, is the human version of ‘entertainment’. Thor cannot stand movies. On Asgard, they would entertain themselves by slaying fearsome monsters or engaging in a friendly drunken brawl, the more broken furniture the better! But on Earth they amuse themselves by… sitting down and staring at a screen for hours on end. While both Asgard and Earth had/have magnificent technology, it’s clear they used it very differently.

3. Since returning to Earth, Thor has become intrigued in the Norse tales of himself and his people from over a thousand years ago and their alleged feats. He finds it highly amusing how inaccurate the stories are, but it has led to a fascination of human mythology and the various pantheons across history and the world. He wonders if he will ever meet any other of these so-called gods.

4. While a human brain only has capacity for almost a century’s worth of memories, an Asgardian brain is built for a few millennia’s worth. Therefore Thor has a much more acute long-term memory than his human companions, although occasionally his short-term memory leaves something to be desired, especially after several pints of mead.

WANTED CHARACTER CONNECTIONS:

Loki: His brother and the person he loves (and hates) most in the cosmos. I know a thing or two about brotherly love (I’ve been experiencing it for 23 years) so would love to write for Thor with his undeniably most personal connection. Wonder Woman: Both ancient, both ‘gods’ and both so very far from home. Despite their different allegiances I think it would be great to have Thor bond with perhaps the one person around here who may truly understand him. Superman: If anything they both have fabulous red capes. They are quite similar power-wise, although I know Superman is stronger but Thor definitely wouldn’t want to admit that. It could lead to some healthy (or unhealthy?) competition between the two, especially seeing as Thor isn’t too fond of the Justice League. Captain America & Iron Man: The two splintered team leaders. Thor respects them both (Tony a little less, perhaps…) and, since he doesn’t really understand the extent of the accords, would like to hear their sides of the story and what has happened since the Ultron incident. Bruce Banner: Thor has fought with the Hulk a couple of times but feels this has brought the two closer, learning more about how Bruce ticks and now he feels there’s a protective bond between the pair. I think the interactions they have could bring out the comedic style of writing which I love!

POTENTIAL CHARACTER ARCS: In the previous paragraph I said I like writing comedic characters (of which Thor fits the bill) but I also want to explore the deeper aspects of his personality such as the emotional pain of losing his parents, his childhood friends and his home. This could manifest in him not wanting to form bonds with others in the Mousehole at first because he’s lost so many people: why would he want to get close with anyone else only to lose them again? Perhaps a dramatic fallout with someone from a different team could lead to serious consequences for him or the team as a whole.

The reason I chose for placing Thor in Sokovia is that he’s seeking a location for New Asgard: maybe with all its emigrating population and empty buildings Sokovia could be the perfect location… I’m not sure how it would work in the group, but maybe Thor could eventually bring the Asgardians here, both to settle and to help with the restoration of the country.

CHARACTER BIO —

You know the story. An Asgardian prince, lacking in humility and exiled to Earth in order to learn what it means to be worthy. A classic tale, but at its heart, a tale of loss, and a tale of what it means to truly be human: even if you’re not. Thor has lived for well over a millenia, but only in the last decade has his life really begun. From landing on Earth a long time after people stopped worshipping him, he slowly began to understand the importance of relationships; from forming close bonds with the Avengers (and wary acquaintances with the Justice League and X-Men), to experiencing true love for the very first time. All his life Thor had assumed that humans were lesser beings, so why then did he feel he was learning so much more from them than he had ever learned from his own kind?

After experiencing the death of his mother, then later on his father and three close childhood friends, Thor was at breaking point when his home realm of Asgard was obliterated during Ragnarök by the fire demon Surtur. With the title of King thrust upon him, Thor decided his duty to his people had to consume him before his emotions did. Pursuing the quest of a new home, he led them to Nidavellir, the homeworld of the dwarfs; unsurpassable smiths and mechanics with the power to forge almost anything the mind can dream of, ruled over by their King, Eitri. Eons ago, Eitri had forged the legendary hammer Mjölnir (destroyed by Hela) at Odin’s request, now he oversaw the creation of the glorious axe Stormbreaker when asked by Thor, capable of summoning the rainbow bridge despite its apparent destruction on Asgard. Armed with his new tool and a promise to the Asgardians of a brighter future, Thor set out alone across the stars, heading to Midgard to find his old allies the Avengers. He’d helped the humans many times before, hopefully they’ll be able to help him and his race this time.

It took Thor losing everything to appreciate what he has. As he enters the next phase of his life in Sokovia, without family or a home, he is truly the definition of a nomad.

#srisingintro #biography

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starstruckteacup · 5 years ago

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Cottagecore Films (pt. 10)

Elizabeth (1998)

TW: blood, mild gore, torture

starring Cate Blanchett, Christopher Eccleston, Geoffrey Rush, Joseph Fiennes, Daniel Craig, Richard Attenborough

This dramatic retelling of the early years of Queen Elizabeth I’s reign over England opens at the death of Catholic Queen Mary in 1558, whose demise brings her half-sister Elizabeth to the forefront. Elizabeth must battle the unforgiving French abroad, dangerous conspirators at home, and at times even her own advisors as they push their agenda onto the young queen. As she grows in experience, Elizabeth learns to put her own needs before the mischief of the court and the confusion of unbalanced alliances, declares her undying love for her people, and establishes herself as one of England’s strongest rulers to date.

I really enjoyed the strength and grace carried by the entire film. Overall, the film maintained an air of dramatic tension, but never felt as though it strayed from the truth of Elizabeth’s story. I do think that, at times, the film felt perhaps too historical though, like a documentary. At moments of high stress, such as assassination attempts or uncovering the conspirators, the film felt a little too factual instead of emotional. It continued the same tone and level of emotion throughout, instead of raising it and lowering it with each scene. That said, Blanchett performed impeccably as Elizabeth, bearing the dignity of a monarch so fluidly you might think she truly was one. Every emotional response was executed so fully that it was as if the audience was given a real look into her life, rather than watching a mere biography. Even though many of the actors in this film are well-loved, I feel like the film could have done more with them at times. Eccleston played a manipulative villain who truly believed he had the best intentions for his country, but he was given far less screen time than he deserved. I would have loved a deeper insight into the complexity of this character, which Eccleston tried to deliver fully in every scene, but there simply wasn’t enough time with him. Similarly, Craig was on screen for mere moments at a time, with few to no lines, yet the audience was expected to fear him and worry for Elizabeth’s safety. Craig’s character was truly menacing, namely in the scene where he walks down the hall in the dark with his robes billowing, but we saw so little of him that he felt almost insignificant to the overall story. The film was over two hours, but with this cast I would have loved to see a limited series or something of that nature, just to provide more depth to the story. As a side note, I don’t know how historically accurate this film was, so I’m not going to comment extensively on that. If that was something you were looking for, you won’t find it here. 7/10

Pan’s Labyrinth (2006)

TW: blood, gore, fascism, war

starring Ivana Baquero, Maribel Verdú, Sergi López, Doug Jones, Ariadna Gil, Álex Angulo

Ofelia, a young girl caught between her love of fantasy and the horrors of fascism surrounding her, finds herself pulled into a mysterious world after she meets a Faun in a nearby haunting labyrinth. The Faun orders her to complete three tasks to prove that her soul is unchanged and that she remains the true princess of the Underworld. As she struggles to complete these tasks, Ofelia’s life is threatened on many occasions, both from the fantastical world of the Faun and the human world she’s forced to remain in. Horror and death strike as her home falls to the revolution, and they quickly catch up with her, even as she strives to protect the life of her newborn brother and understand who she is truly meant to be.

This was an absolutely fascinating film. The settings alone were absolutely haunting, from the camp to the woods to the labyrinth, but most especially the Pale Man’s table. The attention to detail at every point brought this story to life, and truly filled you with constant dread. The way the Captain carried himself, the pile of worn-down shoes in the corner, the pomegranate on the Pale Man’s table, the microexpressions on every character’s face, Ofelia’s green dress (reminiscent of Alice in Wonderland, especially within the context of the scene)... Every small detail contributed to the story, even when they aren’t actively moving the plot along. There was never a moment for the audience to feel relief or victory, even as Ofelia overcame trial after trial. I spent the entire film waiting for the next terrible thing to happen, but instead of being exhausting like other movies, this one has me thinking about it nonstop. I watched it the day before writing this, and I can only think of watching it again. I feel like it demands a second viewing to truly understand it, which is a marvelously rare feeling for me. The acting is also truly exceptional. Child actors tend to struggle with conveying complex emotion on screen, but Baquero conducted herself with the grace and skill of any experienced adult. She pulled at the childlike wonder in me, but still grounded my adult side with her gravity. Ofelia carried the burden of trauma, but never relinquished the belief in something more; Baquero conveyed that in a most excellent fashion. All of the actors were phenomenal, but Baquero outshone them. Also a brief aside: Jones was incredible as the Faun and the Pale Man. I’ve never felt so wildly uncomfortable or threatened as I did watching the Pale Man walk around. I hated it viscerally from an emotional standpoint, but from the film and acting perspectives, Jones created something mind-blowing. I definitely had to be mentally and emotionally prepared to watch this film, but it truly was a masterpiece. 10/10

The Garden of Words (2013)

starring Irino Miyu, Hanazawa Kana

Rainy days bring lonesome highschooler, Akizuki Takao, and struggling adult, Yukino Yukari, together at the Shinjuku Gyoen National Garden. Takao shares his dreams of becoming a shoemaker, but Yukari says very little about herself, instead focusing on supporting Takao’s goals. When the rainy season ends, the two don’t see each other for the rest of the summer. When school resumes, Takao accidentally learns a devastating truth about Yukari, but it doesn’t change the way he feels about her. His naive love, however, changes everything.

I greatly enjoyed the aesthetic of this film. It took place mostly in the beautiful gardens, with artistic emphasis on the water, trees, and plants that surround the character. It was truly beautiful to look at, and really serves to push the audience toward visiting the actual garden as well. The artists also focused in great detail on the small movements of the characters; each emotional change was reflected in their movements, which you don’t often see done so gently in any realm of animation. The whole film felt incredibly soft and touching, and truly brought to life the small moments that make living so special. Despite the artistic aspect being so beautifully done, I felt the story to be a bit lacking. While I enjoyed Takao’s story, and much of his process was befitting of a 15 year old boy, I felt that he could’ve been given more depth. Basically all of his potential for personality was crammed into the last five minutes, and what we got was beautiful. I definitely felt that the movie could have been longer than 45 minutes to accommodate this character expansion. The same can be said for Yukari. Her twist was monumental to the plot, but we didn’t get to see what the real impact of it was. She says throughout the film that she has to learn how to walk again, and we learn that she has some kind of physical disorder, but we never learn what that is and how it ties into her mental health, which seems to be addressed as an entirely separate point. We got several scenes of her alone, so even though Takao didn’t know much about her (which fit the story well), the audience certainly would have benefitted from learning more about her character, especially for the climactic end scene. Lastly, their relationship was kind of natural, if uncomfortable, at first--it makes sense for Takao, a young impressionable teenager, to fall in love with an older woman--but then it takes a turn for the hugely unhealthy--Yukari puts the burden of her own mental health on the shoulders of a boy--and this is implied to be okay. The film didn’t outright condone it, but it also didn’t condemn the potentially toxic dynamic. I wouldn’t say it was a pedophilic relationship by any means, but it was definitely unhealthy at its core; you could see hints of it over the course of the film, even though the story maintained its innocence. It’s definitely playing with fire though. 6/10

Part One // Part Two // Part Three // Part Four // Part Five // Part Six // Part Seven // Part Eight // Part Nine

#cottagecore #gardencore #naturecore #flowercore #cozycore #horror movie #horror film #historical drama #period drama #film #film review #movie review #movies #spanish film #british film #japanese film #anime #activities #mine

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beybladeimagines · 5 years ago

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Your writing is sooo good! :o have been following you for a short while now and you do the requests so perfectly! Was wondering if it would be possible to get some family related headcanons for the blade breakers? Like your thoughts on how they interact with their families? Also congrats on the new job role! :)

Mod Note: Thank you so much, bby! I hope you’re doing well and are having an amazing start to your new year. :)

TYSON: Tyson has a very interesting relationship and take on his family. First things first, we have to acknowledge how his father and brother essentially left him behind and forced his grandfather to raise him. These are the ugly facts, but Tyson kind of…pushes that out of his mind. I imagine, in an attempt to cope with this abandonment, he decided to appropriate the narrative that he was exposed to. In other words, he told himself that sometimes people need to leave others behind if they’re going to achieve their dreams - but he always told himself that they’d come back, because… why wouldn’t they? He’s tried to convince himself that all of these things happened for a reason. Although Tyson attempts to be optimistic about his situation and claims it doesn’t affect him negatively, he has become rather clingy and takes people leaving him rather personally. He loves his grandfather and although Tyson travels a lot, he greatly encourages his grandfather to come see just about every match he’s in. And grandpa does just that… He goes to every match, watches it on TV, and thinks about his grandson often. He really worries about him. And although he loves his own son and Hiro unconditionally, he doesn’t want Tyson to pick up on the same habits as them.

When Tyson sees Hiro again, he’s elated in such a way that we’ve never seen before. We don’t see that much emotion when his own team comes back together. I think Tyson has always known that his friends would come back to him, but when it comes to family… He was probably deeply terrified that he’d never see them again. He holds Hiro to such a high standard and once saw him as someone who could do no wrong. After all, he returned to help him train and become world champion, right? Well… Hiro has some questionable ways of pushing Tyson. As an outsider, their interactions aren’t that healthy and are borderline manipulative. Tyson slowly begins to see this, but doesn’t allow himself to really showcase his disappointment. However, it does motivate him to become a better person and to not let his own team down. Think about it. Throughout G-Rev, we see Tyson’s selfishness and how he’s constantly trying to improve. And then Hiro comes along and is basically doing whatever he wants at Tyson’s expense. Tyson gets to see, first hand, just how much his own actions deeply hurt others. He doesn’t want to be like his brother anymore, or probably his own dad. He’s more likely to keep his grandfather close (even closer now, after all the bullshit) and see his own friends as family members.

MAX: In the manga, you really see just how much Max loves and misses his mom. He gets defensive about her picture, and often locks himself in his room to reflect upon his memories of her. You can tell it’s still a fresh wound and not one that he simply internalizes like Tyson. The sad truth is, she kinda left him behind as well to do her own thing. Additionally, she essentially formed a brand new team that consisted of children who’s only goal was to meet her expectations. Upon seeing this, Max honestly felt like he had to compete for his own mothers attention and approval, despite being her blood. Instead of being devastated by this blatant act of being replaced, Max actually continues to strive for her approval. He truly sees her as someone who can do no wrong and he probably interprets her actions as her motivating him to become stronger. It’s not that Judy doesn’t like her son… Rather, I think she’s so wrapped up in her work that she’s literally forgotten how to raise a child. Alternatively, maybe she just wasn’t ready, maybe she never knew how, maybe she placed that burden on Max’s dad because she was making good money for them. Regardless, something happened to make her so distant from her own child. She’s honestly surprised to see how persistent Max is for her affection.

I do imagine that it does impact her. I do think she loves him, but has a very strange and arguably cold way of showing it. However, Max is literally sunshine incarnate. He refuses to see her as something to hate and is extremely grateful for what she’s been able to do for him. Max’s father is also seen in a positive light. In truth, Max is so amazed by how hard his dad worked to raise him, put food on the table, support his hobby, and help him travel. There’s no denying the amount of love Max has for his own dad, but I think he clings to his mom so much, because he just wants there to be both. He doesn’t want one parent working more or harder than the other. He just craves a sense of stability where everyone is just…happy and here and eating at the same table without worrying about research or making deadlines. Although he gets along great with both folks, it’s evident that the dynamic does take a toll on him, but he thinks he has to keep smiling in order for everything to seem like its really okay.

RAY: We don’t know that much about his family, except for the uncle in France. However, we do know that he spent much of his childhood with his friends moreso than any blood relatives. I imagine Ray didn’t have much of a connection with his family. As a child, he’s somewhat of a wild one. He often goes where he pleases, does what he pleases, and most likely sneaks out just to see his friends for a little longer. Perhaps his parents just weren’t there, or maybe they didn’t approve of his newfound fascination for blading. When we find out that Ray left the White Tigers, we have to realize that this also means he left his entire village behind too (including his own home and family). And it was…relatively easy. I imagine he suspected he’d come across his team again, but he probably wasn’t too concerned with what his family thought. They probably thought he was reckless or maybe didn’t apply the same amount of significance to Driger. I’m not trying to imply that his family didn’t love him; rather, I think their ideas of success and genuine goals just clashed. Ray’s family most likely came to peace with his departure as years progressed. They’re probably mindful of his success, but do their best not to speak of it. Perhaps its out of embarrassment (like, they feel ashamed for not having more faith) or maybe they just don’t want to think about their son leaving them.

When Ray returns, I imagine the reunion is rather intense. Although his friends are the first to greet him, I suspect he came across his parents during the evening. They exchange moments of silence, but I envision his mother breaking down and wrapping her arms around Ray out of relief. This is probably one of the first times that his parents were vulnerable around him. Ray doesn’t really know how to feel, but he returns the hug anyway. A weight practically leaves him when they have this moment. Like they finally get it, like he doesn’t have to explain himself. I imagine they’re working on restoring a sense of normalcy amongst one another, but Ray’s actually really excited about having even more supportive forces in his life.

KAI: Kai actually…really fucking loves his family. I’ve only ever seen him smile when he was around them. Granted, there is a rather complicated and traumatic past concerning the relatives in his life. Kai wants nothing to do with his grandfather, although he appreciates the expensive opportunities and power that he gave him. Despite these “gifts,” Kai just wants to take everything from Voltaire, replace him, and show him how better off he is without his manipulative meddling. Kai is also in the process of rebuilding his connection with his father and seeing him in a better light. For so long, Kai thought that his father chose his dream over him, but this became another manipulated narrative spun by his own grandfather. Later on, Kai realized that his father just didn’t want to be like Voltaire and chose to follow his own path, which he hoped Kai would eventually do as well. Kai realizes the genuine intentions his father had and how he also wanted the best for him (and not just a bunch of random kids).

When it comes to his mother, I imagine Kai is extremely close with her. She was really trying her best to keep things stable in the house and give Kai the love he so desperately needed. I see him rejecting her efforts at first. He was probably worried that she’d leave him too. But she probably spent so many sleepless nights waiting up for him when he’d sneak out and making sure he had enough to eat. There were many times when she thought he’d never come home. She practically sunk to the floor with relief every time she cracked his bedroom door open and saw him there sleeping. Now that his family is back together and his life isn’t based off a series of lies, Kai actually looks forward to coming home. He’s rather quiet and actually avoids his parents gaze, especially at the dinner table. It’s when he’s with family that he realizes just how much crazy shit he’s done or gotten into - so he feels ashamed. His parents only look at him with complete pride and admiration. I imagine they hug him so tightly the moment he walks through the door and he’s got to fight back so many tears because damn… He feels the love and attention he’s been so desperately craving.

#beyblade #beyblade imagine #headcanon #bladebreakers #tyson granger #max mizuhara #max tate #ray kon #rei kon #kai hiwatari #Anonymous

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fandom-necromancer · 5 years ago

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454. ‘Oh, you are jealous!’

Shoutout to the wonderful anon who prompted this! I really liked writing this!

Fandom: Detroit become human | Ship: Reed900

Gavin looked over to Nines and observed how he first talked to Connor, then offered his hand with the artificial skin retracted. It had fascinated him ever since he stopped ignoring and denouncing everything android-related. Ever since a certain tin-can appeared in his life and changed it pretty much rootedly. Seeing the white, the true nature of them under their skin always set something off in him. It had been weird at the beginning, now it just looked… vulnerable. Nines with skin and hair and clothing was a strong being, capable of seemingly everything. Nines stripped of all that however… Gavin felt like he needed to protect him then. Maybe that was because he had only ever seen his partner like that when he was wounded or felt strong emotions. This interface now was casual, and the way Nines handled it seemed like he didn’t put much thought into it. But still Gavin had the urge to go over there and hold his hand, making sure he wasn’t hurt and just… holding it.

‘Hey, you got the report?’ Gavin had totally failed to realise Nines had long ended the connection and stood next to him again, smiling knowingly. ‘Err… sorry, no. I’ll get to it.’ ‘Don’t stress yourself.’ It was said amused and fondly as ever. ‘How does it feel?’, Gavin blurted out his thoughts before he could shove them back into the corner where they belonged. ‘How does what feel?’ ‘An interface. I mean, I know you guys send information’s back and forth, code and so on. But how does it feel?’ ‘Hmm… how can I explain that? It’s not only a meaning of data-exchange’, Nines began. ‘Well, it had been the intended use. But with deviancy it changed a bit. It basically connects our minds? Well, we still have a sense of self and we can control what to show the other, but we… can feel the other’s mind and share emotions, memories… the feelings one cannot possibly put into words because they are just to complex and can’t be expressed in a manner that would cover everything. Does that make sense to you?’ ‘Kinda…’, Gavin nodded. ‘Sounds pretty intimate though.’ ‘It is’, Nines agreed. ‘Others are more open with it, but I declined many times already. I would only interface with the people I fully trust. ‘ ‘Hmm, yeah seems like it.’ Gavin’s lingering stare stuck to Connor - the quirky bastard he had learned to evade as much as possible.

Of course, Nines immediately picked up the change in tone over to slightly sour and disappointed. ‘Gavin, what’s wrong?’ ‘Nothing.’ Nines LED changed from blue to concerned yellow, then to red and back to yellow. ‘Oh, you are jealous!’ It sounded like he just figured out a whole case and Gavin immediately tripped over to his raging defence: ‘Yeah, I phcking am! You over there, mind-phcking with the guy who punched me K.O. in one hit!’ ‘Gavin, he’s my brother’, Nines tried to calm down the human. ‘I know you two don’t get along well, but this is just… uncalled-for. I mean, you are getting jealous of something you can’t even do.’ ‘Oh, why don’t you just go and find some android boyfriend then, when they are so perfect!’ Well, that had just backfired. ‘Gavin, please!’, Nines tried to stop the oncoming storm. ‘Don’t!’

The human stood up jerkily and Nines knew him well enough to know he would run off to god knows where if not stopped and quickly jumped up, too. He managed to intercept Gavin as he tried to duck away and hurry for the exit and caught him in an embrace. Of course, he struggled against the confines, it wouldn’t be Gavin if he hadn’t. He simply held him, heating up and brushing slightly over the thrashing hands until he felt the man calm down and the tension in his body subside.

‘Gavin, I don’t regret having a human for a partner’, he whispered in his ear. They had caused enough chaos already; the rest of the precinct didn’t have to know what this was about. ‘I wouldn’t even think about leaving you for someone else. I know you lack the ability of an interface. And sometimes I really regret that.’ He pressed a light kiss next to Gavin’s ear. ‘For example, right now. If you knew how I felt about you exactly, you would laugh at yourself for even thinking like that. I have feelings for you I could only truly share with you in an interface. But without it I only can tell you that I love you with everything that I have, and try to act accordingly.’ He felt the shiver that ran along Gavin’s body and rubbed over the goose bumps he felt on his arms. ‘I want you to know that you are giving me so much more than an android could. Not having an interface forces me to learn to truly understand, to find out what language you are so I can finally read you. I know you love me, you said that over and over again. But to what extend only becomes visible in our interaction. And I think that’s so much more treasurable than an interface that just gives you everything instantly. You stay a mystery for me to uncover and understand. And that’s just why I choose you, why I am so fascinated of you. Don’t get jealous over some “small-talk-feelings” I share with my brother, if you want to call it that. You are giving me so much more. Okay?’

Gavin let his shoulders fall in defeat and snuggled a bit into the embrace, maybe even unconsciously. ‘Phck, toaster, you are something…’

#detroit become human #dbh #Reed900 #RK900 #Gavin Reed #Did you know I am hopelessly romantic?#Well I guess I mean it's all I write XD #funny because the majority of people I know in real life think I'm cold-hearted?#Well they are WRONG #But well if they don't put in the effort to see it I don't care #ANYWAYS #love you all #hope you like some jealous shenanigans

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creativetomato · 4 years ago

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Platonia

Chapter 2

toska – n. a dull ache of the soul, a sick pining, a spiritual anguish

Weronika Anastazja Kucharska was rather pleasent company he had to admit. She seemed submissive enough, listened to him, followed his advice like a lost puppy would, and when she didn’t know something and had questions she came to him. She was depended on him. Which only played right to his hands.

Tom saw her as a little toy, a pretty doll with big eyes and silky hair, he could use and play with. But he didn’t use her and kept from playing useless mind games with her. In all of her submissiveness, in all her politeness and calmness, there was barely any honesty in her. It was as if she had no real personality of her own. Not really. As if she was afraid of showing who she was. Was it fear? ...or rather, she was hiding her true self, her true intentions which made him more wary of her than he’d like to admit. She was a mystery to him, a girl full of contradictions, a person he wasn’t able to read, an enigma. And he hated that. When he had tried out his Occlumency skills on her there had been no reaction, no thoughts he could read or memories he could see. Just blank nothingness. By lack of her reaction he guessed she hadn’t even realized he had tried to read her mind, so, it was only natural he didn’t leave her out of his sight. Because something he didn’t know or couldn’t control was something that could stand in his way of reaching greatness. With these revelations Tom started to observere her every movement, like a hawk watching its clueless prey. Because Weronika Kucharska was not a normal teenage girl. There was something wrong with her, something he couldn’t grasp and when he reached with his magic he could feel her own sizzling like hot water dropping onto ice. Her magic was chaotic and restless, constantly in movement. Usually restless magic was seen in magical children, not in taught girls that had wands and used magic. There was something hidden in her magic, something far-off, and he fully intended to find out what it was. Because someone who had no control of their magic could be dangerous. Not only to his plans but to students and teacher, to Hogwarts, as well. With these thoughts he had started to keep her near him and when he had explained the classes to her, showed her homework she could start to work on as well during the holidyas, he was disappointed to realize there was no genius behind her, just average intellect at best. Yes, in some classes she was better than others. She excelled in Anicent Runes. Her knowledge on runes and languages was marvelous, but when it came to Herbiology she was just mundane. Everything they had to write down, theory and essays, she was simply average. She really only exceeded in Ancient Runes, and to his surprise in potions. At least that was what he could tell as lessons hadn’t even started yet. Students would return in the upcoming days though, as classes would start next week again.

„How do you know so much about runes?“, he asked her one day after New Years eve, after his birthday, sitting with her in the Slytherin common room and working on school work. At that she looked up from her essay, her bright eyes looking into his dark ones. He wasn’t used to people looking into his eyes so directly. She didn’t even flinch. She truly was an enigma.

„It… It was an important subject at my old school.“, she told him and dropped her gaze quickly. Too quickly. Tom had observed how she tried to avert topics that had to do with runes and he wondered why. His fingers twitched with burning curiosity, wanting to dissect her like a toad. Because she wasn’t telling him everything and it irked him to no end not being able to read her mind. So he had to ask her: „Your old school?“

Weronika didn‘t look up this time and simply nodded: „I went to Czocha College of Wizardry. It’s a rather small school. I should have gone to Durmstrang, but they don’t take muggleborns. And the one school in Russia… I can’t speak Russian. But I can speak German and Polish, so I was send to Czocha. It’s near the border to Germany.“

Tom started to get intruiged by that school he had never really heard anything about. She must have seen, or rather felt, his disbelief, as small as it was. She could also be used having to explain where she came from, probably having explained to teachers which school she had gone to.

„It’s really small. Only around two hundred students. Most of them muggleborn because of Durmstrang… over there I learned English too, just in case…“, she finally looked up at him and he obersved her face, every twitch and every emotion that crossed her features. Now he was even more curious: „Tell me more.“ He hated not knowing something and in his mind there was nothing more powerful than knowlegde. Surprised by the demand in his voice she looked up to him before she slowly nodded: „Alright… so… there are five houses. I was in Faust, the house of knowledge and power.“ She scratched her neck in thought and put down her quill she had written with on her paper: „Every house is based on one culture and Faust is based on German culture. We learn Alchemy, Runic Magic, Arithmancy, Herbology and… erm… let me think. Ritual magic…“ She started to count the number of lessons with her fingers. She really was a forgetful person, something he had been able to observe as well: „Beastology, Magical Defence and Theory, and… Mind Magic. Sorry, can’t remember the rest. It’s been a while since I left and so many things had happened.“ An apologetic smile graced her pale features and Tom smiled as well: „It’s quite alright. Still, the things you were thaught seem different than here at Hogwarts.“ At that Weronika nodded: „That’s true. But I’m fine. I mean… Alchemy and Potions is basically the same. Runic magic always fascinated me the most. Together with…. Well, really everything that has to do with magic. I’m only not that good at theory. I am more the type of person who just… does things. And I don’t like thinking too much about them, which also, you know… depends on the situation, and sometimtes I do think too much. But, still… I’d much rather just act.“

„How… un-Slytherin.“, he chuckled at her and that was something she had not expected. Not at all. His chuckle sounded deep, and a little breathless, but he was just a teenage boy and she knew his voice would change and mature, become deeper with age. She felt a blush creeping up her neck as emberrassment rushed through her: „Oh, stop it. There is much more to being ambitious or cunning… And I’m actually a pretty good liar.“

„A good liar? Do you think all the Slytherins are liars?“, he mocked her and her blush deepend: „I- I didn’t mean… stop putting words into my mouth.“ Again he chuckled amused: „I apologize. Although, with what you’ve told me… rather wanting to act… you would fit much better into Gryffindor than into Slytherin, I think.“

„No, not really.“, she shrugged her shoulders, „Because… I don’t just act. I… plan. I decide. Or I just… I think about decisions and try to find out what outcomes they have and… yeah, I’d rather act, that’s true, but not before planning it. And I am ambitious about the things I want. Buuut…“

„…but?“

„Sometimes I have reaaaally bad impulse control.“, at that she laughed for a moment and he smiled with a nod: „I see. But I am still not convinced if you really fit into the House of snakes, Weronika.“

„Niki.“

„What?“

„Why aren’t you calling me Niki?“

„Because Weronika is your name and I like it better. I barely use nicknames.“, he simply explained and resumed working. A few seconds later he felt her gaze leaving his form and she followed him, the only thing being heard the scraping of quill on parchment as she still felt the burn in her cheeks.

Somehow, without realzing it, he had started to feel comfortable around her. She was just there with him, spending time together. Him reading, and her doing the same or writing or sketching something into her notebook. It looked well-used and reminded him of his own diary. He didn’t like it; didn’t like how well she fit into his life, how she had just made herself comfortable around him, sitting with him at the table, eating and him helping chosing the right food to not over extert her stomach. She was never too loud but talkative, never overbearing but ever present. Sometimes she would leave, probably exploring the castle or talking to the teachers, and going to the Hospital Wing to get checked as she still hadn’t fully recovered from her escape to the British Isles. At one point she had taken her bag and wore thick clothing and told him she would go to Hogsmade. She had Albus Dumbledores permission.

„And what do you want there?“, he had asked her and she had just shrugged: „I want to take a walk on the fresh air. I rather enjoy the snow, you know? And see what I can find in Hogsmade. See what kind of stores there are…“

„Shall I accompany you, then?“, he had asked her after that, which had not only surprised her, but him as well. Because he truly wanted to go with her, spend time with her. Because he didn’t want her to go alone into the cold. She had a reather weak constitution and he would feel much better if he knew she would have someone with her. Yes, that was the reason why he didn’t want her to go alone; because she was his responsibilty, nothing more, nothing less. It didn’t matter how only a few days had passed since she had been here, with him, a calming presence beside him, always there. He didn’t like that. Not at all. He drew his eyebrows together but she was distracted by looking and rummaging through her worn out leather bag, smiling: „No, it’s fine, really. I want to go alone, think about things and… well.“ Weronika shrugged at her own words before shouldering her bag again when she was sure she had everything she needed. With that she looked up and smiled at him, her eyes twinkling: „See ya, later, Tom.“

So, she turned around and left the Slytherin common room, leaving him standing there, not liking how this new girl still intrigued him and somehow wasn’t what she seemed. She wasn’t normal. She was like him. Yes, Tom realized, she was just like him in the way he was special. Because she was special, uniqe. He just had to find out what made her so special.

A few hours passed and when she came back Tom was sitting in one of the couches, surrounded by books, one in his lap. As soon as she came in he closed the heavy book to turn his attention to her. Her cheeks were glowing, her nose even redder from the cold winter outside. There were snow flakes already melting on her thick clothing and her hat, melting on her glasses as the snow flakes turned into little water droplets. She pulled the hat down and her messy hair was electrified and simply put a mess.

„Whew, let me tell you, it’s pretty cold outside.“, she sniffeled a little and he slowly got up from his sitting position to make his way towards her. He noticed how there were no gloves on her hands and unhappy with this new revelation he clipped his tongue. At that she looked up at him before he took both of her hands. They were ice cold. He didn’t like that. She could get sick and she still needed some time until she was fully recovered. He knew that from experience.

„When you came here you were already in bad health. You really shouldn’t have left while it was snowing this hard outside.“, he chastised her with a scowl he hadn’t realised he was wearing. He didn’t even look at her face as all his attention was on the hands he was holding and rubbing inside his own, trying to warm the cold skin.

„Tom, it’s… it’s fine, really.“, there was awe in her voice and only then did he stop. What was he doing? What was he doing? Acting like a fool, caring about her and her stupid cold hands. Yes, she was mysterious and he wanted to know everything about her, wanted to know why he wasn’t able to read her mind, but it didn’t mean he wanted to be close or intimate with her. The relationship he was building with her was just a means to an end. However, as soon as she stepped into the room he had been concerned with her wellbeing, remembering what she had looked like that first day; broken and weary, twitching at every sound and restless in a way that was too farmiliar to him. It had been over a week since then, and again, did he think about how she had carved a place beside him. No, Tom didn’t like that. Not one bit.

He dropped her hands as if he had burned his skin on her own.

Quickly he straigthened his shoulders and there was a command in his tone he usually only used with his knights: „Go, take a shower or a bath, and warm yourself up. I’ll wait for you, so we can go to dinner together.“ After his order he turned briskly around and went book to the place where his books waited for him. The silence that followed was heavy and filled with uncertainty but he didn’t care. He did not care. He shouldn’t care about other people. He should only care about himself.

Tom didn’t look up when he heard her steps leaving the room to get to her dorm room. The only reason he should keep her so close was to find out her true intentions and why she was able to shield her mind so well.

When Weronika had left she had still been in awe. Back in the common room she had been surprised and even weirded out and somehow out of touch with reality. She could only stare at her now warmed hands he had held so lovingly. Because Tom had cared. He had cared about her and her well being, to the extent of even being worried. He had wanted to come with her, too. She looked down at her own hands and remembered the warmth of his skin. She never would have thought he would be this warm. And she should be mad too, with how he had ordered her to get warmed up, but she had been too awestruck. He had seemed like such a cold person from the beginning, and he just seemed like this unapproachable character; or maybe she just wasn’t used to such kindness anymore. And after spending this much time with him she had realized what a genius he was, how much he knew, and God, how good he was at teaching. Usually, when someone had tried to explain something to her she had not understood, people had grown impatiend, but not Tom. He stayed calm, answered all her questions as best as he could, was patient with her and wasn’t even angry when her mind started to wander again. And when he realised how restless she became, with her leg twitching uncontrollably, he would stop with homework or with whatever lesson they were doing, because before she knew it, he knew she needed a break. No one had ever been this patient with her. Not her friends, and not her family. She wasn’t used to someone caring about her like this.

Weronika took a deep breath and closed her eyes, her hands still in front of her as she had looked at them. Slowly her hands turned into soft fists. She shouldn’t get distracted by Tom. He was charming and good looking and his voice could do things she should hate. But she didn’t hate it. Far from it. Her body reacted in ways she had no control over and if there is one thing they had in common it was the love for control. Alright, she had to admit, she wasn’t that good at it, but still, she loved knowing everything about everybody, not because she wanted to blackmail or something, but because… just because. There was no real reason, really, only the traumatic experiences of her past that made her wary of others, and knowing everything about everyone made her feel safer. More prepared. Yes, it was all about being prepared in case someone had the ill intent of wanting to hurt her. Because she had been hurt enough in her life. By family, by friends, by enemies, by her own hands. And it was no surprise that she had no healthy coping mechanism when it came to her traumatic experiences and anxiety. To cope with her emotional anguish she liked to hurt herself, and she was good at hiding it. She opened her eyes and looked again at her hands. It wasn’t that she was cutting herself. Nothing like that. It was just that sometimes when things got too much, she couldn’t stop herself from harming herself until she bled in ways that wouldn’t leave scars.

Again she took a deep breath before going to her bed. Her thoughts returned to Tom and while she started to underss to get under the shower as he had instruced she wondered if he would still act the same when the other students returned from the holidays.

When she was finished with her shower she dressed into one of the uniforms she had gotten. Stockings and the green pleated skirt went to her knees, the design high waist as was appropriate for the decade she was in. She stuffed her blouse into the skirt and put on the beige soft cardigan that warmed her enough. Then came her brown leather boots she had came to Hogwarts in. They weren’t thick and not appropriate for snow, but good enough for Hogwarts halls. When she was finished she put her hair into a messy bun. She shouldered her bag that she had filled with schoolwork and her sketchbook before she decided to return to Tom. Dinner was waiting for them.

There were no words exchanged as they had gotten on the way to the Great Hall. They were pretty much the only students in all of Hogwarts, as all the students had left to their families to make sure they were safe from the raging war and danger that were both Hitler and Grindelwald. Tom had no family to return to and Weronika? Weronika had lost her family. With a gulp and a heavy heart she remembered her mother, her step father and her brothers, and how it gnawed at her heart that she didn’t miss them as much as a daugther and sister should. There were no friends to miss either; except the selected few.

When they arrived at the Great Hall they sat opposite of each other like they had the days before. She was still trying to eat slowly and to not over eat as he had warned her several times. At the memory on their first dinner together she looked up at him. Since she had returned from her short shower he hadn’t said a thing. He seemed to be colder than usual, withdrawn and she felt as if she had done something wrong. Nibbling on her lower lip she ignored the food before her as she thought of anything she might have done to anger him. But no. She hadn’t done anything wrong. Had she? Then why was she getting the silent treatment? The cold shoulder? Maybe she had overstepped her boundaries? She did that sometimes. Her mother had always warned her to not step out of line, to be the perfect church going daughter, so she always tried to be good, always tried to do nothing wrong. It didn’t always work; being good and sweet.

„…Tom?“, she saw the tensing of his shoulders and suddenly she felt her anxiety build up inside her chest into a tight knot. „Tom.“, she tried to sound more sure of herself, more secure, and was glad when she did a somewhat good job, „Are you alright? You… you seem different than usual… erm, have I done something… wrong?“

When he looked up from his meal he realized she hadn’t taken one bite and he also realized that she was worried. Worried that she had done something wrong. And her worry was honest. Through her glasses he could see the worry in her blue eyes. Tom had to admit he was angry. Not at her, although she was the reason for his anger. No, he was angry at himself, because he had gotten too attached to her. Yes, attached. To another person. In a matter of days. But it didn’t matter. Soon enough his knights would return and with that his attention would be drawn to things that had nothing to do with her. Simply put they probably had spend too much time with each other as she was the first person he had over concentrated on this much. Not even his knights enjoyed the amount of attention she received.

So, he smiled a reassuring smile: „No, don’t worry. I was just… thinking. In a matter of days the other students are going to return and with that my obligations. I won’t be able to spend as much time with you anymore. Also, in the next few days I’ll have to prepare myself, too, so… I hope you will be able to study on your own.“

„Oh…“, that… that was not what she had expected. Not at all. Because they had become somewhat friendly with each other, too, which was… strange for her, to say the least. Having some kind of companion was strange and she simply wasn’t used to befriending people. Never was.

At his look she quickly tried to find the words for a better answer: „Ah, yeah, it’s fine.“ She smiled nervously at him: „Really, I get it. I just thought… well, nevermind. But I do hope you won’t forget me in all your obligations.“ Her answer made him smile a disarming smile and she blushed at that. Dinner turned peaceful and so were the next few days. And true to his words Tom had less time to spare for her. Which was fine, really. He had been nice and charming and forthcoming and he was just acting like a gentleman. Which only angered her. Was she really so easily swayed? On the other hand she had been exhausted, emotionally and physically, and she had needed a few days to recover. In her weakened state her concsiousness had wanted to lean on to someone and with Tom being so forthcoming it was no wonder she had chosen him. Truth to be told she still needed time to recover, wanted even to depend on him, but time was limited, at least for now, so it was only good Tom had put some distance between them as it cleared her mind.

She was here to change things that should never be changed, nontheless she wanted to try it. It was too late to stop now and she had already lost a part of herself during the process. The things she had done to be safe in an unkown future could be called immoral, but she didn’t have the privilege to be morally good. A long time ago she had realized that being ethical was just a cage people liked to build around themselves. It condemend them to untruths and comfortabilty and only allowed change to a certain point. Morals were things people hid behind like a warm cloak during a storm and after realizing that she had put away her morals to do whatever she could to protect those she had learned to love. Slytherins were loyal to a fault and she was no exception. With shame and new determination she tried to ignore her hurt feelings because she had no time for friendships, no time nor energy for useless comardrie that would only drag her further into a pit of anguish and torture. She had to figure things out, had to get healthy and well again and before she could do anything about her life in Hogwarts she had to think about repaying her debt. Because without him she never would have made it to Hogwarts.

Tom only distracted her and she had gotten too attached too fast to him. The reason for that were not unkown to her. She was a touch starved being – ironically hating to be touched by other people – and starved when it came to love and affection. Toms patience and gentleness, how fake it may be, was something she could fall into, a warmth she had missed her whole life, a carressing hand that should have been her mothers. She sighed; and ultimatly held Toms attention again. He seemed to misunderstand her sigh as he straightened himself before leaning forward towards her.

„Look, Weronika…“, he started quietly and she looked up at him, „I… enjoyed our time together. I really did.“ Why he told her that she wasn’t sure of, but every of his words could be a lie, even if they didn’t feel like lies. She lost her trust in people a long time ago.

„But I am Prefect and I tutor a few students. Also, I am part of the Quidditch team, and there are many other things I do in my free time.“, he explained to her and she wanted to tell him that it was fine, that he didn’t have to explain himself, and somehow she couldn’t. She just stared at him, touched at his attempt to make her feel better. Had she looked that saddened by the fact he would have less time for her?

„…it’s fine.“, she said and her quiet voice sounded uncertain and a little embarrassed, „You don’t have to explain yourself to me. We… We aren’t dating or anything like that… it was just… I think going through the things I went through… I think I just started to depend on you because I… I didn’t have anyone for a long time. It’s… It’s hard to explain but… gosh… Ich fühle mich so dumm… dumm, dumm…“ She shook her head, murmuring the last words to herself and he looked at her with a expression she couldn’t quite read. So, she smiled: „Sorry. It’s just…“ And before she knew it tears started to swell in her eyes. A break down? Now? Gosh, how pathethic.

Her fork fell onto her dinner as she started to wipe her tears from under the glasses. From out of nowhere he had conjured a handkerchief and held it out to her and she took it with mumbled thanks. As she started to wipe her tears away he took one of her hands in a comforting touch, his thumb stroking the soft warm skin of the limb. More tears started to wreck her body, accompanied by silent sobs that shook her into the depths of her soul. She wanted to explain herself to him, wanted to tell him it wasn’t because of him she was acting this way, but she couldn’t find the words, only holding on to his hand as if he was her lifeline. She didn’t know how much time had passed until she was somewhat calm, his handkerchief wet with her snot and her tears. She laughed then, a humourless sound: „Sorry. I just…“Then she shrugged and he nodded as if he understood. But Weronika knew he didn’t understand. No one understood. People may have went through traumas, but everyone was different, everyone percieved things differently, and no one would ever understand the pain she was going through. She was selfish in that regard and holding on to her pain and being afraid of losing all the other things she was still able to feel. Happiness had left her to die on a bed of tragedy a long time ago and now she had cloaked herself in the blood of her tears and forged a weapon with her pain, striking everyone who would dare to stop her from her goals, the only thing giving her the power to do so being hope.

„Ya‘ know…“, she started, sounding strange because of her stuffed nose, cheeks hot and eyes burning, „I used to dance ballet.“

At that a stunned look crossed his features but he kept silent and let her talk: „I started when I was really young. Maybe… four or something? Before I even knew magic existed. My family was poor but my mother wanted me to have a good life – a life she never had. So… so she send me to tutors for ballet and piano.“ She shrugged at that and tried not to look at him. Strangely he had not let go of her hand and had not stopped carressing her warm skin with his thumb. He had beautiful long fingers and big hands, a little rough from playing Quidditch. Hands worthy of a piano player. She liked the image of it.

„But at some point… only weeks before I got my letter for Czocha… we changed shoes.“, Weronika sniffeled and knew she needed to explain this, because she couldn’t imagine him knowing about the footwear of ballet, „At first I learned dancing in… in comfortable shoes. Made out of leather and silk, and… then… when I was good enough we changed to… to pointe shoes. They… They are very uncomfortable and… well, uncomfortable isn’t right.“ She laughed at that and wiped her nose with the handkerchief he had given her, the food now untouched and ignored by both of them, ignoring any curious glances thrown their way: „They are fucking painful. After training for the first time with them I wasn’t able to walk the next day. They… They are hard on the inside at the front, so-so that dancers may stand on their tip toes, and… and… God, it just hurt so much. So… So I stopped. My mother didn’t like that, of course, but then came the letter and… and it was blessing in disguise, really. And… And I hated pain, I still do, but... when I was still just eleven years old I thought that would be it. But by now I have went through so much pain, I just…“ Her breath hitched and she had somehow lost herself in her words, forgot what she had wanted to tell him with the little part of her life she just shared with him. So, she shook her head, before she tried to find the meaning behind her words: „What… What I want to say is… is… I… after all this pain I have went through… I guess I just sucked in the attention you have given me. So, it’s alright if you don’t want to be friends or anything like that. That... That’s all I wanted you to know, I guess. That I’m just this weird foreign girl sucking in any affection like a sponge.“ Her pointed look at his hand holding her made him realize what she meant, so he nodded. But he didn’t let go.

„I see… and I am sorry you have went through so much pain.“, he told her, his voice quiet but his gaze never leaving her, his eyes burning into her soul, „And I wouldn’t mind being friends with you.“ A slow smile twitched at the corners of his mouth and before she knew it she gave him a watery smile as well. Squeezing his hand thankfully for understanding her she finally pulled back her hand.

„And now I’m not hungry anymore.“, she laughed as if to say how silly of me when in reality she only wanted to change the topic. Tom humored her although he wanted to press her for more answer. Had she been anyone else he would have already used Legilimency on her; he would have unwrapped every single one of her secrets and read her like an open book. Instead he had to rely on her words and expressions, the way she cried and smiled and moved.

Hours later, when he was lying in his bed and thinking back to their conversation he mulled over her words; over and over again, analyzing them. From what she had shared with him pain had became a part of her life at some point. There was also a desire to be accepted and loved, to be held and embraced. When he had been a small child he had held the same desire, but now he scoffed at these romantic notions. He was a powerful wizard, he only needed himself. Affection wouldn’t help him achieve his goals, but girls like Weronika were dependend on them. With her tale she had shared the way he would be able to control and manipulate her. He smiply had to become the person she would confide in the most, the person she could lean to and trust. If she truly was as touch starved as she thought it would be easy, really, to get on her good side. He could whipser sweet meaningless nothings into her ear, make her blush, hug her and coddle her like a babe. It was a small price to pay if it meant he would be able to gather all her secrets like the collector he was.

A smile grew on his lips as he slowly drifted to sleep. Yes, it would be easy to turn her into his submissive little pet.

#Harry Potter #Harry Potter fanfiction #Tom Riddle #Tom Marvolo Riddle #Tom Riddle fanfiction #Tom Riddle/OC #Tom/OC #Hogwarts #Hogwarts houses #Slytherin #Original Character #Harry Potter OC #Original Harry Potter Character #fanfiction #fanfictions #1940s #Hogwarts 1940s #Platonia #Platonia fanfiction

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gemraldkid · 4 years ago

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Analysis and speculation on Bête Noire

Spoilers for Undertale and Glitchtale. Undertale by Toby Fox and Glitchtale by @camilaart

You thought I was joking? Nope. Here it is: a mix of canon, headcanon, and speculation.

Of all the characters that people are obsessing over right now (Ronan, Jessica, Gaster, Rave, the prequel wizards), I choose to put all of my energy into making some sense of the one character that continuously reminds us that we should hate them. I could be thinking about the struggles of anyone else. I could be worried for Chara or Asriel or Asgore (he’s not dead until he starts turning to dust), but nooooo. This is what occupies my thoughts about this series.

This is basically most of my headcanon relating to Betty. I wanted to put these thoughts out there before the new episode since... well, anything could happen.

Betty’s probably gonna mostly die from hate and stuff.

Imagine if we were actually supposed to end up feeling bad for this character? Right...

You shouldn’t take everything I say here as facts.’m pretty sure I made it clear enough which parts are speculation with the amazing power of verb tenses.

I’m open to corrections about currently available facts that I got wrong.

Glitchtale is a series that I’ve greatly enjoyed watching. I believe that it is one of the finest things to come out of the Undertale fandom. It is a testament to how good a fanfiction can be.

One thing that I find particularly praiseworthy is the way OCs are handled. They manage expand on the world without hogging the spotlight for too long. There’s a good balance between introducing new elements without ever forgetting about the old ones.

Of course, among many of the new characters, one in particular stands out: the current antagonist of Season 2, Bête Noire or “Betty”.

Betty is the character I have been the most fascinated with so far. She’s been a mystery to many ever since the punch to the gut that was the ending of “Dust”.

What follows is a look into the way that I perceive Bête Noire. I am not necessarily dead-set on a single possibility. While my views are backed up by certain facts, I acknowledge that they are also based on and influenced by my personal wishes for this character. Therefore, my words should be taken with a healthy amount of salt.

Betty was first introduced to us as an innocent 13 year-old girl, barely a year older than Frisk, physically. She was a shy, happy-go-lucky kid who became friends with Frisk after the latter saved her life from a fast-moving car.

Unfortunately, things were not as they seemed. The girl never was in any real danger as the car was an illusion created by powers. The scenario was merely a set-up to get her closer to Frisk and their family of monsters.

Illusions are likely a power granted to her by her trait: fear. With it, she is able to see the memories of others simply by looking them in the eyes. This grants her knowledge of their personality and, most importantly, their emotional weaknesses. Using that knowledge, she can create illusions to throw off her enemies. These illusions can serve a variety purposes even if they don’t directly involve fear. Examples include the aforementioned car and the illusion that caused Undyne to kill Alphys.

Bête Noire originally woke up when the barrier was broken, a month before the events of “My Sunshine”. This means that she spent a month doing “something” before starting her plan. She likely spent days and nights observing the humans and monsters. Through her observations and memory-reading abilities, she judged whether the monsters were truly as dangerous for human kind as she believed. This wasn’t all she observed, however. Betty also learned the ways and customs of this new time period. After all, the only memories in her possession belonged to someone who lived over 800 years ago...

Agate Lightvale was best known as the wizard of bravery who helped seal the monsters underground. She lived in a medieval time. While she was born into a common family , she didn’t live a common life. Her twin brother, Copper, was lucky enough to be born with a soul of determination, a trait so rare that only one person can possess it at a time. It elevated the Lightvale family to a noble status.

Growing up, Agate acted like a big sister to Copper even though they were the same age. However, this changed as they grew older and trained to become wizards. Copper became more independent while his sister started to develop a few insecurities.

Agate spent most of her time training in combat. She was always looking to improve, to get stronger, to surpass her limits. Unfortunately for her, being the twin of the soul of determination meant she was often overshadowed.

Her brother was essentially a “chosen one” of sorts. As a result, he got most of the attention. Agate would execute a spell flawlessly while Copper stumbled at the same task. Yet, he would be the only one to receive praise.

In addition to being the rarest trait, determination is also the strongest. Agate was confronted with the reality that, no matter how hard she trained, she could never surpass her brother.

Still, it didn’t stop Agate from being a kind and respected individual. True to her trait, she was know for her bravery in the face of danger and resistance to physical pain. In addition, she and Copper both stayed strong for their younger sister, Amber, who’s birth resulted in the death of their mother. Agate and her siblings were extremely close.

After the war between humans and monsters ended, she, her brother, and five other wizards created the barrier, trapping the monsters underground.

After a certain amount of time, Copper proposed the idea of releasing the monsters from captivity. He believed that humans and monsters could still live together. Agate opted against this. She believed it would be better for both races if they lived separately. The discussion got extremely agitated to the point where Agate spontaneously challenged Copper to a duel that would decide the future.

If I may break the flow of information a little, this part seems a tad off to me. I find it notable, at the very least. In the official depiction of this moment, Agate looks smug, as if she knows she is going to win. Isn’t that odd considering what we know? I believe there was more riding on this duel than the fate of two races.

Recall that Agate had a bit of an inferiority complex with her brother. Isn’t it possible that she also challenged him to prove she was stronger, to finally break out of his shadow by defeating him in front of the entire kingdom? If this is the case, I believe that the “confidence” she showed might not have been entirely sincere. Surely, a part of her knew that she couldn’t win. Yet, she still instigated a fight.

I think it’s possible that challenging Copper was not an act of hubris on Agate’s part; it was an act of desperation made in the heat of the moment.

Ultimately, she lost. Her brother was victorious. Agate was overwhelmed by her loss. While she had an abundance of physical bravery, she lacked it emotionally. Due to these factors, she lost her trait then and there. Completely humiliated, she fled to parts unknown. Still under the intensity of the battle, Copper didn’t think to go after her.

During this period of her life, Agate made many poor life choices. She searched for a way to break her limits more than ever before. She came across at least two forbidden spells. She used one of them to reverse her souls trait from the orange of bravery to the dark orange of fear. The process completely eradicated the last shred of sanity she had. After being absent for an unknown amount of time, Agate rejoined her family, who welcomed her back in spite of the changes she had gone through.

Driven by her obsession for victory, Agate furiously demanded a rematch from Copper. He refused, knowing it wouldn’t bring about anything good. Seeing that he wouldn’t move on the issue, Agate threatened the life of Amber, her own sister. Copper attempted to protect her, but was ultimately forced to watch as Agate stabbed her through the chest. This horrible sight caused him to lose his trait, allowing Agate to easily finish him in the same manner. She relished the victory as all life left his eyes.

Unfortunately, she would soon be forced to join her siblings. Inverting one’s trait is immensely stressful on the soul. With her time running out, Agate performed another forbidden spell to ensure that her will lived on: the Bête Noire spell.

The Bête Noire spell consists of creating a powerful, nearly lifelike golem called a “bête noire”. While the golem itself is powerful, a bête noire’s true strength lies in its longevity and ability to form complex thoughts.

Most spells typically act in very basic ways. For example, a simple fire spell will simply follow a chosen path or pattern before disappearing regardless of whether it hit its target or not.

Bêtes noires, on the other hand, can not only accomplish much more complicated tasks, but also think about how they will go about doing so. They are even be able to improvise if things don’t go their way. In addition, they can exist for several weeks before fading. However, if they have a way to replenish their magic (such as harvesting it from souls), they become virtually immortal. A bête noire is essentially a living spell.

Of course, to craft such a being, the cost is extremely high. It requires the caster to use their own soul for the conjuring. Then, they must also have a vessel other than their own body that can be merged with the soul to create the golem.

Agate was willing to sacrifice the life she wouldn’t have for much longer and she had two perfectly good vessels. Still spiteful towards her brother, the wizard chose Amber’s body over Copper’s. Her soul turned pink as it absorbed Amber’s body. With the deed done, Agate lifeless body fell to the floor.

The soul remained sealed and hidden for over 800 years until the barrier was broken. At that moment, it awoke, transformed into the being that would be know as Bête Noire.

Bête Noire knew her purpose from the very start as she possessed some of Agate’s memories as she possessed some of Agate’s memories. Unfortunately, the goal her “mother” left her with was no longer as good-natured as it once was. In Agate’s twisted mental state, it had gone from “Keep humans and monsters separate for both their safeties.” to something akin to “Kill all monsters so that they will never live in peace with humans. Do so by any means necessary, even if it means killing humans who oppose you or using the power of hate.”

Gathering hate is stated to be the universal purpose of a bête noire. It’s fitting when considering the name. “Bête noire” is a french term that literally translates to “black beast”. Black is the color (or lack there of) of hate. In addition, the term “bête noire” is used to indicate a person or object that someone particularly dislikes.

I originally found it ironic that Bête struggled to keep her hate under control, but the solution is simple. She likely only struggled to keep it under control because she wasn’t in her complete form at the time.

Nonetheless, I can’t help thinking that maybe bêtes noires are supposed to succumb to the hate they collect. Perhaps they are meant to serve as vessels for the stuff. After all, Betty still requires a large surplus of magic to keep it at bay. One would think a creature made to collect hate would do more than just resist it a little better than others.

Yet, if bêtes noires are supposed to succumb to hate, why has this one been shown fear it? Perhaps because, as a creature made purely of magic, it would be akin to death, something that she fears because fear is built into her nature.

In order to accomplish her mission, Bête had to gather information on both her enemies and the era she was in. She separated herself into two beings in order to hide her monstrous appearance and blend in with the humans. She dubbed the part she separated from herself “Akumu”, the Japanese word for “Nightmare”. Under the nickname “Betty”, she spent a month observing and planning.

It should be noted that she must have done so 24/7. Bêtes noires don’t need to sleep. It could also be for this reason that she is so unfamiliar with the concept. Agate’s knowledge about sleep was mostly omitted because it had little relevance to the mission.

As previously stated, Betty used her power of fear to look into the memories of the monsters. From the information she gathered, she judged that monsters were in fact deserving of death. This may seem strange to many since, as seen in Undertale, most monsters are innocent and kind-hearted people. How could she possibly think so poorly of them even after seeing their past? Is she blind?

I believe so. Betty may, in fact, be blind to certain degree.

Any normal person would most likely have seen that monsters didn’t deserve what was coming to them. Why didn’t Betty? Because she isn’t a normal person. Highly advanced or not, Bête Noire remains a spell, and spells exist to carry out the will of their caster. They are tools.

If magic bullets could miss because they took pity on the opponent, few people would use them.

Keep in mind that Betty isn’t just a bullet that uses up 0.001% of the caster’s magic. She’s a bête noire. People had to die for her creation. If a person poured all of their life force into a spell that would carry on their will, they would be pretty upset to learn that they failed because the spell didn’t want to do the one thing it was created for.

All this to say that I believe that Betty is unable to go rogue either physically or mentally. She has no choice but to believe she is in the right. After all, if she realized that her only purpose for existing was objectively wrong, it could make her a less effective weapon.

When she looked into the souls of the monsters, it is likely that she was never going to come to any other conclusion than “They are dangerous.”

She did see some of the good in them, but most of what she retained were parts that would prove her right. These included Asgore killing the 6 humans (even though it was the only way to save his kingdom), the horrors Asriel committed as Flowey (even though he was soulless at the time), and Frisk’s many resets (even though they aren’t even a monster). These actions were obviously horrible, but there were nuances that made them more understandable. Context was important.

Betty, who I believe was unable to pick up on such nuances, may have simply taken the most basic message from this. “These monsters did bad things, therefore they are evil and the same must apply to all of monsterkind.” She is blind to anything that doesn’t fit into the way she is supposed to see the world.

(Of course, this doesn’t mean she is unaware of Papyrus or Undyne’s heroic and selfless acts. It just means that can’t see them as proof that monsters are good people.)

As such, Bête may not be wholly responsible for her actions. Some of her malicious acts can be blamed on her creator. After all, her contradictory objective of killing humans to protect humanity was given to her by Agate, who’s mind was far from clear at the time.

However, other aspects are harder to justify. The pleasure she seems to take in her victims’ emotional suffering could have come from Agate as the wizard displayed something similar shortly before casting the spell.

The fact that Bête wouldn’t care if the world ended as long as it was by her hand definitely makes her seem incredibly hypocritical (which she is) and entitled, not to mention evil. I suppose that by annihilating everything she would technically accomplish her goal of killing all monsters. With her one purpose in life fulfilled, she would have no more reason to live. The idea of ruling humanity afterward is likely more of a bonus. Assuming this is the case, it’s a testament to how much important the mission is to her.

Finally, I would like to bring up the debate of whether Betty and Agate are the same person or not because, if they are, most of what has been written here will be completely pointless. There are two ways to look at this.

This post tells us that Agate is technically Betty, but it may only refer to them in the physical sense. Betty’s body is physically Agate’s soul. The debate is about whether they are mentally the same.

This comic is likely the largest piece of evidence to support this. To my knowledge, it is still canon. In it, Bête finds the remains of Agate’s body. Her reaction is quite interesting because she acts and talks as if the body was once hers. She also has to reassure herself that she “can’t die now”, implying that she was once mortal. She also mentions ensuring “our race’s survival” in reference to humanity. For that sentence, she includes herself with the human race. This implies that she was at least human at one point.

This evidence certainly appears conclusive, and it very well might be. However, it directly contradicts this conversation which, to my knowledge, is also still canon. Here, she refers to Agate as “mom”, indicating that she thinks her as a separate being. Why is this? Is one of these sources outdated? Possibly, but I have another proposal.

Betty’s mind appears to be all over the place. One moment, she laments the fact that she is meant to be hated and, at another, she takes joy in torturing her victims. She doesn’t want to die, yet she wouldn’t mind if the world ended at her own hand. She is hypocrite. Sometimes, she believes she is Agate’s creation; at other times, she acts like she is Agate herself.

Bête Noire’s first memories came from Agate. Surely, It isn’t too far-fetched to say that her mind was likely derived from her creator’s. If that is indeed the case, the solution is clear; Betty might be insane just like Agate was before casting the spell. Agate’s insanity could have rubbed off on her creation. Thus, it’s possible that Bête’s thoughts are meant to be hypocritical and contradictory.

In the end, is Betty Agate? She may not even know herself. I believe she is more of an imperfect copy or a “simulacrum”. The things that make her “Agate” are the incomplete memories of the wizard’s life and the similar way of thinking. In my opinion, these don’t make an entirely different person, but they also aren’t enough for her to be considered Agate. She is merely a being in possession of her creator’s memories.

Also, these hints might still be relevant today.

“Steven Universe logic”? You mean the show where almost every problem is solved by talking and all the villains end up becoming good? Sure, that could just be referencing Sans and Asriel getting talked out their states, but you never know. Maybe Betty’ll regret her actions too before dying. Eh? EH?!

“Never assume things”? No kidding. Words to watch by.

#bête noire #glitchtale #agate lightvale #Speculation #undertale #glitchtale betty

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