#i may end up making a comic at some point later on for this particular scene

[rain-coat-killer]

"I don't need you."

"...Do I?"

[sokkastyles]

An Overanalysis of Zuko and Food (plus Iroh)

So, I've seen a lot of meta about how Zuko appears skinnier at certain points in the series depending on where he is in his arc. During the worst parts of Zuko's time as a refugee in season two, he seems to have lost a lot of his muscle mass, but towards the end of season two, he's less muscular than season one Zuko but distinctly rounder in the face, as he becomes more adjusted to a more (relatively) normal teenage life, living under a roof and not as a captain of a naval vessel, having access to a stable food source, and letting himself be taken care of by Iroh. At the beginning of season three he's in the palace, with plenty of access to food, but appears much thinner, and several people have made the inference that it was likely Zuko was not eating as well due simply to the anxiety of being back with his abuser.

But I've also noticed several other interesting things that could indicate something about Zuko's relationship to food. In book one, Zuko is built up, he's a military leader, he's trying to fulfill his role as prince of a nation that values strength and power, and there's one scene in particular that shows him not eating, in contrast to Iroh.

We see Zuko raging over not being able to capture Aang while at dinner, and Iroh asks him if he's going to eat his food, to which he replies that he's going to eat it later, and angrily takes it away from Iroh.

The main purpose of this scene is to contrast Zuko's single-minded determination with regard to his mission with Iroh's hedonism. Even on a military vessel, Iroh is presented as the antithesis of Spartan Fire Nation military culture. Zuko shows clear distaste for this behavior, because he has learned to detest it from his father, and angrily takes the food away from Iroh, saying he's going to "finish it later." And book one Zuko looks like he probably isn't missing any meals. He's jacked, and he's probably eating a lot of protein to keep up that physic. But is he going to sit around enjoying a meal when he's stressed about finding the Avatar? Absolutely not. The food in this scene looks very inviting, steaming hot, but Zuko will eat only when it's necessary to do so, and won't tolerate uncle eating more than his fill.

At the start of book two, Zuko and Iroh are without the trappings of even Zuko's banishment. They've lost everything, and are forced to forage for food, an endeavor that is less than successful. They are fed by Song's family, and I've seen some theorize that Iroh intentionally poisoned himself in order to force Zuko to seek help, which is an interesting theory considering that given stressful and even dire situations, Zuko's inclination seems to be to turn down food more often than not.

When Zuko is later separated from Iroh, we see him contemplate stealing food when faced with starvation, but makes the decision not to steal from a pregnant family.

Later in season two, Zuko and Iroh are living as refugees in Ba Sing Se. Zuko no longer looks bone thin, and presumably has stable access to food, although not the royal trappings of a prince. He's much more filled out, but appears more round and less lean muscle. We see him visit a restaurant with Jin, and we get a close up of him pushing around his food on the plate to indicate his anxiety about the date.

(I also want to mention here that in the "Going Home Again" comic, which takes place before the start of book three, Mai says that the food in Ba Sing Se is awful and Zuko says it's not so bad once you get used to it.)

Then at the end of book two, when Zuko recovers from his sickness, he immediately is interested in the jook that uncle is making, to Iroh's surprise, who says that Zuko wouldn't like it. Zuko happily eats a bowl despite this.

This is meant to show us Zuko's newfound appreciation for life after recovering from spiritual sickness. But it's also interesting when taken in the context of Zuko's previous relationship with food. Iroh assumes that Zuko will not want to eat the jook, but one thing that is interesting is that it's a meal commonly made by adults for children or others recovering from illness. We can infer that Iroh was making the jook for Zuko, despite his assertion that Zuko wouldn't want it. I think this is consistent with how we see Zuko turn down food when he is uncomfortable or anxious, but when he's in a place where he feels safe, he will let himself eat.

Finally, at the start of book three, we see Zuko turn down food when being offered it by servants.

And finally only accepting a hot towel (used to wipe away sweat.) Despite having access to excesses, he's uncomfortable and constantly on edge.

I also have to mention Mai again here, and how Zuko, despite turning down food for himself, offers to get food for Mai, which is meant to show us how Zuko struggles to connect to the world in which Mai belongs. It's worth mentioning also that we see Zuko bring Mai food twice in the beach to try and make her happy (and failing) while eating nothing himself.

We also see Zuko offer Iroh food in prison.

Zuko says that even though he knows it's not Iroh's favorite, it beats prison food. This actually mirrors Iroh making the jook for Zuko in book two, which Iroh says Zuko does not like, but making it for him anyway. Zuko is trying to return uncle's care for him, but what Iroh really wants is for Zuko to be safe.

At the tail end of book three, Zuko seems to have gained back some of his muscle mass, and appears much more comfortable with the gaang, but he's still shown not indulging when the rest are.

The screenshot actually frames him in direct contrast to the rest of the gaang, as Aang's teacher who is strict about him goofing off during training (a callback to season one Zuko who was displeased with Iroh's hedonism). We don't know if Katara had any watermelon juice herself, but she's seen making several "glasses." (Hello, momtara and dadko.)

Anyway, I think Katara the gaang made sure Zuko had enough food and that he was eating, and that he reciprocated by making them tea in return.

[art]

Creator Spotlight: @min-play​

I’m Min! I’m an animator and storyboard  rti t who also posts comics and fan art online. So far, I have worked on the Rise of the Teenage Mutant Ninja Turtles and LEGO Monkie Kid. I run on AAA batteries.

Check out our interview with Min below!

How did you get your start in animation and storyboarding?

Fanart! My hyperfixations kept me drawing and posting online since I was around 16. Later I dropped my Computer Science degree to study animation. After graduating, I worked as an In-between Animator, Key Animator, and Storyboard Artist. My fanart of a couple funny skeletons played a big role in getting hired.

What do you wish you knew when you first started out creating content that you know now?

It’s ok to make mistakes. All the flaws in a drawing make it look much more interesting. Also, it’s a lot more fun than spending ages perfecting one line.

Have you ever had an art block? If so, how did you overcome it?

I always get 3 different flavors of art block (that I remember):

Art block from perfectionism

Sometimes there’s this self-enforced pressure that what you make has to be of a certain standard. Gotta loosen up and forgive yourself for not meeting an imaginary quality. Do it for the fun of it. Instead of thinking’ needs to be better,’ think ‘eh good enough lol.’ It’s cool to strive for improvement! Just don’t do it to the point it becomes self-deprecating.

Art block from burnout

Art hibernation! It’s ok to take breaks. Not every waking moment needs to be productive. Treat yourself to something yummy, hang out with people you’re comfortable with, or pick up a new anime series. Take the time to get some well-deserved rest.

Art block while drawing as a full-time job

WELL DANG.

Switch your ‘drive.’ If you’re running off on passion or interest as a motivator for work, that’s great! I do too! But also, it’s finicky. Set up routines for when that high runs out. I have a ‘Do task’ mode where I play a song or a movie I already watched on loop in the background (sometimes for weeks on end). I don’t know why but it helps me concentrate. Last week, it was the movie Cars.

These are personal methods and may not work for everyone, but I hope it helps!

What are 3 things you can’t live without as a creator?

Music + Noise-canceling headphones + Big blanket = Comfort force field

What is a medium that you have always been intrigued by but would never use yourself?

Does blacksmithing count as a medium? I’d like to try it out at least once, though.

How do you want to evolve as a creator?

To connect with other creators more. Especially writers. They are so powerful.

Warm tones or cool tones?

Cool tones! Especially this one particular blend of blue and green.

Who on Tumblr inspires you and why?

So maaaanyy. At the top of my head, though: @northpen​. I am obsessed with their vivid-imagery writing style, and immaculate characterizations. Their character banters always have me in a gigglefit. They have this fic I binged in one sitting and left me crying and empty in a good way.

Thank you for such amazing answers, Min! You can check out more of Min’s creations over at @min-play​!

[lorei-writes]

HC: If he were to be a parent - Chevalier, pt.2

Continuation of HC: If he were to be a parent - Chevalier. Because I've developed some sort of Family AU by now, and I want to share it :)

Sponsored by the idea I had that would work best as a comic strip, but alas, I do not have the ability to make that. Extra fluffy bit below the cut, I just needed to lay ground for it first.

There may be more in the future.

Content Warnings: all things parenthood and pregnancy related

Chevalier

>>Children

Chevalier has two children, a son (eldest) and a daughter (youngest).

It isn't that they didn't want more children. However, the second pregnancy was harsher on his wife than the first one, and the delivery itself was complicated. In the end, Chevalier doesn't want to risk losing both his wife and a child, so they decided to stop at two.

The boy is named Arthur. Yes, after King Arthur. It is hard having book nerd parents. Appearance-wise, he took after his father, but he has his mother's warm eyes. However, unlike Chevalier, he isn't a prodigy child -- he is bright, and he tries his hardest, but even so, he feels that he can't measure up to his sister.

Arthur tends to be unaware of his own strengths, though. He's social, considerate of others, has some innate charisma, and most importantly: knows how to work well with others. He's fairly similar to Leon in many ways.

The girl is year and a half younger than her brother. Her name is Rosalie, and... It should suffice to say she's almost as if little Chevalier was born a girl. She excels in academics, and asked to be trained with a sword too. However, unlike little Chevalier, she has parents who care about her, so although not fluent in emotions, she isn't completely lost either. However, even so, she doesn't understand why her brother feels this way about her. Even if she was born a boy, she wouldn't want to become a king. It'd be too boring.

Clavis is her favourite uncle.

>>Morning Routine

For one thing, Chevalier gets continuously harder to wake up in the morning as they grow. First, because baby Arthur needed for somebody to take care of him. Then, because his wife was pregnant again, and Arthur was still very little. Then, because they had one toddler, and one newborn. And then, because they didn't have another child for long enough for foreign forces to realise that Arthur is the only heir to the crown that will probably be there. And Chevalier does not want for his child to be hurt, so he stays vigilant.

At this point, the Queen just lets him sleep in. She's been with him for years, she knows why he's sleeping poorly.

That being said, she also has some plans. Arthur is five at this point, Rosalie is three (and a half). First, the Queen sends Rosalie to wake Chevalier up. When that doesn't work, she asks Arthur to go and try as well.

Roughly what happens is:

Rosalie: Papa? Papa, wake up! *pulls at Chevalier's arm*

Chevalier: *opens one eye to identify who dares to wake him up*

Chevalier: *sees that it's just his daughter*

Chevalier: Five more minutes. <- an attempt at being responsible about setting an example

Rosalie: You always say that, papa. Wake up!

Chevalier: *inaudible mumbling*

Rosalie: Papa?

Chevalier: *pulls her onto the bed to cuddle with her*

Rosalie is not a morning person either, although for no particular reason. She's content to have achieved her goal, and falls asleep.

~ 20 minutes later ~

Arthur: Papa, wakee uuup!

Chevalier: *no reply*

Arthur: Come on, papa! Mom's making breakfast!

Chevalier: *the same manoeuvre as previously, this time with Arthur*

In the end, Chevalier gets between hour and an hour and a half of extra sleep each morning. His wife is the last one to come to wake him up (or well, them all up).

Her approach is very strategic. Not only is her husband (generally) unable to move freely at this point, and thus cannot pull her onto the bed. She also gets to watch Chevalier asleep, with their children cuddled into his sides. Even though he's not aware of this, he always pulls them closer as soon as he hears steps anywhere nearby.

(All that being said, the protocol of open-one-eye -> identify-the-intruder -> if:family;then:pull-in-for-cuddles is still attempted each time. Sometimes just to the laughter of his wife, though).

--

TagList: @cilokgoang @violettduchess @fang-and-feather @pathogenic

[orionsangel86]

Dream of the Endless - A Romantic Fool

After talking to @so-i-grudgingly-joined-this-site @duckland and @notallsandmen over on this post I have been thinking about the reasons why I personally interpret Dream as a romantic and think that later Sandman stories have made a mistake claiming that romance and erotic fiction are all the work of Desire alone and not the actual Prince of Stories (and thank GOD Neil Gaiman confirmed those Sandman stories were not canon eh?)

Under the cut because as always it got long. Why I think Dream of the Endless is an old fashioned romantic with a soft spot for love stories.

I mentioned in the linked post that I don’t see how Dream and Desire can keep themselves completely separated when their realms blur so much and when they are canonically probably the two most similar of the Endless even above Desire and Despair (which I think is the reason they clash so much).  It’s also worth mentioning that when it comes to influences over mortals, I don’t think any particular Endless sibling has more of a sway than any other, they all influence us all the time such is their nature and I think it would be very difficult to claim only one Endless was totally responsible for certain things. This is the reason why they like to compete and play games with each other like they did in Three Septembers and a January with the Emperor of the United States (side note: this is one of my all time favourite comic issues and my absolute favourite of the stand alone stories).

So even if Desire does have influence over the romance genre and erotica, I don’t think that would make Dream particularly averse to them, because he is also very much responsible for love stories and stories about love and seems to have inspired more than his own fair share over time.

Starting with the obvious - he was Shakespeare’s patron. No matter what else you say about Dream, he is responsible for inspiring and effectively being the muse for the greatest playwrite who ever lived. Shakespeare’s repertoire includes a whole list of plays with romance and love at their hearts not least of all being:

A Midsummer Nights Dream

What is the one thing you remember most about AMND? The fairies yes? Titania, Puck, Oberon, etc. But the central theme and story of AMND is specifically about love. It is a very sweet story about four mortals who are caught in a love “square” and get lost in a magical forest where the fairies decide to get involved and fix their love problems (with some confusing mess ups in between) and at the same time, it is a story about how the King and Queen of Fairie are having a bit of a falling out and the King decides to play some tricks on his stubborn wife, before ultimately reconcilling with her. The play ends with a triple wedding.

In the Sandman issue A Midsummer Nights Dream. It is revealled that Dream commissioned this play from Shakespeare to be a retelling of events which happened long ago, as a gift from him to Titania and Oberon so that mortals may never forget the fae once they leave the realm of Earth forever. It is also revealled that Dream and Titania were once lovers themselves, though we have no other details about when this was, as Titania refuses to talk about it at The Wake. It is clear however that they are still on extremely good terms, care for each other deeply, and had a very close relationship even after they were lovers before the fae left Earth. Throughout the comics, whenever the fae are mentioned, it is clear that Dream is closer to them than any of the other Gods, Goddesses, or various pantheons we meet. Even though at one point he states that he does not trust fairie magic.

At the end of the day, whatever else you want to believe about Dream, Titania is the only lover of his that he remains on good terms with. So much so that even though she clearly has a husband, he is still gifting her love stories. There is an argument here that AMND is quite mocking towards Titania, who falls in love with a man with the head of an ass, and spends most of the play having sex with him and swooning over him whilst the other fairies look on in horror. I know some people have interpreted this as Dream being mocking and cruel towards her, but I didn’t get this impression at all from reading this issue. Titania appears to be delighted at the play and Dream explains clearly his reasons for commissioning it:

The short version is that Dream commissioned a romantic and magical love story for his ex lover, so that the mortal world would never forget her when she left Earth for good.

Pretty romantic in my opinion.

The Tempest

Keeping to the Shakespeare theme, the other play commissioned directly by Dream is The Tempest. Now, there is probably a whole other meta essay to be written about Dream’s reasons for commissioning the Tempest, not least of all how fitting Prospero’s final monologue is when viewing it as a closing statement on Dream’s own endgame. But this is a meta about romance, and Dream couldn’t even keep romance out of his self-insert human!au original fiction. Like AMND, The Tempest is also a comedy (interesting how both plays commissioned by Dream were comedies when he is so clearly living in a tragedy *sigh*) and like AMND The Tempest includes young lovers who fall in love throughout the course of the play. Whilst romance and love isn’t a central theme in The Tempest, it is still a big part of the story.

I just find it impossible to take a view that Dream would shun romance when he personally commissioned two romantic stories from Shakespeare himself.

The Sandman: Overture - Dream’s Personal Love Story

But this isn’t the only evidence of Dream’s romantic inclinations. The Sandman: Overture also includes some interesting clues to Dream’s views on love stories.

Hope asks for a story. She does NOT request a love story. She simply asks for a story with Dream, that also includes a princess. Given that Dream is the Prince of Stories, and has most definitely had interactions with many princesses over his long life, he chose to instead tell a personal story, a love story, and so we finally get the full love story of Dream and Alianora.

Even though it must hurt to relive it, even though the Cat of Dreams (not gonna spoil the twist) specifically states that they NEVER tell that story, he chooses to tell it to Hope. Not only does he tell her that story, but he ends it with a happy ending - not “happy for always” but “happy for a goodly while”.

The fact that the Netflix show chose to adapt on this love story further, by having it be canon that Dream carved their love story into the gates of his own kingdom - well, that only further emphasises how much he cares for love stories, even his own, even when the truth is it ended badly, and hurt him greatly. Would a non romantic person carve their own love story into the gates of their kingdom? I don’t think so somehow. Because even after all this time, even though it pains him to relive it, he is still a romantic at heart, and cared about Alianora and their love enough to carve it into the gates of the Dreaming.

A Mother’s Insight

Also in The Sandman: Overture, Dream’s time with his mother is particularly insightful. She is the one to point out how alike he and Desire truly are, even though he dismisses the very concept and takes offense (obviously). It seems clear to me that we are supposed to agree with Mother Night on this. She also raises two other interesting points - the first is when she realises Dream’s scheme to get his parents back together in the hopes that it will save the universe. She laughs at him, and mocks him, calling it “one of his stories”. Because even if Dream isn’t exactly the most self aware of creatures (understatement), she is exactly right. Dream, being a romantic, had hoped that his parents love could save the universe. A true epic love story for the ages. It is his romantic ideations that sent him to meet with his parents. Dream’s romantic nature is integral to the story of Overture working. If he wasn’t such a romantic, he never would have sought out his parents, he would have been more grounded in realism, and known that they would disappoint him.

The second point Mother Night points out, is Dream’s desire for a lover, as she offers to make him one so that he might stay in her realm with her. He declines of course, since Mother is simply manipulating him to keep him with her, but that doesn’t mean what she says isn’t true. Dream very much desires a lover. His whole family is aware of this. His love story with Alianora began with Desire sending Alianora to Dream after all. Dream’s wish for love and also romance is an integral part of his character.

Brief Lives - Motivations and Comparisons

Dream’s romantic ideations are also central to the story in Brief Lives since the only reason he agrees to go to the Waking World with Delirium is because he hopes that he may find and reconcile with Thessaly. His fantasies of reconciling with her are strong enough for Destiny to call him out and bring him once again back down to Earth.

Knowing what we do about Thessaly, it is very easy to interpret Dream’s feelings about her, and his romantic ideations about reuniting with her, as not rooted in reality. I find it very difficult to view Dream as anything other than a romantic fool when he is taking road trips across Earth on the small chance he may lock eyes with his ex lover across a street and they may fall back into each others arms like in some fluffy romance novel. He is ridiculous, and this is made clear throughout Brief Lives.

In fact, Destruction definitely agrees with me as well. He calls Dream a romantic fool directly.

Orpheus’s very existence is also a good example of Dream being a romantic. Who else could father a child who becomes famous for his poetry, his songs, and his epic tragic love story. In The Sandman, it is at least implied that part of the reason Orpheus meets his tragic end is because he is too much like his father, and the one thing that is made very clear about Orpheus, is that he is a romantic, with love being one of his main motivations.

I think adding all this together with the comments made about Dream by his own creations, the residents of the Dreaming, as well as his ex lovers at The Wake, it is clear that he is a romantic character, a character who is driven in many ways by his desire for love, and who rather fancies himself as the broody romantic hero (I just KNOW Dream was somehow involved with Lord Byron lmao). Throughout the comic, Dream often denies that he has any needs, any desires, to the extent that he denies that he is even a person, who has a life. He also adamantly denies that he has a story. Yet, throughout the comic, it is made clear that none of this is true. The reason Dream is so often at odds with Desire is because he desires so strongly - moreso than any of the other Endless siblings. It’s because of this that I think he would enjoy the romance genre possibly more than anything else. Romance is a core component of his personality. In comic canon, Dream has been directly or indirectly responsible for the creation of at least five love stories - two Shakespeare plays, the Song of Orpheus, the love story of Dream and Alianora, as well as the story that the African tribe tell their children when they come of age - the love story of Dream and Nada, the tale where their love was so passionate that every living thing that could dream dreamed of their love making.

So whilst the comics never directly state whether or not Dream is a fan of romance novels, his desire for love and romance indicates to me that he holds love stories in high regard, regardless of whether or not his annoying younger sibling has anything to do with them.

Also, not that it really counts for anything, but Tom Sturridge agrees with me. ;-)

[a-door-to-somewhere]

Ok watched spiderverse 2 again here's some thoughts in no particular order (spoilers and long post ahead):

- peter b is reading a book called "how to talk to kids" at the very end. Presumably because may can't speak yet and Gwen and Miles were zapped away I choose to believe he was reading this so he can go talk to Miguel LMAO

- I fucken love the way spot, after he powers up, move around via just like... sliding around in the air basically with his bad posture like he's hung from strings like a puppet

- when gwen is drumming at the opening and when spot gets zapped both are intercut with frames from later in the movie and also later in the future. I'm guessing spot got a glimpse of canon events but when Gwen was doing her intro it was phrased like a retrospective- but unlike most intros it didn't have a shot of a new spiderman comic being thrown on the pile. So when was she doing this retrospective? I hc she'll pick back up at the end of the third movie

- someone needs to make procreate brush packs for each universe/character PLEASE

- ok the "watercolor" effect being a mood ring is incredible but I havent seen anyone talking about the sort of abstract animation?? It almost reminds me of like experimental film from the impressionist/dada/supremetism eras, you can see it synced to the drum in the intro and also in some of the backgrounds during her big speech

- also during the Guggemheim fight when the Renaissance Vulture was like "you call this art?" And Gwen was like "well we're talking about it aren't we" YOU'RE SO RIGHT GWEN I AM KISSING YOU ON THE LIPS

- the shaky 1st pov cam when Gwen's dad sneaks up on her both times reminded me of when Miles accidentally watched kingpin kill perfect Peter? Idk if it was exactly the same I'd have to go back and rewatch but UGH it really gets that Gwen's dad has two sides too and the cop side isn't really human almost, lurking in the shadows, silhouetted

- also Gwen's dad just being a shit cop, giving her mixed instructions, raising a weapon at an unarmed person who is trying to communicate, firing warning shots, yelling the Miranda rights over her which is not how its supposed to be given

- contrast that with Jeff who literally never pointed a weapon at anyone and went charging after spot with his bare hands, is casual with his spiderman. I mean even when Jeff was talking about Miles not capturing Spot correctly it was lighthearted and joking, he's actively not going by the book, he's keeping the squad off of Spiderman's back, he apparently talks to spiderman about his family troubles???

- have I mentioned I LOVE MUSICAL MOTIFS????? Seriously they’re always good (fuck Wagner everyone knows Toby Fox invented the leitmotif) I mean everyone noticed the horror style Prowler stinger but even more characters got some: Gwen got a Little Rock theme with a guitar lick that echoes the ‘spi-der-man, spi-der-man’ song, Miguel’s distorted synth whine, the interesting mouth and bells percussion that Pav gets (good job Hollywood avoiding the exotic Asian pentatonic lick for once), at the end when the 42 prowler reveal slowly changed the prowler stinger into a human scream???? There’s probably more but I’d have to go back and watch it again again lmao

- I really love how Miguel is kinda goofy. He’s aloof and over serious but he makes mistakes and shows other emotions despite his best efforts. His flaws are shown off in his very first interaction, with his unwillingness to ask for help despite the fact that he knows he needs it. He’s frustrated. He’s got group object leader energy. It makes it so much more lovable that he’s susceptible to quips and he also gets knocked down and messes up and shows up and has his quirks that everyone puts up with. THATS how you make an interesting, relatable, lovable antagonist. Perhaps it worked too well LMAO

- I am an Oscar isaac simp I gotta go rewatch moon knight

- when miles was swinging around with gwen he passed a truck called "redex" bc gwen rejected him lmao

- theres an 8 clearly visible in the background of earth 42? Wacc

- the Spread Your Wings, Man scene focusing on the plastic wrap on top of the Alchemax flowing in the wind like it’s an ocean?/??? I really hope they call back to that imagery later because it clearly means something and I need to know what

- I’ve got an inkling of something that specifically revealing one’s spider-dentity to a loved one is some kind of anti-canon event, like maybe it’s the thing that fixes the destabilization? I mean we’ve seen that it’s ok if loved ones figure it out themselves (or if they then die, like uncle Aaron) like it’s a clear theme that miles keeps trying to tell his parents, and then Gwen tells her dad, which causes him to quit the force, thereby averting the canon event of him dying indirectly??? Also, it’s implied that the MJ of 1610 sold out Perfect Peter Parker to Fisk, leading to his death, ALSO also, gayatri probably figured out Pav’s identity right before HIS world destabilized??? Idk lmao

- I hope spiderbite/Margo and Jess get proper intros I can’t wait

- the background spider hockey girl has my heart, I couldn’t stop looking at her during the chase scene

- God I need to watch moon knight again

- when mj moved into mays room to greet them she lifted a picture frame back up as she moved in the door? What's up with that???

- not Spanish originally starting as a too-relatable joke that Miles gets a B in despite his mother speaking Spanish at home as well, not living up to his expectations, and then 42!Miles presumably speaks more/better Spanish due to being closer to his mom because his dad died???

- not miles aceing ap physics and ap studio AT THE SAME TIME in his SOPHOMORE YEAR free my boy from grounding he’s done nothing wrong

- btsv’s main villain is gonna be the sat I’m telling you

- most importantly: what was up with the Comic Code Authority’s seal being shown after the studio logos at the beginning??

Did that happen in the first one??? Why would it be there??? The cca has obviously been defunct since before superhero movies were really a thing. Famously, the cca seriously censored a ton of content, causing Marvel to be unable to portray darker stories involving drugs and other more mature themes, which they wanted to do with many superheroes including Spidey??? Is the Spider Society secretly the cca, censoring storylines that they think shouldn’t be portrayed, including darker timelines like 42? There was also issues with the convoluted Spider-Man comic lines going through unsatisfying ‘resets’ to keep Spider-Man relatable, without evolving the character into anything too far away from the OG Spider-Man, ie young, relationship issues with MJ, nerdy, tragedies etc. this is the detail that had me wondering the most because it was so clearly displayed right at the beginning, and the cca was generally a shameful part of comic book history in which publishers submitted to satanic moral panic. Like, not really something that reads as a cute little callback to an era of comics like he use of Ben day dots or misaligned printing or the onomatopoeias??

[doubleaspectrum]

Ruby Gillman, A Lesson on Earning Moments (Spoilers)

So, I recently watched Ruby Gillman: Teenage Kraken. Overall, it was… well… it wasn’t particularly great. It had potential, but I would most likely prefer the fix fics that people either have written, are writing, or will write.

Now, I could say what everyone else has already said, or I could go on a tangent, but how about I just try taking one writing lesson away from the movie instead?

Today’s lesson is on earning your moments, with Ruby Gillman standing as an anti-example.

You see, when I saw the scene where Brill talks Ruby out of her obligatory “My actions made everything worse, so I’ll start moping before the final battle” moment, I flipped out.

Looking back at the scene, what he said to Ruby word-for-word was, “I could never understand why [Agatha] chose to leave the ocean. Until, I saw the awesome life she created on land. And I realized, your mom chose her own path. She chose you.”

Now, this sound like something that should come out of the tail end of a character arc. It contains an admittance of bad understanding, acknowledgement of a transformative moment, and a declaration of new ideals following said moment. Overall, it’s a summation of somebody’s character development.

You see where I’m going with this? My problem is that Brill is acting like he’s just conquered his character arc, when most of his time in the movie has been:

This

This

And… you get it by now

My point is that with Brill’s comic relief antics dominating his character, he had no arc! So getting to say, “I didn’t get it at first, but I do now” isn’t earned in the slightest!

It wouldn’t have taken a lot to earn this moment either! He may be a dumb marshmallow, but he’s a well-meaning marshmallow! All we’d need is to have some moment which fits his character and still progresses him to the “I get it” moment that would justify his speech!

The solution would be either bonding with Agatha, or bonding with Ruby. I could see how either of those would be structured too!

For Agatha, all Brill has to do is express any emotion beyond “happy puppy” when he’s with her.

Seriously! She left home without an explanation and he makes it clear that he looks up to her! All he would need is a moment to say, “I missed you” and the conversation could take off from there!

Such a moment would force Agatha to respond and that could give Brill a chance to understand why she left. Heck, it would benefit Agatha too! Being confronted with the idea that her choices have harmed her family would force her to reflect on her actions! She could either go out of her way to justify her choices, or show some remorse at having hurt her brother’s feelings. It would be a revelatory moment that would show us how to see her character.

Sorry about the tangent, I’ll get back on topic.

The alternative to get Brill to his “I get it” moment would be to have him bond with Ruby.

What I’m thinking in particular is for him to act as a firsthand witness to Ruby and Grandmamah’s relationship. Grandmamah’s ideas of making Ruby the heir to a warrior kingdom is shown to make Ruby uncomfortable. If Brill was shown reacting to this, and if he took into account any accusations Agatha had about Grandmamah being a controlling mother, then it would have helped him have a “So this is why Agatha left” moment. That would validate a later claim that he understands that Agatha only wanted what was best for Ruby.

Overall, what I’m saying is that an emotional revelation should have emotional buildup. It makes the character’s actions flow in a logical manner, and it gives us a chance to determine their natures. But when you have the emotional revelation without the buildup, it’s jarring. If we can’t see how it happened, then it doesn’t make sense to us why it happened at all!

To sum up the lesson, take your time to give characters moments to have emotions and react to the events and ideas they’re exposed to. It’ll give moments to develop their relationships, character traits, ideologies, and most importantly, their character arcs.

If you give characters the time to become who you want them to be, we’ll get to enjoy watching it happen.

[thegayhimbo]

Stranger Things: The Other Side Review

WARNING: The following review contains MAJOR SPOILERS from season 4 of Stranger Things. It discusses the comic, how parts of it might tie into the upcoming season, and possible theories that may or may not pan out in season 5.

Synopsis: The Other Side explores the week Will spent in the Upside Down (UD) between the evening of November 6th and November 12th, 1983, as he fights to survive the terror within.......

Observations:

When I'm asked to name a great Stranger Things comic, The Other Side comes to mind. Not just because the story is engaging, but because a.) It expands on Will’s character in a meaningful way, b.) It fleshes out a part of the show that audiences wanted more details on (i.e. what was going on with Will in the Upside Down), c.) It’s something that could be considered a part of the canon, and d.) There are aspects of the comic that could either constitute foreshadowing for season 5 (especially for fans who believe Will played some kind of role in the Upside Down being frozen in 1983) or simply provide some juicy theories.

I know there’s a sentiment in the fandom that the Duffer Brothers were hands-off when it came to the comics. While that might have been the case in certain instances, just based on how this particular comic was written, I wouldn’t be surprised if it turned out they sat down with the writers and artists for The Other Side to give them information about what Will was going through in the Upside Down, as well as particulars about how the Upside Down worked.

Speaking of which, Jody Houser is once again the writer for The Other Side. She’s also written the stories for Stranger Things: Six, it’s sequel Into the Fire, the short story The Game Master, Stranger Things: Science Camp, Stranger Things: Dungeons and Dragons, and the currently ongoing comic Stranger Things: Tales from Hawkins. Unlike with Six, there aren’t any continuity errors (at least from what I could tell) and the comic is careful to follow the events taking place in season 1.

Will gets put through hell (no pun intended), but I like how, in spite of that, the comic highlights his resourcefulness, his intelligence, and his bravery. There are several instances where he’s able to fend off the Demogorgon when it comes for him. He manages to draw it away from his mom at one point when it’s about to attack her. He attempts to come to the aid of both Barbara Holland and Hawkins resident Henry when they’re in danger (and is only unsuccessful because the Demogorgon gets to them first). He also deliberately acts as a distraction for the Demogorgon to protect Nancy when she later ends up in the Upside Down and is cornered by the monster:

Will was responsible for saving Nancy’s life in season 1 without her realizing it.

On top of that, the comic manages to balance both the Upside Down arc with Will’s flashbacks to previous D&D campaigns he had with his friends as he draws on those experiences while making choices in the UD about whether to hide, fight, run, or come to the aid of others. It also contains a great moment of Will and Mike bonding in the library over D&D and Stephen King:

They lay it pretty thick here that out of all of Will’s friends, he’s closer with Mike. In one of the later comics, Stranger Things and Dungeons and Dragons, Mike even goes out of his way to design a D&D campaign specifically to help Will recover from his trauma of being in the Upside Down. This has always been an emotionally gripping relationship, and I'm hoping things end well between them by the time season 5 is over.

Mike’s words to Lucas, Dustin, and Will in one of the flashbacks was also another aspect that stuck out: “It isn’t a contest to see which of you is the strongest or can get the most kills. You live as a party, or you die alone.”

It's a recurring theme in each season that every main character, from the adults to the teens to the younger kids, play a role in defeating the malevolent forces of the Upside Down. It’s always been a team effort. Vecna knows this entire group poses a threat to him, which means he will inevitably step up his game and do something to irrevocably break the group and separate them so he can pick them off one-by-one. I’m still convinced that at least one or two (or maybe more) main/recurring characters will end up dead by the time season 5 is over. It’s a question of who it will be, and how it will happen.

The Demogorgon’s behavior during the comic left a lot to think about: Unlike other victims, like Dale and Henry where it proceeded to make a meal out of them, the Demogorgon seemed more invested in trying to capture Will instead of outright killing him. There are several instances when it corners Will, which forces Will to use his gun to defend himself, only for the monster to disappear before Will can cause it any real damage:

Based on how many times it keeps appearing at (or near) the Byers house in the comic, it had to knows Will was hiding there. Just like in the show, it isn't until the very end when the Demogorgon finally succeeds in taking Will to its nest for Will to get impregnated with the pollywogs that he later vomits up after escaping the UD.

While it could be argued that Will’s gun scared the monster off during the times it tried to attack him, it’s doubtful considering other instances on the show when the Demogorgon’s been shot at and still stood its ground. For example: the season 1 finale when Nancy unloaded bullets into the Demogorgon to get it off Jonathan, only for it to turn on Nancy and attempt to slaughter her:

Or when the Russians in season 4 fired at the Demogorgon they'd been feeding, and only succeeded in pissing it off (which resulted in them all getting killed):

The reason I bring this up is because it’s questionable if the Demogorgon disappeared on its own accord whenever it was about to confront Will, or if Vecna forced it to leave during those moments and then sent it back later. There are several instances where the Demogorgon seems more interested in making sure Will is trapped where he is, and there’s one particularly tense moment when Will hides under his bed and the monster lingers as if it knows he's there. Given what’s revealed in season 4 about Vecna and the hive mind, this particular Demogorgon was likely being controlled by Vecna the entire time. Vecna knew Will was going to stay close to his house since it was an area he was familiar with, and he probably knew about the other areas Will ventured to, especially since the vines and other monsters in the UD are connected to Vecna and would have constantly alerted him to Will's whereabouts whenever he moved around.

There’s also the moment at the beginning of the show when Will is chased by the Demogorgon and runs inside his house after locking the door, only for it to unlock itself:

I used to think the Demogorgon caused this, but given what’s revealed in season 4, as well as how we mostly see the Demogorgon use brute strength in later encounters with its prey, I suspect Vecna telekinetically unlocked the door to let the monster into Will’s house.

The whole implication is that, for reasons still unexplained, Vecna not only intentionally targeted Will the night the gate was opened by El, but maneuvered things so Will would end up as a prisoner in the Upside Down for a certain period of time.

I know Will got impregnated with the pollywogs, which would later grow into Demodogs in season 2, and that the Mind Flayer (under Vecna’s control) possessed Will to use as a spy. However, I don’t believe these were the ONLY reasons Vecna took an interest in Will. Vecna had other victims (Barb for instance) that he could use to impregnate via tendrils and force said victims to grow pollywogs inside of them before letting them escape. He didn’t specifically need Will to achieve that.

On top of that, we've seen Vecna can use remote viewing similar to El when he wants to spy on people (like when he searched for potential trauma-laced victims in season 4 to reopen the gate). There's also Will having hallucinations of the Upside Down and the Mind Flayer way before it possessed him, and how he continued to feel its presence in seasons 3 and 4 long after Joyce forced the black particles out of him. Whatever connection exists between Will and Vecna, it goes beyond Vecna only wanting to use Will as a spy or as a means of spreading his monsters throughout Hawkins.

There have been some cool Tumblr GIFs circulating that draw parallels between Will and Vecna, suggesting the idea that Will is a doppelganger to Vecna, or even an alternate version of Vecna himself. I'm skeptical about the show going the route of making Will evil, but I do think Will had a role in the Upside Down being frozen in time on the night he disappeared, and I have a few theories as to how that could be:

Theory 1: The world of the Upside Down acts as a power-source/visual representation/template for a person’s broken psyche, and the terrain is able to shape itself around that. For example, Vecna's Mindscape from season 4 was shown to be a perverted version of his twisted psyche that held dark, disturbing memories from his past: The house he moved into in the 50s, the grandfather clock he used his powers on for the first time, the spiders he was fascinated with as a boy, and the mutilated bodies of his victims that he keeps as trophies. Even the way parts of the Creel House are fractured and floating around aimlessly could be interpreted as a representation of how distorted Vecna’s mind is. All of this is built and powered from elements within the Upside Down. Likewise, the twisted version of Upside Down Hawkins we currently see on the show, which may be from the last memory Will had of Hawkins before he was forcibly taken by the Demogorgon on November 6, 1983, could actually be Will's Mindscape without Will realizing it yet.

Theory 2: Vecna was trapped in the Upside Down for 4 years. During that time, he formed the Mind Flayer from the black particles he found, and used it to enslave the monsters from that dimension. He was also responsible for terraforming the place from an empty hellish wasteland into a twisted version of Hawkins based on what he could see of present-day Hawkins via remote viewing. When Will got taken to the UD, it froze the process Vecna was using to transform the Upside Down (which is why the UD is stuck in time on the night of November 6, 1983), and it’s why he later tried to possess Will via The Mind Flayer: He believes if he could take complete control of Will, it would allow him to unfreeze the UD and regain his ability to transform it to his liking.

Theory 3: Will has powers similar to Vecna, Kali, El, and the other kids at Hawkins Lab, except they've been dormant or deeply suppressed. Vecna was somehow able to sense this from Will when he was remote viewing Hawkins from the UD, hence his creepy interest in Will. When Vecna sent the Demogorgon to take Will to the UD, Will's powers were activated by the trauma of being chased down by the monster, and that surge of energy, fueled by the terror he was experiencing in that moment, changed the landscape of the UD into what it is now: Will's last memory of Hawkins on the night of November 6, 1983. Vecna wants access to whatever power Will has inside of him, and possessed Will with the Mind Flayer in season 2 to either try to assimilate that power into himself, or at the very least be able to control Will if he was unable to obtain that power for unexplained reasons.

At the end of the comic, there’s a haunting hallucination Will experiences when he’s captured by the Demogorgon and has the tendril shoved down its throat. The scene unfortunately wasn’t in the show, but it should have been:

This could just be a hallucination from Will, but there's also the possibility these really are the collective consciousnesses of Vecna/The Mind Flayer's victims that have been assimilated into the hive mind and are communicating with Will. What’s insidious is the idea they might still be alive and aware of what's happened to them, but are powerless to do anything about it. They are bound to Vecna/The Mind Flayer’s control. Vecna and Dr. Brenner even talk about this with El in season 4:

Henry/One/Vecna: They're not gone, Eleven. They're still with me (points to his head) in here.

Dr. Martin Brenner: You must understand, when One kills, he doesn't simply kill. He consumes. He takes everything from his victims. Everything they are and everything they ever will be. Their memories, their abilities.

It's eerily similar to what Freddy Krueger from A Nightmare on Elm Street did to his victims: He would absorb the souls of the children he gruesomely murdered, meaning they would be trapped in him forever, prevented from moving on to the next life, all the while giving him power.

This leads to the horrific implication that ever since Max's "death" in the season 4 finale, Max’s consciousness is now a part of Vecna. It would explain why she’s currently “brain-dead” and why her mind was blank when El tried to read it.

If that’s the case, one of the main arcs in season 5 may center on freeing Max’s conscious from Vecna’s control and allowing Max to get back her sense of identity and self.

And then there are the conversations Will has with Mike, Joyce, and Hopper in season 2 when he discusses how the Mind Flayer operates:

From “Will The Wise” (Season 2, Episode 4):

Jim Hopper: Does he talk to you? Will Byers: No. It's like...I don't have to think. I just know things now. Things I never did before. Jim Hopper: And, uh...what else do you know? Will Byers: It's hard to explain. It's like old memories in the back of my head, only.......they're not my memories. Jim Hopper: Okay. Will Byers: I mean, I don't think they're old memories at all. They're...they're now-memories, happening all at once, now. Jim Hopper: Can you describe these now-memories? Will sees an extending tunnel Will Byers: I don't know. It's...it's hard to explain. Joyce Byers: I know it's hard but can you just... Can you try? For us? Will Byers: It's like...They're growing and spreading...killing. 

From “Dig Dug” (Season 2, Episode 5):

Will Byers: It's like... It's like I feel what the shadow monster is feeling. See what he’s seeing. Mike Wheeler: Like in the Upside Down? Will Byers: Some of him is there. But some of him is here, too. Mike Wheeler: Here, like, in this house? Will Byers: In this house and in me. It’s like...It’s like he's reaching into Hawkins more and more. And the more he spreads, the more connected to him I feel.

Mike Wheeler: And the more you see these now-memories.

Will Byers: At first I just felt it in the back of my head. I didn't even really know it was there. It's like when you have a dream and you can't remember it unless you think really hard. It was like that. But know it's like... Now I remember. I remember all the time.

Are these “now-memories” actually the memories of Vecna, or his victims? Or both? If they are the memories of his victims, is the idea supposed to be that they’re so meshed together in Vecna’s head that they’re incoherent and alien to Will when he tries to understand them? Vecna likely found a way to control the stream of memories and consciousnesses he’s accumulated over the years without getting overwhelmed by them. Additionally, he’s also erased any sense of identity from his victims by taking them into himself, and whatever power he wields over their essence and consciousness, he directs towards his never-ending goal of destroying everything and everyone. They are his slaves doing his bidding.

On another note, Will’s ability to communicate with Joyce in the Upside Down plays out similar to how it happened on the show: Being able to hear voices from the other side, communicating via the lights, etc.

Also, Will is initially able to deal with the toxic air in the Upside Down during his week there, before it begins to overwhelm him towards the end. Based on this, one could argue characters could technically spend a few minutes, or at least a few hours, inside the Upside Down without masks or biohazard suits, and still come out okay without it doing long-term physical or physiological damage. It’s probably why Nancy, Robin, Steve, and Dustin were able to be in the Upside Down for a few hours in season 4 during their battle against Vecna, as previously questioned by fans. If they’d spent longer than that in the UD though, the atmosphere would eventually take its toll.

The only exception to this appears to be Vecna. He survived 7 years (1979-1986) in the Upside Down, at the cost of being permanently mutated. Chances are if he didn’t have his powers, he would have been dead a while ago. I wonder if he ever killed and ate any Demogorgons for food? I doubt there was anything else in the UD that was edible to eat.

Overall, this comic gave me a lot to speculate on. Check it out when (and if) you get the chance. If you have any theories you’d like to share, feel free to do so in the comment section! :)

[rey-jake-therapist]

Hob Gadling's wives and girlfriends, the forgotten women of The Sandman

DISCLAIMER: the following posts contains major spoilers for Season of Mists, World's Ends, The Kindly Ones and The Wake.

A couple of weeks I told @writing-for-life my next meta would be about the women who shared Hob's life. There's not much to work on in the comics for most of them, but the fact remains that they exist and that Hob probably loved them all. And his second wife in particular, Margaret/Peggy aka Jim, had a story dedicated to her journey, in World's Ends.

Hob's canon romances always interested me because these women were all mortals, while he was not. We know he had at least one kid who died, and he saw almost all his lovers/wives die while knowing he would never follow them in the grave unless he wanted it. We didn't see it happen with Gwen, but it will, eventually.

It makes me wonder: how does he do it? How does he manage to be completely invested in a relationship knowing that the people he loves will all grow old and die, while he will stay the same and live forever? I would have loved it if the comics had him discussing that, and I still hope in the show he will. We never saw what his last conversation with Hob was, after all... I like to think that Dream stayed a bit longer than usual with Hob, and that they opened up about their respective lives and experiences with love. Audrey is still alive and probably in Hob's life at this point, it would be nice if she showed up, met Dreams and asked him embarrassing questions... but I digress haha

Before I continue I'd like to confess that not being a shipper, I don't read Dreamling fics - I rarely read fics revolving a ship in general... I prefer Morpheus x oc or non romantic fics -, so any comment I can make about the fandom is based on what I see on social media, and not on fanfic contents. I'm sure that Hob's wives and girlfriends are often evoked and maybe sometimes, even more developed there than they are in canon.

Hob's first wife: Eleanor

Eleanor's just a portrait, we don't know much about her except that Hob probably cared about her since in the show he still calls her "my Eleanor" long after she died.

She exists only to show that Hob's situation stabilized after he started making money. Also, their son's death and hers may have been the first time that it hit Hob in the head that while he could live forever, he couldn't prevent his loved ones from dying. The loss of his family affected him very much and yet, he still wanted to live. I'll probably write a meta later about how his situation purposely mirrors Morpheus', about how they both lost everything they loved at some point but reacted in a completely different manner.

Hob's second wife: Peggy/Jim

We meet Margaret/Peggy/Jim in World's End. She pretends to be a man hence why she calls herself Jim, as she did during all the trip during which she met Hob Gadling. It's quite obvious that she did it for safety issues, as she would have probably not been allowed to travel on a boat let alone work on one if she had revealed as girl without a chaperon, and she clearly enjoyed the freedom and advantages she got as passing for a man. It's good to emphasize how brave she was to do that, as if her secret had gone out it could have put her in great danger.

Hob was the only one who saw through her, but he protected her secret. He also confirmed her doubts that he was much older than he seemed, a secret she protected as well. It seems she never believed he was immortal though - see the part about Audrey - .They bonded over having secrets they could possibly not reveal to anyone else, so it's a really sweet love story.

Later, in The Kindly Ones, we learn that Peggy died in his arms, during the Blitz. If they had kids, he doesn't say, but it's obvious he loved her very much and was deeply affected by her death, as he says on Audrey's grave, in The Kindly Ones, that Audrey's the first woman he was with since Peggy died.

Now I know that certain fans want Peggy to be trans or non-binary because she disguises as a man and asks to be called Jim. It's generally not as much because they care about her character or representation,than because it would make Hob canonically queer. Now I have no problem with anyone's headcanons: there are no right or wrong headcanon, no stupid or offensive ones - as long as they're not hateful, homophobic, racist, transphobic etc. - and whatever makes people feel represented and happy is fine by me. That said, I personally believe it's a bit simplistic to reduce a woman's refusal to follow societal norms to her being a man or non-binary, but again, whatever floats your boat guys.

I personally think that Peggy/Jim was written as a strong young woman who wanted to travel and see the world, knew she couldn't do that if she was seen as a woman, so she disguised as a man, took a man's name and enjoyed the role because let's be honest: the life for white men during this period was wayyyyyy funnier and easier than for women. What do you mean, it still is? I don't understand, are you saying institutional patriarchy is still very much a thing? *pretends to be shocked*.

You can find many stories like Peggy/Jim's in modern literature, and of course, in real life!

As for Hob, he knew Peggy was a woman quite early, and when he talks about her on Audrey's grave he says "Peg' ", not "Jim", which tells me he kept seeing her as a woman. But again, that's my headcanon and I won't argue about that, I just feel like Peggy/Jim deserves better than being discussed solely regarding Hob's sexuality. Her story is one of my favorite in the comics :)

Talking about the particular subject of Hob's sexuality is immortal and even though the comics doesn't mention any male boyfriend, he seems open minded and hedonistic enough to have at least tried... I always headcanoned Hob Gadling as pansexual, because it doesn't make sense to me that a man who lived for hundred of years would be straight, simply.

I really hope that the show will give us Peggy/Jim's story on screen, she highly deserves it. I love this character, I just wish it would be clearer in the comics that she's the future Mrs Gadling... I learned through social media that the Peg' he mentioned on Audrey's grave was the Peggy he met in World's Ends. It's very confusing, the way it's written.

Hob Gadling's girlfriends

We of course don't know every girlfriend that Hob had, in the comics we're just introduced to two: Audrey, and Gwen. We learn a couple of other names in The Kindly Ones though: Lisabet and Anne.

Audrey

Audrey's another woman who's never part of the conversations, yet the panel dedicated to Hob's reaction to her death is the first panel that made Hob sympathetic to me. But whenever this panel is discussed, everything that's related to Audrey is ignored so the focus is entirely on Hob's concern for Morpheus. Before I read the comics, I had no idea that Hob had just buried his lover, and begged Morpheus to resurrect her because the pain of losing her was too hard to handle.

A bit like for Margaret/Peggy/Jim, it's not clear at all that in Season of Mists, the woman we see with Hob in bed is Audrey, the woman whose grave he visits in The Kindly Ones.

It's really in The Kindly Ones that we can see how much he cared for Audrey, as he cared for all the lovers he had before but died. The reaction he has, he admits it himself, responds to a question we probably all asked: does he ever get used to it? Become insensitive, with time?

The answer's no:

I always wondered why Morpheus visited him at this moment: was it because he felt his pain and wanted to be here for him? Or was it because he wanted to say one last goodbye and it happened to coincide with the moment Hob was drowning in his grief? Was it because he himself needed a friend, more than ever?

Anyway he certainly didn't expect Hob's request. For the first time that we know of, Hob asked Dream to use his supernatural powers. Hob, the immortal who saw all the people he knew die, not only wasn't used to it but asked Dream basically the same thing as Orpheus asked him: help him to get his lover back. It must have been very painful for Dream, but poor Hob couldn't know that. I doubt he even knew that Dream had once been married and had a son.

So yeah, afterwards he runs after Morpheus and tries to make him confide in him, he even feels his friend's death is imminent and he shows a deep concern, but that's not all that this panel is about. I think it's about saying that no matter how old you are, how many lives you lived, how many people you loved and loved you.... The death of a loved one is always painful.

2. Gwen

Gwen is Hob's last girlfriend that we know of. She's also, in his own admission, the first Black woman he dates. Considering that Hob used to be an enthusiastic slave trader who needed an ethereal entity to tell him that slavery was wrong to think that he should find another way to become rich, I find this information.... interesting. After 600 years, it was about time... did he refuse to date Black women because of guilt for what he did? Or because he remained racist for a long time and didn't think Black women were worth his attention?

I feel very protective of Gwen, first because I dislike how she was written as a moral caution for Hob, as she absolves him for his sins but without knowing the extent of his sins - she has no idea he's immortal and was a slave trader - . When she appears in the show - and I really hope she will! - , I hope she'll be written in a way that she doesn't exist solely for Hob to express his guilt while being too coward to tell her the truth about what he did.

I was going to say something very personal about me, but I'm not sure the comparison I want to make would work, so I prefer keeping it for me, finally. If anyone's interested in knowing me better they can join me in private though :)

The second reason why I'm very protective of her is that as Audrey, on social media she's generally treated as non existent by the fandom - who focuses entirely on Hob's grief regarding Morpheus' death - . I recently saw a wish regarding Gwen that made my blood boil and almost made me hit the 'deactivate' button, but I'm not here to start a war, let alone to point fingers. I just really wish some people paid more attention to what they wrote, because some stuff I've read these last days came off as very insensitive.

And I'll conclude with one last panel featuring the gorgeous Gwen:

Also tagging @violetoftheendless and @tickldpnk8 , in case you're interested in discussing this subject :)

[episodicnostalgia]

Comic Book Break: The End of Venom (but not really even a little bit)

Featured artwork Pencils: Mark Bagley Inks: Randy Emberlin

A few posts ago I talked about how it took roughly a year after my initial introduction to Venom (through the fold-out poster from the interior of “Amazing Spider-man #365”) before I would finally get to read a full issue featuring the character.  By that point I had become as well versed on the Symbiote lore as I was able to be without the aid of the internet, which basically meant I was limited to the comics my dad bought me, along with any cursory trivia he’d absorbed from glancing through back issues in the local comic shop.  But issues #374 & #375 would finally reward my patience with Spider-man and Venom’s “FINAL CONFRONTATION!”  And oh lordy, they did not disappoint. 

The story itself is entertaining enough, but it was Mark Bagley’s artwork that really left an impression on me. I mean no disrespect to Todd McFarlane here, but while he may have co-created the character, Bagley’s take was always the definitive version for me.  Bagley’s artwork just makes him look so nightmarishly intimidating, and even with ‘the comics code’ censorship guidelines, there was no mistaking with my very-active-imagination what the character was capable of.  I do remember feeling incredibly fortunate that I was even allowed to read those issues (my folks were fairly cautious about exposing me to graphic violence), especially considering this would be Venom’s last appearance ever, if the cover was anything to go by.  After all, who would just lie about something like that?

Of course, it wouldn’t actually be the last time the those two would cross paths, or even butt heads.  In fact, Venom would end up returning only three issues later for the ‘maximum carnage’ saga.  But these issues did (sort of) signal a change in the character that would shift his/their motivations moving into Venom’s turn as an anti-hero under the ‘Lethal Protector’ moniker, which I never found as interesting.  In theory, it’s a character choice that I could get behind, but sadly Venom became a victim to weak writing and oversaturation.  Of course, the irony isn’t lost on me that just as I discovered the character, his relevance in the larger cultural paradigm was about to implode.  Thankfully I remained largely oblivious to all for some time, as my continued exposure to Venom would be drip fed to me through back issues or alternative media (e.g. the animated series).

Honestly though, even though these issues were obviously being sold using a cheap marketing ploy, I do think it’s a pretty solid point to ‘end’ the characters story, and least for that particular era.  After all, that is the thing with comics books, you kind of have to decide for yourself when to come-and-go.

That’s also part of the fun.

[yunomagic]

Every single way Luz Noceda and Movie Sonic are similar (and why i think they should be besties)

These two are genuinely my moods, my kins, and my children and i actually do think they would be besties and its all gonna make sense in a minute i swear. Do be warned that this may be incoherent cuz I am like that, and that some things might’ve been said wrong. The elaborations are in no particular order and some explanations may be longer than others. ALSO this contains spoilers for both The Owl House and the Sonic Movies so if you haven’t watched one or both of em please do so when you can and come back to this. anyways Here we go:

Both resemble the archetype of a bubbly and kindhearted goofball of a protagonist that can be naive and/or impulsive at times during the time they first debuted

^^^ As they get older and as their stories progress, they start to mature and learn from what they experienced on their adventures

Both have dealt with a form of parental loss during an early part of their childhood ( Manny Noceda for Luz, and Longclaw for Sonic )

Both use escapism methods as coping mechanisms to compensate for their traumatizing childhood

( Luz indulges in TGWA books or fiction in general, and it’s implied she also does amvs and art, which can be interpreted as both hobbies and stress relievers. As for Sonic, he indulges in comic books like The Flash and pretends to be a part of Tom and Maddie’s family so he doesn’t feel so alone )

Both children were alone for a majority of their life and didn’t have any real friends until they found them in different worlds ( In the Boiling Isles, Luz ends up finding Eda, King, Gus, Willow and eventually, Amity. On Earth, Sonic ends up finding Tom and Maddie Wachowski, b4 meeting Tails and Knuckles later down the line )

Both strive to feel appreciated and accepted, and they execute it in similar ways

( Luz making grand gestures and extreme antics [like the snakes and the spiders in ep 1] to try and impress her classmates and Sonic trying to be a hero to make Longclaw proud, and to possibly gain acceptance from other humans )

^^^ As a result, both of their methods are seen as reckless and dangerous

Note: At this point in the ramble, the mobile version of tumblr won’t allow me to add more images cuz of a 10 image limit and I can’t figure out how to add more on desktop. So any evidence I provide is gonna be in quotes, parenthesis or paragraphs of elaboration. I’m so sorry there’s gonna be no visual flavor, if anyone can help me find a loophole that’d be great. Anyways back to the show:

Both pin the blame on themselves for things that weren’t their fault, and push themsleves to right what they believe they did wrong… by rushing into immediate danger ( can also be seen as some form of people pleasing behavior )

Both of them also refuse to accept any sort of help from the people who care about them

^^^ When Eda got captured trying to save Luz near the end of season 1, Luz’s plan was to straight up rescue her while being fully aware of the risks. This repeats again in season 2, episode 1 with the entire premise of the episode being that luz feels like a burden and is the cause of Eda losing her magic and everyone in the owl house financially struggling. Going all out to fight a selkiedomus in order to free Eda and king.

While Eda talks to Luz about it, the behavior doesn’t stop. Carrying over to Hollow Mind, and the episodes after that. If you know what happened in Hollow Mind, we’d know that Luz is now adamant on stopping Belos and the Day of Unity. While still being aware of the risks, she believes that she’s the sole reason for the Day of Unity happening, therefore she continued to risk her life in order to save others

“Please try to understand, Eda was in the situation because of me. Because of my stupid choice, I have to make up for it.” - Young Blood, Old Souls

“Because you stuck with me you lost your magic, you almost got turned to stone, and now you can’t even afford your apple blood because you’re worried about what I need to eat.” - Separate Tides

“I am NOT hiding, I’m going to stop Belos from completing the draining spell.” - O Titan, Where Art Thou

In the second act of sonic movie 2, Tails gets knocked unconscious by Robotnik and Sonic narrowly saves him in the nick of time b4 an avalanche could envelope them. Near the beginning of the movie, during the boat scene, the blue blur had a talk with Tom about how being a hero meant to take responsibility for other people. As Sonic accidentally caused chaos in Seattle for trying to stop a robbery and be a hero. It’s also implied that this has been happening more than once. One of the things Tom said to Sonic was, “You put people in danger and that’s not what a hero does.”

^^^ This statement indirectly affected Sonic’s way of thinking. While said with good intentions, as a result of what happened to Tails, Sonic believes that he needs to make up for what he did wrong by pursuing Knuckles and Robotnik for the master emerald. Thus, he thinks he’s automatically no longer a hero once a new friend of his almost died

( It should be worth mentioning that there was some visible regret in Tom’s face when he realized that he made sonic think that way. It’s also possible that Sonic blames himself for Longclaw’s death, the first movie also explicitly states that Sonic’s number one fear is hurting people because of being himself. Making the boat scene, what Tom said, AND what Sonic says next, extremely deep and depressing )

“You see that little fox over there? He came all the way across the universe to meet his hero, and what did his hero do? I practically got him killed! You were right, my moment came, and I blew it. I’m no hero.”

Key takeaways of these moments is that this is the kind of mindset both these kids have is somewhere along the lines of, “I accidentally made a mistake = Everything is my fault and I should take the blame and all responsibility for it no matter what other people tell me.”

^^^ This kind of thinking is reminiscent to people pleasing behavior and is v self-destructive. While Luz is undoubtedly a people pleaser, Sonic seems to be more of a subtle kind of people pleaser

Both kids may be afraid of rejection and/or abandonment due to past trauma

Both kids were forced to be sent away at some point in their childhood. The reasons and the circumstances differ, but the incidents were similar. In the end, it resulted in both Sonic and Luz not liking the idea of being sent away, even if it’s for their own safety

Both kids feel the need to become something or someone else in order to feel accepted by other people ( Luz wanting to become a witch in season 1 and Sonic wanting to become a hero in sonic movie 2 )

Both kids were forced into thinking that they are the problem or that they are a burden and danger to everybody around them. Just because they are being themselves.

^^^ Thus, they think that the solution is for them to either leave permanently or to never exist at all ( Luz initially planned to stay in the human realm and was vocal about her possible suicidal thoughts. Sonic planned on leaving Earth because that’s what Longclaw told him to do and he believed he would cause harm the longer he stays )

^^^ Luz says, “Who cares, about the RIPPLE effects? He was just a pawn in someone else’s game! A-And he was NEVER smart enough to realize it! If his friends and family knew about his existence… they’d know that their lives wouldn’t be in danger if it weren’t for HIM! They should hate his guts! And it would be better— if he literally, never EXISTED!” - Season 3, Thanks To Them

^^^ Sonic says, “I don’t wanna go, but I can’t stay. As long as I’m here, I put everyone in danger… I can’t do that.” - Sonic The Hedgehog 1

They’re both ridiculously selfless to the point where they won’t hesitate to sacrifice themselves under any sorr of circumstances

In the season 2 finale, King’s Tide, as the Boiling Isles is torn apart by the Collector, Luz intended to leave herself behind to keep the portal open with plant glyphs so Amity, Gus, Willow and Hunter can go through to the human realm. Luz also wanted to go find Eda, instead of heading for safety

On the other hand, during the final battle with Robotnik, Sonic wanted Tom and Maddie to get away from him in exchange for THEIR safety because he knows what Robotnik wants. It’s also possible that Sonic wants the Wachowski’s to get away from him because he can’t handle the idea of them dying because of him. The same way Longclaw did all those years ago

What both of these scenes have in common is that there’s this whole thing with families trying to stick together and the kids trying to participate in altruistic sacrifice. Which is very dark imo

Ultimately, the core of both of their stories and characters is that they both long to be understood and accepted by the people around them

OKAY— so i believe im done here, but there’s definitely more and i just forgor about it, and that there are some parts that are missing or i havent explained thoroughly. And it is getting late and this thing has been sitting in my drafts and i wanted to get this posted. But i do believe that these characters would get along super well, as they both have the similar demeanors and similar stories. (Insert that one barbie song /jjj) If these two met, they would either ramble, read each others comics, or commit crimes together /hj. I gave no doubt that ever met, their friendship would be instantaneous and strong. Anyways, imma head to bed, you guys can do whatever you want with rhe info i provided. Nighty night

[miloscat]

[Review] Syberia (PS2)

A graphic adventure, emphasis on the graphics.

Another pick from my monthly retro game club, Syberia is a game I only knew by reputation. While it was developed by Microïds' Canadian division, it was creatively spearheaded by the Belgian comic artist Benoît Sokal who instilled some unique flavours into it. Exploring some similar territory to his earlier game Amerzone, this is a point and click adventure set in a slightly askew version of Europe.

To spare my wrist from pointing and clicking, I opted for the contemporary PS2 port, which has you directly controlling protagonist Kate Walker with the analogue stick, with interactable hotspots getting highlighted as you pass them. Unfortunately the lower resolution does a slight disservice to the visual design of this game, although not as drastically as the DS conversion (which bizarrely, the later ports were based on, I've been told).

The game makes heavy use of prerendered backdrops to depict the melancholic locales, with some clever FMV insets for motion, and 3D models layered on top only for the sparse few characters. It's all in service of building Sokal's imaginative world, a world of faded glory populated by eccentrics, all touched by Hans Voralberg, the object of Walker's quest. Her mundane task of finalising a contract for the sale of a factory transforming into an unexpected steampunk adventure is ripe for drama, although the game doesn't capitalise on it as well as it could have.

Kate's personal journey is supposed to be along the lines of a buttoned-up lawyer being challenged to embrace the passions of life, but this only vaguely bubbles along in the background so she just ends up coming off as rather bland. Occasional phone calls home are meant to flesh out her arc, but they only served to make me annoyed at her shouty boss, shallow friend, overbearing mother, and worst of all her nagging, whiny fiancé. On the other hand, Kate's companion on her trip is the clockwork automaton Oscar, a standout character who mechanically exhibits a soulful blend of fussy and sassy.

But the story really revolves around Hans, the savant syndrome genius inventor. His influence is felt at each of the stops in your journey, where you talk with those whose lives he has touched, and try to tinker with the mechanical marvels he left behind. His intricate clockwork creations have been integrated in the sleepy French village of Valadilene, the majestic Barrockstadt university, the ex-Soviet industrial wasteland of Komkolzgrad, and the Eastern European hotel at Aralbad. Truly the locations are the star of the game, each seemingly stuck in a bubble of the past, the rich detail making them feel real even through an aura of the surreal.

These places do get let down somewhat by often muted colour palettes, although arguably that ties into the theme of decline that permeates each. A bigger issue is the awkwardness of navigating them, with sometimes unclear traversal options, not to mention the pause between each flip screen as the next one loads. Sometimes the direction you're facing is completely inverted as you move between screens, such that your continued move input turns you around and may even move you straight back. I suppose this is a problem unique to joypad controls... Kate also gets around very slowly (even with the run button), and goes through laborious animations to line herself up with interactables, so the pace of gameplay can feel plodding.

Broader pacing issues are present to varying degrees. The first two chapters in particular have quite drawn-out and convoluted sequences of puzzles and fetch quests. It never gets as challenging as Myst or obtuse as Starship Titanic (two other adventure games I've played with a similar sense of style and prerendered graphics), so I never struggled too much but an occasional nudge from a guide was needed when I failed to see eye to eye with the designers. Dialogue scenes also slow things down with overly wordy prose that you have to comb relevant details out of.

So there's some flaws, but my biggest issue was with the scope of the game. It just doesn't tell a complete story, ending rather abruptly as Kate meets Hans in a location you've already been to. It feels like the decision to split the story up into two games left this one without a satisfying conclusion. Hans' (and the game's) mammoth fixation and the driving motivation to get to Syberia are utterly unpaid-off; Oscar doesn't even get to meet his creator before the game ends, despite that being brought up numerous times! It's simply half a game, and from what I've read the sequel has its own problems with failing to make Kate a compelling protagonist after completing what passes for her character arc, among other things.

But you know, no game is perfect. I still think there's a lot to love in Syberia. The atmosphere is thick and there's always striking visual design waiting around the next corner. Every location feels distinct and fascinating, and each has memorable characters and setpieces. It brings up some interesting ideas, even if it doesn't quite grapple with them as much as I wanted it to. If anything it makes me curious about Sokal's comics, although from a quick look I'm not sure any of them have been published in English! Sacre bleu!

[radioactive-earthshine]

YJ!Animated TimBart was actually probably the first gay ship I thought about as a kid, something about how in the show whenever Tim was absent from something usually Bart would speak up instead of Cassie just had my confused closeted kid brain thinking "Bart would make a better girlfriend for Tim than Cassie I think" and then I read them in comics and I've always been a little partial to them but honestly comics Bart reads so Aro to me (though he totally thinks most of his friends are hot and is a little in love with them in an aro way) and I have fallen deep into TimLonnie as my #1 Tim ship, but still I think that Young Justice Animated would be able to do something really cool with them and idk it'd heal my inner baby gay

Oh goodness that's a fun story thank you for sharing it.

Bart as aro/ace/aroace in the comics is SO REAL honestly - there's some great evidence to point towards that even if Waid has said that his reasoning for not having a love interest until much later in his series was because 'he was still developing' (paraphrasing). This is sort of a death of the author situation though so we take what is shown in the comics and from what is shown there is precedent for Bart being on the aro/ace spectrum.

As for Animated TimBart I'm not entirely sure if that will come to be (we're still in limbo for a 5th season) but anything is possible until we're shown it.

On one hand I can see them going that direction - it would be surprising and fresh and would get people talking and it would involve a Bat which is DC's cash cow. Tim is canonly queer in the comics, Titans and in Gotham Knights so it's very likely he is queer as well in the cartoon even if we do not see him with anyone. Bart is already heavily suspected to be queer and there's been implication that in the animation he is gay. They have history together, are around the same age and are close in the comics so there's no particular reason they can't be dating.

On the other hand Tim is with Bernard now and even if season 5 was technically written before Tim came out Bernard is a permanent part of Tim's history. They may feel that it is improper and inviting a type of drama they don't want to start by making Tim date anyone else - even if this is an elseworlds and is not connected to the comics in any way. There's also already evidence to suggest that Bart and Ed are dating even if it is not shown explicitly.

I guess at the end of the day we all know Bart is queer in some way, and we want to see some representation.

[dodger-chan]

For writer truth or dare: 🌵🍄🦴

🌵: So, I don't really stream music, and I'm less of a playlist person than an album person. In the spirit of the ask I will share this youtube playlist of Der Vampyr because I love this opera and this recording of it in particular. There's also Drum Hat Buddha, an album by Dave Carter and Tracy Grammer which has a lot of Stranger Things fic vibes to it.

🍄: Well, a lot of my steddie headcanons make it into my fics, so I'm going to switch this up. The only romantic couple we see in Stranger Things that I think is still together at the ten years later point is Lucas and Max. Max has to go through a lot of therapy (physical and psychological), and she nearly dumps Lucas a couple of times during the early stages, but ultimately they stay together. Lucas teaches highschool (and coaches the school's basketball team) while Max becomes a disability rights advocate (she does go to law school, but her career really starts when she wants to go back to Hawkins High and there are no ramps). They never have kids, but they never make a point of trying to. Max calls Lucas "Stalker" at their thirtieth anniversary dinner. Lucas loves it.

🦴: Well, most of what I write is fanfiction, so yes, obviously. I would not be writing Stranger Things fic without Stranger Things. But also lots of other media. Probably most notably The Rocky Horror Picture show, as I wrote Let the Sun and Light Come Streaming Into My Life about Steve's love for that movie. I couldn't have written Time Out of Mind without the Days of Future Past comic, or the many time travel fix-it fics that sent Steve back in time to save Eddie I read before thinking how fun it would be to send Robin back instead. Some influences are less obvious, such as how Dave Carter's music and my love of Twin Peaks keep distorting the wholesome presentation of Hawkins the show tries to give us. Reveal the Yearning Desert was greatly but very indirectly inspired by @sharpbutsoft's Road to Nowhere (I think the only notable similarity is that they're steddie fics, but my fic absolutely would not exist without hers). On the other side of the spectrum, I'm still plugging away at a steddie fic that is so heavily inspired by Chandler's The Long Goodbye it will spoil the ending of the novel. When I finish it I may have to post it as a crossover.

[a-student-out-of-time]

Though i am a proponent of the swap theory, at least at this moment, i would like to point out an anternative theory for the prosopagnosia speech.

Firstly, the prosopagnoisa will become relevant in a much later chapter

and secondly, Teruko is Mai Akasaki, or at least in her body. Which is a theory i’ve seen floated around before.

also, unrelated. in looking up Mai’s name to make sure i was spelling it correctly, i noticed some (flavor text? the page descrpitions? idk what they’re called, the text under the individual results in google) that heavily seems to agree with your stance of trust is good, actually.

“It is an equal failing to trust everybody, and to trust no one at all.”

//First of all, thank you for your time and for providing a legit counter-argument. I really enjoy talking about this stuff ^^

//While I agree on the latter point, here's why I don't agree with this theory or that this is setup for later. I'm gonna take a break from theorizing and discuss writing, a subject near and dear to my heart.

//A concept that anyone who wants to tell a mystery is encouraged to learn about is narrative weight, which I've seen defined as "how much or how little attention the story/the narrator is giving to any particular event, situation, setting or emotion."

//Simply put, the more attention something is given in a story, the more important it's going to be. Some examples:

If something is given direct attention for a long-enough period of time, it's a plot point.

If something is given attention for long enough that we remember it, and then it comes back later, it's Chekhov's Gun

If somethings is given attention and then turns out not to be true in the way we were expecting, it's a Red Herring

If something is given attention and changes details that we initially believed about something previously established, it's a retcon

If something is given attention and never receives follow up, it's a forgotten or abandoned story beat

//Narrative weight should, in principle, be proportional to the role something is going to play in a particular story, though not always. Sometimes it's inversely proportional, where something will be given just enough attention that you may remember it, but it seems to slip by in favor of the more obvious examples. Then it turns out to be the key all along.

//That brings me to another concept: breadcrumb storytelling. This is the sort of narrative where you receive pieces of information that lead into one-another, and it's an effective means of keeping someone hooked to learn the answer.

//This is pretty common with serialized stories today, where you have one story leading into another and into another. Some writers specialize in this concept, such as Stephen Moffat, who became both famous and infamous for it on his run of Doctor Who and with Sherlock.

//The problem with breadcrumb storytelling is that it runs the risk of ultimately proving disappointing, and potentially undermining or even ruining the impact of the story in retrospect. I'm sure we've all had that happen, where we were waiting for a big reveal and the landing is badly botched.

//I bring all this up because it disappoints me how the idea of a done-in-one, where things like an episode of a show or a single issue of a comic can tell their own story with the time they're given, has largely fallen out of fashion. Now, people seem to expect there to be some kind of cliffhanger ending or setup for what comes next.

//Yes, one can argue that's necessary for serialized stories, but you can have your cake and eat it too. Small details can serve the main plot of the smaller story and contribute to the larger narrative at the same time. For another DW example, the Bad Wolf and Harold Saxon arcs were there across multiple episodes, but they never actively took time away from the story; they instead came together in the finale episodes.

//All that having been said, I like what Despair Time is doing. Chapter 1 did feel like a done-in-one, where it told a complete story and gave Teruko an arc, and also provided setup for the rest of the story. It really set her apart from other DR and fangan protags for it, and helped to establish the themes of the story, that this is about trust and betrayal.

//That brings me to Mai Akasaki, the mysterious redhead girl. Now, I can completely understand why people would be theorizing about her and what role she plays, and would suggest the prosopagnosia has something to do with it. I'm not going to say that's wrong, because there are so many directions it could go.

//That being said, there's a difference in terms of narrative weight here, and this isn't a case of things being inversely proportional. The reason why I don't think she plays a role in this chapter is because everything we know about Mai, we know from supplementary materials.

//Outside of the ARG on DT's tumblr or the bonus videos on their channel, the only thing we've seen of Mai was a brief flashback after Teruko was stabbed, and a hint that Teruko knew her. Her name hasn't even been said once in the main story yet.

//The secrets motive was definitely an opportunity for them to suggest that someone in the group isn't who they said they were, or was disguised and nobody remembers them, but we haven't gotten any like that, at least compared to the more plausible answers we've received.

//For comparison, Danganronpa Another had a better means of foreshadowing a hidden character. In Chapter 2, they found a yearbook in a locker, which belonged to Hanzo Kisaragi. That not only set up the later appearance of his son, Yamato, but also served to foreshadow early on that they weren't really in Hope's Peak Academy like they believed.

//By comparison, there's still been no hinting toward Mai as of yet. No indication that she's part of the game or that she's here disguised as anybody else, at least not so far. I also find it fairly unlikely that Teruko is actually Mai, because not only does her bad luck plague her in daily life, but we've gotten glimpses of how scarred and injured Teruko's body really is. To me, nothing about it suggests she's not who she says she is.

//I know there's the easy answer that she had her memories and identity erased, but we haven't established a means for that to be possible in this setting. I know I've made that connection in my own AU, but that's for a story I'm telling. DT hasn't confirmed that they have flashback lights, so I can't in good faith say that's a real possibility just yet.

//Here's where the prosopagnosia's narrative weight comes in. See, it did receive some hinting in Chapter 1, but it was small and done as just kind of a funny moment near the beginning, where Teruko couldn't remember who Charles was until Hu pointed out what he looked like.

//In comparison, Chapter 2 involved Teruko having a whole conversation with Veronika about how she thought the protag looked a lot like Teruko, Teruko was confused, and we learned that she really only differentiates people by hair color, eye color and clothes. Veronika then took the opportunity to ask, if she switched all those, would Teruko recognize her? And we got no confirmation as to whether or not she would.

//The reason I'm so insistent about this point is because not only have we not had any follow-up on that yet, but because the only people who investigated the body are the girl who can't recognize faces and the guy who had reasons to half-ass the investigation. And Rose, the only one who could put the issue to bed, didn't even want to see the body.

//There has been very little attention given to Mai so far, but comparatively a lot given to the fact that Teruko cannot differentiate faces. Too much narrative weight for me to feel like this isn't going to play a role in this chapter in particular, the same way the difference between a CD and DVD did last chapter.

//tl;dr version- I think some kind of switch had to take place this chapter and to involve the people here, because I can't see this being about someone who's had no foreshadowing or hinting toward their identity or their presence in the main story as of yet.

//That's just my stance on things as of now, but thank you for offering another possibility. I don't doubt that her prosopagnosia is going to play a major role in things later on, so ultimately, both theories might end up being right : P

[yawngoddessofdreams]

Shadow Tower Abyss (2003)

While King's Field 4 is the end of its lineage as the series which really guided early Fromsoft's hand into dark fantasy, Shadow Tower Abyss is perhaps the true end of that particular blood ancestry. A lot of folks have looked back at King's Field and Shadow Tower to better understand the DNA that created the Souls series. For some it was out of a desire to create a more holistic view of how this series was formed. For others it was merely out of curiosity. For me I was of the former camp. Video essays say a lot, but perhaps this was something I should experience with my own hands. Why Shadow Tower Abyss? Its setting and gameplay seemed just intriguing and playable enough to hold my attention. I thought surely I'd get frustrated by the labyrinth and my weak ability to mentally map such spaces so I expected to get my impressions of the first hour or two then hop off it. 8 hours later I beat it.

I loved this game. Its the sort of game that makes me reconsider what a "good game" is. When you turn it around in the sunlight it has the feeling of a game that was meant to be far more ambitious yet had to be chopped up and slapped together as a minimum viable product. There's a certain point where glowing armor of archangels and weapons crackling with power are being dumped on you by the truckload, which has the hilarious side effect of possibly crushing you to death under their encumbrance due to the strange decision to not allow you to drop or destroy items from your inventory without a shop. Your power scaling reaches a zenith of comical supremacy where you are blasting endgame bosses away with a few shots of a shotgun before they opine about the meaning of their lives with their last breaths.

Whether it's the case that this game was always meant to be this way or not, it ends up telling a compelling tale with its ludo-narrative.

(Story spoilers beyond)

You start at the base of the tower fighting tribal creatures (who I admit are pretty racist) who use the bodies of a captured modern special forces unit as incubators for their young. You're presumably a soldier who was a part of them or is maybe unrelated to their mission. The only dying soldier you get to talk to asks you to "kill them all" before handing you a knife.

You delve further until you find the true base of the tower: An alien structure rising from the titular abyss. There are creatures who tend this area who talk about being "Trapped here as you are" yet also say "It is enough to exist. You may not understand since we are so different."

I think this creates an interesting contrast against you who is ascending the tower rolling up power like a katamari till you find the heart of the tower who regrets the fact that you two must be at odds in such a way. It says you and it both just want to live, and looking back you realize the creatures by large only really feed on humans and create problems for you because that is simply what they must do to live and thrive.

Your quest originally seemed to be finding a spear who's power was so great that it cowed neighboring nations to submit to it. The true nature of the spear is apparent though as you find its resting place: A desert of red rusted sand full of disfigured heroes from long ago. They warn you to not suffer like they had. They try to stop you for your own good. You find the spear though and it crumbles in your hands. The spear does not exist anymore, and maybe that is because it has played out its role. Many come to the tower because the tower knows what they want: Power. The spear is the sickly sweet smell of nutrients at the bottom of a pitcher plant.

Perhaps though, the tower swallowed up something it shouldn't have. It swallowed the frightening power of the modern world. While you can use legendary swords left by their owners who died in the tower, you also can use the frightening modern power of guns that have been freshly brought into the tower. They truly tip the balance of power in your favor and it's a scary notion that against the eldritch, perhaps extraterrestrial power of the tower, we have formed weapons that can challenge it at last and slay it like yet another beast.

Perhaps the power of the spear is an analogue for weapons of mass destruction. They cow fellow nations into submission yet put the world on a knife's edge, capable of plunging it back into darkness with smug carelessness. Those who have suffered by its hands plead with the future generations to leave these tools yet we are quick to see this form of power as necessary to achieve life and peace.

Anyways, that's my reading of it!

I would definitely recommend this game to at least try. It's strange in a way that bewitches you and feels very before its time in some regards such as location-based damage and dismemberment on enemies as well as directional swings that really utilize this mechanic. Truly it was dead space before dead space. In fact I would say this game's balance and gameplay put it closer to a survival horror than a true souls game.

Another comparison I'd make is it's a better Scorn since it also has an HR Giger-esque aesthetic yet includes far more gameplay. I'd describe Scorn as a walkable artpiece that is interspersed with survival horror segments where health and ammo is limited. Shadow Tower Abyss is far more consistent at being an actual game and while I admire the walkable gallery sense to scorn, I did not admire the threat of being sent back to uncertain checkpoints by failing the survival horror segments that ultimately had worse combat than Shadow Tower Abyss due to wonky hitboxes.