#if you could see the difference between the version i recorded and this one..........................literally comical

[tricoufamily]

i was inspired to remake my first render, i hadn't seen it in a while! 🦇🦇🖤🥀 also percy is here now

original:

(yes this is apparently the resolution i posted)

[randy-jester]

My Imaginary Ride The Cyclone Hybrid Live-Action and Animation Feature Film that only exists in my head: Part 2

Here's the link to Part 1!

Apologies for splitting it into 2 parts. Tumblr literally wouldn't let me post it as one big chunk. 😭

Continuing on:

To refresh: This would be a hybrid film that combines both live action and animated segments. The majority of the movie would be shot in live-action under a sepia filter, but all of the choir member's songs would be animated with different art styles. "What The World Needs" is in CGI Disney style, "Noel's Lament" is black-and-white 2D animation, "This Song is Awesome" is stylized graffiti, and "Talia" is in watercolor.

Of course, "Space Age Bachelor Man" will use an art style resembling Silver Age comics (which, fun fact, is around the time Silver Surfer was introduced). The song sequence will actually show most of the events Ricky details in his fantasies (ie., him getting abducted to Planet Zolar, laying with the sexy cat women, stopping the war between K-9 and Zolar, etc.).

Side Note: We don't actually see Ricky get freaky on screen. But we do see him and the kitties in snippets of suggestive action accompanied by on-screen sound bubbles every time Ricky says "Meow!". (This movie is already getting an R-rating for every time Noel says "Fucked Up Girl".)

Another side note: I know that in the 2018 version of RTC, Constance plays the "Zolarian Queen". But because this is MY movie concept, I get to do what I want. And I say Jane Doe is the Zolarian Queen instead (SpaceDolls 4 Ever! <3).

"Ballad of Jane Doe" will be in stop motion (either using paper or puppets). In the first half, we see her recount the accident. She looks like how she does now (with the doll head). She hits the ground right before "And from the ground beneath my feet", and her head falls off. We see her laying headless on the ground for a some time while other carnival patrons are screaming and getting away from her. On "Just John and Me" she stumbles back to her feet. And on "Forever Eternally Jane Doe" she screws her head back on.

In the next verse, we see Jane try to reach out to the other carnival goers, essentially trying to identify her family and friends. When she finds none, Jane boards the rollercoaster again on "Time eats all his children in the end"

Essentially, the idea is that because it's her only memory, Jane is forced re-live the accident over and over again through her song sequence. She desperately wants to find out who she is and what her past was. But the only memory she has to dig through is that of the accident.

She falls to the ground again on "Forever Eternally Jane Doe". Then gets dragged onto the ride a third time by carnies. She looks tired like she doesn't even want to do this anymore. On "Like John I'll be eternally a forgotten name, some lost refrain" we see her fly and float through the air (like how the other choir kids did during Uranium suite). But this time she never hits the ground. Instead, at the end of the song, she just reappears in the warehouse.

Constance's song, "Sugar Cloud", is the only individual segment that isn't animated. Instead, it's shot in live-action, but in full technicolor! Think like how vibrant Barbieland looked in the Barbie movie. Like that. The reason why "Sugar Cloud" is in live-action is because Constance is romanticizing her life as it was, rather than what it could have been.

Constance begins her first verses, still in sepia, at the warehouse. But when she goes "Let me take you away", she struts forward and the scenery changes behind her to that bright technicolor look. And instead of being at the warehouse, they're back at the carnival. But everything is bright and sunny and idealistic.

During Constance's recorder solo, the choir gets new outfits that reflect each of their personalities. The outfits magically poof on out of thin air. The choir members keep these new outfits for the duration of the song, then go back to their school uniforms after the sequence is over.

When Jane Doe is chosen to live again, her body fades away, leaving behind a roll of film. Ricky slides this film into a projector, and the choir watches the reel of Penny Lamb’s life together.

After Karnak’s death, we see the sepia filter lift off from the film. Along with it, we finally get to see how much decay and disrepair has taken over the warehouse. The choir members have a spiritual glow around their bodies.

The choir members perform the last song, “It’s Not A Game/It’s Just a Ride” inside the warehouse. As the sun rises, their bodies fade away.

Title card rolls at the sound of crashing metal.

[the-pale-chancellor]

Have you watched the recording I sent @majeremorozova ? If so I’d love to hear your thoughts

Oh yes, I have.

I have.

And that's gonna be a long(fucking)read, beware everyone who dares to step further!

Disclaimer: Those are just my overall thoughts, I do not want to insult or humiliate any of the actors, directors or any other person with my words, though they may be harsh in some places. And that is totally my fault. So! With that out of the way!

Let me divide this thing into small parts.

1. Plot.

That's the biggest improvement here, literally. I could not thank Anton enough for actually making things understandable to a regular viewer, who didn't for example watch 4 different plays and read the books like I did. Scenes were moved between each other to make a comprehensible storyline. Though, at first I somewhat got confused with the pre-Conclave scene and the Nightmares suddenly being the second to play (which they weren't actually but at first it seemed so). They even added Paladine! (loving good old Fizban finally showing up, but sadly not Tas). Interesting way of singing Lord of Nothing along with Crysania and not Takhisis!

But there always will be things I don't like: first of all, just for the sake of Paladine, whAT IS HAPPENING IN THE ABYSS????? CABARET???? WITH TAKHISIS???? HALF-NAKED DANCERS???? That was supposed to be a serious, dark scene of Raistlin going nuts and not..whatever it was. Bruh. Lacked the emotional impact from the Cataclysm scene, it literally did nothing to achieve at least a sense of fear, meh. Also, for some reason I cringed from a JCSS reference before Battle for the Zaman Castle, Raistlin is not supposed to reperesent Jesus in any way, it just doesn't suit the character arc. Also Dalamar appearing in the most random places?? Where he was not supposed to be even in the book???? But oh well, characters are another problem here.

2. Characters

Oh boy. I am going to rant here alot, ain't I..We'll go with everyone here for getting at least some improvements.

-Tika. Absolute favourite, nothing can change my opinion here. New version of the tavern scene is precious and some other scenes like holding a baby in her hands. Adorable.

-Caramon. Nothing changed x2. Rostik just slays and may I notice the cameraman was mostly filming him lmao. Fighting scenes were both appealing and wonky in different places, but he made it through really well.

-New: the Nun and the Inquisitor. They were added specifically in the new version of the musical and I rather enjoyed seeing them honestly. Especially the latter. The Nun though..she doesn't integrate with the plot well, too much of a comic relief which I don't like.

-Takhisis. Apart from the abyss scene and her costume design which I'ma mention later, she wasn't bad. Neutral opinion, that's all she gonna get.

-One line for the two: The Kingpriest and Par-Salian. Both are just okay, again, without additional rant about the costumes yet. One thing is that I don't like how the actor for the first one (woops, I don't remember his name, shame on me) - his voice is too rude, too harsh and rough when he sings, he's supposed to be like the Abbot from Curse of Strahd, like the Saint Being himself, and he just roars. But that's just taste, I got used to Plamenev and Sydorenko singing some parts I suppose.

-And here we start a rant. Ladies, gents and other people - Dalamar Argent! Even though I don't mention him a lot in my posts, I fucking love this character, even my DnD PC kinda reminds of him. bUT. Both in the books and in the previous staged versions he still HOLDS his respect towards his shalafi, his master. In this one he just goes "yeah whatever this mf is gonna die" and what??? where's the rest of it at least???? he appears in the Abyss to notify about the scenes (why would they even make him do that???) and what? Ending where? Also, his whole vibe of a twink gothic vampire is not what he's supposed to feel like. But alas, bonus points for the cane and for looking gay. And he got some new scenes, I'd say I liked (e.g. him going against Raistlin and losing miserably).

-*breathes in* Crysania. Just Crysania. I had my share of doubts about her at all times, I've never liked her originally so no expectations were there. She has bread instead of her brains in the original media, bUT THEY SOMEHOW MADE HER EVEN MORE STUPID. HOW GUYS. JUST HOW. Wtf you mean she pretended to pray to do her own things insted??? She is a CLERIC. She prays furiously, she lays all her hopes on the gods, on Paladine. Her behaviour is utterly childish, her descisions are peak dumbass, and the only good about this version - her laughing madly by the end and the very Lord of Nothing she sings in a duet. The "I can fix him" woman cannot get fixed herself I suppose. Ehhh.

-Oh, we really got here? Yes, yes we did. Raistlin. Again, outside the costume and prop design. Why in the sweet hells he is THAT disabled??? It's the 4-6th books, he's nearly fully in full health, he doesn't need his staff to walk like this, he isn't supposed to whither and wipe the floor with himself - he literally becomes a god so how come he looks like this? And with the actor thing - this man doesn't suit him, nor does Rostislav. I understand that choosing actors might have been a big deal, but not them. Maxim was there, he could have played Raist and not Dalamar, yet they decided otherwise. I completely disliked this Raistlin, but that's just some opinion of mine, don't get angry. I "grew up" as a fan of Ruslan and then original Anton version, anyone else (maybe except for Egorov) just don't feel any right, especially with this kind of acting out a character. Woah, that was a long rant, teheee.

3. Costumes.

I am utterly horrified. Literally zero words. Raistlin without a wig and with a mop on his head (not talking about SpB vers, it got better there), sport-like costume with white print AND a suit??? In fantasy????? (yeah, I read the comms of Anton about it all being just a fable, not fantasy-like, but then you could've made everything modern!au?)(Raist in the suit lowkey looks like the 12th doctor, I couldn't help but imagine 12th singing the last bits instead of Raist himself). Horrible. Just horrible. Everyone has different styles of their costumes, half of the actors are literally wearing curtains (yes, Kingpriest, i am looking at you). Par-Salian somehow got the best one here, I like the mirror thingies on his shoulder pads.

The Abyss and Takhisis are something else entirely, I hate how this powerful character got turned into a..what, brothel hostess? Her original costume design was rejected, they didn't have time to make a new one so they literally bought pieces from WildBerries and paired them together! (joke's on u, the comment section even found the exact version of her coat and body part)(alright, I mean this one costume doesn't look that bad, no, it just..too open, too out of place, not for a Dragon Queen).

Please, return Dalamar his ears, I beg. If not his wig, then at least his eARS-

4. The last one. Production and the props.

As it was just the recording, I cannot truly get you the whole picture, so bear with what I noticed.

The sound went off on minute 20. Raist's mic started flopping so he had to get a hand one and then just the other one between the scenes. The sound team didn't do their work properly, besides I sometimes couldn't understand what the characters were singing or saying (luckily, when you know most of the arias, it's easier). The orchestra was a bit louder than the leads, but maybe it was because of the recording itself.

Props were either good or bad, no in-between. The moons everyone were laughing at, were rather good in my opinion, just not something one would get used to in a matter of seconds. They looked funny when moving and not flying in one place, because they bent into different sides like balloons. Also the staff broke down a few times.

well, i do hope this review is fine! thanks for reading!

[haljathefangirlcat]

I find it interesting that of the Norse gods, only the Vanir are given myths of a detailed courtship and wedding. The Aesir couples that mythology mentions: Odin and Frigg, Thor and Sif, Loki and Sigyn, Bragi and Idunn, Sunna and her barely-seen husband, are all mentioned as married right off the bat. Recorded mythology never describes how they came together, they're just said to be married, and sometimes said to love each other. The only exception is Saxo's Hodr/Nanna, but Saxo liked to mix and match mythological motifs anyway, so the original myth could just be Hodr lusted for Nanna and tried to abduct her, thus eventually leading to Baldr's murder and Vali being born to avenge the kinslaying. (There is a Scandinavian ballad motif that's also present in England called Svend i Rosengard/Sven in the Rose Garden, where one brother slays the other and is forced to confess to his deed after being questioned by the mother. The motive is always something trivial or even cryptic like, "it was for the cutting of a twig that would never be a tree", and the killing itself is sometimes an accident where one brother's knife slips, but sometimes the two brothers are fighting over the same woman.)

The Vanir couples do have detailed marriage stories. Skadi and Njord have a mostly comedic myth about their marriage and separation, and Frey has an elaborate myth about his longing for Gerd. Freyja has no details about her courtship, but there's also the theory that she and Odr are just doublets of Odin and Frigg, so they don't really need a marriage myth.

Conversely, in Greco-Roman mythology, for all their ups and downs and questionable ethics by today's standards, almost every divine couple gets a myth about their marriage. You have couples like Zeus and Hera, but also more minor gods like Vertumnus and Pomona or Cupid and Psyche. Even Cronus and Rhea get a myth where they wrestle another divine couple for control over Olympus.

See, that's a difference I always found kind of funny, too. I like to imagine there might have been some courtship and marriage myths on the Aesir side, too, perhaps even very dramatic ones considering all the implied drama between, say, Odin and Frigg and Thor and Sif, or even Bragi and Idun. But, ofc, even if that was the case, we'd probably never learn about them. Then again, from the Aesir (and numbered-among-the-Aesir ;)) we get two very romantic story elements like Sigyn's bowl of venom and Nanna's all-too-literal heartbreak, so...

Speaking of Nanna, I love that you mentioned the version of Balder's death in Gesta Danorum because 1. I actually adore that version, lol, GD!Hod is such an adorable anxious mess of a guy and they just keep putting him in situations (even Saxo's moralizing narrator won't let him catch a break!), 2. I was reading some Beowulf-related stuff recently and kinda started crack-theorizing that Saxo put Hod's eumerized form and his story where he did just because Danish Kings' Names Start With An H, 3. there's a very interesting work by Anatoly Liberman, Some Controversial Aspects of the Myth of Baldr, that, iirc, does propose a "tragic love triangle with Hod as the bad guy" origin for Balder's death. (... also, 4. if you don't know the Danish comic Valhalla by Peter Madsen, please read it because it's amazing AND the way it combines Saxo and the Eddas in the issue The Ballad of Balder is just *chef's kiss*)

As for the Vanir, leaving aside the eternal Frigg/Freya problem, what always stuck out to me the most is that, while there's a lot of elements ranging from the unusual to the bizarre to the clearly comedic in Skadi's wedding (look, the woman is the one who dons the armor and goes on the bridal quest, while the man waits to be won! But she can only choose him by his feet! Oh, and now she's gone and accidentally picked one guy when she wanted another! And Loki's tied a goat to his...!), Freyr's doesn't, imo, really fare that much better. I mean, sure, it's not unusual for a nobleman to send his servant to court the girl he wants to marry for him, especially when he has good reason to think the girl's family won't exactly welcome him with open arms... but you wouldn't really expect him to go from lounging around sighing and brooding and leaving his family in various states of concerned "????" to immediately losing possesion of his Awesome Magical Sword as soon as he finally resolves to just send his servant to court the girl. Even with all the obvious differences, it honestly reminds me a bit of Gunther, Siegfried, and Brunhild, specifically in the Nibelungenlied. Except I think even there Gunther might have been actually a little more proactive... and the consequences of his choices were a bit more, so to say, direct...

There's also something to say about how the Aesir have, as far as we know, only jotun lovers while the Vanir have jotun wives, I think. Or rather, I know a lot has been said about it. But I got really into those theories years ago, so now everything's a bit tangled up in my head and I'm not quite sure anymore of what I read and what I made up myself, lol.

[tiptapricot]

brings you a fruit platter XD 🍑 & 🍈 & (blueberries - can't find the emoji, but ur fave underrated thing to write about in ur fandoms)

🍑 —If you could make a connection between your favorite character and another work you care about (whether a crossover/fusion or a wonderfully “pretentious” literary reference) what would it be? How would it work?

Hmmm this is a tough one because I honestly don’t do/think of crossovers very much? I rly like working within a piece n finding things to expand on inside it. I may unfortunately have to go w the boring answer of I probably wouldn’t JNDBDBD It’s not like I don’t read stuff either but I’m not exactly a literature man in my passions as reading takes a lot of brain power, so idrk any quotes or overarching things id try to tie in? This is honestly kinda interesting to me on its own that I just. Don’t have anything. But ig that’s just how it is fhdhdjbd I’m not rly a crossover or references dude I suppose.

Maybe something with Miguel/2099 stuff and Terry from Batman Beyond? Somth ab future versions of characters n legacies n Terry’s thing of helping an older roughened guy care ab ppl again, and the fact that he had spiderman inspo in his making, idk. But that’s more just a musing more than anything serious.

🍈 —Who’s your blorbo and what are some of your favorite headcanons/ideas about them that repeatedly show up in your fics? Free pass to rant about blorbo opinions

I have many n don’t have one (I have a super hard time with single favorite characters) so I will not be giving all of them n just give some rapid fire thoughts from across the board.

I love trans Miguel O’Hara and Gwen Stacy esp from the spiderverse movies as I think those readings of them are a very thematically appropriate and fascinating way to explore them, and I love trans people

Comics Steven from MK paints the body’s nails and gets them regular manicures/pedicures/hair care treatments, etc n has an extensive collection of Bath and Bodyworks soaps and scrubs and lotions. They also have semi-sensitive skin and he’s very aware of ingredients and what will work for them

Hera w359 is aLso such a trans woman to me there is so much ab the self and holding it and creating it and breaking from the miles people tell you to stay in and finding the humanity in yourself and creating a new sense of self outside of programming and the literal voice someone forced you to have. I love her so dearly and aUGGH

Show!Steven from MK has a record player and is very careful about taking them out of the sleeves, but not careful about how they end up stacked up. Jake does CDs. Marc downloads random tracks onto their phone or only listens via YouTube (not YouTube music just looking up on YouTube)

🫐—What’s your favorite underrated thing in your fandom? (A ship that only you seem to write for, a character there’s almost no fics about, a trope that criminally hasn’t been written yet, etc.)

Well this isn’t rly underrated bc stuffs still kicking off but if someone hasn’t already, a timeloop fic for ATSV Miguel would slap absolute ass. I’m also on the (sort of but also not always?) rare train of genderqueer jake, and ofc the very rare train of some-flavor-of-transfem Marc. Also love non binding and non top op trans men/mascs and would lOve to see that around more. I’m also someone who does a lot of inhuman body exploration which while not uncommon in the big scheme I find a way to work into a lot of my headcanons for characters at some point and can be a huge draw (like to Ted n Jack from wwbn, the MK sys with weird Khonshu body effects and differing levels of human connection, or Miguel w his many mutations n differing levels of spider ppl connection).

Send me a fruity writing ask!

[lucifer-is-a-bag-of-dicks]

I have two suggestions for the Gray Ghost AU.

1: Wes Weston is no longer under suspicion of being a Ghost. Now, he is under suspicion of being the Phantom Hunter. He is athletic, fits the build, is on record as saying he wants to fight Ghosts, and has access to the tech (just BS a connection to the GiW or Axiom). The difference this makes in his regular life is mostly null... except for the fact that Ghosts now keep targeting him for retribution attacks. Danny goes out of his way to obscure his identity from everyone, meaning Wes is seen as them catching Phantom Hunter off guard. I imagine him trying to pin it on Danny but because he so clearly disdains his parent's work, literally no one believes him.

2: The idea of Danny getting his hands on an Ectoplasm enhanced suit like the Technus upgrade Val got to her suit, most likely given by Maddie as a way to bond with Danny (and further prep him for a transformation into a Halfa). Except given his preexisting contamination (his mum is half Ghost) and Maddie messing with the suit, he ends up with the suit now fusing to him more thoroughly. After reading too many Iron Man comics, I picture something like his Bleeding Edge armour. It is basically stored mostly in his body, and he can augment it with extra technology. This would probably be a win scenario for Maddie because this puts Danny even further into Halfa territory. This also makes things more tragic with Val. Because not only has Maddie betrayed Danny to experiment on him, but because it means Val failed to stop this happening to someone she cares about. Also, this opens up a new opportunity for one of the Clones: one who is now a more pronounced cyborg made with a prototype of the suit Maddie gave to Danny, maybe he looks like the Terminator or something. For extra irony, he's the nicest one and likes gardening or something. I know this can be taken further, but I'm not able to focus on it more due to exhaustion.

Also, your idea is great, and thank you for sharing it with us and letting us all throw our suggestions at you. Thanks for all the good content.

no thank you! this stuff is always way more fun and interesting when it's collaborated! most of these ideas wouldn't exist without other people's suggestions, even the initial prompt! ✨

also @everystarstorm this will answer your ask too ~ y'all sharing a braincell today haha

1. omg yes YES yes this is perfect absolutely 100%

Wes just cannot catch a break in ANY universe (the concept of Walter Weston working for Vlad has been a Thing so we can keep that around here since Vlad works at Axion and that can be the connection, maybe Walter is just the paperwork guy or the company's legal attorney)

I also had a suggestion from @burns-art-account that Valerie gets her own version of a Wes, but like since the name Wes initially came from a joke about Sam's name being misread upside down, we could do the same with one of Val's friends, like Star could be Jets or Jeqs, or something like that

although I think this person would be less open and vocal about Valerie since her popularity would make it impossible to point a finger at without being laughed at by the whole school (I mean just look at Wes, his target is just some nerdy kid and he's still a laughingstock), so this character could be a little more subtle in trying to get evidence to out Val, it would make a pretty funny running gag if every time she got a chance to photograph Val transforming or capture some kind of evidence, something always gets in the way at the last moment, like a bird flying in front of the camera or something

2. I want to keep Danny getting the suit from Technus because I'd want this universe's version of that episode to still happen because it was a great episode between these two and it could still work with the switch around

but Maddie really would have to change course with her portal plan because this whole thing could actually make that more difficult for Maddie, all of her calculations weren't made with a highly ecto-contaminated person in mind, this would mean she would have to readjust the portal's design between Danny and the rest of her family, or actually just throw that plan away in favour of working with this new angle

she could realise that her kids HAVE picked up some traits from her because yeah a normal human shouldn't be able to do that to ghost tech

the idea that Maddie does add to his arsenal is good, once she figures out that any tech he uses gets absorbed into his suit she starts making more weaponry that's super compatible with him, possibly even making stuff that will purposely contaminate him further to bring him closer to being like a halfa (this would be a pretty huge step in Maddie's villain development because now she's resorted to experimenting on her own son, she's losing sight of why she's doing all this in the first place) it would be really cool to see Maddie gradually losing her maternal motherly nature to the cold calculating scientist

like her warmth used to feel at least somewhat genuine deep down but now it just feels like a part she's playing, slimy and sinister, she was always manipulative but she had a real genuine care for her family underneath, she thought she was doing the right thing, but that love and care is slipping away into just doing whatever it takes to get what she wants, to complete her experiment

also I was thinking about the cloning ep being set kinda earlier in this universe, so that would have happened pre-upgrade, but the idea of there being a cyborg clone made later is super cool, and then we could get a clone centric episode where the other clones try to convince this newer more dangerous clone to join their family, and yes him becoming the sweetest, nicest clone is *mwah* perfection

that ep could pave the way and maybe even foreshadow Maddie's eventual experimentations on Danny himself

and the repercussions on Val oooooof, she would feel so guilty, she would feel so much like she let him down and she couldn't save him from becoming something he never wanted to be and now it's getting to a point where it'll be too late for him to get back to normal

and since we've established in a previous post that Vlad knows about Danny, he could even play as Danny's one guiding light, warning him that if he keeps doing this he won't be able to turn back, and his interactions with Danny could give us some insight to what's going on in Danny's head, he's trying so hard to point Danny away from all this while his own mother is more subtly encouraging him and pushing him in the other direction, like a shoulder angel/shoulder devil kinda thing

these are some great ideas thank you for sharing! ❤️❤️

[forestlingincorporated]

Teen Titans #29

So, one of my favorite types of fics to read is Different First Meeting fics between Jason and Tim. I looooove reading Enemies To Caretaker, of which I fed handsomely on fairly recently. Big Brother Jason fics give me warm fuzzies, and Tim Drake needs a hug, and I feel like if these two actually got to know each other and worked past their preconceptions, they’d get along surprisingly well. And Still A Jason!Robin Fanboy Tim Drake is just a fun concept. 

Also, it just FEELS right for the middle siblings to band together after Damian comes along, lets get those abandonment issues in the party. 

So, for mysterious and very secret TimKon Week 2021 reasons, I was rereading some Teen Titans, and I stumbled over the Original Tim+Jason First Meeting, and I just sort of wanted to talk about some interesting things I found in there rereading it after several years. 

First thing right off the bat, when reading fics, normally it’s either the Core Four at the tower that Jason puts to sleep, or it’s Tim alone for the night. In the comic, none of Tim’s close friends are even at the tower, Jason waits for Bart and Cassie to leave, and Conner actually hasn’t come around for an in-universe month, because this is after the Superboy’s Birthright arc where Lex mind controls Conner. 

The people Jason knocks out were his own teammates when he was a Titan. He specifically says he never got to work with Beast Boy or Cyborg directly, so he doesn’t feel bad electrocuting them, but he feels bad putting Raven under much more gently because she used to worry for him. 

Tim has just gotten off the phone with Bruce when Jason shows up. It seems like Bruce might’ve been picking Tim up, but something’s come up with Martian Manhunter going missing, so Tim tells him he’ll catch a ride with Cyborg. 

This is actually really interesting to me, because it’s a small moment of Bruce letting Tim down. It’s a conversation he’s probably had with his biological father many times when Jack’s canceled on him. 

Gonna acknowledge this abomination real quick. This is So Stupid, and I’m glad as a fandom we just all agreed Jason didn’t do this. It makes me ask so many questions. Where did he get that oversized Robin costume? Why’d he tear off his perfectly good clothes? Why did he do this? Why the yellow tights? WHY? 

A lot of things are actually happening here that are actually Really Interesting if you just look past the stupid fucking outfit. Because this comic actually flew really close to greatness, they just ended up dropping the ball by not continuing to do more with it. 

First off, Jason doesn’t beat around the bush. He’s immediately like “yeah, yeah, yeah, Red Hood, whatever, I’m Jason Todd, bitch! Fight me.” 

Secondly, Jason’s done his homework. He knows A LOT about Tim. He knows his name, he knows he has a dad, he knows he went to prep school, and he knows the story of how Tim became Robin. How he GOT that last bit of information, I’d honestly like to know. But even HAVING the information isn’t enough; he’s still letting his preconceived ideas get in the way. The surface level information about Tim’s life only served to fuel his jealousy and anger (thanks, Lazerus Pitt!). He’s so focused on Tim’s privilege that he’s looked past evidence of hardship; if he’s done this much research on Tim, he’s no doubt seen records of multiple boarding schools, lengthy travel records, news reports, a death certificate.... He can’t even bring himself to BELIEVE parts of Tim’s story that aren’t lining up with his world view, like HOW he became Robin. 

Jason has convinced himself that what he’s discovered about Tim and the period of time when Jason was dead - the fact that Bruce was spiraling after his death, that his family mourned him, that Tim had to step up to the plate at a weird suicide prevention buddy system - is all a lie. Despite the fact that he’s beating Tim’s ass, he speaks to him with the assumption that Tim’s a child who’s been manipulated and lied to. 

Meanwhile, it must be SO PAINFUL for Tim to hear Jason say these things: I bet he said the same thing to you he said to me, didn’t he? That you have the talent to make a difference in Gotham. That he needed someone he could trust in his war on crime. That you were one of a kind. The light in his darkness.

Bruce never said any of that to Tim. Bruce rejected Tim, he didn’t want Tim, and begrudgingly accepted Tim. 

Going back to Jason waiting for Tim’s other young teen friends to leave the tower before going in, only drugging his own former teammates, is much of his anger seems directed at THEM, not just Bruce. To Jason, it looks like they didn’t mourn him either, he has no statue. I find it interesting that he smashes Donna Troy’s statue, who died after him, and I believe she came back before he did. 

Unless he was keeping track of the news from the League of Assassins, to Jason, Donna never died. 

And most importantly? Tim shuts Jason down. Tim “Bitch, Please” Drake out here like: you’re a fucking idiot, he loved you to death, he barely let me audition for the role. 

Tim shows some deep resentment towards Jason in this scene. I mean... earned, Jason literally came into his house and starting hitting him, but Tim’s relationship towards the Idea Of Jason has gone through a few changes. At first Jason was ROBIN! THE BOY WONDER! And if maybe Tim thought Bruce wasn’t AS happy with Jason as he was with Dick, there was still SOME hero worship early on. But it only takes Bruce and Alfred and Dick using Jason’s death as a cautionary tale a few times to get Tim to see Jason AS a cautionary tale - the kind of Robin NOT to be. But the more Tim craved Bruce’s paternal attention and approval, and the more Bruce withheld it or made Tim work for it, knowing that Bruce did that, in part, because of his love and grief for his dead son (Tim having an actual living breathing father plays a part, too), and those feelings towards Jason have started to fester.

Jason can’t let it go, though, he thinks the concept of Robin was a mistake and had always been a mistake, and if he can hurt Tim, so can Scarecrow, Penguin, The Joker. 

This is a good time to bring up that one thing I think Jason probably doesn’t know is Tim is injured. It is a little over a month since since Conner shattered Tim’s right arm. Tim is still healing from a comminuted fracture in his forearm. And looking at this picture that is - ah, yes, that is the injured arm Jason is swinging Tim by. Tim is probably healed by now, the cast IS off and he’s a child, but bones don’t fully return to full strength for 3-6 months. 

Jason is conflicted. This is clearly, in part, a fucked up way of “protecting” what he sees as a manipulated child, to convince him to leave Bruce. But there’s also clearly some deep, deep jealousy thrown into the mix to complicate matters and cloud his judgement. Ultimately, Jason isn’t there to kill Tim. Tim would be dead if he was. He’s there to “beat some sense into him,” and he ultimately fails, and fails badly. 

Tim is found by the older Titans, awake by now, though it seems Jason knocked him out to, uh, fuck with the memorial chamber, and Tim... does not beat around the bush. No secret identities here just “yeah, Jason Todd beat the shit out of me.” 

And their reactions are HILARIOUS. 

One more little sidebar, in the comic, Jason gets in with a D.N.A. check that never removed him from its permissions. Usually in fic this is a unique pass code. I’m not sure which version I like better, honestly. There’s something about Jason physically inputting a code that accepts him even though he’s supposedly dead that I really like, and just feels better than a dna scan. A dna scan sounds SAFER, sure, but there’s something about the Titans leaving in an honest SECURITY RISK out of sentiment that I like. 

Lastly, I really like how it ends. Jason honestly thinks Tim IS a good Robin, and it seems like Jason’s done some research on the core four, mentioning Tim’s “real friends” again while the “camera” is on Conner and Cassie, suggesting that Jason KNOWS about them and possibly that targeting the tower while they were gone maybe wasn’t an accident or out of convenience, but fully intentional. And again, Jason’s real problem is highlighted: he feels alone, forgotten, unmemorable, no family, no friends. 

Thank you for coming to my TedTalk. 

[thankskenpenders]

Enerjak Reborn: Epilogue

It’s time to answer the question on everybody’s mind. How did Ken respond to Ian killing off Locke, one of his pet characters?

Well, the answer, as you should expect, is: poorly

Now, it’s important to remind everyone that Ken has not actually read the arc. He never read any of Ian’s run, to my knowledge. But his fans were sure to tell him all about it and ask him how he felt

Eventually, in 2010, two years after this issue dropped, we got a response from Ken talking about how he felt about Ian’s run. (Again, even though he wasn’t actually reading it himself.) Said response is worth reading in full if you’re interested in all this drama and Ken’s mindset. You literally get to see the guy brag about how he actively ignored what Bollers was doing when the two were sharing writing duties, as if this is a good thing that makes him a better writer. He also criticizes Ian for using the previous writers’ characters instead of introducing even more characters to the bloated Archie cast in his first few years on the series. But the relevant part to the discussion of Enerjak reborn is here:

“I especially don’t consider anything either does with any of the echidna characters – especially Locke – to be canon as neither created the characters nor established them in stories as the viable fan favorites they’ve become. No matter what Ian writes, he can never alter the fact that in MY universe, the events of Locke’s passing as depicted in SONIC #143 is canon. Anything he writes can easily be counter-written by a better story with an alternative solution.”

Let’s just brush past the very funny part where he calls Locke a “viable fan favorite”

So yeah. Penders was VERY unhappy with the way Ian wrote Locke, and the way Locke’s death in Enerjak Reborn meant that the timeline depicted in Mobius: 25 Years Later wasn’t the one true future of the series. He’s also gone on record saying that he thinks Ian didn’t get the relationship between Locke and Knuckles. When asked about Ian’s work, this has always been one of the major things that’s bothered him

On a broader level, his ramblings here are reflective of how he views comic franchises in general. A particularly illustrative quote from him is provided in the comments section below the article I linked:

“The only work I consider significant to any character is the work done by the original creators. Anything done afterwards by anyone else pretty much doesn’t count. For example, I consider the original issues of FANTASTIC FOUR by Stan Lee and Jack Kirby to be the only stories that matter in the entire run. Anything being done today is by writers and artists who are simply building off the work Stan and Jack originated. I apply this standard to just about every character I ever enjoyed over the years.”

This odd mindset explains a lot about Ken. It explains why he hates that Ian kept using his characters, and why he actively avoided building off of the work of his contemporary writers at Archie. I can see what he means on some level, of course. When another writer comes in and adds more novels to a series after the original author dies, I generally tend to ignore those. And I skipped a good chunk of Twin Peaks season 2 because it had less involvement from creators David Lynch and Mark Frost, making a lot of it feel like filler. But we’re talking about a licensed comic, one that had been a collaboration between multiple writers based on the work done for the games and cartoons from the very beginning. Ken was never the sole writer--he wasn’t even there for the first year--and he was writing stories centered around characters he hadn’t created like Sonic, Sally, and Knuckles. He doesn’t take credit for creating any of those characters, but the hypocrisy still seems to be lost on him

But of course, we’re not just talking about Ian’s handling of all of Archie Sonic here. We’re talking about Locke. And as Ken has said himself, Locke was based partially on his own father. And that’s really the kicker here

As I’ve said many times before, I try to avoid psychoanalyzing Penders and digging into his personal life. I don’t know the guy, and that’s his own business. But it’s hard not to when he literally says shit like THIS to fans

Locke is emotionally abusive towards his wife and son. Locke is also based on Ken’s dad. Ken refuses to see Locke as abusive, even though that’s exactly what he wrote, because that would mean acknowledging that his own father was abusive. So there’s always an excuse for why father knows best. It was a different era! They’re not humans! He could see the future! He might have hurt Knuckles, but it toughened him up, and he was always there for him in the end! The dad is never, ever at fault. The moms, on the other hands, are mere bystanders to the child rearing done by the dads. It’s just sad, really

I get why Ken would be bitter that Ian took this fictionalized version of his late dad, went “hey, this guy’s an asshole,” and then killed him off. I get why that would upset somebody. He wrote a very personal story there. But it’s not like Ian was pouring salt in a fresh wound--Ken lost his father all the way back in 1982. I know this because Ken literally dedicated the M25YL story about his version of Locke’s death to his dad. It had been nearly 30 years when he wrote this response to Ian’s work. That’s plenty of time to see a goddamn therapist instead of projecting all of your baggage onto Knuckles the Echidna and writing stories for kids about how you should never question your dad ever

The irony, though, is that Ian’s different take on Locke is arguably way more nuanced than Ken’s ever was. In his final moments, Ian’s Locke turns into this tragic figure who only realizes too late that the way of life the Brotherhood had raised him to believe was a mistake, that he had failed his son by passing those beliefs on to him. But he’s still held responsible for what he did. He’s a horrible dad, and the characters around him call him out for his failures, but you pity him for only now realizing what he had done

Ken, on the other hand, gestures at Locke doing horrible things, then tells you to forget about all that and stop questioning him. Knuckles pretends he has a totally normal Leave it to Beaver-ass father-son relationship as soon as they reunite in the Knuckles series. As an adult he thinks back on how great a job Locke did raising him, even though Locke literally took him from his mother, raised him to believe that his mother and the rest of his species were all dead, and then pretended he himself was dead for six years of his son’s childhood (among MANY other things)

M25YL gestures at those very same themes of not repeating your parents’ mistakes that Ian touched on in Locke’s final moments. Knuckles is raising Lara-Su very differently from how Locke raised him, and Locke admits that he wishes he had raised Knuckles differently on his deathbed. But his decision to suddenly admit wrongdoing in this flashback to his death feels unearned and arbitrary. Locke is never at fault. We cannot question Locke. Knuckles turned out fine, so don’t worry about it. Locke might regret the way Knuckles raised him, but Knuckles is not allowed to hold any ill will towards his father or question his methods whatsoever. We’re allowed to gesture at the idea that Knuckles doesn’t want to repeat the mistakes of the previous generations, but those vague mistakes aren’t allowed to be anyone’s fault. That’s just “how things were”

Ken would do a lot more than just complain about Ian’s handling of Locke on the internet, though. Because you see, the way Ian wrote Locke is commonly cited as one of the main reasons why Ken started copyrighting his work, right up there with Bioware basing the story of Sonic Chronicles partially off of the Knuckles comics without his blessing. And those copyrights, of course, were what started the legal battle that would kill off the original Archieverse

[barbenheimer-core]

AUDERE EST FACERE !

하나. chanel : part four — 3k words

Wangja crossed the street with a bag of two steaming bowls of ramyeon and red ginseng, speeding up his pace to prevent the noodles from getting too soggy while he walked the path over to his shop where he had left Ahyeong at, sighing as he thought about the new addition to the cast.

When he had walked into his store last night, he was not expecting a stage to commence immediately upon entering the lounge.

Thank the writer (this was the first and last time he was going to say that) that their conversation and actions had already been written out, or else the shop owner would've been gawking at the new girl for the entirety of the stage.

He had been immensely startled back then; it was unusual for him to not know the timing and plot of every stage because he always made sure to check the comic that permanently resided in a small, hidden corner of his shop every single day.

But when he had browsed the comic as soon as Ahyeong had left, he had been bewildered at the sudden shift in the book's contents.

The cast page had been altered to feature four main characters instead of the original trio, and as he had turned the pages, he had noticed the new stages being inked with interactions that had never been present as of before.

To think that an already complicated web of troubling relationships had not been enough for the writer, they had proceeded to add a love square to the mix.

Wangja grimaced at his creator's choices in life. They had definitely been influenced by someone to do so if it had been so last minute.

But one thing was for sure; out of all the stories that the writer had put him in, this was by far the most interesting.

"Ahyeong-ah! I'm back!" he yelled into the air as he stepped in, his voice echoing in the shop.

The silence was his only response.

Confused, he stepped through the streamers that decorated the lounge's archway, eyes searching for the girl while he set the food down on the coffee table next to the abandoned copy of Shiver.

"Ahyeong, are you here-"

He stopped abruptly, gaze finding the peach cover of True Beauty toppled upside down on the floor in front of a shelf he swore no one would notice.

With dread in his mind, he picked it up, turning it around, only to be faced by the drawn version of the person he was looking for.

Oh no. She'd seen it.

If Gilyeong had to describe his sister at that moment, he would've said she looked like she'd risen from a grave in a zombie apocalypse movie.

She looked dead. Alive, yes, but dead.

Like someone had told her whole life was a lie.

When Ahyeong had arrived back home from wherever she had dashed off to during the morning, she had looked like she'd gone through the five stages of grief, questioned the meaning of life, and ran a marathon through the streets of Seoul by how hard she was breathing.

He had almost asked her if she was okay, but that would've come off as him being "concerned for his dear sister," as Eunjung had so uselessly put it, and he hated proving people right. And besides, Ahyeong was clearly not okay.

"Oye, grinch," he called out across the table after seeing her actions.

She looked as if she hadn't even heard him. No annoyed flinch, no irritated twitching of her eyebrow; no reaction at all. Just her mindlessly trying to eat soup with chopsticks.

Eunjung looked at her with an extreme amount of concern.

Gilyeong almost puked at the feeling of worry in his gut.

Ahyeong was functioning on auto-pilot, her consciousness having taken a backseat as the only thing that moved her was sheer muscle memory.

She couldn't even remember how she had come back to her house, however, the stinging in her legs informed her of how she had deserted the shop and ran all the way back home, much to Driver Kwon's horror.

Her head felt empty.

Being in a comic? As a bully? That had to be the most ridiculous thing she had ever heard, or read, about herself.

It did not make sense. She was quite literally a model student, with a record as clean as glass. Being reduced to the likes of a bully? Impossible.

And then the derealisation came in.

This probably wasn't real after all. Maybe it was just one big practical joke blown out of proportion.

Yeah, that was it, she concluded as she finally became aware of her surroundings, dropping the chopsticks in her hands with a confused look and picking up a spoon to continue eating her soup, unaware of the small breath of relief from across the table.

That weird paralysis thing hadn't happened since the other day anyway, so she was probably going to be okay.

TURN.

What a fucking lie, you're kidding—

The doors to the house banged open, harshly knocking against the walls and startling the occupants of the dining room.

Song Hwayoung came inside the house, immediately making Eunjung receive her in a hurry and assist her with taking off her coat and setting her a pair of slippers.

Ahyeong was panicking. Why now? The universe was being unnecessarily cruel. Her body felt like a rock, cemented into the ground. The air got colder, the lights felt different, brighter somehow, as if someone was shining a spotlight down on her family, as if a grim situation was about to ensue.

Ahyeong almost got up to greet her mother, but sat back down after seeing the subtle shake of Gilyeong's head, who hastily looked down at his empty plate after Hwayoung came to sit at the head of the table.

Her mother looked like she had been trying to bottle up her anger the whole day, and the cap was finally about to burst.

Ahyeong felt unsettled at the sudden change in demeanor. Her mother had never gotten this furious before, ever. She attempted to stand, but she was glued to her seat and could only watch as Hwayoung glared daggers at Gilyeong.

She threw a stack of papers in front of Gilyeong, who shrunk into his seat when he saw its contents.

"What is this?" Hwayoung inquired, trying her best to appear calm.

The young boy mumbled a reply in a voice so small that it was barely audible.

Hwayoung flared her nostrils, "Say it louder!"

Both siblings flinched at the volume. "My report card," the youngest said shakily.

Why was her mum flipping over a simple report card? It's not like grades mattered—

"Even I know that it's a fucking report card. What I want to know is why your grades dropped to C's and D's and why the hell you're failing in math?"

Ahyeong's eyes widened, either involuntarily or of her own free will, she didn't know. Hwayoung cursing at her brother and raging over his academic report? That was quite literally the opposite of how her mother was. Hwayoung was supposed to be the sweetest person she'd ever known, understanding and supportive through every endeavor.

For a moment she considered if her mother had been replaced by a clone of a crueler version of her. With the bullshit that was happening to her right now, the theory did not even feel that far-fetched.

At Gilyeong's silence, Hwayoung scoffed, "All of this was happening and you didn't even bother telling me? I was in a phone call with your friend's mother who told me her son had scored first place but when she mentioned how you weren't even in the top ten do you know how humiliated I felt?"

She stood up abruptly, throwing her chair back, which was immediately caught by Eunjung, and scowled at the boy, not a single trace of warmth in her eyes that her daughter was familiar with, "What an embarrassment to the Song name. At least your sister fares better than you."

With that, she stalked away, heels clicking against the marble floors as she retreated to her room.

TURN .

Ahyeong got up as soon as she could control her movements, rushing over to Gilyeong whose eyes had become red and puffy as he sniffled.

She pulled him in between her arms, and he shook uncontrollably, Eunjung watching the ordeal with downtrodden eyes, wishing she could help.

This was far beyond what she thought would happen. No, that woman could not have been their mother.

As she put her brother to sleep that night, she came to a solution.

Stepping into the elevator to reach Cloud9 Officetel's terrace the next day, her resolve strengthened.

This nightmare was ending, one way or the other.

Jugyeong was quite possibly living the worst nightmare she'd ever had.

The world was too cruel. Beauty was only on the inside, they said. What a horrible lie.

She had been humiliated beyond measure. All she tried to do was convey her honest feelings to quite possibly the only person who had ever been genuinely kind to her. She would've been fine if Wang Hyunbin had simply rejected her and decided to stay as friends. But for him and Semi to destroy her pride and self-worth like that? Because of how she looked?

She felt her eyes burning with warm tears before they cascaded down her cheeks, the cold wind at the top of the building harshly biting at her skin and rattling her bones.

She shivered.

Cold, it was too cold. What a day to die.

Jugyeong's hands hovered over her phone's screen as she stared at her mother's contact. Would her family even mourn her? Good riddance, they would probably think.

But she had to tell someone, and even if her mother was harsh with her words, she still loved her. She had to tell her the reason why she was about to jump off of a building.

Just as her finger leaned down to press the call button, the door to the rooftop opened, and Jugyeong jumped in shock, turning around to see who had come in.

She did a double-take.

Was God personally consenting to her taking her own life? Because she was pretty sure he had sent down an angel to escort her soul into heaven.

Her glasses had been abandoned on the bench she'd been sitting on from when she had been trying to wipe her tears, so she couldn't really see the person properly, but even with bad eyesight, the stranger looked almost ethereal.

They were dressed in a black dress and heels, as if they had gone to a funeral, or were planning to go to one.

They stopped upon seeing Jugyeong's disheveled self.

Was God finally being kind to her in her final moments?

Mind in a haze and not thinking straight, Jugyeong broke down yet again.

Ahyeong was startled at the girl crying in front of her. She didn't think there was going to be someone else up there other than herself.

When she looked closer at the girl who was sobbing uncontrollably in front of her, she noticed who it was, immediately taking a few steps back on instinct.

Moon Gayoung? Why was she in a school uniform— oh.

You've got to be kidding me.

What luck she had, walking right into the girl this world literally revolved around.

She felt something pulling away at her in the back of her mind, sending warning bells down her spine, saying she wasn't supposed to be there. But why?

Ahyeong's heart almost burst out of her ribcage when Jugyeong threw herself at her, clutching almost painfully at her waist and sobbing into her dress.

She froze at the sudden contact, arms awkwardly hovering over the girl's shoulders.

Jugyeong had probably not recognized her yet, because there was no way she was hugging her future tormentor just like that.

"Th-thank y-y-you for c-coming," the girl said between choked breaths, "F-for being- for being here in my—" she struggled to say the words, "—my final moments."

Ahyeong stilled at that.

By the time her words had registered, she already knew what was happening.

This was the scene from the drama, she remembered, when Jugyeong had tried to kill herself because of the incident at school.

How ironic. Ahyeong almost laughed at her situation, they were here for the same fate for almost the same reason. Both didn't like the world that they lived in.

But for the Song girl, this was a test, really. A theory she came up with in the dead of the night.

The sensation of falling, that knee-jerk reaction, and the feeling of finally waking up from your dream. That was what she was hoping for. She wasn't here to die, she was here to go back to living her own life.

But the girl who clung to her was dead set on ending things, and frankly, that was a dreadful thought.

Ahyeong had no intention of leaving her as she was, be this a fictional world or not, Im Jugyeong was a human being who deserved a lot more than she got.

"Were you going to jump?"

Jugyeong's thoughts came to a halt as the Angel asked a question, the oddly familiar lilt of her voice bringing a strange mix of foreboding and warmth in her gut.

Still shaking, she only nodded against her shoulder.

"Why?"

"Because-" she sniffled, tightening her arms around them, "because everyone hates me," her voice faded at the end, and her wobbly knees gave in, making her sink into the hard floor and dragging the person along with her.

This time, the Angel wrapped her arms around her, rubbing soothing circles into her back.

"Jugyeong, things may seem horrible for you at the moment, and you have every right to be upset over what was said and done, but it is impossible to know answers to such questions when you're so overwhelmed."

The words cut through her haziness, her cries slowly stopping as what they said registered in Jugyeong's mind.

"You don't really want to die, do you?"

It felt weird, being told such things by a stranger.

Maybe deep down she had already known, but her despair had overtaken her senses and disregarded her common sense.

"Why were you really about to call your mother?"

Because she was hoping someone would stop her. To make sure someone really did care about her despite appearances.

The Angel patted her back, and slowly pulled away, only to firmly place their hands on Jugyeong's shoulders.

"Your family's waiting."

She didn't need to be told twice.

Maybe God was kinder than she thought.

It was getting dark now.

The cold evening air nipped at her skin as Ahyeong stood on the edge, heels digging into the concrete as she gazed down below.

What a hypocrite she was, telling all those things to Jugyeong.

She'd sent her home with a taxi after their ordeal, and Jugyeong had not even looked at her once through the whole thing.

She didn't know why.

The road was buzzing with activity, cars zooming past on asphalt, people walking home on the footpaths, vendors selling seasonal goods by the side.

It seemed to be a normal day.

She wondered how the rest of their day would go if her body suddenly flopped down there.

Gooseflesh rose on her arms. All of this was too real.

She slapped herself, the stinging spreading through her numb skin and making her wince in pain.

What was she doing? Was she really about to jump off a building just to test a theory out?

What if it failed? The pain in her cheek would pale in comparison to what would happen should she fall.

And the people waiting for her back home, thinking she was off paying her respects to an old friend. Gilyeong and Eunjung would be destroyed.

Ahyeong stepped back. No, she couldn't do this. She wasn't planning on dying today. Or anytime soon really.

She'd just have to get used to living here—

TURN.

Song Ahyeong stepped closer to the edge of the building, awaiting her doom.

What the fuck!? She didn't want to die, shit, shit, shit—

The LED screen behind her lit up in hues of pink and purple, colorful shadows falling on her dress that did nothing against the frigid wind.

Jung Seyeon's face graced the billboard in the distance, an ode from the people to celebrate the day he was born, and an apology for being the reason he died.

One more step and she would fall. No, no, one more step and she'd fall—

Ahyeong leaned forward closing her eyes for the last time.

NO!

And so, she fell backward.

Wait, backward?

TURN.

Ahyeong barely registered the iron grip on her wrist before it was tugged hard, her stiletto losing its balance and twisting her foot at an unnatural angle.

She widened her eyes as her vision blurred, surroundings moving too fast, and braced herself for the impact on the rough concrete.

It never came.

Instead, she fell on the person who had taken the liberty of pulling her back, and subsequently saving her. Groaning, she raised her head, squinting against the bright light of the advertisement.

"What a relief," Suho breathed out.

The ColorBeauty commercial cast the glow of its neon colors over their faces, and as the faint melody of Seyeon's voice filled the silence in the air, Song Ahyeong knew that somehow, she had fucked up.

masterlist

© 2021 Alfia Sheikh, All Rights Reserved

[mostlysignssomeportents]

Into the breach

US law enforcement has literal centuries of shameful history of infiltrating and spying on politically disfavored activist groups, from trade unionists to suffragists to abolitionists to civil rights advocates to antiwar advocates.

Long before Cointelpro, federal agencies were intercepting communications and embedding as provocateurs in radical political movements, often with the help of mercenary "contractors" like the Pinkertons. The digital age only ramped up this public-private surveillance.

The Dakota Access Pipeline protests were infiltrated and surveilled by beltway bandits who billed the US taxpayer handsomely for the service.

https://theintercept.com/2018/12/30/tigerswan-infiltrator-dakota-access-pipeline-standing-rock/

2020's BLM uprising was subjected to the full array of military and national intelligence surveillance: drones, IMSI catchers, mass interception, infiltrators, wiretaps, "reverse warrants" to recover location data from Big Tech monopolists and more.

https://theconversation.com/police-surveillance-of-black-lives-matter-shows-the-danger-technology-poses-to-democracy-142194

And yet, federal and local agencies were seemingly totally unprepared for a mob of thousands of armed terrorists who stormed the capitol, disrupted the transition of presidential power, and threatened the lives of US legislators as well as the integrity of state documents.

The thing is, the plans were in plain sight. For weeks, I've been seeing screengrabs from far-right forums that leaked onto public social media in which violent psychopaths laid out detailed plans to commit murder and overthrow the government.

I wasn't even looking for this stuff. I was on vacation and only cursorily checking the internet. But it was obvious. How obvious? Well, the President was the keynote speaker at the riot and he openly called for violent insurrection. That might have tipped the cops off.

Since 1999's Battle of Seattle, cops have acted like pants-wetting cowards at the first whiff of protest.

2017's plan for dozens of paralyzed, wheelchair-using Medicare For All activists to peacefully occupy the capitol begat violent police panic.

https://twitter.com/MarkAgee/status/1346904850886397954

But when armed terrorists followed through on their widely proclaimed plan to invade the capitol building yesterday, law enforcement foundered. They weren't just unprepared to stop terrorists for breaking in, they were also unprepared to deal with them after the break-in.

To get a visceral sense of the shitshow, listen to Ryan Grim's interview with Matt Fuller, recorded while Fuller was hiding in a secret bunker with other Congressional reporters, Members of Congress and their staffers.

https://theintercept.com/2021/01/07/deconstructed-capitol-inside-the-insurrection/

There's a lot of fingerpointing today between the agencies, with a starring role for the US Capitol Police, who get $460m/yr (10% of Congress's total budget) and have demanded a stonking increase for 2021.

https://www.csmonitor.com/USA/Politics/2021/0107/Lawmakers-vow-a-probe-into-Capitol-Police-for-breach-by-mob

They definitely have some serious questions to answer (including why their officers posed for selfies and seem to have opened the gates to permit terrorists to storm the building).

https://twitter.com/jason_kint/status/1347054783333625857

But as Neal Stephenson pointed out in his 1994 comic technothriller masterpiece INTERFACE, DC is a "cop zoo" with literally hundreds of different law enforcement agencies operating in its city limits.

https://memex.craphound.com/2007/12/10/interface-neal-stephensons-underappreciated-masterpiece/

Did none of these agencies see the terrorist plan that had been scrawled in 100' tall flaming letters across the internet? How could they be caught this flatfooted?

From: Propublica: "a thin line of U.S. Capitol Police, with only a few riot shields between them...struggled with a flimsy set of barricades as a mob in helmets and bulletproof vests pushed its way toward the Capitol entrance."

https://www.propublica.org/article/capitol-rioters-planned-for-weeks-in-plain-sight-the-police-werent-ready

In her excellent Naked Capitalism roundup of yesterday's failures, Yves Smith examines the logical conclusion that the police were on the terrorists' side. After all, police unions and officers rallied for and endorsed Trump. Would they support a coup to keep him in power?

https://www.nakedcapitalism.com/2021/01/maga-cosplayers-seize-capitol-while-cops-flounder.html

Biden is no defund-the-police radical. He pledged to *increase* cop funding by 10%.

But Trump doesn't just promise money for cops: his offer is total impunity. Remember when he told police they should deliberately brutalize people during arrests?

https://abcnews.go.com/Politics/trump-police-nice-suspects/story?id=48914504

US policing has its origin in "slave patrols" that abetted enslavers by kidnapping Black people and forcing them into slavery. Slave patrols' legacy lives on in modern policing, with US police forces riddled with white nationalist terror supporters:

https://theintercept.com/2017/01/31/the-fbi-has-quietly-investigated-white-supremacist-infiltration-of-law-enforcement/

Trump himself is a white nationalist. A significant proportion of US police might be tempted to abet a coup to perpetuate the rule of a despot who promises them a free hand to torture and brutalize, and who backs white supremacy.

The failure of US law enforcement to prevent yesterday's botched coup will have long-term, ongoing consequences. While most of the terrorists were Qanon-addled fools, it's impossible to rule out some of them being sophisticated enough to attack the Capitol's IT systems.

Resecuring the Capitol's IT infrastructure should probably involve shredding every device, cable and thumb-drive, tearing open every light-socket and power-outlet, and even then, it will be hard to fully trust the building and its systems.

My 2020 novel ATTACK SURFACE has a B-plot that closely tracks yesterday's attacks; complicity between far-right insurrectionists and palace guards, and massive breaches of official covert IT systems after the government falls.

http://attacksurface.com

I'm not the only one who fictionalizes attacks like this. Within hours of the attacks, right wing conspiratorialists were calling it a false flag and describing their colleagues in the videos as secret antifa infiltrators.

The narrative aftermath of this is gonna be *wild*.

Take the War of 1812. Many commentators have invoked that war - in which enemy forces burned down the White House - in discussing yesterday's assault. But what most Americans don't know is that they are told a highly parochial version of that war-story.

Americans think the War of 1812 was fought with the British, and that the US won. Meanwhile, Canadians believe that the War of 1812 was fought between the US and *Canada*, and that *Canada* won.

Indeed, we have delightful comic folksongs that celebrate the burning of the White House by victorious Canadian troops:

https://www.youtube.com/watch?v=o7jlFZhprU4

And the White House burned, burned, burned And we're the one's that did it! It burned, burned, burned While the president ran and cried It burned, burned, burned And things were very historical And the Americans ran and cried like a bunch of little babies Waa waa waah!

Can you imagine the story the descendants of Qanon believers will be telling themselves of yesterday's attack in a century or two?

[mwolf0epsilon]

First off, before everyone comes after my butt with their "No Fun Allowed" and "Cringe" signs, this is in no way something to be taken as gospel or insightful. It's not a prophetic enforcement of canon. It's literally a theory done for fun, and to try to piece the Bendy Crack up Comics into the general and messy lore of the BatIM franchise. 

Most of you get this and don't need a big wordy warning about fanon interpretation, but a lot of peculiar people tend to show up in my ask box hoping to start a fuss over my headcanons and AU ideas, so I thought to be nice and leave a polite and diplomatic "Kindly Fuck Off" sign at the door for them.

With that said, there will be mild spoilers, carry on of your own volition, down below under the cut that will definitely show up because Tumblr mobile is a functional app that's never given me trouble!!!

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[[MORE]]

The Bendy Franchise has an established issue with cohesion in its lore. We all know what I'm talking about, we all have reservations about canonical character discrepancies (game vs novel vs guidebook) and we all have been racking our brains with a few holes in the timeline, as well as how BatDR (which is neither prequel nor sequel) will fit into this, since it's connected to BatDS and that's an established prequel to BatIM.

Granted I myself am missing a lot of pieces, having to scrounge around for info since I can't really get any of the reading material myself and rely heavily on @british-hero (who owns the novel plus got her copy of the comics yesterday), a very incomplete wikie, and analysis and theories from SuperHorrorBro's Bendy videos.

Heck, I also rely on a lot of gameplay footage, because BatIM has a bit of subtle storytelling through visual design of its levels, and hints of how certain characters work through a few game mechanics.

Through this mishmash of collecting puzzle pieces for the greater picture I even have a few notes on my phone to piece together certain events in established dates, something which comes very in handy for this theory since it talks about two particular characters, the Projectionist and Brute Boris (and I guess Twisted Alice to some extent but it's more of a note on some interesting thoughts I have of her).

Without further ado, here's what this theory is all about: Why did Norman become the Projectionist, and why did Twisted Alice turn Buddy Boris into Brute Boris?

If you think about it, there's only two creatures in the studio that really seem out of place in the world of BatIM, and that's Prophet Sammy and the Projectionist. Neither are inherently similar to any of the cartoon characters, nor are they considered to be Lost Ones. They're certainly not Searchers, but while we know Sammy is unique because his method of transformation was different, we never got an explanation for Norman's. It could be that it's a process similar to BatDR's new enemy type that's larger and seems to have bits and bobs stuck to it, but then those big guys seem like the equivalent to Swollen Searchers for the Lost Ones. The Projectionist doesn't really fit the puzzle.

Or at least he didn't.

With the introduction of the Crack up Comics collection, we get three new characters that were definitely designed in the same manner that the Butcher Gang was. Beginning with a corrupt monster forms and then giving way to perfect and pristine rubberhose toon forms.

I'm talking about Miss Twisted, the Brute, and Cameraman.

The villainous trio from the Souper Boris comic strip.

To us it's obvious the artists created them in parallel to Twisted Alice, Brute Boris and the Projectionist, but to the actual canon this actually has a bit of an impact on the Projectionist's existence.

Why, you ask? Because those characters were introduced between 1936 and 1940.

Bendy Crack up Comics table of contents, showcasing the publishing dates of the strips.

For anyone who doesn't know (either from not paying attention to the Joey Drew Studios channel audio logs, or from not owning the books) the Ink Machine wasn't conceptualized or installed until 1942/1943. Putting that into perspective, the only other thing that happened in Joey Drew Studios in 1940, was the conceptualization of Bendyland (which is likely the origin of the idea for the Ink Machine itself).

This means that Cameraman existed well before the Projectionist ever came to be, and that made me think about another thing: The Ink's apparent sentience.

I'll be frank, the Ink is very hard nut to crack. I consider it a form of alchemized entity, others consider it pure black magic, and I'm pretty sure Joey Drew himself had no idea what he was dealing with when he began using it. The fact of the matter is that the Ink is alive and that it has its own agenda. One that coincides with Joey's, out of mutual interest.

In the novels it seems to want to be free, but it can't exactly do that as a formless liquid, so it tries to body-snatch people (ex: Sammy and Buddy's grandpa).

When Joey tries to use it to give life to Bendy through nothing more than using the Ink and a template (likely a character model sheet) the Ink tries to follow the model but immediately becomes a distorted humanoid version of it (which honestly rings so many fucking alarm bells on its own). Things… Escalate there on out, with Joey trying to perfect the method and only managing to succeed through Daniel Lewek (and many other nameless Boris Clones), Allison Pendle and Thomas Connor.

An important thing to take from this, however, is that by trying to perfect this method Joey not only taught the Ink to reshape things into viable referenced material, but that he had to have lost control of just how many souls were being pumped through the Ink Machine for him to monitor and keep up.

Sammy started killing people when he completely turned, and it didn't seem to take long for him to cut down people in likely both the music and art departments. At this point he had no self-restraint and was completely wrapped around inky fingers and Joey's lies. 

Norman is one such potential victim, and Dot and Buddy even passed by his ink-wrapped body while fleeing.

Now, the thing about trying to follow a specific guide and not having the actual means to make it exactly the same thing, is an easy enough notion to get (as shows like "Nailed It", and years of trying to perfect visual style mimicry, have taught me).

The Ink likely had the template it needed (maybe a printed copy of Souper Boris that got thrown around in the chaos), the insight of what Norman's role in the studio was, the amount of mass it needed to consume and transform his dead body, but not exactly the right sort of… Centerpiece for it...

Cameraman using his lens to light up his path.

But what's a projector besides a bigger fancier camera? Both blink, both take film, same thing right? The ink doesn't see the difference and just stitches together this humanoid bootleg cameraman with the pieces it finds that are similar enough.

Mechanical blinky head? Check.

Strange round disc near the belly? There's a speaker. That's round! Check.

Film? There we go, a nice big round reel full of film in it, let's put it near the head, that's how it works right? Check.

Lastly, no Joey to actually direct this artistic recreation of a one-off character. The Ink did it all by itself while he was off getting his hand broken by a rightfully upset Buddy Boris.

If you look at it objectively it makes sense that being the projectionist tasked with not only recording and maintaining the projectors themselves, that the entity in the Ink would pick Cameraman as a template for Norman's transformed self.

It also makes sense that the Projectionist is so off-putting in the studio. He's almost perfect, but not quite because there just weren't the right materials. He's stuck in between Twisted Alice and the Butcher Gang clones as another failed recreation.

Moving on to the next question on why Twisted Alice turn Buddy Boris into Brute Boris, when she hadn't done the same to any of the other Boris Clones.

It's hard to say really, but I think it all comes down to who Twisted Alice really is. It's very likely that, as Susie Campbell, she would have knowledge of the comic strips. A few were most likely made into cartoon shorts even (which isn't an unusual assumption to make), and maybe Susie voiced a few background characters for said shorts.

Susie may have lost her role as Alice, but before Joey came to her with his proposition for the "special project" it's very likely that she remained in the studio, forced to do the voices of characters that weren't noteworthy or that she felt completely disconnected from (talking chairs and singing hens really don't become beloved fan-favourites) . Maybe if the Souper Boris story was made into a short, she might have voiced Miss Twisted (which honestly would be personally insulting considering she once had the role of the main heroine).

Point is, Susie knows her lore, and that translates to Twisted Alice's repertoire of insightful knowledge on the abominations lurking around the studio.

She never did turn other Boris clones into brutish lackeys because at the time she didn't need to. But it doesn't mean she hadn't considered it. Henry's disruptive behaviour is just what she needed to put that plan into motion.

There was already a "Cameraman" walking about, one that could easily rip apart anything it came across, so acquiring the means to recreate the "Brute" would have been benefiting from her point of view. The Projectionist doesn't take orders and can't be reasoned with, so if she could make something just as strong that took her orders she could, theoretically, be safe from most terrors in the studio. If that didn't work, she would still likely send others to their death by simply sending them down to Level 14, or maybe lure the Projectionist to them herself (just because he doesn't take orders doesn't mean she can't use him to achieve her end goals).

Miss Twisted, the Brute and Cameraman in their evil swamp lair.

But why Buddy Boris specifically? Why couldn't she have used any of the bodies laying around? Freshness most likely. Rigor mortis is probably still a thing, even for living cartoons. Easier to work a fresh dead body than a bunch of stiff wolves.

That's at least why I think Brute Boris is a thing. Susie's knowledge of most Bendy cartoon/comic strip characters, taking inspiration from the Projectionist's presence, and honestly a very twisted sense of humor and irony. In her quest to become a Perfect Alice, the heroine of the show, she ended up becoming just as antagonistic (although more sadistic) as Miss Twisted, a Bendy comic strip villainess.

[itsclydebitches]

Why do you like Lore Olympus? I'm genuinely curious because I've seen a lot of harsh criticisms toward the comic, from its inaccuracies regarding its use of Greek Mythology to the plethora of harmful queer stereotypes. I tried reading it myself but honestly, if you took out all the Greek Mythology references and naming, it just seems like another "far older man courts a barely adult woman" love story with bad queer rep thrown it.

Happy to explain! Let’s tackle what’s perhaps the most complicated aspect first. 

As a former Classics major I can tell you that there is no “Greek Mythology.” Meaning, there is no singular Greek Mythology that can be referenced and consulted in any uniform way. Which is a really difficult thing to conceptualize in an age of print publications and careful record keeping. Unsure about whether Harry ever cursed Draco with such-and-such hex? Re-read the Harry Potter books to find out. Want to claim that Sherlock was horrible to Watson and frequently insulted him? We can comb through Doyle’s shorts stories and novels, tally every insult, and find out. These are canons and, as messy as the term “canonical” has become with more adaptations and transmedia storytelling, most characters have a set, fixed existence that we can return to and use as evidence. Not so with Greek Mythology. Born of oral storytelling, there are a hundred different versions of every myth, some changes more stark than others. Some of those versions were written down. Then written down again (differently). Then written down again (differently still). Then we realized they were almost all being written down by men and huh, I wonder if that has any impact on how they framed the story (spoiler: it absolutely does). And all of this doesn’t even take into account the issue of translation. Regardless of what Ovid may have put down on the page, you’re going to get a different experience depending on whether you read Melville or Gregory. There’s a reason why everyone was so excited over Emily Wilson being the first woman to translate The Odyssey into English. Her perspective and her experience as a woman by default changes the way she approaches the text. Even something as simple as a single description can have a HUGE impact depending on how it is translated. Take this excerpt from a NYT article: 

“The prefix poly,” Wilson said, laughing, “means ‘many’ or ‘multiple.’ Tropos means ‘turn.’ ‘Many’ or ‘multiple’ could suggest that he [Odysseus] is much turned, as if he is the one who has been put in the situation of having been to Troy, and back, and all around, gods and goddesses and monsters turning him off the straight course that, ideally, he’d like to be on. Or, it could be that he’s this untrustworthy kind of guy who is always going to get out of any situation by turning it to his advantage. It could be that he’s the turner.”

Is Odysseus a poor victim turned around by monsters and fate, or is he a schemer capable of turning it all to his advantage? It all depends on how it’s translated and whoever wants to make a case for Odysseus being a “good” or “bad” guy can point to this translation as evidence… or another. Or another. There are just too many versions for anyone to definitely say what these gods and others are “really” like. 

I put so much emphasis on this because the biggest criticism I’ve seen leveled against the comic is the characterization of Apollo. He would never rape Persephone! How dare you twist his character like that! Except Apollo isn’t a character that exists in a fixed canon. He belongs to an overwhelming corpus of complicated, contrary, contrasting myths… and yes, in some of those he raped. Arguably. It, again, comes down to translation and interpretation. Take this excerpt from Nancy Rabinowitz’s paper “Greek Tragedy: A Rape Culture?” 

Creusa, raped by Apollo years ago, conceived a child and abandoned him… For the purposes of this paper, I have to address the question of whether Creusa was in fact raped by the god. Hermes mixes the terminology in the prologue; he asserts that the god Apollo “yoked the daughter of Erechtheus in marriage (γάμοις)”, but he also says “by force (βίᾳ)” (10-11). Ion later (1524-25; cf. 341, 325) wonders whether Creusa was really raped, or whether she was just alleging that the god took her by violence to cover up an indiscretion of her own – a similar situation could be imagined in our own day, where false allegations may arise from young girls’ fear of confessing consensual relations to their parents. Lefkowitz argues that women tend to cooperate in their seduction by a god. While it might seem obvious that Ion is simply wrong, there is the further implication that though Apollo raped Creusa, she also desired him” (11-12). 

So if we’re looking for evidence that Smythe’s interpretation of Apollo is the “correct” one, it exists… depending on what you read and how you choose to interpret it: whether a mortal woman can ever truly give consent due to the power difference between her and a god, whether it was safe to say no, whether she might have lied to protect herself, whether it was something a part of her desired but perhaps didn’t entirely want, etc. It’s that last bit in particular—those difficult questions—that Smythe explores in her comic. Persephone wants to explore her sexuality. She wants a way out of her virgin obligations. But she’s also pressured into sex by Apollo. He doesn’t stop when she expresses discomfort. She doesn’t feel safe asserting herself and telling him to stop. It’s rape, but it’s a far more complicated situation than the rape scenario of “Evil man forces himself on woman in the back of an alleyway” and Smythe treats the tragedy with nuance and respect, even in a comic filled with so much humor. 

The people I see most upset about Lore Olympus are those who talk about the gods and their associated mortals as if they’re characters out of a book. They read one version once—or maybe two—and, as is natural in the 21st century, decided that This Is How The Story Goes. Even though every academic would be losing their mind over such definitive statements as, “Such-and-Such would never do this.” That’s simply not how records this ancient, sporadic, political, and downright messy work. So as someone with some knowledge of how Greek Mythology functions, I’m not at all put off by the comics’ “inaccuracies.” Because they’re simply not inaccuracies, just interpretations. Not liking those interpretations is fine, but that doesn’t mean Smythe was wrong for providing them. 

As for the rest, I’ll try to limit myself to bullet points: 

The age difference between Persephone and Hades is definitely A Thing and I admittedly didn’t realize that was the case when I started reading. I assumed that Persephone, like most of the cast, was hundreds/thousands of years old and just had a child-like personality. I basically realized around the time Hades did that she’s so young. That being said, the issue of age differences changes for me once you reach such insane ages. That’s why I still ship Ozqrow: Ozpin is hundreds of years older than him but at that point he’s going to be older than everyone. Always. Limiting his ships to only those who are close to Ozpin’s age means you can’t ship him at all (unless you ship him with Salem post-grimm pool and… no). It’s a similar situation with Hades. Yes, there are plenty of gods his age that he could date (and indeed he does) but he is always going to be thousands of years older than Persephone. She can literally never catch up to him, so if someone has an issue with the age gap then they have to accept that it will simply never go away. They can never be a couple in which case yeah, then the comic just isn’t your thing. 

Really, I think the bigger issue is not the gap itself but Persephone’s age, period. Again though, I appreciate that Smythe treats the situation with a great deal of respect. This isn’t a story of a much older man hunting a younger woman. It’s the story of a much older god who, like me the reader, assumed he had fallen for a slightly younger goddess… and then freaked out when he found out he was wrong. He’s called out for his ignorance. Others are incredibly protective of Persephone. They both try to stay away from one another and find themselves struggling. Which, to be frank, is an interesting dilemma to me. And it’s one I’m more interested in with gods as characters as opposed to humans. Because it feels less predatory to me. A man going after a much younger woman is threatening in part because we’re mortals who have so much to lose, including our youth. If you enter an abusive relationship that alone is horrible enough, but it also means you’ve lost all those years and all that experience to toxicity. When a god goes after a much younger goddess… they’re kind of static. They have eternity stretching out before them. Persephone potentially “losing” ten years to a relationship with Hades just isn’t the same thing as a mortal losing ten years to a relationship of their own. Gods, though they seem quite human, simply aren’t and thus for me questions of morality and what’s ethical in any given situation changes. We have a cast who, when Eros gets upset and murders a whole bunch of humans, Zeus shrugs and says they’ll just make more. Their concept of right and wrong differs from ours and it invites the reader to apply that to every situation: is it as wrong for an older god to go after a 19yo goddess as it would be for an older man to go after a 19yo woman? Many readers may decide it is—to some extent the text decides it is—but the story still possesses ambiguity and invites the reader to grapple with it. That’s compelling. 

Connected to this, I like how much agency Persephone has throughout the series. She’s very much a character who defies expectations, particularly when it comes to her sexuality. Far from being a meek, vulnerable woman who is preyed on by Hades, she is making constant, active decisions about her own romantic and sexual encounters. Even if that decision is just acknowledging how unsure she still is: does she want to remain a virgin? Does she want Apollo? Does she want Hades? Is it okay to make out with Ares? Wear this very short dress? Get drunk? Explore a city? Invite this person over? Have feelings for your boss? Persephone is grappling with a lot of questions that don’t have easy answers and the fact that the story gives her the room to do that grappling is fantastic. I’ve spoken before about my dislike of the Strong Female Character—someone who is not just physically intimidating but who also never, EVER hesitates. She knows precisely what she wants and she’s going to take it! Which is a great portrayal of one kind of woman… but I’m not that kind. I hem and haw and am anxious like Persephone. So for me it’s refreshing to see a story that paints uncertainty as strength. She’s allowed the space to be unsure and confused and is never belittled for that. 

Honestly I’m not sure what the issue with the queer rep is? Beyond the fact that Lore Olympus doesn’t seem to have any (unless I’m forgetting some. Very possible). Which, admittedly, is far from great, but if I dismissed every story due solely to a lack of queer characters I would limit a lot of my potential media. So for me, personally, that’s not a deal breaker. Taking a stab in the dark, I’ll make an assumption that people are upset about certain characterizations like Eros? Which, fair. But we also have the flip side that effeminate, flamboyant men do exist. It’s another complicated, touchy subject, but there’s a fine line between enforcing stereotypes and acknowledging that those stereotypes often do arise out of something. Some people hate the media image of the queer kid decked out in rainbows. Other people look at their own wardrobe and backpack and go, “Actually… yeah. That can be accurate.” For me stereotypes are primarily an issue given their prevalence. It’s an issue when that’s the only way queer characters are portrayed, but Lore Olympus doesn’t have that problem because, again, it’s focused on het relationships. Eros might potentially be a (non-confirmed?) queer stereotype… or he’s a battle-hardened warrior who also likes to gush about gossip while baking, the sort of complex gender portrayal that people claim to want. It depend on how you approach it. So no, Lore Olympus isn’t breaking any ground with queer rep but, as said, I do appreciate how it treats sexual assault—among other sensitive, relevant issues. It’s a trade-off. No piece of media is going to be perfect. I could say the same thing about so many great stories. The Mandalorian doesn’t have any queer rep! No, it doesn’t, but it is giving us a fantastic story about a bounty-hunter turned dad that challenges a number of Western gender assumptions so… trade-off. 

I likewise enjoy that characters call one another out on shitty, toxic behavior without completely losing who those characters are. (Again, supposedly who they are based on the lecture I gave at the start lol). Meaning, it would be kind of weird if Zeus wasn’t a womanizer. That’s what we expect of him, so changing that would likewise change one of the most fundamental aspects of what makes Zeus-Zeus in the general public’s perception of him. But we still have scenes of Hera and others calling him out on that shit, so it’s a balance between modern sensibilities and character expectations. 

The characters overall are just wonderfully complex. Persephone doesn’t seem so at first glance, but that’s partly the point: she’s nothing like what everyone assumes she is and it’s those assumptions that she’s learning to push back against. But overall Smythe has a real knack for emphasizing the human (or god) complexity. We hate Eros for helping Aphrodite punish Persephone. Then we feel bad for him because of his sob story. Then we pull back because he’s called out for being a dick and making himself look like the victim. Then we come to the realization that his side of the story was still accurate in many ways and finally end on… he’s flawed. He’s just a flawed person. He’s not a saint. He’s not the devil. He’s a guy who screwed up one moment and did something good the next. Perhaps it’s just me coming out of the nonsense that was Volume 7 of RWBY, but it’s refreshing to read a story where that complexity is emphasized and (most) flaws are forgiven while still being acknowledged. 

Overall I just find it to be a fun, entertaining story! lol. The artwork is beautiful. The humor is great. There’s a nice balance between plot and introspection. There are issues with the series, sure, but none thus far have kept me from enjoying the experience of reading it. I fully support anyone’s right to go, “Nope. Not for me.” For any reason. But I also feel like Lore Olympus is a good example of Tumblr’s recent emphasis on pure media: it must be PERFECT. Otherwise chuck it in the bin. Lore Olympus does a lot of the things that people on this site call for. Respectful depictions of assault. Emphasis on mental health. Storytelling from a woman’s perspective. Numerous types of woman characters. Being careful about who engages with sensitive material and how (each chapter that contains such issues has a trigger warning at the start, impossible to miss). Lore Olympus does a lot right… and some things wrong. Which is what we would expect of any good story. So it feels disingenuous of me—if not outright dangerous—to paint it as worse than I actually think it is. I want media to continue to improve, but I also don’t want to scare off authors from even trying because they were raked across the coals for not creating perfection. Smythe, to my mind, is definitely trying and that should be acknowledged. 

[twistedtummies2]

Gotham’s 31 Most Wanted - Number 11

Welcome back to Gotham’s 31 Most Wanted! Each day of January, I’m counting down my Top 31 Favorite Batman Villains of all time! Today’s villain is a real beast. Number 11 is…Killer Croc.

Ohhhh, this guy…Waylon Jones. Dear, dear Waylon Jones. Don’t you and I have some interesting history together? XD So, here’s the thing…a long time ago (well, not THAT long, but a few solid years), I actually made a list of my favorite Batman Villains reaching up to the top 24, on a different site. With this countdown, that Top 24 has changed in several places (nearly every place, in fact), but perhaps no change was greater than the change this guy took. I won’t say where Croc ranked initially, but it was a bit further down…and this was mostly because I didn’t really KNOW Croc all that well. See, I basically knew Croc through…oh, maybe one or two comics where he wasn’t the real focus, and a few select versions in other media. We’ll get to that issue in a little while, but the purpose of me saying this is that, for many years, my perspective of Killer Croc was that he was basically just a thug. A cool-looking thug, mind you, but still a thug: he was just a brute that Batman needed to beat up, and while he could occasionally be scary, he wasn’t all that interesting. Again, that is what I THOUGHT. In the time that spanned between creating that list and working on this countdown, I discovered that the character was actually rising in popularity, and that several people I knew – some of them very close friends of mine, both online and offline – really, REALLY liked Croc as a character. This intrigued me, needless to say, so I started reading more of the comics…and what I found there was a villain who was much, MUCH more than the “Hit ‘Em With a Rock!” dunderhead I’d perceived in some other interpretations. Originally conceived as a gangster with a rare skin condition that gave him a reptilian appearance, Killer Croc, over the years, became essentially a perfected interpretation of what Man-Bat is in many ways. As I said on Man-Bat’s entry in the countdown, the problem with that character is that nearly every story with him feels the same: it’s a story about Kirk Langstrom trying to regain his humanity. Waylon Jones has much more variety in his tales. Croc deals with similar issues, but with a deeper twist: this guy literally can’t help the fact he’s a monster. His body and mind are steadily regressing to an animal state, so as the years pass, he finds it harder and harder to keep hold of his sanity and his humanity, becoming more beastly and monstrous, both inside and out. Killer Croc is a character who can be fierce and intimidating, but usually isn’t the brightest bulb in the box…heck, even in the early days when he actually became so powerful he basically RAN Gotham City (no joke, that was a thing), he was more cunning and ruthless than he was a genius or a mastermind. These traits have carried over into other media, but the tragedy and pathos of the character found in comics have not. We’ve never really seen a version of the character outside of comics who struggles with the constant daily battle of his bestial instincts and his human soul. The Croc in the comics is funny, sad, and at times sort of sweet; nothing like what we’ve gotten in most other versions, which usually capture one or two traits, but somehow always miss the key element. The Croc in the comics EATS PEOPLE ALIVE, but he doesn’t necessarily always feel good about it (keyword being always). He’s another case of where, in more recent years, he’s steadily been turning into more of an anti-hero than a true villain: he can be a monster, some would argue he IS a monster, but he’s a monster with layers and reasons for what he does or does not choose to do. Most versions outside of comics take Croc’s “victim of prejudice” element almost as a lame excuse for him to use to try and justify his actions: in those takes, he looks like a monster, and lo and behold, he really IS a monster, and has no problem with that. In the comics, Croc doesn’t WANT to be a monster, he literally just can’t help it, and when you couple his natural issues with his past, you can understand why he behaves in the brutal and vicious ways he does, but it also makes the good things he does more powerful as a result. So, in short, Croc has the exact same problem as Mr. Freeze from our previous entry, but now in reverse: the comics handle him okay – in fact, more and more recently, he seems to be handled better and better – but other media can’t seem to quite get the hang of him. So, why does he rank higher than Freeze, with this in mind? There are two good reasons. First of all, the comics are where these characters are born and thrive, at least for the most part (I’ll get to an exception to that later in the list), so to me, it’s a bigger sin for a character to not be done well in the comics themselves than in other media. Second of all…sort of tied to that, and this is going to sound kind of weird…I don’t really MIND that Killer Croc isn’t handled as deftly in other media as he is in his home turf. Now, some of you – especially major Croc fans reading this – may be wondering, “Why not? You just went on this big spiel of how other versions do him an injustice!” Well, here’s the thing: while it’s true that most versions don’t really play with Croc’s inner struggle much, if at all, they DO still find ways to make him interesting. In the Arkham games, we see – over the course of the series – the way Croc’s mind and body change as his condition takes him over more and more. In “The Batman,” Croc is more cold-hearted than ever, but he’s also a mysterious and fascinating foe with a strategic side; he’s handled better than BANE, who many would call a better villain and coincidentally has had a rivalry with Jones since kingdom come! I’ll even throw the Animated Series a bone: yeah, it made Croc-o the “Hit ‘Em With a Rock!” guy, and his condition was more often used to trick people rather than gain genuine sympathy from the audience…but to be fair, he WAS a funny and at times intimidating villain, and the chances are good that if I hadn’t met Croc in that show or other versions I’ve mentioned, I never would have known about him at all, and probably never would have bothered to eventually take time to read his comics. I think that’s the real reason why other media DOES continue to use him over and over again. Croc WORKS as a big, nasty thug because, once you take that human element out…that’s exactly what he is. A big, nasty thug! And while we always want something more complex and engaging, is it really so bad to once in a while enjoy Batman fighting a monster? In fact, the mere presence of Batman facing a guy like Killer Croc can play with those themes: the logical and scientific mind of the detective versus the rampaging ferocity of a cold-blooded fiend is another parallel a lot of people, even major Killer Croc fans, don’t seem to latch onto. So…yeah. While on the one hand I feel mad about how other media never captures “The Real Killer Croc,” I can’t act like I don’t ENJOY versions of him from other media. I do! So, on the whole, between both places – the comics and beyond – he just has a better and more consistent track record than Mr. Freeze. Given how many people I know seem to love this guy, I actually feel a little bad for not putting him in the Top 10…but I guess, at the end of the day, I still like the other villains above him more. Speaking of, we have officially reached the Top 10! Tomorrow I’ll be covering my 10th Favorite Batman Villain! HINT: “The Man Who Broke The Bat.”

[wthelvetica21]

🔗💀Linked Souls

in the Digital Cabaret’s lobby

All four of the Mystery Skulls investigators found themselves in a calmly lit room with skull decor. It was quaint to say the least. There were also musical instruments like guitars and old fashion keyboards on the walls as well like it was a recording studio. All of them were laying on the same large circular sofa with two tables.

Lewis: What… The hell… just happened…? Guys?

Vivi: Just a few more minutes okay Lew. I swear… mar 

Vivi rolled back sleeping with her plush turtle that she kept in her backpack before they headed out.

Arthur: (yawn) Can you keep it down… Whoa OH HOLY SHIT! Where are we guys? This can’t get any weirder man.

Mystery: *soft barking* (I must keep a low profile for now. I have a feeling that we’re not… in our world anymore. I sense four none hostile souls and least one that’s harbors some justifiable apprehension towards us.)

Lewis is the only one who could hear Mystery via supernatural telepathy.

Lewis: Huh? I hear voices from outside… 

Lewis along with Mystery and Arthur put their heads on the double doors to listen in.

Teenage Male Voice: I don’t know if this is a good Idea Doc. They seem sketchy as hell if you ask me. Especially the ghost rider reject in particular.

Calm Female Voice: I’m sure hun, my tombsona can since people’s intentions right away. They seem to be looking for someone or something whom was involved with the murder of the young man in the suit who has become a ghost. It’s all I could glean however. But the dog though.. is odd… He’s not a threat to us but that might not be his true form.

Suave German Voice: He could be a lycan… What? It’s possible since that ghost is particularly one that still has his body. 

 Mystery: *tilts his head* (A lycan? As in a werewolf? He also knows that Lewis is a special case as well.)

Softer Male Voice: … 

Strangely Familiar Voice: What’s that Armstrong? You think that we should meet them one by one? Maybe 2 by 2 would work better. I would rather meet them later… I’m still having a hard time processing this whole situation. I just woke up after all.

Lewis: Wait?… Is that the? (Is that the guy singing in that weird dream from earlier? Could it be that comatose guy who was begging for help? It’s modulated a bit but it’s that voice I heard. I just know it.)

Mystery: whimper (Lewis? You look like you’ve seen a ghost. You know that voice?)

Lewis: Uhh… I could’ve sworn I heard his voice before. (he said softly)

Calm Female Voice: Don’t worry cher. We’ll go first. Come on Rust since you’ve been itching to meet them.

All three backed up from the door so they wouldn’t get hit.

Teenage Male Voice: WHAT!? Why the hell me? Why not Tesla, Armstrong, or even your… Hey don’t give me that look. Dammit okay fine… let’s meet them already. (mumbles in Spanish)

Lewis: Tch… (Yeah you’re already gonna be a pain in the ass from the get go. Must be a high schooler or somethin’.)

Strangely Familiar Voice: Wait! I changed my mind. I’m very curious about these people from another universe.

The double doors open and two individuals come out. One was a woman who had discolored blue skin with glowing neon blue paint. And she had flowing hair that acted like willow wisps. She also had the attire of a stage magician with some witch doctor elements. The most noteworthy thing about her was the navy blue mask with glowing cyan eyes and outlines that took up most of the top portion of her face. She could even be mistaken for a ghost like Lewis. 

Vivi: OMG, she’s… so… cool! Oh man I wish I had that classy outfit she’s wearing. I could match with Lewis for once.

Mystery: *tilting his head groaning* (She’s certainly someone Vivi and Lewis could get along with very well. Maybe she patched us up from that elevator.)

Doc: My name is Doc or you could call me Ms. Doc for convenience. I’m the drummer for The Living Tombstone. Next to me is zero_one. He’s our keyboardist and composer. He also does the vocals as well.

The other individual was a tall svelte man who was shorter than Lewis but slightly taller than Arthur.  He looked like he was wearing a skin tight jump suit with yellow circuit lines with an orange fade to them. In the center of his torso is a rectangle that looks like a microchip with a heart beat indicator. He also was wearing a helmet that had a plume of golden orange hair made out of plasma and a pair of headphones. But what really caught Lewis’s attention was the LED skull with a bolt shaped crack on the right. He recognizes him as that guy from that dream he while he was passed out on that mining elevator. Almost immediately both of them blurted out…

Lewis & zero_one in unison : Do I know you from somewhere? But how?

Lewis : Hold up… Um Hey… (Aw man this shit just got weird already.)

zero_one : Uh… Hi there… (Oh… awkward.)

Arthur: Welp… This just got awkward and weird fast. What is going on here man? You recognize the dude with the mohawk?

Lewis : It’s a… 

Rust: Oh that does it… I’m going in. What flying fu…. oh… This is already got a weird vibe. Who the hell are you people anyway? AND You… yes you the ghost rider reject how do you recognize our front man hah?

Lewis : growls (Great another asshole with a green motif. But he’s some kind of punk who’s just got outta high school). 

sigh (trying to contain his anger) I’m not sure, I just seen someone like him that’s all…

Stoping the young man in biker attire with the green skull mask from lunging at Lewis was a slightly older gentleman who’s color scheme was similar to Lewis’s. He had the attire of a mad scientist with a winter hat.

Tesla: Can you not be hasty Rust for just a moment. They are not a threat to us remember. Herr Geist (german : Mr. Ghost) I still have so many questions. How did you find the elevator to this universe?

Lewis : Umm… (Who the hell is this guy? He looks like he just stepped out of an anime or a game or something.)

Long story short but it may sound batshit crazy ; we were chasin’ a dismembered gang green arm with a single black eye. Did ya’ll see him.

Rust: uhh… what? What kinda story is that? You must be tripping on something really strong to come up with that.

Behind the slightly befuddled young man in the green was a larger skull faced man with a burnt space suit who’s glowing red. He looks like he’s trying to calm things down before a fight breaks out between Lewis and Rust. 

Armstrong : … signing (I believe we all need to calm down first before we get our stories out there. I’m Armstrong gentlemen, lady, and… dog. You hail from another universe?)

Lewis : Huh… good point sir. (Why do I know what he’s saying even though I don’t know sign language. This shit really couldn’t get any weirder.)

Lewis then gives a paraphrased version of what Armstrong was saying to rest of the Mystery Skulls gang. Doc explained that Armstrong has tinnitus but can still play the guitar very well despite that. His tomesona can also give some form of synesthesia to compensate for his hearing loss.

Rust: (shakes his head in disbelief) Fine whatever. Names Rust, don’t ya’ll forget it. I do the vocals and rap.

Tesla: Guten Tag, my name is Tesla Herr Geist, Chicken with Mechanical Arm, Mysterious Dog, and Liebshen.

Lewis : *groan of frustration* (Oh that’s effing lovely. He better be usin’ that word as a term of endearment and not trying to flirt with her. But at least he isn’t an annoying little punk like the green one.)

Vivi: Oh how rude of us not to introduce ourselves. We are the Mystery Skulls ; we’re paranormal investigators. I’m Vivi Yukino, I’m the researcher of the group. But my day job is at a used comic book shop called TomeTomb. Oh I also know how to play electric guitar.

Tesla: Oh is that right Liebshen? Very nice indeed.

Armstrong : … (puts both of his thumbs up for approval and nodding)

Doc: Huh, TomeTomb(soft chuckle) what an interesting name. And you are young man?

Arthur: I’m Arthur Kingsmen, I’m just the mechanic of the group and I’m not as interested with this paranormal crap as much as Lewis and Vivi. And I work with my uncle Lance at his auto repair shop called Kingsmen repair. Also I play keyboard and actually own three keytars as well (he said proudly). Ha they almost costed me an arm… and a… (nervous chuckle). Yeah, the arm is a different story though. (he said sheepishly scratching his head.)

Rust: Well it must have… literately. Holy shit man, three of them? Talk about overkill.

Lewis could see zero_one light up like a kid in a candy store as soon as Arthur mentioned his keytars. He could feel this feeling radiating in the core of his locket ; its joy. He then sees zero_one approach Arthur like someone who was reunited with a long lost sibling.

zero_one : Three keytars? (in rapid secession) What brand are they? How did you get them? What year were they made? Do you have any pictures of them? 

Arthur: (he had a smile that the rest of the Mystery Skulls gang haven’t seen in months) Really? I have a 1980s Casio, a late 90s Korg, and an early 2000s Yamaha. I had some connections back then and I usually find them used online even though they were still…kinda expensive. And yeah I have pictures of them on my phone, you can come and look if you want.

The Orange-Yellow color coded duo sat next to each other like they just got a new hand held game and rambled on and on about mods and midi plug ins for keytars for a good 20 minutes. Lewis wished that he didn’t go into that cave in the first place. The relationship between Arthur and zero_one was not just like two long lost brothers but it was like his friendship with Arthur before this whole third wheel and ghost thing ever came about. Lewis felt a small pang of guilt before getting interrupted with a question.

Lewis : sigh… (At least Arthur is feelin’ better already after all the shit I put him through. Maybe comin’ here isn’t going to be that bad after all. Just Maybe…)

Rust: Who’s the dog though? Gotta say though he kinda looks badass with the red and black.

Mystery: *shrugs in embarrassment* (Yabai. (Japanese: Oh Crap.) Maybe I shouldn’t show my true form now, maybe wait til they are ready or Vivi or Lewis mention it.)

Vivi: Oh his name is Mystery. He’s our mascot, sorta. I know he isn’t a ghost like my boyfriend over here.

Tesla: Boyfriend ha… Oh well, but you could do so much better then…

Doc: Tesla stop. Lewis is Vivi’s beau, just leave it be. There are other women you know…

Tesla: Uhh. Gut, I’m a man of honor.

Lewis : (Oh sure you are hat guy.) 

Okay then, I’m Lewis Pepper and I’m more the guy who handles the heavy equipment in our paranormal investigations. My day job is waiter and chef at my adopted family’s restaurant “Pepper Paradiso”. I also play violin and I am a train vocalist.

Rust: Oh… really? Come on zero_one, me and you, let’s nock this amateur down a peg or two.

zero_one : You’re kind of putting me on the spot here Rust. Lewis did say he was trained, maybe you should’ve not called him that.

Lewis : (narrows his eyes) (Oh, I’ll knock this Rust punk down a peg or two.)

 Oh really Rust. Alright I’m game but just you and me. Mono a mono. Let the best vocalist wi…. huh?

Then a feeling comes over both Lewis and zero_one that made both of them and harmonize a beautiful arpeggio that brings all the room in awe. Rust was drowned out by both of them because he was just as shocked as everyone else in the lobby.

Doc: Oh honey, both of ya’ll voices are like two angels. And you thought he was an amateur Rust?

Rust: Well, damn I’ll admit it, you and zero_one won on this one. For now.

Armstrong : … signing 

zero_one : interpreting for Armstrong : Well since the introductions are out of the way, I believe you said something about a dismembered arm earlier. Is that the reason why you stumbled into our universe?

Lewis : Well yeah, it said it lead us into a trap or some shit like that. It was also working with someone or something else that wanted to do all of us in. 

* Loud Alarm *

A I Voice: Warning security breach detected. / Subject identified as a green dismembered arm that has already made entry into timeline v. / prerecorded transmission from the multi-universal edge by Helvetica. 

Helvetica: Something has just breached the reality layline. Sending distress signal to prime universe about Null’s escape. Butterfly effect radiating towards other divergent TLT timelines. Three inter-universal ones from the prime timeline. At least three no… it’s five from the universe MSA (Mystery Skulls universe). I’m making my way to timeline v as soon as possible. End of Transmission.

Lewis : Welp… I can see things have gone to shit already. At least we know where it is now. Might as well go looking for it but we’re do we even freakin’ start huh?

Tesla: I’ll get to the bottom of this, I promise you. My prime self told me about this Null character but… what is it doing at this time period I wonder? Poor fraulein Helvetica sounds like she can’t handle this on her own. She might be proto_type’s student but even a student needs some extra help. We should worry about the four ones from our universe first before the one’s from our visitor’s universe.

zero_one : Wait? There are people from Lewis’s universe that crossed over to this universe too? What’s going on here?

Tesla: It’s most likely a butterfly effect like the distress called mentioned. Oh I believe we already have a lead or two, that’s gut. Really gut.

A I Voice: First sightings found downtown at High May’s Junior, Le Macabre Dance club, and Toriyama’s School for the Arts.

They decide to split up into teams to not only look for the possessed arm but for at least three people from the prime timeline in TLT’s universe.

 Mystery, Tesla, and Vivi are going to that Toriyama Art school in Japan since Vivi is fluent in Japanese. Lewis is thankful that Mystery is with her if Tesla tries anything.

Arthur, Rust, and Doc decide head to that Le Macabre Dance club which is in Puerto Rico. Rust apparently knows his way around there.

While Armstrong, Lewis and zero_one head towards a popular hot spot on San Francisco’s Yvette district; more specifically a hole in the wall bar known as High May’s Jr. Lewis decides to go there alone since he can change his form at will unlike Armstrong or zero_one but has agreed to meet up with them later once they found whom ever they are looking for. Armstrong thinks he’s way too conspicuous to be seen in public and decides to rendezvous with this Helvetica woman who made that distress call earlier along with zero_one.

End of Transmission

Lewis :  Well. I still have my ID and all. But I don’t think it’ll matter all that much. I swear this whole thing with timelines , butterfly effect and shit makes me feel like I’m in a very anime video game. Was something like Blaze blue or whatever? Or someone’s fanfic… Umm… Nah, that’s fu_king bonkers.

[skruttet]

Tove Jansson Videos!

Here’s a list of some videos on yle that feature Tove Jansson and often others; most are interviews, though there are some that aren’t. These probably aren’t all of them, and there’s also audio recordings you can find, but it’s late and I need to get up early tomorrow so I’m posting this as is lol.

Lars, Tove and Tuulikki in Japan - 15.9.1991 - Short one featuring the iconic trio!!!! Tove once again being a fashion ICON and referring to the others with their nicknames ‘Lasse’ and ‘Tooti’ :’)

Tove's brother Lars and Tuulikki Pietilä travel to Japan to see Moomin animations that have been completed. They are extremely satisfied.

Interview with Tove at Klovharun in Pellinge - 2.9.1991 - Oh this is GOOOOD! Tove is so lovely and cheerful in it (she is in them all, tbh) and we see some 90s Moomin anime character sheets!!!!

Reporter Christian Forsberg siblings Tove and Lars Jansson at Klovharun in Pellinge archipelago. They discuss the Japanese animations, why Tove thinks they are good, and what it's been like to work with them. We also hear more about the advent of Moomintroll.

The Japanese Animations - 6.9.1991 - Tove talks about her love for Snufkin in this one :D

The youth magazine X-tra also speaks with Tove Jansson. Junior reporter Nike Tallqvist interviews Tove Jansson. Tove Jansson and Sixten Lundberg, who has given Moomintroll their voice, talk about the animations. Tove Jansson is very happy and satisfied with the films. They have become good, she thinks. Especially Snufkin is nice. "I'd like to be like that," she says.

The Moomins and the Great Flood - 18.11.1991 - However, Tove Jansson is not so pleased with the new release of Småtrollen and the great flood. She thinks the book is not good.

Tove Jansson and Tuulikki Pietilä about art and life -  09.15.1991 - Tove, Tooti, and Pentti talk in this one and we see Moomin figures & tableaux.

Here, Tove Jansson and Too-ticky, Tuulikki Pietilä, are interviewed about the construction of the Moomin House. The idea came from Pentti Eistola, who built a smaller Moomin house. And from that, the idea of ​​the house grew. The gang gathered for play nights where there was carpentry, painting and sewing.

The house travelled around the world, first to a Moomin exhibition in Bratislava, to finally stay at the Moomin exhibition in the Tampere library.

Here we hear what Tuulikki likes to make herself as a doll. And why Pentti Eistola made a Moomin House.

Tove and Friends - 1970 - This is literally just a 24-minute-long video of Tove chilling with some mates including Lasse Pöysti and Birgitta Ulfsson and Erna Tauro oh my gosh!!!!

Here we visit Tove Jansson in her studio home with friends of her. Lasse Pöysti sings the Moomintroll show, Tove draws and the gang discusses.

It is a real home for reportage. From time to time, someone puts in a relevant question, and in between you talk gently, cut bread and cheese, and drink wine.

Discussions revolve around the studio home, drawing Moomin films, Moomin visors and Tove Jansson's writing.

Erna Tauro, who wrote the music for Tove Jansson's songs, talks about how it feels to compose to lyrics.

EDIT: This one also has a version with Finnish subtitles!! Here

Tove Jansson on the Moomin House - 1.9.1979 - This one has some pretty good shots of the moominhouse tableau!

With the help of friends Tuulikki Pietilä and Pentti Eistola, Tove Jansson has created a Moominhouse, a dream house that stands for everything that modern architecture does not do.

It took several years to create the perfect house. The decor is complete in every detail. In the Moomin House you can find everything needed in a house.

The Moomin House will travel to Bratislava, Czechoslovakia. Architecturally, the Moomin House is a concoction of different styles; Karelian style, baroque, empire and rococo.

Tove Jansson is happy and eager. She sees the Moomin House as a fantasy house that stands against the modern beehives where no one wants to live.

About Tove Jansson's childhood - 09.15.1991

Tove Janssons talks about her safe but bohemian childhood and how her life has become with the celebrity.

Tove Janssons' upbringing was bohemian and artistic. If mother Ham (Signe Hammarsten-Jansson) can not tell Tove Jansson, it is difficult to tell if someone you have loved so much.

But about her father (Viktor Jansson) she draws stories. He was a bohemian, with an unavoidable attraction to the bourgeois. He longed for disasters and kept them in good spirits.

You may see where the characters Moominmamma and Moominpappa and really the whole family come from.

About Tove's choice of profession and Moomin's birth - 09.15.1991

Tove Jansson talks about how the little troll was born in a comic book Garm. It was just a coincidence that she started writing children's books, maybe she longed for childhood summers.

The creatures give each other freedom. But the figures evolved. As an example, Tove Jansson takes Moominmamma who can get really angry. And Snufkin, who is totally free and alone, comes and goes as he pleases. He was Tove Jansson's idol for a long time, but he is really self-centred and spoiled. After all, it is easy to be alone and stick out in the wilderness when you are hailed and applauded when you get home. Fillyjonk, on the other hand, goes under by loneliness.

The cartoon was what took Tove Jansson's loss. It was terrible, but Too-ticky helped Tove Jansson write Moominland Midwinter. There she placed Moomintroll in a strange world. He not only experienced adventure, but also difficulties.

The Moomin World, the Celebrity and the Moomin Fan - 15.9.1991

Tove Jansson also talks about the difficulty of being known, all the fans who write and demand answers. She refers to Topelius and Astrid Lindgren who know equally.

When there is talk of all the research in Tove Jansson's books, she just gets irritated, they could wait a bit at least.

Tove Jansson Receives Award - 24.4.1987 - very cool shot of her putting on sunglasses in this lol

Tove Jansson became more and more shy over the years, but she gained recognition for her Moomin books all her life. She talks a lot about fame and trouble.

Anna Savonius wonders if the Moomin books became too narrow when Tove Jansson can no longer write about them. Tove Jansson thinks that they changed the meaning, and she went back to visual art.

And with horrible mothers she switched to short stories and novels.

Mostly she writes well for herself. But children's books need a happy ending, it may be awful, but not cruel and contain justice and honesty. However, you do not need education.

Tove Jansson Turns 80 - 8.8.1994 - from the same article as the video above.

Tove Jansson Becomes a Professor - 5.11.1995

Tove Jansson became an honorary professor and was 80 years old before she died on June 27, 2001.

Tove Jansson on working with books and visual arts - 4.6.1984

Tove Jansson talks about Summer Book and The Dangerous Journey. And about how difficult it is to write for children and for adults.

Tove Jansson has often talked about how celebrity has made it more difficult to write. And how she gets stuck and doesn't move on.

In Charlotte Aira's deep and strong interview, Tove Jansson returns to this. Writing is a heavy job, as heavy and difficult as painting.

This summer book is perhaps the book that is strongest for Tove Jansson and best describes Tove Jansson's life.

In the interview, Tove Jansson also talks about nature, the children and the Moomin role. Tove Jansson does not think she is escapist, everything is in reality.

They talk about Tove Jansson's adult books and visual arts, which journalists are not always interested in.

Tove Jansson receives the Topelius Prize - 9.28.1978

Tove Jansson received the Topelius Prize in 1978 when she published The Dangerous Journey (1977). It is Tove Jansson's last picture book about the Moomin role. Tove Jansson thinks about the dangerous journey, she thinks it may not have been so successful in terms of text, but she likes the pictures.

Tove Jansson in Naantali - 6.24.1993

Moomin mother Tove Jansson took part in a big event when Naantali Moomin World opened.

Tove Jansson thinks it is quite fun to participate when the Moomin characters come alive.

But she had never thought of such a thing when she wrote her first Moomin book.

And she knows that there will be no more Moomin books, now Tove Jansson is just trying to write short stories for adults.

A glimpse of Tove Jansson

Tove Jansson's Moomintroll spread all over the world. Today you can find everything from Moomin soaps to refrigerator magnets. Finally, Tove Jansson started hating her Moomintroll.

Here, Tove Jansson tells Chris Zitting about how fame has affected her. About how she hated to see her beloved character being commercialised and because of that, she began to lose the desire to write about Moomin.

She also talks about the inspiration to start writing more adult books.

Tove Jansson tells us that the book Moominland Midwinter (1957) was very important to her. She was stuck and couldn't write a lot more, but her life partner Tuulikki Pietilä (Too-ticky) helped her by suggesting that she place Moomintroll in a new and strange world. That helped Tove Jansson move on.

The interview was made in 1988, but was shown again after Jansson's death in 2001. The program has Finnish subtitles.

New Year’s Eve 1957 - 3.1.1957

[hellzyeahthewebwieldingavenger]

We are in an interesting point in time when the three major Spidey love interests each have solo books.

Amazing Mary Jane by Leah Williams, which is currently up to issue #6

Gwen Stacy by Christos Gage, which is currently up to issue #2

And Black Cat by Jed MacKay, which is currently up to issue #10

In the case of Gwen Stacy it could be argued she in fact has two titles if we include Ghost-Spider by Seanen Maguire, which is currently up to issue #9

I’ve finally caught up with all 4 titles so I thought I’d sort of evaluate them.

In terms of artwork all the titles have decent-great art. Gwen Stacy is the clear winner here but she’s only had two issues so there hasn’t yet been time for new artists to do fill-in issues or pages. Black Cat’s art was serviceable at best at first but between the annual and the artist on the latest storyline it’s stepped up big time. In ontrast I feel Ghost-Spider’s art is perhaps the weakest exempting Black Cat’s initial artist. I can rarely call out art as good or bad so this is 100% subjective. But for my money Todd Nauck’s work is my absolute favourite closely followed by Carlos Gomez on AMJ. Cover art is a whole other kettle of fish. Black Cat and Gwen Stacy win this for me because Adam Hughs is a god-tier artist and J. Scott Campbell is a guilty pleasure for me.

In terms of writing things are far more clear cut.

Black Cat is by leagues and bounds the best title. Once it warmed up in the first 5 issues it’s slapped hard. It’s characterization of Felicia is superb. She’s fun, flirty, confident, but fully capable of making mistakes. She’s well rounded when all is said and done. Maybe she could be moreso, but it’s absolutely a-okay for now. The book’s concept is fun and has a real direction that allows for variety in the storytelling. We can be at the Baxter Building, the Sanctum Sanctorum or Madirpoor and it will never feel jarring. And honestly Felicia was long overdue a spin-off. She is simply the most obvious character to be spun-off from Spider-Man.

In second place I’d put Gwen Stacy and no one is more surprised by that than me. The plotting of the book has thus far been good exempting one kind of major detail. It uses continuity well and does add detail to Gwen and George Stacy and gives us a rare chance to glimpse Jean DeWolff back in action. It’s so far proved to be an intriguing police/crime story. Where it falters is in it’s characterization and it’s relevance. I know I just said the book adds detail to Gwen and George but let me explain what I mean. This book doesn’t go into Gwen’s head, it fills in details we didn’t know about her. How and when did she meet Harry and Norman Osborn? When did her Dad get injured? Who was her boyfriend in high school? When did her mother die? Oh and I guess she cooked for her Dad which I always presumed but I guess it’s nice to have that confirmed.

And whilst it’s…nice I suppose to find this stuff out…it just doesn’t matter. At all. Whilst not as problematic, this book has one of the major problems Sins Past had. Sins Past actually made Gwen Stacy a better character retroactively (and also kind of a worse character but that’s another discussion). But there was simply no point in doing that. She was dead. She wasn’t coming back. Nobody wanted her to come back. Her role was defined  through the fact that she died and would always be like that so long as she remained dead. Sins Past in developing Gwen retroactively at least had a little bearing upon the then-present stories.

Gwen’s affair in theory could’ve been an emotional scar for Peter to bear and add an extra layer to his duels with the Goblin. Not that we needed anymore of those, but theoretically it could’ve served that purpose. This absolutely doesn’t. It doesn’t matter what Gwen was like before she met Peter because Peter himself never knew her back then. Fleshing out MJ in this manner or Mysterio or even the Shocker would hold relevance because those characters appear alive in the present, they interact with Spider-Man. Similarly Untold Tales of Spider-Man gave Peter more villains he could duel in the future, plug in plot holes of his continuous narrative and flesh him out a bit more. That matters because again…he’s not dead.  Even fleshing out Uncle Ben could possibly have a purpose as he’s Peter’s role model and enduring motivation. Peter strives to be Ben as a man so knowing who Ben Parker the man was can add substance to those moments. But knowing when George Stacy injured his leg or that Gwen ran for class President just doesn’t. It retroactively adds slightly more substance to like 3 issues from 1971. Maybe that’d be an okay back-up story…but a solo-title dedicated to that shit? It’s just pointless, there is no creatively justifiable reason for it to exist.

And that’s before you get to the problem of characterization. As I expected, Gage’s Gwen is total revisionism of the character. Maybe no one is explicitly putting her on a pedestal but literally the only people who don’t think she’s wholly likable are two creepy football players and the explicit villains of the story. Gwen herself beyond this is flawless. Even things we might argue as flaws (her endangering of herself and her friends) is never framed as a flaw, but instead a mark of her bravery and her desire to seek out justice.

It doesn’t help that this is a comic obviously made by and for the Cult of Gwen that never needed to be fed anything else at this point. Their precious Martyr Princess is the star of her own title, she is the super hero in it, the guy she died to motivate instead died to motivate her. Then that version got to appear in 2 cartoons and a movie. THEY WON already, what more do they really need? So whilst the plot is good, the characterization has problems and just on principle the book shouldn’t exist.

Ghost-Spider is similar yet different, ironically mirroring the protagonists of the titles. Ghost-Spider in concept was always very strong. I never disagreed with the title existing. It’s just that Latour and Maguire’s execution is problem riddled. Continuity and characterization is borked. And the current status quo moronic. Gwen visits 616 for school…why? How is that relevant? How is anything she learns going to qualify her for a job in her universe. Even if the skills are practical there would never be any proof of her qualifications, no records. And that’s not even considering how a character who doesn’t goddam live in 616 is embroiled in a 616 event crossover.

Finally there is Amazing Mary Jane. I’ve spoken far too much about this title. I never had a problem with this as a mini-series…but as an ongoing it removes MJ from Peter’s narrative which is asinine. Why remove the best supporting character from Peter’s story? It’s not like she didn’t have subplots of her own when that wasn’t the case. So on principle this shouldn’t have been an ongoing. And in terms of execution…holy shit.

It’s aggressively bad. The plot is nonsense. The characterization is inconsistent within itself let alone when you consider the history of the characters. The best way I can sum this up is that issue #6 is about MJ going into witness protection because she’s a valuable witness to a murder case…where the guy wore a mask…so she couldn’t ID him no matter what…And the guy knows  that.

It’s just so bad I want this book to be put out of it’s misery.

What upsets me most is that Marvel CLEARLY put more effort into Gwen’s solo than MJ’s or Felicia’s. The superior characters get less effort (and one of them gets a far worse title) than the worse character who instead gets more effort and 2 titles just to herself.

Can you see why I hate the cult of Gwen?