#is really making it clear which elements come from the writer's personality regardless of the show

[fictionadventurer]

It sounds like Joe and Ken focused on telling stories, stories that being stories focused on the world and characters they knew. While Pete's were more focused on delivering a message with story flavored wrapping.

This is very much the case, but the difference seems to go even deeper than that, to a fundamental difference in worldviews that affect how they approach story.

Episodes written by Joe Fallon and Ken Scarborough respect children as people. Children have been shaped by their experiences and have unique personalities. Children are curious and have brains--they are driven to explore new things and can draw conclusions from what they see and do. Children are already people who deserve respect, and like all of us, they're growing into different people as they learn new things and have more experiences. The child characters can thus be the drivers of their own stories and come to learn lessons for themselves. The child audience can relate to those characters, be drawn into the story, and learn what it's trying to teach without having every detail explicitly spelled out.

Episodes written by Peter Hirsch seem to approach children as people-in-training. They might have one or two personality traits, but instead of coming from and interacting with other elements of their background, they're just pasted on, like a sticker you can put on your Generic Child Prototype. These blank-slate children need to have knowledge poured into them so they can become Properly Educated Adults. So in his episodes, these child characters will go through their story with a question, and the adults--the real people--will tell them the information in great detail so these characters--and the watching audience--can go off into the world knowing what the writer has decided they need to know.

In Joe and Ken's episodes, flaws are funny, and can create funny conflicts that will teach the children better ways to approach problems. In Pete's episodes, flaws are horrible things that need to be pointed out, labeled, and sanded away, so these children can grow up into the perfect model of what a Good Adult should be. The first approach is engaging, and celebrates diversity of personality in a community, while the other becomes bland in the interests of shaping all the members of a community into the desired mold.

Comparing the two approaches provides a shockingly thorough lesson in how one should and should not approach writing and education. Story and character and message are all intertwined. Trying to force the message onto the story and characters makes for something bland and generic and unrealistic. Letting the characters shape the story and letting the story bring out the message makes for something much more unique, organic, engaging, and real. And yes, maybe I've come to this conclusion by spending far too much time thinking way too deeply about a bunch of shows for elementary-aged chlidren, but that doesn't mean it's not fascinating to see how, even within the same show, an writer's personality and approach to the audience can make such a vast difference in the quality of a story.

[stopeatingwhales]

"how come we've never spoken before?" x noel gallagher

why haven't I written anything for noel in ages??????? anyways this was so cute I hope u lot like it <33

Pairing: 1990! noel gallagher x reader

Warnings: none :)

Word count: 1.951

Requested by anon x

༉‧₊˚✧

“You wanna come over tonight?” Liam asked me as we were walking out of the sixth form building. “Our kids coming to pick us up so was wondering if you wanted to come with.”

“Yeah alright.” I nodded, linking my arm with Liam as we walked out of the gates together. Going over to the Gallagher residence wasn’t an uncommon matter, if anything I was over at theirs at least once a week. Since their father had left the environment was always pleasant, his mum always cooking the best, most delicious meals which caused your body to crave it again each and every day until you returned back for dinner once again. As well as that, being able to spend time with Liam was always an enjoyable experience - him being my best friend since first joining the college, we hadn’t been able to separate ourselves from each other since. Of course, we would have different friends, different groups, but we always turned back to each other - something that I adored most about our relationship; we didn’t constantly need to be with one another to consider each other our best friend. Whenever I was over we would relax in his room, talking about practically everything and everything, sometimes smoking a joint by his window to prevent his mum finding out, even though the stench of it would stick to our clothes like glue - giving it away instantaneously.

After exiting the school gates, we walked for a bit until we reached the nearest neighbourhood of houses, where Noel said he would pick Liam up. To waste the time, Liam brought out a spliff from his pocket, placing it between his lips, then lighting it, him failing a couple times to get the lighter to produce a flame. “Give me a hit,” I said, watching Liam as he quickly inhaled the roll of weed, then passing it to me, a wave of smoke hitting my face from Liam’s mouth. “Stop that you twat.”

There was hardly anybody outside, from the look of the area, merely just the occasional car whizzing past us, causing the empyrean of smoke discarded from our throats to diffuse into the atmosphere. It produced a clear contrast against the skies, which had little to no clouds visible at all. Having a clear, sunny day in Manchester wasn’t something ordinary; it was a rarity, but for the past year the weather had been brilliant, though brilliant becomes unlivable when the temperature continues to increase to the thirties, celsius wise. That’s when the nature of constant traffic, crowded streets and lengthy queues at the ice cream machine disperse into their homes - the sun being too strong it becomes a chore to leave the house. Having the world so silent, hushed, brings another kind of tranquillity to the mind. Watching an inanimate street fixated in the same position, as if it were a ghost-town, encompasses that feeling of being the only person present in the world at that moment, which makes you realise that the life you live is not lead to be controlled of dictated by others - it is yours, and it is something in which you hold complete control over.

After a couple minutes of small talk shared between me and Liam, a small car drove past us, stopping promptly as the windows rolled down, indicating that it was Noel. Me and Liam quickly rushed out of the sun that was beaming down at us, to get inside his car; Liam hopping in the passenger seat next to his brother whilst I occupied the middle seat in the back. “Hi Noel.” I said softly, smiling at him through the rear view mirror, our eyes connecting for a short second whilst he greeted me back, then turning to greet Liam before taking off. Mine and Noel’s relationship wasn’t anything special: we spoke here and there, but since he usually was occupied by hanging out with friends, or travelling as a groupie for Inspiral Carpets, we never conversed much. It was a mere relationship formulated from my closeness with Liam, as manners are important - even if Liam shows the opposite. I was quite intrigued by Noel disregarding his conventional absences; he seemed to lead a life which was exciting and alluring, and was a complete contrast against Liam’s persona from what I had noticed. Liam was more into sports, mainly football, and causing havoc wherever he could (me constantly joining him since he knew how to have an absolute good time), whilst Noel seemed completely consumed by music and the wonders of working with bands. Regardless, they shared some idiosyncrasies, one thing in particular definitely being their love for weed.

Once we arrived at the house, we were greeted by Liam’s mum, who welcomed me in lovingly. “Always a pleasure to have you over, Y/N,” she said as I broke away from the embrace we shared to allow me to take off my shoes. “Liam, I'm going to need you to help me in the kitchen today.” she then said to Liam, whose face then dropped in complete annoyance.

“Why?” he moaned in response, sighing at his mum whilst removing his shoes. “Y/N’s literally here!”

“Maybe because you haven’t done the washing up for over a week, Liam,” she responded, turning her gaze to look at me, rolling her eyes at his demeanour. “Y/N’s not going anywhere, it won’t take you a year.”

After we were able to get Liam to do his chores, I told him that I would be waiting upstairs for him, in his and Noel’s room. Once I went inside, I wandered around the medium-sized room, finding my way over to Noel’s side, especially fixated on the stack of records that he had owned, aligned by the table next to the record player. He had all sorts of bands; the Beatles, the Who, the Smiths, Sex Pistols... All the best artists. The more and more I found out about him the interest I had about him increased. He seemed like a cool older brother to have, and share a room with, even though Liam sees boys in bands quite odd - which is humorous, since he’s practically an entity of his own. Proceeding to pick up a vinyl by the Smiths, the album in particular being the Queen is Dead, I admired the cover whilst grasping it in my palms. The Smiths were the only band that seemed to use the most aimless, but oddy aesthetic images of random men as their album covers - most likely courtesy of Morrissey’s desires - though I suppose is one element which creates the artistic composition of the band, and their music. Snapping me out of the trance I was consumed in, a voice echoed in the room, one which was definitely not Liam’s. “Like what you see?”

Turning around to find out who it was, I was accosted by the sight of Noel, who was holding a warm mug of tea. Flustered, I placed the vinyl back in the stack before taking a seat on Liam’s bed. “Sorry,” I mumbled, looking at Noel whilst playing with my fingers in my lap.

View stuck on him, I watched him walk to his bedside table, placing his mug of tea on the coaster, then reaching out to grab the vinyl that was once embraced by my palms. “You like the Smiths?” he asked, his eyes now connecting to my gaze.

“Yeah I do,” I said, smiling slightly at his question. “That’s my favourite album of theirs actually.”

“Didn’t expect that from you,” He replied back, taking a sip from his mug of tea before taking the vinyl out of its sleeve and placing it on the record player, watching the needle intently as it gently dropped onto the black disc before sitting back on his bed. The title track’s intro then seeped into the silence of the room, paired by Noel humming along to it. “Think their debut was better, if I’m honest.”

“Well preference always matters,” I answered back, walking over to his bed to grab the vinyl sleeve, gazing at the lyric sheets, also taking a seat next to Noel. I felt his stare on me, but I attempted to ignore it as I focused on the little verses of poetry in one of the songs. “Morrissey is such a depressing writer.”

A laugh rumbled at his throat at my absentminded comment. Averting my gaze, I looked at Noel and smiled again. “I’m not wrong!”

“What else you into?” he asked me, curiosity laced in his tone as he diverted the topic.

“Everything else you listen to really, I looked through most of your vinyls,” I replied, watching Noel as his eyebrows furrowed together in shock, my smile widening as I felt my cheeks start to burn slightly - I had never thought that I’d be having a genuine conversation with Noel. “Especially the Beatles, Liam’s told me how much you love them.”

Noel was impressed, and it showed on his face quite evidently. “What’s your favourite album by them then?”

Looking away for a couple seconds, I thought of a response. “Probably Sergeant Peppers. Was their most innovative stuff, in my opinion at least.”

We continued to ramble on about music for a short while, Noel continuing to act excessively shocked whenever I had told him I had indeed listened or liked an artist he questioned. It was nice to finally discuss music with somebody since Liam was never really into it. “You’d never expect me to listen to all of this because I’m friends with a lunatic.”

Another laugh left Noel’s mouth, a smile stuck on his lips. “All he’s obsessed with is football, I don’t even get how you’re both mates.”

“Opposites attract.” I answered back, leaning back to have my back against the wall as we continued to talk. My cheeks began to hurt after a while of us chatting, due to the smile that was unable to leave my lips.

“How come we’ve never spoken properly before?” He asked, walking over to flip the vinyl to side B. “You’re cool.” he added in a mumble, almost as if he didn’t want it to be heard.

I felt blood slightly rush to my cheeks after the compliment fell from his lips, my top teeth clinging onto my bottom lip as a wave of nervousness washed over me. “Maybe because you’re always out.”

A hum of agreement rumbled from his throat as my eyes fixated themselves on the white ceiling. I could see that Noel was staring at me through my peripheral, which caused my cheeks to increase their redness, only slightly. “We should hang out sometime.”

Connecting eyes with him, I admired his dark brown orbs for a second, before I responded. “We should.”

Breaking our moment together, we were welcomed by an exhausted Liam rushing into the room, breathing heavily from his jog up the stairs. Falling onto the bed, me and Noel shared a moment of laughter as we simply stared at Liam’s state. “What’re you lot laughing about?”

Me and Noel turned to look at one another, sharing a gaze once again. There was a specific glint in his eyes which I marveled at, his face beaming at me, only causing me to reciprocate in the same manner. Our stare meant more than what it was, a certain tension was held between us that was felt by both participants. Especially for Noel, whose heart was pumping as if it were about to burst out of his chest, his cheeks a little flushed out of admiration for the girl sitting next to him. “Nothing.” we replied, giggling slightly as our eyes stayed glued on one another.

[bigskydreaming]

I am looking (disrespectfully) at the trope of Bruce and other family members only seeming to respect Dick’s wishes when doing so aligns with what they already wanted to do.

Let’s go to the examples!

1) Bruce not broaching adoption with Dick because he wants to respect Dick’s first parents and feels like he would be taking their place or overstepping or putting himself in between Dick and his memories of his parents. Sometimes its cited that Dick himself expressed this wish early on after his parents died, sometimes its not and this is still just upheld as Bruce’s reasoning for not adopting Dick before he was already well into adulthood.

THE FATAL FLAW (in mine own personal opinion, natch. Personal mileage may vary, check your speedometer to be safe):

This particular plot point or tangle is in my experience ALWAYS paired with Bruce’s own insecurities about his role in Dick’s life, or not wanting to push that or receive an answer he doesn’t want to or is afraid to hear. Sometimes its about his fears of unworthiness to be Dick’s actual parent, etc, etc. But the bottom line is, there is always the presence of SOME element (and not a small one) in which Bruce’s own self-interest or feelings are protected by him NOT broaching the adoption conversation with Dick and having to confront these fears head on.

This is additionally juxtaposed with the problem that although there’s a lot of variance in regards to stories where Bruce fired Dick versus stories where Dick gave up being Robin and moved on to Nightwing voluntarily....there’s NOT a lot of stories where Dick makes Jason Robin himself or is asked by Bruce first. The part where Bruce takes this initiative on his own, without thinking through its repercussions on Dick emotionally.....this is practically always present.

Now, the problem here is that......Dick became or began becoming Robin well into his time with Bruce. Its frequently cited as the thing that began allowing them to truly connect, their time training and acting as Batman and Robin.

Meaning no matter WHAT interpretation you go with as to why specifically Dick chose the name Robin, whether it was a family nickname or an homage to Robin Hood.....the fact remains, NOTHING of Robin, THEMATICALLY, nothing that spoke to Dick in regards to what he wanted Robin to be - specifically in honor of his parents because avenging his parents and making sure what happened to them didn’t happen to others like, this was literally a key part of what bonded Dick and Bruce, the fact that Bruce was TRYING to help Dick specifically BECAUSE they shared this particular overlap of purpose - like the bottom line is, nothing about Robin CAME from Bruce. Or Dick’s feelings about Bruce. That....didn’t really even exist yet, at the time he created Robin. Everything about Robin, other than the physical costume itself, not even the design just the actual creation of it....all of that came from BEFORE he met Bruce. None of it was thoughts or feelings derived from BRUCE. Its the whole reason Dick was never Batkid or Batlad, or any derivative of Batman.

It all, ALL came from what Dick came to the manor WITH. Remnants of his life with his first family.

So the fatal flaw of Bruce’s reasoning that by not broaching the subject of adoption with Dick before well into adulthood, he was actually just respecting Dick’s relationship with his first parents and not trying to come between them and Dick’s memories and feelings about them....

All of this is inherently undermined by Bruce’s own actions.....when by repurposing Robin to ANY degree, even just to give the mantle to Jason.....this meant that he was inherently viewing Robin as being more about being Batman’s partner, HIS partner....then it was about being Dick’s heritage, his last intangible keepsake of his first family and life BEFORE Bruce.

In effect....Bruce making Jason Robin or firing Dick as Robin, either way....both betray Bruce’s OWN alleged intentions for only wanting to respect Dick’s relationship with his parents, and that being why he didn’t want to overstep by trying to impose or even ask for his own official parent/child relationship with Dick. Because that’s exactly what appropriating the Robin mantle was. It was Bruce ignoring the relationship Dick had with his parents and their memory and the fact that Robin was directly born of that....and making Robin entirely about Bruce’s OWN relationship with Dick, heedless of any other factors.

And the second Bruce did that.....his entire justification for not raising the adoption issue....disappears. It goes away. Because you can’t claim inaction being just a result of not wanting to disrespect something you’ve already voided respect for. No matter whether Bruce INTENDED it or not.....by crossing this boundary, Bruce already acted against Dick’s feelings in this regard and well, disregarded them....which makes claims of Bruce not raising the adoption issue pretty much JUST self-serving at that point. Its an alleged viewpoint of Dick’s that Bruce largely just ASSUMES....and only ultimately respects - in direct contrast to how he didn’t respect the associations Dick had with Robin - because it aligns with something Bruce ALREADY wanted to do, rather than what Dick actually wanted. It provided justification for Bruce to just....not have a conversation he was afraid to have. And that’s about Bruce at that point. Its not about Dick. Its just like...not.

2) Another example of this that is not unique to just Bruce, but recurs frequently in both canon and fanfics in Dick’s dynamics with other characters he’s close with.....is characters not apologizing for things they’ve done to Dick or raising the issue of things they did a long time ago but never apologized for....while claiming to do so because they thought DICK didn’t want to talk about it.

THE FATAL FLAW (in my own personal opinion. Nuances and variations may not be identical at all store locations, please see your local branch for details):

The particular problem I have here is that....Dick never ever ever in the history of ever and also the before ever time.....has EVER expressed a desire to avoid confrontation.

Like. That’s what he DOES. That’s his JAM. That’s literally CITED time and time again as one of the reasons he’s viewed as more of a people person and natural team leader than Bruce and other Batfam members....because he’s not afraid to cut straight (or bi) to the heart of the matter and air out a dispute.

In fact, this very character trait is one of the ones most commonly utilized AGAINST Dick in various depictions of him, as he’s often cited as TOO confrontational, TOO eager for a fight or conflict especially when his temper is engaged, such as when he’s well....personally hurt or offended.

So how does it follow, then, that avoiding tough conversations ONLY when its on the OTHER person to INITIATE, because they were the ones who DID the wrong-doing and Dick the subject of that rather than the instigator....how does it work, exactly, that these are the only times in which we DON’T tend to see a direct conversation about the harms done and the fallout that resulted? With it being claimed that this is solely for Dick’s benefit, out of a desire to avoid pulling him into an allegedly unnecessary (but really just unpleasant) confrontation?

When the concurrent reality is that whether stated or acknowledged or not.....avoiding these specific conversations and ONLY these conversations (as there never seems to be a problem finding canon or fanfic stories in which Dick apologizes for harm HE’S caused to others or is clearly expected to).....this avoidance also carries the side benefit of allowing the character who DID something wrong to Dick to....not ever have to have that super uncomfortable conversation in which they actually verbally acknowledge the thing they did to him and the effects it had on him, and apologize for that.....and then render themselves vulnerable to actually hearing whether or not he accepts their apology or is still upset with them regardless.

While - as long as they DON’T ever have this conversation, for whatever reason - they can look to the clear and consistent precedent of Dick continuing to work with people who have done things like oh, I don’t know....punched him in the face cuz they’re mad at him (and this isn’t a Bruce critical point, this is a whole damn family critical point as the only one who HASN’T actually done this is Duke. Well, Cass technically just threw him out a window, but I mean, tomato toh-mah-to). Writers and characters both can lean on the fact that actually Dick has a pretty clear track record of ultimately giving up a grudge or at least showing a willingness to look past those grudges enough that it doesn’t prevent him from still maintaining or resuming some kind of relationship with the person who hurt him.

And thus, like Example Numero Uno......this ultimately just lets other characters off the hook while claiming to do Dick a favor, but actually Dick receives no real benefit from it and instead now just has another instance of characters saying “see we respect your wishes” when ultimately their inaction is MORE in service to their own wishes and self-interests.

2b) See also the variation of this in which characters such as Bruce, Jason, Tim and assorted others like....are written specifically determining that they’re not going to apologize to Dick or beg his forgiveness because they feel they don’t DESERVE to be forgiven, and once again....its in HIS best interests that they not even give him the opportunity to say he forgives them....because they know Dick Grayson of course, and they know he’s too forgiving for his own good, so its better to like....not make it ever a possibility in this particular instance.

With the problem here being like.....Dick can’t and shouldn’t be expected to KNOW that’s their logic? So....all he’s going to actually SEE is loved ones just....not expressing remorse for hurting him or acknowledgment it even happened? Which....hurts?

So......hurting your loved one MORE after already hurting them....because you don’t feel you deserve to be forgiven for hurting them in the first place and are actually PROTECTING them from being hurt more when mistakenly forgiving you.....by.....hurting and continuing to hurt them with your silence and lack of evident remorse....

Mmmm.....

Its not the best approach, y’know?

Flaws are detected.

3) Dick’s friends and family manipulating situations in order to get the end result THEY desire, while claiming to do so for his benefit only. Dick being willing to manipulate people to achieve his own ends comes up a LOT actually....but there’s relatively little examination of how often people do this to him, claiming his best interests but really just circumventing his clearly stated desires for independence and the right to make his own choices about what HE needs....or when this is brought up, its usually limited to JUST Bruce doing it, but uh....no that ain’t it.

Specific examples of this are like when Wally joins the 1999 version of the Titans specifically to get Dick to join up, because in his estimation Dick needs more of a social life and is drowning himself with his responsibilities....and then quits not long after Dick is finally officially invested in staying with the team. Another example is when Roy gets Dick to join the Outsiders based entirely on his pitch of NOT treating the team like a family, like they did with the Titans, so that Dick could keep emotional distance and not be as worried about losing them like he suffered from losses like Donna....with his claim again being that he worried about Dick in the aftermath of that loss, etc.

And to be clear! Its not that I think Wally and Roy and others who do similar things have NEGATIVE intentions in mind for Dick. That’s the whole point of this post.....like the other examples, I fully believe THEY believe (or writers believe when writing them this way) that they have Dick’s best interests in mind and not their own. I just....disagree.

THE FATAL FLAW (at least as I see it here):

Is that I view this and Batfam members who do similar stuff as like.....falling into the trap of the savior friend complex. Its that thing when you see a friend hurting, and over time get FRUSTRATED by seeing this when a solution seems obvious to you but think they won’t take it because they’re too stubborn or don’t know what’s best for them....with this specifically recurring a LOT with Dick in particular, due to his core characterization of wanting to be the one to make his own choices. The problem here, same as the problem with the savior friend complex....is that it treats the subject of these views as like....incapable of determining what they need. Its a tacit condemnation that they actually don’t know how to cope with things and are doing it wrong - even though the ones making this assessment will never be the ones actually having to LIVE with the outcome of their meddling. Its the conviction that someone like Dick needs to be HANDLED, for his own good....because he can’t be trusted to KNOW what he needs, not as well as them at least.....and so they jump to manipulation rather than just....ASK him what he needs, or HOW they can best support him, or even just WHY he’s making the choices he is.

For instance, the problem with what Wally did was never that Dick wasn’t struggling. He was. He was drowning in his responsibilities, he had very little to no life outside of them.....Wally is not remotely in the wrong for WANTING to do something to change this situation. The problem is Wally basically defaulted to just...HANDLING his friend by restarting the Titans just to give Dick a social life again, which is pretty much a line straight out of the comics...and basically railroaded right over Dick’s initial ‘no’ when he first heard the proposal. And kept pushing things until Dick eventually joined up in order to get Wally to commit to the team too, because Wally spun it as though Dick was helping Wally by getting Wally to commit to the team for the very same reasons Wally wanted Dick to. And then....right after that, Wally quit to go back to just focusing on the Justice League, which was part of what Dick predicted would happen all along.

The thing was.....at no point along the way did Wally actually ask WHY Dick initially said no....he jumped straight to assuming his own view of the problem, that Dick just COULDN’T be made to ever see the reason to take a break occasionally and put his mental and emotional health as a priority. If he’d done this, Wally could have had dozens of other options to achieve his desired end result....he could’ve like....set up regular hangouts with Dick. 

But Wally jumped to assuming he knew the answer, he knew what was best for Dick, and that Dick’s logic was inherently self-destructive and self-flagellating.....and he felt the solution was to bring back the Titans, as he recalled their earlier times as Titans together as a time when Dick was better able to balance his social life and responsibilities.

But by not ever stopping to LISTEN to why Dick felt the way he did and was initially opposed to rejoining the Titans....Wally overlooked one crucial fact: He isn’t Dick.

And more important, his view of the past wasn’t Dick’s view of the past.

Wally was a lot more capable of viewing the Titans as not just a family, but an inherent social life, a hangout, a kind of club....because that’s what it had always been to him.

But he’d never been the leader.

Throughout all their childhoods, the whole time the Titans WERE all of the above, and relatively light-hearted in comparison to their older selves....Dick STILL had the weight of responsibilities that none of the others had by virtue of just...not being the leader. Ultimately, all of their lives were in HIS hands. He was the one calling the shots. The buck stopped with him.

And this is precisely WHY Dick had gotten to the point he had in adulthood. It wasn’t because he’d changed. It wasn’t because he’d stopped figuring out what he needed and how to take care of himself. Its because the position he’d ALWAYS been in as leader....has WEIGHT. That eventually added up more and more and weighed him down. A huge part of the reason Dick had ended up leaving the Titans in the first place, before they disbanded prior to the 1999 revival....is because of the sheer WEIGHT of all the deaths and misfortunes that had befallen the Titans....and how much he and he alone struggled with it in ways the others didn’t....because they didn’t have to. It hadn’t been their plans, their calls, their RESPONSIBILITY to find a way the others could have all made it out alive or at least less traumatized.

So.....of COURSE Dick said no when Wally first proposed restarting the Titans, before Wally defaulted to using his own membership as a lure to get Dick to agree.....because......nothing about the above paragraph had changed, via Wally’s ‘plan.’ It wasn’t because Dick just didn’t KNOW how to be a fully rounded person....it was because nobody was helping him find actual OPTIONS for doing that....that didn’t just double as MORE responsibilities! Because that’s exactly what ended up happening! Dick wound up the leader of the Titans again, just as responsible and just as invested as always.....just like he always knew he would....and also as he knew would happen...Wally ended up quitting not long into it and persuading Jessie Quick to step in as his replacement....aka just one more person for Dick to worry about when it wasn’t like he was going to be worrying any less about Wally, just now he wasn’t going to have Wally there to even POTENTIALLY be able to support him when tragedy inevitably struck because they’re freaking superheroes....and instead he’d just have another person looking to him for the answers but with no reason or chance of being the support Dick could ACTUALLY use at times like that!

Wally’s manipulations circumvented Dick’s opinion that no, actually he knew what was best for him and it wasn’t what Wally was suggesting....without actually accounting for the fact that hey, Dick might actually know that. And in the end, Wally got the result he was after, he got to feel that he’d HELPED his friend....which again, this isn’t WRONG to WANT to....but Dick didn’t...exactly....benefit from this. It wasn’t actually in his best interests ultimately.

I mean...see Donna’s death for details.

And in the aftermath of THAT....Roy essentially did exactly what Wally did....just in REVERSE! Roy got Dick to agree to lead the Outsiders, to shoulder responsibility once again....by promising that Dick WOULDN’T have to view them as family. And did Dick go too far and end up TOO uncaring about their welfare? Yup! No disagreements there! Problem is though....he only ended UP in that situation because yet again a friend thought they KNEW the solution to what Dick needed.....only for Dick to end up essentially punished and further self-blaming....just for doing exactly what Roy had told him TO do, with this particular team. Again - Roy hadn’t EXPECTED Dick to take it this far. But that’s the whole point! Roy had expectations about what Dick would ACTUALLY end up doing, that didn’t match up to the pitch Roy actually gave Dick to GET his agreement.....because Roy all along was of the assumption that by virtue of being Dick Grayson, he wouldn’t be ABLE to avoid connecting with these new teammates and viewing them as family, and thus he’d end up ‘snapping out of it’ with it being the funk he’d been in since Donna’s death.

Roy’s intentions might have been noble, once again.....but his methods stuck to the same pattern of people around Dick believing they knew what he needed or knew who he was or knew what it meant to BE Dick Grayson....better than Dick actually did...particularly when Dick said no, this isn’t what I need or this isn’t a good idea or just...I don’t want to do this.

And in the end....its Dick who ended up paying the price for it, as well as the people who got hurt because of his INTENTIONAL emotional distance.....because the ‘view all surrounding people as new surrogate family’ aspect of the Dick Grayson Experience hadn’t kicked in as Roy thought inevitably would....but the ‘view all this as directly my fault and suffer guilt for it forevermore’ aspect of the Dick Grayson Experience most certainly did! Not at all actually helped along by the fact that like....Roy also expressed frustration with Dick that like.....Dick hadn’t actually responded to Roy’s intended manipulation of his emotions the way Roy had expected him to when he EXPRESSLY TOLD DICK TO BEHAVE THE WAY THAT DICK ULTIMATELY BEHAVED. (Just, he didn’t tell Dick to dial that all the way up to Extra, but given that’s the only setting Dick does ANYTHING at, I feel its a possible outcome Roy should have at least considered. I mean, wasn’t the whole point that you know Dick Grayson better than he knows himself?)

But lo, I am salty.

LMAO, but I mean, you get it right? Obviously, I LIKE Wally and Roy. I LIKE Jason, etc. I’m not saying all of this to be like ugh how dare these characters do all this to Dick....I’m saying it because like.....they all keep falling into the same patterns of making a big fuss and acknowledgment of how much Dick prioritizes being able and free to make his own choices and decide what’s best for him and what HE wants.....

But without ever like....actively asking him AT THE RELEVANT TIME....what he thinks and feels about all this. What he thinks and feels he needs. What he ACTUALLY wants from them, or why he’s ACTUALLY saying no to something and maybe it being for reasons that aren’t just him inherently being stubborn and self-destructive.

And instead just defaulting to falling back on whatever he might have said or expressed in an entirely different context at an entirely different time.....and saying okay, by doing so, we are abiding by his wishes and thus doing what he wants and respecting his right to make his own choices.....

But ONLY when doing all of the above just so happens to align with these other characters then getting to do the thing or take the approach they’re already predisposed towards wanting to take because of their OWN self-interests at the same time.

With this never actually coming into play when respecting Dick’s wishes aligns with them taking actions they DON’T personally want to undertake, because it makes them uncomfy or they think its a bad call, even if it is something that should be his call to make.

Like....the pattern. It very much exists. And abounds. Like I could cite examples allllllllllll the way up to Ric Grayson, where Bruce respected RIC’S wishes to be left alone and not interfere in his life no matter what.....in ways Bruce almost never respects Dick’s actual expressed wish for Bruce to butt out of matters when Bruce is actually quite keen on meddling and would very much like to....

But notice how the other thing about the Ric Grayson storyline is that Ric’s expressed desire to stay the fuck out of vigilantism and superhero work, like.....just so happens to align with Bruce’s longstanding desire for Dick to like...get out of the vigilantism and superhero work? With butting out of Ric’s life and respecting his privacy in ways Dick has to FIGHT him for, like......absolutely the optimal action to take in order to allow this expressed desire of Ric’s to flourish in the ways Bruce always wished would kick in for Dick?

.....just saying. 

The pattern. It abounds.

And the key to breaking any pattern, of course, is to first recognize....and acknowledge....that it exists.

Otherwise you tend to fall into the trap of repeating and perpetuating it over and over without even realizing it, simply because its what’s familiar.

This has been A Post by Me. Thank you and have a nice day. Or don’t. Idk. I’m not the boss of you. Whatever.

[scrawnytreedemon]

Neurodivergency, and Sephiroth

Right, I’m going to see if I can try and explain why this reading appeals to me.

For some background, I’ve watched a full silent LP of the OG, watched Advent Children, and am largely familiar with his characterisation in Crisis Core(though it gets a bit patchy in some areas). I am not familiar with his characterisation in KH, Dissida, or any other spinoff appearances.

I’m going to be looking at this with an autistic lens, as, hey, I’m autistic, however much of these patterns aren’t exclusive to autistic people by any means and thus are fairly applicable to other labels.

This is an explanaition on why I find this element worth considering, and while I hope that others can relate or take away something from this, in many ways it is highly personal and not intended to be a decleration on Sephiroth’s ‘true nature,’ as it were. I’m not claiming that this was intended by the writers-- Infact, I’d be very surprised if they considered it, at all --As many of the traits he exhibits could be brushed aside as due to his upbringing.

That being said, let’s get into it!

1. Alienation

A common thread in neurodivergency, autism in particular, is some form of alienation. This doesn’t necessarily mean being outcast-- I, for one, have been largely accepted by those around me, and yet there is still that sense of being ‘other‘ that’s always been there, long before I even had a word for it.

Now, of course, in Sephiroth this is more related to his lineage, and how it’s expressed in... well, everything. Even still, I find value in expanding that, and considering just how getting the sense you’re implicitly divided from your peers.

There is, of course, the matter of Sephiroth’s literal isolation-- However, as fun as those scenarios are to play around with, I don’t think Sephiroth was raised wholly, or even mostly in the labs. The reason being that it would be nigh impossible to have hid just what made Sephiroth different, especially knowing how observant he is. It’s clear that Sephiroth had had extensive contact with other children, as epitomised by the line:

“I knew ever since I was a child, I was not like the others. I knew mine was a special existence. But this is not what I meant!” 

Sephiroth was painfully aware that he is different, even if he didn’t know exactly how. It is at once an oddly thrilling, and lonely sensation. Thrilling, because-- Hey! --You can do and see things others can’t and/or wouldn’t; and lonely, because it makes it hard to relate to others or have them relate to you.

2. Socialisation

I would like to start off by saying that, while I find it a tad more faithful and endlessly less grating than Sex God Sephiroth, Sephiroth is not a complete and utter social failure. While it’s clear he has difficulty articulating emotions and understanding others, it’s very clear even still that he knows how the game works, and knows how to play it.

This is going to dip far more into speculation territory, so buckle up.

A thing that, perhaps, I don’t see talked about often enough online when it comes to neurodivergent experiences, is that many things that are considered ‘normal‘ get experienced as systems that we need to actively learn and maneuver-- Socialisation especially!

Now, of course there is always some degree of social interaction being a give and take, a step forth and step back, regardless of neurotype, but it’s dialed up far more when you deviate from ‘the norm.‘

If I can give my own example, a thing I struggled with when I was little was humour! Not because I didn’t find things funny, or didn’t know what it was, but because I had issues grasping at the machinations of what made something funny. This lead to alot of nonsensical jokes that left my siblings confounded, until I picked up a joke-book, and started analysing from there. It was mostly alot of puns, which! Due to their simple structure, are a great way to learn the basics! I didn’t even know this was unusual, until my mother pointed it out to me years later.

And that method goes for alot of things.

Sephiroth, above all else, is observant. He makes efforts multiple times throughout the OG and Crisis Core to check up on others and ask how they’re doing. He asks Cloud how he feels returning to his hometown, and about seeing his mother, and urges Zack to check up on Aerith in Crisis Core, to name some notable examples. Even if you get the sense that his attempts are, perhaps, a little ungainly, it makes it clear more than anything that Sephiroth tries.

I think the reason that people have leaned alot more into the overly-awkward perception of Sephiroth in recent times, is because it humanises him. I feel there’s been far more of a shift within fandom to focus on the mundane, on relatability, on humanity. A veneer of endless, effortless confidence really isn’t that sexy anymore-- When sexual-appeal even comes into the matter, at all.

That being said, this section more than anything, I think, is very easy to brush aside due to his... interesting upbringing. Depending on how you construe the timeline, Sephiroth got sent to war as early as twelve, and wouldn’t have had much of an oppurtnity to develop these skills in a healthy and timely manner.

Even without that, a degree of social awkwardness is far from exclusive to any particular neurotype-- It’s the way it arises in him, though, that piques my interest.

3. Analysis and Obsession

This... I think, is the one where I’ll be grasping at straws the most.

While, yes, the obsessive research demonstrated in the OG during the Nibelheim incident and even before that to a lesser extent in Crisis Core could be some indication of a degree to absolutely immerse yourself in a subject in that Very Autistic WayTM, more than anything these are brought on by dire circumstance(the former especially by the question of his very humanity), and as we don’t see Sephiroth as a child, it’s uncertain as to whether he displayed these behaviours as such and to this degree under ‘normal‘ circumstances.

Even so, I get the feeling that Sephiroth is very analytically-minded, in a very Stranger In A Strange World sort of way(not in any way referring to the 1961 novel by a similar name, lmao). I get the feeling he’s the type of person to pick up some highly-esoteric text just for fun and come away with a menagerie of strange and unusual and obscenely specific factoids that he’ll remember for the rest of his life.

Like, someone might mention a topic offhandedly, and though he’d keep his mouth shut because He’s Like ThatTM, a slew of all the little bits and pieces he’s seen or read on the matter over the years would just jump to mind.

What I’m trying to say is, I think Sephiroth would take joy in painstakingly pouring and mulling over topics that not many people would have the consideration nor the mind to hold any long-term, inimate interest in.

If the last point was easily brushed aside, then this one you’d merely have to breathe and it’d fall apart. Nonetheless, I feel that within fandom’s current common framework with how we perceive Sephiroth, this wouldn’t be too much of a stretch.

I, however, want to make it clear that I can see the issue with labelling Sephiroth as neurodivergent. He could all too easily fall into the cliché of cold, emotionally and socially-inept, often rather callous depictions we see all too often in the heavily-neurotypical media that sees us as Missing Something; less than. Things have gotten better, but even still, there’s such a tendency to flatten us down to the things we can’t do, or lawd as us Potential Einsteins in spite of it-- Which, just, while it happens, on the whole it isn’t very helpful or realistic to expect this from us.

We are by no means a monolith, and while I take comfort in the idea of a neurodivergent Sephiroth, I understand that for some, it can feel like taking on a label to a character that vaguely fits the stereotype, and thus, perhaps, insinuating that to be autistic you have to look Like That-- And when it comes to villains in particular, it’s all too easy to dip into demonisation.

This isn’t even getting onto some of the issues that’d have this fall apart, were we to look at other symptoms. The first that comes to mind, and one that even I, as innocuous as I am, experience: sensory overload.

While it is entirely possible that Sephiroth learned to deal with it accordingly in life, or was forced to surpress it, because Shinra’s Science Department(cough cough Hojo) has been shown time and time again to force its subjects into little boxes and blame them for any failures expressed, the fact is that such a symptom could make fighting on the battlefield downright impossible.

Again, this is something that could’ve been given a ‘solution‘(as much as you can or even should think about long-term surpressing your basic thresholds), it nonetheless remains an issue.

I just hope that, on the whole, this served as some food for thought.

TL;DR: Sephiroth is autistic because I Vibe With It.

Also, happy Disability Pride!

[papers4me]

Fruits Basket,Se03, Ep 8 (part 2)

I finally got my answer on how will kyo’s confession of kyoko will be & how tohru will react. I love the writing, the pacing, the monologue, the dialogue, the facial expressions, tohru’s reaction, kyo’s rejection & tohru’s shock. Even yuki & akito’s involvement! All of it was a chef’s kiss!

I went & watched lots of eps of se01 & 2 & I’m loving all the hints they dropped abt kyo & how his trauma was looming over him all. this. damn. time! Unfortunately, it has reminded me of how much tohru’s own character exploration was diminished in favor of her being the angelic mother & the sohma’s fixer! but moving on & focusing on her shining moment now! I’ll explore her character here with regards of her trauma, real hidden character & future development.

Kyo’s rejection is the best thing that has ever happened to tohru:

(don’t hate me before you read!) XD~ just like you, I’m mad at kyo for hurting tohru & I feel her pain. However, the writer didn’t write this with a sadistic desire to hurt us. Kyo’s rejection is the core of the entire story as it is not only connected to kyo’s trauma, but tohru’s growth & yuki’s emotional involvement with the two, as well as akito’s insecurities. I have explained in my review( part 1) how kyo rejecting tohru was a logical progression of kyo’s trauma, the only possible outcome from his perspective, & the themes tied with such decision. Now, I’ll explain why this rejection is good for tohru in the long run:

1. Showing the hidden ugly side: (The timid, shy, self-sacrificing girl is angry!): Tohru’s entire consciously constructed personality is borrowed from elements in her mom & dad’s life:

She mimicked her dad’s overly polite style to prove that she is indeed his daughter, so her mom won’t be called w*ore & to console her mom, so she wont leave her. She has deep low self-worth issues. I gotta become someone else to be loved.

she has inner fear of bringing shame to her mom’s name, wants to always be the good girl so mom’s get praised for raising her. Thus, hiding ugly aspects such as anger, loud voice & frustration.

She wants to prove that her mom chose right by not neglecting her. wishes to be worth needing & loving for her own self.

All she ever wanted since being a 4 year old child is her mom. No other desire for anything else at all. Since her mom’s death, she’s been lost on what to do, who to be, what to want! then it came to her to stick to her mom’s memory & live for her. Living for a dead person is a self-sacrifice decision. Tohru just didn’t see herself outside of her mom’s influence.  

Ever since meeting kyo, he has been encouraging real aspects of her character: be selfish, complain, cry, get mad, yell, look pathetic, expose unflattering thoughts, show undesirable side, ask for things, no, DEMAND things. She has been reluctantly following his advice & only showing that to him. His confession & inability to accept her love has lead her to show the real hidden tohru behind the “ i’m okay” mask:

The timid, always smiling girl is now showing anger, frustration, stubbornness & determination.

screaming her heart out: “ i don’t believe my mom would say that” stating her opinion in firm voice.

 “even if she did, I have to go against her” the real tohru shows her explosive personality that was buried deep down! it is NOT mom’s life anymore. It is MINE. I decide. I choose. I want. My decisions.

“ why can’t you see that?” argues with him. Tohru, who is soft-spoken & tends to get flustered  when others insist, is now questioning his decision with passion & fierceness!

“ I love you no matter what”. Say what toy want. look at yourself as a monster, a murderer, a loser or a coward. I don’t care what your brain or trauma makes you think. I see the real YOU & it is my decision! I love you ugly & pretty, sad & happy, broken or strong, coward or brave. I take it all & no one is fooling me or changing my mind. I’m my own person & I chose YOU. 

 2. Letting go of attachments: Learning to LIVE:

Tohru’s attachment to her mom isn’t healthy. It’s  toxic as it hinders her from being her own person. To be able to love kyo, she lets go of “ listening to mommy’s words” . Apparently, her mom condemned kyo as unforgivable. Tohru knows the real kyo & doesn’t even care for forgiveness despite her mom’s alleged words. Breaking the toxic bond. She formed a healthier bond with kyo. However, if kyo is unable to accept this love. what would tohru do? die?? kill herself?? kyoko wasn't able to continue to love her husband cuz he died. her reaction was neglecting her daughter & roaming away in utter grief. Tohru mustn’t follow her mom’s example. Not all loved ones leave us out of hate. Some leave each other cuz of death (kyoko/tohru), ( kyoko/ katsuya), Others might leave each other out of current traumatic pain, mental health, emotional hindrance despite loving each other so dearly (kyo/tohru). If kyo despite his immense love to tohru, can’t forgive himself, they won’t be together. tohru can cry, scream, yell, but if he doesn't overcome his issues & come back, tohru gotta let go. She gotta learn to let go & not kill herself over what she cant have.

Kyo, on the opposite, gotta learn to hold on to loved ones! Let go of pain but hold on to real ppl not dead ghosts of the past. He must learn to act on his own desire & need for tohru. Only when he forgives himself, he’ll hold on to her. It is then, that tohru will decide again if she’ll have him or not.

3- Wanting things doesn't mean you WILL have them: (You are enough by yourself- moderation)

tohru wants kyo, the first thing she has ever wanted. However, she won’t  automatically get him just because she now learned to demand things. There are obstacles that can stop that. Tohru must accept kyo’s inability to be with her now & live healthily regardless. This ties to akito as well. She wants the zodicas but she cant have them! Emotional distance separate them. What will akito do if she can’t have what she wants? kill kurno? kill tohtru? kill herself? will this bring the zodiacs back? NO. You are enough by yourself. She needs to let go & learn to accept that love means acceptance between the involved parties, emotional connection isn't enough.

-Realistic depiction of romantic relationship progression: (thro better & worse). EPIC writing!

It is indeed fate that brought tohru back in kyo’s path 4 months after her mom’s death & the they do share a mutual past: kyoko. However, fervor grateful to the author for writing them falling in love together isn’t due to fate, coincidence, mutual past or similar personalities. Kyo consciously avoided tohru while tohru herself struggled to understand kyo initially. The author spend valuable time building their romantic relation based on mundane daily life activities. They themselves don’t quite know when exactly that they fell in love. when they recalled falling in love, we see them cooking together, talking, walking, eating, studying & opening up abt small struggles.

It is genius that the writer will add yet another realistic aspect. While kyo was able to read tohru & approach her when she’s down, this doesn't mean he magically understood her & will forever be on the same page & never ever hurt each other at all. If you fell in love, you are bound to be hurt by the person who loves you back as much as be happy together. It is realistic!!! Adding miscommunication & personality differences enrich the relationship. This relationship isn’t just fluffy & lovey dovey. They have realistic issues that they need to work on by communicating. Even communication  wont solve their quarrel if it isn’t done in the right time & with the right desire to connect.

-The weight & future lessons learned from of “ I’m disappointed in you” for both kyo & tohru:

Right now kyo is too emotional to connect & tohru herself is too emotional to understand his response. Tohru understands his pain but her low self-esteem prevents her from seeing that he is rejecting being loved , not rejecting her. He is not rejecting tohru as a person but rejecting kyo as a person deserving love. Thanks to his “ i’m disappointed in you” which really leaves no room for interpretation from tohru’s perspective. I love that!!!! Kyo isn’t good with words. This has been clear from ep 1, his actions has always been his love language, but now he couples bad words “ i’m disappointed in you” with bad actions: running away. This is a perfect opportunity to build their future relationship on a solid foundation: ( off course I’m not belittling their current emotions, I understand why each is very broken now, but I’m talking abt future learning lessons)

Kyo’s current mistake: While him rejecting tohru is justified by the extreme trauma & is logical from his perspective. This doesn’t mean it isnt’t hurtful to her. He chose hurtful words to push her away mimicking how he pushed her in the true form arc. Perfect example of justified mistake yet still a wrong mistake. Thus, kyo needs to learn the effect of his words, he shouldn’t be punished for the past, for tings her cant control, nor for fate. But he should take responsibilities of the present, of what he actually says & does right now.  He must fix this mistake with tohru. This is a mistake that CAN be fixed. someone that he CAN get back. a mistake he CAN stop repeating.He CAN hold on to her with immense desire yet allow room for her to decide for herself.

Tohru’s current mistake: Seeing herself solely thro being loved by kyo. she cant see that he indeed loves her cuz he rejected her. Rejection in tohru’s mind equal lack of love. Her mom left her, thus her mom didnt love her. This respective is very justified due to her trauma, & it is logical that she reached this conclusion. She isnt in his head, she cant know whats in his heart if his words say sth else. However, having a logical perspective doesn't mean it is right. it is still wrong to solely exist thro what you can see & hear. Real emotions run deeper. We must take things with moderate approach. Tohru needs to have higher self-esteem, to allow room for misunderstanding without completely breaking down. In her future life, she’ll be in lots of situations where ppl could hurt her intentionally or unintentionally. She needs to take things with calmer pace & open the door in her mind for doubt & better judgement. As much as loved ones words hurt, to build a healthy relationship, you must leave room for communication & misunderstanding. Hence, you’ll get closer & closer. 

Side Notes:

 I love tohru’s faulty attachment thro only being loved back exactly as she pictures in her mind. it is so human, so real, & so endearing! Very opposite of se01 & 2 image of her being the wise, device-giving mother with right thing to say & do. Screw that unrealistic image! allow tohru to be real! best ep ever! Hopefully, no more of this tohru!

Kyo’s constant repeat of mistakes is the best character trope done right! so realistic. It is genius that the author used this trope to humanize the demonic cat spirit!! what screams human better than the most annoying human trait: repeating mistakes!!!!  Kyo, my son! it’s time to learn! cant wait to see how the author will do that.

young boy/ adult woman friendship? Was that ever made without  disgusting sexualizion? kyoko isnt much of a mom figure to kyo, she tells me abt a husband, child neglect mistakes, custody! he calls her old hag & pushes her! XD. it is friendship!!

i’m mad they didnt focus on tohru’s face when she screamed at kyo confessing her love.. that's tohru moment. Why pan on yuki? you could’ve showed his reaction after she spoke. The same thing was done when tohru confessed to Isuzu!-_-! loved her angry face tho, it was beautifully drawn, so thanks for that. XD

Yuki is forever the best tohru/kyo shipper & the best tohru-happiness defender. I love how he runs after kyo & yet checks on tohru! I’m curious tho, he didnt hear any of kyo/kyoko confession as he was asleep, only the the “ forgive/not forgive line” so, he’ll be wondering forgive what? tohru’s mom knows kyo? I’m excited on how they’ll put things into context. also, I LOVE YUKI.

I’m forever thankful that everything akito is pushed into next ep. The knife wielding action & akito’s dramatic outbursts would’ve stolen from the emotional weight of kyo’s confession. Kyo’s secret is the core of furuba since ep, 1, the entire dynamics of kyo/tohru/yuki /kyoko/ hat is established based on this ep. Shoving akito, too, would create the same annoying train bullet feeling of momiji’s & tohru’s ep (ep 5 & 6). Emotional scenes pushed together with lesser time for the respective characters to have their well-deserved focus.

This is the most I am attached & satisfied with furuba! it scares me since ep 9 continues the climax. My fears of potential dramatic animation since the knife is there! moreover, akito’s own animation is always over the top. I hope they tone it down to portray her as a human more than a maniac.

Also, I hope they dont drag the climax more than that. What more you can shove in the dramatic raining weather. Tohru/kyo scene here matched the true arc scene bringing back parallel. Now akito/tohru raining scene next ep will match se02, ep10 scene. Now, what will the author do to defuse the climax? Often writing the falling action is harder than the climax itself. Falling action doesnt mean happy times & solving issues. It means dealing with the consequences of the climax. Let’s see what the writer has in store.

Based on the flashbacks, Kyoko didnt have ill feelings with kyo!!!! Until the last time he saw her as a child, she was happy with him. Even when he pushed her, she took it as a childlike behavior. at the accident, she didnt have much time to have any ill feelings. No way she thought he pushed her, no way she thought he could’ve saved her. So if she really recognized him, why would she say “ I wont forgive you”? it doesnt make sense at all. Kyoko doesn't hate kyo!!!! So, either he imagined, which is sth that I’ll hate so much! I spent so much emotions attached to a non existant words! NO. plz! NO!! Other possibility, she said sth else closer to the words! but then again how would we know? I NEED to know! ~ as expected, I’m still attached to this damn line! XD. 

Kyo depressed in the mountains after kyoko’s death was very vaguely referenced in (1) se01, ep24 when kyo talked to kazuma! oh shoot! (2) in se02, sp 2 when kazuma thought back to kyo nearly killing himself in depression before meeting the dad, (3) in se02, ep 9 when kyo trampled on the flower! oof! i love this subtle style of writing! connecting the emotional dots! EPIC!

Various characters throut seasons 1, 2 & 3 noticed the real gentle kyo towards tohru: (1) Isuzu’s “ I hope tohru meets someone like haru, to gently open the door” se02, ep19. (2) Momiji having faith that kyo is the right person for tohru & pushing him, (3) yuki constantly musing over tohru/kyo love & drawing inspiration on wanting “ his own person to love like them” (3) Kisa saying kyo is kind to tohru se3, (4) shigure saying, you are exclusively kind to tohru se02, (5) Airisa saying, when will kyo confess in se01, (6) hana saying, marry my sister in the play & pushing him to not be locked! (7) yuki kicking him for saying “ its not your business” to tohru in kyoto trip, (8) kakeru saying “ kyo’s her boyfriend? “ AA~~~~ the whole cast know & can see his love to her!!! TOHRU! He doesnt hate you! KYO!! the entire cast thinks you DESERVE HER & is KIND! not a monster! Is there an image set of those moments of the cast saying that here in tumblr? kindly mention me to see it! I fear going to the tags & seeing spoilers T_T.

[darlington-v]

on the matter of chekhov’s gun

“what does chekov’s gun have to do with ranboo’s lack of panic towards his inability to speak about dream and his misdeeds?”

this was something asked in one of the replies to my essays, which made me feel the need to make this post instead of just a simple reply because i have a lot of thoughts on the matter.

first, let’s talk about chekov’s gun.

chekov’s gun is not just wilbur’s old crossbow, nor just something funny he would reference but it is a writing principle.

now, whether or not you follow that principle is up to you, but most good writers and writing will follow that principle which is: everything in writing has to have a purpose. even small details. 

they may not necessarily have huge plot relevance, but when you are writing you have to ask yourself, ‘why is this necessary for me to write this in?’ chekhov’s gun helps you maintain a cohesiveness within your story and writing as all of it will serve a purpose.

in writing anything, whether it is: character details, character arcs, plots of any degree (be it a small character arc or a main storyline point), setting details and the setting itself, you have to ask yourself, what purpose does this serve in the narrative? what does this establish?

let’s use a fine character detail for example. say your main character notices their companion sewing with a peculiar stitch that is not often used in their self proclaimed home country. what was the purpose of pointing that out? a good writer, utilizing the principle of chekhov’s gun, would have it be relevant to the story later. you could write their companion was lying about where they came from, which will later affect the mission they’re on, which will later come up due to the affects it has. or, perhaps, the companion was raised by parents who are refugees, which will then establish a personal connection with perhaps a political conflict at the core of this hypothetical story.

regardless, these give meaning to the fine detail you established in chapters, or episodes, or in the dream smp’s case, streams, earlier. which is what the principle of chekhov’s gun is. everything should be done with a purpose.

why is chekhov’s gun important?

the importance of using the principle of chekhov’s gun is in maintaining cohesiveness within your story. no one likes a dissatisfying story. we want to walk away from a narrative feeling a sense of wholeness and satisfaction. whether it has a sad ending, happy ending, or bittersweet ending, you want to walk away feeling satisfied. like it all had a purpose. a good story ends with good closure.

you get closure when your worries or questions or understanding of something are calmed, or answered, or explained to you. this is why chekhov’s gun is important. in making sure every element in your story serves a purpose, you make sure that any questions being asked are getting answered. in asking yourself “why does this happen” and then applying that answer to the story, whether it is immediately or later, you are making sure your loose threads are getting tied. you’re making sure that you will always be able to provide your reader closure.

and closure is satisfying! we all want closure. we all would like our lives and conflicts to have pretty answers wrapped up in a bow, but... the issue with reality, rather than fiction, is that we don’t always get it.

which is why it’s so important in fiction.

no one wants to use their time reading, or watching, or just consuming something in general, that leaves us unsatisfied. which is why we don’t have to, nor should we, necessarily use the way events unfold in real life as a skeleton for the way they unfold in fiction. like i said before, reality doesn’t always provide closure, but fiction can. in making sure your narrative has all of its loose ends tied up, you’re optimizing the amount of satisfaction received at the end of your story.

so, while chekhov’s gun is a principle, it’s a damned good one. it helps maintain a cohesive story which just naturally makes the story more enjoyable and satisfying.

what does this have to do with ranboo, or the dream smp for that matter?

well, you should apply this to any media you watch and think about critically, but it has to do with noticing small details and wondering what their importance is. 

i made an essay posing the question “why wasn’t ranboo shocked that he physically couldn’t speak about dream and the misdeeds they committed together” which talked about how ranboo didn’t really seemed shocked on the matter.

the point of the essay was really to point out that the behavior was peculiar and to ask what it may mean, because it was such an odd thing that stuck out to me. i wanted to perhaps go into depth about why he regards the circumstance with a tone of irritated understanding, and why he may understand whats going on. i don’t really have any solid ideas, but i wanted to start discussion on it.

now, why is chekhov’s gun relevant to this? because the lack of response sticks out, and it doesn’t have a clear answer yet. it subverts your natural expectations of how someone would react to their ability to speak being stripped from them. you would expect a bit more shock, and yet we don’t get that. at the very least it’s peculiar and it is a question to be asked. there’s a question created in the action.

as for the answer? i don’t really have one myself, it’s why i was posing the question.

i understand that ranboo was sufficiently shocked and panicked, but he wasn’t at a threshold to which he would have passed out. we clearly see him process the situation at hand. it’s not that he was numb to it, there is a pause where he processes the fact that he cannot speak. if he was numb to the shock, he wouldn’t have still been panicking over the prison, because he would have been shutting down all of the shock. that’s typically how shock and trauma works.

but even if his lack of response to the inability to speak was being numb or too mentally distraught, you have to ask yourself: why? 

what purpose does him being numb to that situation serve? what does that establish? if you say it establishes his character is mentally unwell or it’s a testament to ranboo’s mentality and his mental wellness, the issue is that we already knew that.

we already know ranboo isn’t okay. that’s been proven not only in the stream in question, but multiple other streams. there is no purpose in adding a new behavior or new element only for it to establish something that has been established before.

that is what chekhov’s gun and its principle has to do with my essay and questions raised. i am posing the question ‘what purpose is being served here’ because of the idea that every element to a story must serve a purpose.

as for why this is important to the dream smp as a whole, it’s very clear that there are at least three writers who likely use the principle of chekhov’s gun.

one is wilbur, he mentioned it and used the principle for season 1 of the dream smp. he shows the audience the tnt room and even like clearly references chekhov’s gun. 

another is dream! dream spoke on ranboo’s stream that he enjoys red herrings and leading the audience astray, with the conclusion being something unexpected but still understandable. i definitely recommend you watch the portion of that stream where ranboo and dream spoke about lore and writing because it was really insightful and just... enjoyable overall.

lastly, and most relevant to my essay is ranboo! similarly to dream, he likes red herrings. he’s stated multiple times on stream he loves to mislead the audience with small details only to have the reveal like... blow our minds later. the importance of chekhov’s gun and red herrings are that if you’re using the principle, your reveal is going to be SUPER satisfying because the red herrings will still serve purpose, just a different one than that which the audience expected.

and, in my opinion, their writing so far has been really enjoyable. i love ranboo’s lore streams and i love what direction lore goes when these characters and therefore ccs are involved. so... i trust them to write well, whether it is with the understanding of the principle being titled chekhov’s gun or the logical thought process which is... good writing has good closures. and in giving everything a purpose, you’re giving yourself a skeleton for good closure.

i definitely didn’t know the idea that “all elements to a story should serve a purpose” was called chekhov’s gun. and honestly, the name doesn’t matter. 

it’s just a damn good principle.

TLDR;

chekhov’s gun is the writing principle that every story element serves a purpose, which is why you should ask yourself “what does that mean and what purpose does it serve” whenever an event or element in a story jumps out at you, for whatever reason that may be.

if you need more info on chekhov’s gun here are some articles! they explain it much better than i probably ever will haha!

[coldtomyflash]

I've seen your speech pattern analysis on Flash characters. I was wondering if you had any advice on how to create speech patterns for OC characters?

oh heck this is one of the coolest questions i’ve ever received.

i’m gonna try not to go overboard/overwhelming and just give a bit of advice, and then if you want more details please come back and follow up!

There’s a few things to think about up front with character voices / speech patterns. The biggest and most obvious is language and cultural background. The second is personality. The third is personal history. Fourth, briefly, is gender. And the final one I’d say is idiosyncrasies to avoid ‘same voice’.

Culture and Group Dynamics

Depending on the setting, there’s a decent chance you’ll be writing characters from different cultural backgrounds. Even if you’re focusing on a single culture, there will be subcultures. Even if you’re focusing on a single narrow group of people, there will be age and generational differences.

Think about where your character is from. If it’s a fantasy world, that’s still (and even more, in some ways) important. What country, what ethnicity, what mother tongue? Did they grow up urban or rural? High socio-economic status or working class? What sort of educational background and peer group did they have growing up (and presently) and how does that factor into their vocabulary and mannerisms, if at all.

All of these can influence how people talk. There are regional accents and different modes of speaking to signal your group membership. There is code-switching across groups, for those who have had to learn multiple linguistics codes to survive and thrive in society. 

How much slang does this group and therefor this character use? What references (modern, outddated, topical, etc) do the rely on? What kind of references (pop culture, music, academic, etc)? What colloquialisms and proverbs do they say? Are these the same or different to their characters, even within the same culture, subculture, or group, and is it because they’re from a different place/sub-group or because of their idiosyncrasies?

You can use these to help your reader get to know more about your character’s background without having to spell it all out directly. Speech patterns and style are a great way to show instead of tell when it comes to details that are hard to drop in organically in other ways.

An important caveat: don’t write a bilingual character who switches languages in speech unless you’re ready to do a bit of research on that. In AATJS I did an absolutely horrific job of this because I was thinking more about fronting the fact that character was Italian rather than thinking through how people actually talk, and it came out exotifying and embarrassing. It’s important to make sure that the way you use language to bring in a character’s cultural and/or ethnic background feels authentic and manifests is a way that respects that language and its users. You can write a character with a complex cultural history without using multiple languages if you’re unprepared to do research and talk to bilingual speakers.

Personality

Probably the most salient thing in a writer’s mind when they’re trying to write character voices: is this the funny character? the serious one? the brainy one? etc.

Don’t overuse stereotypes and archetypes for creating speech patterns (or characters in general) if you’re trying to make a rounded, 3-dimensional character. Instead, go about three levels deeper.

Think about whether they’re introverted or extraverted, whether they are neurotypical or neurodivergent, whether they are introspective enough to express their own emotions clearly or whether they stumble when asked why they did a particular thing or feel a particular way (most people don’t or can’t clearly articulate exactly why they did something or how they feel, and come at things a bit sideways to circle around their motives and interior realities when pressed to make them external and concretely verbal).

Is this character calm, is their voice soothing, do they speak slowly? Are they excitable and loud and is their speech free-flowing? Are they angry? Do they swear? Do they use references for humour or are they more into puns? Do they laugh at their own jokes? Do they talk with their hands?

This character has social anxiety: how does that manifest in her speech? Does she clam up and get very quiet when she gets nervous, or does she go rapidfire and a little too loud (does she process by turning in or by distracting herself by turning outward)? Does she get very careful and deliberate in choosing her words (is she a bit high-strung?)? Ask yourself which fits best with the other elements of her personality and what you want the reader to know/interpret about her. 

This character is incredibly smart and a bit awkward: how does that manifest in their speech? Do they tend to use 5-dollar words, or do they expend a lot of energy choosing their words more carefully (how considerate are they to their audience when speaking and does that influence their speech)? Do they stumble over their words and explaining things, or are they good at making points with clear language learned from a lifetime of tutoring and helping others?

This character is the bff, who tries hard to make sure everyone else is happy first: how does that manifest in his speech? How does he switch between his happy-mask versus his more authentic self, and what changes in tone, word-choice, and inflection come in when he does?

-

Personal History

I’m only drawing a distinction between this and personality (archetype, really) so that I can draw attention to ways to add simultaneously unique and shared layers to characters that are distinct but related to group dynamics.

Here’s sort of what I mean: the level of education of a mother (or primary caregiver) of an infant can determine that infant’s vocabulary size. While we can break down all the ‘why is that’ layers to this, the one I want to point is to the simple truth that the more education a person does, the more specialized language they end up learning over time. This doesn’t have to be formal education though -- the more you learn about something and the more you read and access new knowledges and perspective, the more and more words you learn, and then if you start using those words, they trickle down to those close to you.

So.

What’s your character’s educational background? Is it the same as their friends who you are also writing? Is the same as their family’s? How does this character’s family influence their speech? Are they formal, informal, warm, authoritative? 

If you’re writing siblings, they’ll have some shared things! But also some very different ones! Me and my sister talk nothing alike in terms of vocabulary, but a lot alike in terms of mannerisms whenever we spend a bit of time together!

If your characters grew up around each other, they’ll have a lot of the same references. People from the same cities or regions will have things specific to that region, either due to sub-culture effects or because of local references. 

The city of Calgary, Canada for instance has the Plus15 which are a connected pedway system between the buildings in downtown, so named because they are 15feet above the ground. Drive 3 hours north to the city of Edmonton, and you have an underground pedway just called the pedways, no special name. Go a few provinces east to Toronto and their underground pedway system downtown is called PATH. These are all known to locals and part of the vernacular, but are opaque to people outside those cities. And the whole idea of them is probably opaque to people who aren’t from super cold cities that don’t require building-connecting pedway systems for pedestrians to get around high-density areas like downtown (or university campuses) without going out into the cold. 

Friends, families, and groups are like that too. In-jokes, shared histories, speaking in references. What are your characters’ relationships to each other and how does that history influence the way they approach talking to each other?

-

Gender

I don’t want to spend too much time on this one because ugh, gender. What even is it?

But like it or not, it has an impact on our speech patterns. There are cultural and societal norms in how men and women are likely to speak, and breaking those norms will be noticed regardless of whether you’re trans, enby, queer, or not. There are norms that people who are queer may fall into as well, sometimes without even noticing at first. A lot of these aren’t about word choice per se but instead about mannerisms and tone and body language, but some overlap or are specific to language.

Speaking in broad generalizations here, women use more emotional language and tend to speak with more hesitancies/qualifications. So more “i think, i feel” and less “it is”. More conversations that front emotions and dig deeper into those, with longer sentences to explain in detail. The obvious caveat is that personality matters more (i.e., is this a person who likes to talk about their emotions in detail or not) but it is something to consider because there will be general but subtle differences that you can use to help further distinguish your characters’ voices. 

Sidenote: this can also be exacerbated by different cultural backgrounds and languages (a simple example is Japanese which has different words for “I” depending on your gender as well as your personality, familiarity with the other persons in the conversation, and situational appropriateness, so interesting ways that gender and social expectations intersect in language).

Anyway this isn’t typically a huge problem except that I’ve found that a lot of writers have a tendency to overgeneralize the speech patterns that fit with their ascribed gender due to early-life socialization, or conversely to overgeneralize patterns that fit with their gender identity (when not cis) either due to heavily identifying with their gender identity’s speech model (or sometimes possibly due to a knee-jerk sort of backlash). I say this as an enby who both struggles with it and notices it and tries to edit and correct for it. 

I could get into all sorts of examples of ways this can lead to voice issues, but in general i think the point here is to make sure you’re writing any given character in view of that character’s personality and history, with gender only as a modifier for how some of these might come out in subtle ways but which can be important to help tell us about your character (and if you’re writing queer characters, it’s all the more important to consider how their relationship with gender and socialization might impact which speech models and styles they identify more with).

-

Idiosyncrasies

So, you’ve got a character. You’ve got their personality and history down. You know how they manifest in their speech. And you’re still getting some ‘same voice’ issues.

People really are unique snowflakes. Let that be reflected in their speech.

This person uses contractions differently than that one. This one says “ain’t” and that one says “isn’t.”

This person makes Simpsons references and that one doesn’t like Simpsons, and makes Brooklyn Nine Nine references instead. That other one doesn’t use referential humour much at all. This one loves old movies and hasn’t seen any of the new stuff so they make references all the time but no one ever notices.

This one loves the word “excoriate” and that one doesn’t even know what it means because what the hell, who uses the word excoriate?

This one talks about food a lot, it overlaps with their interests. This one uses metaphors. This one grunts in response. This one exclaims. This one says “like” and that one hates it. That one refers to themselves in third person. This other one uses reflective language an usual amount (e.g., “love me some candy”). This other one keeps misusing the word inconceivable and that one speaks almost without contractions but still comes off as more charming and humorous while correcting him.

I have an aunt who says “girl” or “girlfriend” a fuck-ton and she has been my whole life and I don’t know why because none of her sisters do, but she does and it annoys me so much the way she says it. I swear a lot when I’m feeling casual despite never ever doing it in a professional or even slightly-less-than-relaxed space, so the idiosyncrasy of comfort levels has a massive impact on my vocabulary in ways which, I promise, almost no one who meets me first in a professional space expect.

Let your characters be individuals and try to make them as unique as possible without overdoing it, or over-relying on a single verbal tendency or habit. 

-

And ... that’s all I’ve got for now. Completely failed at being concise. I meant to give like 2-3 bullet points or examples for each, not paragraphs, but here we are. That’s one of my verbal tendencies: long flowing verbosity :)

Hope this helps! 

[shinidamachu]

Do you have thoughts on the Aang/Ozai showdown at the end?

Zuko: please. The real hero is a random rock the Avatar.

The final battle was amazing, from an animation poin of view. The colors, the fighting sequence, the symbolism, Aang finally mastering all elements. Just very exciting and satisfying to watch, because it was something that the audience was hoping for since episode one. And they delivered it.

From a writing point of view, though? It was less of a showdown and more of a cop-out. See, I'm not saying, by any means, that Aang should have killed Ozai. Quite the opposite. Not only because it was a children's show. Not only because Aang was a traumatized, non violent, 12 years old. But also because it made sense for the character and for the core themes of the show.

Don't get me wrong, Ozai one hundred per cent deserved to die. Aang himself stated that the world would be a better place without Ozai in it. I just don't think he should be the one to do it. At the same time, is on his hands that Ozai's fate lays and no one else can make that decision for him.

So if killing Ozai off could turn him into a Fire Nation martyr anyway and Aang refuses to do so because of his pacifist principles, what's the other option to defeat the guy and end the war? The authors went with energy bending and, honestly, I thought it was brilliant for a series of reasons.

First, ending Ozai's life seems like the obvious choice, an easy way out. I love the concept of Aang refusing to do what's expected of him and choosing instead to finish the war on his own terms, without compromising who he is, because in theory, that would mean he would have to go out of his way to find a different solution, in a perfect shout out to Bumi's words in The King Of Omashu: "you must master the four elements and confront the Fire Lord. And when you do, I hope you will think like a mad genius."

Second, in a show where bending is intimately related to one's very being, the questions begs to be raised: how much taking someone's bending away is better, more ethical or less cruel than actively killing them? Because it's a fundamental part of who they are, of their soul. Ty Lee had the abiliity to block chis, temporarily making people unable to bend. And it was a terrifying thing for the people she used the technique on.

Lastly, it ends the "killing Ozai would turn him into a Fire Nation martyr" for good, because (ATLA COMICS SPOILER ALERT) Aang let him leave without his bending and a significant amount of people still worshipped the guy to the point of planning coups on the down low and sending Zuko death threats left and right, so we basically got the same result, but Ozai remained an ever present threat to the peace Aang fought to achieve.

The problem, as people smarter and more eloquent than I have pointed out countless times, wasn't the energy bending solution, it was the way it was introduced and then executed.

Aang: hey! Look at these weird Lion Turtle things.

Looking back now, this scene from The Library was obviously foreshadowing the finale, so the Lion Turtle reveal wasn't pulled out of thin air. It had a purpose. Considering that this episode, from Book Two, mentioned the Lion Turtle, who would later teach Aang how to energy bend and that The Guru, also from Book Two, introduced the arc of Aang having to let go of his attachment to Katara in order to master the Avatar State, I can only assume that the original intentions of the writers were very clear:

Aang doesn't want to kill Ozai but he also doesn't want to let go of Katara. That's the catch! To "energy bend" his way out of murder, he has to master the Avatar State. His conflict here, is much greater than before because now Katara is a factor in the equation as well. He either kills Ozai, keeps his attachment and gives up the Avatar State or he masters it, defeats Ozai by removing his bending but has to let go of Katara in the process. It's awesome because it's the hardest possible choice a character like Aang could be forced to make. And we knew he would ultimately do the right thing, but regardless of what he decides, he still loses something important to him, he still has to make a huge sacrifice.

Of course, none of that happens. This was the first and only time the Lion Turtle was brought up. The “letting Katara go” arc was unceremoniously killed alongside Aang the second Azula shot that lightning in Ba Sing Se, but differently from the Avatar, whom Katara ressurrected, it was never brought back. And it’s a shame. Because The Library was the perfect episode to expand on the Lion Turtle and energy bending mystery. 

And the finale? It was the perfect episode for Aang to do what he failed to do in Ba Sing Se: to let Katara go and achieve the Avatar State by his own merits, sacrificing something he wanted for the greater good. The way he hid into a cocoon of rocks? It would have been a great call out to the little crystal tent he made in his fight with Azula when he decided to give the Guru’s advices a try. And it would also symbolize rebirth in the same way Katara breaking him out of the iceberg did. Because now he had finally reached the other side of the river and he is no longer the same person he once was.

But the narrative decided, instead, to rob Aang from any growth, from any substancial change, from any interesting arc. They went with the “love is the most important thing” approach to justify him honlding on to Katara. And I could have bought it if they hadn’t been so dishonest about it.

First: if you love someone, you let them go. Attachment and love are two very different things. No one ever told Aang to stop loving Katara. He was told to let her go. And it makes sense because he was attached to her in a way that wasn’t healthy for either of them, and was keeping him from achieving his full spiritual potential, something he should care a little more about, given his upbring.

Second, in the person of Iroh, arguably the wisest character in the show, Aang is told that he is right for choosing love over power. But this is a false equivalence because it’s not what Aang is doing. The scene makes it look like he is seeking power for the sake of power. That’s not the case. The Avatar State is an inherent power, meaning Aang already has it. It’s part of who he is. He just needs to unblock it and learn how to control it. And he has to do that not for personal gain, but to put an end in the war.

A war that took almost everything from Katara, the person he loves. Aside from Aang himself, she is the person who would benefit the most from him learning to control the Avatar State, since she is the one who has to calm him down every time he accidentaly triggers it and winning the war is a very personal goal of her. Now, this is just conjecture but I firmly believe that even if Katara was secretly in love with Aang (which I don’t buy), she would be the first to tell his it’s okay to let her go. But alas, she wasn’t even aware of this conflict. A conflict she played a key part in.

That being said, I do think that the Ozai dillema was introduced too late. It should have been explored before the Day of Black Sun, giving Aang plenty of time to search for a different solution. It also never made sense to me why killing Ozai wasn’t a problem then. Apparently the explanation that I was supposed to stick with is that Aang was naive. He didn’t know people expected him to kill the Fire Lord until Zuko asked him what he would do when he faced Ozai, since violence wasn’t the answer. But I honestly struggle to accept this because, yes, Aang was naive. 

But not that naive. Not at that point. After episodes like The Siege of the North and The Avatar State, I just don’t buy he didn’t know what people wanted him to do. Plus, Aang has an evasive fighting style, based on always being one step ahead of his opponent. To do that, he has to plan beforehand. What was his plan to confront Ozai in the Day of Black Sun, after everything he went through? Talk to him? Arrest the guy? If that’s the case, shouldn’t it at least be discussed with the gang? It’s never addressed.

Then comes the finale. Aang’s moment of truth. The event we’ve all been hoping for. The one that will turn him into a legend. And Aang is losing. He can’t win without killing Ozai or controling the Avatar State to take his bending away. What will he sacrifice to become a hero? His morals or his attachment? Answer: neither! Because the writers decided he should have everything without give up nothing. So they miraculously make a convenently sharped rock hit the exact right spot in the perfect time unblock his chakra, allowing him to enter the Avatar State.

I’m not even gonna talk about how this is most definitely not how chakras work, because it’s not really my place. But I am gonna talk about the tragic (not to say hilarious) fact that, by trying to make Aang have his cake and eat it too, the writers ultimately made a fucking rock the responsible for Aang’s success. Not his cleverness, not his hard work, not his altruism: a rock. If that rock wasn’t there, in the right place, at the right time, then what? Would Aang finally have done what he had to do, or would he be killed, allowing the war to continue?

That’s my issue with it. That, and the fact that they had no trouble addressing delicate topics, but didn’t have enough courage to let the 12 years old protagonist end up alone. Because, of course, children can’t understand the hero not getting the girl. Right?

RIGHT?

Aang managed to defeat Ozai and get the girl even though there was a whole season dedicated to build up an arc in which he would have to let her go to succed. Even though their last one on one interaction before their last kiss was Aang screaming at her and storming off, while Katara reprimended him for walking away from the issue. Even if he had been acting more and more possessive and entitled when it came to her affection. Even if Katara had shown no real interest in him that way before she suddenly does. But what do I know? Maybe she was hit by a magic rock too.

Aang and Katara happened at the cost of Aang’s character development. Fandom might think the rival ship was harmed the most by it, but that’s not true. Aang was. And it’s really sad. He is an amazing character and he deserved to be the hero of his own story, to have his beliefs tested and to come out of his journey irrevocably changed, not locked inside a plot armor.

[davidmann95]

now that it's over, thoughts on Bendis' Superman as a whole?

pretenderoftheeast said: So, thoughts on Bendis' Superman and Action Comics' tenure altogether and separately now that it's over?

Anonymous said: Best and Worst things about Bendis' Superman run

Anonymous said: Now that it is over, what are your thoughts on Bendis' runs on Superman and Action Comics as a whole?

Anonymous said: Retrospective thoughts on Bendis' Superman as a whole now that it's, I guess, done?

Anonymous said: Hey so since Bendis’ Superman stuff seems to be done, what did you think of the run as a whole?

I decided to hold off a bit on writing on this one, if only so that I could reread the Action Comics side of it since Superman stood out in my memory a lot more. But now I have, and as we’re heading into a bold new era of Superman (and it’s coming in fast - just since I made my Superman in 2021 predictions we’ve gotten Ed Pinsent finally reprinting his legendary bootleg Silver Age Superman, Steve Orlando announcing his Superman analogue book Project Patron, an official shonen Superman redesign for RWBY/Justice League, PKJ’s Super-debut turning out far better than I ever expected, Superman & Lois’s first proper trailer largely taking people pleasantly by surprise, and my learning that there’s a Sylvester Stallone Old Man Superman analogue movie titled Samaritan coming out this summer) we’re ready to take a look back with at least a touch of perspective. I’ll lead with complaints, so everybody who’s been waiting for me to say that Bendis on Superman was Bad, Actually, savor this because it’s as close as you’ll get.

The Bad

* I hate to say it, but rereading that side of the run there’s no two ways about it: the structure of Action Comics as a whole is a mess. It baffled me from day one that it was the more acclaimed of the two books for so long - I guess people are hardwired at this point to think of ‘street’ stuff as where Bendis is supposed to be - because it was immediately clear that Superman had a well-defined story he wanted to tell, while Action was the usual Bendis off-the-cuff improvisation. It’s barely even a story in the same way, and it’s certainly not the ‘Metropolis crime book’ people took it as: it’s 28 issues of Superman and his supporting cast stuffed a pinball machine with the Red Cloud pinging off of each other as we wait to see who falls in the hole at the bottom, and partway through Leviathan and the Legion of Doom and 90s Superboy are tossed into the mix to keep it going a little longer. On an issue-to-issue basis it’s frequently really good, but the core plot of the book is *maybe* six issues stretched out over two and a half years.

* I’ve gone into this some before, but structure-wise Unity Saga also has problems: Phantom Planet rules but either it needed to be cut or the back half needed to be a year all its own in order to accommodate the scale of what it’s attempting. It’s got an interstellar civil war leading into the formation of the United Planets, family drama, Rogol Zaar’s whole deal, and Jon’s coming of age, and I’d say only that last one is really properly served. Even Jon forming the United Planets, while contextually somewhat justified in terms of 1. The situation being so far gone he’s the only one who’d even think in those terms, 2. Things being bad enough that these assorted galactic powers would be willing to try it, and 3. Him having the S on his chest to sell it, isn’t at all built up to within the run itself.

* Rogol Zaar sucks. He’s made up of nothing but interesting ideas - he’s an ersatz warrior ‘superman’ of a bygone age of empires up against the new model, he’s the sins of Krypton as a conservative superpower come home to roost, he’s while not outright said to be definitely Superman’s tragic half-brother and the culmination of everything this run does with Jor-El - but none of them manifest on the page, he’s just a big punchy dude with a dumb design who screams about how you should take him seriously because he’s totally the one who blew up Krypton. Even a killer redesign by Ryan Sook for Legion of Superheroes can’t fix that. There are lots of bad villains with good ideas who are redeemed with time and further effort, but I can’t imagine Zaar getting that TLC to become a fraction of whatever Bendis envisioned him as.

* The second year of Action Comics, after establishing itself in its first as one of the most consistently gorgeous books on the stands, leads with Szymon Kudranski’s weak output and then concludes with John Romita Jr. turning in some career-worst work. The latter is particularly egregious because for that first year Bendis writes a really collected, gentle Superman so him getting pushed into being more aggressive should have an impact, but Romita draws such a craggy rough-looking Superman in the first place that it mutes any sort of shock value.

 * WE NEVER LEARN WHAT’S UP WITH LEONE’S CAR, WHAT THE HELL. You don’t just DROP THAT IN THERE and then NEVER FOLLOW UP.

The Good

* Superman got his real clothes back after 7 truly ridiculous years.

* Bendis fundamentally gets Clark’s voice in a way unlike almost any other writer - even all-around better writers of the character almost never approach how spot-on he is with having Superman speak and act exactly how Superman should.

* Supporting cast front and center! He writes a dynamite Lois, Perry, and Jimmy (even if many of Lois’s more out-there decisions in the run don’t end up retroactively justified the way you’d hope), Ma and Pa are more fun than they’ve been in decades in their brief appearances, he manages to turn having Jor-El in the mix into a positive, and the Daily Planet as a whole has an incredibly distinctive vibe to it like never before that I hope is taken as a baseline going forward.

* The non-Rogol Zaar baddies? All ruled. Invisible Mafia and Red Cloud are both brilliant ideas executed solidly if overextended. Zod as Kryptonian Vegeta, Mongul as a generational perpetual bastard engine primed to be incapable of self-reflection, and Ultraman as “what if Irredeemable but he’d never been a good guy and also he was a Jersey mobster” are the best versions of those characters by numberless light-eons. Lex is on-point in his sparse appearances. Xanadoth as a mystical cosmic monster older than time who still talks like a Bendis character is however unintentionally a hoot. The alt-universe Parasite is a more intimidating Doomsday than Doomsday ever was. And Synmar as an alien culture’s attempt at creating their own Superman and messing up the formula when they make him a soldier can and should be a legitimate major ongoing villain coming out of this run.

* Pretty much all the art other than what I mentioned already. Fabok does a good job bookending The Man of Steel and Ivan Reis does the work of his career anchoring Superman (special props to Reis as well for drawing the first ever non-Steve Rude interesting-looking take on Metropolis), and meanwhile you’ve got Jim Lee, Jose Luis Garcia Lopez, Doc Shaner, Steve Rude, Kevin Maguire, Adam Hughes, Patrick Gleason, Yanick Paquette, Ryan Sook, Brandon Peterson, and David Lafuente doing their own parts.

* Closely related to the art, all the little flourishes with the powers. Super-speed having a consistent visual with the background coloring changing, Clark internally putting numbers to the degrees of force behind his punches and what situations which numbers are appropriate for, ‘skidding to a halt’ mid-flight before crashing through a window, the shonen-ass major throwdowns as portrayed by Reis, how his super-hearing is handled as a prevalent element. Lots of clever bits that added flavor to what he does.

* While Unity Saga has problems, the whole of what Bendis does in Superman as a means of forward momentum for Clark and his world is excellent. The sort of three-act structure of: 

** Clark is led to question his place in things over the course of a few adventures

** Involvement in the larger cosmos and the impact it has had through and on his family makes him realize the answer to his questions is that he needs to step up in a bigger way because there’s no benevolent larger universe to welcome Earth with open arms, nor a cosmic precedent for everything turning out for the best without some help

** As a consequence of the lessons learned by this change in the status quo Clark is inspired to make his own personal change in revealing his identity (with Mythological basically being an epilogue showcasing a ‘standard’ standalone Superman adventure while simultaneously highlighting his new status quo and how it fits in as a summing-up of Bendis’s take)

…does a great job of shepherding through ideas that lend a lot of forward momentum to Superman of the kind he hasn’t seen in a long time. Not perfect, but far lesser stories with far lesser ambitions have made huge impacts, so I’d certainly hope at least some of this sticks around even if, say, regardless of any retcons to the main line there are always going to be stories with Clark as a disguise and Jon as a kid. Oh, speaking of whom,

* KISS MY ASS, EVERYTHING WITH JON KENT RULED

Ahem. Probably a less confrontational way of putting that.

Do I think there was more gas in the tank for Jon as a kid? Totally, making him likeable and viable was the one really good thing the Rebirth era accomplished for Superman and I expect we’ll continue seeing more of it in the future one way or another. But whether or not him being aged up was Bendis’s decision, or working with marching orders to set up the eventually-(kinda-)discarded 5G, the coming of age narrative here is fire. He keeps the essential Clark Kent kindness and bit of Lois Lane cheekiness that reminds you he’s still their kid, which is a combination Bendis is basically precision-crafted to write, but his trials by fire give him a background entirely unlike the by-the-numbers “and here’s how Superman’s great kid grew up to be a great superhero too” narrative you’d expect while still arriving at that endpoint. If superheroes live and die by metaphors then Jon in here is what it means to grow up written as large as possible: leaving home for the first time (and seeming to shoot up overnight!), getting into the muck of how the real world works, being beaten down by authority wearing faces you’ve been taught to trust, scrambling to get through with the whole world against you, and in the end getting through by learning to rely on your own strength while keeping your soul intact and your head held high, and even managing to speak some truth to power. It gives him a well-defined life story with room to go back to and explore the intricacies of each leg of for decades to come in a way Superman hasn’t had since the original Crisis - someone someday is going to write a The Life & Times Of The Son Of Superman miniseries and it’s going to be one of the greats - and negates any question that he’s earned his stature as the heir apparent.

* Coming out of this, Superman’s world is fascinating. He’s out but rather than giving up his day-to-day life he’s openly spending part of his life as CLARK KENT: SUPER-REPORTER and part of his job on the cape-and-tights side of things is now KAL-EL: SUPER-SPACE-DIPLOMAT, Lois Lane coruns a foundation helping people whose personal continuities have been fucked over by Crisis shenanigans, Jimmy Olsen owns the Daily Planet but is still doing Jimmy Olsen stuff because that’s how he gets his kicks, and Jon Kent is going to college in the future. I’m not anywhere near naïve enough to think that’s how things are going to be forever, or shortsighted enough to think there’s no value left in the traditional setups, but god I hope these developments stick around for a long, long time to come and potentially become the new ‘normal’ as far as the ongoing shared universe stuff goes, because it all feels like the right and promising next steps to take for the lives of these characters. However it got here, for all the pluses and minuses along the way even if I maintain the former very much outweighed the latter as a reading experience, Bendis has a lot to be proud of if that’s the legacy he leaves on these titles.

* The recap pages at the desks!

[blackjack-15]

Avenge My Twistery Depth — Thoughts on: Trail of the Twister (TOT)

Previous Metas: SCK/SCK2, STFD, MHM, TRT, FIN, SSH, DOG, CAR, DDI, SHA, CUR, CLK, TRN, DAN, CRE, ICE, CRY, VEN, HAU, RAN, WAC

Hello and welcome to a Nancy Drew meta series! 30 metas, 30 Nancy Drew Games that I’m comfortable with doing meta about. Hot takes, cold takes, and just Takes will abound, but one thing’s for sure: they’ll all be longer than I mean them to be.

Each meta will have different distinct sections: an Introduction, an exploration of the Title, an explanation of the Mystery, a run-through of the Suspects. Then, I’ll tackle some of my favorite and least favorite things about the game, and finish it off with ideas on how to improve it.

If any game requires an extra section or two, they’ll be listed in the paragraph above, along with links to previous metas.

These metas are not spoiler free, though I’ll list any games/media that they might spoil here: TOT, WAC, mentions of GTH.

The Intro:

Let’s talk about Trail of the Twister, shall we? No clever intro, no pun, no sassy statement on the quality (whether lacking or overflowing) of the game…let’s just Talk.

Like I said at the beginning of my WAC meta, TOT is one of two games that doesn’t really fit into a category besides it and WAC demonstrating HER’s growing pains. The world opens (kinda), the characters get a little deeper (kinda) and a few new things are tried with plots and character (to varying degrees of success). Both WAC and TOT — but especially TOT — represent a shift in the tone of the games and their approach. You can ascribe this to a lot of reasons — an aging fanbase, technology marching on, a new writer in the mix — but you really can’t ignore it, no matter if you’re a Classic Games Elitist or a Newer Games Snob (or neither one).

To paraphrase a fabulous song, there’s something there that wasn’t there before.

This is not me saying in any way that TOT is a fabulous — or even moderately successful — game. In fact, it whiffs a lot where WAC hit solidly, which makes playing them one after the other a sort of chore; WAC is weighed down by the knowledge of what comes next (after such a brief respite from games like ICE, HAU, and RAN), and TOT’s repetitive chore list seems even bleaker after the snack shop and secret societies of WAC.

Which is truly unfortunate, because hiding behind the rat traps and the car chases (or drives, if you drive like a normal person in this game) and the endless moon chunk offerings is one heck of a story. Unfinished and beleaguered and (to my suspicions) censored as it is, there is a definite, multilayered, morally ambiguous, honest-to-moon-chunk story in TOT.

Like I said, something there that wasn’t there before.

Playing through the games in order, it seems like the reason WAC is so solid is, in part, because the games before it have so little cohesive story as to be laughable. Playing them out of order will show you that though WAC does come off a little better than it actually is due to the games that came before it, it’s also actually a step-up from a lot of games in the complexity of its plot and characters. At this point in the series that’s about to happen a lot, but WAC is the first real instance where you get it. Like I said, these two games mark a tonal and approach-based shift in the games.

So let’s turn our attention to TOT.

There are a lot of things that bog down this game — it feels sometimes as if you’re simply going through Farmville-esque tasks to get from Point A to Point B — but its plot and characters (save in one large instance) aren’t actually the culprits. Surprisingly enough, we have a mystery here with enough twists, turns, small crimes, and red herrings to make for a perfectly serviceable plot with relatively well-developed (for the length of the game) characters (whom I’ll go into more below).

A huge difference from a lot of the games is that we have a prominent unseen character who isn’t the one who hired Nancy or who is part of the historical background. Brooke’s actions actively move the plot along no matter what Nancy does, and I do like that the world of TOT goes on spinning (as it were) without Nancy driving everything.

You get the sense that Nancy truly was just dropped into the middle of this without having any control over the situation, and that she spends the entire game (or most of it) playing catch-up, rather than being on the scene for the crime(s) or arriving shortly thereafter.

In TOT, this sabotage has been going on for a while — the competition is nearly over, in fact — and Nancy has to actually do some detective work to even get caught up, let alone to try to step a few feet in front of the guilty party.

One interesting thing is what TOT and WAC share: they both feature casts who are only a few years off of Nancy’s age; in WAC, they’re a tiny bit younger, while in TOT, they’re a tiny bit older. Nancy, being Nancy, is much more in her element with the ages of her suspects in TOT than she is with high schoolers — with how much time Nancy spends around people significantly older than her, I’d be shocked if she got along well with high schoolers when she was in high school herself.

As a side note, I know it’s sort of a fandom thing that Nancy gets along well with children, but honestly outside of Lucas, it’s not something we really see (no, I’m not counting pelting Freddie with snow 10 times sans mercy as getting along with children) — and honestly Lucas is just charming, so I see no reason why Nancy wouldn’t get along with him. Generally speaking, kids who grow up the way Nancy has [especially as an only child] are far more comfortable with ‘adults’ — well established, 35/40+ adults, who make up the majority of her suspect pools — than they are with peers or children.

There’s also a great deal of care taken with making all the suspects (mostly) equally likely for a large portion of the game; it’s not until past the halfway point that a suspect (Chase) is cleared due to his confession of a different crime, and even then, he doesn’t really become Nancy’s helper, as is the usual case with cleared suspects. This is actually one of the few games where Nancy doesn’t really have a helper; she relies on herself, the Hardy Boys, and (questionably) P. G. Krolmeister to get the job done.

And speaking of the Hardy Boys…you knew an intro wouldn’t be complete without my mentioning them, hush.

The Hardy Boys are arguably the set piece that benefit most from Nik’s writing (and yes, I’m going to ascribe it to him; he’s the most prominent variable). Don’t get me wrong, the Hardy Boys were great before, but the Nik games are where they start attaining a place of more prominence and solidify their distinct personalities other than “focused killjoy and playful scamp”. In this game, you get more of Frank’s protectiveness (directed towards Nancy) and Joe’s actual sleuthing abilities — not the least of which because this game coincides with that DS Masterpiece “Treasure on the Tracks”.

Oh yeah, we’re going there. It’s relevant.

Treasure on the Tracks, as mentioned, was a game for the Nintendo DS (and the only one, mind you) focusing on the Hardy Boys. In the game (as in TOT), they’re tracking down the Romanov treasure with the help of a surprising ally — Samantha Quick herself. Samantha is under orders (from who, she never says, but a future game makes it obvious) to help the boys find the treasure aboard the royal train that the Romanovs used to own.

And yes, I would have loved that to be a joint Nancy Drew/Hardy Boys PC game, but I’ll push the bitterness aside for the facts. Which are that this game has a rad premise and would have been a very cool addition to the ND series…but I digress. Regardless, that’s what the boys are doing during TOT, so we get little hints to their investigation as well as having them help Nancy out.

I love that the Hardy Boys have an actual mystery that they’re investigating, as beginning with this game we see a lot more of their ‘agent’ side being brought out. It’s nice to feel that Nancy isn’t alone out there fighting against the forces of evil, and gives excuses to have the Hardy Boys in the games more, so I’m a big fan in general. It also helps build them up as investigators; while they offer hints to Nancy a lot, we don’t get to see them doing a lot of spy/detective work, and it’s lovely to be able to see it here.

And I love their sibling banter. It’s obvious that JVS and Rob Jones have a lot of fun with their roles, and it really lightens and enhances any Nancy Drew game that they’re in.

The last interesting thing that I’ll point out before diving into the game itself is what TOT does for the world of Nancy Drew. Beginning with this game, we start the tradition of each game leading directly into the next one; for her help in TOT, Krolmeister sends her to his favorite ryokan in Japan, which leads to her being hired for CAP; her absence and fight with Ned in CAP lead her back home for the Clues Challenge in ASH, and so on and so forth.

It really makes the world feel solid and cohesive, and lets our characters grow and shift and change without making it feel episodic or sudden. The Nancy of SPY is quite different from the Nancy of TOT in how she behaves and tackles mysteries, but her character growth throughout the games in between make it feel right and natural — like actual character growth.

The Title:

As a title, “Trail of the Twister” isn’t bad — it’s got that alliteration that ND books tend to like doing, and makes it feel a little classic. It also gets a play with words in there — you’re tracing the actual trail of the actual twister, and you’re also walking through the evidence left behind (aka a trail) of a twisting plot. Solid, if not exceptional, with its only real detriment being the hilarious acronym (TOT).

The book it’s (loosely) based off of is called “The Mystery of Tornado Alley” which, obvious to anyone with eyes, is a much worse title while telling us the same thing. It also doesn’t apply to the game as much – you’re not figuring out a mystery as much as unwinding the tangled threads of character motivations — and is supremely clunky to boot.

The Mystery:

Called in by P.G. Krolmeister to go undercover, Nancy joins a team of storm-chasers bent on winning a grant for their research — and beating the opposing team that wants the same thing. Nancy begins the mystery by finding a tin box full of cash (payment for an as-of-yet unspecified action) and it spirals from there, putting the not-so-amateur teen sleuth through her paces learning about tornados and storms, taking pictures, and trying her best to keep everyone happy and working towards the money.

It’s not as easy as it sounds, however. There are competing forces at work outside (and sometimes within) the two teams, and the personalities of the storm-chasers that Nancy must investigate mean that no one trusts anyone else. Things continue to go wrong and Nancy chases down the clues until the mother of all tornados hits town, and our culprit takes advantage of the distraction…

I mentioned above some censorship that I suspect went on in this game, and I’ll talk about it here. Given the darker themes of this game and the mentions of death and serious injury (more than most other games in the series at this point), I would say part of the reason why our story is a little more…displeasing, especially by the end, is that HER was really intent on the 10 part of the 10+ rating.

There’s lots to explore — the Ma storyline that goes nowhere, the collateral damage of these tornadoes, the fact that our cast is filled with genuinely unpleasant criminals — and yet it gets glanced over while feeling like the game is building up to it. Like CRE and ICE where I postulated a lot of the attention went to the new engine, I’m going to postulate here that the reason why we have hanging plot threads and injustice at the end (which I’ll talk about later) is that the game was censored by the HER bigwigs to ensure it still fit in a 10+ rating.

As a mystery, like I said above, there’s absolutely nothing wrong here. We’ve got plenty of means/motive/opportunity spread out in our cast (and in the periphery cast, just to keep things interesting), the threads and smaller crimes/wrongdoings/etc. are realistic in scope and in motive to keep them hidden, and it’s the personalities of the suspects that give us our conflict and tension, rather than random “interferences” by the writers. And speaking of our suspects, let’s go to the other area that TOT does (almost) nothing wrong.

The Suspects:

First off is Chase Releford, a junior who took Scott’s class for a science credit who got super interested in the actual work. The team’s handyman, Chase has noticed (and fixed, and fixed again) the equipment acting up, and is being stretched pretty thin in order to keep it all shipshape and in working order.

He’s also one of Nancy’s sources of Pa Pennies, if you wanna spend hours doing circuit boards.

As a culprit, Chase is a great option (which is a sentiment you’ll hear repeated for all of our suspects, never fear). He’s secretly spending his time looking for oil with Pa’s divining rods, which puts two crimes on his conscience (stealing the rods and not working on company time) and helps the team fall even further behind. It’s important to note that for a large chunk of this game, the likelihood of the suspect also hinges on how much they want Scott to fail, and Chase is pretty much the only one without any real anger towards Scott.

The owner of the local general store, Pa Ochs might be a surprising option to put ahead of Chase in order of culprit likelihood/suitability, but I stand by it. Having lost his wife (Betsy “Ma” Ochs) to a tornado (the warning sirens, which were Scott’s responsibility, didn’t go off), Pa alone mans the counter, helping Nancy find everything she needs — for a price, of course.

The price being annoyingly hard to get Pa Pennies. Unless you exploit a glitch.

Here’s where we start with the culprit possibilities that have an actual grudge against Scott. Though not as angry as he could be, Pa is deeply hurt by the loss of his wife Betsy, and has grounds for an axe to grind with Scott. As much as I would have loved to have the ‘friendly general store owner’ be the culprit, it would have been like a mix of DOG’s Emily and FIN’s Joseph (minus the Crazy), and it’s (sadly) best to leave that ground alone without re-treading it.

Frosty Harlow is next up; a second-year grad student in digital media, Frosty got his nickname (his real name is Tobias) from his storm photography and is, well, trying to re-capture that lightning in a bottle.

He also screams like a little girl. So that’s fun.

Like Chase and Pa, Frosty is a wonderful option for a culprit. His crime is selling university property (the video of the storm he and Nancy shot) to an aspiring photographer (who happens to be on the rival team) to help them get a toehold into the business, along with working with Debbie to try to stress Scott into quitting.

What really makes Frosty stand out is that, unlike Chase, Frosty doesn’t feel bad about what he did at all. He also holds far more animosity towards Scott than Pa does, and has a little more…innate anger as a person.

If you haven’t noticed by now, we’re going in order of “worst” culprit option to “best” (and then the actual culprit), and it really says something about how fleshed out these characters already are that we start with people who are solid options to begin with.

Though only appearing vocally and for a few minutes total of the game’s runtime, I’m going to list Brooke Tavanah as our next most likely culprit — in part because, well, she kind of is our culprit. The leader of the rival storm-chasing team, Brooke offered Scott money to sabotage his own team to let her team win the grant — an offer that he takes her up on.

Of course, Brooke isn’t the only one sleeping with the enemy (so to speak) to ensure her team’s victory; her videographer, Erin, is apparently so talentless as to need to buy footage from Scott’s team as well.

Things don’t exactly look great for the Kingston University team — as they can’t really get ahead even through sabotage and skullduggery, and one does wonder if they’d even be able to put the grant to good use. That, of course, is not the point; Brooke wants her team to win, come hell or high…wind…and a little thing like scientific ability isn’t going to stop her.

(Interestingly enough, this is the first of three times we’ll see Kingston University pop up; we meet their alumni again in TMB and DED).

I love that Brooke is guilty, because so often in Nancy Drew games the tendency is to implicate an unseen character and then to have that implication be a poorly done red herring. Instead, Brooke isn’t a distraction, nor a smoke screen — she’s just another piece of the puzzle.

Our last non-Culprit (by the games’ common definition) suspect is Debbie Kircum, a recent PhD graduate who is on her fifth time working with Scott in chase season, and who has gotten a lucrative offer to teach at a university in New York.

Worrying that Scott would let his resentment towards the college hurt their chances in the competition, Debbie leads the conspiracy to stress him out so much that he just quits. I’ll talk more about this later, but it is both one of my favorite and least favorite things about this game. For now, I’ll say that her plan works…but not the way that she planned; for her and lots of other suspects in this and upcoming games, the quote “the price for getting what you want is getting what you once wanted” works perfectly to describe their arcs.

As a culprit, (as Debbie fully qualifies as a culprit), Debbie certainly has the shortsightedness and nastiness that Nancy Drew culprits tend to have. She’s extremely good at getting what she wants…but see the quote in the previous paragraph.

She also over-contours her cheeks so much that it looks like someone slapped her with an open compact of bronzer.

That takes us to our final culprit and character, Scott Varnell, genius professor of meteorology and the leader of the Canute team. Scott is my personal favorite character not just because he’s the most interesting, but because he’s a tragic figure who isn’t historical/dead, and those are a bit of a rarity in Nancy Drew games, especially at this point.

Being an expert on tornadoes yet denied tenure based on his personality, rather than his academic prowess (a gripe I share as it applies to jobs/academia), Scott holds a grudge against those who don’t recognize his contributions to meteorology and to the study of tornadoes specifically. Unbeknownst to him, two members of his four-man team have been conspiring to stress him out so badly that he’ll just quit, as they think he’ll be a hindrance (again, due to his personality) in winning the competition.

Scott is in some ways the obvious option, and yet the game never turns into a howdunnit. Throughout the mystery he tends to be the prime suspect, but is also the prime victim — a dichotomy we’ve never seen before in the Nancy Drew Games. I’ll talk more about Scott below (a sentence increasingly common in this meta), but I both love and hate him as the culprit, and that’s something new (and interesting) that TOT brings as well.

The Favorite:

Don’t worry, we’ll get into TOT’s myriad flaws soon enough, but for now I want to focus on what it does right.

The first thing the game nails is the Hardy Boys. Their inclusion, their plot, their characterization, the voice acting — all of it is nigh-flawless, and is by far the most enjoyable part of the game. Don’t get me wrong, the Hardy Boys are usually quite far up there on the list of things I love about a game with them in it, but they really start to shine more in TOT, gaining some character development, plot relevance, and just overall depth.

Oddly (or perhaps not oddly at all) I don’t have a favorite moment nor a favorite puzzle in this game; barring that, I’ll talk about some of the great threads to the game, rather than any particular moment/puzzle that stands out.

I love that we get new and interesting layers to our story and characters. As I mentioned briefly above, there’s a real sense of the world existing before Nancy’s arrival, which works wonders for the world of the games, and our characters here are more layered, more distinct, and more ‘realistic’ (for the value of ‘realism’ in stories) than they ever have been before.

This is a game unafraid to deal with the topics of death and mistakes, and that accounts for part of the depth to the game as well. No, not the whole “Where’s Ma” thing — which I fully believe to just be a script that didn’t fire/didn’t stop firing in the game’s code after finding the newspaper that says exactly what happened to Ma — I’m talking about Scott’s mistake in the tornado warning system, Debbie and Frosty’s mistakes in dealing with Scott (which I’ll talk more about), and even Brooke’s miscalculations that lead to the ending of the game. Everyone here deals with the fallout of their mistakes, and it’s how they handle it that forms the basis for our plot.

It’s a seemingly small thing, but I love the sheer level of detail in this game. You can click on everything, read everything, explore everywhere — there’s a lot of information crammed into the game that sometimes you won’t get until the second or third replay (that is, if you have the stomach to play through this game repeatedly).

The use of our tertiary NPCs (Brooke, Krolmeister, Erin) is also inspired; they help the world feel whole and varied rather than existing simply for the benefit of the game, and show that Nancy doesn’t have control over everything when she’s investigating — and that she can be wrong in her focus of investigating (whether because she pays too much or not enough attention to the ‘minor’ characters).

Speaking of characters, I also love that our characters in this game – our suspects — are able to be fully formed without (on purpose, I feel) being particularly likable. It’s always fun to get a cast of characters that are hostile to Nancy, but TOT’s characters are slightly different from that: they just don’t care about her. She’s another intern to them, nigh-invisible except when they need a chore done. Nancy also doesn’t really try to befriend anyone because of it, and I like that too. Sometimes, a game should just be 1 vs 4, with some backup in the wings courtesy of phone friends.

The last facet of the game that I love is Scott himself as a character. Sure he’s cantankerous, blunt, egotistical, and a thousand other things, but the game is very clear that these ‘faults’ don’t make him anything other than what he is — a brilliant meteorologist and the foremost mind when it comes to tornadoes and tornadogenesis. The university undervalues him, but the team really can’t function without him, sabotage or no sabotage.

His motive for the sabotage isn’t the money nor fame — it’s simple tit-for-tat. For such a complex game (note, I’m still not saying it’s a fun or good game), our ultimate motive is deceptively simple: do unto others what they have done unto you. Tired of being devalued and having his worth judged on his personality rather than his work, he decides that if the university doesn’t care enough to keep him around (and for his worth as a professor, look at how accomplished and passionate his team of former students is), then they don’t care to keep up their program either.

It’s hard not to sympathize with that, especially if you’re the kind of person who’s been valued based on any defects in your personality — rather than your ability to do a job and do it well — and been found wanting. Whether you’re too serious (or not serious enough), too flighty (or too inflexible), or any other stupid “personality defect” that the workforce loves to throw around, we’ve all heard it before. Scott’s thrown into an unfair situation and — wrongly or not — decides that his troubles are going to have trouble with him.

The last thing I’ll add on the topic of Scott for this section is that I do love that Debbie and Frosty create their own villain. In figuring that Scott’s personality is going to prevent them from getting the grant (never mind the 4 other years that Debbie’s been on this team with him where it hasn’t been a problem), they decide to screw him over presumptively — and thus create a Scott who actually does want to prevent them from getting the grant. It’s usually a mark of a solid story (and solid writing in general) where the villain is created not from some problem inherent in them, but because they’re perceived to be a problem in the future — and thus live down to the expectation.

The Un-Favorite:

The problem with everything TOT does right — and that’s nearly a thousand words about what it does right above — is that it never combines to make a game that’s enjoyable to play. Before I go into the specifics, I do want to make that clear; TOT is a fascinating game to think and write about, but it’s honestly nigh-unplayable. The puzzles and chores are laborious (and repeated ad nauseum), pieces of the plot don’t make sense, and the ending is the bleakest in the series until GTH’s multiple endings took the cake.

A game should be well-written, complex, and interesting, but it just has to be fun to play as well. It has to. And that seems to have been forgotten during the course of making TOT. My least favorite moment is the ending of the game (more on that below), but I don’t have a least favorite puzzle — on the basis that most of the puzzles are equally bad. There’s no real standout…but that’s not a good thing.

Now let’s get into some of the bits and parts of the game that I really despise.

The handling of Scott is one of my favorite parts of the game, but it’s also my least favorite part of the game as well. They’ve set up a character who firmly believes that everything ends poorly, that he’ll never profit no matter what, and that, ultimately, no matter how hard he tries, nothing will go the way it should. And then the game confirms that worldview to the end. There’s no other option; no matter what Scott does or doesn’t do, no matter if he tries his best or blows it off, the end result is the same, and that’s a tragedy. Sure, you can argue it’s his actions that led him to a bad ending, but he only took those actions because he was heading to a bad ending anyway.

The feeling you get at the end of the game isn’t a feeling of justice served, nor success — it’s pity in a way that’s never been cultivated for any criminal up to this point in the series. And it’s not cathartic — it’s just more misery.

The other huge thing that I hate about this game ties into it — there really is no justice. The supposed ‘happy ending’ is Debbie getting people from both teams to ‘win’ the grant (where does it ultimately go — Canute or Kingston? Can it count as winning if there’s only one team? HER certainly didn’t bother to think about these things)…but Debbie’s hands are just as filthy — and I think more so — than Scott’s are.

Debbie leads Frosty in conspiring to make Scott quit and actually created their own monster — does she even know Scott at all? He’s lead a team through at least the last 4 years, probably more, and not had a problem; why now? Power? Greed? Pride? Whichever way you spin it, she and Frosty are guilty.

Frosty and Erin (of the Kingston Team) are also guilty on a separate charge; Erin for buying the footage and Frosty for selling it. If Brooke and Scott are kicked off, Frosty and Erin (at least) should also go for the same conspiracy charge. Everyone on the team (excepting possibly Chase) knowingly sabotaged their team; why is Scott the only one punished? Why does Debbie (and Frosty, and Erin) get off scot-free (pun intended) to win the prize, despite everything?

When I say that there’s no justice nor success here, this is what I mean. The whole thing stinks from top to bottom, and any way you look at it, a culprit walks.

Honestly, the ending should have just been “Chase, guilty only of petty theft, led the team (of himself and Pa) and was given the grant, which they donated to a charity for tornado victims”. Kingston actively cheated and Canute doesn’t deserve it either. In a game where everyone deserves to lose, declaring a winner just leaves a bad taste in my mouth — and a black mark on the game.

The Fix:

So how would I fix Trail of the Twister?

My feeling is that if you’re going to go with a downer ending — which TOT is — then go for a full one. Have Nancy discover everyone’s crimes — and I do mean everyone’s — and report to Krolmeister, asking what he wants her to do. Don’t forget, Nancy’s got an actual client in this game, and can’t go off half-cocked like she tends to in her more informal mysteries.

In the end, as nearly everyone would be disqualified, the competition should go to a third party — a storm chasing team that’s not Kingston nor Canute — and create chances for less corrupt institutions to study tornadoes at a level they haven’t been able to before. Sure, our suspects would lose, but, honestly, outside Chase…does anyone deserve to win?

I’d also be a fan of Scott getting a second chance due to outside sabotage (directed solely at him) with a job opportunity to consult for storm chasers. It’d be an arena where he’d be seen as the expert he is, without having to deal with the namby-pamby bureaucracy that infects universities (and that he hates anyway). He’d get the name recognition and the ability to actually do work in his field that he needs without being put in situations where he can’t help but fail. Honestly, I’d prefer that P. G. Krolmeister offered it (while saying he’s going to be keeping an eye on him), but really anything would do.

Exposing the crimes of everyone – and focusing on more than just Scott’s — would be the quickest way to improve the story of the game. The puzzles, on the other hand, need to be completely redone; a mix of ostensibly tornado-related intern-type chores (like the circuit boards) and more detective-type puzzles (fingerprinting suspects for a match on the tin bribe box, tracking everyone’s movements, solving codes used for communication) would be a big help in making TOT not just feel like a list of chores with a bad ending.

Oh, and fix the broken code leading Nancy to ask about a man’s dead wife over and over again. She lacks tact as it is.

[therewrites]

We Are Who We Are Overall Thoughts *spoilers*

This review will be discussing briefly some of the episodes so far, so SPOILERS

So I started watching the HBO original series, We Are Who We Are, and I am conflicted. When I initially watched it, the dialogue made it hard for me to enjoy it so I stopped. Then after a couple of weeks after its airing, I thought, what the hell? And this time, I was pleasantly surprised. I always maintain the belief that pilot episodes are either boring, messy, or just bad so I try to push past it in order to get to the good shit. The pilot for We Are Who We Are was...I’m not sure how to explain...different? It certainly wasn’t bad and it made an impression on me, but this show as a whole is hard to limit by just a few words. It’s really something that you should watch and experience yourself.

It was only after the first 3 episodes that I began to understand the tone and mood that Luca Guadagnino was trying to convey. A lot of the time, the dialogue is abrupt and choppy and can make no sense. It can be frustrating, especially when you have two characters that aren’t communicating effectively. But I think that was the point. Guadagnino is a very realistic director, he captures the most realistic elements in a film. A lot of the conversations between characters is meant to emulate real life. Like, what the hell do you say when a conversation becomes awkward? Well, nothing sometimes.

While Guadagnino’s typical cinematography may suggest whimsy, in WAWWA’s case the small structured and synthetic model of the military base is juxtaposed to the very concrete characters. When I started to view the show less as simply a televised airing of fictional characters and problems, and instead looked at them as people, I began to really enjoy it. 

Take the main character of Fraser, played by Jack Dylan Grazer. Fraser is meant to be seen as an extremely complex and troubled kid, but the difference between him and every other teen in a coming-of-age drama is that he isn’t polished. His drinking and drug habit isn’t framed as romantic or beautiful, in fact most of the time it’s portrayed as his weakness of sorts. In the first episode, Fraser has one of his mothers drive him home after getting pretty wasted and Luca graces us with a direct shot of him throwing up. And before that, Fraser is stumbling on a bridge when he drunkenly falls and cuts his face. Everything the character does is messy, uncoordinated, yet extremely real and relatable. Hell, in one shot you can clearly see him do a Naruto run!

Caitlin/Harper is a character that I enjoyed watching, as well. Jordan Seamon did a fantastic job and I really connected with their character. Initially we see Caitlin as this mysterious girl, and in the pilot we are meant to assume that their relationship with Fraser is supposed to develop into a romantic one. This is not the case as it seems that Caitlin is trying to come to terms with who they are. The biggest shift in Caitlin’s character isn’t their friendship with Fraser but probably when they get their period. 

This was a moment that even I related to, even though I am cis when I first got my period I didn’t tell my mom until the day after. The possible confusion and shift in their reality that Caitlin felt was only heightened with the conflict of their boyfriend wanting to be more physically intimate, and Fraser’s eventual discover of Harper. I would have like to see exactly why Fraser seemed drawn to Caitlin. I’m assuming viewers were supposed to think that Fraser is attracted to her, or something. But both Caitlin/Harper and Fraser are queer coded and their respective sexualities are alluded to not being straight. It would’ve made their standing as platonic friends more clear if this had been established stronger. 

I definitely think the writer could have devoted more time to giving certain characters proper conversations. It would’ve given more development to certain characters and better context for things. However even without that, there is a lot that the audience is showed that can’t be told through dialogue. The power struggle between Sarah and Richard being one. So far, there hasn’t been any explanation as to why they have a such a volatile relationship other than Richard being a homophobe. 

Through deeper inspection, I was able to interpret it as: Richard may heavily resent the fact the Sarah was promoted to Colonel and not him. It is never made clear who has the better credentials, Sarah or Richard, but assuming that she was the one promoted it is a safe guess. This may be highlighted by the fact that Sarah is a women, and also gay. Even before episode 7, it was clear that Richard did not respect her authority. I also interpreted it as Richard being upset that and openly gay women was promoted instead of him, a black man. 

Of course this is just based on my own personal knowledge of how the U.S. military can be towards people of color and LGBTQ+. Regardless, the competitive tension between two parents is palpable without needing dialogue to explain.  

When conflict happens, I can kind of figure out which characters are going to react and which one’s will stay silent. I think the show is trying to accomplish a drastically realistic and raw series. It took me while to adjust to it, but by maybe the 2nd or 3rd episode, it starts to grow on you. Despite not liking a good majority of the characters, I was very surprised by how invested I was in them. 

Like, Danny is my least favorite character because he displays very abusive and explosive tendencies, and doesn’t seem to care about the world around him. However, getting glimpses into his character and seeing how Richard ignores him for Caitlin/Harper, his suicidal thoughts, and how he is trying to reclaim his cultural and religious background makes me empathize with him. 

Even though I hate his character, I can see that he is struggling. I appreciate the way that this show freely shows dark skinned black boys dealing with mental health issues, and personal development. Rarely are issues like suicide talked about in the black community, so seeing Danny talk about it and Craig offering(admittedly poor)comfort was touching. This is a general vibe that I get from nearly all the characters on WAWWA. I also appreciated the how Danny is actively trying to convert to Islam. In shows, rarely is Islam ever portrayed in a positive manner. Especially when female characters are shown to be struggling with their religion, Islam is shown as this barrier that prevents them from living life. Hopefully it goes without saying that the “taking off the hijab” as a way to show that a female character is “liberated” is overplayed and does not offer any respect to the countless Muslim women who choose to wear hijabs. 

Now I think the pacing of some of the storylines could have been handled a bit more gracefully. Like how we jump from Fraser and Harper being kind of enemies(not really but you know what I mean), to just them hanging out in Richard’s boat was jarring. I would have at least liked to see the scene of them talking on the rocks at the beach. It would’ve given more insight on Caitlin/Harper’s character and also on Fraser too. Also how quickly Maggie and Lu(Jennifer but I love the name Lubaba, it’s my aunt’s name)jump into a physical affair. I just would have liked to see a build up of tension between all these characters but I don’t think this entirely ruins the plot. 

I was very iffy when I learned that the show would be focusing on trans identity and gender and sexuality, but not actually hire a trans male actor. I was afraid that the show would completely botch the experiences of being transgender, and honestly I don’t have the authority to speak on whether or not this affects the quality of the show. I am cisgender, and only can empathize with this particular situation as much as I can. But I would like to hear to the opinion of someone who is trans and elaborate on the ways that they did/didn’t like Jordan Kristine Seamón’s portrayal. 

Now at the time I’m writing this, the season finale has yet to come out. But I’d also like to briefly discuss the most recent episode and how it developed Jonathan and Fraser’s relationship. I was VERY worried that Guadagnino was going to take their relationship in the direction of inappropriate. While nearly all the depictions of Jonathan and his actions have been trough Fraser’s pov, it didn’t stop me from side-eyeing some of the interactions they shared. Of course after it was mentioned that Jonathan was supposed to be in his late 20s, nearing 30 I was immediately uncomfortable with the very flirty behavior he exhibited. 

So when the scene of Fraser going up to his apartment after Craig’s death, I was very on edge. If Guadagnino had gone the extra mile to show an even larger age gap then I would’ve been pissed. While I enjoyed Call Me By Your Name, the implication that sexual relationships between barely legal teenagers and adults well into their 20s was sensual is something that I see as very weird now that I’m older. So seeing Jonathan as the object of Fraser’s affections made me extremely warry. 

And honestly, I’m still surprised that the scene even happened in its entirety. I’m sure that Jack was not in any danger of being exploited but there were definitely points while watching I thought, what the fuck is going on? I was very worried that it would escalate, but I was happy to see that Fraser was the one who stopped it from going further.  It made sense to me that this scene took so many liberties to be as graphic as possible without being too graphic, in order to show why a situation like that would be scary and confusing for Fraser. It wasn’t lost to me that Marta and Jonathan were the one’s initiating all the sexual advances. They held all the power in that scenario, even more so because Fraser is younger and has the tendencies to not make the best decisions. Though it seemed that Fraser was trying, he knew that the situation was fucked up.

I’d like to hear what JDG felt and thought doing this scene. What was his character’s thought process?

I’ve seen a lot of people compare the show heavily to CMBYN, which is fine. Besides certain cinematic parallels that people pointed out, I don’t see the clear comparison. CMBYN is more of a love story and it’s more polished than WAWWA. Now when I say tat, I don’t mean it as a negative. Rather, We Are Who We is obviously more devoted to realism and its characters. I appreciate the inclusion of more LGBTQ+ people and black main characters with development, something that CMBYN lacked. And for some people who didn’t like the show based solely on the fact that it wasn’t a CMBYN tv show, I suggest just going into it with no expectations and enjoy the mess. 

And I’d also like to take a moment to commend Jack Dylan Grazer for his job in We Are Who We Are. All of the main cast are amazing actors and actresses and did a really good job bringing their characters to life. Though, I had always associated JDG with supporting roles that, while highlighted his acting talent, only put him in a one-dimensional light. As good as It 2017 was, JDG’s role of Eddie is only meant to be seen as a comic relief. In WAWWA, I was able to forget that he was teen actor, Jack Dylan Grazer, and really see him as Fraser. It’s worth mentioning that in a GQ interview, Grazer also mentioned how this role made him reevaluate is approach to acting. 

And after reading an interview he did with a Interview Germany, with him saying he spent months in Italy reading the script and trying to perfectly craft this character, I was immensely impressed. I hope that he knows that all his hard work payed off and made a really dynamic and interesting character. I really hope that in the future JDG continues with more mature or multi-dimensional roles because he displayed that he has the talent to do so. Him being so young makes me optimistic in knowing that he is definitely going places in his career. I also hope that there will be a season 2 of WAWWA because despite having hour long episodes, the show still felt way too short. There is a lot about Fraser’s character, and all the others’ characters, that I want more information and analysis on.

[stranger-who-writes-fiction]

Aaaanyways, I wanna put on my comic-art-nerd hat and talk about panel-to-panel action in that Supergirl: Woman of Tomorrow preview because yes, I have been staring at it for days, and yes, I will continue to do so until it is released next month! XD

LET’S GO:

I apologize in advance for the funky formatting, there’s an art to tumblr text posts and I...have not mastered it. XD

It’ll go image, then analysis.

Also, just to be clear: I’m not doing this so much to be like, ‘WOW THIS IS GROUNDBREAKING, STUNNING, NEVER-BEEN-DONE!’ In fact, many comics do the things I’m gonna highlight/geek out over! Rather, it’s more about, like. Appreciating the construction of the pages, panels, etc.

Okay, so! Page 1, the SPLASH PAGE

Okay, so, admittedly, I don’t have a ton to say about this opening image, largely because it is one single illustration as opposed to a series of panels. But even then! It quickly establishes that we’re not on earth--the foliage, rock formations, and GIANT WOOLY FRIEND(?) give that away. Also! Said rock formations and wooly friend’s horns frame our new character RIGHT IN THE MIDDLE OF THE PAGE, letting you know that even though she is tiny, she is important. And, I will just say, I love the dust effects on the ground. The repeated semi-circle shapes evoke the feeling of rhythmic, galloping hoof beats, even without actual movement or sound. Lovely.

And now, PAGE 2!

So, I’ve highlighted panel 3, but before I get there! Panels 1 & 2 do such a nice job of giving us an idea as to the actual, physical size of these two characters, as well as the power dynamic at play. This random dude takes up the WHOLE DANG PANEL with his bulging muscles and is framed in an up-shot; in panel 2, Ruthye is not only shown from above--we’re literally looking down at her--she is also relegated to the bottom half of the panel. Additionally, it’s a great way to show the action of her turning to pull the sword from her belt, obscuring it from both our view and his, to bring out the ‘big reveal’ in the next panel.

Speaking of! Panel 3! Our establishing shot! We’re introduced to the full interior of this tavern. We see where everything is placed--walls, furniture, and perhaps most importantly, the various patrons!

Establishing shots are so important to have in visual media because they help us, the reader/viewer, to orient all of the various components within a sequence or scene.  

It’s also helpful for the artists because then they can better maintain things like screen direction and continuity.

If we don’t have a shot like this, then subsequent action can become confusing to the point of distraction.

YOU WOULD BE SURPRISED how often this is neglected or forgotten in comics! Scenes will change abruptly and it’s like, ‘wait, wait, where are we?’ 

ADDITIONALLY, the establishing shot not only gives us basic spatial information, it ~sets the mood~ XD Setting! Atmosphere! Genre! It’s all here.

I mentioned this in my prior post, that the art gives off some intense fantasy vibes, what with the organic shapes, rough textures, and color palette.

Folks who’ve read advanced copies have described the book as a fantasy/western; that extends even to the series title design! The designer revealed that the western look of the text is deliberate.

So A+ to the art team for NAILING IT!

Okay, on to page 3!

Not a ton of notes on this one, but that’s only because the prior page has done such a solid job of laying out the space, as well as the relationship between these two characters WITH JUST WITH THE ART. (Okay, okay, the words help too. XD) Once more, we see this big brute tower over Ruthye, panel- to-panel; he’s always ‘large and in charge’ regardless of the angle. Even in that final panel! Ruthye is the largest element because she’s closer to us, but the guy is still positioned ‘above’ her, literally talking down to Ruthye from over his shoulder. 

(And HMMMM. That unassuming stranger in the back there, underneath the lanterns that seem to act as an arrow pointing right at her...could she be...important?)

(Her tiny size would seem to imply that she isn’t...AND YET...)

PAGE 4!

MMMM them FRAMES within FRAMES!

Okay, but before I get into that, I do wanna briefly mention panel size and shape.

All of these pages (save for 1 and 7, which are full-page illustrations) pretty much stick to a very traditional panel structure. Each panel is completely enclosed, and there is zero variety in terms of shape. It’s all rectangles.

BUT. The size and orientation change--take, for instance, that ‘skinny’ horizontal panel up top, the way it perfectly suits the ‘shape’ of the elements/action being shown. It’s a close on Kara’s wrist/hand, reaching out for the sword in the guy’s belt. 

I mention this because often, writers don’t dictate stuff like panel layout in a script. They will give the artist the number of panels, and what needs to be included in each one, but the actual, overall organization of the page? Totally up to the artist.

So! Really knowing what you want to highlight and convey is key, because you can use the panels’ size/shape/relation to other panels to ENHANCE those images, like that sword grabbing up top!

AND! Another thing I love about that panel in particular is the way that Kara’s hand and the sword make a tiny frame for Ruthye! Who is, again, VERY TINY! 

I keep mentioning the size thing because it’s a nice bit of economical visual storytelling; the child character is going to be smaller than the adult characters anyway, but by calling attention to it repeatedly, we as the viewer are constantly reminded that this kid is small! She needs help! She needs to be protected! Which is like, the whole premise of the inciting incident. XD Good stuff!

(Also more dot eyes in comics that aren’t humor comics, please.) 

There’s another frame down in panel 3 as well! Evely uses this device several times throughout this sequence; it’s such a great use of the multiple swords in the scene, AND shows that she can really pack all of the characters in there without cutting any of them off/obscuring them behind various objects.

And like, NO TANGENTS, which takes some serious skillz.

ESPECIALLY when you consider all that beautiful linework. LOOK AT THEM INKS.

...In particular, look at them inks in panel 5! The shading on the booth is done in such a manner that the ‘grain’ of the ink defines the perspective. We’re looking down at Kara, from above. This is a helpful little bit of orientation, as there’s not a ton of room around Kara to have any other perspective lines to help sell the angle. 

ALSO, NOTE THE POSITION OF MR. BRUTE IN PANEL 4, AND THEN KARA’S EYELINE IN PANEL 5. It will be important in...

PAGE 5!

Allow me to explain:

In panel four on page 4, we see the guy reach for his sword, his body language revealing that he’s intent on moving towards Kara.

In panel 5 on the same page, we get that lovely down shot of Kara looking right up at us, the viewer. But also, the implication is that she’s ACTUALLY looking at Tough Guy, because in the next page, we see that he’s positioned himself right above her to swing that sword down!

(My apologies for the poor attempts at drawn annotations.) 

There’s no action lines cluttering up the beautiful art; Not-Conan’s hair, rather, acts as the action line/guiding ‘arc’ so that we can better follow the movement.

Kara, likewise, doesn’t have any action lines on her, but her posture and hair act as visual cues to tell us that she slides over in the booth, out of the way of the sword.

In particular, the way her right shoulder/arm draws closer to her body, and the way her left hand comes up to offset the way she’s now positioned, really sells the ‘slide’. 

More beautiful indicators of movement in panel 2; the hair, the action line on the sword, the torn fabric of Kara’s shirt.

Panel 3 brings more FRAMES WITHIN FRAMES! And, actually, as I’m looking at it? I think it could be argued that we actually have a FRAME within a FRAME within a FRAME!

First frame: Panel border, natch.

Second frame: Goofus’ sword, arm, and face frame Kara.

Third frame: Kara’s arm and sword work with Goofus’ head again to frame tiny Krypto.

LAYERS.

And now, a note about colors!

I said before that I love the palette at play. The earthy tones give the entire setting an organic feel--this is not a high-tech locale! We’re dealing with natural materials here.

BUT THEN THOSE BLUES!

Not only do we get that nice split complementary thing happening with the yellow, but it also signals the blue of Kara’s costume, a little hint of which is revealed in the final page.

And, like. It’s night time. XD

(I just gotta say, love the cold blue outside the window next to Kara’s table, contrasted with the warm yellow of the interior. Even though this is a bar, there’s still that element of like. Coziness.)

Also! Even though the overall palette is heavy on the yellows, Kara’s hair is more saturated and leans towards a warmer yellow, while the rest of the yellows in the scene are cooler. Thus! We have CONTRAST! Our eyes are drawn right to her.

And I know--I KNOW--that SG comics twitter already hates King because Kara’s DRINKING and personally I want more of the story/context before I pass any judgement but I must admit, the shapes? In panel 5? With Kara drinking in the foreground? 

I kinda love it.

Also mmmm-MMMM, more of them SOFT BLUES.

Okay. PAGE 6!

Now THIS PAGE is what inspired this whole endeavor.

Because, okay. If I’ve not made it clear by now: I read a lot of comics.

And I generally enjoy all of the comics I read!

But, what I’ve found lately, is that if I don’t enjoy a comic, it’s because I, as a reader, find myself confused by the art.

Confused as in, the art is hard to follow.

That can be because the color design/ink work doesn’t have enough contrast, or the composition is muddled, but most frequently?

It’s poor panel-to-panel action.

When there’s no flow/connection between what’s happening in one panel vs. another, suddenly it’s on you, as the reader, to do a lot more of the work as you go through the scene. And sometimes! We don’t even have enough visual information to DO that work!

So when I read this, I was like, ‘ah, thank you, an easy flow of action for my brain to appreciate.’ XD

AND SO. Panel 1! Same stuff we’ve been seeing! The ink work, hair, clothing details, etc. all work to show us which direction each character is moving. Kara’s arm and jacket all point to her slamming that mug in the dude’s face; dude’s sword serves as a GIANT ARROW illustrating the path of his stab.

Not much to say on panels 2 and 3 other than: FACIAL EXPRESSIONS! And also, HAIR!!!

PANEL FOOOOUR!!!!

Love. This. Panel.

Again, I really love that there are no action lines slapped on top of this gorgeous art, all of the movement is conveyed in the inks, body language, clothes, and so on.

Like. There’s a conscious decision, here, to not have Kara’s hair obscuring the dude’s torso, and that’s good! Because his belt/uhh...kilt? Skirt? Is showing us the speed and direction of his jab; if Kara’s hair were in the way, it would break up the flow.

BUT THEN HOW TO SHOW THAT KARA’S DIPPING FORWARD???

Note the ties on her cuff, and the inks on her jacket!

There’s nothing special happening with Krypto, BTW. I just circled him because he’s a Good Boy who deserves to be noticed.

Panel 5, more of the same, the inks telling us how these characters are moving through space. ALSO, the length of the lines conveys speed without needing to add something distracting/obscure the art with a ‘blur’ effect.

Final panel! I. LOVE. THIS.

Particularly the movement in Kara’s hair, just. Beautiful shape language.

But in addition! You’ve got that LOVELY line of action in Kara’s spine as she flips him over, the sword likewise curved in the direction of the throw.

And of course, the dude is crumpling in the appropriate direction, bent in the middle as he collides with the table to--quite literally--complete the circle.

Also, just. The characterization here, is PHENOMENAL.

People (read: irate fans on twitter) have expressed concern (read: complained) about Kara having a sword. Some have even gone so far as to suggest that Kara’s basically a murderer now, because she’s using a weapon.

Never mind the fact that in an episode of JLU, Supergirl used both a sword AND a gun to defend herself while in Skartaris because she had no powers. 

Except we see here that Kara DOESN’T USE THE SWORD to take the guy out, she uses his own force against him. She only uses the swords in the FINAL PAGE in a type of ‘yield’ fashion.

(This particular ‘fight’ sequence reminded me of Brainy’s fighting style in the show so of course that added to my overall enjoyment.)

Like, Kara’s got no powers here, she very well could have used the sword to defend herself, and would...kinda be justified.

But she didn’t! 

Like. Even drunk and therefore out of it, Kara 1.) Steps in to help that kid and 2.) doesn’t use superpowered lethal force on the guy. (I mean, she can’t use her super powers anyway, what with the red sun, but you get the idea.)

And like, the flourish there, of the arms, the way the jacket swirls around her, like a gymnast sticking the landing, GAAAAAHHHH I just love it. It’s great.

Okay, FINAL PAGE, #7:

I mean. What more can I say? EVELY AND LOPES, MAN.

Just some top notch art.

(Also get it guys, it’s a LITERAL shirt rip! XD)

(And look! There’s that tiny bit of blue!)

But anyways, if you’ve made it this far, I applaud you, and thank you for indulging my desire to just. Geek out over one of my favorite comic artists drawing one of my favorite comic characters.

And just to like, reiterate, I’m not suggesting that this comic is THE BEST EVER or that it’s going to redefine the medium, or anything. XD Everything I’ve mentioned here is...pretty basic storytelling mechanics. Watch any movie, and you’ll see all this same stuff at work.

RATHER, this whole post is more about...admiring two artists who clearly know what they’re doing.

And they’re doing it so well! :D

TL;DR: I’m so excited that the Supergirl book has Evely and Lopes, guys. So. Excited. 

[unpopularly-opinionated]

FINALLY FINISHED NARUTO AHHHHHHHHHHHH!!!!!!!!

Honestly, and this might sound harsh, but I think I give the series overall a 6/10. Being generous, I’d say it’s maybe a 7/10, but I’m deducting one point because I’m almost positive the only reason I’d rate it that high is because despite all it’s flaws, after watching 720 episodes across two series and 10 movies, you’re just going to be attached to the characters and show regardless of how you feel about it.

I know it’s super popular, or was anyways, and I can absolutely see why, but there were just too many issues that bothered me personally. It’s frustrating because I want to like it, I really do. There’s so many elements at work here that are so just perfectly me that it’s almost weird that I don’t like it, but I don’t. Obviously I liked it enough to spend hours upon hours watching it, but I think I just kept expecting it to get better at some point, and that point never happened.

More about my issues with it below...

I don’t know how to frame this (I never do) so it’s mostly just off the cuff.

I’ll start with the easily dismissible criticisms, the movies. Obviously all but one of the movies are non-canon (and I’ll get to the canon one shortly...), and they’re made by other studios so it’s not entirely fair to criticize the series based on them. I’m far too used to this weird format from Pokemon and their non-canon movies, so it wasn’t a huge deal to me. I will say that, much like the Pokemon films, almost all of the Naruto films followed the same exact format: Naruto goes to a location we’ve never heard of before and will never hear of again and is forced to protect someone abrasive and annoying until the enemy is defeated and they become BFFs that we’ll never see or hear from again.

I’d say, in order from best to worst:

Road to Ninja - Naruto the Movie

Naruto the Movie 2: Legend of the Stone of Gelel

Naruto Shippuden: The Movie 3: Inheritors of the Will of Fire

Naruto Shippuden: The Movie - Bonds

Naruto Shippuden: The Lost Tower

Naruto the Movie: Ninja Clash in the Land of Snow

Naruto Shippuden: The Movie

Naruto the Movie 3: Guardians of the Crescent Moon Kingdom

Naruto Shippuden the Movie: Blood Prison

The Last: Naruto the Movie

Yes, you read that right. The one canonical movie I put in dead last. Originally I thought that position was reserved for Blood Prison, which offended me because of just how utterly contrived the plot was and how out of character everyone needed to act to get it moving. But somehow, The Last took last place because of just how bad of a movie it was that for some reason has the audacity to be canon. And look, I know why it’s canon. It’s where Naruto and Hinata ‘officially’ get together and it ‘explains’ some missing plot elements from the series (more on that...), so of course it’s canon.

But come the fuck on, the last movie in the franchise, the one canonical movie, the one that may or may not take place after the Great Shinobi War, I.E. the big final battle of the series, has Naruto going into the fucking hollow earth through a cave portal that takes him to the moon, which is falling because the man on the moon is an incel and hates earth? What kind of methamphetamines were the writers on for that one. The Hinata and Naruto bits were fine, but holy fuck was that plot bad. They may as well have put Naruto in a spaceship and sent him to Mars to fight Martian Shinobi, I mean if we’ve already crossed the line, why not run a marathon beyond it.

The movie was meant to explain away a one-off line made in the series, that admittedly I did sit and ponder whether or not they’d ever explain it, about the Sage of Six Path’s brother, Homura, who went to go live on the moon after they defeated their mother Kaguya. It was mentioned so briefly and only once that I thought for sure it wasn’t ever going to be brought up again. I also wondered where Byakugan came from since we’d gotten an explanation for Sharingan and Rennigan during the series, but never for Byakugan. I actually don’t mind the explanation that it came from Homura’s bloodline, I think that tracks well enough. The man on the moon bit was...odd, but when I thought of how strong Homura was, I didn’t think much of it. I actually thought he somehow was going to still be alive and he’d come down to earth after they defeated Kaguya, but that never happened.

Here’s the rub though, and one of my issues with the series as a whole, which is that the show seemed to keep writing itself into these weird corners where they’d be forced to do something completely nonsensical, purely because they were the ones who wrote them into those corners. It would’ve been simpler to just say all visual jutsu was derived from Kaguya’s power, or the Homura died so there’s no man on the moon, or that Tsunade died so Kekashi needs to become Hokage, etc. They didn’t have to write themselves into these scenarios, but they did anyway and the end result was them having to write complete and utter nonsense to rationalize why they did it in the first place.

Kekashi becoming Hokage doesn’t really make any sense, like at all. They literally bisected Tsunade during the war but willed her back to life when they could’ve just as easily killed her then and there since she’s largely irrelevant to the rest of the series after the war, and then it would’ve made more sense why Kekashi, the man who on numerous occasions said he didn’t want to be Hokage, would then be forced to become Hokage as he’d be the next strongest (eligible) shinobi after Tsunade. I feel like it was all meant to be a payoff to Obito’s dying words to Kekashi which told him to become Hokage, which even then I found myself asking why the fuck would he say that? Kekashi almost was Hokage once before and was so relieved when Tsunade woke up from her coma so he wouldn’t have to.

Also can we talk about how bad that final episode was? I mean don’t get me wrong, it was cutesy as fuck and actually brought a tear to my eye (when Naruto asked Iruka to be his dad I fucking lost it, I won’t lie), but they cut it off before the wedding? Before the aftermath? Before he becomes Hokage? Like I understand Boruto exists, but I don’t feel like that’s a justifiable excuse for ending your long-running series on merely the assumption that he’ll become Hokage in the future. Maybe if the show was a whole 500 episodes shorter I’d be comfortable with it ending on a vague, yet hopeful ending, but when I’ve spent fuck knows how many hours on this series you bet your ass I’m expecting some mother fucking payoff.

Also do not even get me started on Sasuke. What. The. Fuck?!?!? My guy literally just sends a note via carrier pigeon to the wedding? That’s it? Did I just fucking hallucinate the last 720 episodes or wasn’t Sasuke supposed to be like the second main character??? The absolute absurdity.

This isn’t even much of a comparison because it’s so much shorter than Naruto, but it’s all I got in the moment, but imagine if at the end of Return of the Jedi, Han Solo just decides to fucking dip. He’s just not there. He and Chewie hopped into the Millennium Falcon the moment the Death Star was destroyed and just dipped. No longer in the movie, just gone. Didn’t say anything to Luke or Leia, just up and left. That would be insane.

It’s even more offensive knowing him and Sakura end of together. My. Fucking. Gods. This has been the relationship I’d been dreading since the start when it became abundantly clear they weren’t doing even the barest minimum to actually establish a relationship between them. As it is, when I watched The Last, I thought to myself: “Well, Naruto and Hinata’s relationship hasn’t been the most well-developed relationship I’ve seen, but it’s still leagues better than whatever hatchet job they’re going to pull to convince me Sasuke and Sakura end up together”. We didn’t even get the hatchet job. That’s just how little of a shit they gave. They did not even bother pretending to give any explanation as to how I’m supposed to believe they end up together. I’m quite literally just supposed to believe it because I know it will happen. There’s no rhyme or reason to it, it’s just something that is and therefor I must accept it. Absolutely ridiculous. As it stands, the show gave us more reasons why Sakura and Lee should end up together than they did for her and Sasuke. Fuck, I’d even buy Sakura and Inu before I’d buy Sakura and Sasuke.

I could go on, I really could, but it’s late and I’m just looking forward to putting this behind me. At some point, probably not too soon, I will watch Boruto. As it is, my watch schedule is pretty thoroughly booked up for a while. I can’t foresee myself ever watching this again. I know I sound harsh on it, but I wanna reemphasize that I want to like this show. It’s not a show I think is bad period, it’s a good show I think was just done rather poorly. It all felt very off-the-cuff, much like this shitty review. I don’t know what the manga-to-adaptation pipeline looked like when the show was live, but clearly something got fucked up somewhere.  This really feels like the Fullmetal Alchemist to Fullmetal Alchemist Brotherhood, and I can’t help but want Naruto to get the Brotherhood treatment...if such a treatment even exists.

[broken-minded-love]

@sad-sweet-cowboah Hope you don’t mind if I start a new post here, I don’t want to prolong the debate by doing this, but I still have some things to say and the other post is getting kind of ridiculous and is hard to reply to due to it’s length.  I’ll quote a few things from the original thread to keep it linked in reply and physically here for posterity.  [...I know it makes me seem suspicious but I have a habit of reading things without saving them, etc...] I appreciate that you wouldn’t keep track like that, who does? However, I can’t see any credit given to HOGO or her work on your blog/story before the original call out drama in 2019? Obviously you may have done that privately, but I know how fandoms work and there’s a lot of mutual backscratching in drama’s like this so it seems impossible to truly validate any of this independently, which is a shame. Perhaps it was my mistake, but when you said you’d been inspired by HOGO’s fics I assumed she’d written a full fic. I can’t find an actual chaptered fan fic following videogame Arthur in modern times from HOGO, and nothing of him in that setting by himself. It all seems to be involving the gang too, which is quite a different dynamic to what occurs in your series and Wish Upon. I can see how it would be difficult to keep track of HOGO’s posts, even if you were trying too, because I can see dozens of drabbles, but nothing as a titled fic you could keep track of.  I can also see why those little scenes and dialogs may have inspired you, but as I said I can’t see any credit for the inspiration as you claimed? Besides which, it’s all kind of a moot point, because I think the bigger issue seems to be less about the initial inspiration and more about the timing and direct comparisons that can be drawn between your series and Wish Upon.  [...I also included the-awkward-outlaw’s series as an example since you mentioned previously that it’s a “very niche” topic when it’s more popular than one would think. ...] Well, yes, it is now, but it wasn’t to begin with. Ever since the onset of this drama, I’ve only seen a tiny handful of attempts at covering Arthur in the modern world in a fic, which still makes it niche when you compare to the volume of repeated themes in Red Dead fics over all.  It was a completely non existent plotline (at least on AO3/FFNET) in October ‘18 through Jan ‘19, and the game had been out for three months already when @miss-oscurita published Wish Upon. Yet no one had stepped up to bring us a story covering the concept of video game Arthur alive in 2018/9.  The reason Wish Upon hooked me personally, was because it was completely different to the numerous “damsel in distress”, “highborn babe”, “tough outlaw chick” that were a dime a dozen. There was also several “modern reader goes back in time” stories too, but Wish Upon was the first incarnation of Arthur coming out of the game into the modern world, in an actual fic at least. No doubt the idea could have been circulating, but no one had actually taken the time to put it into an actual story to my knowledge.   Does that mean Oscurita should hold a monopoly on the idea? Of course not, but it does explain why anything that followed Wish Upon’s publication, including TOA’s recent works, will be bound to draw comparisons simply because Wish Upon was first on the scene to cover the topic, and as a result is likely the most well known version of it.  I think the real issue here isn’t who all’s covered Arthur living in modern times, it’s more the issue over the dynamic where the protag is familiar with him as a character, because the dynamic of the pairing and the story itself changes so much when it’s explored from that angle. The dynamic is also affected when the fic focuses only on the two main characters (as with the gang being in the modern world in HOGO’s concepts) especially when they are both aware he’s fictional that it’s really something that can only be done once, maybe twice at a push. And yes you’d have to be certifiable to believe ideas won’t overlap, I mean it’s going to be a really hollow story if you don’t cover things like Arthur using a microwave, or using a toothbrush and showering for the first time, or learning to drive, discovering movies and what not. However, from what I seen over the course of this matter, it seems the issue with it all lies in how and when these elements are explored in the story. I may be wrong, but I don’t think there’s ever been an issue raised with any other parts of your series beyond that of As We Meet, has there?  And the issues raised over the original instalment and the rewritten piece seemed to be because it essentially follows the exact pattern of Wish Upon’s first few chapters, as we’ve already discussed.

[... I’m 99% positive the catalyst was a h-o-g-o oneshot of Arthur discovering lingerie...]

Funny that you should mention discovering lingerie when @miss-oscurita’s most recent update included Arthur discovering modern underwear for the first time. I don’t recall in which of your stories he did that?

Just in the interest of being informed, I searched HOGO’s blog and found a chapter mentioning lingerie (which I assume is the one that inspired you?) but that in itself is a classic example of how the same idea can be done by two different people and still be complete different.

Which I’m sorry to say really only further highlights why the similarities in your opening chapters are such a cause for concern.

Regardless of the inspiration, if we list the similarities we have from the original piece, and the rewrite the issues are pretty clear. 

1) Young female gamer protag.

2) Modern day setting.

3) Both have adopted silver tabby cats.

4) Both have the backdrop of being alone on a stormy night.

5) Both involved with an event that brings Arthur out of the game.

6) Both aware of him as a fictional character before being a flesh and blood man.

4) Both immediately assume him to be an intruder.

5) Both think they are dreaming and pinch themselves.

6) Both use touch as a way to confirm he’s there in the flesh.

7) Both fics use the same name for animals.

8) Both fics almost immediately go on to explore Arthur showering, discovering cellphones, watching TV/movies, using a microwave, in almost the exact same order. 9) Both use some variation of the “my Arthur” device. 

Then in the rewrite you make changes to also include:

10) Both use his horse to confirm he’s ripped straight from the game.

11) Both use extremely similar types of names for the horses. 

12) Both work from home, for one reason or another.   Seeing it written out like that I can more understand why people have red flagged it, as it goes a bit beyond simply exploring the same concept as the likes of HOGO/TAO may be doing.  I mean it was bound to flare things up to include additional similar elements. What I don’t get is, knowing how toxic the fandom is, and that you’re under the microscope over this, why you didn’t take the rewrite as an opportunity to distance yourself from those similarities?  And if I’m brutally frank with you here, it does come across as a bit of “drama farming” when you know the consequences of similarities all too well. And what I still don’t get is how you’ve not managed to move away from these controversies?  I’m a lot of a loser, and have kept an eye on this drama since it began and I have to say when you interjected with the other drama around Wish Upon late last year, that came across to me as looking for drama, or at least being lead to it by someone else somewhere. I don’t know where you got the tip off for that, because the post wasn’t tagged and I only saw it due to following @miss-oscurita/you on my fandom account and the other writer in question was very new to the RDR fandom and likely didn’t have much of a following.  Add that to the poor wording on the announcements of your rewrites and you know, I’m sure it’s innocent on your part, but I can see why it doesn’t look good to others.  I mean I could easily believe you were trying to avoid making the stories similar and accidentally included the horse thing simply because your ideas and the ideas from Wish Upon merged, because unless you’re able to keep them firmly separate in your head it’s going to happen now you know of Wish Upon. If it was me, I’d be doing my best to not give anyone any more reason to throw shit at my house. Instead you’ve somehow managed to do the opposite. The rewrite was a missed opportunity to draw a line under all the past drama, and that’s disappointing to see as a reader and a writer too.  I do hope you manage to sort this all out, and that there’s no further public bashing over it all but now the seal is broken on it all it’ll be very hard to prevent the sharks smelling the tiniest drop of blood in the water. 

[iacon-stargazer]

THE POSITIVE & NEGATIVE: MUN & MUSE

fill out & repost ♥ this meme definitely favors canons more, but i hope oc’s still can make it somehow work with their own lore, and lil’ fandom of friends & mutuals. multimuses pick the muse you are the most invested in atm.

tagged by: stolen from @oneshallfall like.... months ago. im a slow gremlin hjksd. it's been in my drafts and i finally decided to finish the last few sections while working on clearing them out

tagging: steal it

MY MUSE IS.   canon / oc / au / canon-divergent / fandomless

is your character popular in the fandom?  YES / NO.

is your character considered hot™ in the fandom?  Well.../ NO / IDK. (i know optimus is but i don’t really... know about orion? i have seen a handful of fanartists who turn him into a very sexualized moe baby but i’m not sure about the fandom at large)

is your character considered strong in the fandom?  YES / NO / IDK.

are they underrated?  YES / NO. (lmao there’s like no fan content with him unless it’s with megatronus) 

were they relevant to the main story?  YES / NO.

were they relevant to the main character?  YES / NO / THEY’RE THE PROTAG.

are they widely known in their world?  YES / NO. (not yet.... lol)

how’s their reputation?  GOOD / BAD / NEUTRAL.

HOW STRICTLY DO YOU FOLLOW CANON?

This... this is a trick question in this goddamn mess of a continuity. That said, I try my absolute best to make my portrayal coherent with the TFP show... even if said show contradicts itself at times. I take inspiration from the earlier parts (the thirteen primes section) of the Covenant of Primus for his origin backstory, but ignore the rest of the Covenant since it makes absolutely no sense with his characterization in... literally anything else. I’ve peeked at Exodus and it utterly sucks, but I’ve picked up bits and pieces of concepts that originated there just from spending time in the fandom. Aside from that... I spend a ton of time thinking about how to weave everything together in a way that both makes sense and makes for a character development arc.

SELL YOUR MUSE! (aka try to list everything, which makes your muse interesting in your opinion to make them spicy for your mutuals.)

Orion is genuinely kind, thoughtful, and introspective, very loving of the world around him.

He’s also a more complex character than is initially obvious - despite mostly being good sweet pure baby nerd he’s still flawed, with many of those flaws being his strengths put into the wrong situation. His strong morals can lead to dogmatism, and he’s only slightly less likely to deliver lectures than Optimus. His determination to be kind and help everyone can come off as unintentionally patronizing at times; he has a very “well-intentioned semi-privileged middle class” perspective that he’s not always self-aware of. However, he’s also willing to look at himself critically and learn/adapt. 

Essentially, he has many of the same traits as Optimus... just more or less apparent and/or developed. He's less confident than he eventually becomes through his future experience with leadership, wanting to change the world for the better but sometimes struggling to ground his plans in reality—something that continues to apply, but with reduced intensity and frequency over time. Idealistic cinnamon roll will eventually develop some realism, though never really quite enough. His selflessness remains a strength for now, but we know that eventually it will dip into martyristic tendencies.

NOW THE OPPOSITE! (list everything why your muse could not be so interesting (even if you may not agree, what does the fandom perhaps think?)

He could be potentially ‘boring’ in some senses. he’s the polite, considerate ‘next door’ type, who has for most of his life has just lived as a very average middle caste nobody. He’s more laid-back than he eventually becomes as optimus, but where others might get into trouble and shenanigans he’s most likely to just express concern. And since I try to keep him at least mostly ic, even with non-serious posts, this can derail ‘fun’ stuff and I fear dissuade some interaction.

While I try my best to give him realistic flaws that work with his character, he could still be seen as a little too good. very kind, understanding, forgiving, patient, considerate... almost endlessly so. A lot of my “he’s so good and pure” interpretation comes from using his having been the thirteenth prime as backstory, where he was pretty much the epitome of that, but some might not like the “he was a literal deity in a past life” idea for its “super special chosen one protagonist” elements.

His responsiveness to his environment can also be a downside. He’s not the type to start things; he just reacts and responds, standing his ground and finding himself when things get crazy around him. without megatronus, he may have eventually attempted political campaigning, but it wouldn’t have gotten very far. He needs to have more intense characters or events around him for major plots to really go places. Without those nothing would ever happen besides slice of life fluff, because he’s content with that kind of life.

WHAT INSPIRED YOU TO RP YOUR MUSE?  

Honestly I just wanted to write op/ratch fhsjkdjsdh. But I also wanted to be able to interact with a variety of muses and so I chose Orion over Optimus because he’s not so emotionally closed off, which I figured would give more flexibility beyond the handful of characters op would reasonably have close personal and/or plot-important relationships with. Also, I can relate to him on a thought-process level which lets me get into his head easily, which additionally made him an appealing choice for my first real rp muse.

WHAT KEEPS YOUR INSPIRATION GOING?  

I just love him so much, especially with the layers of his character I've built up around him. I don't always have inspiration to write or rp, but I think about him a lot. When I do find motivation to write, it's generally out of wanting to continue to work on developing him and just having a chance to express his characterization.

SOME MORE PERSONAL QUESTIONS FOR THE MUN.

do you think you give your character justice?  YES / NO.

do you frequently write headcanons?  YES / NO.

do you sometimes write drabbles? YES / NO.  (i should do it more...)

do you think a lot about your muse during the day? YES / NO.

are you confident in your portrayal?   YES / NO. (at least most days fhsdhfskj)

are you confident in your writing?  YES / NO. (it waxes and wanes. I know I'm a good writer but I could still be better...)

are you a sensitive person?  YES / NO.

DO YOU ACCEPT CRITICISM WELL ABOUT YOUR PORTRAYAL?

I’ll be honest; I’ve never gotten criticism. I haven’t been here very long in comparison to some and I’ve never been that popular, so I figure I’m pretty easy to just ignore. I guess how I would feel about it would depend on what it was and how it was delivered, though I like to think I would be reasonable regardless

DO YOU LIKE QUESTIONS, WHICH HELP YOU EXPLORE YOUR CHARACTER?  

yes? yes absolutely?

IF SOMEONE DISAGREES TO A HEADCANON OF YOURS, DO YOU WANT TO KNOW WHY?  

I would be curious to hear their reasoning, but I think enough about how everything fits together that chances are I would agree to disagree

IF SOMEONE DISAGREES WITH YOUR PORTRAYAL, HOW WOULD YOU TAKE IT?

Depends on if their disagreement makes sense. Maybe I’ll give back my own reasoning for why I characterize the way I do. Maybe I’ll just agree to disagree, if their view is just totally different from mine. If they have valid points I’ll probably overthink it and spiral into self doubt. In all cases I’ll spill my thoughts to friends on discord.

IF SOMEONE REALLY HATES YOUR CHARACTER, HOW DO YOU TAKE IT?

......Orion in general or? ... fhsjkdhf...... Well if it was mine specifically that might hurt lol. But at the same time.... I doubt i’d agree with their takes either so... fair enough.

ARE YOU OKAY WITH PEOPLE POINTING OUT YOUR GRAMMATICAL ERRORS?  

Sure. I’m good at grammar so if something glaring is there it’s probably a typo I missed and I’ll be grateful for the chance to edit it out before more people see it lol

DO YOU THINK YOU ARE EASY GOING AS A MUN?  

Yeah. I’m pretty quiet most of the time because I just don’t have energy to talk to a lot of people, and I never want to get caught in drama. I honestly wouldn’t know what to do in a situation like that. I tend to avoid conflict, I’m quick to apologize, and polite with anyone I don’t know very well.

[snipehuntpotatosack]

Unofficial Commentary on the text tagged [Chronic Metaphor] – A Servo-Subsystem Research Program Summary in Four Cantos; with Addendum re site visit

Initial apologetics (if the term is applicable and/or recognized) are due concerning the graphic or “pronunciatory” form in which the material herein discussed was/is presented, even tho the unit(s) generating said material were not at any time under my direct or indirect personal control. Yes, I identify myself as a “person” in the oldest and most trivial sense in addressing you herein, and the form I use will continue to be the prosiest, fussiest and most boringly irritating of proses. As for why precisely a psychoneurotic pseudopoet with a rusty valve stuck open seems to have generated an idiosyncratic 255-line precis of the non-results of an actual very official, time-consuming, and quite expensive archeologic-epistemic study in astrocognitive phenomena in a species of volatile vers libre rather than the usual lethal academic sludge-speak: as part of one of the cyclical waves of good-heartedness affecting managerial disposition toward the treatment of the “semi-sentient,” a random selection of report writers were encouraged to experiment with other linguistic models which might more effectively package complex/banal-seeming information so as to attract more network attention, this being regarded as an a priori goal for some reason…It is not clear whether the composers of the CM text had any particular literary models in mind (and I can assure everyone that no ‘machine’ time has been spent on investigating this uninteresting question); I think it more likely that the inspired creator(s) attempted to place breaks similar to physical speech rhythms – as in the incantations of Druidical sages gone cybermad – into whatever data it occurred to them to convey (partly suggested by the fact that the “speaker-units” under study imitate the rhythms, the rushes and caesuras, of persons talking – while of course making no sense whatsoever).

 Regardless of the semi-bizarre form in which the summary report has been assembled, and even taking into account its various semi-snide sidelights on the assumptions, motivations or delusions of participants in this and other official research ventures, having been called upon unofficially to comment on its usefulness at this stage in our reckoning with what we have encountered, I can only add the following:

I have nothing further to add.

Whatever follows should not be expected to modify our overall evaluation of the project or of any potential for further expenditure or non-expenditure; it represents only my particular, that is personal, inclination to fill in some background details regarding this overall puzzling, unsatisfyingly incomplete area of inquiry. (As intimated in a particular line of Canto C, “breadth” without “depth” of information can be particularly irksome to the curious mind, though whether my extra depths may lead anywhere is doubtful.)

Standard trans-galactic probe techniques did in fact encounter (and retrieve detailed information in a wide range of sensory and mathematical categories), at a date not too far from the beginning of our current technocratic era, with a nearly perfectly planar solid object consisting entirely as far as we know of the element Carbon, in the form graphite, at a location which remains constant though classified. Its planar quality is “nearly” perfect, of course, since the sheet does possess some top-to-bottom thickness – exactly 256 molecules. Otherwise, no limit to its extent has yet been found, by any sensing or calculational means possible, in any direction. (We can, of course, access its “other side”, by approaching from the other direction). The object is thus referred as “finite but boundless,” in the sense that before contact is made with the planar surface, there is no graphite; once contact is made, there is.

 This description would seem to imply that the plane slices the megaverse in half; and so it would, except for its orientation in Riemann space. You will appreciate that this point cannot be expanded on using semantic language.

 The entire “population” of the plane is a transfinite (that is the word, as per Canto A , – and there’s no other; we simply cannot know how many) set of black carbon nano-fiber cubical audio speakers, of an extremely basic design, with one smallish vibrating sound-producing diaphragm each. Forgive me if I slip into homey jargon – each one is about knee high, and they sit there about one-and-a-half arm’s length from each other in a very exact pointillist array, all facing in the exact same direction, if there was a way to define that direction, which there isn’t. Tomography indicates a small disk at the interior base may be their power source, though what activates and deactivates (or uses up) this power source is beyond our ken. In addition, a small white light of the simplest construction on top of the cube lights up with modest wattage when the speaker-unit operates, and goes out afterward.

 Yes, of course we’ve tried to sample the graphite. Of course we’ve tried to disassemble a speaker and microanalyze its parts, in situ or, if it could be arranged, at another location. They cannot be picked up, moved, pierced, bent, melted, dinged, crushed, drilled, lasered, or physically affected in any way. This although they are quite physically real; you can trace its contour through your glove, and if you bang your knee against one of the corners (through the leg of your e-suit) it will raise a lump. It cannot be detached from the surface of the plane by the application through torsion of a force sufficient to propel an object free of the gravity of galactic center. No, we have not attempted to destroy any smaller or larger part of the plane and its population using the most fearsome destructive tools known; logical analysis could not project any conceivable gain in information through this procedure.

 And yes, as the lumpiness of my description indicates, I have been personally to Site F, as the wags call it (short for many possible terms). Only once. Continued data collection of any sort of data anyone or anything could ever dream up obviously continues via automatic installations on site; budgetary questions only arise  concerning whether to continue analyzing this Leviathan of unappealing input as it grows dusty in our virtual ledgers. As for the considerable resources entailed in dispatching any more eyewitnesses to F, in corpore, I suspect the only reason this is not now completely ruled out is a kind of inchoate, cosmic superstition – having never successfully peered into the mind of function f, if any such thing exists, we can’t stop peeking sideways to see what it might do next; and we certainly wouldn’t want it to feel slighted in the meantime.

  Approaching F from a series of eccentric hyperbolics, one’s first impression is of a dimly pearlescent Cupid’s bow, of the radius of a gnat, then an inchworm, then perhaps a comb jelly, performing rather silly flips and inverted rotations in the blackness as your perspective gyrates round that of the approach trajectory. When very close indeed, the sense of a gargantuan flat dance floor – picked out in midnight streaks not by F itself but by our own, stationary illuminators – grows alarmingly, and then vanishes completely as one comes to rest – on an array of cubes, rather than the actual floor, which makes no difference. (An odd sensation, being deposited on a perfectly flat plane – it immediately popped into my head that our own technology approaches nothing similar.)

It is simple to make shoe-soles that love graphite. The environment of F is pure, dead-vacuum, intergalactic space, with a floor to walk on. Unfortunately, the floor is studded with solid shin-busters whose regular spacing will not spare one without considerable practice, so travel groups are collectively lighted from above. There is not much of a walk to reach the Activated Area, no matter when you go, since one can land anywhere; but tourists are given about fifteen minutes approach time to allow the pupils to adjust.

 You are advancing on foot into the maw of trillion-diamond Tiara City, the scintillating illusion building intricately to past fifty, sixty degrees above the horizon even tho every individual photon originates mere centimeters from the surface. The walls and webs of light are thickly constructed to the sides of you and behind you, and seem to be narrowing and crowning upward ahead – the parabolic arch now spanning well more than a billion active electrified entities of unknown origin and purpose. Two hours walk, three, and the illusory multidimensional effect has worn thin as you near the focus; adjusted retina now perceive a flat broad white light everywhere, neither intense nor interrupted, utterly transparent, and yielding a perspective at once completely repetitive and monstrously surreal, as the twinkling cubes march in serried ranks to the horizon.

 Then, your automated guide introduces the next phase of your learning experience. Your earphones, which have been shut completely till now, are slowly – over a period of many minutes – exposed to what is really filling the air around you, reaching and remaining at a level approximating eight percent of the true volume level –

 Did I say the AIR?

 Indeed Madam or Sir, without which there would be no way to hear, record, analyze the Speech of the speaker cubes. In fact, when Site F was first discovered, millions upon millions of active speaker-units were gabbling away freely – as evidenced clearly by the tremblings and agitations of their sound-producing diaphragms - and producing no sound at all in the vacuum of space.

Nor did they, until our researchers filled the surrounding space with ambient gases appropriate to the operation of the speaker units in producing phonemic sound. Verbal sound. Innumerable combinations of gases with and without particulate additives have been tried for this purpose, but only one maximizes F-Site speaker performance: the exact proportions of nitrogen and oxygen found on what our dear dead ancestors were pleased to call home.

Our poetic prologue omitted this as a mere technical detail; the notion that indestructible space-born units would be sent on an eternal mission, i.e. to talk – and not only not given anyone to talk to, but no way to be heard if there was –

did not interest our core analytic cadres compared to the potential or hypothetical mathematics of the mother-ship f function.

.

So now, fellow voyager, we have reached the final revelation, laid bare to our senses. As hovering tanks emit invisible atmospheres toward all and sundry, we finally hear the Star Speech of the mysterious Speakers. They talk, and talk, and talk, in every direction.

As far as anyone can understand, it means nothing at all….

except for one small detail.

There is one other thing about their conversation, which the Poem did not mention.

 They don’t just talk. They whisper, they moan. They bellow, they proclaim in profound orotund baritones. They shriek like the demons of Macbeth’s blasted heath. They burble, grovel, compliment, snarl, sob, ululate, snicker, mimic, plead, project, perorate, bloviate, gargle, snivel, boast, wheedle, insinuate, denounce, exaggerate, hype, summon, denounce, deceive, chatter, natter, blather, yammer, wail, mourn, elegize, mesmerize, scandalize, ingratiate, stutter, sputter, mew, whinge, neigh, hector, harp, emote, ejaculate, envision, exclaim, erupt, elucidate, yowl, yak, jape, jest, jabber, greet, grandiloquize, chisel, charm, chuckle, chitter, crow, brag, argue, segue, toast, threaten, ameliorate, pray, parry, aver, avow, acclaim, attest, affirm, achoo, agree, account, accept, accredit, auction, authorize, augur, theorize, temporize, tantalize, tongue, tang, teeng, tong, and tan two tonsils for every top ticket in town

And there’s one other thing we know. Not from ourselves, because we’d have to die first. But from the machines, who can stay there long, long after we’d wink out.

 If you just stand there, and wait until all the quintillions around you have had their say, they all wink out, night falls; and The Perfectly Clear Light, and then The Trillion Diamond Tiara City, and then The Pearly Cupid’s Bow, move on, on, on into the Inky Way, talking, talking forever