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steddieunderdogfics · 6 months ago

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This week’s writer spotlight feature is: indelicate/@steddielations ! They have 13 fics in the Stranger Things fandom and all of them are in the Steddie tag!

lees_musings recommends the following works by @steddielations:

A Cup of Good Intentions

Trouble Looks Good On You

Wrap Me Around Your Finger

"their fics are so heartwarming and tender, i read them like comfort food"

"a cup of good intentions was the first steddie fic i read, it has a little velvet box in my heart <3" -- lees_musings

Below the cut, @steddielations answered some questions about their writing process and some of their recommended work!

Why do you write Steddie?

They’re just a really fun ship that you can do so many different things with. Just guys who need some healing and loving and I like giving it to them!! Also I see a lot of myself in both Steve and Eddie, so there’s some catharsis in writing them too.

What’s your favorite trope to READ?

Friends to lovers, hurt/comfort, angst with a happy ending, friends with benefits

What’s your favorite trope to WRITE?

The same as above definitely

What’s your favorite Steddie fic?

These are all phenomenal and I think about them every day, they truly stick with me METAMORPHOSES by fastcardotmp3 A Certain Type by ann_anotherthing Sugar on my tongue by deadratz shake and sway me through the night by Craftnarok

Is there a trope you’re excited to explore in a future work but haven’t yet?

I feel like I’ve written all the canonverse stuff that I wanted to now, so I’m excited to try out some au’s. Maybe once I finish up my current wips, I have this batman Steve and comic book writer Eddie idea that’s been in my mind forever now

What is your writing process like?

I brainstorm by writing down all the ideas I have for a particular story, then I try to organize it into a plot. Sometimes I just plan scene by scene, but I always write the dialogue first and then build around it.

Do you have any writing quirks?

Usually the best things aren’t added until I’m editing at the end, going back and doing finishing touches. Like with Trouble for instance, I didn’t add the kitchen conversation or the porch swing conversation or the joking scene with Gareth originally, it was all stuff I just decided to add when editing. Same for a lot of my fics, usually the things I get comments about the most are things I almost didn’t add.

Do you prefer posting when you’ve finished writing or on a schedule?

I’m the worst at scheduling and posting so whenever it’s done is when it goes up

Which fic are you most proud of?

I’m most proud of Bleed Me Dry Before You Go because it’s the fic that I was really able to put the most of myself into.

How did you get the idea for Trouble Looks Good On You?

Well I knew I wanted to write a sub Eddie discovery fic, and honestly this just started as like a gag, just thinking about Steve’s jock habit of slapping asses and what would happen if he did that to Eddie, and that’s what awakens it. Then it gradually became something more serious and more thoughtful. I wanted to explore more of Eddie having this past where he’s had bad experiences with certain dynamics, and what it would mean for him to be comfortable enough to get to explore that side of himself with Steve.

When writing Trouble Looks Good On You, what was something you didn’t expect?

It started out as mostly crack so I didn’t expect it to become my longest, most character involved fic. Also I didn’t expect people to read it or like it because it was mostly for myself, so I’ve been very pleasantly surprised and grateful for the response to it.

What inspired Wrap Me Around Your Finger?

I realized I hadn’t written a virgin Eddie fic, and at the same time I wanted to explore more of what Eddie’s aftermath in Hawkins would be like, the full extent of his injuries and his reputation in the town, and maybe Steve helping him out, so it all meshed together. I worked on this for like a year so it had many phases, but adding in some Flight of Icarus lore also inspired me to make Eddie more gritty in this, very stubbornly attached to his independence, and I just love the depth it gave him in that fic in the end.

What was your favorite part to write from Wrap Me Around Your Finger?

Definitely all the banter, especially during the smut scenes, love a silly smut scene. Also can’t forget “I made sure there’s no stairs”

How do/did you feel writing A Cup of Good Intentions?

I cried so many times writing that. I just put myself in the position of Eddie and Wayne, thinking about my relationship with my dad. It was cathartic just writing that familial bond between Eddie and Wayne, and how deep that love goes through mourning and missing each other and then actually getting to reunite. It was an emotional one.

What was the most difficult part of writing A Cup of Good Intentions?

The fic had several different tones from grieving to yearning to suspense and also fluff and romance, so it was hard to blend that all together and make it flow without whiplash. Not sure if I succeeded but it was hard to do.

Do you have a favorite scene and/or line from any of your fics?

The cold open in Trouble, where it sounds like they’re hooking up but they’re actually moving an amp, probably the most clever innuendo unfolding I’ll ever make

Do you have any upcoming projects or fics you’d like to share/promote?

I’ve got some stuff for sub Eddie week but after that I’m just focusing on finishing up Trouble finally

Outside of these questions, Is there anything YOU would like to add?

At the moment that I’m writing this, I don’t know who nominated me, so I want to say thanks so much to that person!! I’m so flattered and I appreciate it!! Also to anyone who reads my fics, thank you genuinely. And to the mods of this blog, you’re all awesome for doing this and you’re so appreciated in the fandom!!

Thank you to our author, indelicate, and our nominator, lees_musings! See more of indelicate's works featured on our page throughout the day!

Writer’s Spotlight is every Wednesday! Want to nominate an author? You can nominate them here!

#writer's spotlight #writer's wednesday #steddie #steddie fic recs #steve harrington #eddie munson #steve x eddie #stranger things #ao3 writer #steddie writers

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skaruresonic · 1 month ago

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idk why so many antis took the whole "like long lost sibling would " on that alt text for the promo of dark beginnings as canon and 'solid evidence' that shadria have a sibling relationship when the text can also be read as sarcastic or mocking? I might be reaching but sarcasm doesn't really translate well in text but putting any indication like ' or () when it doesn't flow in the original text always feels like somebody making snarky comment to me, idk to me personally I could argue w antis that it mocking them by being like 'isn't this obvious ship bait totally platonic' ¯\_(ツ)_/¯

Idk it just so annoying to see so many antis go 'haha shadria fans must be weeping' when it a fucking alt text on a promo that I doubt any writers or higher up would quality check in comparison to the fact in canon that shadria has yet to be label unlike other characters in the series as well as ignoring how many opportunities the series had to outright have shadow call Maria his sister no media be it games, shows or comics has him calling her sister or vice versa. So unless the new game outright has him referring to her as sister in all languages, shadria will still be a valid ship and even if that does happen it still won't erase all the moments the two had either shippers r still gonna ship.

I don't understand why antis think one little text line that not even in any media is gonna make Sharia shipper suddenly stop. Apology for ranting but omg it so annoying seeing anti act so high n mighty over something so trivial 💀

Personally, I'm inclined to agree with Beev on this one. It seems like they threw in "as long-lost siblings would" in order to placate the antis. Which would, ironically enough, imply an awareness that the piece could be read as romantic.

There was really no need for a parenthetical note to dictate the tone of the piece. If they left it at "Shadow and Maria reach out for one another in an infinite abyss," the reader could interpret it any way they want.

(Random tangent, but describing space as an "infinite abyss" also strikes me as a bit strange. You can see stars in the piece.)

I think SoA knows the flavor of the food they've been serving us recently, but they did this as a sort of PR move to cover their asses. They might be worried about losing face with Shadria antis, who form a not-unsizable portion of fandom now compared to Shadria shippers.

...but I mean. Come on. There's no way they're not aware.

And the thing is, it's not like the manga or anything else is explicitly confirming the dynamic is definitely romantic, either. It's not like we shippers aren't aware we have our ship goggles on; we just wanna vibe in our space.

Ever since playing SA2 as a kid and wondering if Shadow was in love with Maria, I've always had the feeling that their dynamic was supposed to be left open to interpretation. Antis want to impose their reading upon pain of accusing you of being a freak, while the shippers are more like "haha... unless?"

Also, it's really funny to think this is the ship they consider worth calling people "demented dogs" over. Have you literally played any other video game ever? Read any book? Watched any movie? Oh no, a ship the game probably wanted us to ship a little! OOGA-BOOGA.

This is probably one of the least problematic ships in existence tbh. Methinks the antis doth protest too much.

Besides, you're (general you) being disingenuous to claim there are no undertones whatsoever. Why include them if the dynamic is only supposed to be interpreted a certain way?

Using Sonic X as an example of what I'm talking about might be cheating, but since it's about as non-canon as the manga appears to be, it seems fair to mention it.

In Sonic X, Shadow also tends to recall Maria through a romanticized filter; he remembers her as being extra beautiful and ethereal compared to other characters who recall her as simply an ordinary girl.

Compare Shadow's flashbacks to the flashbacks of the soldier who shot her:

In the soldier's flashback, Maria is just a frightened child who pulls the lever. We're not shown her body, but rather his reaction:

In Shadow's flashbacks, Maria slumps tragically to the ground and/or lies on the ground, calmly speaking her last words while bathed in soft blue light.

There's a heightened sentimentality to Shadow's memories of Maria which serves to emphasize, I guess, the "beauty" that the ARK tragedy took from him. Considering Shadow is stated to like "nothing," maybe he finds nothing or no one else as beautiful.

Not that her death wasn't tragic in and of itself, but there's a marked difference in tone. One feels like a child's senseless death viewed from the POV of the man who killed her, and the other feels like... to be frank... something romance anime-coded.

It's worth noting that Shadow maintains this romanticized filter even when fantasizing about an alternate timeline where she survived (or perhaps the future they had been looking forward to after she was cured), so you can't always chalk it up to a product of Gerald's brainwashing:

...let's unpack this on the therapist's couch, hmm?

---

I don't understand why antis think one little text line that not even in any media is gonna make Sharia shipper suddenly stop.

Very true, and it's a fool's errand to try. I was going to reblog that piece without tags, as per usual, but I decided to tag it as "Shadria" just to flip antis off. Fuck you, you can't tell me what to ship on my own blog. xP

(also tagged it "Shadria" because "Shadria" was the original ship name and it's still a perfectly good ship name. it's a pet peeve of mine, how antis chased shippers off the Shadria tag and forced them to come up with less elegant portmanteaus. "Shadaria" and "Mariadow" sound so much clunkier than "Shadria")

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Apology for ranting but omg it so annoying seeing anti act so high n mighty over something so trivial 💀

No worries, antis are annoying at best. Wish they would just go away. >.>

#asks #shadria #long post

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sineala · 1 year ago

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Superheroes and ethics

I realized that I wrote this last month on Patreon and forgot to post it here. I got asked to write meta about superhero ethics with regard to Steve and Tony. I ended up writing mostly about how Captain America's Plot Armor interacts with his principles.

I have been asked to talk about ethics and philosophy with respect to Steve and Tony. Unfortunately, the only philosophy-adjacent disciplines that I know well enough to speak about with any confidence are formal semantics and pragmatics, which isn't really all that useful in daily life unless you'd really like to learn about the differences between entailment, presupposition, and implicature, and also the Gricean maxims of conversation, which are great if you want to completely ruin conversations by violating them as many times as you possibly can.

So I'm not a philosopher, sorry.

But! I can talk more informally about Steve and Tony and ethics.

And I know there's been a lot of meta -- and actual books -- written about their differing views. I have a book here, A Philosopher Reads Marvel Comics' Civil War: Exploring the Moral Judgment of Captain America, Iron Man, and Spider-Man, by Mark White, which I have not read yet but it sounds like this is probably the book you want to read if you want an actual philosophical analysis of this stuff. Judging by the reviews, the author decides to associate Tony with utilitarianism and Steve with deontology. That is probably fun. I am in no way qualified to talk about it. On an informal level, the thing I find fascinating about them is that, when it comes down to it, Steve and Tony are really not all that different.

I have been thinking about this for a while, because the last time I left anonymous asks open on Tumblr, the final ask I got before I decided that this wasn't a good idea was someone who wanted to pick a fight with me by asserting that Steve/Tony was a bad pairing because "they don't think alike, have different morals, different interests, and different emotional issues that the other is not capable of helping out with." This is one of the reasons why I don't have anon asks on anymore. But I thought it was honestly an interesting thing to think about.

So I have been pondering this on and off for a while, and I realized that the thing that really bugged me about it was that their general thesis was that Steve and Tony were bad for each other because they have nothing in common. See, I don't think that's true. I think they have a whole lot in common. But I am also willing to acknowledge that canon likes to put them in situations where they're at odds with each other and it seems fairly easy to come up with circumstances that will cause them to want to beat the stuffing out of each other. But, crucially, this doesn't mean they have nothing in common.

(I also think they actually have a lot of similar interests and are actually very capable of helping each other with their emotional issues, which canon demonstrates multiple times. But that'd be a different essay.)

For me, one of the reasons why Steve/Tony are so compelling as a pairing is because they are so similar. Let's call it, like, 95% similar. They are remarkably like-minded when it comes to their values and how they view the world. It's just that then they can fight, bitterly, over the remaining 5% of differences.

They work well together most of the time and it's just the bits where they almost work together that are so agonizing and provide so much material for fandom. Because it's not like they don't understand where the other one is coming from, what they want, or why they want it. They do. They just don't understand how the other person can come up with a different path to the answer given their shared goal and shared values. Steve doesn't understand how Tony is willing to do something that Steve thinks is wrong, and Tony thinks, I don't know, that Steve's ideals are too naive for the real world. Tony thinks Steve's plans are unrealistic and Steve thinks Tony's plans are unacceptable.

There's also an additional complication, which is that Steve as a character has a lot of plot armor that Tony doesn't. Steve decides what he thinks is moral and what he thinks is immoral, and he simply does not do the immoral thing. And the thing is that the narrative helps Steve out with this. It's fine if he's idealistic! It's even okay if his ideals are naive! He almost never has to go against them. I am saying this as a big fan of Steve. The story really helps him out.

For example, Steve thinks that killing is wrong, so he doesn't kill anyone, generally speaking. (Depending on the retcon you believe in, he may have in fact killed zero people in World War II, which is kind of ridiculous.) But in situations where the best of the options involves killing someone, someone pretty much always ends up dead. It's just that someone else does the dirty work. Steve surrounds himself with a lot of spies and assassins (Bucky, Sharon, Natasha) and those people kill the people who need killing.

In Civil War, Steve believes Registration is wrong, and he never has to change his mind. He probably still believes it's wrong. Instead of going on trial, he dies; he never has to face the consequences of any of his actions. The narrative shields him from that. When he comes back to life, Registration is gone and he gets a pardon from the president. It's all taken care of. He causes a lot of damage, and he doesn't even have to say he's sorry for trying to bash Tony's face in, in public, with witnesses, after having destroyed what looks like several city blocks.

So Steve never compromises his principles, because he has the luxury afforded to him by the plot so that he almost never has to be in a situation where he'd have to decide whether he should compromise his principles, say, for the sake of the greater good. He doesn't have to make that choice, because Marvel's not interested in writing stories where Steve has to make that choice. So it just… doesn't come up. He almost never has to put his ethics to an actual test. If you hand Steve the trolley problem, he'd just say, well, I'd save everyone. That's not an actual option in the trolley problem. But he's pretty much always going to be in a plot where he gets to do the right thing and save everyone.

Tony, though? Tony has to do terrible things for the sake of the greater good all the time. He doesn't get to opt out of the decisions. Even on a personal level, he has to do terrible things to himself. He has to decide probably at least half a dozen times whether he should wear the armor even if wearing the armor is hurting him -- say, when he decides to take on the LMD in the arc where he gets his first artificial heart, or in Armor Wars II, or in that storyline in the middle of Busiek's run after he gets beaten up by the Mandarin. And he always decides to wear the armor no matter what the personal cost is to his body. He ends up in a lot of fights where he has to take pretty bad damage to save the world -- and while Steve would also make that decision, Steve's going to heal up and be fine, like in his recent run where Bucky shoots him in the shoulder. He has a healing factor and he's fine in a couple weeks. Tony breaks his back in order to save civilians and then gets addicted to morphine and ruins his life for a good long while. That kind of stuff, with lasting physical consequences, just doesn't happen to Steve. Let's not talk about Streets of Poison.

It's pretty obvious when you look at their biggest fights (say, Civil War and the incursions) that Tony believes that the ends justify the means, and Steve doesn't. However, Steve doesn't exactly have usable alternate suggestions. The plot armor helps him out there. Steve espouses extremely noble ideas, life and liberty and all that… that are not actually workable plans.

And because of how the narrative treats him, he doesn't really need to have workable plans, either. It's not like he actually uses them. Because he's just going to be fine. (Except in the incursions, but everyone came back to life afterward so it's all fine.)

Steve doesn't like the SHRA. Okay. Fine. He believes it's an unjust law. His plan is apparently to just… keep fighting Tony and anyone else who tries to take him into custody for not registering. What's his endgame? Does he have one? His plan appears to be "be on the run from the government forever." As far as I can remember, he would prefer the situation to go back to the way it was but he does not, to my knowledge, ever propose a way of achieving that. He's not out there saying the law itself should be found unconstitutional or anything.

Similarly, with the incursions, after the Gauntlet breaks, the Illuminati have no solution for an incursion that isn't building bombs and destroying the other Earth in the incursion. Either they act to destroy the other Earth, or through inaction, both Earths are destroyed. Big ol' trolley problem. Steve refuses to play. Steve says he can't countenance that. Excellent moral stance. It's very him. He says, "I believe we'll find a way to stop it." He doesn't have any ideas besides "not the thing Tony is doing," which appears to also be his stance about the SHRA. If they'd let Steve stay in the Illuminati… what would he have done? I suppose the possibility exists that if he managed to flip one of the scientists to his side he'd get them to think up an alternate answer. He could have suggested that everyone evacuate Earth. But he doesn't actually have an idea, personally for what to do. Other than "nobody should die."

(That isn't even what happens, in the end. Of course, by the end, Steve is trying to hunt Tony down and kill him, so you could argue that he's not really behaving much like himself there, and neither is Tony.)

Anyway. When you think about it, what Steve wants and what Tony wants, in both scenarios, is pretty much the same thing. They have the same values and the same goals; it's just that the paths they're willing to take are different. But when it comes down to it, they both actually want the exact same thing. Like they do most of the time. They both want to save the world. Except now they're fighting about how to get what they want. The fights are about the details. At least in 616.

We can contrast 616 Civil War with MCU Civil War. I have actually only watched CACW once, so this is going to be fun and possibly inaccurate. The 616 SHRA and the MCU Accords are, very broadly speaking, about the same general topic: government oversight of superheroes. In the MCU, after the disaster in Lagos, the UN decides that they can't just have the Avengers running around wherever they want, exploding things and getting people killed. Tony agrees with the need for UN oversight. Steve does not; he feels that the Avengers should be able to go wherever they need to go without getting caught up in red tape. Here in the MCU, Steve and Tony not only disagree on what the right thing to do is, they disagree on what the right outcome should be, and the reasons for that. Steve wants things the way they were. Tony would be okay with some amount of oversight. They both have different visions of the way the Avengers would look and operate, because they value different things; Steve wants autonomy and Tony wants accountability. The fight isn't just about the details. The fight is about everything.

This isn't the case in 616 Civil War. No one is fighting for (or against) "I, a superhero, should be able to go wherever I want for superhero reasons." UN oversight is one of those things that all the Avengers, including Steve, have agreed about for years; there are panels of Steve asking to get UN clearance before the Avengers zip off to Russia to save Tony. What happens in 616 is that an inexperienced superhero team gets into a fight they can't control, destroying a school in Stamford, CT, with massive casualties. The SHRA is a US bill saying that all American superhumans (which is probably thousands of people) should register with the government, receive training if they want to be heroes, and provide the government with their real names.

Both Steve and Tony are opposed to this, before Stamford. Then, when Stamford happens, Tony realizes the SHRA is happening no matter what and decides to support it. Even with the SHRA in effect, both Steve and Tony think there should be superhuman oversight; Steve just thinks it should be the teams training people up, the same way as they've always done. They don't even disagree about that; Tony also thinks they should be in charge of oversight, but he means himself (and Steve if Steve would ever join him). The people training superheroes would in fact still be them, both of them, no matter which side wins the war. Neither of them trust the government to handle Registration well. Steve's answer is to object to the very idea of Registration and to stay away from the government, and Tony's answer is to get in there and keep the superhero database in his own head so that Gyrich won't get the list of names and start sending Sentinels after everyone.

So they both massively distrust the government's presumed right and/or ability to safely do this, and want to protect superheroes from government oversight as much as possible. That's basically the same stance. Steve just thinks no one should get anywhere near the government, and Tony thinks if he gets in there he can make it less bad. He can be the guy doing the oversight. People who don't register might get arrested but at least they won't be killed by Sentinels, because he can stop that from happening. Steve isn't willing to imprison his friends at all, probably because he doesn't believe Tony when Tony says the only other option is death (i.e., they can't go back to the way things were -- although of course that's eventually what ends up happening, albeit long after Civil War is over). He probably thinks there's a secret third option, because for him there usually is. But what they basically want is the same thing. Tony's just willing to go a little farther than Steve is to get there.

Sure, Tony's plans aren't perfect. But he does have them. Sometimes they're really lousy, because sometimes there is no good solution. I acknowledge that he does a lot of things in Civil War that are actually pretty rotten. I am saying this as a fan of Tony. He does some bad things. He starts a war with Atlantis. He manipulates Peter Parker into unmasking, which has terrible consequences. He builds a prison. He imprisons a lot of his friends. But none of these things involve the government massacring superhumans. The one really, really bad future he's afraid of doesn't happen. (And we know, thanks to that one What If issue, that that's exactly what would happen if he weren't running Registration.) Other bad things happen, yes. But not that, which is the worst.

Steve doesn't want anything bad to happen. Steve just wants the good solutions, with no moral or ethical compromise on his part. and he usually gets them eventually by narrative fiat. Sometimes he has to die first -- which is, of course, what happens in Civil War -- but, eh, whatever, it's comics. That's not really a major drawback for superheroes. And eventually he gets what he wants, because comics return to the status quo. Everything goes back to the way it was.

It's the same thing with the incursions. Neither Steve nor Tony want their Earth to be destroyed, obviously, but Tony is willing to build bombs to destroy the other Earths in case they can't find any other solution. Steve says he thinks there will be another way. And neither of them want to use the bombs! Tony doesn't want to use them at all! The Illuminati don't actually find themselves in a situation where they have to decide whether to bomb a populated Earth until the Great Society incursion, and Tony refuses to be the one to do it. After Namor does it, Tony is distraught and says he thought they'd find another way -- which is the exact same thing Steve said to him except nobody kicked Tony off the Illuminati for saying it. They both have the same attitude. They want the same outcome. They don't want to use the bombs. It's just that Tony's willing to build them. They're pretty much on the same side here about everything (including the desire to not bomb other planets) except the lengths to which Tony is willing to go to have a backup plan. Just like Civil War.

I suppose I would say that, overall, comparing Steve and Tony's relative ethics seems hard to do in a way that is fair to both of them because Steve is so often given the ability to stick to his beliefs in a way that Tony isn't. "What does Steve do when he actually can't do the right thing" is one of those questions that doesn't seem to get explored all that much, except possibly at the end of Hickman's Avengers run, in which everything was going to hell anyway, and it wasn't like he got to be in Secret Wars to try to fix it. He does also tend to quit being Captain America when he doesn't like the government, although I think in that case that's more that doing the right thing at that time is Not Being Captain America.

(Secret Avengers is also a pretty good look at a Steve who has to do bad things and really, really doesn't like the things he's doing. He doesn't handle compromising his own values all that well. I think that would be a whole other essay.)

But anyway, yeah -- I think 616 Steve and Tony are on the same side when they fight, more than you might think they are given how many panels we have of them dramatically punching each other. Tony believes that the ends justify the means, and essentially, a lot of their fights are because Steve disagrees with Tony's means -- but he is very often 100% on board with Tony's actual motives, which I think is a fact that often gets lost when we start talking about their conflicts, because at that point we… want to talk about their conflicts. But I think they really do agree with each other a lot, which is what makes their conflicts so interesting and painful.

#posts i actually wrote

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banavalope · 1 year ago

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Hello, I'm a Homestuck and Good Omens fan and just saw your post about coffee. I came to the Homestuck fandom way late, though, and don't know what the coffee theory was. I was wondering if you'd be willing to share that story from the trenches if it's not too traumatic :)

I'll preface by saying, this all happened near about the time I began to step away from Homestuck, as this was late 2011 to early 2012. My recollection could very well be missing some juicier deets, because I always managed to avoid the worst of it. In all I had a pretty benign time floating about the Homestuck fandom, I'll say that. My knowledge is as a fly's.

If you want the short version: once upon a time, the Homestuck fandom was so stupid it had discourse over the way coffee was drawn in a single panel, because the stylistic choice used to show the way cheap potted coffee has that oil slick sheen on the top Really got the gamerz thinking Gamzee was putting troll blood in the coffee.

The long version is this: this Act was annoying. All the Acts had been annoying, there'd been rather more than six of them so far. The fandom's toxicity was at its most potent, and the main fandom exodus hadn't happened yet. But the stylistic choice brewing on page 4702 of A6I2 suggested a discourse was on the horizon, and it was the size of planet fucking Jupiter.

To understand the affairs of 2011/12 Homestucks, a few things are important to mention: first, nobody enjoyed Act 6. Ask anyone from the tumblr era First Wave, we all agreed that Cascade would have been a better place to start wrapping up the comic as a whole. When Act 6 opened introducing the alpha kids, a whole new plot derivative, and we all realized we'd have to go through the same slog again, that the story wasn't over, the collective exhaustion was palpable. SWATHS left unhappy; worse yet (for some), the alpha kids brought us away from the game of SBURB and the over-aching plot, to instead place our focus on their interpersonal relationships. It was a bad time to take your audience away from a well crafted climax.

Reading it now as a completed work makes this not so bad, because the book is wrote. You can consume it as a finished piece and clearly interpret a through line for yourself, start to finish. Skip it even, if you want. When you've no idea at what time the next update will come, while all the pieces remain necessary to tell the story, any pacing is bad pacing.

Second, while Homestucks are known for many things - all of them cringe - the one that goes overlooked most, in spite of the ripple effect we still feel from it today in every corner, is the sheer amount of over analyzing done to the story itself. Every panel, every inch of every pixel, was a part of a puzzle we all collectively made up. Theorizing was an integral part to the Update Culture era of Homestuck's fandom, that we Figure Out the Story, you had to be the one who predicted what came next. Impressive how none of us came up with some kind of fandom Nobel Peace Prize, for how much we lauded it as a lifetime achievement.

I'll give you, Homestuck does have a very rich narrative. Much of it, I'll favor, is even intentional. It made worldbuilding choices captivating enough to get people painting themselves grey, for fun, so surely it had a few right ideas in some places. And there's nothing wrong about analyzing your media, picking apart its references to tie together a background story, even if it's just one you make up based on how you experienced reading it. That's kind of the whole point of consuming art. It's to be discussed, share your personal conclusions on. Theory is the breath of creativity.

It's the whole part about wanting to be right, where Homestucks as a collective force wanted to start eating each other alive on the spot. We were fucking OBNOXIOUS with theory posting. I'll be honest with you, I really ate that kind of thing up, and even I was getting annoyed. People were beginning to stretch, likely to cope with becoming bored.

Finally, the sober Gamzee controversy. This came about a while before coffeegate, but the effect the inciting update had on Homestucks is comparable to a haunting. It was fucking chernobyl, and a bad day to be a nuclear scientist because now it was your problem. Vriska fans - equally insufferable, as we all were by some respect[1] - and Gamzee fans fought with each other VEHEMENTLY, just to see whos gang was better. Keep that in the background of your mind as the theme music to what's playing. Everyone was anxiously wondering what had happened to Gamzee, because for the last several some-odd panels, we'd lost the boy. He was full of murderous intent, we were down to precious few characters on the meteor left, and we'd lost the boy.

So here we are. It's 2011. We're standing now at the end of the world, we've lost the boy for several panels, and finally the plot is trying to move along. We're all tired, and irritated, and divorced, doing this song and dance one more time but god willing the LAST TIME, when a joke about the look of shitty potted coffee gets made.

And some harbinger of the fucking apocalypse takes to tumblr dot com, drafting up a post about how Gamzee - living in the meteor walls - is putting troll blood into the coffee. Because, otherwise, how is Kanaya as a rainbow drinker doing so fine? Dave called the taste metallic, like blood. Something something long forgotten theories about trolls blood here something something. People would chime in to say "that's just how coffee looks", somehow it dissolved into actual discourse of people violently discussing back and forth how it could ONLY BE BLOOD, because coffee drawn in a prior panel UPDATES AGO didn't have the film on top, only now AFTER SOBER GAMZEE. Etcetera. It was just the worst case of reading too hard into something that you done ever did see.

Shortly following this, many people who were already growing exhausted with Homestuck's narrative direction at this point decided to take this coffee theory as their sign the flood was coming and to board the ark or learn how to swim. Anyone who learned to swim subsequently left during the exodus of 2015.

Again, my memory is pretty hazy. Thanks to Requiem Cafe, surprisingly difficult to google these days. Certainly another old still following me will have something more to add that I'm forgetting, as your handy dandy unreliable narrator.

[1] Said the Eridan fan.

#bana stop talking #homestuck #doddleys #i shouldnt tag this as good omens but theres an evil part of me that wants to

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archandshri · 9 months ago

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23rd Feb '24 - [arch] OH RISO my beloved!!!!!! ft. cyberpunk hermitcraft soup group

A cliffhanger!!!! And now I have to wait a month for you to upload the second half?? How will I cope :’’0

For real, it’s so awesome to see your process and the sheer amount of inspiration you take! In particular, I thought ‘Sit on Two Chairs’ and ‘This Was Our Pact’ were particularly yummy.

I think book covers are really hard. You have to sum up a book’s energy in one image, make it stand out and show just enough so people want more. Exploring the narrative through those full pages is really interesting - though this is something you did for fun, it could be a really useful technique for getting to know a narrative. When I’m designing my comic covers, I always do it last - that way I’ve had practice with the visual style and I’m thoroughly familiar with the themes, so I guess spending a bit of time with the characters and narrative in this way helps for standalone book covers too. Of course, it helps if you have the time for that XD

Okay!! Onto what I've been up to!!! [warning this is a beefy post I'm sorry for your poor reading brain]

The past two weeks have been really enjoyable! I’ve been playing a lot with slow world-building, in sketchbooks, google documents, and voice notes to friends. Letting myself really sit with concepts, think about the characters, let them play in my head with no expectations. With this relaxation and lack of pressure, some beautiful narratives and interactions have been developing. I’m starting to need a name for a world/ the story. I’m not quite ready to give them a full introduction to the internet - I know it doesn’t but it feels like there’s some accountability to *produce something* and this slow development is really important for the quality and my skill building. It’s really hard to take on, but we actually don’t have to make the perfect thing now! In fact, it’s impossible. Pressure on ourselves makes it so hard to make something good if we’re always grasping at the final result. In the meantime, while those characters develop, I have been working hard on my basic skills. I wrote about characterization last post, but this week I focused on setting and colour. I was inspired (once again) by Hermitcraft. I’ve seen some really incredible illustrations of Minecraft builds in the fandom, and it seems like a great exercise.

Bdouble0's Season 10 Base illustrated by @applestruda [source] and The Red Zone, built and illustrated by Bdouble0 [source]

One of the creators on Hermitcraft, ImpulseSV, created this build in a recent episode. It takes inspiration from the last season of Hermitcraft, where he was part of the ‘soup group’ with two other players, and his current base concept - a cyberpunk city. I also LOVE his new character design, so I wanted to place him in the scene.

Screenshot from Impulse's video and new impulse design by @maxx-doodles

Here are some initial thumbnails I did, trying to figure out the composition. I wasn’t sure of the vibe yet, so I tried some rough thumbnailing, and drawing on an isometric grid and other perspective techniques. I’m going a bit mad for characters at the mo, so I wanted to place some in the scene. I found the angle of the isometric grid steep to place characters comfortably, so decided against that.

Looking back at it, I love the second! But I believe I was struggling with the perspective. I decided on the last one eventually.

Now, I absolutely adore all of the players in the Soup Group, and I am BIG fan of redesigning their notable characteristics to suit different settings. So yes, I decided to put all of the soup group in the image.

PearlescentMoon (left) from my comic and GeminiTay's Hermitcraft Season 10 design [from this thumbnail] (right)

Here's the sketch of the final image. I really enjoyed coming up with cyberpunk versions of them all. I used the impulse design almost exactly, with a few extra interesting details since he's mostly viewed from the back. For PearlescentMoon (middle) I kept her fringe, dark hair and gave her a glowing moon symbol on her top. For GeminiTay, I kept her long ginger hair, antlers (but glowing!) and took inspiration from her new season 10 design - a dark blue jumpsuit to match her dark blue clothes in her new design, and the braids she is often drawn with. I also gave them edgy new hairstyles. And a robot arm. I don't have lore for that.

As usual, I filled each flat colour-to-be with black and lowered the opacity to play with the values. Then I added colours one at a time, aware might be riso printing it. Originally I stuck to trying to make it printable (making the colours out of ones I could make my layering 2-3 colours at different opacities), but as I went on, I decided to drop that and focus on the quality of the image in a digital format alone. I did keep the grayscale version above with all the separate layers in case I needed that if/when I came to riso printing it. Below are the main two digital colour schemes I tried out.

I settled on the one on the left, with the blue tones - the foreground characters really pop. I put a few details in Gem's hair, colour variations etc, and cropped it for Instagram. I actually much prefer the cropped version - it sits better in a rule of thirds.

Now the moment we've all been waiting for :'')

RISO!!!!!!!!!!!

I returned to Cardiff after a couple of months away and was delighted to spend my first day back at The Printhaus, an awesome shared print studio where I have basically made my home. A few of my awesome friends happened to be there, so I spent the day playing around with this image with their help! (please check them out they're very cool - Gavin helped me a lot (we hung out at Thought Bubble, remember? and Rhi gave good crits too!!)

For those who don't know, risograph is basically a shitty photocopier that can only print one colour at a time. However, you can play with gradients and opacities, and layer colours really nicely to combine. I've done a lot of single-colour tonal work with riso but this is my first go really layering.

First, Gavin showed me how to separate the channels in Photoshop, using the flat image uploaded to the 'gram. We copied and pasted these layers in grayscale and added blending modes to each layer to replicate what they might look like when printed.

With blending modes, the digital mockup looked like this!!

This bit goes into technical details for replicating what the print might look like for those who might want it - feel free to skip :)))

I copied and pasted the Cyan, Black and Magenta layers as greyscale (as you can see above)

I made all of the greyscale layers multiply layers since risograph ink is transparent and we wanted to see how it layers. The ink usually comes out a bit lighter than you think, so it's good to bear that in mind. I used a clipping mask over each greyscale layer and a blending mode. WHEN YOU PRINT, PRINT IN GREYSCALE, NOT COLOUR.

Here's how I split the colours from CMYK to the riso colours, their hex codes and the blending mode I used to replicate the colours:

Cyan - Mint [HEX#82D8D5] Screen Magenta - Fluorescent Pink [HEX#FF48B0] Screen Black - Blue [HEX#0078BF] Overlay Yellow - scrapped for colour scheme purposes

Blue, Mint and Florencent Pink layers in greyscale in Procreate.

Riso printed Mint and Florescent Pink layers on separate paper, followed by the two layered together.

We always start with the lighter colour inks first, because sometimes the rollers can pick up the ink and cause extra marks where you don't want them. The first two colours came out great!

The first time we printed the blue, it came out very dark (left, first image). I have had this issue before - my last book, Winter Wellbeing, came out much darker than I wanted. Now I realise that the blue ink is super sensitive. All the 'white space' that is covered by a low-opacity blue on the left is only 2%, and yet it has come out pretty strong. We tried printing it on one of the misaligned images just to see, but it took all of the brightness out of the neon soup sign at the top of the image (second image). So I changed the values and pushed them way lighter, so it just pushed the values of the darker bits slightly, and brightened some of the lineart (right, first image)

And this is the final riso printed version!! I'm so so happy with how this came out. It's so different from the original digital version, and I actually love that.

I didn't create new colours in the way that I intended to - I wanted to play with overlaying purposefully to create specific colours eg. orange for the hair etc. But!!! I'm really happy with how it came out. That will have to be a project for next time.

Also, many copies are slightly misaligned, so in future I think I'd do flat layers for the colours a more blobby style with the linework on one layer only so there's less of a chance for obvious misalignment. design for the riso, rather than riso the design.

Overall though, this feels like a super cool step up and a milestone for me. Super happy with how it came out!! And I'm excited to play with colour some more. Can't wait to see the rest of the Lionheart brothers! Enjoy your weekend :)))

Archie 🕺🕺🕺🕺🕺🕺🕺🕺🕺🕺🕺🕺 <3

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itsclydebitches · 1 year ago

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I honestly have no idea how they intend to greenlight volume 10 if it's not been greenlit already. They've announced the final season of Red vs Blue and a lot of early day fans are in agreement that the end of RvB is the signaling of the end of RT in general. It's their second biggest money maker next to RWBY. After this new season, it's over. What do they do next? Do RT really believe that RWBY is popular enough to coast on for another decade? It'll be a miracle if it lasts even one more year.

Their viewership has been on a decline since Volume 6, they've abused so much of their animation department that there's almost no one left, most of their VA talent for RWBY's popular characters aren't coming back due to all the controversies, any spinoffs or soft reboots or whatever keep going back to the Beacon era and don't really do much to help with the overall problems that are down to the roots of the company.

They even made their biggest ship that kept what few fans are left canon and put out half assed merch that sold out in minutes, and somehow they still haven't managed to find enough money to greenlight another volume?

If they somehow miraculously get Volume 10 made, it's probably going to be the last.

The last few years of RWBY have really highlighted for me how challenging it is to define "popularity" and "success" nowadays. Granted, a good chunk of that is simply my own ignorance about how the production side of things are run, but it nevertheless feels like there's this intense level of ambiguity that wasn't there in the past (or at least wasn't as obvious). Fandom itself has always been an unreliable source because depending on the corner of the internet you're in, you can get a wildly skewed perspective without engaging with everything that contradicts how "good" or "bad" you think things are going. As you say, merch sells out in minutes, yet neither the finances nor the implied security of that seems to be enough to land another Volume. There are questions about whether this could be a marketing scheme, wherein Volume 10's future is simply being kept under wraps to drum up interest. There's the question of whether popularity matters at all when we've got companies cancelling and pulling undoubtedly successful shows, all according to their own, long-term algorithms. On the one hand the information surrounding RT is all about the abuse of their workers, another scandal, how this might all tie into the strikes... and yet most of this is nothing new and RWBY has still secured movies, a soft reboot, comics, and books. I agree completely with your list above of all the ways in which the series is struggling (massively) and yet RWBY has been "dying" for half its run-time. So is this the final nail in the coffin—the inevitable ending that's been a long time coming—or just another year where the fandom unintentionally cries wolf?

I'm not so naive as to believe that things were actually simple 'back in the day'—that's the nostalgia talking—but it still seems like things were simpler in comparison to what we've got now. TV and its media equivalents used to be—or at least felt like—a fairly straightforward journey of airing, ratings, syndication, cancellation, renewal, and then (eventually) the viewer securing a copy for themselves via VHS and DVDs. Now it's like, "What do I do with the newbie webseries eventually bought up by a major corporation and moved from a free watch, to a company-specific streaming watch, to a different, more expensive streaming watch, all of which has led to a decade of success with various spinoffs, but apparently this webseries still isn't making enough money to continue? Regardless, it and everything else I love to watch is inching more and more towards digital-only copies, a status that is inherently nerve-wracking, which means that if it does suddenly crash and burn (given that this is one of two series keeping the original company afloat) circulating this story and maintaining the fandom will be that much harder."

I find that depressing and I'm someone who thinks RWBY is pretty awful right now. I can't imagine what that ambiguity and the state of streaming media in 2023 feels like to fans still in love with the show.

So yeah. Idk how they intend to greenlight Volume 10 either.

#rwde #rwby #mymetas

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humongoustreemoon · 2 months ago

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*Some* people in Frozen fandom are so offended and butt-sore at the mere mention of vikings and norse mythology, it should be studied.

The screenshot you see above is answer to my harmless theory post that was aimed at no one.

And now it's time to adress the elephant in the room:

There is not even the slightest hint that Northuldras will appear in next movies.

Yelana, Ryder and Honeymaren have no role in the books, comics or even in the podcast. If Disney wanted to flesh out Northuldra characters, they had more than enough opportunities to do that. Yet they didn't. I don't know why, but that's the current state of things. I'm not saying Northuldras won't appear in Frozen 3 at all, but as of now, there's nothing to indicate that they (or their mythology) will appear. If you don't like it, take your complains to Disney, not to me. Don't shoot the messenger.

There's a lot of fanon theories and headcanons surrounding Frozen 2. Unfortunately, some people take them as indisputable canon. There's even a self-proclaimed fandom police who attack others for the crime of not sharing their headcanons, and for disrupting their little echo chamber.

Let's dispel some of these fanon myths, shall we?

Drafts and deleted scenes are meaningless. They were changed or deleted for a reason. Using them to support any theses is absurd Runeard was in a block of ice therefore these men in helmets from concept art are villains??? what am I even reading Besides, let's take a look at the horned head pieces from both concept arts

Totally similar, right? No, not really 😂

2. Only movies are canon. Books are just bonus material and nothing more. Ahtohallan is not the mother of spirits, Northuldras didn't claim "her" as their own, Northuldra members weren't previous fifh spirits, yarl Aren doesn't exist. This is what mrs. Lee has to say about this

"don't hold us to anything except what we put in those features" This is where the discussion ends. Books lore will be not be included in Frozen3/Frozen4. Attacking me and throwing hissy fits won't change that.

P.S. No one ever said Ahtohallan is Asgard. It's a straw man argument. And The Sky Castle is its own thing, certainly not Ahtohallan from the past.

I won't even comment that remark about n**s and their favorite toys. I'm struck dumb. This person knows nothing about Norse mythology and it shows. And Norsemen didn't have priests; they had shamans. It was a pagan religion. They were called Seiðr.

#frozen 3 #frozen 2

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lonelywretchjervistetch · 1 year ago

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My DC Cinematic Universe: Superman (Epilogue)

Epilogue: My Adventures with Superman

...Well, holy shit. Just when I was getting worried that nobody would get Superman, along comes one of the best comic-book related products we've seen in years, which delivers me so much of the stuff I wanted in a cinematic version of Superman...and is almost perfect. Yeah, it's definitely not perfect, but goddamn if this isn't one of my ideal versions of Superman.

Y'know, I've considered doing sort of a sum-up of the different major adaptations of the Superman mythos by bringing together all the points made in my essays, but I felt it was too much. For this, however, I think that makes sense. And yes, I'm doing this after only 4 episodes have aired, and yes, I realize that what just happened in the most recent episode is fucking insane and something I desperately want in a Superman story...but I'll at least cover my personal approach, since this show's kinda hot right now. And rarely do I have the chance to jump on a burgeoning fandom, so FUCK IT!

If you'd like to see my previous and insane essays on my preferred version of the Man of Steel, here's the link! Always. Be. Plugging. But if you'd rather hear my opinion of My Adventures with Superman, then check out the section after the jump. But just know that I like it, with a couple of caveats that you've probably already heard about this show.

Clark Kent: Abnormal Superman

Um...did somebody read my essays before I even thought about them, because this is pretty goddamn close to my ideal Clark Kent. He's a big ol' dork with a heart of god who wants to do the right thing, but is also nowhere near perfect in his everyday life and methods. He's a teensy bit clumsy, but still very well-put together. He wants to help when and how he can, and is willing to go along with shenanigans to do so. He has an actual personality, and most importantly, he feels human.

Yeah, this is a dude from Kansas who also happens to be an alien. And good goddamn, is scaling down his powers and knowledge of his past a great idea. Smallville, of course, did this, but that version of Clark was often too serious and rough around the edges. And maybe most importantly, Tom Welling's Clark never seemed like an outcast. I mean, the dude was handsome as all fuck, and built like a linebacker. And yet, I'm supposed to buy that the guy is a loser and outcast? Yeah, no, not buying it. But this Clark? Yeah, the guy's a massive dork. Handsome and built like a fucking freight train, yeah, but still a dork. And maybe most importantly...I don't buy this dude as Superman.

Yeah. Really. I mean, dude is OBVIOUSLY Superman, because he's built like a tank and super nice, but I get not fully seeing this guy as Superman. Somehow, FUCKING SOMEHOW, they pull this off better than literally any other version I've seen since the Christopher Reeves version. And yeah, that's insanely high praise, because Reeves has some of the best dichotomous acting I've ever seen. But this Superman and this Clark both seem like the same person and separate people at the same time somehow. It's an impressive feat that I can barely explain.

And yet...they're still definitely the same person. Any sane person would be able to figure it out eventually, with enough personal interaction. It's one of the reasons why the glasses joke exists, because it really shouldn't make much sense. But in this series, the glasses actually change the shape of his pace, and slight changes in his posture and voice (by the pretty great Jack Quaid) actually do work as a subtle mask for the character. But will that last forever? Well...more on that later.

I also said this before, but I love the fact that we're learning about Clark and his powers as he's learning about himself. This series is obviously anime-inspired, and it really leans into the shonen angle thematically and visually. When the first art for this show came out, I was intrigued but cautious. Now, though, I'm into it. We'll see how the more anime-esque electrical powers work out, but it actually seems like a reference to the sporadically used bioelectric field manipulation ability that Superman has in the comics. Yeah, he has a field of bioelectricity around his body that provides him (and his costume) with invulnerability, and also occasionally gives him plot-convenience powers. Don't ask questions, OK? It's a comic book thing.

Speaking of that, though, the creators are definitely playing fast and loose with the Superman mythos, and I'm interested to see exactly how that plays out as the series continues. I'm a little cautious for reasons to be addressed later, but I'm still quite interested. So, now that we've covered Superman, whom I think is fantastic in his characterization...let's get to the character who I think is excellently represented in this series.

Lois Lane: Intrepid (Intern) Reporter

Jesus Christ, this is a great Lois. There are a lot of ways you can do a good Lois, and there are a number of great Loises, but MAWS' Lois ranks extremely high on that list. Dogged to the point of recklessness, determined to get the truth at all costs, and desperate to be a great reporter, she has the stuff that makes any great Lois. But what really puts her over the edge for me is her characterization. Alice Lee does a fantastic job as Lois' voice, and gives her a mix of naivete, determination, and...oddly, hope. I dunno, there's something about Lee's portrayal that really works for me.

And a lot of people have pointed out two things. One, she's basically Lux from The Owl House. Yeah. And? Fucking and? Luz is a fantastic character in her own right, and very Lois Lane-esque. Personally, I think that's a great and worthy comparison for any version of Luz. Secondly, she's a tomboy. And I think most people on Tumblr are fine with that, but I also see some criticism for that choice. And for those who don't like that...fuck off a little bit. Not a lot, but a little bit. There's nothing wrong with a slightly more tomboyish Lois, and I actually adore a Lois who isn't a damsel in distress all the time. She literally fights some of the bad guys in this series, and we're only four episodes in! Seriously, I love that. And she is occasionally in distress, but she gets into that shit herself, which is exactly what Lois Lane is supposed to do. Look, I love this Lois. Oh, and another thing!

Is Lois Korean? Holy shit, that's fantastic! I said in my second essay that Lois is one of those characters who isn't racially bound in any way. There, I suggested that she could be played by a Latina, which has been hinted at before in some comics. But honestly, this is a great choice! And I only say Korean because, in the most recent episode, she appears to be wearing the top half of a hanbok, which is a traditionally Korean dress. And yeah, I'm fully here for it. Don't know if she's mixed or not (we'll probably see Sam Lane at a later date), but this is great all on its own.

And then, there's the other thing: Lois' position as Superman's Inevitable Love Interest. The ILE is, of course, a tradition in all things superhero comic, and Lois is arguably the first and most famous of all ILEs. Like Thanos before her, she is truly inevitable, and that seems to be at the center of this series. Oh, and at this point...sort of SPOILERS AHEAD??? I mean, come on, this was obviously gonna happen.

By the end of episode 4, these two are clearly romantically interested in each other. Hell, by the end of episode 1, these two are interested in each other. And can I just say that's they're hands fucking down the most adorable Clark and Lois I've ever fucking seen? I mean it, they're the best version of this couple in live-action media, and I can actually see them becoming the comic book versions of that couple.

As a quick compare and contrast of the most notable versions:

Reeves and Kidder were great, but the movies never actually committed in having them be a couple. They actively made sure it wouldn't happen a couple of times, to much irritation, and their relationship never truly blossomed, which was based on the comics at the time.

Fuck Dean Cain...but Cain and Hatcher were pretty good as a couple, pre-and-post-marriage. Which, again, was a part of comics at the time, so it makes sense. Even then, I wouldn't call them particularly cute, just more of a relatively normal couple.

Don't get me wrong, I love Daly and Durance's animated versions of the two...but they never actually became a couple until the very end of Superman: The Animated Series. And we only saw them as Lois and Superman, not Lois and Clark. So, sadly, they don't rank.

Welling and Durance were...off-and-on. Funnily enough, their appearance as this version of the couple in the Arrowverse crossovers was probably better than any other appearance they had, and their appearances in the 10th season were genuinely quite nice. High up there as the best version, and one of my favorites.

Hoechlin and Tulloch are, in my opinion, the best married version of the characters. They honestly nail it, and their chemistry is pretty much perfect. Their versions of the characters still rank pretty high as some of the best, and they're even better as a couple.

Routh and Bosworth...moving on...

Cavill and Adams...well...I mean...they have some chemistry, and...they've definitely had sex. Um. Yeah. That's it. Whoooooo.

O'Connell and Romjin are a little-remembered animated version of the two, and not the only animated version of the two, either. But honestly, they're really good in The Death of Superman and Reign of the Supermen, and were my favorite animated version of them as a couple...prior to MAWS.

And OK, sure, we've barely seen these two as a couple at this point, but I really like them. They're adorable, they're adorkable, they're supportive of each other, and their chemistry is basically immediate. They're just really cute and fun to watch, and I can't wait to see them progress. Especially because...

OK, I can't stress this enough, but skip the next GIF if you don't want spoilers, and scroll down until you get to Jimmy Olsen. Please. This is a biggie. OK? Got it? Read at your own peril.

HOLY FUCKING SHIT ARE YOU SERIOUS THEY ACTUALLY DID IT

If you've read my Superman essays, you know that I want movie Lois Lane to have found out Clark is Superman on her own, and before the movie starts. And holy shit, they actually did it in MAWS! FUCK YES! Lois is smart and sharp, so she should pick up on the fact that Clark is Superman! I love that they did this, even if her way of finding out was somewhat by accident. She still put the clues together on her own, so I'm satisfied with this ending! And I'm pretty sure they're not going to reverse this! If they do, I'd be pissed off, but I don't think they will. Just...HELL YEAH, BABEEEEEEEEEE

OK...I think the spoiler-free have scrolled past this by know, so...let's move on with the essay, shall we?

Supporting Cast: Jimmy and the Rest

OK, let's talk Jimmy Olsen (played by Ishmael Sahid). Honestly, I love the fact that he's a conspiracy nut with his own YouTube channel, and that he's literal bunkmates with Clark in this series. This is also pretty close to my perfect version of Jimmy Olsen, not gonna lie. His streaming name is even Flamebird, a deepcut comics reference that shows the creators not only know their stuff, but also actively care about Superman comics and history. That's one of the things that one me over in the first episode, for the record. But more on that later.

Jimmy is the third wheel, but one who's usually welcome. We'll see the fallout of the Lois-Clark romance soon, I'm sure, but Jimmy's role has been pretty much perfect. However, I would be remiss if I didn't mention that a black Jimmy Olsen, while welcomed by me...is a little weird when you look at the legion of ginger characters in media that have been replaced by black characters in adaptations. While, again, I don't think Jimmy is racially bound to being ginger, it is a fairly iconic part of his identity. And...yeah, a lot of ginger characters have been translated into black people in recent years, and that's...really weird, not gonna lie. Makes me think even more about my Legion of Super-Heroes essay, honestly. Still, solid-ass Jimmy, and I can't wait for more.

I actually adore Perry White (voiced by Darrell Brown) in this series, and his grumpy boss persona is...well, quintessential Perry White. I'd actually say this is a perfect version of the character, although that's not as difficult to nail as some other versions. Looking forward to seeing more of Perry's life as he supports our bumbling interns.

I was tickled pink to see Cat Grant (Melanie Minichino), Steve Lombard (Vincent Tong), and a genderbent Ronnie Troupe (Kenna Ramsey) in this show, because it once again signals to me that the show creators really care about Superman mythos. And honestly, these guys were transplanted essentially unchanged from the comics, as far as we can see so far. This may change in the future, but I'm very excited to see the rivalry between our three and these reports build and develop during the series. Great job with these guys.

The Kents only make an appearance in one episode thus far, but I think they're pretty good! We see them in the past and in the present, and they're a couple of farmers who love their son. They're also some of the youngest versions of the characters we've seen in adaptations, save for Smallville, and it works well! They also make it apparent that these are Clark's parents, even in the short time we see them. Again, good job so far, and I want to see more!

So, with all of that, I adore this series, and it's perfect! Right? Right?

The Villains: Literal and Figurative Cons

If you've heard anything about this series from Superman fans, then you've probably heard that the villains are...not amazing so far. And that's mostly because the villains are where this series takes the most liberties, while also downsizing most of them pretty severely. I'll go through them briefly here, but just know that the changes made so far are...not my favorite. And if you've read my essays, you know my opinion on villains in superhero media: you gotta nail them.

So, let's start with Livewire, AKA Leslie Willis (voiced by Zehra Fazal). I really love this character (and actually positioned her as a major villain in the second Superman movie of my cinematic universe), so I'm quite invested in Livewire. And this version is a tech-powered villain who kicks off the conflict for the first part of the series. She's a completely different version of the character...and she works? Kinda? Look, as the first villain to face Superman, she's fine, but she's barely Livewire. The end of the second episode hints that she may become more like the original down the line, but she's missing that sass of the original. And yeah, she works without that, but it doesn't feel like Livewire to me. That's nitpicking, though, because we have a much worse set of adaptations to cover.

Intergang is so much of a non-entity in this show, they have no GIFS on Tumblr. Understand, this community has made GIFs of every other character except these guys. In total, they are Silver Banshee AKA Siobhan MacDougal (played by Catherine Taber), Mist AKA Kyle Nimbus (played by Lucas Grabeel), and Rough House AKA Albert (played by Vincent Tong). And they've been changed from:

A cursed Scottish-Irish woman, empowered by magic and a major threat to the Man of Steel, having nearly killed him multiple times...and is currently dating Jimmy Olsen, which I kinda love?

A scientist who invented a process to turn himself into gaseous form, and used his powers to fight the hero Starman; this rivalry was passed on to the next generation, on the side of both hero and villain.

And the clone of a gangster endowed with super-strength, serving beneath Boss Moxie of Intergang, and the forces of the dark world of Apokolips above him.

...into a group of loser who got technology they couldn't handle. Yeah, it's a major downgrade, and two of those guys weren't even that notable in the first place. Siobhan gets completely fucking shafted here, and I think it's a genuine failure of this series. Harsh, I know, but seeing Silver Banshee get fucked over that hard really sucked for me.

Oh, and yeah, Intergang was a major villainous group for the Superman film in my cinematic universe, so removing their Apokoliptian ties...bums me the fuck out, too. Also, it looks like Flash villain Heat Wave is an upcoming member, which is...weird as fuck, honestly. We'll see how this pans out, but I'm not terribly enthusiastic about it.

And then there's Anthony Ivo (played by Jake Green), who's been repurposed into a tech bro entrepeneur in the vein of Elon Musk, in charge of AmazoTech, which is obviously a reference to the comic book version. And this was an...interesting set of choices, honestly. Some spoilers here, but Ivo's version of AMAZO is an armor that drains the power of Superman and redirects it against him. And yes, that makes Ivo also this universe's version of...Parasite. ANOTHER villain that I put in the second movie of my cinematic universe, and one of my absolute favorite Superman villains.

I don't hate the reinvention, but that's only because of what happens to Ivo at the end of the episode. I won't spoil it here, but he definitely turns into a more proper version of the character, so we'll see what happens there. As for his assistant, Alex (played by...somebody), well, he's interesting, isn't he? At first, I thought he was Alex Allston, one of the Parasite twins from the 2000s. But a number of people seem to think he might be another familiar red-headed Superman villain named Alexander, if you know what I mean. Let's just say, there's a possibility that he'll steal forty cakes at some point. And that's terrible.

And finally, there's...wait, is that Deathstroke AKA Slade WIlson (played by Chris Parnell)? Why is he young...and hot? Why is Slade young and hot? And two-eyed? I mean, yeah, sure, that's not the worst thing in the world, but...goddamn, that's some whiplash. Interestingly, he appears to be affiliated with Task Force X, which is name dropped in episode 2. Plus, Amanda Waller is clearly in the background, so a much wider plan is in play. And yeah, while it's weird to see young hot Deathstroke, I'll give it a chance.

Other villains have been hinted at, and allegedly radically reinvented, such as Mr. Mxyzptlk and Brainiac, but we've yet to see what will become of them. Still, this is a divisive start. As long as we get some actual supernatural threats, and not just people in armor, I'll be happy. Time will tell.

Story: Just Getting Started

At this point, it's pretty much impossible to judge the story of this series, since we've only just started. But, with the technology obtained by Livewire from a mysterious source, and then leaked into the criminal underworld, we at least have enough threats to supply tension throughout this first portion of the series. The relationship of our trio is progressing nicely, with Jimmy realizing his third-wheel status, and with the Lois and Clark relationship moving along interestingly and unexpectedly.

There's also a number of hanging plots that look promising, including Clark discovering his powers and origins; Task Force X and Deathstroke, as well as their interest in Superman; the missing Parasite technology after Ivo's fall; the rivalry between the interns and their reporter rivals; and even Lois' relationship with her father (who...might be the guy standing next to Waller in Task Force X? No clue, that's just a guess). So, we have some stuff to look forward to! And maybe, just maybe, the villains will also steadily improve. I think Silver Banshee's a lost cause at this point, but I have hope for Livewire and Parasite, at least. But again, time will tell.

I also can't wait to see what the creators have up their sleeves. They're obviously ans of Superman and his mythos. I didn't even mention what won me over on this show in the first place! Other than Clark and Lois themselves, of course. In the first episode, Lois introduces Jimmy and Clark to her information gatherers: the Newskid Legion. And for those of you who don't know, that's a reference to the Golden Age of Comics, and a group of street-wise kids that would become supporting characters of Superman's during the '90s (through the trendy magic of cloning)! The kids have an adaptation in this series, and that attention to lore alone made me an instant fan of this show. Sounds like nothing, I know, but it meant a hell of a lot to a Superfan like me. Now GIVE ME MY EVERYMAN BIBBO BIBBOWSKI!

Conclusion: A Hopeful Tomorrow

I'm...scared about Gunn's Superman film. I won't write a whole essay about it, but it sounds ambitious to the point of being bloated. A lot of recent casting news makes me feel like this is more of a set-up to the wider DCU, as less of a Superman film in and of itself. Plus, with rumors that Luthor is being cast, and no sign of a villain announcement yet...I dunno. It has me worried. So thank God for My Adventures with Superman.

This series is a blessing so far. Sure, it could blow for the rest of the season, but call me hopeful. I think this show is fantastic so far, and I'm really thinking it'll stick the landing with the first season. Alongside that, honestly, is the fact that it's trying something new for any Superman adaptation, and there's a bravery in that. I don't know if it'll go down as my preferred Superman adaptation (Superman: The Animated Series is a hard one to beat for me), but it's got a good start. And a brave series that inspires hope in the face of fear and impossible odds? Man, that's what Superman is all about.

And now that that's said and done (for now, anyway)...

I believe I have another essay series to finally finish.

-------------------------------------------------------------------

Part I: Why I Love Superman

Part II: On Lois Lane

Part III: The Kents

Part IV: The 'Rents

Part V: The...Frendts?

Part VI: Lex Luthor

Part VII: The Real Villains

Part VIII: Superman's Rogues Gallery

Part IX: The Story - Act One

Part X: The Story (Acts Two and Three)

Part XI: The Story - Climax

Part XII: Epilogue (Part One)

Part XIII: Epilogue (Part Two)

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mistressoftherant-blog · 1 year ago

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Stop Babying Mikey 2k23

This is partially a follow on from my post about how 12 Mikey isn't abused by his brothers, but I want to focus in on how much people across the tmnt fandom (I've seen fics in nearly every verse that do this), completely and utterly baby Mikey, and how it doesn't make sense.

For a start, in every verse but Rise (and possibly 87), it is implied or outright stated that the boys are all the same age. Especially 12 which starts on their joint 15th birthday. I feel like a lot of fans who get into the franchise via Rise decide that they can't all be the same age, and therefore decide to make Donnie and Raph a year younger than Leo, and then Mikey a year younger than that, or an even more weird age gap.

I see this a lot in human aus especially, as if people seem to forget that quadruplets are a very real thing.

It seems to me that people just want an excuse to baby Mikey, and so they decide to make him even younger, even when this directly contradicts canon.

Even in Rise, Mikey is only 1 year younger than the twins.

So why do people treat him like he's far younger than the others? It's especially irking in the Rise fandom when there is a whole episode dedicated to Mikey being fed up of being babied by his siblings (mostly Raph), though a few of the other Mikey's also get annoyed when treated as a baby.

Sure, for the most part, Mikey's are far more childish than their siblings, and tend to act far less responsibly.

But they aren't innocent, precious, angels who radiate positive energy, know nothing of the world or, horror of horrors, about sex, who can do no wrong.

They can be naive about a lot of things, and their brothers definitely try to protect them from the worst of aspects of their lives when possible, but some people take this to the absolute extreme in the most ridiculous ways.

I've seen so many fics about 12 in which Mikey knows nothing about sex, despite the fact that he canonically makes a sex joke (not that kind of sub) within the show. He's also a teenage boy, and despite their social isolation for most of their lives, they have access to enough books, shows, comics, and the Internet in some series, that it is incredibly unrealistic that they wouldnt have even the vaguest ideas around sex.

Or when fics have all the brother swearing, but they won't let Mikey say any bad words, ever.

There is also a pervading idea that 'Mikey gets punished all the time by his brothers for no reason, how could they be so cruel, he's only trying to help', despite the fact that Mikey spends so much of the shows (mainly 12 and 03) deliberately ignoring any boundaries his siblings set in place.

In 12, he constantly antagonises or stresses out both Raph and Donnie (he even riles up April's dad during the Krang invasion, and pokes fun at numerous other characters), and yet they are the ones seen as bad guys for when they inevitably lash out at him.

He also openly plays around with chemicals that are rare and/or expensive, not to mention dangerous, during times of crisis, and yet Donnie is seen as the bad guy for yelling at him or not wanting him in his lab. Purely for his own entertainment, Mikey risks the lives of himself, his brothers, his friends, and everyone that Donnie is trying to save via retromuatgen, multiple times. This also shows an incredible level of disrespect to all of the work that Donnie puts into his experiments and machines.

And don't even get me started on the 12 Croaking episode. Oh sure, Mikey completely destroys the place multiple times, even though it doesnt belong to him, and then decides to run away rather than helping to clean up his mistake purely because he actually got called out for his actions, but then somehow everyone else is in the wrong for being frustrated with him?

I think part of this mentality in the fandom is because, like I said in my previous post, Mikey is hardly ever punished by the narrative. In 12, his mistakes get him a cool new pet, he is somehow able to cure Donnie in Creeping Doom by basically pure luck and is then praised for this (as if it wanst his fault in the first place that Donnie almost permanently lost his mind!!), and then later on when he plays with mutagen during the invasion, he somehow manages to stabilise it, and Donnie gets told off by Splinter for being mad at him messing around with the dangerous solution that he has been working hard over and neglecting his health to complete for months.

Even in 03 Mikey is rarely punished by the narrative, and he also pesters Raph just as mich as 12 Mikey does.

In an ep in Fast Forward, even though he tries to cut in line for a new game, and is only interested in stopping a bunch of dangerous thieves so that he can get a copy, (behaviour which, in a kid's cartoon especially, should not be rewarded), he is still given a copy of the game at the end of the episode.

And then, one of the instances that really ticks me off, is when Raph gets powers via the superhero Cape in in that Back to the Sewers ep. Mikey spends the entire episode throwing a tantrum, to the point where he almost gets both himself and Raph killed, almost let's the bad guy win because he is too busy trying to physically wrestle the Cape away from his brother whilst they are being actively attacked by a dangerous enemy, almost lets said enemy get his hands on the cape and its powers, and then damages the Cape by trying to snatch it from Raph, only for him be allowed to use the Cape later on, giving him the chance to experience superpowers like he dreamed of.

Surely it would have been much more narratiely satisfying for Mikey to have taken a step back at some point in the episode and realised that Raph deserved to be a superhero using the cape's powers, and then maybe have him step in to support Raph, proving that he could still be a hero, even without powers? If they had handled it that way, it would have been far less annoying if Mikey was allowed to use the Cape at the end of the episode as a reward for doing the right thing. Instead, he spends and entire episode whining and pouting like an entitled brat, before almost getting himself and Raph (who had been using the Cape's powers to help save people), and then is still rewarded by getting a chance to use the powers anyway??

It's endlessly frustrating when other characters within these shows receive far more severe narrative consequences for either similar, or far less selfish actions than Mikey's.

I think this happens slightly less in Rise, but the fandom baby Mikey even harder. I genuinely don't think people grasp how small the age difference is between the twins and Mikey. I see comics of the twins walking around and talking in full sentences and looking to be around 5 years of age, but Mikey is a tiny baby swaddled up, unable to do anything at all. The age gap is not that large, he is not that far behind them developmentally.

My sister is just about 2 years older than me, and for most of our childhood people who didn't know us would mistake us for twins. There is no way that Mikey (again, only a year younger than the twins), would be so far behind the twins developmentally.

By the time they're toddling, he should at the very least be crawling.

To conclude yet another TMNT rant, I am just so sick of people completely and utterly infantilising the Mikeys. I see story upon story of Mikey being oh so sweet and innocent, unable to cope with seeing his siblings hurt in anyway (I have legit seen stories in which on of his brothers is severely hurt either physically or emotionally, and yet far more attention is given to Mikey who will be having an absolute breakdown, leaving the injured party to pretty much bleed out in the background whilst Mikey is coddled), or who could never say a bad word about anyone (even though he insults or winds his brothers up on the daily), acting as a therapist for the team (he does do this to some degree, particularly in Rise, but he is also just as likely to capitalise on someone's fears as he is to do anything about them).

It's also really annoying to have people act as if the Mikeys are far younger than their siblings when they are the same age, except for Rise, but even then the age gap is basically negligible.

He isn't a poor little uwu bean that gets unfairly picked on by his brothers. He's a little menace that is hardly ever punished for his actions.

#rottmnt #tmnt 2012 #tmnt 2k12 #tmnt donatello #tmnt donnie #tmnt michelangelo #tmnt mikey #tmnt raphael #tmnt 2003 #tmnt leo #tmnt leonardo #tmnt 2k3 #tmnt 2k18 #tmnt #Teenage mutant ninja turtles

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comphetkoncass · 5 months ago

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imo not actually reading comics leads to sexism in dc fanon. which is seriously off-putting especially since non tumblr/ao3 comic book fandom is even more hostile to women, so this is about all the space we’re ever going to get.

the trouble isn’t just that fandom can’t seem to care about women… at all. theyre frequently set dressing at best unless the author has taken specific pains to include and center them in a way that actually affects the plot.

the more aggravating problem is the demonization of women. sometimes that means literally making up shit she didn’t do. but usually it means focusing exclusively on her flaws and forgetting she exists beyond them.

fanon has routinely shown that it will take any excuse to demonize a woman and will fixate on one or two negative canon moments and toss out all the rest, even if the negative bits are wildly ooc. sometimes, she won’t even be featured on screen but will still be ascribed the bad behavior of the men around her. plenty of men have way worse moments that never get fixated on to this extent. that’s bc a woman’s worst moments that get fixated on are usually against your boy favs, thus it’s unforgivable but also tantalizing whump bait, meaning it’s impossible for you to ignore it. why would you choose not to demonize a woman if it means your favorite boy could be sad and in need of cheering up instead?

and yet, shockingly, fandom fully ignores, or better yet goes out of their way to fix any time a popular enough man has ever done anything negative in his life. even if the story does ‘call out’ a man, he’s given a chance to repent and grovel. the women in similar accountability fics are usually just killed off or written out of the man she hurt’s life.

at best, if a woman is popular enough, a few of you just politely ignore a wildly ooc moment. the rest of fandom won’t, and she’ll become synonymous with much worse shit she didn’t even do, or was retconned to have never done. but a few of you will ignore shitty fanon bc you actually read comics for yourself and know that was a ridiculous choice to have her make. but fandom never seems to write fix-its for women the way they do for men.

notable examples include koriand’r, leslie thompkins, janet drake, talia al ghul, i could fucking go on

anyways. read comics for yourselves. maybe even read the ones with women in them.

maybe write some whump and hurt/comfort for women, since that seems to be the primary way many of you empathize with characters

#i know i’m fully swinging a bat at a hornets nest #so i’m turning reblogs off. for now. comments are on tho so if this does resonate ill turn em on

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jokerfic · 15 days ago

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Not you popping out of nowhere a year later with a new fic in a fandom I'm going to have to learn about so that I can read it

the way I'm literally so sorry it's not Dark Knight Joker (I've been putting in work on that fic too this year, I promise! it's sitting at 70 pages and if this frenzy of productivity lasts I hope to turn it towards that next, Ledger Joker is somehow always easier for me to write in the winter) but the heart wants what it wants when it wants it, and Jerome Valeska, who is a bigger flirt and a better boyfriend to an OC (somehow, despite the… atrocities) than TDK Joker is what this heart wants right now.

but since I've got you can I give you (and anyone else out of the know) my elevator pitch on Gotham FX right quick? There'll be some spoilers but only the kind of spoilers I think you need to hear to decide whether or not you want to watch this show, I prommy. THANKS

ok SO do you ever find yourself wondering when comic book properties got so BORING? do you ask yourself where all the color went? do you find yourself nodding along when your buddy complains that if comic book show writing is gonna be so shitty, it might as well also be fun? look no further than seasons 2-5 of Gotham I promise you will not regret watching seasons 2-5 of Gotham

(season 1 was when they were committed to trying to run it like a straight prequel where Batman and his entire Rogues gallery wouldn't exist for another 20 years, and they also thought they were making a gritty detective show about the GCPD, although nobody was allowed to say fuck and everyone both outside of canon and in it knew that the best place to "detect" criminals in Gotham was inside the GCPD itself, but fortunately they gave that up after one season and switched over to just doing a kidfic version of Batman with a slightly-younger-but-still-weirdly-adult-given-that-they're-beefing-with-a-12-year-old Rogues Gallery)

Gotham, once it hits its stride in season 2, thinks it's a comic book movie from the 90s. Gotham thinks it's a comic book run from the 90s, period. I think almost every major character dies and comes back to life at least once. It's in the same nebulous simultaneously modern and steampunky-old-fashioned time period as A Series of Unfortunate Events and they lean harder into the design with every season that passes. Nobody has any common sense and NOBODY talks like a person. Gotham features the wettest, cuntiest version of Oswald Cobblepot I've ever seen and at one point he gets fake haunted (? it's been a while, I'm not clear on that point anymore).

At some point they cast Cameron Monaghan as a character they named Jerome Valeska and they're like "Okay, Cam. You are playing a PROTO-JOKER. The real actual Joker isn't around yet and besides we don't have the rights to him, so be subtle, right? Play it cool. Just tasteful hints." And Cam went "10-4, heard you loud and clear, dw about a thing" and then proceded to blast everyone's nips off when he did what every actor to play the Joker after Heath Ledger has been desperate to do and THEN some-- not only did he play the spiritual successor to Ledger's Joker, but he played the spiritual successor to Nicholson's Joker, he played the spiritual successor to Hamill's Joker, he did his own thing, the shifting nature of the role meant he was able to be like 6 different Jokers at once and every single one of them fucks. Like, I legitimately 100% believe his performance on this not-quite-CW-Batman TV show made a big enough splash that it played a part in the DC execs looking at Jared Leto's Machine Gun Kelly-meets-Spirit Halloween Mallrat Joker cosplay and going "…I think I've had enough of this guy," thank God.

(They do introduce Jerome in Season 1, though, so you might have to watch the first season after all. sorry.)

Obviously Jerome is TO ME the heir to the Joker throne with no contest at all, not even a little bit, and besides him, the show is a blast and feels like what Batman felt like to me as a little kid-- like the 90s movies, like the animated series. Is it GOOD? I'm obviously too emotionally compromised to give you a solid answer. I suspect not, but if you're like me (and if you like my writing, then I think you probably are), you don't need good as much as fun and interesting, and Gotham is definitely that. It's streaming on Max, but if for SOME incomprehensible reason you don't want to watch one literal hundred 40-minute episodes of Riverdale-but-make-it-Batman, I am 100% amenable to uploading the 13 episodes that feature Jerome onto my google drive and posting the links here for anyone who wants them lmao. (If it's not obvious, it's the sort of show where you don't really have to watch everything to figure out what's going on-- it's a soap opera, you'll get the gist.)

ok that wasn't so much an elevator pitch as it was a stuck-on-the-bus-with-a-guy-who-won't-stop-trying-to-get-you-to-join-his-cult pitch but give it some thought anyway, ok? ok. love you bye

#cosmicpro #tl;dr or you want to avoid any spoilers at all? just skip down to the bolded part <3 #I'm not even talking about my beloved OC Isabel here either. this is Jerome's show. FOR NOW #she'll get her spotlight soon enough <3 #leto 'joker' catching strays as always #the way I wrote like 6 paragraphs and it doesn't even scratch the surface of the kind of shit that goes on in Gotham #I DIDN'T EVEN TALK ABOUT BARBARA KEAN.

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fredfilmsblog · 1 year ago

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Best of Original Cartoons: Adventure Time: Fionna and Cake

FredFilms Postcard Series 3.7

• How a casual web comic became a MAX series.

Don't think that Adventure Time: Fionna and Cake isn't for you.

Starting as a tossed off web comic by Natasha Allegri –then a storyboard revisionist, now creator/showrunner of Netflix's Bee and PuppyCat– in the summer of 2010, Fionna and Cake starred in some massively popular episodes included in the the original Adventure Time series and then spawned merch, costumes, cosplay and comics.

Mathematical! A woman had the chance to be the hero of her favorite show.

It wasn't uncommon to find gender reversed fan fiction in aughts. But of course, Natasha did her fan fic with art that was perfectly on point. Eric Homan, AT creative executive, put it on our Tumblr and the fandom went nuts.

Soon enough, Cartoon Network would greenlight an 11-minute one-off and lo and behold, an already hit series had it's most popular episode yet. More followed over the next several seasons and if you happened to be at a comic con women who had been cosplaying other series characters all of a sudden were all over the place as Finn-now-Fionna.

KaBOOM! comics knew how popular their Adventure Time was, but they couldn't have anticipated the success of the Natasha written/drawn F&C books.

What we have here is a gen-u-ine phenomenon.

Adam Muto, the showrunner and executive producer of Fionna and Cake, has been with the original Adventure Time series longer than even creator Pendleton Ward. He was Pen's sole Los Angeles co-worker on the original short we produced for Nickelodeon in 2006, went with the show to Cartoon Network in 2009, eventually becoming the creative director. When Pen moved to a consultancy role, Adam became the stellar showrunner, bringing the characters to new and continuing intriguing places. He ran the movie mini-series starring Finn and Jake, Distant Lands, and then took on the leadership of Sam Register's Cartoon Network Studios putting together a full blown F&C series.

Today, MAX drops the first two episodes of a complete Fionna and Cake cartoon series, cementing Adventure Time's status as a bona fide franchise, the coin of the realm in our streaming world.

A web comic-to-series success!

Rhombus!

.....

From the postcard back:

Congratulations! You are one of 125 people to receive this limited edition FredFilms postcard!

www.fredfilms.com

Adventure Time Fionna and Cake Created by Pendleton Ward Original characters by Natasha Allegri

Executive Producers Adam Muto Sam Register, Fred Seibert

Series 3.7 [mailed out August 28, 2023]

#FredFilms postcards #Series 3 #Adventure Time: Fionna and Cake #Fionna and Cake #Pendleton Ward #Natasha Allegri #Adam Muto #Sam Register #MAX #Cartoon Network Studios #Adventure Time

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thegayhimbo · 1 year ago

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Stranger Things Runaway Max Review (2/3)

If you haven't yet, be sure to check out my other Stranger Things Reviews. Like, Reblog, and let me know what your thoughts are regarding the show or the upcoming season! :)

Stranger Things Comics/Graphic Novels:

Stranger Things Six

Stranger Things Halloween Special

Stranger Things The Other Side

Stranger Things Zombie Boys

Stranger Things The Bully

Stranger Things Winter Special

Stranger Things Tomb of Ybwen

Stranger Things Into The Fire

Stranger Things Science Camp

Stranger Things “The Game Master” and “Erica’s Quest”

Stranger Things and Dungeons and Dragons

Stranger Things Kamchatka

Stranger Things Erica The Great

Stranger Things “Creature Feature” and “Summer Special”

Stranger Things Tie-In Books:

Stranger Things Suspicious Minds

Part 3: Max and her Parents

One theme centered around Max that's prevalent in the book and the show is how many people keep trying to mold her into the person they think she should be rather than accepting her as the person she is. They want her to act a certain way they deem acceptable, and then get upset and proceed to shame/belittle her when she resists. Nowhere is that more present than with Max's mom, her step-dad and her step-brother.

Let's start with the worst of them: Neil Hargrove.

I doubt I'm saying anything new by claiming Neil's a real piece of work. If you thought he was bad on the show for the 3 minutes of screentime he had, your opinion of him isn't going to improve when you read this book.

I know there are people in the fandom who've questioned whether Neil ever physically abused Max the same way he did with Billy. From how the book depicts it, the answer for the most part seems to be no. There is a scene though where he grabs Max in a way she isn't okay with, and it's heavily implied that if Max had been a boy, he would have hit her in that moment:

His treatment of Max runs on threats (both spoken and unspoken) and emotional abuse. He's constantly disrespectful towards her (deliberately calling her Maxine when he knows she'd prefer to be called Max), pushes her away from activities she likes in favor of ones he thinks girls her age should be doing, intentionally cuts her off from seeing her biological dad (the one person she feels safe being around at the time), and is constantly awful to her. Everything about Neil's treatment of Max is just as dehumanizing as his treatment of Billy is.

Adding on to this, Neil's behavior is shown to be deeply sexist and misogynistic. It's not in the "sleazy womanizing" way Billy acts towards the girls he dates, but the way Neil gets his claws into Susan reminds me of the type of guys people post about on the subreddit for r/niceguys where they initially act pleasant before dropping the facade to show how entitled and unpleasant they truly are. Max at one point notes that Billy's attitude towards women likely comes from his father, and that the only reason Billy doesn't treat her the way he treats the girls he dates is because Max doesn't act in the stereotypical way Billy expects girls to behave.

Max is smart enough to figure out that this isn't a sign of respect from Billy. Like his dad, Billy expects Max to act the way he wants her to. The classic abuser molding the people they abuse into the person they want them to be. Neil has done it to Billy, and Billy spends most of the book trying to do this to Max.

Getting back to Neil, there's also this tibbit regarding his political affiliations in 1984:

Putting aside his love for Reagan for a minute here, it's noteworthy that he immediately talks over Susan in this moment before she can offer an opinion. He says there will be no political talk at dinner..........and then proceeds to talk about politics at dinner and demands everyone is on board with his stance.

In short, Neil has no respect for women (notice how he refers to Ferraro as "that lady"), he has no respect for Max, and he especially has no respect for Susan who is supposed to be his wife.

Speaking of Susan...........she is a frustrating person. I don't hate her, but she's hard to like. She is the kind of person who lets others walk all over her, often to the detriment of Max. Prior to her meeting Neil, it's mentioned by Max that Susan had a history of dating men who were straight up losers. They either mooched off Susan, or cheated on her:

Neil managed to stick around by charming the pants off Susan, and presenting himself as an "old-fashioned gentleman" to make himself stand out from the rest of the guys she dated. It worked, they got together, and everything went downhill from there. Neil saw a woman whom he could make into a Stepford Wife, and he got it. Max talks about how her mom disappears into the personality of every guy she dates, and that's exactly what happened when she and Neil hooked up. One of the most gut-wrenching moments in the book is the first time Max sees Neil hit Billy while Susan and Max are there, and Max realizes her mom wasn't remotely horrified by Neil's behavior:

General consensus in the fandom (even for those who haven't read this book) is that Susan was complicit in the abuse Max and Billy suffered, and she pretty much was. She didn't physically abuse them, or even get emotionally abusive, but she didn't do anything to stop Neil's reign of terror either. Max still loves her mother regardless of this, but she's never forgotten how passive her mom acted when she needed her to be strong:

There's only one moment in the book where Susan actually covers for Billy, and that's when she catches Billy and Max smoking in the garage and is furious with Billy for trying to get Max addicted to cigarettes. However, the moment Neil shows up and demands to know what's going on, she lies to Neil on Billy's behalf. Max sums it up as such:

It doesn't make up for all the times Susan refused to step in, but it's at least worth mentioning this for the record.

In any case though, it's pretty clear Susan will go along with what Neil wants, even if it's at the expense of Max's happiness. There are a few moments in the book showcasing that she does love her daughter to the best of her ability, but they're so few and fleeting that it's more sad than heartwarming.

Finally, there's Sam Mayfield, Max's biological dad. He is better than Neil and Susan, but that's not really a high bar to clear. I wouldn't necessarily say he's a deadbeat dad the same way Lonnie Byers is, but he isn't winning any "Father of the Year" awards in the near future.

On the one hand, he does care for Max, and Max speaks about him positively compared to how she talks about Neil:

He even gives her genuinely good advice that helps protect Max whenever she's in an embarrassing situation:

However, while all of this sounds cool on the surface, there's a deeper problem with Sam Mayfield: He acts more like Max's friend instead of acting like the father he's supposed to be. He's not interested in getting a full-time job to provide for Max, or even improving his living conditions, which are not ideal for raising a 13 year old girl. In a way, he's chosen his side-projects and gigs over her. He isn't a bad person, but he also isn't the kind of person that can provide Max with the stability she needs. There are two different points where Max seriously considers running away to her dad's house to escape the hellish situation under Neil's roof, and she's forced to realize that even if she did move in with him, it wouldn't fix the problems back at home, and her quality of living might not improve under her dad.

And finally...........we have Billy. 😒

To be continued in Part 3.......

#stranger things #max mayfield #stranger things runaway max #anti billy hargrove #neil hargrove #susan hargrove #sam mayfield #tgh opinions #tgh reviews #the duffer brothers

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peacerisendove · 1 month ago

Text

Rating: Mature Archive Warning: No Archive Warnings Apply Category: M/M Fandoms: DCU (Comics), Checkmate (Comics 2006), Suicide Squad (Comics)

Relationship: King Faraday/Werner Vertigo Characters: King Faraday, Werner Vertigo

Additional Tags: Domestic, Teasing, Verbal Teasing, Older men in love, Joking Around, Grinding, Kissing, Flirting, Sexual Content, References to Past Suicidal Ideation, References to Canon, Implied Sexual Content, Rare Pairings

Language: English

Words: 2,990

Summary:

In which a little teasing between lovers leads to realizations and reaffirmations. Or Faraday notices that Werner has an aversion to calling him by his first name, "King".

Excerpt:

The scent of cigarette smoke wafts through the air of the modest apartment. The smooth lull of Chet Baker’s trumpet playing harmoniously with the piano in “Moon Love” sweeps sweetly over the space along with the occasional crackle of static as the song played on the radio. Beneath it the sound of pages being flipped through and ice clinking in bourbon glasses echoed about the small dining table where Werner Vertigo and King Faraday sat. Cozy and comfortable were these evenings when the pair could lounge around without any threat of disturbance from Amanda, the Squad with another mission, or any other nonsense from Belle Reve. “Faraday, could you hand me that section of the paper when you’re done with it? There’s something I want to check.” Werner asks as he turns a page of the novel he holds. It was an old Vlatavan thing with a cracked leather spine Faraday had found at a flea market one day. A rarity. A diamond in the rough for a man who had so little of his culture left. It was a little gesture in the grand scheme of things, but Werner’s eyes had lit up when he realized what it was. He hadn’t put it down for days. For men like them, entrenched in secrets, death, and violence, these evenings were surprisingly domestic. A good book, a good drink, a little music, and more than just good company as he felt how the side of Werner’s foot idly traced a line up and down his ankle and calf and toyed with the hem of his pants was enough for them. It was simple, nice, but most importantly these evenings were peaceful and so far from the hectic nature of their daily lives. Faraday’s eyes flash up from the newspaper to look at his partner. A furrow forms on his brow, “...Sure thing.” He wrinkles his nose. Or at least they usually were peaceful. It was such an innocuous little thing, but Faraday’s mind couldn’t help but keep circling around it. “Werner?” He says folding up the paper and setting it on the table. “Mhm?” Werner hums out. “Why is it that you never call me by my name?” It was something King had noticed about the Count after their increased amount of time together. No matter what Werner just refused to call him by his name. Sure, he would call him ‘Faraday’ while at Belle Reve. Practically everyone there did, but this wasn’t a work environment King had to remind himself. Their relationship between these four walls was not a work relationship. Every time he watched Werner hang up his suit jacket upon the coat rack near the entrance, every time he slipped his tie from his throat, every time his hands found Werner’s hips, pressed him up against the door, or found him pressing up against him, it was not a work relationship with all its stifling rules and secrets. This was not Belle Reve, it was his apartment. They were far from work and the prying eyes of their surroundings and nosey colleagues. And yet Werner had never once called him, ‘King.’

Continue Reading on AO3.

#King Faraday #Werner Vertigo #Count Vertigo #Count Werner Vertigo #fanfiction #DC Comics #DCU #DC #Checkmate #Suicide Squad #Suicide Squad Comics #writers on tumblr

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batmanisagatewaydrug · 1 year ago

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Do you think there's a connection between the 80s and 90s comics mostly only mentioning him offhand without actual appearances and modern comics like Twojar or One Bad Day making him more violent and increasingly taking away his gimmick ? Because I feel like it's two different approaches to the same idea of wanting to have a villain whose thing is being 'smart' on hold in case they want a story where Batman shows off his mental capabilities but not wanting to deal with everything else that comes with the character like the goofyness or having to come up with riddles that don't suck

oh man okay this is such an interesting question and I'm so excited to be able to revisit it when my reread gets into the 2000s and have more perspective to offer

for the time being I do think that it's fair to say that making the Riddler a central antagonist in a story is challenging because he has, like, a relatively narrow gimmick compared to a lot of other rogues and having to actually come up with riddles is a tall order that a lot of writers simply don't want to fuck with.

personally I think the best way to embrace this is to just acknowledge that the riddles are going to be balls to the wall stupid and let the audience understand that Batman is equally unhinged for being able to solve them at all. Batman '66 is frankly great at this, best exemplified in this scene from the movie that no other Batman adaptation has topped yet:

youtube

what are any of you talking about! you sound crazy! they are right though, and that's what living in Gotham does to a motherfucker.

for the record I think Batman Forever also actually does this really well without being quite as unhinged. the riddles are actually pretty solid and straightforward; Bruce solves them easily but the real challenge is in putting them together at the end to figure out who's actually behind everything. (it's Jim Carrey, serving cunt.) it's maybe the only part of the movie that actually shows any restraint at all, and I respect that.

the thing is that this approach kind of falls apart if you want to do a more grounded take on Batman that presents the Riddler as the legitimate threat despite being a man who on purpose calls himself the Riddler. I dog on Batman 2022 a lot but at least there you can (charitably) read Paul Dano's shitty little puzzles as being intentionally messy owing to the fact that his Riddler is, you know, a sopping wet miserable catholic redditor who's really just trying to kiss Batman. I do genuinely like that his master plan is incoherent enough that Bruce doesn't crack all of it and misses vital pieces, it's a nice spin on an inexperienced Batman + the complexity addiction that Riddler schemes are so known for.

and like, to be clear, I do still think that Riddler sucks, but other attempts to make him a serious antagonist are so much worse. you mentioned War of Jokes and Riddles and One Bad Day, the latter of which I do think is just. appallingly misguided on literally every imaginable front and betrays an embarrassing lack of understanding of what people actually like and find entertaining about the character in favor of scrubbing him down to a bog standard Hannibal Lecter-flavored evil genius serial killer manipulator.

which is a fine stock character, where would comic books be without easily recognizable bad guy archetypes, etc, but god, not the Riddler. where the fuck is the fun in that? he's just a silly little guy in a leotard. please, stop trying to make this guy scary.

for god's sake. he's just a baby.

anyway I get why it happens though and it's Marketing, and I think specifically the very online and instantaneous nature of fandom in the 21st century. detective comics comics needs people reading their comics and, maybe even more importantly, talking about their comics, and that means leaning really heavily on well-established characters the people give a shit about. most readers are going to be more interested, even passively, in the Riddler than Random Smart Guy Murderer #623, because he's been around for a long time and he's a very ingrained part of the lore.

but everything has to be a fucking event with high stakes now, again because attention is currency, so it can never just be, like, "oh no, the Riddler has Batman trapped in a giant hamster maze," it's the Riddler and the Joker beefing and also the Riddler murdering Kite-Man's son for ??? reasons ??? idk man look how fucked up he is! this guy's serious! he has a question mark scar on his chest! please take him seriously!

and also, back to the first point, it's frankly just easier to write a generic egomaniac smart guy than it is to come up with riddles that are even a little bit good or interesting enough to carry an entire plot. I bet Tom King really thought he was doing something when he settled down to write One Bad Day and decided that the riddles were actually just a fucking power inhibitor the Riddler was putting in place to stop his massive brainmeat from killing everybody he came in contact with, but I think it's actually the sign of Tom King being a lil punk bitch, actually. just admit you don't have the sauce to come up with a riddle and pass the gig onto someone else!

anyway this is why most of my favorite Riddler appearances have him in a supporting role rather than serving as a primary antagonist (think Batman: Unburied, King Tut's Tomb, the Long Halloween/Dark Victory/When In Rome triptych), and his best antagonist appearances have him working with WAY lower stakes that's mostly just trying to get Bruce to pay attention to him (Vol. 2 of the Batman Adventures and Strange Love Adventures 2022).

tl;dr stop trying to make me take this man seriously

#edward riddlehands

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