#just stuck with introducing major characters for this thing so there's a ton of plot stuff I left out

[sodaliteskull]

I figured I've been vagueblogging about this for long enough, so it's high time I provided some more context!

[mintakablue]

cool details i noticed + things i loved in across the spiderverse

spoilers ahead!

i think the stylization of the different spiders was even more distinct in this movie than the last one! i like that when the camera is focused on certain characters, you get their aesthetic “bleed” into the world (e.g. gwen’s painterly strokes in her silhouette bleeding outwards, miles and his family having chromatic aberrations in theirs, manny’s chunkier outline, etc.)

i LOVE that the spot is miles’ nemesis for a couple different reasons. he aesthetically opposes how colorful miles’ world is, he is a “villain of the week” that peter parker originally faces off against rather than miles, the major inversion he gets (becoming black with white spots) kind of feeds into the underlying theme of asking who the good guys are--especially when we learn that miles would have been prowler in earth-42! obviously also the fact that he and miles are both anomalies is great. i also think it’s good meta humor to have made the bagel guy become the spot.

there’s also a bagel billboard above the spot’s apartment. in some ways very fortuitous that everything everywhere all at once related bagels to the multiverse.

the stylization of three side characters really stuck out to me--pavitr, ben reilly, and of course, hobie! i love pavitr and mumbattan, i think it was a good choice for the trailer and stylistically a really strong and complementary style to bridge miles’ transition into this aspect of the spiderverse. ben reilly’s stylization i love because it evokes the mobile spiderverse game that introduced a lot of people to some of the more obscure spiders. and DUH i love hobie’s style, you can really tell that they incorporated tons of actual britpunk influences in there. also let me not forget margo kess! she’s so cute in this i genuinely like that she’s a VR spider. i hope to god they make jokes about her being on the web. please.

on that note i do like that the prop design also retains obvious notes of which things belong to which spiders! hobie’s is obvious, but you also see it with gwen’s items. also i like that each spider has a different way of swinging through the air that’s more obvious in this one! gwen and pavitr both have an dancerlike quality to them, hobie’s is a little more erratic (anarchist), and miles of course is still figuring out how to nail some of those more tight swings, but he’s way cooler with being in freefall than any of the other spiders. also miguel using his claws instead of swinging and jess using her motorcycle were very cool! lots of aerial play in this one that i’m excited to watch again and follow the eyetrace for.

good moments with miles and his family! i almost always hate the moody teenager plot because it’s like. you don’t see why they even Should care about their family or the family is so overbearing you start just siding with the teenager, but this movie struck a really good balance there for me. also i just really really like that there are scenes where miles and his mom just speak spanish with each other :’) the rooftop party was so real to me. i am not Latine or live in ny, but i am Filipino and i have been at one million parties like that with my family. and those pink cake boxes from a small bakery that your parents like is iconic.

i genuinely enjoyed the commentary on faking the struggle to get into school LMFAO i think that’s very real for a subset of poc, but especially more affluent Black and Latine people.

OH YEAH miles cracks a joke about ATM machines and then pavitr (my king) cracks the same kind of joke about chai tea and naan bread. a bit of an old joke but hey the movie has been in production for 2.5 years and i do think it serves to highlight the way that spidermen crack the same joke. especially when after in the spiderverse HQ a ton of other spidermen crack the same kinds of jokes about spotting The Spot. across the spiderverse, spidermen are the same

pointing spiderman meme is terribly funny i will stand by that forever

more funny meta commentary about donald glover being people’s pick for miles’ voice and not becoming spiderman, so he’s the prowler--in the same way that miles, had he not become spiderman, would have been the prowler. more obvious is his appearance in mcu spiderman, but i still think it’s fun foreshadowing!

on foreshadowing, i think this movie does a great job of laying out a lot of those bits of information. starting off with highlighting earth-42 and making sure you know that sticks in your mind (and it’s also impossible to choose the number 42 and not evoke the cultural memory of hitchhiker’s guide lol), having the spot talk about how the spider came from a different earth, getting another glimpse at it, seeing miles’ earth number right in the splash screen, saying that the big spider device sends you back to your universe via DNA analysis + margo seeing the big EARTH-42 instead of earth-1610 on the screen. and then even in earth-42, the color palette is really different from 1610! 1610′s opposing color for miles is like a deep blue color (opposing his red suit accent), so 42 having a primarily green palette opposes the prowler’s purple accent!

not to mention that when miles pulls into his bedroom, you can see that he doesn’t have a drawing desk up (or his sashimi/supreme poster). i think it’s a sad little detail that the movie seems to imply that his mom didn’t notice a major change in his appearance (having a short afro instead of braids) is because she works so much she doesn’t see him that often :(

fun sound design in this movie! in the scene where miles-42 gets revealed as the prowler, you actually hear that growling sound effect first when miles-1610 gets tackled and then again twice: once we see miles-42 in shadow as the prowler, then when he says his name!

in fact there’s actually tons of fun sound design details! miguel gets a futuristic sting, gwen has like a full on leitmotif, miles has a short leitmotif which i believe is part of “what’s up danger” (i would need to go back and watch the movie a second time to really pick up on it), pavitr and hobie have their own musical instruments associated with them... and even the spider from earth-42 has its own sting! i might have misheard, but i actually also think hobie and pavitr’s “thwip” sounds are a little different than the standard ones!

i love when those little notes show up in the lower corner. very comic book! a lot of those details make me smile, i really feel like they cared a lot about evoking some of the writing styles of different spiderverse writers there

aesthetically and tangentially related, i like the sketchiness of some of the characters! it’s most obvious in the spot and the alternate universe vulture, but it’s such a neat visual trick. it also serves to give the spot an almost “unfinished” look while also giving him better volume. very excited to see the behind the scenes from the riggers/animators/3d artists

the idea of canon events is such a good one for spiderverse--i think it’s great! one of them that i’m almost certain they’ll bring up in the next one is that. um. gwen usually dies when spiderman is trying to save her. straight up i actually thought they were going to pull that one instead of officer singh dying after gayatri is falling! after all spider-gwen almost got shot, plus miles straight up almost drops her after he glitches out in mumbattan. sony please don’t break spider-gwen’s neck...

genuinely loved all the calls to different spidermen too! there’s like one really prominent shot of paperbag spiderman that made me and my sibling giggle. here’s how the fantastic four can still win

in that vein, i have at least Some prediction of what the spiderverse resolution will be? i can imagine that because miles is an anomaly, his canon event breaking might actually be permissible to some degree... perhaps only if he returns to his own earth? truly truly i cannot IMAGINE that they would make us watch his dad straight up die onscreen because like MAN we already watched his uncle die. that would be way too devastating... but obviously miles-42 and miles-1610 have a lot to say to each other about watching an older man in your life that you love die. i’m a little back and forth about the idea that miles was “destined” in some way to become the prowler in an alternate universe but i’m gonna put my faith in the team to not make it weird ykwim. seeing as they already slipped in commentary about the fact that like Yeah it’s partially because miles’ family has money in 1610 that he is even able to “stay out of trouble” i think there will be an interesting conversation to be had about class dynamics between miles-42 and miles-1610! i am like wildly excited for the next one, i have a lot of hope that it will be even more gorgeous than this movie was and will have the same depth of writing/foreshadowing!

lastly and i know i’m just saying this because to ME spiderman is a very trans character. but peter parker from spider-gwen’s universe was just taking his testosterone okay. and spider-gwen having that painterly pink blue and white as she was saying essentially “i want to live my life fully in my identity” was so... happy pride!!!

[northwest-cryptid]

I think being born when I was sort of made me immune to the "oh god it's HOMESTUCK" vibe.

Like I get it, the fandom is a whole mess, the comic is long running and has had huge cultural impact on the internet and thus the world at large for my generation and the following generation given our connection with the internet.

I won't deny that I "get it" when people make HS out to be some big thing, to say "there will never be another web comic like Homestuck" isn't a false statement at all, as even long after it's ending the remnants of it continue to crop up in things like Undertale allowing it a natural passage into modern relevance. I mean it sounds absurd to say that the fucking Pope has heard a song that originates from Homestuck yet that's the world we're living in.

However at the end of the day Homestuck has always just been "a web comic" to me. I've picked it up before, read a few arcs into it and got bored; put it down and watched plot summaries. I've listened to the OST (yea it has one of those which sounds weird but, yea it's pretty good.) I've heard all the memes. I can identify the big ones, Dave Strider, Vriska, ... That weird frog thing at the very end that like makes a universe or is a universe or something?

But I have never really "got" two big things. One of those being the hype around it in the sense of like "oh no it's HOMESTUCK! Oh god oh no oh fuck we are all doomed, the unspeakable evil is upon us!" And trust me this is after I accidentally introduced a friend of mine to a couple of people in troll cosplay because I was like "you could use some friends, oh hey there's some goths you like goths let's go say hi!" My one attempt at helping a friend make some friends resulted in said cosplayers being like "hey man you want some hard drugs?" Which kind of snowballed. SO LIKE YEA I understand why people might find the loud majority of the fandom to be a bit odd, but couldn't you say that about literally any fandom? I'm being real here, I've been a part of a ton of fandoms and by and large the loud majority are typically cringe and annoying to even the people who DO like the thing.

The second thing I never got was the hype for the actual web comic. Every time I try to read it I get bored. I understand the concept, I understand the general plot, I don't even think the concept is bad or anything. But ironically my reason for reading it is to better understand the world building and the characters and the plot and when it tries to explain those things I sit there like "when do we get to [big pop culture thing] I was warned about the [big pop culture thing]." Which may just be my ADHD acting up but I never found the narrative or characters or anything about it to necessarily be super gripping to me.

Whenever I say I'm considering trying to read it again I typically get one of those two kinds of hype from people in response. People who think it's the bane of existence and I should "remain pure and innocent" as if I didn't grow up during the PEAK of its popularity and don't already know about it, the things that inspired it, and literally lived through going to conventions with HS meetups. Or I get people who are so excited that I'm finally going to bear witness to the holy experience that is HS, and then they get super let down when I get bored because I'm like "this dudes stuck in his home, is that it? Is that why it's called that?"

Maybe I'm weird or boring or whatever, like maybe it's all one big joke and I'm just not playing along because I don't get it and I'm being super lame like that time I went around on April fool's spoiling all the pranks because I thought it was stupid to randomly pretend to have an asthma attack since someone could actually have an asthma attack and the teachers wouldn't know because some asshole who doesn't even have asthma thought that was a good prank, which it wasn't but like I didn't need to be a narc about it I was just a dumb kid. So I guess that's sorta how I feel now towards HS, like it's a joke made by my generation for my generation and somehow I don't "get it" and more often than not, that lack of knowledge has lead to me being confused by HS jokes that never made it into the pop culture.

Like yea I've osmosis'd a lot of it, I know about shit like "I warned you about the stairs bro" and such, but the second someone mentions a character by name who isn't either Dave, Vriska, or I think there's some dude named Karkat? Like I'm totally in the dark.

I assure you if you think the jokes and humor of homestuck is so bad it will do irreversible damage to my psyche you gotta understand that the internet was just sorta, like that? Back when I was growing up and the result is that if there was any damage to be done it's already done.

I don't know man maybe I'm just not one of the "cool kids" of my generation or something.

[thankskenpenders]

And so that’s it... nearly 200 issues deep, we’re done with the contributions of original writer Michael Gallagher. I’ve been asked in the past about the possibility of writing an article going over Gallagher’s run, like what I did with Penders. And I might still do that. But for now, here’s a shorter postmortem summarizing my feelings on the work of the original writer for history’s longest-running video game comic

I think it’s easy to look back on Gallagher’s silly old stories with a lot of nostalgia, especially after seeing what the series would become in its Dark Age. I can’t blame anyone who feels this way. I feel that way sometimes, too. It was a simpler time, with short, self-contained stories and a ton of puns, and it was a lot more easily digestible than a lot of the teen melodrama and half-baked sci-fi that followed. But the thing is... that doesn’t mean that Gallagher’s writing was good

Gallagher was always an odd fit for Sonic. I can’t really blame the man for introducing lame concepts like Cal and Al that didn’t fit in with Sonic early on because it’s not like he had much to work with in the early days. The guy was expected to write a monthly comic series based on a couple 16-bit platformers with very little story and some snippets from a cartoon that wasn’t out yet. He also had no way of knowing that his work here would lay the foundation for the longest video game comic ever made. I don’t envy his job. Of course he’d do a goofball story where Sonic travels back to caveman times. It’s not like he had much else to do

But as the series progressed and the cartoons and games gave the comic writers more material to work with, Gallagher didn’t really play along. He gave us a few solid, fun stories like Mecha Madness, but for the most part he was off in his own world, trying to sell us on shoehorned characters like the Forty Fathom Freedom Fighters or the Downunda Freedom Fighters who existed almost exclusively to deliver new flavors of lame pun. One time he even worked with Jim Valentino to make a naval-gazing parody of classic Guardians of the Galaxy so they could make lame puns about a comic they used to write (that very few children in 2001 reading Archie Sonic would be familiar with)

People generally pinpoint Penders as the guy who became obsessed with his own pet characters over the main cast as time went on, but really, Gallagher was just as guilty. And honestly, sometimes Gallagher doing it bugged me more. At least Penders had some prominent characters people actually liked, like Elias, Lara-Su, and Julie-Su, as well as some semblance of an overarching plot to work with. Meanwhile Gallagher was over here trying desperately to get people to care about a group of characters he had created exclusively as a vehicle for trite Australia jokes

Gallagher did introduce a few characters who stuck around, but he doesn’t really deserve much of the credit for that. Most notable would probably be Fiona Fox, who would become a major recurring character under later writers... except Gallagher only really invented her robotic doppelganger that Robotnik tricked Tails into falling in love with that one time. He created Knuckles’ grandfather Athair, the one comic character to somehow make it into a cartoon, but Penders helped out with that lore and did more with the character, meaning most people just assume he’s another Penders echidna. He created Tails’ parents, but Karl and Ian were the ones who actually did stuff with them. And he created the Ancient Walkers, who were kind of neat at first but quickly devolved into a tired plot device, only to be killed off by Ian almost immediately to cut down on the deus ex machinas. If you look at the list of characters Gallagher created, it’s mostly just randos he created for the sake of puns

And that’s really what most of it comes down to. Lame puns. I’m totally down for Sonic stories that go for a silly tone. I love Sonic Boom as much as the next fan, and I’ve been having a blast with the extremely goofy Sonic X comics. I’m not a cartoon snob who won’t watch a show that doesn’t have action and drama and lore, I’m out here watching shows like Apple & Onion. But while Gallagher could write good jokes sometimes, he mostly relied on groanworthy newspaper strip-level puns. (I guess it’s fitting, considering he’s related to both the guy who created Heathcliff AND his successor who makes those comics about the Garbage Ape.) I love me a good pun from time to time, and a lot of Gallagher’s are funnier when shared out of context, but when a story is just wall to wall puns it becomes agonizing. Puns should be a spice, not a main ingredient. And when Gallagher got a chance to follow an ACTUAL newspaper comic strip format in the Off Panel, he fared even worse. It was so rare for the Off Panels he wrote to actually be any funny

He WAS genuinely funny at times, though. I’ll give him credit for that. I don’t want it to seem like I hated ALL of his stories. (He did impress me with at least one political joke that’s sadly still relevant today, and in hindsight there’s something really funny on a meta level about the dark and gritty return of Cal and Al.) I think his best work came when he was paired with better artists. Scott Shaw’s more energetic Sonics really helped sell the cartoony comedy in the original miniseries, and obviously Spaziante’s work on Mecha Madness made that story legendary. When he was stuck with the less exciting Manak or Mawhinney, though, not so much

Beyond the puns, there was also this undercurrent of nastiness, meanness, and general grossness in his stories that I don’t see as many fans pick up on. This was mainly evident in the many odd decisions he made with the female cast

We had his take on Sally, who was treated as little more than Sonic’s annoying, moody, bossy girlfriend who bickered with him, sat on a big throne, and occasionally got to be a damsel in distress. He added Bunnie to the cast early on, but it felt like he didn’t have many ideas for what to do with her except make her the butt of jokes about her being a southern belle, including literally making her say “the South shall rise again!” We had Barby Koala’s extremely creepy flirting with Tails, who was half her age. We had that tone deaf Off-Panel joke about turning the special dedicated to the female readers into a swimsuit special (which isn’t far off from what everyone else actually did). And we also had that baffling story where Dulcy killed her mother. I have NO idea what the fuck he thought he was going for with that one.

It wasn’t just the girls, though--Antoine was somehow even more of a punching bag in Gallagher’s early stories than he was on SatAM. At least in the cartoon Sonic was responding to Antoine’s’ massive ego when he poked fun at him. In the early comics, Sonic would constantly rag on Antoine at any opportunity he got. It was VERY distracting in the early issues, and it made his Sonic come off as way more of a jerk

Later writers would often talk about needing to fix certain characters. Penders, for all his countless insufferable faults, used his early stories to steer Sally towards the version of the character fans knew from SatAM. (He then ruined Sally in his own special way, but, you know.) Just about every writer who touched him spent years and years trying to fix Antoine and make readers stop hating him. The unspoken part here is that the original incarnations of these characters that everyone had to work so hard to fix... were Gallagher’s

Again, Gallagher didn’t have an easy job as the first writer on this series, and most of his stories were... fine. Nothing I’d recommend to non-fans, but they had their moments. They make for an amusing read for their sheer absurdity. But a lot of it ranged from not very good to outright bad. We’ll always cut him some slack for having so little to work off of when he started and for writing stories that were, in hindsight, better (or at least less grating) than a lot of the melodramatic schlock that came later. I’ll always have some nostalgia for those simpler times. But that doesn’t necessarily mean that Gallagher’s stuff was ever all that good

But I can’t hate the guy too much, because he gave me the greatest Sonic character of all time

[foxymoxynoona]

I got this question in a DM but I thought it might be interesting for others I’ve heard from who are starting to write:

Q. How do you know what story idea is worth seeing through/working on? Do you ever have plot ideas which seem so good but ultimately go nowhere?

Answer to question one: I don’t until it suddenly isn’t!

Answer to question two: absolutely!

I’ll elaborate. 😊 You mentioned in your full DM a scenario very similar to my writing for almost my entire life: tons and tons of stories that started strong but fizzled out and ultimately were abandoned. That is still true for me. Sugar Fairy and Sea of Indigo were the fourth and fifth long story I’d ever finished in my entire life of writing. Now that I’ve finished/am about to finish even more stories, I can better understand the difference between what I do now and what I used to do, and what I’ve learned is it comes down to you deciding how you want to prioritize joy v. commitment.

OK let me explain:

1. Periods of just writing whatever and throwing shit at the wall and not worrying about what sticks are normal and healthy. Before I started posting any of my ff writing, I started several dozen stories. Some of the ones I abandoned/never posted are over a hundred pages long. Just writing whatever inspired me or motivated me was great for getting myself to just write! It’s so valuable to let your brain not worry about results or outcome and just chase whatever it feels like to really get imagination going, even if you already know it’s not something you’d ever share/finish. I know I say this a lot but: there is no such thing as wasted writing.

2. The stories I can most easily turn into an actual completed long story are the ones where I know where I’m going and several big stops along the way so I can already see at least a vague outline of the book as a complete idea. Even if it’s hazy, there’s already a bigger picture than just the current scene or just a premise or just a couple of characters. If I start writing before I have that, chances are strong I’ll write myself into a wall over and over.

3. Also important: I am excited about those pit stops. A lot of times I even go ahead and write them (even if I wind up chucking them or rewriting them when I get there.) There are still parts of a story I have to force myself to write through, but if I know I’m excited about the next part, I can force my way through the rough spots instead of just abandoning the work. I find that story transitions are the most dangerous place, especially the one about 1/3 in when you go from set up to "the middle", so I go into that bit knowing I’m going to have to bully my way through and only the strong stories survive.

4. Instead of quitting, I give myself permission to write a bad chapter. Don’t worry about it being bad. I’ve mentioned here several times when I’ve been unhappy with a chapter but just had to get through it. Fear of writing garbage is a leading cause of story abandonment. If I’m really stuck or dreading a scene, I’ll usually just write a brief description and then come back later. Once you’re rolling past it and in the groove, it’s so much easier to double back and write it than just staring at a thing you feel stuck about. Maybe it’s easier once you know more about what’s on the other side, or about the characters who are in the scene.

5. If I’m ready to abandon a story, I’ll stop and think about if I’m just writing the wrong story. Am I restricting the characters? Do I need to introduce a new one? Am I not understanding the plot or are the themes getting muddied? Often making a change –sometimes major or sometimes minor—can breathe fresh life into an idea you used to be really excited about. I’ve changed characters, plots, abandoned entire plotlines, changed time periods or settings, etc.

6. Commitment/accountability goes a long way too. There’s this tension between writing for fun and writing to produce. At the end of college, my professors gave this scare speech about how only a couple of us would actually become writers because it involves dedication and commitment even when it’s not fun. Everyone wants to be a writer, but not everyone is willing to do the work. I found when there were too many deadlines and pressure to produce, it ruined everything for me. It took the soul out. I can make myself write just about anything but I want to write things that I’m passionate about. I find that publishing for this FF audience and getting to constantly engage with people who are supportive and excited goes a looooooong way in motivating me to keep writing, even when it’s hard. I usually read/respond to comments as I’m working on the next chapter to get me in the zone. Setting fun and rewarding deadlines or finding your positive feedback loop can really help. I know if I abandon works once I’ve published them, I’ll disappoint people, and I also can sometimes borrow the enthusiasm that readers have to help me find my motivation to soldier on.

7. Ok and the last one, go with your gut. There are plenty of things that I’ve written and already known eh, I’m going to get bored with this, or I don’t feel like there’s anything substantial here, I just want to get this dumb thing out of my head. I mean the whole Secret Song series was supposed to be that: this is dumb and stupid but I'd never share with anyone so I"m just going to write what I feel like and quit when I feel like it. If your gut feels like you could push through and find the joy for that story again, go with that, but if your gut is saying you’re done, step away. Maye you’ll come back to it someday years later (like I did with Lowlander and the Flux series!) when you’ve found the joy for that idea again.

Hope that was helpful at all! It's ultimately up to you and what your tolerance is for forcing a story through or following your whim! I found that living in the middle of those two ideas works best for me --it's a little joy chasing and a little discipline.

[astriiformes]

Genfic Reclist!

Hi! So in honor of @genuary-fic-event this year (which is a cool event you also might want to check out!) I decided to put together a list of some of my own favorite gen stories.

It’s multi-fandom, as this is just a collection of stories I have enjoyed reading, and the exact definition of gen might be a little wibbly for some (a couple stories include canon couples, even if none of them focus on romance), but I love coming across good gen stories, and thought this would be a nice way to showcase the work of some writers who have contributed some great work to the body of genfic out there.

This is by no means a comprehensive list of stories I like, but it’s a list of some that have really stuck with me. As a note, I’ve included author’s tumblr handles where I know them (otherwise I have just shared their Ao3 username), but if there’s a writer I was unable to pinpoint one for who wants credit on here, just let me know!

Without further ado, here they are:

Pan Pacific Voices: 10 Years, 5 Interviews by Neotoma

Fandom: Pacific Rim, Words: 7,678 

An unconventional style for fic but it’s so good! I adore the conceit, which is that the text is a series of transcripts of interviews with characters for the Library of Congress’ Storycorps project looking at life after the Shatterdome. And the worldbuilding, characterization, and writing are all fantastic. It’s even got art! One of my absolute favorite fics of all-time.

As far as gen goes, two of the interviews are with novelization-canon couples (Hermann and his wife, and Tendo and his), but no new relationships are introduced, and there’s no real romance -- just characters talking about the lives they’ve built together after the war. I would still call it very gen.

No Heroes on the High Seas by @spell-cleaver

Fandom: Star Wars, Words: 74,651

Two words: Pirate AU. Big, multi-chapter, vaguely fantasy, Pirate AU that re-imagines the Original Trilogy with more than a few touches of its own, as well as the inclusion of loads more Rebellion (and some Prequel!) Era characters than the movies. Just a ton of fun conceptually, and really well-done.

The Anakin/Padmé and Han/Leia relationships exist similar to canon, but I would still call this one solidly gen. It feels similar to the movies to me and focuses much more on the familial relationships amongst the characters than anything else.

Only the Nightingale Sings by @mithrilwren

Fandom: Critical Role (Campaign 2), Words: 170,518

We love to see big epic-scale genfic! This one is a canon divergence story where the party go to Rexxentrum immediately after Felderwin and have to deal with So Much Empire Nonsense. It’s pretty dark as a result, but so, so worth it. (And at least has a happy ending!)

This story is very long and wholly gen, and one thing I love about is that as a result, no matter which member of the main party is your favorite, they all have really interesting plots going on, so it’s very worth reading as a fan of any of the characters (and for their relationships with each other!)

With Hope and Without Hope by monica4567

Fandom: Lord of the Rings, Words: 109,969

On the heels of my last rec here’s another “canon divergence that gets very darn dark but oh man is it worth it” story for a different fandom. (Can you tell that’s a type of story I’m into?) The story follows the majority of the Fellowship through an alternate version of The Two Towers in which Aragorn, Legolas, and Gimli ended up being captured alongside Merry and Pippin in their efforts to rescue them.

I think this one explores some really interesting ideas and, similar to my last rec, also does a great job of giving significant plots of one kind or another to all the main characters. The Ao3 tags don’t offer too many warnings, so heads up that it includes a fair amount of both physical violence and mindfuckery inflicted on some of the characters, but it does ultimately swing hopeful in a very LotR fashion.

Speak, Friend, and Enter by Thevina

Fandom: Lord of the Rings, Words: 10,865

A story that mingles together two stories, one with Legolas and Gimli in the “present” and one with Celebrimbor and Narvi in the past, just to stir up all the emotions about Elf & Dwarf friendships. It also plays around some with what we know of Tolkien dwarves being very private about gender and makes Narvi a woman, which is an idea I really like.

[rayofspades]

How to Write a Horror Story: The Magnus Archives

This post is kinda weird since most tumblr fandom content is based on the assumption that Everyone Has Seen The Thing, but since this is a transcript of a video essay, it’s more broad. 

I might link the video in a reblog since, you know, tumblr doesn’t like links.

Anyways, here’s the post:

Hello Jon, apologies for the decep-

I’ve seen a lot of mystery shows in my day, and some supernatural shows, and the common thread between them is that they kind of...fall apart as they go on. 

Obviously, this is a generalization and I haven’t seen every mystery show or every paranormal show, but it’s a pretty common problem. 

At this point in pop culture criticism, it’s basically common knowledge that these shows fall apart due to a lack of planning. If a mystery series is making shit up as it goes along while trying to surprise the audience, it’s going to stop making sense at some point. And if an episodic paranormal show is constantly trying to up the stakes, eventually it’s going to become absolutely ridiculous and stretch the audience’s suspension of disbelief past a breaking point. 

Other people have already talked about this stuff to death, but today I want to talk about a paranormal mystery show that actually succeeds at what it set out to do.  

The Magnus Archives is a podcast written by Jonny Sims and directed by Alexander J. Newall. It ran from 2016 to 2021 and it’s...really really good. It’s an episodic horror story, taking place at the fictional Magnus Institute where the head archivist reads various statements about people’s encounters with supernatural entities. It’s got it all; scary stories, mystery, an overarching plot, office comedy, office romance, office tragedy, a villain that’s making straight men everywhere question their sexuality, and an overall really solid structure. 

If you listen to the Q+As put out by the writer and director, you’ll hear them talk about how they planned the series from the beginning, setting up the layout for each season. Some things were definitely changed throughout the actual writing process; that’s just inevitable and necessary when you’re working on a long running show, but in a general sense, they knew where they were going. But, writing a good story doesn’t just involve knowing where you’re going; it’s about executing whatever plan you have effectively. And I think the execution of The Magnus Archives is pretty brilliant, so I want to talk about it. 

And for the record, I said “brilliant,” not “perfect.” I do have a lot of criticisms of this show, and I’m definitely going to talk about those too, because honestly? Even the problems with this show are interesting in their own right. 

Ok, let’s go. 

Oh, spoilers by the way. For the whole plot. Whole thing. 

Part 1: Horror and Mystery 

Ok, so The Magnus Archives has two separate plots going on: the episodic stories that can be listened to individually, and the underlying meta plot. The former is where most of the mystery storytelling takes place, and it’s a really engaging mystery. It’s starts off slow, and almost undetectable at first. The main character, Jon, also known as The Archivist, is just reading out old scary stories that people have delivered to the Magnus Institute. Stuff like; a college student sees a ghostly inhuman figure asking for a cigarette, a woman’s fiancé dies and she finds herself trapped in an empty graveyard, there’s this goth kid who apparently murdered his mother and then skinned her? But she’s kind of still alive? What the f*ck? Hope we never see that kid again. Also, this “Jurgen Lietner” guy wrote a bunch of cursed books and Jon knows about this? Are more books gonna come up? And then you’re like, wait is the goth kid who killed that burn victim the same goth kid who killed his mom like 8 episodes ago? Holy shit the family of that girl’s dead fiancé FUNDS THE MAGNUS INSTITUTE? Did this famous youtuber meet one of the missing people from episode one? The goth kid is back and he’s looking for Leitner books? The name “Michael” has come up like 6 times? Are they all the same guy? I just—who the f*ck is Jurgen Leitner? 

So yeah, as you can see, a lot of these stories connect in cool ways, and I’ve only mentioned like, 0.2 percent of all of those connections. Furthermore, these stories are told out of chronological order, and sometimes the same scenario appears in more than one statement, told from different perspectives. This asymmetrical storytelling and odd doling out of information creates a mystery that’s really interesting. It also makes for a great re-listen, since you can retroactively see what elements were set up before you even realized that they were going to come back.  

The audio format contributes to this too; you can’t just see that the table from episode three matches the pattern on the box in episode eight. You have to pick up on clues that were mentioned and pay attention to what people are describing, and it’s highly rewarding when the pieces all start to fit together. 

There is a bit of a downside to this though. Technically The Magnus Archives is a horror story first and a mystery second, and these two elements can mesh in weird ways. 

The horror is element is really strong. Each story is completely different, sometimes focusing on psychological horror, body horror, or supernatural versions of more primal fears like heights, darkness, enclosed spaces, etc. Basically, if you’re afraid of anything, there will be at least one episode of The Magnus Archives that gets under your skin. 

Jonny Sims can really sell his stories through both his writing and acting. He plays Jon, by the way, and plagiarized his own birth certificate for the character name. (For future reference, Jonny is the actor, Jon is the character). Overall, he’s really good at writing prose, and each narrator has a very distinct voice even though the large majority of the stories are being read by one character/actor.  

Obviously not every episode is a bull’s eye. Sometimes it’s due to the subjectivity when it comes to what you as an audience member are scared of, and occasionally it’s just weird writing decisions. I’m thinking specifically of episode 21 where the line “the sky ate him” is said, and it is the worst line in the entire show. The whole goddamn show. That’s it. That’s the number one worst line. 

But still, overall, the horror storytelling is incredibly solid, and some episodes even gave me brand new fears, like the unholy isolation of being in space, or the concept that someone you love could be replaced by someone completely different without you noticing.  

But here’s the thing; 

A lot of good horror is based on the absence of explanation. Most of the episodes that gave me the most visceral reactions of genuine terror come from the first two seasons, because that’s when the audience has the least amount of information. 

For example, in episode two, a really terrifying coffin is introduced. It’s creepy, it reacts very strangely to water for some reason, and appears to compel people to try opening it. By the end of the episode, the audience never finds out what’s in that coffin and that is a good thing. That is a huge part of what made that episode so unnerving.  

And then a few seasons later, we do find out what’s in the coffin, and to be fair the answer is both very creative and very scary, but it also takes a lot of the punch out of episode two. 

 No matter how f*cked up your thing is, it’s not going to compare to whatever the audience can conjure up in their own mind after such a creepy set up. This problem isn’t just stuck in this one scenario either; there are a lot of early episodes that, while still good, seem a lot less creepy in hindsight after you learn more about the scenario. 

I don’t think it’s bad writing, but I do think it’s a double-edged sword. Jonny Sims even mentions this sort of issue in the first Q+A. 

But yeah, to sum up; the narration is good, the ideas are creative, and seeing the mystery unfurl itself is deeply compelling. And for the record, the mystery elements aren’t of the Sherlock Holmes variety. It’s less about finding out who did the thing, and more about discovering how all of these individual points are intricately connected, pulling on each other as they move. Woven together like a... oh shit what’s the word? Gah, it’s on the tip of my tongue. Ah, whatever, I’m sure it’s not like a running motif or anything.  

Part 2: Stakes 

One of the main reasons I stopped watching Supernatural is that it devolves into complete f*cking nonsense. At the end of season five, the boys literally defeat the devil, and then the show...keeps going? Which would be fine. It’s also, largely, an episodic show, so if they have more creative ideas, they could definitely keep going with it. In fact, there are some post season five episodes that I thought were pretty good. But as they kept trying to outdo themselves with Bigger Bads, it got kind of difficult to suspend my disbelief. And the final nail in the coffin for me was the end of season nine, when Crowly basically points out to the audience that the main characters keep dying and coming back to life, so there are no stakes. The most-badest bad guy can always be defeated because some new Thing can just come out of left-field, and dying isn’t even on the table as a threat since people have tons of ways of coming back to life. 

The Magnus Archives, while being a show based in the supernatural, notably doesn’t bring anyone back to life, even though some very beloved characters die. I say “notably,” because in the season three Q+A, Jonny even says, “We make a point not to bring people back from the dead in Magnus, I know it sometimes feels like that, but we are very careful to never actually resurrect anyone.” 

Upon listening to this I said “oh my god, these guys are the only writers left who at least kind of know what they’re doing.”  

Also, as far as plot progression goes, The Magnus Archives is lowkey structurally perfect in the way the threats escalate in the underlying plot; both in terms of destruction and power and in terms of emotional consequences. Season one starts off with one major threat that’s dealt with by the end of the season, season two reveals the main villain, season three lays out the grander forces at play, season four ends the world, and season five is about un-ending the world. The difference between season one and season five is vast, but how we got there makes perfect sense. 

As for the emotional stakes, let’s talk about themes and characters. 

Part 3: Themes and Characters 

At the very end of season two, it’s revealed that the supernatural happenings in the Magnus universe are the result of entities far beyond our understanding. Since their existence is so fundamentally different from what we can comprehend, they interact with the world through cursed items, creatures, and humans who have dedicated themselves to an entity.  

A lot of people read this as a metaphor for late-stage capitalism, and I am one of those people. A bunch of faceless entities exploiting humans through means of dehumanization and causing people to suffer because it feeds them seems like an appropriate metaphor. 

While we’re on this topic, I do want to talk about Elias, since he’s the main villain of the entire series and also one of my favorite villains of all time. The Magnus Archives is a series that deals with a lot of moral questions and has a lot of characters who do morally questionable things, so one might assume that the villain of said series is, you know, morally ambiguous and sympathetic to some extent despite being “the bad guy.” 

Nope! No stops, full bastard. It’s great. 

He falls under what I’ve deemed the “unbeatable boss” archetype. He just doesn’t tolerate insubordination or resistance, and that combined with his lack of empathy means that anyone who crosses him is either killed or brought to heel. His power set is cool too. On the surface the ability to see out of any eye and read minds sounds useful, but not deal breaking, but the way he uses that power to manipulate people and anticipate threats...yeah, it makes him kind of impossible to beat.  

He’s just...so evil and he loves being evil and every single f*cking thing he does pisses me off and makes me want to kill him. It’s. Great. 

Anyways, I think Elias’s role as the central antagonist is what makes the capitalist reading so common. He’s the head of the institute, he’s wealthy, he’s powerful, and he dehumanizes people in ways that are both brutal and chillingly indifferent. He seems like an appropriate stand in through that lens. 

I also love how voice actor Ben Meredith plays him like’s he’s trying to seduce the audience.  

With all of that said, I wouldn’t call this the critique of capitalism a direct allegory or anything; in much looser terms, this could be a metaphor for any power structure that exploits humans. Organized religion or cults might be even more on the nose, considering there’s a lot of mentions of rituals and worship within the show. 

But if we boil it down to its barest aspects and focus on the avatar characters, The Magnus Archives is a series about people becoming monsters. Or, at the very least, becoming worse versions of themselves. That can mean a lot of things to different people in a metaphorical sense; the tense relationship between desperation and morality, the eagerness to please at the cost of one’s own mental health, the psychological traumas that lead people down dark paths, and how personal choices can still be dictated and manipulated by outside influences. It’s kind of heavy stuff, but put into a digestible package through the show’s abstractions. 

Well, for the most part.  

There’s some debate as to whether or not Daisy’s arc was handled tastefully. While her demise and Basira’s character arc were clearly meant to condemn police brutality and the deeply corrupt system that allows it to foster, it’s still a weird subject to discuss in such a fantastical context, and there is a strange sympathy for the devil angle that can get kind of uncomfortable for some listeners.  

Okay, stepping back from that for a bit, let’s talk about Jon and how he fits into this whole “people becoming corrupted” thing. 

Jon has one of my favourite brands of character arc, which is one based in deterioration alongside growth. The most obvious way this takes form is his departure from humanity as his relationship with the Eye drives him to psychologically harm others, and he finds himself sympathizing more and more with the people he was afraid of, stating in episode 152 that anyone listening to his recordings might compare him to the other avatars that have had their minds and morals twisted. 

Over the course of the series, he is repeatedly traumatized and the show makes a point that he is being both physically and emotionally scarred. These happenings are what drive his motivation for revenge in season five, and he even states that revenge is making him a worse person. As a character he’s constantly berating himself and his own monstrousness, much to Martin’s dismay.  

That’s why the finale destroys me in the best way. Upon seeing that Jon has betrayed him and basically given himself over to the Eye, Martin asks “how much of you is even left?” And when Jon tries to reassure him that he’s still himself, Martin’s response is “how would you even know?” This cuts through me every time. Up until this point, Martin had consistently stood up for Jon and Jon’s humanity, even in the face of Tim’s doubt, Basira’s mistrust, Elias being cryptic, and Jon’s own self-hatred. This is the ultimate breaking point, the point where even Martin, the love of Jon’s life, doesn’t really recognize him. It’s brutal. Because at the end of the day, Jon is still himself; he’s a deeply broken person trying to make the right decisions.  

We’ll come back to the finale later, but for now I want to talk about the romance. 

Jon’s emotional growth throughout the series is largely tied into Martin. Martin’s the first person that Jon really opens up to, and this later grows into trust which then turns into a genuine emotional connection.  On the flip side, Martin’s growth in season four is largely tied into Jon. Martin starts season four basically waiting to die, but Jon’s return gives him a reason to keep living, and he’s later able to recognize his own value outside of the pure utility of ‘you need to set yourself on fire to keep everyone else warm.’ Both of them give each other reason to push onward despite everything becoming more and more hopeless.  

It’s a good romance. I wish the two had had a few more scenes together before the culmination, but it is built up over the course of four seasons and comes together in an utterly fantastic confession.  

And yeah, the scene with Martin and Jon in the Lonely is cheesy as hell, but it is the highest quality of cheese. These are some gourmet nachos.  

Umm, also kind of stating the obvious here, but it’s also pretty cool that the main character in this horror story falls in love with another man. You don’t see that a lot, and it’s cool that no one even makes a big deal out of it. It’s just a normal romance, but with two guys. It’s nice. 

So, they go to Scottland, they hang out, they’re in love, Jonalias starts the apocalypse through Jon, the world ends, and season five starts! 

...Let’s talk about season five! 

Part 4: Season 5 

At the very start of this post, I said that supernatural mysteries tend to get worse as they go along, and I am deeply sad to report that I don’t think that The Magnus Archives is an exception. It just goes downhill in a very different way than its ilk. 

And, so we’re clear, I don’t think season five totally tanks or becomes unlistenable, it’s just, in my opinion, notably worse than the rest of the show. 

As discussed earlier, it doesn’t fall apart due to a lack of planning; everything still makes sense, but the presentation has changed drastically. The episodic statements are no longer scary stories, but more like slam poems about the various hellscapes that Jon and Martin are trekking through. Honestly if these were published in a book of slam poetry, I would probably think they slapped pretty hard. I genuinely believe that Jonny Sims is a good writer, but as a podcast a lot of these statements just made me zone out. There’s at least four that I don’t even slightly remember. Myself and many others have noted that they just...aren’t scary, unless there’s a specific episode that really gets under your skin due to a certain fear or phobia. 

To quote my friend, “it’s harder to feel a solid impact when the setting is literally divorced from reality. People would either go numb or insane to the point where their fears become unrelatable.” 

And, to be honest, I think that this same surreal odyssey set up could have worked with a slight shift in narration. Two stand out episodes for me were “Strung Out” and “Wonderland.” Both of them show the tormented target actively trying to resist and interact with their tormenter, instead of just trying to escape or live through their situation. “Strung Out” is also more of character study; you learn about Francis’s life before the apocalypse through their interaction with the Web hellscape. Meanwhile “Wonderland” is just...f*cked, and you get to see Jon take the perspective of first-person Bad Guy throughout the whole thing, which is its own level of disturbing. 

But the majority of episodes feel so abstract that I kind of forget the people trapped in them are supposed to be characters and not just concepts, so it’s harder to feel their dread and pain. 

But I’m still here for the metaplot, the drama, and the romance. And when that’s good, it’s great! I think the final handful of episodes are really solid in that regard. 

Buuuuuuut... 

A decent chunk of season five is dedicated to the “kill bill” plot. Jon discovers he has the power to smite people, and while at first, he’s embarrassed about this, since he actively enjoyed killing Not!Sasha, Martin is super into it! He’s encouraging Jon to murder people.  

This is actually the set up for a really good arc. As Jon gets more and more into his own avenging angel persona, Martin could get more and more disturbed by it so by the time they get to London, Martin could be really upset that Jon is so willing to wreak his own divine justice by killing or torturing all of the avatars. 

And this does kind of happen. We do reach this end state, and it makes for a good final conflict, but the way we got here was borderline nonsense. Thematic gibberish, if you will. 

Throughout the journey, Martin is clearly motived by a sense of justice; these people are bad, and so they should die. Whereas Jon is clearly more motivated by revenge; he only goes after the avatars that hurt him personally. At one point, Jon admits that maybe all of this killing isn’t making anything better, but just making him worse. Martin apologizes for egging him on, Jon absolves him by saying he started it, and then Martin’s like “I’ll keep my apology then.” This is the second worst line in the entire series, right after “the sky ate him.” And it’s close. 

But it kind of feels like we’re back at square one. Jon is back to being ashamed of killing and Martin is still keen on his justice stance, but now just less pushy about it. The arc is basically half resolved at this point. 

But then it doesn’t matter, because Jon kills Helen anyway. So, Jon’s back on his revenge/justice thing. Then what was the point of his earlier revelation? Why have that if it’s not going to matter and the conflict that was escalating still culminates with Jon leaning into the avenging angel stuff, and Martin being disturbed by it? It just makes both of them look like huge hypocrites! I f*cking hate it when they’re in the tunnels and Martin says “you weren’t meant to enjoy it this much,” regarding Jon’s smiting. Where did this come from?! Why didn’t you say this earlier? Third worst line in the series. 

And yeah, I’ll say it; the boys fight too much in this season. I loved their romance up to season five, and their cute moments and more lowkey serious discussions are still good in this season, but God, they fight so much. And I’m not saying couples can’t have fights or tension, that’s just realistic and also stories need conflict to be interesting. Jonny Sims is on the record saying that balancing a healthy romance with the stress of a literal apocalypse was a priority, and I’m sorry, but I don’t think it’s well balanced.  I’m just saying that sometimes it feels like they don’t even like each other and it really started to grate on me. 

Maybe it would have been better if the beginning of this season was dedicated to charming romance at first, so we as an audience could better appreciate how strong their love is and how it’s truly being tested. But obviously that was never on the table— 

ALEX NO. 

So, yeah, I have a lot of problems with season. I think it’s the worst one by far, even though there is a lot of it I still enjoy, including the ending. 

As I mentioned before, the moment where Martin confronts Jon in the panopticon absolutely kills me, and Jon’s reaction kills me even harder. Throughout the season, Jon had largely been motivated by revenge, martyrdom, and the subconscious call of the Eye, and all three of those factors led him to his position as the pupil. He’s getting revenge against the powers, sacrificing his humanity to get rid of the Fears, and taking his place as wearer of the watcher’s crown. But all of this gets thrown out the window when he realizes that Martin is going to die. And not only is Martin going to die, Martin is going to die specifically because he loves Jon and refuses to leave Jon alone to die horribly. Martin had always been an underlying motivation for Jon, his “reason” as stated in episode 167, but now love as a motivator has come to the forefront, and Jon can no longer go through with his plan because of it. But at this point in the series, they’re both utterly doomed, and Jon concludes that the only possible chance they have of surviving, however unlikely, would be to sever the pupil of the eye, technically killing Jon, but maybe, just maybe, allowing them to escape with the Fears. Whether that’s meant to be literal or more ethereal is left unclear. Hell, maybe Jon’s just making it up completely and creating his own potential happy ending. It’s a pretty potent ending in emotional terms; Jon has to release the Fears and Martin has to kill Jon, and those are the two things they were dead set on not doing.  

The Web, arguably the real main antagonist, basically won, and their manipulation of Jon worked. The destruction spread, and there is kind of a bleak underlying tone to that. 

But at least this ending has some semblance of hope to it. I’m not saying that releasing the Fears was objectively the correct moral decision; the entire point of the dilemma is that there was no objectively correct moral decision. But, while Jon’s solution does have merit, it was also the most hopeless. I think dramatically, any one of the choices on the table could have worked if the writing was well executed, but thematically this one seemed like the perfect combination of grim and optimistic. Like, all of the evils that plague humanity can’t just be defeated forever and things could get worse, but maybe not. Maybe everything works out... 

So yeah, The Magnus Archives...is a podcast. And it’s a really good podcast. Great, even. I can complain about season five all I want, but regardless of how that worked out, you can tell throughout the entire show that the people working on it were trying to tell a genuinely excellent story. 

It’s good. Go listen to it. Even though I spoiled the entire thing and if you’re still here, you’ve probably already listened to it. Listen to it again. 

[yanderesleuth]

Yandere Simulator - A Sleuth's Blunt and Honest Review

Hello everyone! The sleuth is back and she is ready to give you her blunt and honest review of Yandere Simulator. I’ve been wanting to do this for SO long but I simply did not have a computer strong enough to do a fair and accurate review. Recently, I was able to get a decent laptop and the demo installed fairly quickly – perhaps 8 to 10 minutes.

To those who may be new to this blog, I started following the development in 2015/2016(?) when I first saw a gameplay by Markiplier, and I am one of many that has watched Yandere Simulator transform from bare-bones to this STUNNING atmosphere with tons of different gameplay options. I am so proud of how far this game has come, and I appreciate YandereDev and his volunteers for busting their asses every day and sticking with the development. I will be going through what is likely common knowledge, but I’m rather late to the game and I apologize.

The main menu is unique! I’m not the most knowledgeable gamer out there, but I have never seen one quite like this before. Pressing start creates a rather fast zoom towards Ayano, who is holding a love letter behind her back. After you defeat your rival, you can see a visual of the specific method you used in the background. (ie. Osana’s bloody body hanging out of the fan; I don’t want to provide a screen shot of this, so just pretend.) Last I heard, not every elimination had a specific visual yet, but I’m not sure if this is still true or not. The menu is very easy to read, and you are currently allowed three different game files. You are unable to use the easter eggs/debug cheats until you have eliminated your rival once, which is a nice touch.

The introduction cutscene is quite compelling and it grabs your attention easily. I noticed that the large flash of various images are now in a photograph format and gradually piles up in the middle of the screen (if that makes sense); I feel that the previous format, image after image, was a bit more thrilling. Though, I appreciate the current look, as it hints that you will be taking pictures in the game, at one point or another.

One question I have: It’s canon that Ryoba kidnapped Ayano’s father and tied him to a chair in her basement (as told by the basement tape.) Yet in the cutscene, it shows them under the cherry tree, holding hands. Is this simply a daydream of Ayano’s? Is she truly aware of how her parents got together?

The game runs VERY smooth overall; it is a little choppy in spots, but the performance is much better from what I remember. Out of force of habit, I adjusted my settings anyway; I’m personally not a fan of the outlines on each character. I’m not sure why; it’s just a preference for me. For the sake of this review, I chose an elimination method that I have never tried before: Expel. I believe that choosing a method that I’m well-rehearsed in would not make this a very fair review, and it would not represent the challenges in the game.

The current small town holds a variety of shops – hardware, games, lingerie, and even a small restaurant to earn money. (I’ve played it in the past and it’s pretty fun.) It has a lovely ambience to it, with perky music in the background and several familiar faces roaming the street. Despite being unable to adjust my settings or access my phone in general, the town still runs great on my new laptop. You are automatically given $10 at the beginning of the game, and I chose to buy the stealthy black underwear, to limit students’ range of sight.

I’m thrilled to learn that there are more ways to receive points for Info-Chan’s services. The bug mechanic is genius and is a lot more convenient for players. With this feature, you can receive fifty points per day. And for any other extra points you may need, you can ‘sneak’ panty shots.

The first (minor) complaint I have is the controls for taking photos. When you have a laptop with no actual buttons, and no mouse, it’s impossible to do so. I had to take my mouse from my Yamcha PC in order to take the lewd pictures on Osana’s phone, and for the vandalism of the vending machine. Aside from this, the expel method is very interesting, and I admit that I was a bit scared stealing the answer sheet. I had gotten caught once because I placed the radio too close to the door, but I was able to go back and successfully steal the sheet.

The second, not-so-small complaint I have is regarding the ring theft from Sakyu Basu. I had the WORST time stealing it! I learned rather quickly that for whatever reason, I could not distract Sakyu. I could not interact with her at all. She just sat there, eating lunch. I tried bang snaps, simply sneaking up on her to grab the ring, and even joining the drama club for a mask with the intention of just grabbing it and running. Each time, I would get the ‘don’t touch that’ dialogue and never got a chance to take it again. Out of frustration, I tried stealing it while INKYU was distracted and it worked!

The third and the biggest complaint is SNAP mode; I have been anticipating this for years. First, I will say that this feature is absolutely terrifying, and the concept is everything I imagined and more. Ayano finally loses her sanity, to the point of no return and you are free to eliminate anyone and everyone in your path, within a time limit. The objective of snap mode is to obtain a knife and kill Senpai, since he has discovered your true nature and he will never love you.

Unfortunately, SNAP mode hardly worked for me and I eventually had to close out of the game. I got the game over on the roof top at lunch time, and I got the command to find the knife. I would venture through the school to try to do so, and would press the space bar to transport a little further, but I would get static and teleport to the same exact spot I was at on the roof! I learned that eliminating students in my path would buy me time to search further into the school, but eventually, I ran out of students and I was stuck on the roof.

But… I have faith that the ring bug and the snap mode bug will be fixed.

After Osana’s expulsion, I admit that I am rather intrigued by this method and may actually use it in the final product. Senpai’s sanity will be playing a major part in the game, and it will be very interesting to see when it is fully implemented.

The first of three ending cutscenes introduced Amai Odayaka. She is absolutely precious and I cannot wait to learn more about her when her week arrives! I almost had her eliminated during the Amai challenge, but I messed up and had to end the game for the night.

The newest adjustment to the students’ models are just beautiful. Have a look at Kokona Haruka!

Overall, this game is rich in lore and plot twists, and plenty to speculate on. There is SO MUCH to do in Yandere Simulator! I feel that this game has a lot of potential and I look forwards to its release, whenever that may be. Unfortunately, the pandemic has slowed a lot of things down, including the upcoming crowdfunding campaign. This is a fantastic demo to check out if you have not already. I’m planning on going back in and finishing the Amai challenge, experimenting with mission mode and pose mode.

Sound off: Which is your favorite elimination method so far?

-Sleuth

Download Yandere Simulator's Demo Here

[cherry-valentine]

Winter 2021 Anime Season:

What I’m watching:

Log Horizon season 3 is all about the politics. Of all the “trapped in a video game” anime I’ve seen, Log Horizon has always been unique in the way it focuses not on the drama and action (although there is some of that), but on the world building of the “game” the characters find themselves stuck in. It’s less a game and more an entirely new world, one that the players, called “Adventurers,” are keenly aware of their influence on. The show focuses much more on the politics, economics, history, etc. of this world than it does on battles or romance. This sets it apart from things like Sword Art Online and the .hack franchise. Season 3 so far seems to be focusing on how the hub town of Akiba will be governed, with an actual election taking place. The Adventurers have to form good business relationships with the “People of the Land” (NPC’s, who in this world have their own personalities and lives and are just as developed as the players). The series goes into things like power systems, food supply, the politics of arranged marriages, and so many other things that make this world so interesting. Because of this, I’ve seen people calling the show boring or slow. I can understand how it could be seen that way, but I honestly find it fascinating. When the show does focus on action, it really nails it. So far season 3 has had pretty much zero action, but I’m guessing we’ll get some in the later part of the season. The animation is nice, with tons of characters sporting various designs. The music is great too. While I do miss the “Database” opening theme from season 1 and 2, this new one is pretty good. Watch Log Horizon if you’re into fantasy world-building. Avoid if you think a few episodes without a fight makes a series boring.

Beastars season 2 is a delight. I didn’t watch the first season as it aired, so I quickly caught up on Netflix before season 2 started, and I’m so glad I did. The show is definitely something I didn’t think I would enjoy, but everyone seemed to agree it was fantastic, so I gave it a shot. I intended to watch the first episode one evening to see what it was like and ended up watching the first eight in practically one sitting. For those unaware, Beastars is about a society of vaguely human-like animals (almost all of them walk upright on two legs and wear clothes, for example) and the conflicts between the carnivores and the herbivores (many of whom live in constant fear of being eaten, even though eating meat is illegal). The core of the story is about a wolf, Legoshi, falling in love with a rabbit, Haru, and all the complications that arise from that. Apparently, inter-species relationships are allowed, but frowned upon (I guess? It’s never explicitly stated either way). What makes this relationship interesting is the fact that the wolf is shy and awkward (and just generally a sweet guy) while the rabbit is more experienced and worldly. Something that struck me as interesting is that the rabbit Haru is sexually active, and has been with several different male characters. While the other characters, naturally, have things to say about this (calling her a “slut” or a “bitch” - the main setting is a high school after all), the story itself doesn’t condemn her for it. In fact, the story presents her in a positive light, sexual history included. The fact that she sleeps around is never portrayed as a negative aspect of her character, and Legoshi is very much aware of her activities. It’s a surprisingly sex positive take. Of course, this positivity doesn’t extend to the audience. Avoid comments sections on episodes of this show unless you want to see some rampant slut shaming.

I ended up talking mostly about season 1, but I didn’t get to do a write-up about it so there’s that. Season 2 is so far very good, dealing with a plot thread that had been left dangling in season one: an herbivore student was murdered and eaten in the first episode, and the mystery of who the killer is was pretty much dropped in favor of character development and world building. But season 2 is addressing that mystery in earnest, and it’s been exciting to watch Legoshi pursue the case. Overall, it’s an engaging show that I regret sleeping on until now. The opening and ending themes are real bangers and the animation looks great.

Dr. Stone Season 2 was easily my most anticipated series this season. It was my favorite show during it’s first season and is my favorite overall this season as well. The show is just so fun. The very quick and basic plot setup is that humanity was turned to stone in the modern age and, thousands of years later, the earth has been retaken by nature. A teenaged scientific genius named Senku breaks free of his stone shell and decides to save everyone and bring science and technology back to the world. In conflict with him is Tsukasa, a physical powerhouse who wants to destroy all the stone adults and create a utopia for the youth. Season 2 leaps right into the war with Tsukasa’s army, with Senku and his allies actually building a primitive cell phone to communicate over wide distances. The charm of this series has always been in its mixture of science facts and methods (all based on real-world science and theoretically possible) and dramatic action between well developed characters, both presented in equally exciting lights. It’s just as much fun watching Senku and his friends gather materials to make a vehicle as it is watching the various skillful warriors battling it out. The art style is something often commented on, as the character designs take a little getting used to, but the animation itself is very nice. As per usual, it has amazing opening and ending themes, with my favorite opening of the season.

The Promised Neverland Season 2 is a bit of a mess. I don’t follow the manga, but I enjoyed the first season of the anime very much and, just by virtue of being on Tumblr and being aware of the series, I ended up hearing about some major plot points from the manga that had me excited. So season two started and the first few episodes were great. But then things started seeming rushed, or just not quite right. A glance at the comments on the episodes revealed that entire story arcs had been skipped, and it really shows even to someone like me who hasn’t read the manga. And one major event I had seen so many images of from the manga is clearly being done in a completely different way in the anime (one that lessens the scene’s impact quite a lot). So... I’m not sure how to feel about this series. It was one of my most anticipated shows this season, but now it’s dropped down toward the bottom, and that’s disappointing. I guess I’ll finish this out and then consider picking up the manga, since apparently this is so different it won’t be spoiling much.

World Trigger Season 2 was a bit of a surprise. I only found out about it a few days before it began airing, and I honestly hesitated when deciding whether or not to watch it. When the first season aired, I loved it. I was sure it would be a new favorite. But then the filler arcs started, and they were almost unbearably boring. I dropped the series and always wondered if the show went back to its former greatness. So when season 2 started, I wondered if this was more filler, or if the filler arcs had ended in season 1 and I’d missed out on some content that I’d need to watch to understand season 2. Plus, my memory of season 1 wasn’t so great. With these thoughts in mind, I decided to watch the first few episodes of season 2 and see if I could make sense of it. Luckily, all of my concerns flew out the window pretty quickly. By the end of the first episode, I was enjoy it so much that I didn’t care about any of the things I’d been worried about. Sure, I might not have remembered all the names or all the details, but the important stuff was coming back to me.

The thing World Trigger does best is juggling tons and tons of characters. I know a lot of anime have large casts, but few of them have so many characters active in a single story arc, and even fewer of them handle those characters so well. Even though it’s been a few years since I watched season 1, and there were dozens of characters popping up in the first few episodes alone, I remembered most of them as I saw them. This is because all of them are memorable, well-designed, and interesting. I think it says a lot about the cast that, in the first several episodes, the three main protagonists are completely left out of the action, and we only get a brief glimpse of them. And this did absolutely nothing to hinder my enjoyment of the show. The supporting characters are so strong (both in-series and in terms of the writing) that the protagonists were not even missed. And I’m not dunking on the protagonists here. They’re great, fun characters. Aside from all this, the show has simple yet attractive art with a ton of variety in the design work. The music is nice, with one of the better opening themes of the season. The action is well choreographed and it’s just a fun series overall.

Sk8 is one of only two totally new series I’m following this season, and it’s a blast. Following a handful of eccentric skate boarders who engage in one-on-one races, the show is equal parts funny and exciting. The main focus is on two skaters, the energetic Reki and the Canadian snow boarder Langa, whom Reki is introducing to the world of skate boarding. The first thing you’re likely to notice about this series is just how colorful it is. It’s like the show itself is in love with color. It makes the art very striking and pleasing to look at. Honestly, it’s worth watching for the eye candy alone. Luckily, the series has other things going for it as well. The budding friendship between Reki and Langa is humorous and sweet, with very little of the usual “rivals who act like they hate each other but are actually friends” shenanigans we see so often in anime. They’re just two nice boys who are nice to each other, and that’s refreshing. Another high point is the gloriously flamboyant villain, Adam. He’s a real treat whenever he’s on screen. The show has an overall light-hearted feel, with enough emotional moments to keep it from becoming too silly. I don’t know much about skate boarding, but this anime makes it look awesome.

Kemono Jihen is the only other new series I’m watching this season. It primarily focuses on a small group of mythical creatures (or half-human/half-mythical) living in Tokyo, operating a detective agency for cases involving creatures like them. The protagonist is Kabane, a young boy who is half human, half ghoul. He’s apparently immortal, to the point that severing his head doesn’t even seem to cause pain. Due to being neglected and mistreated by his adoptive human family, he lacks social skills, but his earnest attempts to make friends and help his companions make him an endearing character. While this type of “urban fantasy” story isn’t new, it’s executed rather well. The characters and their abilities are varied and interesting, the art is competent, and the music fits. There’s a bit of a gross-out factor, with at least two cases involving insects, so be aware. It’s not my favorite show this season, mainly because it doesn’t seem to bring any new ideas to the table, but it’s entertaining enough to keep a spot on my watch list despite me being absolutely brutal when trimming that list down this season. Worth watching, for sure.

Carry Over Shows From Previous Seasons:

Black Clover

Jujutsu Kaisen

Best of Season:

Best New Show: Sk8

Best Opening Theme: Dr. Stone Season 2

Best Ending Theme: Sk8

Best New Male Character: Langa (Sk8)

Best New Female Character: Kon (Kemono Jihen)

[somniferouseyes]

Dragon Quest XI S: A Lovingly Crafted JRPG

I had never played a Dragon Quest game before, but I had played many JRPGs. After hearing much about this one, I finally decided to cave and give it a try. What I found was one of the most lovingly crafted JRPG experiences I think I've ever played.

Spoiler-free review below:

=== The Good ===

Player options and quality of life features abounded throughout the game, allowing me to play almost exactly how I wanted to. Hell, I could even change the visual style of nearly the entire game on a whim! Not that I used this feature, as I wasn't too fond of the aesthetic or gameplay changes introduced when switching to 2D, but it's certainly a feature worth praising in my opinion if only for the sheer work put into making a game playable in two entirely different art styles.

Going back to the quality of life choices, I think the only game I've played that's come close is Bravely Default, with its option to modify random encounter rates (0%, 50%, 100%, 200%, etc.) which I recall being blown away by, especially coming from a franchise like Pokemon where you need to purchase hundreds of one time use items to avoid random encounters. Even just looking at the core gameplay of this game you can see the time and love put into it. The skill tree for each character is unique and the options you have within meaningful in a way I rarely see in games these days. It doesn't feel bloated with tons of worthless abilities and stat upgrades the way skill trees often do. I don't want to get too deep into it all because it'll take forever to but suffice to say I was thoroughly impressed by what this game offered to any JRPG fan.

And last, I really enjoyed the cast of characters overall. They were pretty unique and colorful amongst themselves and most offered compelling backstories and character motivations deeper than I expected from a game like this. My favorite was probably Erik. From the very beginning of the game I remember wishing that I was playing as him instead of some weird mute He-Man haircut kid. Erik was just so much cooler than Hero, and eventually had a fantastic backstory revealed that really lent a lot of color to a character that otherwise could have been a little flat. Least favorite has to be Sylvando. I honestly really liked this dude up until the end of the first segment of the game, but after he shattered all the atmosphere and plot pacing the game had with his dumb little side story (which continued to be relevant fairly late into the game for some godforsaken reason) I just couldn't deal with him. Nearly every time he appeared on screen he managed to break the immersion I had with his obsessive cheerfulness and incredibly stereotypical gay man persona. It just became too much eventually. I can respect his motivations, but wow he started to grate on me very quickly.

=== The Not So Good ===

Unfortunately the game was not without some significant issues and annoyances. While I think it's nice looking overall, I personally struggled to get too into the overall art and style of the game. I understand it's iconic for the series at this point, but scattered throughout the game are relics of past games in the form of ancient looking menus, dated sound effects, and some other strange choices that feel as if they only exist to scratch the nostalgic itch of the core fans of the series. Which isn't a major major issue I suppose except compared to the rest of the game some things just look... bad. Kind of disappointing.

Far more disappointing, however, had to be the music and sound design of the game as a whole. I know it's been said over and over by just about everyone, but it was incredibly hard to get past the fact that nearly EVERY area had music pulled from what felt like a playlist of maybe 3-5 tracks total. And even worse, none of those repetitive tracks were all that great to begin with. On top of being repetitive, it outright ruins the mood in a few sections of the game, and I found myself turning the music volume wayyy down just to avoid being blasted by the same shitty tracks over and over.

A smaller nitpick related to the previous: Why are the parts of cutscenes where characters sing entirely void of voice acting? It's so jarring to be listening to people talk and then they go to open their mouth to sing and I'm just stuck reading lyrics on the bottom of the screen. Just a very confusing design choice. I don't get it at all, as it really took me out of the few scenes where it happened.

=== Conclusion ===

Despite its shortcomings, I feel that altogether this is easily one of the best JRPGs I've played. I think if it had a larger (and better sounding) pool of music to pull from and better plot pacing around the middle of the game it just might be the best. It's truly impressive what the team managed to create here. Would 100% recommend to anyone wanting an old school turn based RPG to sink dozens of hours into.

[terramythos]

TerraMythos’ 2020 Reading Challenge In Review - 8/10s!

See Master Post 

Here’s the 8/10s! This is basically the mid-level “stuff I liked” rating. 

1. How Long ‘Til Black Future Month? by N. K. Jemisin (Full Review Here)

The 8/10 on this is a little misleading, as it’s an average score among 22 stories. Anthologies are basically never going to be my highest-rated works because to me short fiction is hit-or-miss. As you can tell from my actual write-up, there are a lot of great stories here; Jemisin is just a fantastic writer. The Trojan Girl, Valedictorian, The Evaluators, The Narcomancer, and Too Many Yesterdays/Not Enough Tomorrows all live in my head rent-free. There’s just some that also didn’t click with me. 

2. All Systems Red (The Murderbot Diaries #1) by Martha Wells (Full Review Here) 

If you peeked at the 9 and 10 lists you know I loved this series, lol. This one ranked a little lower than the others because it’s super short! Just as I started getting attached to Murderbot and interested in the world, the book ended. It was a good hook to get me further into the series but hard to rank on its own. The other novellas ranked higher since I was more familiar with Murderbot by then.  I’m very glad I stuck with it and kept reading! 

3. City of Saints and Madmen (Ambergris #1) by Jeff VanderMeer (Full Review Here) 

This is the first book in the pseudo-trilogy that is the Ambergris series. It’s basically a short story collection, and boy is it weird! There’s clearly something wrong with Ambergris as a city, and it’s hard to parse fact from fiction when the stories intentionally contradict each other or obfuscate information. There’s a ton of hints that don’t pay off until Finch, which is totally bonkers. Anyway, I really liked the horror/historical stories (yes those are basically the same when it comes to Ambergris) -- The Hoegbotton Guide to the Early History of Ambergris, The Transformation of Martin Lake, King Squid, and my personal favorite The Cage. The other stories just ranged from mildly interesting to meh. 

4. Aristotle and Dante Discover the Secrets of the Universe by Benjamin Alire Sáenz (Full Review Here)

I can totally see why this is a classic in LGBT YA fiction. The writing and love story are both fantastic. As someone perpetually closeted in real life, the struggle of Ari realizing he’s in love with his best friend hits close to home, and is clearly drawn from the author’s own relationship with his sexuality. I really like that both of the leads’ families are integral to the story, and while Ari’s personal arc is a family conflict, it’s refreshingly not due to the LGBT stuff. This book would be an easy 10/10 but something happened near the middle that totally killed the pace for me. Thankfully it does get better in the last third or so. 

5. The Siren Depths (The Books of the Raksura #3) by Martha Wells (Full Review Here) 

This book is probably my favorite in the original trilogy; I like the reveal of Moon’s past and the complicated emotions associated with that. The Fell are genuinely creepy villains played to their full potential as well. The Siren Depths also introduces two of my favorite characters, Malachite and Shade. It’s got the emotions! It’s got the action! It’s got the kinda-horror! The main thing that dragged down the score is the ending, which felt rushed and tied up way too quickly. 

6. The Cloud Roads (The Books of the Raksura #1) by Martha Wells (Full Review Here) 

As an introduction to the Raksura series, I really liked this book! There’s a sense of this huge setting with lots of interesting worldbuilding and development. I’ve said it a lot, but I like that it’s a fantasy setting with zero humans or recognizable fantasy races. It’s also super cool to have the main characters able to shapeshift and fly! Moon learning about the Raksura and their culture feels natural because he’s an outsider. I also like his arc; how he mistrusts/allies with the Raksura for convenience, then gradually finds his place among them. At this point in the series the Fell weren’t especially interesting villains, but (spoiler) the series does eventually address this. 

7. Middlegame by Seanan McGuire (Full Review Here) 

So I really like the concept behind this one -- twins created by shady alchemical experiments get tossed into the real world in order to observe their natural development. While intentionally kept apart, they manage to find each other nevertheless via telepathy. There’s this grand scheme for the villains to steal the twins’ power and become a god? And at some point the reader realizes there’s time loops and stuff where they’re trying to prevent certain bad endings (hello Zero Escape)? Platonic soulmates?! Just... a lot of interesting stuff going on. I think what kept this from a 9 or a 10 for me is much of the book reads like contemporary coming-of-age fiction, which isn’t what I was looking for with a concept like this. Technically the “ordinary” nature of the first half is a façade because Plot, but... you still have to read through it. 

8. A Short History of Nearly Everything by Bill Bryson (Full Review Here) 

This is an interesting nonfiction work that summarizes major scientific knowledge in terms a layman can understand. Bryson is actually a travel writer, but consulted dozens of experts in order to write this book and cites the hell out of everything. I think he does a great job presenting accurate and accessible information. Even stuff I learned in school is explained in ways that make more sense than how I was taught-- like ice ages. I also learned lots of interesting facts! My main issue is there’s a heavy focus on individual scientists, many of whom were boring. And while this isn’t the book’s fault, some of the info is outdated. I think this would benefit from a revised edition. 

9. Wolf by Wolf (Wolf by Wolf #1) by Ryan Graudin (Full Review Here) 

Absolutely fuckin’ bonkers concept. Alternate “the Nazis won” history, starring a Holocaust escapee who can skinshift, posing as a professional motorcyclist, trying to compete and win an annual Reich-sponsored race, in order to get a private audience with Hitler and murder the shit out of him? Probably the most surprising thing about the premise is it mostly works. I really like the deliberate pacing through the tense motorcycle race, the level of deception Yael has to maintain, and the harrowing flashback sequences. Sometimes the symbolism is a little heavy-handed, and I wasn’t a huge fan of the generic antagonistic YA love interest character Luka, but overall I was pleasantly surprised by this one. 

10. A Conspiracy of Truths (A Conspiracy of Truths #1) by Alexandra Rowland (Full Review Here) 

This takes place in a fantasy world with analogues to real-world nations. The main character, an old man named Chant, is a professional storyteller who is arrested for supposed witchcraft in the Eastern Europe-esque country of Nuryevet. While it’s clearly a farce, he’s screwed over by the local political system and imprisoned. Faced with possible execution, Chant uses his gift for storytelling to manipulate local powers, and accidentally starts a political revolution in the country. Whoops! 

I liked the book’s meta-commentary on storytelling, and it features a lot of wonderful side-stories told by Chant and other characters. Oddly enough, the economics are super interesting (a trait shared with the sequel). My main criticism is most of the political intrigue goes down off-screen; we just learn about it through other characters. While that makes sense with an imprisoned protagonist, it’s not the most exciting approach. I ended up liking A Choir of Lies more, but this one was still good. 

11. The Serpent Sea (The Books of the Raksura #2) by Martha Wells (Full Review Here)

Boy did I read a lot of Martha Wells this year. This is the last one! This is probably my least favorite of the series; very much a filler/side-story. Nevertheless, it’s an entertaining entry on its own merits. The leviathan city is distinctively gross, and I liked the evil magister antagonist and his creepy-ass museum. This is also where we learn about Chime’s powers, which continue to be relevant through the series. But I don’t have a whole lot to say beyond that. It’s a solid entry that doesn’t change much.

[soopersara]

Why and when did you start shipping Zutara?

You want the long version or the short version? Just kidding! There really isn’t a short version. My history with ATLA in general is kind of a mess. 

I saw my first episode of ATLA around the time it was airing - I think it was in 2008 or so when Book 3 was almost done. Anyway, I was babysitting some of my younger cousins, my aunt told me that the boys were allowed to watch a couple of episodes of the show they’d been recording on the DVR. Cool. I’d never heard of it before, but if middle-school me didn’t have to come up with a ton of activities to occupy three little boys until their bedtime, I wasn’t gonna argue about it. 

So I got the boys settled in on the couch, hit play, and I watched my first ever episode of ATLA. The Western Air Temple. And HOLY BUCKETS, dude, I was hooked. Honestly, in a way, I started shipping Zutara right then and there. There was just so much emotion and tension between the two of them. And sure, it was clearly not a romance yet, but the whole point of the episode was Zuko trying to join the Gaang, and for me (then and now), Katara felt like the emotional center of the Gaang. She was the one who seemed to have the most personal history with Zuko, she was the one who was most opposed to him joining, and she was the person whose approval Zuko seemed to want the most. And... damn. I wanted to see that conflict play out and resolve SO BADLY. I wasn’t consciously aware of this at the time, but there’s an old saying that love and hate aren’t opposites, love and apathy are. And that was the first time I ever felt the truth of that statement and wanted to watch the enemies to friends to lovers dynamic play out.

But then my babysitting night ended, and my parents drove me home, and I spent the rest of my middle school and high school years back in my normal life in a house with one TV, no cable, and no internet. I couldn’t have watched the rest of ATLA if I wanted to, and I was unaware of... the majority of what was on the internet in general at that point, so I didn’t know that fandom was a thing. Also, my family has... poor taste in entertainment. They don’t like ANY fantasy/sci-fi, not because they had problems with the plots, tropes, or themes associated with the genres, but because they think that people who enjoy those genres are “weird” and because of that, they’ve never bothered to consume any stories in those genres. Which meant that they teased me for my tastes in stories. A lot. All the time. I wouldn’t have had the guts to watch ATLA in my house even if I had access to it. So I just let my brain run wild extrapolating story ideas from the tiny snippets of ATLA that I had seen and started never finished a few original stories with nuggets of inspiration drawn from the Zutara dynamic.

Then I went off to college a few years later and it occurred to me a couple of times that I could probably find ATLA and watch it online, but I never actually looked for it until a few of my friends in the dorms mentioned that they loved this old kids’ show called Avatar the Last Airbender. I waited until I finally had free time (the few days when I was stuck on campus after finishing finals), and finally got around to watching it. 

And watching ATLA was... not what I expected. Based on what I’d seen of the show several years earlier, I knew that Zuko started off on the wrong side of the war, but I wasn’t prepared to see him be such a raging jerk for so much of the show. Don’t get me wrong, I loved him the whole time but it was a I want to shake you and and tell you to pull your head out of your ass because I know how much better you will be later and I want that NOW kind of love. I knew based on the episode intro I’d seen in middle school that Aang was the protagonist, but I wasn’t prepared to see him drive so much of the show, since he was just... not the central character in the first episode I saw. And on some level, I knew that there had to be a lot of history as enemies between Zuko and the Gaang to cause the amount of animosity I saw, but I didn’t expect his joining the Gaang to come so close to the end. I thought there would be at LEAST a solid season with him as a Gaang member, not... half a season. 

So... I liked ATLA. It was good. The finale was a huge, beautiful spectacle that worked so well on an emotional level, but... there were enough things that niggled at me that I didn’t see it becoming a major interest of mine. At the time, I really only had media/stories that I revisited over and over and over because I loved them unconditionally and media/stories that was... too flawed or not compelling enough for me to revisit.

But ATLA was different. I thought it was going to end up in my list of “meh” stories that I liked but bugged me enough that I’d never go back to it. But I just. Kept. Thinking. About. It. And after a while, I started watching the show over. And over. And over. But those problems still niggled at me, and I didn’t really know how to articulate what my problems with the show were. 

So then I finished college and moved in with a friend. And after she introduced me to a few shows I’d never seen before, I decided to return the favor and introduce her to ATLA. And after that rewatch, I finally started picking out and trying to articulate some of my problems with the show. Two of the first things I realized were that I HATED Maiko as presented in canon (it reminded me too much of my high school classmates whose romantic relationships alway boiled down to “I hate spending time with him/her, but I’m horny.” UGH. I don’t know how many times I had to restrain myself from yelling, “JUST BREAK THE F*CK UP, YOU’RE NOT THE ONLY TWO HORNY TEENAGERS ON THE PLANET.”), and Kataang was... meh. I didn’t hate the idea of them being together eventually, but the development felt half-assed and the kiss in the finale was WAY too sudden for me. I finally remembered that I liked the idea of Zuko and Katara together way back when I first saw The Western Air Temple, and because the internet has a creepy way of reading my thoughts, Pinterest started feeding me Zutara fanart. I. Loved. It. Knowing that I wasn’t the only one who wanted them together was AMAZING (keep in mind, this was like... 2016. I came SO late it’s unreal).

I decided that I wanted to write a Zutara fanfic at some point, then got the idea for an Avatar Katara AU now my mega-slow updating WIP, A Tale of Ice and Smoke. And I started writing it. And posting on FFN. Then some of my scrolling through Zutara content on Pinterest led me to Zutara metas (which reinforced a lot of the conclusions I’d reached about my own issues with the story and helped me identify a few others that I’d noticed but hadn’t been able to express) and other people’s fics, and I started reading those while posting the first few chapters of Ice and Smoke. Then I finally created my own Tumblr and started getting more and more involved in the fandom. When I say that I fell ass-backward into this fandom, I mean it.

So. TLDR: I started either started shipping Zutara in 2008 when I saw one episode (to this day The Western Air Temple is still one of my favorites), or I started shipping it in 2016 after thinking about the show way too much, and deciding that fixing a lot of my problems with the series would most likely lead to Zuko and Katara being together. 

[ffamranxii]

I draw a manga/write a light novel series based on that manga, which is essentially an amalgamation of my favorite series and giving some of my favorite characters, who I feel were shafted in their source material, a better ending. That series is called C’est la Vie 5, because it originally featured five fandoms that I LOVED enough to have created an original character for.

Now, like many people, I’ve created a fuckton of OCs for a fuckton of series. However, unlike, say, Dragonball Z and Pokemon (RIP to Son Mei and Cissy the Eevee breeder), I still use these characters. I am still active in these fandoms. Some of these characters are nearly as old as I am. Some have gone through so many iterations that they’re nearly unrecognizable from their original forms (looking at you, Haruhi, Suzuka, and Kinoko). But they have ALWAYS been there.

C5 the way it is now started as a fun little project in college to help me memorize my Japanese vocabularly. It was a series of one shot or 4koma doodles in the margins of my notebooks, featuring PGSM+Hina. Then the doodles got mutated. I replaced Makoto with an original character named Sun Hwa, who then was replaced with Ayumi Yamada from Honey and Clover. I added in Hagumi Hanamoto from H&C too. Ami was renamed Moeco, and her appearance changed. I ended up splitting Ami in two, because I loved her Dark Mercury arc so much, and ended up with Moeco and Akumi. I added Mio Kuroki but called her Arisa Kuroki, because my Usagi at the time was called Mio. I added Mikasa from Attack on Titan. Misa Amane (named Erika after her actress in the live action). And it spiraled from there. C5 went through a TON of iterations as well over the past ten years. There was a character called Haruhi, but she was from the Haruhi Suzumiya series.

Now it’s pretty ironed out. The cast is so big I’ve split the series into a set of volumes into one big volume, so it doesn’t become Naruto. Each volume has a set of plots, two of which are contained within that volume. It’s pretty easy and I like it.

HINA is a mishmash of three fandoms (two if you count PGSM and Sailor Moon as one fandom). I fell in love with Boys Over Flowers (the Korean version) after discovering the live action Sailor Moon, and had a complete fit the entire time that Jandi chose Junpyo. (WHY, Jandi. WHY. Jihoo was BETTER for you. BETTER!) I had a Korean friend in my Japanese class, and it was at this period that my Makoto doodle was replaced with Sun Hwa (another Korean) and that Hina Kusaka (who is exclusive to PGSM, and whose name I stole for my OC) became Hina Ku (after the actress who played Jandi, not Goo Junpyo). Hina and Sun Hwa had small side conversations in Korean that my friend taught me, while the group as a whole reinforced my Japanese lessons. C5 has plenty of Boys Over Flowers characters (a mix of the Korean, 2019 Chinese, and Japanese versions), but I never made an OC for the series. Hina filled both roles. In PGSM and Sailor Moon I kept her name as Kusaka, but in C5 it’s Ku, and she is a zainichi - Korean-descended. Hina also plays a different role depending on which series I’m using her in. In PGSM, I used her as Sailor Sun. Sailor Sun has been a character I’ve had since I was five years old. She’s changed style and looks considerably over the years, but she’s always been there. In every other iteration of Sailor Moon, I prefer the theory that Naru and Unazuki are Sailors Earth and Sun, and Hina is one of Usagi’s many friends. In the pre-C5 era, she, Usagi, and Erika were part of the 3 Bakas, for their bad grades. 

AKIHO is my newest OC and holy shiiiiit I have cleaved to the Persona series hardcore. Rather than create a new OC for each entry in the series (though I may change my mind when Person 6 comes out), Akiho’s look, style, and role in the story changes (I reconcile this to be something akin to Clara Oswald in Doctor Who). In P5, which she was created for, she’s a Phantom Thief. The idea came to me when I learned there has never been a playable character of the Temperance arcana, Hifumi was supposed to be a PT, and the general consensus that Mishima and Shiho should have been PTs. Akiho has been through several iterations herself but her general look is based on Tae Takemi from @scruffyturtles ‘s Adult Confidant AU. Her personality seems very calm and serene, but she is a secret metal head and a huge fan of Eikichi Mishina’s band Gas Chamber. Her PT mask is based off a butterfly. Her role in C5 is a shrine maiden, where she gets along with Rei (Sailor Moon), is the sister of Akira Kurusu (who is a separate person from Ren Amamiya), and the daughter of a pair of mobsters.

KINOKO is my second oldest OC, having been around since I was twelve. Her original name was Cherry (like every other Tokyo Mew Mew OC) and her original animal is lost to the sands of time. Luckily, my favorite animal is a red data animal, so she can be fused with that now! Kinoko has been through so many iterations it isn’t funny. In the TMM world, her hair is an auburn, a dark brown with red undertones, mimicking how some mushrooms (where her name comes from) appear. (It’s a callback to her original name). Her Mew outfit has also changed considerably and I still haven’t settled on it completely. The Mew Mews are not a unit in C5. Zakuro is a model with Ann and dating Minto, Ringo (LOVE Ringo) is a middle schooler who hangs out at an arcade and is best friends with Bu-Ling, Ichigo is a waitress with Berii, Retasu works with Ryou. And Kinoko works at a karaoke bar, chasing troublemakers like Bu-Ling out. She also interacts with the new Au Lait boys.

SUZUKA is also an old OC, her name having originally been Meiling. She’s from Fushigi Yuugi, which I was obsessed with as a child. She’s nearly as old as Kinoko - I was introduced to the series at around the same time. Suzuka’s original role as Meiling was Miaka’s attendant and general Mary Sue, and she was one of my first attempts at exploring fanfiction (along with Kagami the cat demon and Teiten the Thunder Sister from Inuyashs, RIP), because I couldn’t decide which of the original Suzaku warriors I loved most. Everyone had such a wonderfully tragic, lovely backstory, and I needed to give them all blankets and hugs, and Miaka was just a dumbass, okay? (I think I settled on Tasuki. Love me some Tasuki.) Anyway. Suzuka eventually morphed into the Priestess of Kouryuu once I learned that Fushigi Yuugi was based on real Chinese legends, and one legend sometimes included Koryuu, the Yellow Dragon of the Center. (Fun fact: There’s a video game that explores this option, but in it, Kouryuu, is treated as a false god.) In my OC world, Kouryuu is the Great Unifier, only able to be summoned once the first four priestesses have summoned Suzaku, Seiryuu, Byakko, and Genbu, and it is he that will stop the war that threatens the four countries of the Book of the Universe of the Four Gods. In C5, Suzuka works at a bookstore owned by Hifumi Togo that specializes in rare books.

HARUHI is the last old OC, but she’s also new? Haruhi was, for the longest time, existant in a stage of limbo. Fruits Basket was introduced to me as a teenager, when I was about thirteen or fourteen, and I didn’t quiiiite embrace the message, behind it. I couldn’t get past the art style (I was very picky about what I visually consumed back then), I couldn’t get into the anime for the same reason, and I couldn’t quite get past the whole “it’s called Fruits Basket wtf and also they turn into animals? And it’s not a magical girl anime? What in the actual fuck?” But like many things I of course loved the characters, I adored my baby Kyo, and I of course made an OC specifically for him, because I back then did not ship Kyoru (sacriligious, I know). I don’t even remember what Haruhi’s original name was. I just decided that she was a Sohma and the rooster, because the curse of the original rooster was broken, and broke a long time ago, so it was entirely possible for Kyo to have a love interest who was a Sohma and the rooster who was around his age (in my teenage mind). That old Sohma OC, is of course, RIP. I can’t even. And recently, I discovered Fruits Basket Another, and I somewhat resurrected that OC in the form of Haruhi, but as the child of the OG cast. Sawa needs more friends, more protectors, and there’s no tsundere besides Hajime. It always bothered me that Kagura never got any canon love interest or story wrap up after she let go of Kyo, and then in Another she doesn’t have children. :( I love Kagura, so Haruhi is hers! I’m also sad that no one in Another dresses in kimonos when so many in Furuba did (Ritsu, Akito, Shigure, Kazuma, Kunimitsu), so Haruhi dresses in them when she isn’t in school. 

KEIKO is special. Not only is she the newest, but she is also the only character exclusive to C5. While the other characters in C5 are based on characters from other fandoms and have their personalities and such shaped by the new series, Keiko is entirely unique. Her name is a combination of the two things that birthed the series: Sailor Moon and Persona 5. Keiko is for Keiko Kitagawa, the actress who played Sailor Mars in PGSM; and Makigami is for Kazuya Makigami, a major character in Persona 5 the Daybreakers. Kazuya is also Keiko’s brother in C5 and he is... not a great person lol. Neither is Keiko. Her appearance is based on how I wear my hair irl and the clothing of Jim Hawking from Outlaw Star, my favorite anime of all time. (I sadly never made an OC for that series. I tried but I am not good at space opera.)

None of the OCs ever cross paths in C5. It would create a temporal paradox and probably result in one of them fainting or dying lol. Since they’re all essentially the same person. Fun fact: I, Ffamran (known in-universe as Bideru the author) also occasionally make cameos, and I also cannot cross paths with the OCs. Luckily Tokyo, where C5 is set, is a very big place. 

If you stuck with me through this very long post about OCs, thank you! I just really wanted to go off about them since I’ve been in a writing mood and I’m on volume 2 of C’est la Vie 5 now. 

[not-poignant]

Hey! I love your work. I have been a fan since reading From Darkness We Rise (and I am super in love with Eversion right now!) My question to you involves plot-do you plan everything out before you right or do you fill in the plot as you go? Sometimes I stuggle tying events together in my own writing.

In answer to your question though, I’m both. In some things I wing it, and in others I have a plan from the beginning, and some things I do both for.

Like for example, for From the Darkness We Rise - I winged book one, and most of book two, and then plotted out the last 15 or so chapters.

Eversion I winged for the first 15 and then plotted the last 18.

I usually know major plot points that I’m heading towards, mostly because if I’m thinking about writing a story, it’s often around major conflict or comfort points that come at different points in the story I’m imagining. So plot forms around those, and even if I have nothing planned, I sort of have an idea of what I’m working towards?

But I’ve also had stories where like, I’ve just started writing out hatefucking, and then it’s developed some plot, and then it became huge (see: Game Theory - and also The Wind that Cuts the Night).

The only things I’ve plotted from start to finish are The Ice Plague, Blackwood and The Court of Five Thrones. Even then, I often end up changing the plot around, adding in or taking out plotlines as I go. I don’t adhere to plans very strictly, I think that’s sort of…potentially doing injustice to letting things unfold naturally with the characters and the story. 

In the future though, I mostly plan to plot my original stuff, and still follow a ‘whatever works’ for fanfiction.

Regarding tying events together, that can be challenging! Sometimes towards the end of a story, or around the middle, I’ll sit down and look at the plot points I’ve opened, and which ones I want to close (I don’t always close all of them, I don’t mind loose threads sometimes, or open-ended sections). ‘Closing’ a plot point doesn’t always mean anything momentous. For example, I’ve been working on ‘closing’ Connor’s relationships in a fanfic I’m writing atm which to me just means leaving them in a better place. So we’ve had the last significant scene with Markus and Simon already, and it ends with Markus promising to reach out to Connor more, and Connor being more open with him.

Or say with SAL, I chose to put Bunnymund and Jack on ‘amicable speaking terms’ as their closure, and didn’t do anything else with them. But to me, that closed their storyline even though it didn’t resolve everything.

Some events will require a lot of work, but others can be surprisingly easy to close if you don’t overthink it, or if you put yourself in the position of reader for a little while, reread your own writing and think ‘how would I want this to end if I didn’t know the author / what was coming?’

Sometimes your more valuable tool will be ‘if I was a reader and this was something I picked up, what would I want to happen with this storyline?’ You don’t always have to do what you’d want to do (sometimes it’s good to mess with expectations if you like another idea better), but if you’re really stuck, it can be good to step back and look at the overall event and why it’s there, what it’s for, what it’s trying to achieve, and once it’s achieved it, closing it off (and this doesn’t have to be at the end of a story, either).

Some events take multiple stories to close off and others can be opened and closed in a single chapter. But yes, stepping back and plotting can help! Without going into too much more detail (I’ve already written you an essay, I’m sorry), if I’m in the middle of a long story and I need to tie up storylines, I generally do this (this is literally what I did for Eversion):

1. Write down all the major storylines or things that I’ve introduced:

2. Write down all the characters I’ve introduced

3. Begin to group things together

4. Attach those groupings to ‘scenes’ that begin to tie up 1 and 2.

At 3, you will notice characters and events will often group together naturally. For example, I wrote down ‘Veritas’ in point 1, and this included ‘Gabriel, Perkins, Gavin, Zlatko, Fowler, Connor and Hank’ in point 2 automatically. This means I have an opportunity to close off those character storylines and the Veritas storyline at the same time. That makes sense! 

Or in point 1, I wrote ‘Connor and friendship’ and then Kara, Luther, Alice, Markus, Simon, North in point 2. I can’t resolve this all in one chapter, but I can begin to give Connor scenes with all of these characters that show the evolution of his friendship capacity, and his openness with these characters (which I’ve started doing). 

So at point 4, I’ve introduced - Kara teaching Connor to cook (which also helps with ‘Connor and food’), or Luther asking Connor about his hobbies, or North helping Connor to save Hank’s life (which also ties into Hank and his coding issues and helps with this too), or Markus and Simon coming to visit. The ‘scenes’ themselves aren’t like…100% crucial. Kara didn’t have to specifically teach Connor to cook, but it grouped points 1 and 2 together well, and gave me a vehicle to do it in.

And that ties up the ‘Connor and friendship’ storyline nearly completely across 6 other ensemble characters (I’m not done yet, but you can actually see all the scenes I’ve introduced to start sort of reassuring the audience that Connor actually has a growing, stable support network as we head into the end).

After that, your chapter plan or plotting can be really simple, if you want it to be, because it just serves as a reminder of what you’re trying to do - feature aspects of point 1 and 2, grouped together (3) in a scene (4). So I might write as an example:

Chapter 28: Hank and code, Hank’s code malfunctions and Hank collapses, and Connor calls North. Panic/anger, temporary resolution.

It’s a thin chapter plan, but it does this:

Hank and code (point 1). Hank’s code malfunctions and Hank collapses (the scene - 4), and Connor calls North (point 1 for ‘Connor and friendship’ and point 2 for dealing with ensemble characters). Panic/anger, temporary resolution (leaving things open for potential resolution in the future, but we’re not there yet).

And this is basically how I juggle giant ensemble casts, a ton of different plot points, and still try and weave them together. Most of my stories feature jumps in linear time, and multiple scenes per chapter. Usually by about the midway point in a really long story, I actually really enjoy kind of putting down some skeleton chapter plan ideas, because it gives me more scenes to look forward to writing. I change whatever doesn’t work once I get there, because I’ll still know I’m meant to be dealing with points 1 and 2, so I can change 3 and 4 if I want.

(ETA: In something huge and unwieldy like The Ice Plague I will colour coordinate different plot lines and groupings of characters, and sometimes write it all down on post it notes and it’s messy and complicated but I enjoy that, lmao).

THIS WAS SO LONG I AM SO SORRY dskljfasdfsd please don’t write like me I don’t know anything

[comicteaparty]

December 25th-December 31st, 2019 Reader Favorites Archive

The archive for the Reader Favorites chat that occurred from December 25th, 2019 to December 31st, 2019.  The chat focused on the following question:

While being respectful, what’s a comic you think is objectively great but is just not to your subjective tastes?

carcarchu

the first one that comes to mind is purple hyacinth https://www.webtoons.com/en/drama/purple-hyacinth/list?title_no=1621&page=1 by all means i should love this series. i think the art and premise are great but for some intangible reason it just doesn't jive with me for some reason. i still recommend it to others and it's not like i don't read it but personally it just didn't make it feel anything

snuffysam

Honestly? Most of the comics I've read as part of #week_long_bookclub and #comment_storm fall under that umbrella. The vast majority of comics I've been introduced to through the CTP activities are really quite good (there's been exactly one in the book club that I couldn't stomach, and it was because of content/writing i personally found overly edgy & distasteful) - but for one reason or another, they're just not the type of comic I want to keep up with regularly. Too slice-of-life-y, too sad, i couldn't visually distinguish the characters that well, a super-sporadic update schedule/is on hiatus/is getting rebooted, the parts of the story I liked are clearly not things the author wants to focus on moving forward, a non-functional/poorly organized website, etc. All very good in their own right, but for one reason or another is not something I'd want to read one page at a time.

Eightfish

@snuffysam I feel similarly that most of the comics in the book club are not my cup of tea (haha). I wonder if it would be different if some of the comics there were reader suggested instead of author suggested?

keii4ii

I think CTP should remain author-submitted. Readers could suggest to the authors to submit their comic, though.

the majority of comics I encounter everywhere aren't my bag of tea, TBH. And that's probably a big part of the reason why I'm making my own. Gotta feed my inner reader's needs, one way or another

A lot of Western-written comedy, specifically, are lost on me for cultural reasons. Often they seem to be referencing something that I'm not aware of. Or they have to be read in a specific tone that's lost on me, and probably would make a bit more sense to me if voice-acted. Things like that.

Cronaj

For me it's usually art style. I'm pretty picky about art style, and I know for a fact that I'm missing out on a lot of good comics simply because the art styles are not to my tastes. Any style that's too cutesy, simplistic, or "generic" anime just doesn't call to me. There have been outliers that have managed to draw me in anyway, despite the art style, but not a lot. I also just tend to not like gag-a-day comics or slice-of-life. If there isn't a larger story, I get kind of bored. That being said, I also don't tend to enjoy most superhero/ strictly action comics, simply because I can recognize the tropes from a mile away. Not that they're bad, just... outdated? In fact, I LOVE superhero movies, but most superhero movies have adapted the tropes into a new form for the big screen. Here's an example of a comic that I've seen around, laughed at a few of the jokes, and then never felt the desire to consistently read it, just because it's not my style. Brutally Honest: (https://tapas.io/series/Brutally-Honest)

LadyLazuli (Phantomarine)

I find myself having the same problem with webcomics that I do with other media - I like to feel like I’m escaping reality. Stories set in our world are hard for me to sit through comfortably. That automatically makes general slice-of-life and romance stories hard for me to get into, unless there’s a strong fantasy/supernatural/sci-fi element to them. That already puts a lot of webcomics out of my range. Because there are SO MANY high school slice of life romance drama webcomics out there. Some of which I know are very highly rated and probably great. They’re just not what my brain craves

Tuyetnhi

strangely enough anything with western high fantasy elements I usually don't read as much compared to romance or slice of life comics lmao

kinda in the same spot to what keii said: a lot of western themes get lost for me and I feel like I need to put my own spin on things if that make sense

Nutty (Court of Roses)

To be fair and honest... I don't really have comics I don't enjoy, or I guess fall too far outside my tastes? Out of the ones I've read, anyways! My reasoning is that I just don't have TIME to read too many comics out there, so when I decide for myself that yes, I'm going to sit down and commit myself to this comic, I look for and find things to enjoy about it, even if it's not normally my cup of tea. The story, the art, the style, the jokes... I try to keep an open mind and enjoy whatever I have the chance to get into, because as an artist I think about the person behind the comic and what kind of story they're trying to tell. I just... really like comics ahahah I wish I had more time to read more!!!!(edited)

FeatherNotes

I agree with @LadyLazuli (Phantomarine) on the 'set in our world ' bit! I find it difficult as well to immerse myself im stories that are in our world with exceptions of an alternate reality or large enough twist that would really differ from what the setting is. Slice of life doesn't really appeal to me, mainly because many comics don't have very stand out designs/personalities for characters that i would gravitate to. To be more specific to the question however, there are certainly quite a few amazing looking comics that don't really float my boat simply bc of style or execution of story or whatnot! Ive been reading one recently that hasn't really stuck to me or left any impact character/story wise, but.....im still reading it! so there def must be something!

Octoflamingo

There are a lot of comics I like but I find myself not reading them after I get to where they last update. I just rarely check in afterwards and usually by the time I do I’ve forgot the plot. I feel that every time I go back to a comic I have to read it all over again to get back to where I was. That can be really time consuming the longer the series is. I also try not to pick up long story oriented series if they aren’t finished because I know I’ll never get to the end of them.

Bear

I say this as a person in the LGBT+ community: I’ve become very tired of comics that centre around a person coming out. Which sucks because they’re super important! But I’ve lived the struggle, everyone close to me has lived the struggle. It’s tiring. What I want is genre stories where the characters are LGBT+, but that’s not necessarily the focus. Luckily in webcomics that’s easier to find. I still have to dig through coming out stories to find them though.

Deo101

Gotta say, super agree with that one Bear.

Eightfish

Same. I like stories where characters are just casually LGBT. Even to the point where they won't even mention that they're gay or lesbian and instead just show up in a gay relationship or naturally bring up their attraction to the same sex. Steven Universe does this really well, I think.

Oh and speaking of suggesting authors to sign up their comics, I think I could have a lot to say about @LadyLazuli (Phantomarine) 's Phantomarine (: Maybe in a few months when the comic gets a little more ahead in the plot?

LadyLazuli (Phantomarine)

@Eightfish I may submit it after this chapter is done around the beginning of February! I do wish I were further ahead, but there will still be plenty to say after this one wraps up. Thank you for the encouragement!

RebelVampire

If I'm just speaking in general, usually comedy and slice-of-life comics will fall into this category for me even if they're fantastic. I am very, very particular about comedy and slice-of-life. Especially comedy, as I'm usually very specific about the sort of stuff that actually makes me laugh and entertains me. So honestly, a lot of comedy in comics is just not my jam. In a more specific comic sense, Kamikaze to name just one of many: https://kamikazeanimated.com/comic/ The art in the comic is fantastic, the characters really fleshed out and interesting, and even some of the comedy I like. Objectively, I think this is a fantastic comic with a ton of effort put behind it and one everyone should give a chance. That being said, for me personally, I just can't get into the pacing. It's a bit too slow for me even if I think objectively it works fine. So while it's a comic I might enjoy in bulk reads, as a page-by-page thing I just can't do it.

Cap’n Lee (Flowerlark Studios)

To be honest, I can’t really name any comics? I tend to like just about any comic that’s really well done. Obviously I have my preferred genres, but I simply don’t seek out comics that aren’t my thing. If I do read past the first few pages of an objectively well-made comic, chances are I’m going to stick around snd keep reading.

Eightfish

Maybe my own comic? Not that I think it's objectively great, but it is of course more completely to my own taste than any other comic out there. Yet if I try to read my own comic I can't glean any enjoyment out of it over the overwhelming feeling of hearing my own recorded voice played back to me. Anyone else?

keii4ii

That's an interesting answer! I can't say I feel 100% the same, but I can relate to perhaps a facet or two of it.

I don't really read my comic either, after all, even though it's an honest reflection of what I want to read.

Eightfish

Thing is I have another short comic from about 6 years ago that I am now far removed from enough to read objectively. And I notice things I think are well done that I didn't notice before and big flaws that I haven't considered 6 years ago. So I'm worried since I can't read my current comic objectively I don't know what I need to improve on

keii4ii

That's definitely a struggle for me as well. It's what constructive critiques are for, BUT it's not easy finding someone willing, able and well suited to critique your work.

I used to actively solicit concrit on my comic. While I appreciate that every critic spent their time and effort genuinely trying to be helpful, the actual critiques weren't always helpful. You have to be a good critic (it takes skills), and you have to be the right critic for that specific story.

🌈ERROR404 🌈

I totally agree on that keii, a lot of people see concrit as the solution for every issue, but that's just bound for trouble. There are a lot more bad and mediocre critiques than well stated and usable ones

keii4ii

Yeah. There's a reason why the services of a good editor are so highly valued!

Cronaj

I think the problem is that most people who offer critiques are trying to shape the story in a way that they themselves would enjoy more, and not necessarily an objective improvement to the existing story. Offering a critique that also preserves the essence and heart of a story is extremely difficult.(edited)

Eightfish

Also when critique is contradictory- " I love how your comic gets right into the interesting part" vs. " I was really confused by the intro " But I don't know what side I would be on if I was a reader because as the author I would never be confused by my own story.(edited)

keii4ii

Yeah, and even when you get two crits on the same "side" it's possible that it's just skewed data due to small sample size. Like, maybe both of the critics are simply not your target audience. I've found that it helps a LOT if you ask specific questions, instead of just asking for a concrit. Coming up with good questions can be very difficult, though! One I've asked in the past is "did you lose interest while reading the comic? If so, at what point(s)?" and I got helpful answers from that, even from people who weren't the target audience.

Kelsey (Kurio)

I admit, I’m not the best at critiquing, like trying to bring to mind things other than “art looks nice” or “I like that joke” or whatnot

Though I guess it gets easier the more I read and mull over something

🌈ERROR404 🌈

it's sometimes hard to find something good and worthwhile to critique LOL

Kelsey (Kurio)

And of course, how does one define “objective improvement” with works of art/media? Outside of things like improving grammar, but what about in cases where it’s like that on purpose? It’s real hard to be totally objective with criticism when you think about it, even when you try to be objective

keii4ii

This might be getting off topic for the channel, but I think it's better to think of it as "effective for the goals of this work" rather than "objective." If you do X in your work on purpose, but X is not appealing to your target demographic, that's not effective. You need to either not do X, or re-define your target demographic. (Not necessarily the only options in that situation, but you get the point.)

Cronaj

I definitely think that "effective" is a better word for what I meant. It's all about intent. For example, most people generally agree that art style should be consistent in a comic, BUT in some cases (especially in comedy) switching up the art style for a scene or a panel to emphasize a point or subvert expectations (thus making the scene potentially funnier) is a very "effective" inconsistency. Basically, if something is effective for telling the story or instilling a mood, the objective view basically becomes null.

DanitheCarutor

I can get into almost anything, there are very few stories I have trouble with, even if it's a genre I wouldn't normally like. Although there are a couple that I'm really picky with, and that's gag-a-day comics or general comedy. The only ones I can think I've actively read off the top of my head are Oglaf, Perry Bible Fellowship and more recently, Woman World. Other than those few the genres never catch my interest, I'm more for story/character driven comics, with plot and stuff like that. Sometimes a comic doesn't click regardless of genre, for example: Homestuck I tried sooo hard to read this one to see what the hype was about, but the farthest I've ever gotten was maybe 50 pages after several attempts, and that's not because it's bad! The comic just didn't click, and regardless of my taste I probably would recommend it to someone who likes those types of comics.

[aqua-dan]

I may as well try the Xenoblade ask things: all the story ones (11-30) and 50 if that’s not too many.

Oh my! That is quite a few! But hey, never let it be said that I’m a quitter! Thank you for the ask, my friend! Here goes nothing…

11 - Did you get any of the plot-twists spoiled to you before playing Xenoblade?: Nope! I mean, okay technically yes. But sometimes I can be really stupid and oblivious, and even though I was dropped some REALLY BIG hints, I still managed not to get it due to my sheer stupidity alone hah! I suppose being naturally dumb has its perks sometimes!

12 - Which character did you like the most?: This is one of those questions I can never truly have a solid answer for! I’ve re-played Xenoblade so many times, and I swear I have a different favorite of the main characters every time! They’re all very great in their own ways. But!! If we’re including non-main characters in this question, then Kallian and Alvis are solid faves forever.

13 - Opinion of Juju?: I’ve never minded him too much. He’s a little helpless, sure, but he’s got his own neat little arc with all the Colony 6 stuff! I think people make him out to be worse than he actually is. 

14 - Was there any scene which made you cry?: Aah,, It really might be a better idea to ask me which scenes DIDN’T make me cry, because I swear there are fewer of those. But regardless, the ending cutscene in particular always gets me pretty emotional.

15 - What’s your opinion of the ending?: Ah yes, speaking of! The first time I watched the game (watched a lets play before playing it myself), I didn’t really understand the ending all too well. But after playing it myself and dwelling on it for a really… painfully.. long time, I ended up understanding and also really enjoying the ending! It’s very bittersweet and it absolutely made me cry. Just seeing them all in normal situations after all of this is over, in a way beginning a new journey, it’s so lovely!

16 - Which character do you think deserved more spotlight?: KALLIAN. Listen, he’s actually one of the most important characters in the game, and I don’t think he’s often treated enough like it. I think it would have been really lovely to see more of him, hear more of his thoughts and how the events of the game affected him, and especially him interacting with Melia/Shulk/and various other characters. Also he’s really quite the dork if you listen to his lines and I love that. I’d love to see more of him.

17 - Did you want to kill Metal Face, even after it was revealed he was Mumkhar?: I’m pretty 50/50 on that one. I always love redemption arcs, and in truth, I’m VERY high-key a pacifist when it comes to the vast majority of things. But Mumkhar, he very well might have just been too far gone. He didn’t show (idk about feel) remorse for any of his actions. He loved to taunt, to gloat, and especially to put Dunban down. Clearly the dude has some issues to work through. But I suppose what it comes down to for me is whether or not it’s actually kinder to spare him. And in truth.. I think that’s a no in this case. 

18 - How do you think Xenoblade handled the two semi-love triangles? (Shulk/Fiora/Melia and Sharla/Reyn/Gadolt): 0/10 do not pass go, do not collect $200. The love triangles are really my one big beef with the game. I think the Reyn/Sharla/Gadolt triangle was handled better, personally. It started off feeling pretty forced, but in the end it did seem to work and I certainly don’t mind Sharla/Reyn as a ship! It’s really just the Fiora/Shulk/Melia love triangle that throws everything off for me. I had no indication before a specific line that Melia had any interest in Shulk other than being friends, Sharla and Dunban’s interference and comments were frankly weird and out of place, and the tension between Fiora and Melia then just seemed… so off-putting since I never really could get into Melia’s romance side of things. I’m very much a multi-shipper within the Xenoblade fandom, but Shulk & Melia just really don’t go together in my mind. However, I wish MOST of all that Dunban would stop making comments about Shulk and Fiora getting together. There’s like three of Dunban’s heart to hearts dedicated to that and I’m like DUDE. Let em sort it out on their own time, you’re just being weird about this. 

19 -  Favorite race in the game? (Nopon, High Entia, Machina, Homs, any Bionis enemies): High Entia! Probably not the most original pick, but I am just strangely attracted to these arrogant bastards with wings on their heads. (kidding, I love em, but they can be so incredibly stuck up)

20 - When heading towards the final battle, how did you react upon seeing our own solar system and then finally Earth?: I didn’t really understand it at first, but the second time I played it made a lot more sense! I think it’s very interesting, but honestly not very memorable. 

21 - Did you predict any plot-twists before they got more openly hinted at? (Like predicting Dickson’s betrayal before the “I feel bad about deceiving these kids” line): Once again, my own stupidity knows no bounds. I knew something was up, but the first time I saw the game, I took it very face value. 

22 - Is there any lore which you’d like to know more of?: Tons, actually! I loved learning about the history of Bionis in the game! But in a more narrowed down category, I would really love to know more about Alvis’s backstory. I have my theories, only somewhat backed up by the second two games, but it would still be nice sometimes to know more concrete things! Would definitely also help for me with writing fanfics. 

23 - Do you believe Zanza was redeemable?: Yes, actually. He was quite far gone, but I do think there were potentially things that could have ended up redeeming Zanza. The things he truly wanted could have been achieved in other ways. As Shulk said, his future and our future,, could have existed together. 

24 - Which of Fiora’s forms do you prefer – her Homs form, Face Nemesis form, Mech form, or Meyneth form?: Mech form! I mean honestly, she’s wonderful and beautiful in all forms. But Mech form is absolutely the most useful... and she makes for a very pretty robo-girl. Like y’all, I’m 100% gay and yet I’m still a little star struck when it comes to Fiora

25 - Is there any cutscene which stood out to you?: I really enjoyed the cutscenes from the second battle of sword valley. Kallian does indeed happen to be one of my absolute faves, so it’s easy to call me biased, but it’s so interesting to see his growth in the small moments you’re able to see it. He seems so much more confident here, so much happier than in other parts of the game. He’s doing what he believes is going to allow them to take the future into their own hands, and you can visibly see that it excites him! It’s cute!

26 - Which story arc is your least favorite?: Probably the whole Ether Mines thing. It’s not that the CHARACTER arcs were bad there, but the mines are just terribly boring. 

27 - Which line is your favorite?: “Your blade, it did not cut deep enough.” IT HAS SO MANY DIFFERENT MEANINGS LORD ALMIGHTY HELP ME

28 - Did you enjoy Riki’s role as a comic relief provider?: For the most part, yes! He’s a very enjoyable comic relief character! But I really appreciated his more serious moments. It’s refreshing to see comic relief with depth. Sometimes, on occasion, I wish he had more of those moments. But regardless, he’s well received to me!

29 - What’s your opinion of Shulk as a protag?: He’s such a good boy!!!! Okay, admittedly there are some Shulk moments I’m not overly fond of, and other characters I find more compelling, but he’s still really great and I wouldn’t have any other protag here!

30 - What’s your opinion of Zanza as the final villain?: EXCELLENT! I think having him as the final villain, it really summed up the whole feeling of the game, how changeable things are, and taking the future into your own hands. 

50 - How did you get introduced to Xenoblade?: Chuggaaconroy! What a dude!