#like It's one thing I think if they're running concurrently or even if they're a couple years apart

[lordlyhour]

Dungeon Meshi has been coming out for 10 years. The Very Latest Episode, at time of posting, depicts events from a manga chapter that is One Month Shy of Seven Years Old. There are human children in their first year of elementary school who are younger than those plot points.

[lurkingshan]

Things That Have My Attention in 4 Minutes Episode 4

Congrats to the Dome is Tonkla's brother truthers!

Let's talk timelines again. I still think we're working with two timelines, but I no longer think they're cleanly separated. Because if they were, you could not have some of these things happening concurrently. If we only had an Original timeline and a Redo timeline, then everything Great changes should be part of the Redo timeline. But in this episode Great saved Nan in the same timeline where Dome was dead, which we know because Great got Nan's location by getting Korn trashed after Korn fought with Tonkla over his abandonment in the aftermath of Dome's death. These things are all connected, so we can't cleanly sort events into one timeline or the other.

Which means it's most likely that the two timelines are bleeding together, making things unstable. This would explain Great's experience of overlapping moments last week, and Tonkla seeing Dome briefly before things went all weird and he disappeared at the end of today's episode.

By the way, it turns out those cold opens are not of the future--Tonkla has already done the murder in the same timeline where he's messing around with the cop. ETA: @my-rose-tinted-glasses pointed out that this is not necessarily true if the scene of Win getting the fingerprints and the phone call is also in the future. So back to square one on that!

Speaking of, what is up with Win? He is fully engaging in an affair with a murder suspect and doesn't seem to be investigating Tonkla at all. And I cannot let this pass without comment: why on earth did Win not put his pants back on during the long scene of him listening to Tonkla and Korn?! Was this really an appropriate situation to Winnie the Pooh it???

The flashback to Tonkla and Korn's beginning gave good context for why Tonkla thought he might be able to have more with Korn. I appreciated the details there: Korn was giving him money before they even had sex the first time and was lying to him about his intentions from the start, while Tonkla had zero experience when they met and didn't know how to recognize the signs of Korn's lies. Korn basically groomed this kid to be his sidepiece and has strung him along for years.

Tonkla definitely feels like a tragic character heading for a bad end, though perhaps he will also be saved eventually by the timeline shifts. In the timeline where Dome is dead and he's fucking Win, Tonkla is being incredibly reckless. I couldn't believe he just moved a new man into the home Korn pays for, he's gonna get caught.

I was grateful the show did not actually go all the way with Korn assaulting Tonkla, but it was clear he would have if Tonkla had not managed to distract him.

I continue to find the emotional tenor of Great and Tyme's scenes kinda weird. I don't understand why Great is so willing to betray Korn to help Tyme after just meeting him, I don't understand why Tyme revealed his face only to run away and then accused Great of being in on the conspiracy after already confirming he's not, and I don't understand why they were acting all blushy and awkward in that sex scene rather than leaning into the adrenaline high for a more sultry tone. They have been on one (1) date so the emotional investment is not really tracking for me for two experienced adults, but I can't tell if I am supposed to find this all weird and confusing or just go with it. It feels like the show just wants me to accept the shortcuts and buy into them as a serious romance, so okay I guess!

Speaking of betraying Korn, Great's plan was abysmal. He steals the information from Korn's phone (so considerate of him to spell out his criminal conspiracy including names and locations in one convenient text chain), tells Tyme everything without any knowledge of what his brother did, then walks right into an active hostage situation in his designer whites and shows his face to all Korn's goons. Korn is gonna know you did this, bro! Do you care?

It seems that Nan has a friend who was killed in a similar fashion to Tyme's parents, though I'm still curious how they connected and came up with this plan.

I still got nothing on this Lukwa connection. Why are she and Great the only two experiencing this phenomenon, and why did they see each other in this liminal space?

Also noting that there were several sex scenes this episode and no condoms or lube anywhere. I guess this show only depicts safe and realistic sex when they have a sponsor paying them.

[magicalrocketships]

Maybe you’ve moved on but I gotta ask.

How is de aged Max doing today? What is him and Daniel up to?

I will never have moved on from tiny Max. Never! He has my full and entire heart. I have at least three versions of this entire universe running concurrently in my head at any one time. But today Daniel has to find some clothes and shoes and toys for a newly small Max, and Max still refuses to tell him what he would like to eat for breakfast.

There is a POSSIBILITY that this link shows the stuff I've already posted in chronological order. Will it work on both mobile and browser? Who knows. Anyway, this bit follows directly on from this part.

1100 words of de-aged Max:

The woman who comes to deliver Max's Go Small stuff is called Charlotte, she's dressed impeccably, and she obviously thinks she's extremely good with children. 

She has, however, met her match in Max, because Max maintains the same stubborn silence he's been giving Daniel all morning. He folds his arms and sits on the sofa in Daniel's hastily washed and dried old Go Small kit, and barely allows Charlotte to measure his feet for some shoes. He does not answer any of her questions, and buries his face in Daniel's side when she has to put his foot in the foot measuring thingy.

Max is not very good in the morning when he's normal sized, but when he's just a baby and he's scared and trying to hide it and he's been up in the middle of the night having adventures with washing machines and unexpected baths and too-big Daniel t-shirts, well. He'd barely consented to eat any breakfast, even after Daniel had gone all out (little bowls of the two different types of cereal he has, another piece of toast with a jam smiley face on it, and then a fuck-it bowl of sweets from his bag of M&S Percy Pigs from when he was in Milton Keynes last month, because Max won't be small for long and he has to eat something). Max had sat at Daniel's table, sleepy and quiet and stubborn and shy, had eaten two bites of toast (avoiding the jam), a handful of cheerios, and three of the sweets. He'd eaten the sweets without taking his eyes off of Daniel's face, which remained creepy. He is absolutely not up for meeting strangers in Daniel's living room who do strange things like deposit bags and boxes in the doorway and then ask to measure his feet. 

"What kind of shoes would you like, Max?" Charlotte asks, which seems like a stupid question to ask given that Max has given her exactly zero interactions since she arrived, and he very clearly does not want any shoes at all. "We have red ones, and green ones, and blue ones, and some with pictures on, if you don't want a colour. We have Spider-man, and Pikachu, and—" 

For the very first time all day, Max makes a voluntary noise. His gaze darts to Daniel, his eyes bright. 

Daniel purposefully softens his smile. "Something there you like the sound of, Maxy-Max? Was it the green ones?"

Max shakes his head no.

"Well, it must be the Spider-man ones, then." He turns to Charlotte, giving her the ghost of a wink. "I think—"

"No," Max says quickly. When he says "Pikachu please," he says it so quickly the words run together, all mixed up like they've just run into a wall and scattered letters everywhere. 

"Pikachu, hey?" Daniel says. "That's a very good choice, Maxy-Max."

"They're in the van," Charlotte says, getting to her feet. "I'll go and get them, and some socks to match, maybe? Then we can try them on, make sure they fit nicely."

As she leaves, Max stares wide-eyed up at Daniel. "Pikachu shoes?"

"Pikachu shoes," Daniel agrees. "Pikachu, that's the chicken, right? Cluck-cluck."

"No," Max frowns. "Pikachu is a mouse, Daniel." 

"Right," Daniel says, nodding. "The purple mouse, I forgot. Silly Daniel."

"He is yellow," Max says, still frowning. "Pikachu is yellow and he's a mouse and he's the best one. He has a tail that goes like this--" he shapes out a lightning bolt in the air, kind of, and Daniel puts on his best learning face. "He likes ketchup."

"Ohhh," Daniel says. "Like you like tomato soup." 

Max's eyes get really wide. He beams.

Daniel rests his chin on his palm. "Do you know anything else about Pokemon? I don't think I know anything. I thought Pikachu was a purple chicken."

Max tells Daniel at least fifteen things about Pokemon before Charlotte comes back brandishing a pair of Pikachu trainers in one hand, and a bag of things to up-sell Daniel in the other. Daniel doesn't bother reviewing them, since they're clearly Pokemon clothes and books and socks and toys, and he's not exactly poor. If Max gets big again today, they can all go to some other Pokemon-obsessed seven year old. He agrees to take them all, even as Max tells him all about Charmander — his tail is on fire, Daniel, but he doesn't set on fire, it is all right, it is just his tail — and Squirtle, who Daniel believes is a horse and Max has to explain is a turtle.

"Of course," Daniel says, as he finishes velcroing Max's Pikachu trainers closed. They're teamed with matching socks. Daniel does not choose to think about what he's just paid for either of them. "Silly me. The horse is the other one, right?"

Max blinks at him like Daniel is extremely stupid. It's the cutest fucking thing Daniel has ever seen in his entire fucking life. He's seen that expression on Max's face before, only more grown up-shaped and usually directed towards the journalist with the stupidest question in any given press session. Right now the full baby force of it is directed towards him. 

"Jigglypuff, right?" Daniel says. "The horse?"

"He is not a horse, Daniel," Max says finally. Daniel's stupidity is clearly weighing heavy on him, because when Daniel gets up to say thank you and good bye to Charlotte, he gets up too, complete with new shoes, and hides behind Daniel's hip, hands to Daniel's waistband. He does not say goodbye. Daniel doesn't ask him to, particularly as when he shakes Charlotte's hand, she whispers, got yourself a handful there, and nods towards baby Max. 

Daniel is glad that he's standing as a physical shield between her and Max, because right now he feels like he could evolve into some kind of huge fucking terrifying Pokemon if anyone on the planet said anything mean about the scared little boy clutching his t-shirt. "I've got pretty big hands," he says finally, and shuts the door on her. 

Then, he turns back around to Max, who's looking down in wonder at his yellow Pikachu trainers and matching socks, his hand still tangled in Daniel's shirt. 

"You like your new shoes, Maxy?"

"Yes," Max says, wiggling his toes. "Is she coming back?"

"No," Daniel says, as Max slips his hand into his. Daniel's heart expands about fifteen sizes. "Do you want to look at your new book about flags?"

"A book about flags?" Max asks, blinking. 

"Yeah," Daniel says, grabbing the package off the table. "You want to look?"

"Yes, please," Max says, and doesn't let go of Daniel's hand. 

[continues here]

[utilitycaster]

Sorry for the rant. I think the fact that they didn't wait until after the Candela finale was a missed opportunity that would have felt less, jarring 1. they could breathe and RP for a session after coming back from the moon reconnaissance mission (this is also considering that whether or not Matt made the party fight Otohan and have a PC death) Matt could have told them to end that particular session at Keyleth's camp and even tell Liam to wait and call Dorian at the end, and then have the party switch. it's also so strange to split the session in two for whatever reason

2. having the party switch after Candela would allow for a good window of time for the Crown keeper to do what they need to in case they can't reach a good point to return to BH in 2 hours, maybe a session and a half at most

3. assuming Dorian, and maybe others with him, come back to the group after whatever this intermission is done, i think it would be hard for them to split the attention between Keyleth encampment and debriefing - mourning FCG - guest players in a way that wont feel like it makes a disservice to another one of these topics (focusing on Guests and FCG's death could make it so the debriefing for the mission they spent 10+ episodes on feels lackluster, and vis versa)

As someone else said, it feels like they are giving us a palate cleanser as i was halfway through a good meal, but also they gave us another meal and after two bites they took it away so i could finish it in two weeks

there is also this limbo feeling of that we are getting late to the airport (freeing Predathos) but also we are taking a stop for sightseeing, and snacks, and bathroom and- it's like they are trying to convince us that "there is an urgency and we have to get there now now, but also nevermind that, lets catch up with these other characters for a bit"

It's just an ODD choice no matter how you look at it

So the urgency doesn't bother me. This was a weird thing in the fandom during the Solstice Split too (god i blocked so many people for constantly shrieking ARE THE OTHERS DEAD in the main tag every week, like no they are fine, they are narratively on pause) but like. Time is frozen for Bells Hells right now. We are following another group. We are not going to get snacks; we are looking in on what other people are doing, concurrently with this campaign. Indeed, that's not a bad idea. In a good campaign, there is this sense that the rest of the world exists and is doing things as you go about your own business - you are heroes of the story but you're not the only people who matter or do things.

It really is like. In some fantasy in which I were personally asked "hey, we want to do this thing where the Crown Keepers show up midway through the episode, and we follow them for that half an episode and then the beginning of the next episode, where would you put this?" I would, to be honest, say "maybe just do it as a standalone episode itself" but if I had to it would just be, again, Not Now. Cutting away while the party is on the moon! Cutting away while they're headed to the moon! Cutting away a week from now! Cutting away just before the Otohan fight! Hell, I even think that while I would have initially been far more annoyed if we started the episode and it was the Crown Keepers the whole way through this week, it would feel more coherent. But like, on a list of 20 places to insert the Crown Keepers scene, "halfway through an episode following a particularly dramatic and tragic character death" would be 21st.

(I also do want to push back against the idea that Sam needs more time and so this is why; you could just. run more episodes without him. Travis voluntarily sat out of almost 5 episodes. It took 2 episodes for Caduceus to show up. Team Wildemount had more episodes than Team Issylra. It is literally fine if he misses a few more episodes.)

[ariadnelives]

The update I have on the writing process:

My current draft of the fourth book is on track to be about the same length as the third, possibly a bit longer! I'm noticing a trend in this one towards longer chapters, with sections within the chapters

The short story anthology about Blue is coming along nicely. I have most of the stories for it completed, a few that still need some work, and a prologue and epilogue that I need to write. While most of the stories focus on Blue, she's not the central character in all of them. The anthology is intended to flesh out some of the parts of the world I might not have space for in the "main plot" of the books.

The anthology will run before the fourth book, since elements of the stories in the anthology will be pertinent in the plot of the fourth book. Since I'm writing both things concurrently, I can make them function in tandem. The short stories are, by and large, set in a two-year period between Force Majeure and the beginning of the new book.

For clarity, I am specifically writing the fourth book so that it isn't mandatory to read the short stories before reading it. I think certain things will be more rewarding if you've read them, but my goal is that you can go directly from Force Majeure to Book 4 without missing a beat. Anything relevant from the short stories will be explained

I have a long road to go before this stuff is ready to share-- but not that long, it's much closer to "finished" than it is to "started"-- but I'm very excited to share it with you all, and go on our next adventure together. The handful of readers who've been with me for the whole ride, you know who you are and how glad I am for your continued support.

Everyone else, if you want to offer some support, I don't ask for money or anything like that. I don't even charge for the books themselves, they're available for free, in full, on ao3 and tumblr! The best way to support me, and the series, is to read, and talk about, the books. It warms my heart whenever I see people discussing the story and characters, and fills me with drive to keep writing more stories to share with you. Share them with your friends, talk about them, and feel free to send me any thoughts or questions you might have via ask!

I'll also be working on a post for New Readers fairly soon, to sorta give a basic rundown/pitch for the series, in case anyone is interested in giving it a shot. The other best support you can give would be to reblog that post to high heavens, so that more people have the opportunity to read it!

Thank you again for all your support and patience, and I really look forward to sharing more updates really soon!

[im-captain-basch]

Shit shit shit shit shit I had a thought regarding Bendy and the Dark Revival. It's kind of a stretch and I'm sure someone else has probably already thought of this, but just in case know there are major major spoilers ahead, especially pertaining to chapter 4, its character reveals, and the ending of the game.

I apologize in advanced if this seems a little disconnected.

OK, so I'm sitting here watching SuperHorrorBro play BatDR when he gets to the part where Audrey runs into Henry. He mentioned that playing the End reel would start the cycle over again, as we all know it does, but I felt his wording is peculiar:

"Everything begins again. Completely new."

Obviously we know from checking out Joey's house at the end of BatIM that Joey had drafted up several scenarios we don't necessarily ever actually see. It's possible that these scenarios are each seperate events within different loops, meaning we get such beautiful things as the Butcher Gang having fun at Bendyland and even Sammy and Bendy going fishing, most likely on the docks of the Lost Harbor. However, we don't actually get these different scenarios, either because of the limitations of the game or because Joey hasn't been able to fully implement it into the world of the Ink Machine.

Why is this important, well, there's a specific part of these drafts that fans have long speculated about, mostly in regards to whether or not it's an alternate ending that can be triggered.

This is one of the most interesting pieces from the draft, because it presents a scenario where Bendy is able to break free of the cycle ending, or at least ends it for Henry or manages to keep the cycle they're in from ending. It also makes sense if we consider what was said earlier about Joey's drafts being different loops too. I think this was something a lot of us wanted, but we haven't gotten it. At least, we didn't until Bendy and the Dark Revival.

I've seen full walkthroughs of the game. I know how the game ends, and as a result, it's very interesting to me that this is the one of those scenarios that makes a return.

The loop Audrey is caught in is certainly different, and that can be attributed to Wilson's interference to the world of the Ink Machine, but it does still run concurrent to Henry's story. For example, Wilson's Keepers are able to capture both Henry and Sammy during their chapter 5 altercation in the Lost Harbor, which is how we end up meeting Henry in BatDR to begin with.

Something I want to point out about Audrey real quick, if you're into spoilers or at least have knowledge of what happens in the game: she's a creation of Joey's through the Ink Machine, half flesh and half ink. When the ending comes and the final boss is defeated, the Ink Demon takes her and together they form a creature who looks very similar to Beast Bendy, but especially to the form we see in Joey's drafts:

My thought process here is that... in the end, we did get a "Bendy wins" scenario, just not quite in the way we expected back in 2018. It's been right under our noses since chapter 5 came out.

Audrey takes the reel, holds it in the monstrous hand of her and Bendy's combined ink form, and plays it on a projector.

Technically speaking, Bendy, though combined with Audrey, does indeed win.

They win against Wilson, and against the darker aspects of Bendy himself, who, if the last thing we see before the credits roll is any indication, may now be able to lead as normal a life as an ink creation can.

The cycle will start again, as it always does, and completely anew as Henry had said. This time, however, perhaps Bendy winning isn't the bad ending we thought it was four years ago.

(IDK man, perhaps I'm reading too far into it.)

tl;dr we probably got the Bendy wins scenario but not how we expected or wanted and it probably was never a bad ending to begin with

[pluckyredhead]

Time for more Fourth World posting that no one asked for! I've previously written about the Fourth World comics of the 1970s and the 1980s, so here are the 1990s:

New Gods (1995): I FOUND IT! I FOUND A GOOD NEW GODS COMIC THAT ISN'T BY JACK KIRBY!!!

Okay, so the art is 1995 in the worst way, but the first 11 issues (written by Rachel Pollack) are actually excellent? The problem with previous New Gods runs was that it's hard to write about a utopian world at any length, but writers tried to introduce conflict by having the people of New Genesis be shitty, which undercuts the whole...utopia thing. Pollack has the corruption come from outside, which makes all the difference.

Basically, Darkseid manages to invade the Source (God, essentially, but more of a place than an entity) in an attempt to conquer it, but Orion follows him, and, desperate to stop him, kills him. However, committing patricide within the heart of the Source corrupts it, causing natural disasters on Earth and making everyone on New Genesis go evil or crazy or both. Which was all part of Darkseid's plan (he regenerates himself out of Orion's flesh, which is both very gross and a total mic drop moment) but now the cosmos are in upheaval and that's bad for everyone.

The other thing this book does that most post-Kirby New Gods books don't manage to do is treat Orion like an actual goddamn hero. Yes, he is angry and violent and makes bad decisions driven by destructive impulses. But he also loves Highfather and Lightray and New Genesis deeply, and this book allows those things to be stronger in him than his rage, and I'm crying about it. HE IS ACTUALLY A GOOD PERSON HE'S JUST ALSO A VERY CRANKY ONE.

The last few issues are by John Byrne and the plot and tone diverge pretty sharply but that's a lead-in to a different series so I'll talk about that in a bit.

Mister Miracle (1996): The universe tends towards balance and so because New Gods (1995) was good, this comic sucks. It sort of fits into the same continuity (it takes place after Darkseid dies), and so everyone on New Genesis is kind of being an asshole. But a lot of it just doesn't make sense and isn't explained? Like, they want Scott to be the new Highfather, even though Highfather is totally around in the concurrent New Gods series, and also this is presented as just a thing that everyone knew would inevitably happen, which...no? Honestly, the things that happen in this comic are so bizarre and arbitrary - characters appearing out of nowhere, continuity errors, random and baffling changes to the lore - that I kept thinking they were going to reveal it was all a dream. Bad.

Jack Kirby's Fourth World: So in the last 4 issues of New Gods (1995), Bryne takes over and long story short, Apokalips and New Genesis are smooshed together into one planet split down the middle (and also Orion dies). This series picks up from there and also ties into the Genesis miniseries. Byrne's art is always great, but the stakes are so exhaustingly high (the planets are smooshed together! now they're separated! Orion's dead! now he's back! now Highfather's dead!) that I started feeling numb pretty quickly.

It also relies heavily on the whole "god" thing, which means way more religious themes than I'm particularly comfortable with. (And yes, Kirby also drew very heavily one biblical themes but more for worldbuilding. He didn't have everyone on Earth "lose faith" because of issues with Source, as if atheists are just fooling themselves.) I just don't need that much Thor and Odin in my Fourth World comics, and the two of them repeatedly saying that they are "the closest to the Old Gods" is way too literal. (A commonly accepted version of events is that one of Kirby's biggest frustrations with Marvel was not being able to write a Ragnarok story and kill off Thor and his supporting cast, which is why he came to DC...where he immediately opened his book about NEW gods with the words "There came a time when the old gods died!" and a clear depiction of Ragnarok. This fan theory has several holes in it, not least of which is that Kirby did draw a Ragnarok story for Marvel, but the aggressively obvious allusion here just feels like Byrne is elbowing me in the ribs going "Get it? GET IT?")

Also, there are weird changes to the lore. I've mentioned before that in Mister Miracle #1, Scott is clearly already familiar with Earth, meaning some time has passed between his escape from Apokalips and our first sight of him...but Kirby has him living on Earth for two hundred years before Mister Miracle #1, including marrying a woman who isn't Barda - as if the idea that Scott and Barda had spent that long apart or that it took Barda that long to decide to leave Apokalips makes any sense at all. Tigra, Orion's mom, spends issues and issues claiming Orion is the result of a one night stand she had with some guy and thus not Darkseid's kid, and nobody really believes her but it's never actually resolved. Also, Infinity Man turns out to be Darkseid's brother??? What the hell.

This series also has a lot of Takion, a real Original Character Do Not Steal of a guy if ever there was one. He's Paul Kupperberg's OC, not Byrne's, but he shows up and is sparkly and more powerful than everyone and can talk to the Source and all the other characters ask him for advice all the time even though he literally just showed up and Beautiful Dreamer is in love with him and then he becomes the new Highfather. Big Mary Sue energy. Also he looks like a ripoff of Waverider, who is already firmly in Original Character Do Not Steal territory.

Anyway the series ends with Apokalips and New Genesis gearing up for a final, major clash...and then the last issue is literally just Byrne retelling a mashup of Forever People #1 and Superman's Pal Jimmy Olsen #147, but setting them in the post-Crisis universe instead of their original pre-Crisis framework. And then it's over. What? What???

Anyway on to the 2000s and the series I've been looking forward to since I started this project, Walt Simonson's Orion! See you in the next post!

[ouroborosorder]

My belief that Maribel is Yukari is based on reading a few RenMerry fics I really liked a few years ago that used that assumption but I'm curious what other theories exist about that connection. It used to drive me so insane before Len'en gave me much more to drive myself insane over (turns out I'm addicted to getting attached to plot threads that aren't getting resolved anytime soon).

okay so i'm going to level here. I really don't know what they are. I honestly also really don't care. I'm sure the evidence is good, I'm sure the theory is fine.

But when I say I hate the theory that Maribel is Yukari, I mean I hate it on a conceptual level. Not only do I think it adds nothing to the story, I think it takes away from it at a fundemental level.

Part of why Maribel and Renko are so important to me is that they're so... weird structurally. They're completely disconnected from Gensokyo and Touhou in general, but are undeniably linked to it. They feel like echoes of Gensokyo. Maribel and Renko are iterations of Marisa and Reimu the same way that every Gundam series echoes Char and Amuro. It's the same heart and narrative sensibilities, applied to a different angle, a different part of the world, expanding outwards in a way Touhou can't always do - the comfortable dystopia of modern life.

When I first found out about them, that was the thing that made me compelled by Touhou as a series. That this world felt suddenly so big. The story's point felt so distinct. Touhou is a story set in Gensokyo, a fantasy world running concurrent with our own reality. But there's sidestories set in Tokyo, but in a distant unnamed future. There is no reality here. There is only two different fantasies, adjacent to the reality we live in, and yet undeniably shaped by it.

So if Maribel is Yukari then... it undoes... everything I love about them.

The world is not bigger than you think. The story is not about the fantasy layered over our reality, there is no grander scope to the world beyond the setting. It's all about Gensokyo, and always was. Not even Gensokyo, but about the central characters in Gensokyo.

And then... What's the point of the Hifuu Club at all?

This is why I like Sumireko so much, ironically. Because she feels like an echo of Renko the same way that Renko feels like an echo of Reimu. The layers of fantasy echo back in on each other. And the result is the one character who is most closely tied to reality itself. The girl who is escaping it, and drifting deeper and deeper into the fantasy.

As time passes by, we're destined to become the future depicted in the Hifuu club. A smaller, comfortable dystopia. They're building apartments on Mt. Fuji. Nobody can eat strawberries due to climate change. We escape into this dreamlike fantasy, bringing reality and the fantastical future we're inevitably running towards with us.

maybe this is just me justifying shit because Sumireko is my favorite Touhou but idk it feels tangibly different

[rharyx]

Okay, so I just gotta say, every time I hear RTD speak, I get hit with psychic damage. Dude talks like he wants to be this hero of marginalized communities, but he doesn't seem to understand any of the issues he's trying to champion?

"We didn't want to make fun of drag culture, so David didn't wear Jodie's outfit upon regenerating."

"We realized that Davros being disabled was offensive to people who use wheelchairs, so we took away his Dalek components."

"We want to make sure people know we're progressive, so we're going to have Donna and Rose mock the Doctor for being male."

"It was important to address the Toymaker was racist in the 60s, so we gave him a German accent and had him make a rude comment to someone."

"If we didn't address this stuff, we'd look ignorant, and I'm very aware of that. I'm an ally!"

He just misses the point of all of these topics and ends up making himself look worse in the process? And it makes me genuinely wonder if RTD actually asked any person who he thinks this stuff affects before deciding on these things.

Cuz it's like he doesn't actually care about the issues he's tackling, he just wants people to see how CLEVER~ and INCLUSIVE~ he is.

Which is how you get moments with him explaining the "Rose getting deadnamed" scene. The deadnaming was requested by the actor herself, so I have no issue with that...but RTD just takes it as an opportunity to explain that her deadname is *super important* because the name means "healer" and healer = doctor, so SEE HOW CLEVER I AM, HER DEADNAME IS WORDPLAY! IT'S ALL TIED TOGETHER, GUYS!

Or the Davros-wheelchair thing, which (and I may be speaking out of my ass here) but I doubt any person who uses a wheelchair actually cares about? Like, the idea of Davros was "he's part-Dalek," not "disabled people are evil." He's evil because he's evil, not because he can't use his legs.

I thought it was really cool to see a younger Davros, but then RTD had to say things like this and make a mountain out of a molehill, addressing a problem that didn't exist. He just comes off looking goofy. Davros had an iconic silhouette, and now if he's brought back under RTD...he'll just look like some regular dude? Why?

Meanwhile, Jodie's outfit was gender-neutral in the first place, and already worn by the Master earlier in that same episode. In The End of Time, RTD had the Master wearing women's clothing as well when he took over every person on the planet. So is RTD saying it's alright for a guy to wear women's clothes if they're a villain?? Because I doubt that's the message he's trying to convey, but it's what it ends up looking like.

(I'm sure if this was brought to his attention, he'd just apologize for being an ignorant man back in 2009 and he's sorry for upsetting everyone -- even though no one was upset.)

(I'm still waiting for an in-universe reason why Tennant got new clothes in the regeneration, btw.)

And the Toymaker was only seen as racist in the 60s for out-of-universe reasons, he wasn't actually racist in the story. Addressing that by making him ACTUALLY racist is just like...bruh, what??

And I don't even want to get into the bi-generation thing, but I will.

This is a different topic, but still related to dumb shit RTD says. Namely that he thinks the bi-generation retroactively caused all previous Doctors to split and now they're all running around space and time concurrently. Apparently, this was said as a joke and not something established in the lore yet (thank God), but it's still a very weird thing to ever fantasize about.

Because Doctor Who is a show about death. And moving on. And new beginnings. Capaldi said it himself in an interview once that "death" is one of the core components of the series, thanks to the Doctor needing to die for the series to move forward. "Everything ends and it's sad, but everything begins and it's happy."

That's the thematic point of regeneration. You're supposed to be sad about the leaving Doctor, but be happy about the new Doctor coming in.

It completely removes the emotional weight of the series to even joke about saying something like, "Oh, all the previous Doctors are alive again and off having adventures." It's like bringing Iron Man back in future MCU movies. It's bad, and it undermines the stories and emotions that came before.

The Doctor needs to die, and a new Doctor needs to come in.

And what makes it even more annoying here, is that Ncuti's introduction is now overstepped by the fact that, no, David Tennant isn't leaving. We're not letting him go. The series will NOT move on from the super-popular 10th Doctor. It not only makes Ncuti's Doctor look like an offshoot of the "real" Doctor that continues to be David Tennant, but it also undercuts that core theme of the show.

Furthermore, while I do like the idea of the Doctor settling down for a while to process his trauma...did RTD just simply ignore the entirety of Moffat's era? Saying the Doctor's just always wanted a family or home is a super strange read on the character, but especially since he already had a family with the Ponds, and lived peacefully with River for 24 years, and spent 70+ years as a teacher and got to become a sort of grandfather to Bill (to say nothing of his actually literal granddaughter that he basically abandoned.) He's settled down multiple times. Maybe the idea was that *this* Doctor never got that, while 11 and 12 did -- but even then, it's a flimsy take that excludes 13.

I see people saying, "Yeah, but in all those situations, those characters died, and that's why it'll be different here." But will it? Donna and her family will still age and die while the Doctor barely ages at all, and it'll still be super sad for him. The nuance is kinda different, but not by much. That's the entire excuse he always gives when asked why he doesn't simply stop moving.

"This is the happiest I've ever been in my life," just...doesn't feel like a thing that's real to me?? Maybe the happiest 10/14 has even been, but the Doctors in general? I don't know about that.

Anyway, this has gone on long enough.

RTD is a good writer, and I love his first era of Doctor Who, but dude needs to get his head out of his own ass and stop jumping at ghosts and getting worked up regarding issues that don't actually exist in the way he thinks they do. If it was just one example out of these, I don't think I'd care, but as they accumulate you just realize how strange RTD is being and it gets tiring.

Doctor Who has always been political, and "woke," and I enjoy laughing at upset right-wingers and much as the next guy, but I think there's a line between being political/progressive...and RTD just being a straight weirdo about issues he clearly doesn't understand or care about and acting like he's everyone's savior when he's just being obnoxious and making everyone raise their eyebrows at his decisions.

[asgardian--angels]

Taika and OFMD

thinking about Taika's new interview where he's said the season 2 ending seems like a natural conclusion to the show.

We know that David wrote the season finale the way he did in case it didn't get renewed for s3. And we know that David does have a season 3 storyline in mind, as he's envisioned Ed and Stede's love story as having three acts. And I know that the fans believe there's more story to tell, too, because they haven't resolved their communication issues, their trauma, or lingering plotlines.

The interview mentions that one of the limits on the show's capacity to keep running is Taika's schedule. To me, that may be the biggest holdup of anything when you get down to it. We're so lucky to have had him for two seasons of this show, given just how many projects he has going concurrently. But it gets more and more difficult to block off months of his time - and when looking for a season 3, David is going to need to produce an exceptionally compelling reason to bring him back in again. If Taika believes the show could end where it is, as much as he's adored being on it, he may prioritize other projects.

To me it felt as much of a risk to end s2 on a 'happy ending' note than to end on a cliffhanger, because it leaves the door open for cancellation on the basis of 'good enough.' I get why he did it, and I do think it was the right choice, but still. It makes the season 3 setup harder, because as Taika even said, he wouldn't want a situation where Ed and Stede have to leave their idyllic life behind. Which would have to happen to some extent - pulled back into the fray at least temporarily when the crew needs their help or the larger conflict of the pirates vs the English comes to a head, otherwise there'd be no drama or excitement. And if the storyline was simply Ed and Stede running an inn and having domestic mornings and working out their feelings, that's just not enough for Taika to clear his schedule and sacrifice other potential projects.

I trust David Jenkins to have something in mind that can convince tptb a third season would bring them great ratings and streaming subscriptions. I honestly don't think that's the part of this process that would hold (is holding?) the execs' decision up. Rather, it's whether the premise for season 3 is deemed compelling and necessary enough for our big name actors to sign on and commit their time to. For all we know, it's taking more time than anything to just figure out if Taika has any time in the next two years to devote to this (have you seen the sheer number and scale of his upcoming films?). They're not going to greenlight a third season if Taika can't commit. And Taika's so busy right now with Next Goal Wins that maybe they haven't even been able to sit down with him to have a lengthy contract discussion.

I'd like to think that Taika and David have discussed the three-act story premise for OFMD thoroughly, since it's something David's been saying since season 1 and if Taika didn't think he could do three seasons then I'd think the show would have been a nonstarter unless it was a 'cross that bridge when we come to it' situation, so the potential difference in opinion here is interesting. But it leads to some possibilities such as a season 3 where Ed and Stede aren't main characters - the focus turns more to the crew, with only half or even a third of the episodes featuring the main duo. Or an even shorter season 3 such as a 3 or 5 episode miniseries to reduce the time commitment for Taika. If the timeline for the show's production has to get pushed out an extra year to fit with his schedule, HBO Max might just decide it's not worthwhile to pursue. So there's a lot of things that can happen, and as much as we want an expanded season 3 with more episodes and a bigger budget, that may very well not be compatible with the reality of Taika's long-term availability.

We have to consider these possibilities. As I've said before, season 3 is in no way guaranteed, even from streaming analytics and critical success - but this is another dimension to this conversation that I haven't heard anyone talking about, and quite possibly the most important one because it's very concrete. No Taika, no OFMD. The fact that he said the show could perhaps go on without him and Rhys shows me this is where his thoughts are as well.

I don't want to make anyone despair here - I want season 3 more than anything. I do believe the show, and the story, deserves the full arc and natural conclusion that David has planned. We absolutely need to keep campaigning for renewal, harder than ever as we move into the one-month-post-finale window. But we should also realize that a big part of the renewal decision is out of our hands, and comes down to the ability of the show's star to actually stay involved. I think Taika will try his best to shuffle things around, but as I said David needs to be able to pitch him a season 3 that convinces him Ed and Stede's story isn't finished yet.

So fingers crossed. We may not hear anything for a while, as negotiations have to involve Taika and he's a busy busy man right now. I am optimistic, but I just wanted to remind folks of this aspect of the process.

[samobservessonic]

(I've only read up to issue five of your retrospective, so some of this is probably outdated) but there's one thing I'm curious about. I recently found out about a run of sonic the hedgehog Sunday strips for British newspapers that are vaguely connected to sonic the comic, given the fourth wall breaks, robotniks egg puns, having robotniks be redesigned around the same time as the comic, and even having Richard Nelson do the art for most of the run, so id be curious to see if youd cover them at some poont too, given that they ran concurrently with the comic. And on a similar note, there are the sonic yearbooks that weren't made by fleetway, but they do still seem to be vaguely related to sonic the comic.

Thanks for asking! I do want to cover the Sonic Sunday Strips at some point, since like you said, they are largely StC-related. Sadly, I didn't learn about them until after making my reading order and passing the point where they would've appeared in that reading order if I'd been doing them alongside the other comics as they came out. Which is a shame, because they're very short, so it would've been easy to throw them up and go "Here's what the sunday strips were doing that week" The other drawback is that the site I'm using for scans does have them, but not in the correct order. So I'd need to figure that out or else see if I can find them elsewhere. But I do hope to cover them, probably after finishing the mainline StC, since there are a few "optional extras" I'm thinking about including The yearbooks I did cover though, since it was easier to add them in after the fact and they are "basically StC even if they're not officially StC". If you're following the tag from the beginning you'll get to them anyway, but all the same, here's the 1993 Yearbook and the 1994 Yearbook

[dragonsongmakhali]

10 fandoms, 10 characters, 10 tags:

Basic rules: choose 10 fandoms that you are part of/support, and choose a favorite character from each of those. Then, tag ten folks!

Tagged by: @jigschosai @sealrock @reikatsukihana and @sasslett! Thank y'all :'D

This is not ordered by how much I'm into them, they're just in whatever order came to mind :) I will caution that I don't tend to choose favorite characters, I'm more of an OC maker. Feeling chatty, so I'm putting the actual list under a cut. You're welcome.

1. FFXIV : Pretty self-explanatory for the xiv sideblog. Since I'm not as in to the MSQ, I don't think I actually have a favorite character (which I know is illegal, I'm sorry :<). I really love seeing what the community does with the characters, though!

2. Halo : The storyline went to hell long ago, but I do still adore the original trilogy and constantly mine it for gpose captions. It was basically what I lived off of in high school. If I had a tumblr back then, I'd have been insufferable. Favorite character is easily Rtas 'Vadum.

3. WoW : Kind of. Asterisk. I really only know Classic, and even then, I'm way more Horde than I am Alliance. I have approximate knowledge of many things. No favorite there either - I'm all about the world and making OCs. We have two concurrent WoW tabletop games running at the moment, so this is where most of my headspace is. Their shared timeline is different from the canon, so I'm not really in the fandom per se.

4. Mass Effect : Alien dating sim, my beloved. I even enjoyed Andromeda (jump jets implemented perfectly, fun combat, the Jardaan reminded me of Forerunners). If you ask me to choose a favorite, I'll cry. How is a mother supposed to choose between her two sons (Legion and Grunt)? Drack also gets an honorary mention for his 100s of low res pictures of guns email.

5. Elder Scrolls : Mostly Skyrim, some Oblivion. I know, I'm one of those fans. Anyway, I've probably played over 1k hours of Skyrim by this point and yet. And yet! I don't have a favorite. The entirety of the Companions? I just wish that the faction questlines in Skyrim weren't "you killed 3 wolves and have been here a week. You lead us all now", but it does give me good scaffolding which. As an OC fiend. Grabby hands.

6. The World Ends With You : This game made me good at calculus in high school. My favorite character from here is Sho Minamimoto, and I was a completely normal teenager who dealt with that by doing calculus problems for fun. Turns out, the trick to get good at math is repetition.

7. Pokémon : Probably my earliest fandom. Still play the games now and again, just got Legends Arceus (super late, I know), and that's been a lot of fun. My favorite character from the franchise is Sinnoh's Rock type leader, Roark. I had a long-running sideblog dedicated to the Sinnoh region because gen IV is my favorite in general! It's inactive at the moment.

8. Guild Wars : 2, to be more precise. I started playing about a month after release, and since it's f2p, I still drop in from time to time. Like every MMO, I have no favorites. I really love playing Sylvari, though! (The glow!! The nightmare!! The [[Heart of Thorns spoiler!!]] They're just so neat)

9. Star Trek : we're now getting into "shows I watched and didn't hate" because I'm definitely not in the 'fandom' for Trek. We've been going through the old series as a way to wind down before bed, starting with TNG. We're on Enterprise now, and I'm sad that it got canceled. Still will probably have a better ending than Voyager. I don't have a favorite, but I can tell you that the writers' collective favorite must be either Seven of Nine or Data.

10. Uh. Various anime? I can't say I've recently loved any particular series to the point of fandom, but as a whole, I've been a weeb since I was in middle school. "Recent" series that I've enjoyed have included Mob Psycho and Love is War. Coincidentally, they both saved the most banger opening for their third season.

We had to stretch a little bit, but we made it to ten! Proud of this community (this community is my brain desperately trying to remember 10 things I like)

Have no idea who's been tagged in this, so if you've done this, please ignore! Or reblog it again!

@miqojak @airis-ray @wilanserulia @ahollowgrave @blackestnight @starstrider @iron-sparrow @sumifinalfourteen @jump-n-dive @otherworldseekers

[jmeldog]

Wow thank you so much for that very detailed reply! That was such a fascinating read, I had no idea this was how the series is atm. I really thought that Win's middle school arc was done and Lost was the sequel, I wasn't aware at all that they're co-existing series. I was really worried and sad for the last few months that Win had the same terrible fate Shobu did so this is a bit of a relief for the time being.

So is this the same case for the anime as well? Both the middle school and Lost arcs have their separate anime adaptations at the same time as well? Win having these darkness powers seems really dark for the show considering the screenshots I've seen of certain eps, is the anime going to go down that route at all in your opinion?

No problem! Again, I am always happy to infodump. I can infodump about duema as much as anyone wants. Just ask me to elaborate on near anything and I very gladly shall.

Long story short for this ask:

Honestly. I have no clue what they’re gonna do with the mainline adaptation 😭 darkness and horrors aren’t new to duema at all, even when seasons seem silly. But they handle Win weirdly. They drag their feet a loooooot.

However, the door still seems open for it to continue with what the manga’s doing. Even though Nonno didn’t show up, the monster that messed with Win’s friend had a woman’s voice, and said it’d come back. So. Shrug. She could be related.

We have no clue when Duewin anime is actually coming back, it’s on hiatus. But the Duelost anime is coming to YouTube this fall. It’d be awesome if it wasn’t region locked, but my hopes aren’t high, per se. YouTube uploads of the TV airings have always been region locked, but an anime exclusively to YouTube could be different.? But again. Idk.

Now the ramblings… (i really really rambled a lot whoops……… but there’s a lot that goes into how I think about this series………….)

But yeah, it’s is kinda strange to have Duewin and Duelost running at the same time, but like I think I get why. Dai-sensei wrote a letter about why he wanted to make Duelost, and basically he wanted a story for all the adults who grew up playing duema who still make time for it throughout the struggles of adulthood. So in that sense, yeah I can see why they’re existing concurrently—one for kids and one for adults.

In regards to how Duewin and Duelost anime counterparts are going… I honestly wish I could say what’s going on.

We know for certain Duelost anime is getting an anime adaptation by JC Staff in fall this year. Seems like it’s gonna be uploaded on YouTube.

As for mainline Duewin anime………? I don’t think we know anything about when it’s coming back???

Afaik, we’re in a fucked up purgatory of

Duewin anime: hiatus

Duewin manga: currently monthly

Duelost anime: coming out in fall

Duelost manga: hiatus

So anyway, in regards to the statement

“Win having these darkness powers seems really dark for the show considering the screenshots I've seen of certain eps, is the anime going to go down that route at all in your opinion?”

My answer is… maybe…? I don’t think it’s too dark for duema at all…….With an incredibly large asterisk.

Yeah, duema’s absolutely goofy, but it also gets pretty fucked up too. So much so on both ends that I’d say the violent emotional whiplash is a feature of the series.

The powers that Win has—disintegrating living things—are pretty similar to the powers that a king of darkness character from a different era had. And that character literally killed the MC’s best friend, killed the best friend’s dad, killed tons of other bg randos, and tortured many with those powers. So. Eh yannow.

Here’s my friend, Ze-ro. From Joe era duema.

Here’s some kids getting tortured and killed by him (burning in flames, turning into sand)

And here’s Joe in the Minecraft parody ep.

But honestly, maybe they just don’t want their protags to look bad. In the manga, the previous protag, Joe, also had a breakdown, started using dark power, and killed the guy who killed his dad.

But um. Granted I haven’t seen all of the anime adaptation of this half of Joe era because I was warned that it sucked in comparison. . . But I went to watch the “you killed my dad” revenge match in the anime and Joe just did a magical girl transformation on him 😭 no murder.

Later Joe has a depression arc, and looks horrible and unwashed in the manga. While in the anime they kept him squeaky clean. Among many, many other changes that I’ll spare you the paragraphs about.

However, it’s not like the anime never adds things that are fucked up. They’ve done horrible things to my sanity. But I’m trying to prevent this essay from getting any longer, so for this section I digress…

The manga’s prolly always gonna be darker when it wants to be, because Dai-sensei is a visionary who’ll put his protags through whatever the hell kinda horrors he wants. Though it is generally because he believes in a light at the end of the tunnel.

Sorry for the but rambling about the prior seasons, but they all kinda play into what I expect from following duemas.

So anyway

They were building to Win snapping in duewin anime, but just kinda…? Pussied out??? Put it off??????? I guess????????????

Because they wrote the story so it could be cut off quite cleanly literally before Win snapped. It’s such a strange and slightly frustrating decision after they dragged their feet the entire 47 eps of the season. Like 🫠 I guess they can’t outpace the manga but… wagh who knows. Maybe it’s just one of those things that’s frustrating to have watched live, but if I were to binge it I wouldn’t be as annoyed. Maybe.

But what gets me tho is the anime even added some extra stuff to torment Win. The anime gave Win mommy issues + made him canonically atheist (really funny, btw) because his mom wouldn’t come back after leaving him no matter how much he prayed. But despite Jashin poking Win with it over and over, they didn’t do much with it in the season. (While the manga just never touches on how Win’s mom isn’t around)

But like I said at the very very beginning of this rambling.. yeah the door’s still technically open to follow the manga route.

So like I mentioned in a previous ask, in the manga Nonno messed with one of Win’s friends, Ugata. In the anime, it was just the monster that Nonno gave him. And a possessed mouse.? But in the anime the monster had a woman’s voice and said it’d come back, so………

But alsoooooo I really wonder how they’d get Win as pissed in the anime as he was in the manga 😭 he was so pissed off at her cuz he was fresh off finding out Ugata had been bullied in elementary school and was jealous of Win, and that Nonno had taken advantage of that. She’d gotten Ugata to destroy the school, attempt to kill Win, and hurt their other friend, and afterwards she was like “lol lmao whatevs why r you even so mad over something like this xD” while Ugata was still unconscious on the ground with tears staining his face, yannow? Like yeah they could always try to build the tension back up, but the moment was just really good.

(Also I’m 99% sure Ugata getting bullied in the past just wasn’t apart of his backstory in the anime. Weird.)

While the anime on the other hand had a really happy ending lmao. Everyone was around Ugata welcoming him back to being normal.

The difference in Win’s vibes between getting Ugata back to normal in the anime vs manga is well…. Well it’s pretty dang noticeable, alright!

Like obviously if they want to continue Win era they have to go somewhere with Win being a king of darkness, but if they’re being so deliberate with dragging it out I really wonder what they’re gonna do.

There’s a lot more I could get into over studio changes, amount of volumes being adapted per season, and shit like that but um I think I’ll cut myself off here. I rambled enough.

I think I lost the point of what I was talking about a while ago. Whoops.

This is like all speculation. thanks for reading I’m not proofing this anymore 👍

Fun fact this hiatus after Duewin anime is the first hiatus in the history of the show. Which tbh I’m happy they’re having a break, because the animation industry is hell and adapting an ongoing manga for 20+ years seems insane.

[utilitycaster]

@villadiodatis replied to your post “I know it's Nein lockdown but in practice for me...”:

I’ve been really hostile to the daggerheart c4 idea because it’s mostly come from the same people who fearmonger about how “c3’s got the lowest viewing numbers ever” but the magic shifting thing does make me wonder—it could also be a justification for the changes in 5e 2024, and my prediction remains 5e c4 with a daggerheart campaign in the current candela slot with some of the new regular guests, but we’ll see!

​Moving this out of the replies because this is a very valid point. To be honest a lot of the Daggerheart C4 people of that nature have apparently stopped believing it because somehow it hinged on the gods definitely being killed off (as opposed to the current state where it's been made pretty clear Bells Hells gets to decide what happens and it is not a foregone conclusion) and also it being a d20 system specifically (no idea why) but yeah. I will say: I don't see any specific reason to switch to 5e's changes/OneD&D. I mean, they could if they want to, but people played D&D 3.5e throughout the entire existence of D&D 4e; there are still people out there who stick with AD&D. A lot of the people claiming C3 has lower viewership than ever also kind of hated Campaign 2 and really have hated everything since Campaign 1. Right now they're blaming D&D but earlier they blamed the switch to pre-taping or the "meandering plot" and like, in the end, I'm pretty sure a lot of them were ultimately just fans of Vox Machina and of the cast being more accessible to a small fandom and they will never be happy with Critical Role again.

I will freely admit: I do not know if a campaign 4 is guaranteed to happen at all. It's a massive commitment and it's not out of the question that after this campaign Critical Role won't shift into EXU and various miniseries alone. During Campaign 2, Campaign 3 wasn't a guarantee either. But if there is another long-form campaign in the channel's immediate future, I feel like Daggerheart makes it more likely, and to be honest I think what you mentioned seems really unlikely:

A smart way to avoid the loss of audience when switching out of D&D (the recognizable brand) is to keep all the other things the same. Keep the setting of Exandria; keep the main cast; hope that people will stick around for Matt's GM-ing and the main cast and the world even if the mechanics change. There's plenty of reasons why I think Candela has a lower viewership including that horror is a totally different genre and a harder sell, but I also can't help but think that some people are specifically not checking it out because their favorite cast member or favorite cast dynamic isn't present.

Daggerheart is explicitly intended to support long-form play with level progressions, and I think they'd want to showcase that. Running two long-form games concurrently on the channel is really tough to the point that if they did both a 5e/OneD&D campaign and a Daggerheart Campaign, I think they'd probably have to have none of the original cast members in that as main PCs simply for reasons of time commitments and would definitely lose viewers if they did that. Candela is arc-based and can be presented sufficiently in 3-episode chapters in a way that I think Daggerheart cannot.

Again: fully speculative; but if I were say, in Marisha's shoes, and the cast had decided to do another long-form campaign after C3 I'd go with Daggerheart, still using D&D 5e for any EXU games set in the past, and keep Candela as a mini-series on the off weeks.

[softgrungeprophet]

I was rambling about this in my insta stories and had been thinking about making a post like this off and on for a while so, i'm just gonna do it now

Spider-Man comics to get to know me:

(Peter Parker: Spider-Man #47 (Jenkins/Ramos))

These are comics I like, comics that make me go "AUGHFDHGH" etc. I'm not saying they're masterpieces (though some of them are), but I'm saying I like them and they are a good insight into my tastes and why I write and draw the way I do, for my AUs, etc...

apologies in advance, this post is going to be a bit long.

🕸️🕸️🕸️

first: a comic arc (really, arcs) that makes me feel crazy (in a good way)

Peter Parker: Spider-Man #44-47 (Jenkins/Ramos) and Spectacular Spider-Man v2 #3-10 (Jenkins/Ramos) (also issue #27)

I am still randomly working my way through these comics in bits and pieces because I read like a weirdo (aka, sometimes out of order, often with large breaks in between) but in general I do recommend these specific issues to at least some extent if you want to understand my tastes in comics and what subplots make me absolutely feral

with the caveat that these comics are incredibly early aughts for better and for worse; some of the jokes don't quite land (particularly Nurse Helga in SSM, which is a textbook example of the Brawnhilda trope, such a staple of 2000s humor and just not funny), and I find Jenkins' take on Venom (and Eddie Brock's backstory, mannerisms and speech) to be lacking... though it's not entirely uncompelling.

but as far as Peter, and his life, and the stuff involving Flash, and also the scene where he makes Ock beg for mercy, it's very much my shit. He makes Peter feel lost and directionless in a way that feels very believable, and it's clear that Peter really gives a shit about people. Even just the other people in his apartment building breaking into his apartment to play games using his TV is like... Yeah. I love it.

Extremely "this was made for me," and I am definitely the target audience when it comes to taste. When/if I ever have the money I'll definitely be looking for used copies of the trades with these issues in them because I really do like it a lot. I guess there's something about the way Jenkins writes (not to mention Ramos' stellar compositions) both in terms of character but also in terms of style itself—something dreamy and melancholy but not trudging—that really speaks to me as a reader and drags me in, even when he sometimes misses the mark or makes a joke that isn't funny. (which i'll admit isn't... uncommon)

I WANT TO SAY ONE THING THOUGH which is that even though I like their Spectacular stuff, the Ock arc (issues #6-10 iirc) deals with the Israel/Palestine conflict as part of the plot and while, writing-wise, it's actually surprisingly thoughtful (tho idk if i can judge whether it's truly deeply thoughtful or just not as offensive as it could have been, especially for such a fraught topic in a superhero comic), there is an Israeli character that, to be frank, the way Ramos draws him feels very antisemitic to me. I know that he has a very stylized way of drawing and he exaggerates a lot of characters' features, especially facial features, but it's still fair to point out that the IDF character is undeniably drawn in a way that is questionable at best and clearly rooted in antisemitic stereotypes whether intentional or not.

Similar goes for the Palestinian character, tbh. Ramos is, again, very stylized, but definitely is leaning more into the big hawkish noses for the arab and israeli characters...

🕸️🕸️🕸️

Sensational Spider-Man v2 #23-40 (Aguirre-Sacasa/Medina/Crain)

NOT marvel knights spider-man, I do not like marvel knights spider-man, this is a different creative team, it got the title changed from MKS I guess? idk 23-40 is literally the entire run, it starts on 23 lol

well. no 23-41 is the whole thing but 41 is OMD and I still haven't read it 🤷 Also this is concurrent with a lot of Civil War stuff, like, Aunt May getting shot, and like one of the trades actually is a Civil War branded book, but like... I didn't read basically any of that stuff. If you know the gist of what happens during Civil War, it makes plenty enough sense on its own.

This run is... my shit. Overall, I just like it. And more specifically the issues from the POV of, respectively, Aunt May, MJ, and Felicia, made me cry like a little baby. Hell—I don't even like the villain who's revealed at the culmination of the first arc but I still really like the first arc as a whole. (though I'll admit, while Aguirre-Sacasa writes a Peter I really like, he does fall into my biggest pet peeve (he's not the only one) of talking about Peter's Inherent Pure Goodness but like... he still writes a great Spidey imo)

Also. It turns out I have a thing for moody 2000s comics where it's pouring rain with art that can occasionally be described as "wack" 😂 I actually... unlike Ramos' art, I don't really find myself defending Medina's. It's ridiculously lumpy, it's very mid 2000s aesthetically, it's kind of fuck-ugly. But. The atmosphere is impeccable. I'm also not really a fan of Clayton Crain (who did the art i put up above), generally (he's just not to my taste most of the time) but like, again, the mood is impeccable and Crain is good at what he does when what he's doing is meant to be uncomfortable or creepy. The atmosphere is off the charts, man.

It's absolutely not for ages 9 and up ("A") and I really don't know how or why it got that rating instead of the 15+ "Parental Advisory" warning, because even the briefest of glimpses shows that it's a pretty intense run from the start... it's really just not for kids at all imo, though young horror buffs I'm sure could handle it for the most part.

Also yes this is the comic run where Peter meets and talks to God (#40, the Book of Peter) which. i know sounds weird. and it is weird, i won't lie. But... I liked it? I think it rewired my brain a little bit. When I mention Peter punching dumpsters in fics, this issue is where I got that from. It really made a lot of things click for me.

This run is also why I draw Felicia's hair down to her fuckin ankles lol like—even though I said! that I don't really like Medina's art! The way he draws Felicia in the pouring rain with her long, long hair plastered soaking wet to her body, like. again, rewired my brain a little bit.

THAT BEING SAID—

I feel the need to put a VERY BIG TRIGGER AND CONTENT WARNING on this recommendation.

Issues #38 and #39 are The Last Temptation of Eddie Brock.

The Last Temptation of Eddie Brock is upsetting to read (regardless of your opinion on Venom and/or Eddie as a character(s)).

Listen, I like angst. I write and read a lot of angsty stuff. I like sad endings. I like reading stories that are dark, to an extent. One could probably accuse me of liking edgelord-y or grimdark stuff. I don't even think The Last Temptation is bad. BUT. It's upsetting to read and I think it really requires a trigger warning for the things it deals with—not just cancer but also attempted suicide and self harm, and graphic violence/blood—because it's kind of intense even in its briefness, and it was a little bit upsetting for me to read even as someone who usually isn't bothered by this stuff in fiction. It's just kind of a lot.

So just keep in mind that those two issues but especially #39 might be... kind of intense or upsetting, especially if you don't know what to expect going in. I did know what to expect, I knew what happened in it already, and it still really threw me for a loop just because of the presentation of certain scenes and the visuals themselves, and it kind of stuck with me for a few days just cause it's that kind of heavy.

🕸️🕸️🕸️

Grim Hunt (Amazing Spider-Man #634-637) (Kelly/Lark/Chechetto)

What can I say except AWOOOOOOOOOOOOOO

another comic that feels like it was made just for me 😂 you might be.. noticing a pattern here.... lmao it's true i'm the target audience for edgy, violent superhero comic books (i'm just also the target audience for like. the ones where the interpersonal relationships are just as important as everything else)

Grim Hunt's got it all: it's got angry Peter, it's got dangerous Peter (perhaps even... murderous Peter), it's got Kaine being tragic, it's got nice art overall, it's got Kraven being a DILF (thanks checchetto)—also it opens on Peter with swine flu 😂

I really enjoyed Grim Hunt when i read it recently, and it really does tap into exactly the kinds of things I like in Spider-Man, in making Peter really give a shit about people, and in having Kaine trying to do the right thing, and especially in having Peter switch into my favorite mode: Horror Movie Serial Killer Mode.

It's a lot of fun!

It's not perfect, of course, and like many of the other comics on my faves list, does that "innate goodness" thing which I disagree with and I think is a thing Kelly often does? At least, twice, i guess, cause it's in Non-Stop as well sort of (though it feels more justified there). And it makes me go NOO Peter's anger does not take away from his humanity, his anger is PART of his humanity! His flaws are what make him human! But other than that it ruled and I really liked it, and like the other comics on here I'll probably try to snag a trade someday if I can find one, cause I like to physically own my favorite comics, generally.

🕸️🕸️🕸️

Non-Stop Spider-Man (Kelly/Bachalo) (all of the issues; it's not very long, it fits in a single trade, you can read it in like. an afternoon.)

(note: I haven't had a chance to read the follow-up to Non-Stop (Savage Spider-Man) yet, so I can't say if that's good or not but Non-Stop is fantastic so it's gotta be at least halfway decent)

Something I'm realizing is that I think I might like Joe Kelly's writing 😂 even his arc in SM/DP is genuinely not awful (I mean, anything that gives me Peter being sexy in a sleek black suit with claws, threatening people, ends up a minimum level of decent just by that virtue alone)

Others have said this: Bachalo's art does feel a little rushed, especially compared to other comics he's done, and yet, despite this, visually it is a TREAT. It is a FEAST for my eyeballs. The layouts are fucking WILD, it's like 90% diagonals, it fucking RULES. It goes 500000 miles an hour. This is hands-down one of the best modern (past 10 years specifically) Spider-Man comics I have read. Period. It rips, slaps, fucks, etc. It's bitchin' and I'd recommend it for the art and layouts alone!

(even if, yes, Bachalo makes Peter the most twinky twink to ever twink; at least he's fuckable) (even if not as fuckable as in SM/DP #23... with the DSL...)

But I like the writing a lot too! It's not just visually appealing, it's simply a stellar all around piece of comic-making, from the art, lettering, writing, the whole team really made something amazing.

And also, okay. So. This comic. I think it's well-written and well-drawn. But. Okay. The dialogue. It's... very very clearly influenced directly by things like the popularity of the MCU by which I mean: over-reliance on Whedon-esque, frequently memetic dialogue (which is weird because none of the other stuff I've read by Kelly has this kind of dialogue style?)... it's Cringe, essentially. That being said, I think Joe Kelly is significantly more successful and better at using this style of dialogue compared to basically every other writer I've ever seen doing it—not that that's saying much but, I do think he was largely successful with it, as cringe as "Nazi, please" is. It doesn't really stop being cringe but it is, for the most part, fairly snappy and well-paced with a good patter that matches the pacing of the art very well. It's called Non-Stop Spider-Man for a reason, it really does not stop.

Also, even with that dialogue and trying to make Peter more hip and cool (which I assume is at least partially editorial), well, Kelly remains very good at writing Peter. He just has a great handle on the character.

I also think that there's a really huge point in Kelly's favor here which is that he's completely, 100% candid, upfront and straightforward about the story he is writing. The villains in this comic are racists. They are neo-nazis and anti-semites. Kelly doesn't shy away from that or try to couch it in metaphors. They're just racist, and that is why they are bad people.

There's a scene where Zemo makes a crack about gold fillings, to Peter's face. Kelly and Bachalo allow for a single completely silent panel following this (which is very impactful in a comic that's this frenetic) and then he snaps. It's a very effective scene, and unlike some other "Character Experiences Discrimination" scenes (such as, for example, Zodiac's violent homophobic assault of Johnny Storm) even despite the fact that "Peter is Jewish" is the only thing that does remain only subtext, it feels very cathartic and well-done because Peter is allowed to be angry and fight back in response; he's not the object of the scene, he's the subject and he gets to act rather than be dehumanized or objectified as nothing more than a victim, and I really liked that and I know that I've talked about that with others who felt that it was very well executed as well.

AND that fighting back and anger is presented as justified, and right, rather than an unfortunate flaw. Peter's rage is sympathetic, justifiable, and not presented as Wrong. He is allowed to be angry, and it is okay that he is angry—in fact it is good that he is angry. Because it means he gives a shit. I like that.

I don't think the plot twist at the end entirely hits right, like... I do 100% see what Kelly was going for with it, and I don't think it's necessarily unbelievable or bad, but something just didn't click right for me there. But overall, I still think it's a good comic and is a good window into my tastes.

To quote myself: it takes big swings, some of them miss, some of them hit really hard, and it feels like it has a lot more teeth than some of the more recent comics. and i can appreciate teeth.

🕸️🕸️🕸️

(Spider-Man: Redemption #3 (DeMatteis/Zeck)

Not specific runs per se but I also really just like anything DeMatteis does—sometimes he does whiff it a tiny bit (rarely) but overall I love his writing stylistically (he's one of few writers that can get me to enthusiastically read a wall of text in a comic book), in terms of characterization and interpersonal relationships—

comics like Spider-Man: The Lost Years or Redemption were really enjoyable for me to read (thanks for the recs TC)

and of course there's Spectacular Spider-Man (Flashback) #-1 (That Thompson Boy!) which is such a foundational issue for Flash's backstory at this point

and who can forget the iconic Child Within (i'll admit i haven't actually read TCW myself but I've seen many, many pieces of it via discord lol)—he and Buscema are such a dream team for comics, really... they work so well together. Nothing hits harder than Harry's death...

Anyway, those are like, The Comics That Define My Taste to some extent (or offer the best window into what I like and understanding my taste) but

There are also other comics I know I would like that I have not read yet! Though I've read a couple issues from JMS' ASM run and enjoyed them, such as ASM #55 (love teacher!peter so much), but there's still a lot I have yet to make my way through. (i still haven't read Kraven's Last Hunt 😂 yeah I know)

(Amazing Spider-Man #55 (JMS/Romita Jr.)

(peter's like, in his mid-to-late 20s at this point i'm pretty sure lol)

And there are other single issues I won't be taking the time to list just cause, there's a lot, you know? Like...

The B story in ASM 622 (or the A story, if you're horny and want to look at peter's biceps and beautiful profile)

(Amazing Spider-Man #622 (A-story: "It is the Life," van Lente/Quinones (peter gets vampire hypnotized), B-story: "Stages of Grief," Weisman/Ross (peter and the crew throw flash a birthday party so he knows just how much he is valued and loved))

or like... ASM Extra! #3 where Flash comes back w/o his legs and Peter beats the shit out of a z-lister because he feels so guilty, and so on and so forth.

(Amazing Spider-Man: Extra! #3, "Character Assassination: Coda," Guggenheim/...Fiorentino I think? There are two artists in this story, for the two different things happening, but I think the artist for this sequence is Fabrizio Fiorentino, not Olliffe)

anyway

Good shit!!

obviously there are the classics as well, Amazing Fantasy #15, early ASM, etc., like of COURSE. Silver Age is a lot of fun (or, sometimes, tragedy) and the silver age gave us the coffee bean gang, and peter's bitchiness, and such good character dynamics, and was the start of all of it—obviously none of these comics would exist without the silver age, and like, gwen's death is iconic, and so on. but to try to pick specific issues, idk if i can single any out? i hop around so much when i read, you know? it's hard to keep track or to pick favorites 😂

but I do think that Amazing Spider-Man Annual #5 has really valuable insight into Peter as a character (spoiler: he's not very nice), though requires some basic understanding of Cold War politics and the Rosenbergs (thank you Traincat for pointing that second part out to me, it really brings nuance and clarifies subtext that might go missed otherwise)

but you can like… go on wikipedia for that really… I just think it's a neat comic and tbh for every fan (or pro) who tries to insist that Peter is a perfect, delicate, harmless boy maybe they should go to the source and see that Stan Lee disagreed. lol

(and also those people owe me... five bucks and a pizza 😉)

[rubythecrimsonwriter]

!!!!! I am so excited that we will get to see the story in some form eventually! ATC is one of my favorites because there has never been much like it, with all the cousins meeting early and just being ✨them✨ together and watching the chaos around them unfold so the idea that we get to see more of that someday is so aaaaaa<3!!!!! The rewrite outline looks so cool, also like it’s gonna be more canon compliant/ see how much can be changed behind the scenes w/o really effecting the main story and that’s always such a cool premise in a fic and I am So Excited, despite how different it’s going to be from original ATC.

Have an amazing day/night/timezone:)

For the first one, at least, I'm going to be focusing more on Thalia, Luke, and Jason during the first half. I actually really like Jason, which is uhh a controversial opinion, and the only reason why I think more people didn't like him was because we didn't get a five part series exploring his adventures first. We have a list of the notable stuff he's done canonically, at the end of TLH, and I think that'd be really fun to explore with Thalia and Luke quietly losing their minds lol.

I'd love to involve Percy more in the first part, but Sally went to extreme lengths to keep Percy with her and I don't think she'd give him up very easily. Canonically? It took a Fury, the Fates, and the Minotaur to separate them for the summer, and nothing less would do it again, not even some well meaning teens that have combat experience.

I'm toying with the idea to do away with Camp Half Blood's magical border entirely. Replacing Thalia's sacrifice with Clarisse seems a bit cheap to me, honestly, and when I first did it I wasn't sure what else to do--but it would give them an excuse to say, "no thank you," to staying at Camp. The border had been there for only five years prior to Percy arriving, probably less. Most of the older demigods probably remember the days before Thalia's sacrifice, canonically, and that's why there was quiet but mass panic about Thalia's tree dying in SoM.

The first part is the one that will stay the closest to canon. The farther we get into the story, the more it will diverge.

The Golden Fleece has already shown that it's a massive power source, enough that Thalia could part from the tree and still have the magical borders there. I'm kind of idly wondering if I should establish the borders during the rewrite of SoM, and what would motivate anyone to search it out. If the borders haven't established, and Clarisse yet lives, then Grover is no longer in disgrace and is not trying to risk his life to find Pan, though he might do it anyway. I'm thinking of running a quest for Jason concurrent with the SoM arc, and maybe he gets into trouble and that's when Thalia has to go rescue him and get the Golden Fleece. The narrative parallels would be delicious, but I'm still mulling it over, and it requires me to change bits of the first part too.

(And this is why I'm doing outlines first this time 😅)

(Suddenly realizing I'm going to need a red string conspiracy board to keep track of all the moving players during all of this lmao)

Like during ATC, things would really heat up during TTC rewrite. Now you have five of the six Big Three Kids, and they're suddenly realizing what exactly is going on with their power spiderweb thing. I'd also really like to highlight Thalia's struggle with power, and have at least one supervillain moment where you can truly see the trained, dangerous daughter of Thunder. The Ophiotaurus, especially, was canonically a powerful lure for her, and she's already made her annoyance with Olympus frighteningly clear.

(If Percy regularly frightens people, demigods, and gods, without even trying to, Thalia can definitely do it on purpose. I will enjoy that more than I probably should tbh.)

My timer is up so I need to go back to restoring my window, but do send me more asks, or reblog this with something, I will absolutely talk to you more about my thoughts on the rewrite, and it helps me figure stuff out too. 💜💜