#low key convinced that their generation invented all of it but no he has in fact been doing both of those since the 90s

[starlit-mansion]

speaking of dads eagerly accepting invitations to deck building games...

because we cannot have a single interest without it becoming about ocs, have been thinking a lot about human au neil having been an old school hobby shop nerd (he is just the most classic high fantasy lotr nerd so yeah he ate up dnd in middle school and kept up the hobby until he had a kid and his priorities changed) and having been into mtg for a bit too

and now that he is in his late 40s and bedeviled by the youths (trio of annoying transgender 20 year olds led by his two of his friends' son), they are going to be so shocked and awed that he knows what magic is and is willing to play with them. and they are going to laugh at the dorky art in his ancient deck from the ancient bygone era of... 2001

[user-2-electric-boogaloo]

A Comparison of RTD and Steven Moffat: Saving The Day

So for this analysis I’m going to compare when Moffat and RTD save the day well and when they save it poorly. There are a few bits of criteria I need to explain.

 First I will only be including main series, no Torchwood, no spin-offs, and no mini episodes.

Second, I have to define what makes a good and a bad ending (my examples will come from episodes written by neither of them): 

Bad endings include when the sonic saves the day (see The Power Of Three) (there are exceptions, see below), when a character spouts some useless technobabble that doesn’t make any scientific sense/when it doesn’t make logical sense in general, when the Doctor invents/presents a machine/equipment that miraculously stops the baddy and is never referred to again (see Journey To The Centre Of The TARDIS), and any other ending I deem to be bad (see The Vampires of Venice)

Good endings include when the sonice activates a device that has been well established to save the day, when technobabble is used that actually makes some scientific sense, and just generally when the baddy is destroyed in what I deem to be a creative manner that makes sense with all the things that had been set up in that episode (see The Unquiet Dead).

There will also be cases where there isn’t really a day to be saved, however this happens more often with Moffat.

Let us begin (obviously there will be spoilers but the last episode in the list aired nearly 4 years ago so what you doing with your life).

RTD:

Rose: Bad

What even is anti-plastic?! Like seriously, he’s faced the Autons loads of times and has never thought to use it any other time.

The End Of The World: Bad

The Doctor just goes up to the appearance of the repeated meme (ha meme) and rips its arm off. He then just summons Cassandra back by twisting a knob which apparently everyone can do if “you’re very clever like me”.

Aliens Of London/World War Three: Good

Just nuking them all was a bit dodgy but I’ll give it to him purely because it had been set up earlier in the episode and it is a genuine option that could have been taken.

The Long Game: Good

The heating issue was set up within 2 minutes of the episode starting. It’s always good to see the Doctor using his enemies weakness against them.

Boom Town: Good

Only just. It’s technology that hadn’t been showcased ever before and came out of nowhere, but I’m allowing purely because it was setting up The Parting Of The Ways.

Bad Wolf/The Parting Of The Ways: Good

See above. It was set up the story before so it works.

The Christmas Invasion: Bad

This was so close to being good. If RTD had just let the Sycorax leader be honourable then everything would have been fine. Instead he had to let him be dishonourable and then the Doctor through the Satsuma at a random button that for no apparent reason caused a bit of floor to fall away.

New Earth: Bad

It only makes sense if you think about it for less than 10 seconds as just pouring every cure to every disease ever into a giant tub and then spraying said supercure onto them all, then having them hug each other to pass it on. That is suspending my disbelief just a bit too far.

Tooth And Claw: Good

Everything is set up in the episode so I’ll allow it but I fail to see how Prince Albert had the time to ensure that the diamond was cut perfectly.

Love And Monsters: Bad

It’s Love And Monsters. Need I say more?

Army of Ghosts/Doomsday: Good

It was very clearly set up throughout the episode.

The Runaway Bride: Bad

I don’t like how a few bombs can supposedly drain the entire Thames.

Smith And Jones: Good

All the events were well established

Gridlock: Good

It’s a fairly bland way to save the day, just opening the surface to all the drivers. But how else could he have done it?

Utopia/The Sound Of Drums/Last Of The Time Lords: Bad

As much as I like the idea that he tuned himself into the archangel network, he basically turned into Jesus. It is arguably the least convincing ending in modern Doctor Who history.

Voyage Of The Damned: Bad

Why was he the next highest authority? If he’s the highest authority in the universe why didn’t they default to him in the first place? If not then why not default to Midshipman Frame? And if he’s somehow in between them then why? Also Astrid killed herself for no reason when she easily could have jumped out of the forklift.

Partners In Crime: Good

It works in the context of the episode, but I don’t see why they needed two of the necklace things.

Midnight: Good

It’s human nature, you can’t get more well set up than that.

Turn Left: Good

It works logically

The Stolen Earth/Journey’s End: Bad

Donna just spouts a load of technobabble whilst pressing buttons and then the Daleks are magically incapacitated.

The Next Doctor: Bad

Why do the infostamps sever Hartigan’s connection with the Cyberking? As far as I remember it ain’t explained.

Planet Of The Dead (co-written with noted transphobe Gareth Roberts): Good

A good couple scenes are dedicated on getting the anti-gravs set up.

The Waters Of Mars (co-written with Phil Ford): N/A

The day isn’t really saved cause everyone still dies anyway.

The End Of Time: Good

Using a gun to destroy a machine is much better than using the sonic to destroy it.

Summary for RTD:

Out of 24 stories written by him, I deem 10 to be bad endings with 1 abstaining. That’s 41.7% of his episodes (43.5% if we don’t count any abstaining).

Steven Moffat:

The Empty Child/The Doctor Dances: Good

You’ll see this a lot with Moffat, he knows how to explain things without stupefying levels of technobabble. “Emailing the upgrade” is a perfect example of this.

The Girl In The Fireplace: Good

Some basic logic, the androids want to repair their ship, but they can’t return to it, they no longer have a function so they shut down.

Blink: Good

Always loved this one, getting the angels to look at each other, however they do look at each other sometimes earlier in the episode.

Silence In The Library/Forest Of The Dead: Bad

This is more of a problem with the setup of the episode, I don’t like that he can negotiate with the Vashta Nerada. I’d rather see them comprehensively beaten, but I guess it’s good for the scare factor that they can’t be escaped from.

The Eleventh Hour: Good

He convinced the best scientists all around the world to set every clock to 0 all in less than an hour. In the Doctor’s own words “Who da man!”

The Beast Below: Good

The crying child motif pretty much ended up saving the day (well for the star whale, life went on as normal for pretty much everyone else).

The Time Of Angels/Flesh And Stone: Good

The artificial gravity had briefly been set up earlier so I’ll allow it.

The Pandorica Opens/The Big Bang: Good

Everything had been set up perfectly, the vortex manipulator, the Pandorica’s survival field thingy, the TARDIS exploding at every moment in history.

A Christmas Carol: Good

Literally the entire episode is the Doctor saving the day by convincing Kazran not to be a cock.

The Impossible Astronaut/Day Of The Moon: Good

The silence’s ability to influence people is their whole thing, so using it against them is a good Doctory thing to do.

A Good Man Goes To War: N/A

The day isn’t really saved, Melody is lost, but River shows up at the end so is all fine? I love the episode it’s just the day isn’t really truly saved (yes I know Amy was rescued but she still lost her baby).

Let’s Kill Hitler: N/A

There isn’t really a day to be saved. They all get out alive but no one is really saved other than maybe River but we all knew she was gonna live anyway.

The Wedding Of River Song: Good

Whilst opinion is divided on the episode, the ending still works. the Tesseracta was established in Let’s Kill Hitler, and the “touch River and time will move again” was established well in advance.

The Doctor, The Widow And The Wardrobe: Bad

I don’t like how the lifeboat travels through the time vortex for no reason but to rescue the dad. It don’t make no sense and I don’t think it’s explained

Asylum Of The Daleks: Good

Oswin had access to the Dalek hive mind so of course she should be able to link into the controls and blow everything up.

The Angels Take Manhattan: Good

Paradoxes really do be something powerful, and they even acknowledge how nobody knows if it’d work so I’ll let it slide.

The Snowmen: Bad

Lots of people cry at Christmas, why are the Latimers anything special?

The Bells of Saint John: Good

The whole episode is about hacking so why shouldn’t the Doctor be able to hack the spoonheads

The Name Of The Doctor: Good

It was the story arc for the season pretty much, so of course it was explained well in advance.

The Day Of The Doctor: Good

Both the storing Gallifrey like a painting and the making everyone forget if they’re Human or Zygon works in the context of the episode.

The Time Of The Doctor: Bad

Since when were the Time Lords so easily negotiated with?

Deep Breath: Good

I like the dilemma over whether the half-face man was pushed or jumped.

Into The Dalek: Good

It’s set up well with this new Doctor’s persona of actually not being too nice of a guy (at first).

Listen: N/A

There isn’t a day to be saved. It’s just 45 minutes of the Doctor testing a hypothesis and I low-key love it.

Time Heist (co-written with Steven Thompson): Good

It works logically so I’ll allow it however it isn’t very well set up at all.

The Caretaker (co-written with noted shithead Gareth Roberts): Good

The machine to tell the Blitzer what to do was set up well in advance so I’ll allow it.

Dark Water/Death In Heaven: Good

The fact that Danny still cares even as a cyberman is set up fairly early on after his transformation.

Last Christmas: Good

He does use the sonic to wake up Clara but he convinces the others to wake up through talking so I’ll allow it.

The Magician’s Apprentice/The Witch’s Familiar: Good

It’s set up well with that little scene from actually inside the sewers.

The Girl Who Died (co-written with Jamie Mathieson): Good

IDK why the vikings would randomly keep electric eels but they’re set up well so I’ll ignore it. 

The Zygon Inversion (co-written with Peter Harness): N/A 

Not including this one as it’s only the second part and I’d argue the ending is most likely Harness’.

Heaven Sent/Hell Bent: N/A

Again there isn’t really a day to be saved, yes Heaven Sent really is amazing but it’s only the first part and, being completely honest, he dies several billion times before finally getting through the wall.

The Husbands Of River Song: N/A

Again there isn’t really a day to be saved here.

The Return Of Doctor Mysterio: Good

He gets Grant to catch the bomb which is good. But he does just sonic the gun out of Dr Sim’s hand and says UNIT is on its way which just sort of wraps it up very quickly.

The Pilot: N/A

No day to be saved here.

Extremis: Good

You could technically call it the sonic saving the day, I consider it to be the Doctor emailing the Doctor to warn him of the future.

The Pyramid At The End Of The World: Good

The fire sanitising everything makes sense and it’s in character for Bill to love the Doctor enough to cure his blindness in return for the world

World Enough And Time/The Doctor Falls: Good

Yes it is the sonic just blowing the cybermen up, but it’s blowing them up with well established pipelines so I’ll allow it (also the story is amazing).

Twice Upon A Time: N/A

No day to be saved here. Just Doctors 1 and 12 getting angsty about regenerating.

Summary for Steven Moffat:

Out of 39 stories written by him, I deemed 4 to be bad with 7 abstaining. That’s 10.3% of his episodes (12.5% if we don’t count any abstaining).

Conclusions:

Moffat was much better at saving the day than RTD

Moffat liked telling stories where the day didn’t actually need to be saved

I’ve spent way too long on this and I need to sleep

If I spent as much time on this as my coursework I’d probably pass

If you’re still reading this, you probably need to get a life

[orangepanic]

I saw this “100 OTP questions” by @the-moon-dust-writings and figured I'd procrastinate:

1. Who loves flower crowns more?

Neither of them really, but Asami might make Iroh wear one just to laugh at him.

2. Who is the one who likes to cuddle?

Iroh. Asami likes it, too, but he usually initiates.

3. Who has awful taste in music?

Honestly, both of them. Asami likes terrible dance music and Iroh likes obscure combinations of horns and bells and stuff from different cultures.

4. Who is the meme lover?

Asami thinks they’re funny. Iroh doesn’t quite understand.

5. How did their second date go?

Iroh tried to take Asami somewhere very fancy, but the wait was too long. They ended up making out in a shadowy doorway down the street and missing their reservation entirely. Iroh was mortified, but Asami dragged him around the corner to a low-key noodle shop that has since become their favorite restaurant.

6. How many children do they want/have?

Asami thinks about three. Iroh, as many as Asami will agree to.

7. Who hides the weapons?

Iroh hides weapons for Asami around the house so she’ll always have something on hand. In a drawer in the kitchen, on her nightstand, etc. He knows she can take care of herself… and he stashes weapons for her anyway. Asami rolls her eyes but secretly thinks it’s sweet.

8. Who is the better dancer?

Asami. She likes dancing, and learned formal dancing in school. Iroh can’t dance at all, having skipped out on all his lessons as a child after bribing his instructor. He thought dancing is boring, but likes dancing with Asami and lets her lead.

9. Do/Did they have a theme wedding?

No. They quite deliberately have a very normal wedding, including cutting out a lot of the more stuffy Fire Nation customs because Iroh doesn’t want Asami to feel out of place not having any family present.

10. What do their parents think of them dating?

Hiroshi Sato is livid, and actually tried to have Iroh assassinated from prison. His little girl, marry a firebender? A prince of the firebenders? Iroh’s parents are more accepting. Izumi initially thinks Asami is too young and gives Iroh a hard time about how quickly he got serious, but quickly comes around when it’s clear Asami is very mature for her age. Within a year Iroh’s parents are both hounding him on when he’ll make it official.

11. Are they a super sappy couple?

They are that couple everybody hates.

12. How did they get together?

They meet during the Equalist revolution, but don’t get together until long after. Iroh has a crush on Asami almost immediately, but spends forever sitting on it thinking it wasn’t the right time and trying to be friends until one day he just kind of slips up and kisses her. She kisses him back. It turns out Asami liked him, too, but she isn’t great at reading people and had no idea he was interested.

13. Who asked the other to get married?

Iroh just kind of blurts it out one day.

14. Who stays up too late and makes stupid jokes?

Asami is the night owl. Iroh makes the bad jokes.

15. Who is the nerd?

Oh my god, both of them. Asami is more of the classic nerd. Iroh is more of a dork.

16. Who knows the most obscure facts?

Iroh.

17. Who makes the other a flower crown?

Two questions about flower crowns out of 100?? Changing this to who is more dominant in bed. Asami.

18. Who likes to read?

Iroh. They both do, but he’s much more into it.

19. Who bothers the other person while the other person reads?

Asami. She has the shorter attention span.

20. Who tutors the other?

They both would in different subjects. Asami is better at math, physics, etc. Iroh is better at philosophy and languages.

21. Do they have similar taste in movies?

No. Asami likes gory slasher films and lots of action. Iroh scoffs and thinks they’re dumb. Asami, in turn, thinks his period dramas can be kind of boring, and refuses to count documentaries as movies. But there’s a healthy overlap in things like Vikings and Game of Thrones.

22. How do their personalities complement each other?

Asami helps Iroh lighten up a bit, drawing him out of his shell, and gives him an anchor and a sense of home. She’s more social than he is, and a lot of her friends eventually become his. But she’s also quiet enough and serious enough that she doesn’t tire him out and can feed his need for downtime. Iroh, in turn, loves seldom but deeply, and gives Asami the kind of fierce, unconditional love and stability she needs. He’s also genuinely interested in her projects, is smart enough to follow most of it, and is one of the only people who can occasionally beat her in Pai Sho. They have a lot of fun together just being nerds.

23. How do they tell everyone that they are going to be having a kid/adopting a child soon?

They don’t have to tell anybody. It’s all over Iroh’s face like a big neon sign.

24. Who has better fashion sense?

Asami, but not by much. She’s more up to date with trends, while Iroh’s style is clean and classic.

25. Who will punch someone out if they are rude to their partner?

Hoo boy, both of them. Do not go there.

26. What songs do they sing together in the vehicle?

Neither of them sing in the satomobile. Iroh has a decent voice, but he’s a bit private about it. Asami mostly hums.

27. What other couple would your otp get along with?

Iroh quickly becomes BFFs with Bolin. Asami and Opal aren’t quite as close, but they like each other’s company and have fun as a foursome. They also get along quite well with Pema and Tenzin.

28. Who likes to prank the other?

Iroh tries more often. Asami’s pranks are more successful.

29. Who is the one who loves to take pictures?

Iroh, though generally Korra is the picture taker in the group.

30. How would they react if they found out they were soul mates?

Iroh raises an eyebrow. “Hmm.” Asami only shrugs. They both already knew that.

31. Where would they live?

They like Republic City and decide to stay downtown, first in an apartment and eventually a larger townhouse.

32. What type of dragon would they own, if they could have one?

Whichever one Iroh made friends with. Asami is a bit wary of animals and would need him to convince her it was safe.

33. If they were both vampires, what type of vampires would they be?

The kind that live in a beautiful house with perfect collections that took hundreds of years to make. Iroh has first editions of everything in a giant library, arranged in a complex system only he understands. He’s working on his 14th language. Asami has invented artificial blood and doesn’t miss sunburns. Occasionally she’ll throw one of those big fancy vampire balls just so they can both get dressed up. They’re pretty happy.

34. What would they dress up as, for Halloween?

They once went as Lady Tienhai and the last king of Mo Ce because picking something obscure and historical was the only way to get Iroh into a costume.

35. Can they name each other’s favourite food?

Kind of. They are both really into food, so picking a favorite is hard. But if the question is can they order for one another, absolutely.

36. Do they have pet names for one another?

Asami sometimes calls Iroh “General Hotstuff” when she’s teasing. Iroh sometimes calls Asami “sex pretzel” when he’s 1000% sure they are alone.

37. How do they cheer each other up?

Asami is more of a gift giver. She’ll show up with Iroh’s favorite take-out or make him something in her workshop—anything to make him feel special and valued. Iroh is all about quality time, and will swing by Asami’s office to haul her out on surprise dates. He also gives great hugs.

38. Do they show a lot of PDA?

No. Iroh is very uncomfortable with PDA, especially when he’s in uniform. Asami follows his lead.

39. How old were they when they got together?

Asami was 19-20, Iroh 24-25.

40. Who is the one that would bring the puppy home?

Iroh, 100%. He’s such a sucker.

41. Can they do yoga couple’s poses?

Yes, though Asami is the only one who really tries.

42. What is their song?

They don’t really have one.

43. What does their room look like?

Asami moved in with Iroh, so it’s very basic. White walls, perfectly made bed, a neatly organized desk in the far corner by the window. He’s a total minimalist, having spent most of his adult life on a ship. Asami added a very fluffy comforter in *gasp* a color and lots of pillows.

44. Who would be the one to kill zombies while the other keeps them grounded?

They’d take turns, and at some point Asami would turn it into a contest.

45. Who makes the other breakfast in bed?

Iroh. Asami is a terrible cook.

46. Who loves kids more?

Iroh.

47. Do either of them have a crazy ex?

Not crazy, but Iroh and his ex are not on good terms. He doesn’t like to talk about it.

48. What are their favourite colours?

Asami, purple. Iroh, black. He gets annoyed when people get him so much red stuff.

49. Who likes to cook?

Iroh. He fired Asami from the kitchen, something they are both grateful for.

50. Who is the forgetful one?

Asami.

51. Does either of them know how to fight?

Have you met these people?

52. What do they do for Valentines Day?

Iroh would probably plan something elaborate for them to go out. Asami would plan something sexy for when they got home.

53. Who swears more?

Asami, at least out loud. Iroh mostly swears under his breath.

54. Who has the better comebacks?

Asami. It’s not even close.

55. Who would start a fight with another parent at a bake sale?

Probably Asami, unless it was about the kids. If anyone comes for Iroh’s kids, they’d better hide.

56. Who reads buzzfeed?

Asami.

57. Who is the hopeless romantic?

Iroh, hands down.

58. Do either of them know how to do a handstand?

Asami can manage it.

59. Who can rap better?

Asami, though Iroh is the only one who actually listens to rap.

60. Do either of them want to go sky diving?

Asami would love to. Iroh laughs. “Been there.”

61. What do they usually text about?

Some version of “I miss you” or random pictures of stuff. They generally only text when Iroh is away as they’re both busy during the day.

62. Who is the dramatic one?

Asami has a shorter fuse. Iroh is more ridiculous when he loses his shit.

63. Is either one confrontational?

Not really.

64. What is their favourite cuddle position?

Asami will lay on top of Iroh on the couch like a sandwich. It’s the only position she seems to be able to nap in.

65. Who are their favourite musical artist(s)?”

See above about terrible taste in music.

66. What are their parenting styles?

Iroh covers a lot of the basics. He sets a schedule, makes lunches, tells bedtime stories, is more likely to help with the homework. Asami is the one who gets them around and does most of the interacting with teachers, other parents, etc. They share things fairly equally.

67. Who would be the more laid back one?

Iroh.

68. Who listens to more vulgar music?

Asami.

69. Do either of them have secrets even the other doesn’t know?

Yes. Asami can be secretive about some of her projects, both out of an abundance of caution but also because she likes a big reveal. Iroh keeps some past relationship stuff close, and will occasionally read a steamy romance novel for “tips.”

70. Who is their go to couple for a double date?

Bolin and Opal

71. Do they tip the waiter/waitress on their date?

Iroh tips very well.

72. How do they work out a fight?

Asami yells. Iroh yells back. One of them storms off. The other one waits about half an hour then goes to find them, usually with an offering of food. There are hugs. Somebody cries. Then they finally talk it out before falling asleep together.

73. Who brings home an illegal pet?

Asami. She is less likely to have a pet, but if she does, it’s going to be a weird one.

74. What side of the bed do each of them sleep on?

Iroh is on the side by the window because he likes to get up with the sun.

75. What is their favorite photo of them two together?

There’s a photo Korra took at the beach where Iroh has Asami thrown over his shoulder right before dunking her in the water. This is the picture he takes with him when he’s deployed.

76. Who takes longer in the bathroom?

Asami.

77. Who has more songs on their ipod?

Iroh. If you can call them songs.

78. What movie did they first see together?

Iroh took her to Last Days of the Sun Warriors. She fell asleep. He said the book was better.

79. What do they like to see each other in?

Asami thinks Iroh’s butt looks great in jeans. Iroh got Asami a red silk robe from the Fire Nation and likes to see it fall off.

80. Who makes jokes during inappropriate times?

Iroh.

81. At what age do they discuss the possibility of children?

Mid-20s, though they don’t have them until a little later.

82. What do they love about each other the most?

Iroh likes that Asami is tough and smart and a problem-solver. Asami likes that Iroh is kind and brave and has a strong moral compass.

83. Who is the one that sees the big picture, while the other focus’s on the small details?

They are both big picture people, which is sometimes a problem. Of the two, Asami is probably better at details, but she’s also forgetful.

84. What would they write on their partner’s social media’s for their anniversary?

Asami would probably put up a picture of them and say something brief but sweet. Iroh doesn’t really understand social media and would just paste a heart-eyes emoji.

85. Who is bad at math?

Iroh. He’s not bad, per se, but Asami is very, very good.

86. Who googles everything?

Asami.

87. Who does stuff on impulse?

Both of them in different ways. Asami is generally more flexible. Iroh usually has a plan but makes big decisions completely off the cuff.

88. How do they comfort each other when they are helpless to do anything about the situation?

Lots of physical touch. Iroh will kind of just wrap himself around her in one giant, whole body hug. Asami will spend some time cursing out whomever is causing the issue, then let him lay his head in her lap and give Iroh a good head scratch or massage.

89. What is an inside joke they have?

There was one time they had sex in Asami’s office at Future Industries, so occasionally she’ll drop things like, “feel like coming by the office?” with a suggestive eyebrow waggle. Iroh is, predictably, very embarrassed. Also interested.

90. Who makes the other smile with almost no effort at all?

Asami: *exists* Iroh: *smiles*

91. What is their favourite holiday?

New Years is a big deal in the Fire Nation. Iroh loves his family and likes going home, and Asami has grown to love it almost as much.

92. Who is the one that is calm and collected while the other is angry and destructive?

They take turns. Both of them can have quite a temper when pushed too hard.

93. What is their favourite board game to play?

They’re both big Pai Sho fans, but can get into any kind of strategy game. Nobody really likes to play them though, they're too good.

94. Who accidentally sets something on fire?

Asami. Iroh hasn’t had a fire accident since he was four.

95. Who has the car ready while the other is robbing the store?

Asami. She’d rob the store, too, but no way is she letting Iroh drive.

96. What artist/group did they go to for their first concert?

Iroh booked a private box at the Republic City Opera, thinking that was an impressive thing he should do on a date. It turns out neither of them like opera, and by the end they were both making fun of it.

97. Who sleep talks?

Asami. Iroh thinks it’s funny.

98. Who is the more social one?

Asami, by a long shot.

99. What are their karaoke songs?

Neither of them would really sing karaoke, but Iroh cannot hold his liquor like at all so if he ever got really plastered Asami might be able to drag him up there. By which point he’d be too far gone to have an opinion on the song and would sing just about anything.

100. Who would get up on stage and make a fool of themselves just to make the other laugh?

Asami.

[pkmnsdarkqueen]

Successful Viewings of the New Old World.

(Drabble for Queen!verse. The dystopia world where using the Jewel of Life pokemon movie as reference along with pokemon conquest. In this timeline Arceus came much sooner to destroy humanity thus the only means to survive was to escape to the distortion world where humanity has been in hiding for centuries. Also threw in pokemon conquest so that the small area not terribly affected by the gravity shift is divided into kingdoms with harsh laws and royal liniages upholding it that dictates type separation thinking too many types in one being is what drove arceus to madness. So with that in mind.....Karen is the queen of the dark kingdom, but also secretly part of the rebellion against this whole structure. It was a fun discord group that I still have on here incase anyone wants to do some dystopia shenanigans.)

(Also in this world...Cyrus is like low key on the right page so uhhh I thought it'd be fun to Drabble that)

"So this will open one?"

Karen asked watching the man busy himself adjusting the machine. When it came to industrial work or grand technology Kafen was one of the first to admit they were somewhat lacking. Concepts for that were generally stolen from other kingdoms and taken to theirs to be adapted to fit the dark themes. Most of said tech came from the steel kingdom which had practical machinery, and the electric one which worked with the more experimental tech. This individual however seemed to think outside the box into his own realm. A realm Karen found far more beneficial for her underlying cause.

"It should. It was able to earlier I want to make sure it's properly calibrated before showing you."

"Don't stress yourself. I trust you. If it doesn't work today show me when it does. You've shown me enough to put my faith in you."

Karen expressed watching him pause a brief moment before returning to tighten something up. She remembered finding him while on the town. He had been arguing with someone over their phone failing...well arguing was a strong word. They were yelling and he stood there stone faced calmly shutting them down at every turn. It was interesting, and the phone....well it looked so odd. After a bit of research she found out he was a tinkering man who was struggling to let his genius be seen. Genius she soon found included theories to accessing the other world, the one legends say humanity ran from.

If they could get there, start over in a new world away from the tight grip of the laws here maybe a new world could be made.

No one had believed in his theories till she called him to her court to explain them to her. Her mind was already made it'd been a matter of convincing her court, telling them it was to increase the power of the kingdom, and power was all it took to cause them to eat it up. Now they hopefully had something to show for it.

"There it should work, please step back your darkness."

He asked gesturing her back behind a protective viewing stage doing everything in her ability to hide her excitement. After all she was still a queen for now with poise to be held. She watched him grab a remote before joining her.

"Care to do the honors?"

"This is your invention and theory Cyrus, I maybe a queen, but you deserve the credit and honor."

She returned swearing she actually saw a genuine emotion of pride slip across his face. Good, he earned it. She thought refocusing her attention to the chaincurrently laying flay on the ground hooked up to all sorts of machinery.

Gently he began to turn the dial watching the machine begin to whirl up. The sounds of spinning machinery began to swarm the space around them as cranks turned, and life overcame the empty shells of metal. The chain itself began to look as if it was sitting in a forge though Karen noticed it lacked the familiar glow of heated metal. It was as though the chain was staining red gradually. Then it began to spin, and lift energy crackling form in the center spreading to the edges of the chain. Steadily the chain was holding its own form. The spinning slowing as the energy created a class life surface, a mirror initially, and then a window.

However this window had sights Karen had never seen before. She'd heard tale of it in old stories, seen artist's old renditions of the land, but none of them matched what she was witnessing.

"Its....so green, and is that the sky?"

"I think...it was dark when I saw it, and lit up with small lights."

"Does it change often?"

"I don't know. I only left it open a few short minutes before coming to get you my darkness."

Karen found herself laughing suddenly unable to stop herself this time.

"Hah, even after showing me a wonder I have never seen you insist to use formalities when my court is not about ro impress. Karen is fine, queen Karen if you must. Now can we go through?"

She asked missing his continued surprise to hear her insistence on informality. Sometimes he wondered about the rumors whispered about her. The ones concerned if the queen's syray from traditional laws was good for the kingdom.

"Um...not yet. It seems to be more like a glass door. Some stories mentioned more of these being around. They're the beginning of portals through. I think if we could capture the beast we could access more although-"

"That has never been done, could be seen as an act of war, and would require the housing of a fully non dark creature in this kingdom which is a severe breaking of laws that even I am subject to."

She answered for him eyes going from whimsical wonder to a stern leader in an instant. The joy taking a backseat as the queen's visage came into focus with reality settling in. At the end of the day this new world would be best for the kingdom, for creating a world without these stupid boundaries built on nothing but hearsay. She couldn't loose it, not while seeing it before her.

"I will take all of this into consideration. I am curious of your take, unfiltered please. I want to speak to Cyrus the scientist, not Cyrus a citizen of the dark kingdom. No loyalty test hidden agenda involved I want to hear your genuine thoughts by next week on this matter. I will take that time to think over mine, and while I'll have to speak to you as the queen since this involves the kingdom I will address you as a peer of my level because that is how I want us to interact with each other in this space. I think it'd be the most productive that way. Understood?"

"...yes, yo-....Karen."

He answered clearly unused to the new name as if it were a foreign language on his tongue. Still it was a positive sign to Karen. To some extent she could trust him as she saw the first break in him from the tradition of this world. A smile crossed her face as she turned to the striking scene again.

Her favorite thing about this new old world was watching all of the elements interplay. From the sky, wind rustling green leaves, water rippling through, and rich soil. Everything interacted as one.

[recurring-polynya]

Loved reading your comments on that Izuru post, especially about how people write teasing. You gave some great examples of things to definitely avoid; do you have any tips or general thoughts on writing good teasing?

I have never wanted to talk about anything more in my life.

Teasing is a form of dysfunctional communication that reveals a lot about all the parties involved. It can be layered and complicated, and it can both establish a lot about the relationships of your characters, and provide jumping off points for both bonding and miscommunication.

The most important things to think about when writing teasing are:

What is the teasing character trying to evoke? (this may be conscious or subconscious)

What are the sore points/not sore points of the character being teased?

What am I, the writer, trying to accomplish here?

Let’s start with a very easy example:

Draco Malfoy wants to make Harry Potter mad, so he teases him about his dead mom. J. K. Rowling’s goal as a writer is to convince you that Draco is a dick. It’s super-effective.

It’s a low-blow. It’s deeply mean. There’s no subtlety. This is just bullying. We have all experienced this, we know it when we see it. I don’t think this is the kind of teasing you were asking about, but it’s important to establish this as a baseline, because this is what teasing can turn into, if done wrong.

We can tweak this a little to a very different effect:

Draco wants to make Hermione upset, so he calls her a mudblood. 

Harry doesn’t know what this word means, is confused.

Herminione knows this is an insult, but most plays it off. It’s not culturally significant to her and also, she DNGAF about Draco.

Ron goes spare. This is a huge insult to him, he loves his friends, and he has no chill.

Draco is still a dick, but he’s also kind dumb and focuses on insults that would be insulting to him because he doesn’t know his enemy very well and also is not good at thinking outside of his own head.

Now we have fit in exposition and a ton of character-building. Neat!

Let’s move on to friendly teasing. Here are some positive roles teasing can play:

Replacing uncomfortable tension in a group. Often you may have one character in the group who is an outsider for some reason. Perhaps they were a former antagonist, or someone who has some fundamental difference between the characters. Teasing, particularly over something incredibly low stakes and stupid, gives a reason for the outside character to be mildly irritated with the others, which makes it easier for them to relax the actual tension they feel by being in a group where they don’t belong. Think Aang shouting “Flameo, Hotman!” at Zuko or everyone making fun of Uryuu’s cape.

Finding comfort in being marginalized. This is closely related to self-deprecating humor, and a character shouldn’t say something about someone else if they wouldn’t say about themself. Also, characters are going to have different comfort levels with this. I will make jokes about how bisexually I dress and the way that I sit, but I don’t go around shouting “Oh my God, that’s super gay!” although I certainly have gay friends that do. This is a way you can establish how comfortable a character is in that identity, but it can be fraught, and if you don’t have some personal experience with the identity you’re writing about, I would avoid going too hard. In Bleach, I will often have characters from Rukongai bond a little more easily, and make fun of some of the more formal aspects of life in the Seireitei when there are no nobles around. Further, Rukia and Renji super low-class, even among the Rukongai crowd (only Zaraki and Yachiru are lower, and I have never once read a fanfic of Kenpachi and Renji bonding over this, and I’m mad about it), and so when I have them calling each other trashbags and lowlifes, it’s a case of “I can make fun of you because we come from the same mudpit, but I will cut anyone else who says this about you.”

Allowing characters to present in a way that they choose.  We sometimes invent roles for ourselves that we want others to see. I do this a lot with Renji-- when he comes to the big city, he’s a big, rough, scary dude. I am 100% sure he broke peoples’ limbs in Inuzuri. But he wants to be liked and he wants to be approachable, especially now that he’s a vice-captain, so he puts on kind of a big dumb oaf routine, and all his friends support him in this by making jokes about skipping leg day and calling him a dope and a goob. These are not hurtful insults, because this is how he chooses to present himself.

Leveling group dynamics.  Related to the previous item, a lot of times, friend groups require people to fulfill different roles in order to keep everything running smoothly. Take for example, the Renji - Momo - Izuru - Shuuhei friendship. They come from a lot of different backgrounds, they’ve each had a lot of different personal challenges, and the friendship has lasted a loooooong time. Izuru has a lot more money and class than the rest of them. Shuuhei is the oldest. I bet Momo got extremely full of herself when she became Aizen’s vice-captain. Renji lagged the rest of them in becoming vice-captain, but then, he came out of the Aizen debacle in better shape than everyone else. We can’t all confront all these complex interpersonal dynamics all the time, sometimes you just wanna hang out at the bar and drag each other a little, and it’s comfortable and relaxing to just fall back on personas. Everyone teases Renji for being dumb and strong, Shuuhei for being hot and dramatic, Izuru for being pasty and poetic, Momo for being organized and congenitally unable to break a rule. A great place to insert drama is when you have a character who has outgrown these dynamics, who is sick of playing a role within a friend group-- old jokes that used to gloss over uncomfortable matters are suddenly causing the discomfort.

Play. A lot of teasing is honestly just for fun. Scoring points on your friends. In this case, the teasing can be as harsh or soft as you like, although the harsher you go, the more you risk actually hurting someone’s feelings (again, story hook!) I love this as an example:

Ichigo tries to tease Orihime over old bread of all things. Orihime is fireproof, she knows Ichigo loves her old bread and also is incapable of delivering a sick burn, but then Ishida and Chad just pile on, suck it, Ichigo, we all know who runs this group of nakama.

As a writer, this is your chance to show off your humor chops! The purposes of these scenes is not just to show your friendships, but to have fun and be funny! Having characters just call each other names is not really funny. In this example, Ichigo is trying to be cool, and his crew, none of whom are remotely cool, all hit the OBJECTION button hard at the same time and it’s hilarious.

Giving friendships age.  People you have been friends with for ages know things about you. Have characters bring up embarrassing stories. Tease each other about the way they used to be, but no longer are. This is also a powerful way to distinguish between an old friendship that is still going strong, and one that has gone stale, but persists, perhaps for nostalgia reasons, where the teasing rankles. Maybe your story wants to resurrect this friendship, or maybe you want to show a character moving on. This is also a way to add exposition: Say Character A, who is usually very casual, dresses up for a fancy event. You can have Character B rib them about how they have never seen them looking so good. Then you can have Character A react in a number of ways: self-conscious or defensive, perhaps, or they could be flirty and brag about how nice they clean up, it’s up to you!

Giving friendships depth.  Best friends can say things that other friends and casual acquaintances can’t, in part because they have a keen understanding of how to hurt each other (and how not to). A key in portraying different levels of friendships is boundaries, and a great dramatic tool is bumping up against those boundaries. In general, I have Renji let Rukia tease him about nearly everything, but occasionally, she’ll bring up what a glory-hound he was in their school days, and he freezes up every time. She can’t really figure this out, because he’s usually game for letting her pick on his dumbass teen boy behavior and she can’t figure out how this is any different. The thing is, he’s never told her that the reason he was busting his ass was to impress her and to be able to get a good job and provide for her, and it blew up in his face, and he can’t very well admit that now, without having to admit a lot of other stuff, too. ::holds fist in the air:: This is the good stuff.

A corollary, tired jokes.  Rukia is 4’9” tall and she must be sick to death of hearing about it. It’s so obvious and so lame. It sucks being short, it’s a huge inconvenience on a daily basis, especially when your job involves trying to be tough and intimidating. It’s not like she chose this for herself. This is the lowest possible hanging fruit of teasing. But that doesn’t mean we need to ignore it completely. I have characters like Ikkaku, who doesn’t know her all that well, and is also an ass, throw it at her a lot, and mostly she either sighs and rolls her eyes, or she insults him back. Now, if Renji never mentioned it, it would feel like he was tiptoeing around it, which Rukia would be offended by. She’s not humorless, just tired. So, instead, I will only have him make short jokes if a) they are actually funny, or b) it’s a situation where the joke is really obvious and they’ll usually follow up with something like “I had to.” The idea is that, as best friend and chief trash talker, he’s contractually obligated to make the joke, but he finds it almost as tired as she does. Also, I turn it around a lot by having her make fun of him for being tall, as though being 6’2” is some sort of embarrassment and that he did it on purpose, and he just takes it.

This is real. My husband and I were in a very similar professional field, and he makes more than me, even though I have more education and work harder, and he lets me make fun of what a useless white dude he is, but if he sees it coming, he will definitely make a “you can’t do math because you’re a woman” joke, which he obviously doesn’t think is true. Only he is allowed to do this. It is very cathartic. We also make jokes about how he will never truly be successful because he is short.

I don’t write Ichigo as much, but I approach this a little differently with him, a) because he hasn’t been friends with Rukia for as long, or on such a day-to-day basis that he knows how much this irritates her, and b) he’s a teen. Instead, I try to have him actually put some effort into his jokes, like calling her Shorty McCaptainface. “Shortstack” and fun-sized/travel-sized/adventure-sized (for your convenience) are much more gentler and playful. 

Please, please, I beg you, do not use “midget.” It’s not a nice word and it’s so, so tired.

All of this goes generally for other types of characters with the kind of physical characteristics that tactless people feel free to comment (being fat, wearing glasses, having prominent teeth, etc), or experience structural discrimination. Just think about how you would like your best friend to handle it.

Arright, it’s time to hit the elephant in the room: Teasing that leads into romance.  This was such a huge trope when I was a kid, I grew up steeped in this idea of “a boy teases you because he likes you,” and I’m honestly glad we’re starting to move past this as a culture. You can still have a fun and teasing relationship without being mean, which I will get to, but let’s start with the OG couple of teasing because they like each other: Ranma and Akane. Now, as it happens, I have been re-watching Ranma ½ with my husband, who had never seen it, and on one hand, this show is a pioneer, it is amazing in terms of comedic beats, but on the other hand, it’s aged quite a bit and smacks of “I hate my wife” Boomer humor with a heavy helping of “no homo!” slathered on top. So, here’s how it works:

Ranma and Akane have been forced into an engagement by their fathers. Despite the fact that they have pretty similar and compatible personalities, they get off on the wrong foot, compounded by the fact that they are each deeply insecure about their gender presentations. They are each also profoundly stubborn. So, what happens, every single episode, is that one or the other will do something kind or heroic for the other, and the other’s heart will go “oh SHIT I like them but to reveal so would be to present vulnerability” so they insult each other instead. The insults that Ranma and Akane fling at each other are deeply hurtful and they are super-effective. Now, the one who has taken the risk of going out on a limb for the other has now been lambasted for their efforts, and responds with more insults. This is the fundamental tension of the show: they like each other and are terrified to admit it, so they force the other apart.

Now, as the show progresses, my memory is (and forgive me if I get this wrong, we’re still pretty close to the beginning, and as far as the long game goes, I am sure my memory is contaminated by too much fanfic), far, far down the road, when they eventually come to understand each other better, when Ranma tells Akane she’s an uncute, tomboy, she’s able to parse that as “I like you so much and I want to say so, but seriously, you know how ridiculous my upbringing was,” and when she responds with “You pervert!”, Ranma knows she is really saying “I know that, and also, you do not need to feel self-conscious about your girl form, I’m kinda into that.”

This is essentially a slow burn tactic. You need a tremendous amount of time to build out this kind of relationship. A lot of people try to skip straight from “characters insult each other!” to “characters are in love, they just couldn’t admit it!” and it does not work, especially if you reader is a person who has ever been in a shitty relationship. I would not want to be with someone who called me hurtful names. The fact that they were trying to cover up the fact that they did it because they liked me is not romantic. It says to me, “this person does not treat the people they love well.” Writers, we can do better.

Teasing creates tension, as I said, and it is often that case that we use it to trade a feeling we can’t handle for one that we can. For Ranma and Akane, they are trading attraction for combativeness. They can’t admit they like each other because they are deeply stubborn and also because they are very, very immature.

Conversely, characters may tease to deflect their feelings because of outside forces that they have no control of. 

Rukia is fundamentally uncomfortable expressing her feelings. She had no parents. She has no experience with unconditional love, which is pretty essential for healthy childhood development. I’ve talked before about my Rukongai headcanon that it was taboo to openly express affection, because it is a brutal and dangerous town and to love is to show weakness. In this case, teasing can play a fundamental role. As children, if she started to express something that strays too close to an earnest emotion or attachment, Renji might respond with “Aaah, shut up, you sap.”

This is not mean-spirited. Renji is acknowledging that he hears her, he recognizes her feeling and prevents her from breaking the taboo. The teasing helps Rukia to save face. This creates a blind spot in their friendship, however. They know each other extremely well, they have a thorough read on each other’s moods and motivations and body language, but because they’ve never, ever been able to talk frankly about their emotions, they are both stuck in this place where they can’t tell if they like each other romantically and they don’t know how to bridge that gap. They don’t need to be mean to each other, but they are unable to progress because they keep blowing off the difficult conversations they ought to be having.

Keep in mind, I am keeping the teasing at low to medium stakes. It’s also difficult, because they’ve been apart for so long, that there are some topics that aren’t safe anymore, and sometimes they don’t realize that until after they’ve accidentally hurt each other’s feelings, again, an opportunity for some mild plot drama that’s based on misunderstanding, rather than these people are assholes.

Rukia’s relationship with Ichigo is very similar. Ichigo is also terrible at expressing feelings, partly because of his mom’s death, his dad is his dad, and he is a teen. I have read a lot of arguments that he’s neurodiverse, and frankly, I’m for that, too. I tend to characterize their friendship as very intense. They haven’t known each other very long, but they just have a lot of feelings, OKAY?! They have saved each other’s lives in very dramatic ways, they feel that they owe the other in ways they can never repay, and they just friggin’ like the heck out of each other, but their lives are also fundamentally incompatible, starting with the fact that Rukia is dead and Ichigo is alive. 

So, when I am writing them bantering, one of my go-tos is to have them make fun of each other’s chosen planes of existence. “Why do you keep juice in boxes?” Rukia demands, as if it’s somehow Ichigo’s fault. “You can’t even ride a bike, you idiot,” Ichigo might rib her, as if she even knows what a bike is. What they are really doing here, is pushing against the fact that they have chosen to live separate existences and they’re honestly a little upset about that. “It’s dumb that we can’t hang out all the time,” is what they are saying. “I understand your decision, but I’m still gonna make fun of you.” This is incredibly low-stakes dragging, and also it’s a good place to be funny. I’m sure you have had someone make fun of your school or your job or your town in a way that you feel the need to defend it, and then you’re like “why am I defending this, it really is dumb, actually?” 

One last thing, which is to think a lot about the word choices you use in your teasing, and try to organize them by intensity. My go-tos are “dummy” and “dumbass” because they get the point across, but they aren’t particularly mean and they are very generic. I also like slightly silly ones like “dunderhead” or “lunk” or “goob” or “doofus.” Paired insults are fun-- have one character greet another as “What’s up, nerd?” and have the first respond with “How’s it hanging, jock?”  “Stupid” is slightly meaner, but I will often use it if one character is being self-deprecating, I will have the other respond “don’t be stupid,” or something like that, where it’s reassurance disguised as trash-talk. You can temper harder insults with tone: e.g., “You moron,” Rukia said affectionately. 

Some people call their friends “bitch” humorously, and that’s a kind of friendship you can certainly choose to portray, but think hard about if that fits your characters and your writing style first. I try to avoid gendered insults; sometimes I’ll have villians use them, but even so, do we need to? Maybe not. Don’t use hurtful words unless your teaser actually intends to hurt (whether or not it’s effective).

And remember, you don’t even need to use insults to tease (or to hurt, for that matter)! Think about how your character would react to be called “fancy.” Or “cute.” Or “rustic.” Tease them about the apron they wear for cooking, or the fact that they don’t know how to use a cell phone, or their terribly out-of-style footwear. Also, it can be just as fun to have your character respond to teasing by leaning into it, or laughing back, or riffing, they don’t have to just get pissed off. 

This post is so long. I am so sorry. Go write some teasing. Have fun. I can’t wait to read it.

[trainsinanime]

I think in retrospect, my post bitching about Ladrien was a mistake. It was written out of frustration, in response to a post that I perceived as trying to push Ladrien as morally superior to Marichat. That was probably not the right way to read this post. And even if it had been, the correct response would certainly not have been to vague-tumble (sub-tumble?) about it. I should just delete it.

…or I can double down and post more controversial Miraculous Ladybug shipping hot takes. Which one of these would be more fun? Difficult, difficult…

Adrigami vs Lukanette

I have seen more than one post argue that people prefer Lukanette over Adrigami because of racism, or because Kagami is too pushy, or similar. Now, for the record, I prefer anything above Lukanette and I personally love to ship Adrigaminette (specifically the version where everyone involved is really stupid about it). But I don’t think the moralistic argument can explain all of why Lukanette is so popular.

The problem is that we all love our point of view character Marinette and want good things to happen to her. Yes, there are exceptions in the fandom, but those are a small minority, no matter how loud they are. Adrigami is fun, interesting, engaging, they have both common points and interesting conflicts, and I’d absolutely love to watch a show about it… but Adrigami has one key drawback: It makes Marinette sad. And nobody wants that.

Lukanette, on the other hand, doesn’t make anyone (in universe) sad. Adrien and Kagami are okay with it, and it doesn't seem to affect Marinette's emotional state at all. (Yeah, sorry, not a fan of Luka, but I'll try not to dwell on it because my reasons for not liking him are not interesting, much like he is.)

Lukanette also works really well if you want to be salty about stuff but aren’t willing to go full Batman. The main salt objection to Adrien is that Chat Noir can be too pushy with his romantic feelings, which is arguably true, and that this means he is a horrible person, which I don’t exactly agree with. That cannot be said about Luka, who has no flaws, wishes, character motivation or similar nasty things that could get in the way.

All of these factors have nothing to do with Kagami whatsoever. Now, if you’re wondering why Lukanette is more popular than Kagaminette, then we’re getting somewhere.

Next up, more controversial opinions about other pairings:

Adrienette

Horrible, awful. Adrinette is king.

Marichat

Just to reiterate: I love Marichat moments. I don’t think regular Marichat dates, whether that is romantic dates or friend dates, works at all. Marichat lives from the fact that they’re both friends, yes, but also from the low-key spy vs spy antics where they try to convince each other that they’re not actually best friends yet. (Ladrien could do the same but they’re too busy awkwardly blushing at each other to get any sustained antics going)

Ladynoir

These two do not go on patrols in canon. I know every fan claims so, but there’s no canon evidence, except for Dark Owl/Hibou Noir, where the regular patrols are clearly established as something unusual that both of them want to end soon. Yes, I know there’s one instagram post, and supposedly one tweet (not that I’ve ever seen it), but it’s not in the show. And let’s be real, why would they go on patrols? Hawkmoth canonically creates Akumas whenever, including frequently during school hours. Patrols can’t help against that. That’s why our heroes canonically use alerting apps.

The reason why people love patrols is because it gets Ladynoir together without having to invent an Akuma. I can see the appeal behind that… but honestly, isn’t that just lazy? The show generally makes sure to show us the tail end of the adventure that brought them together this time, and I think that is more fun. Alternatively, sometimes, the show just doesn’t bother to explain why they’re together in costume at all (e.g. the end of Chat Blanc), and it turns out that this is also a thing you can do and nobody will hate you for it.

Adrinette

This may be my most controversial opinion yet, but I want these two crazy kids to kiss and hold hands and grow old together.

Adrigaminette

Yes, I know it'll never be canon. But I refuse to believe that they didn't realise people would ship it when they wrote the beginning of Heart Hunter. That whole sequence seems like it was designed to get me to ship it, and you know what? It succeeded.

Maribat aka Daminette

Kill it with fire.

Alyanette

We don’t have enough of this.

Alyadrien

People, including Zag, are sleeping on what a great platonic friendship pairing this could be. Just those two geeking out about how great Ladybug, Marinette, Nino and Carapace are.

Kagaminette

I have nothing but love for this pairing; I'm just including it here for completeness.

GabeNath

The problem with that ship is that I don’t want good things to happen to either of these people. Which means I'm perfectly okay with the canon version of this ship, where it's clear that both of them are emotionally stunted, callous and immoral and are never going to find happiness. The fact that it’s technically cheating only adds to that. I am not fond of fan versions where these two and Adrien are one happy family, though.

DJWifi

The pairing is perfect, but I have to say: Lady WiFi is cooler and fits better for Alya than Rena Rouge. Who ever thought to give the journalist the Miraculous that is all about lying and deception?

I’m very okay with Nino not being the Bubbler, though.

JuleRose

Come on Zag, they deserve to be unambiguously canon.

MarcNath

See JuleRose. Actually, I think when directly compared to JuleRose, they could really do with some more development, some more scenes of them together. I do ship it, but they seemed to have gotten the “official unacknowledged gay boys couple” almost out of nowhere.

MarcNath where Nath means Nathalie

I don’t think it would be a good idea at all, but the troll part in me (which is responsible for this post existing in the first place) thinks it might be worth exploring.

MariLila

We need more of this ultimate crack ship.

Adrigamilukanette

Get rid of Luka and then we’re talking.

Chloegami

I used to think it was a stupid idea but I’ve read a number of very well written slow-burn stories about them, so now I ship it.

Felinette

I don’t get it at all. I feel like I should write more about it in a post like this, but I'm mostly just baffled by its existence.

Lukagami

Kagami deserves better.

Juleka/Lila

I just saw that this tag exists, on a "here are my drabbles" fic that was last updated in 2018, before it got to the Juleka/Lila part, and now I’m both intrigued and frustrated.

Adrichat

Hah, you had almost forgotten about that, hadn’t you?

[colourful-void]

SHSL Hope’s Peak AU Labs

I spent hours on this please look at it

Because this is my AU and I do what I want, Hope’s Peak Academy has labs! However, due to number of students at Hope’s Peak, they have to share. Each student is assigned to a lab once they’re enrolled, and they spend most of their time there. Some labs (SHSL Zoology Lab) are open for everyone to see, and others (SHSL Fighters Lab) are not. 

Some students (Himiko, Ryota) spend more time in other people’s labs than their own, or choose other labs as ‘theirs’ even though they’re technically assigned to a certain lab. The staff doesn’t really care as long as they’re developing their talents and stuff. 

(I put the graduated class and teachers separately, at the bottom)

There are 12 main labs, as well as some assorted groups of people, and those who don’t have labs. These labs are:

- SHSL Technology Lab - SHSL Leadership Lab - SHSL Entertainers Lab - SHSL Fighters Lab - SHSL Zoology Lab - SHSL Athletic Lab - SHSL Costume Lab - SHSL Detective Lab - SHSL Magicks Lab - SHSL Luck Lab - SHSL Creativity Lab - SHSL Science Lab

Ive got lots of details on each lab, but its long, so ill put it under the cut. (names that are in brackets mean that the character is either not officially part of the lab, or doesn’t really spend time there despite being part of the lab)

Ultimate Technology Lab: Chihiro, Miu, Kiibo, Souda, Chiaki. (Ryota)

The room is very industrial, pipes in the ceiling, cement floor, grey brick walls, florescent lighting.

It's a huge mess.

Theres wires everywhere, all across the floor with basically no organization.

A big shelf of scrap parts, metal, oil, mainly stuff for Miu and Souda to work with.

One corner is semi closed off and has a dozen screens. Thats where Chiaki and Chihiro go. Chiaki has every game system in that corner.

The screen corner has a carpet, pillows and beanbags. Also a gaming chair that only Chiaki is allowed to sit in.

Kiibo likes to chat with Alter Ego.

They stuck a few cots in there because someone always ends up asleep while working on a program or invention or something, so they get tossed onto the bed.

Ryota isn’t part of this lab, but spends a surprising amount of time there with Chiaki and Chihiro, so they set up a table for him in the screen corner with a drawing tablet.

He cries when he finds out, and hangs around there much more often afterwords.

All together, everyone in the tech lab is really close to each other, they get along great, and sometimes work on big group projects.

Ultimate Leadership Lab: Kokichi, Sonia, Fuyuhiko, Byakuya. (Mondo, Taka, and Nekomaru)

The leaders lab is the most complicated

There are a total 7 students who were catagorized as leaders by hopes peak staff. They aren’t all comdapiable with each other, and they find that out pretty quick.

So they split up.

Mondo and Taka went together because they’re dating, and Nekomaru went to the Athletic Lab.

The lab isn’t really a lab, more of a meeting room. There’s a big table in the centre that everyone sits at. 

One wall is a touch screen

One wall is a white board

One is a blackboard

And one is a corkboard 

Sonia sits in front of the cork board, Kokichi sits in front of the white board, Fuyuhiko sits in front of the blackboard, and Byakuya gets the touch screen

They share the walls, but each of them mainly uses the one they sit in front of.

The room is used by the student council to plan meetings, but the main 4 who use the leaders lab pretty much *are* the student council.

Meetings with the entire student body are held in the entertainers lab since it has a stage and enough seating for everyone.

Cork board has pictures of everyone taken by Koizumi, schedule for the school, a few other things Sonia likes to hang there, like letters from her family. it’s lined with LED lights.

White board is 90% doodles by Kokichi, and whoever came in there. There’s also a few stray magnets.

Blackboard has notes on students, mainly to make sure ppl are turning in homework, or not getting bullied/being bullies.

The touchscreen is synced to Byakuya’s laptop. School files are kept on there.

Lighting is on a Slider so can be dim/low for the touch screen. Also Kokichi just likes the lighting darker.

Kokichi makes Sonia an honorary member of dice and Sonia is thrilled by this fact

Sonia is the most sociable so she handles most of the students problems, Byakuya schedules and talks to the staff, Fuyuhiko deals with the underground stuff and the general student body, Kokichi is comic relief and makes sure the actual council doesn’t keel over dead from overworking.

Sonia is always first to arrive, being 13 minutes early to every occasion.

They have meetings regularly.

Altogether, they get along well, not as well as the tech lab but pretty good! No one really expected them to get along as well at they do. Since they’re all focused on the common goal of leading the student body, they work together, and they balance each other out pretty nicely. 

(Mondo and Taka)

They couldn’t convince the school to give them another lab

They hang out in Mondo’s dorm room.

They don’t do anything.

Taka however help Fuyuhiko with a lot of his policing, and spends a bunch of time in the halls helping people get to class and directing visitors and stuff.

Taka joins the student council for meetings sometimes, they have an extra chair for him.

He spends more time in the halls than planning so he doesn’t really need a lab.

Mondo and Taka are dating, so they get along great.

Ultimate Entertainers Lab: Sayaka, Ibuki, Kaede, Hiyoko, (Himiko)

Himiko was invited, but because she does real magic, she preferred to set up camp in the magick’s lab

The room is basically the music room from THH

There’s a decent amount of instruments and a grand piano on the stage.

How they move the piano back and forth no one knows.

They have a whiteboard with the number of days since Hiyoko has said something mean and gotten kicked out.

That number has never gone over 2

Microphones, a nice light system, very velvety curtains

Nice chairs to watch as well

Backstage is a mess of props and set.

School plays are put on in this lab, and meetings with the whole student body

they also have a projector and do movie nights during spring and winter break, or on weekends!

The entertainers get along pretty well, except Hiyoko. They like to show off their music to each other and play songs together. Sometime they watch Hiyoko dance if she’s being nice.

Ultimate Fighters Lab: Tenko, Peko, Maki, Sakura, Mukuro

Its a BIG room

Theres a whole rack of swords

A bunch of weights

A bunch of guns, locked in a glass case that only Maki and Mukuro have a key too

Knives cupboard, also behind lock and key

The entire room is under lock and key

Theres replica/training versions of each weapon

Luckily no one in the room would share their key, and stealing their key is a BAD idea

Theres a large mat area in the centre

Its got a circle in the middle

They have a first aid kit

Theres a lot of mats

You’d think things would go wrong, but everyone is really nice and loves each other and such

Sometimes they invite other people to work out and such

But its mainly just them

Maki and Mukuro spar together and bond over murder. Peko and Sakura spar together and bond over honour. Tenko vows to protect them all as her blood sisters, and all of them thank her for it despite not needing her help.

They all get along amazingly and are amazing and badass, I love them.

Ultimate Zoology Lab: Gonta, Gundham

Anyone can enter the room during visiting hours

When you enter, its a sitting room with lots of books and chairs and such.

All the animals and bugs are kept in a backroom with the food. Only Gundham and Gonta and whoever they allow are allowed back there.

Gundham doesn’t like to keep animals locked up because ‘wild beast spirits are weakened by the dangerous walls of this academy’

Lots of animal food, research on how to take care of animals, books and things

There are a few animals in there and some bugs, but theres more research then actual animals.

Bunnies, the deva’s stay there sometimes, but rarely cause Gundham gets sad without them, only when they get sick or something.

Theres a patch of grass in there for the animals that eat grass

Its a nice calming place

Lots of animals

Gundham has a therapy dog in there that students can go pet.

Lighting is on a cycle that follows the sun, since thats best for the animals 

Gundam brings animals into the sitting room for people to pet (like the therapy dog)

Gonta and Gundham get along really good, they bond over people not understanding them sometimes, and their love of animals. It’s very sweet.

Ultimate Athletic Lab: Aoi, Leon, Hoshi, Akane, (Nekomaru)

Hopes Peak cycles out the equipment depending on the students there that year.

Aoi uses the swimming pool, so its just weights for her and other various training things.

Also a batting cage, mini tennis court, balance beam and rings.

Its a large room.

They also have mats like the fighters.

Altogether, they just do their own things, not really talking to each other. 

Ultimate Costume Lab: Junko, Tsumugi, Imposter

Its a really big closet.

A third is replica clothing of other people, a third is costumes, and a third is high fashion

They have to mark things really carefully so Tsumugi doesn’t get mixed up with Imposters stuff

Hifumi hangs around to look at Tsumugi’s costumes. Junko kicks him out a lot.

Theres also a bunch of fabrics and matierials, and a big desk for sewing and such.

Floor length mirrors, one of those thats like 3 mirrors so you can see yourself from every angle.

They don’t really get along... Tsumugi admires Junko a bunch, and Junko doesn’t like anyone. Imposter uses it for storage, and doesn’t spend much time there. 

Ultimate Detective Lab: Kyouko, Shuuichi

Literally just the lab from V3

But with the yearbooks for hopes peak

And a computer linked to the hope’s peak database.

Theres not a lot to add here.

But Kyouko and Shuuichi are very close, and help each other out and I must mention that.

Ultimate Magicks Lab: Hagakure, Himiko 

Himiko left the entertainers lab and came here to do real magic.

No one is sure what happens in there

Theres props everywhere

And crystals, and various fourtune telling devices

They both have mini booths where they can perform magic and read the future, respectively.

dim lighting, likely string lights or something

They have a fog machine

They have broken it several times

Hagakure takes Himiko in as his little sister and its really sweet. They get along good.

Ultimate Luck Lab: Makoto, Komaeda, and Hajime

A glorified, bulletproof, fireproof, and bomb proof break room. Also a panic room.

Hajime isn’t a strictly a lucky student, but they had no where else to put em so they stuck him with the lucky students. He wanted to be there anyway.

They have a pool table.

None of them know how to play pool.

Well Hajime does, but he doesn’t want to.

They just kinda sit there a lot of the time.

Makoto walks in to see Komaeda and Hajime kissing on the couch and gets really flustered, but it just keeps happening and eventually he gets used to it.

Theres some school books and bean bags in there.

At one point they get a console from Chiaki and play some games.

Nagito’s luck breaks it.

Basically a classroom without any desks.

The three of them get along well! Nagito and Hajime are dating, so Makoto is a bit left out, but the they do some stuff together.

Ultimate Creativity Lab: Koizumi, Angie, Hifumi, Ryota, Touko

The most chaotic lab.

Koizumi uses it for storage and nothing else. There is a little side room she uses as a dark room, but beyond that she hates being in there.

Hifumi had some of his things in there but Koizumi made him take them out for ‘pubic decency’

Its just his drawing tablet now, with a strong password on it.

Ryota has his drawing tablet too

Sometimes they talk, but not for long because Hifumi makes Ryota nervous.

Angie uses the space the most, as she doesn’t fear death and doesn’t care what anyone else does so long as she can paint and things.

It loos basically like v3 but with what I described and mixed with the art room from 1.

Touko has a desk in the corner and she does not use it. 

They really don't get along well. No one likes Hifumi, everyone dislikes Touko, Koizumi doesn’t wanna deal with anyone’s bull, Ryota is nervous all the times and these people make it worse so he goes to the tech labs since he’s friends with Chihiro. 

Everyone really likes Angie though. Well not Touko, but Angie either doesn’t notice or doesn’t care.

Most of them work in their own rooms and are happy to use the room for storage and let Angie take the space.

Ultimate Sciences Lab: Kaito, Rantaro, Korekiyo

Its actually pretty organized.

Theres a globe, a large map, a travel book, a cork board for Rantaro.

A library full of books on anthropology

Star maps, space stuff

The ceiling is dark, but always has a projection of the night sky that reflects the current position of the stars from where they stand.

They have a bunch of nice comfy chairs

Kaito would spend more time in the gym or pool if he wanted to train, since this lab is more focused on research.

Low lighting, mainly candles. 

There’s books for sciences that aren’t Kaito, Rantaro, or Korekiyo’s speciality, sometimes people use them for research. 

The detectives come in for research sometimes.

The three of them get along pretty well actually, it’s very nice. They’re close to each other in a unique way, and talk to each other about their problems and things. Very nice.

People who don’t really have a lab:

Celeste: Hangs around the Rec Room. She smuggled in better things to gamble with.

Kirumi: Takes students requests and goes around the school to fulfill them.

Mikan: Works in the Nurse’s Office, taking care of students who get hurt.

Teruteru: Works in the Kitchen, making whatever food he wants and sometimes meals for students who come in asking for food.

Syo: Isn’t allowed a lab.

Graduated Classes:

Daisaku: was in the zoology lab with Gundham. they got along alright, though not as well as Gundham and Gonta.

Ruruka: was in the kitchen, with Teruteru. they did not get along. 

Sonosuke: wasn’t really a lab kind of guy. assigned to the tech lab, but didn’t really mesh well with everyone else in there so just didn’t go in. he had a little place to do his smithing off campus.

Seiko: worked in the nurses office with Mikan. they were close, but quiet. Seiko kind of saw Mikan as a little sister.

Teachers and Staff:

None of the teachers have a lab, but they do supervise some.

Chisa teaches her class as normal

Munakata watches the student council 

Sakakura watches the fighters and athletes

all of them are extremely proud of their students and would kill for them.

Elementary School Division:

The elementary school doesn’t have labs. However, I feel like this is a good time to mention that Hope’s Peak elementary does take volunteers, and Komaru spends most of her time volunteering at the elementary there. 

And I think that covers everything!

I think I've missed a few people, and im not sure where to sort *anyone* from zero, seriously it is very confusing. If there’s anyone I missed you want me to put in lemme know. (also this took hours so please reblog)

and like, thank you to anyone who read through this monster of a post.

[forresteverly-a]

MOON IN THE ARMS OF THE SKY. → forrest everly.

Despite often being seen as big, burly, tough guys, don’t forget that the Taurus man is ruled by Venus, the planet of love. If you’ve ever read the story of Ferdinand the Bull, you have your template for the Taurus man in your life. This big Bull would much rather be sitting under a shady tree smelling flowers than fighting to the death in the ring. The Taurus man is definitely a lover, not a fighter – though he may quietly nurture a long-held grudge if you push him where it hurts. Generally, these guys are very easy to get along with, as long as you don’t encounter the famed Taurus stubbornness. He absolutely will not budge or give an inch once he’s entrenched on a subject, so don’t waste your energy trying to push him to see your point of view. A fixed sign, the Taurus man is not usually into abrupt changes. Not much into taking risks, this guy would rather hang back, wait, and see. He could be described as slow and steady in all things: love, work, and even personal projects. You’ll find that many Taurus men enjoy working with their hands and fixing things. A Taurus man will take his time to get it just right, and do it his way – which can be maddening to those around him. These fellows can act deceivingly nonchalant and casual, hiding their intense and passionate nature behind a facade of unassuming stoicism. The truth is, they’re taking it all in, and gauging what their next move will be. — ( x )

THE SUN ( TAURUS ): Your style, your life purpose, your destiny…

What is your character’s drive like and what fuels them?

Forrest is fueled by the simple pleasures in life. He finds joy in the quiet nights in with Dylan on the Everly farm’s porch and in watching the morning dew evaporate with the morning sun. Anything that will allow him to enjoy this gentler life, full of warmth and few complications with the people he loves, is what he will strive and fight for. While the stereotype for Taurus’s is that they are rather lazy, Forrest just requires those more low-key moments in order to help fuel him for his high-energy and high-intensity job.

What is most obvious about your character?

As a rather stereotypical Taurus, Forrest’s most obvious trait is his stubbornness. If he has an idea or plan set in motion, it will take fighting him tooth and nail to get him to budge ( and even then it still might not work ). He figures, at least, that he has lived enough to know what he wants and what he likes. This is not to say that he is close-minded at all, but rather that when he is making a decision about his own personal life ( e.g., plans for his Friday night ), it is very unlikely that he will budge. 

Who and what kind of people does your character surround themselves with?

While he is a bit quiet and withdrawn, Forrest has a little spark and love for teasing that he’ll showcase every so often. He does tend to gravitate towards quieter individuals, but given the right circumstances, he also enjoys having a few more animated friends that can break him out of his shell and keep him on his toes ( so long as they don’t overdo it ). What he cares about most is reliability. He values being someone that others can look to for consistency and loyalty, and he expects the same from them in return. 

THE ASCENDING ( AQUARIUS ): How the world sees you…

In a public setting, would your character be easy to adapt or hesitant wherever they are?

It’s a little more difficult for Forrest to adapt to new settings. As a kid, he kept only so many close friends as he could count on his fingers because he didn’t like the idea of change or spreading himself too thin. He likes his own personal circle where his loved ones already know his various quirks, and he doesn’t feel judged.

Is your character an extrovert or an introvert?

Forrest is extremely introverted. He loves time with the people he cares for, but it is important for him to have his time by himself to recharge and feel the most steady and at ease. He tries his best to avoid this, but Forrest does also have a tendency to disappear for a few days. When his symptoms from his severe TBI ( e.g., convulsions ) or PTSD ( e.g., nightmares ) become more intense or more frequent, this becomes even more prominent.

What qualities do you think people first see in your character?

An Aquarius Rising is not what most people would expect from Forrest, but when you look at his witty, inventive, sarcastic, and sometimes aloof demeanor, it begins to make more sense. Like many other Aquarius Risings, he always wants to do what he deems ‘the right thing’ even if it means it’s at his expense. This trait become extremely prevalent when he decided to join the Army. His gut told him that he was not fit for it nor did he like the idea of war, but the propaganda shoved down his throat and promises of it being the best option to help provide for his family convinced him to ignore that initial feeling of doubt.

THE MOON ( CAPRICORN ): Your habits, reactions, and instincts…

What moment does your character relive, either consciously or unconsciously?

Forrest very consciously wants to relieve the moment he decided to join the army. As someone with his moon in Capricorn, responsibility and loyalty are both two of his strengths and two virtues that he lives by. This moment was one where he feels like he went against everything he felt he believed in. His loyalty to his loved ones and his responsibility to them was manipulated with out him even blinking an eye. 

How does your character (negatively or positively) adapt to life experience?

One of Forrest’s greatest strengths when adapting to life experiences is his resourcefulness. He’s extremely good at looking at a problem, thinking about his options from a level head, and making a decision. His problems arise when he is in a place where trust of strangers or those he doesn’t know well is involved. Forrest doesn’t trust easily, so when he is set in a place where he needs to freely trust new people, he will shut down.

What facts would your characters conceal?

He is a very private person with people he does not know or trust. It takes a special person to open him up about more sensitive topics, such as his family or his injuries and mental health. However, even when he does feel comfortable to open up, he will not talk about his experience in the army or the war in general. If someone brings it up, he will disavow all of the U.S. military’s actions, and that will be it. When asked about his status as a veteran, he will state that he is one, but once again, that will be just about all that you will get.

THE VENUS ( VIRGO ): Your attractions, and your love life…

What kind of hobbies does your character have and why do they enjoy them?

Forrest’s main hobbies are hiking and cooking. Like many individuals with their Venus in Virgo, it is the smaller things that mean the most. He loves that in both hiking and cooking there is a bit of a journey that involves some sort of problem solving. When hiking, he needs to start at point A make it to certain midpoints and find his way back to the start. In cooking, while there are recipes with laid out instructions, his mother taught him that no dish is exactly the same, and you need to be able to make subtle changes to see a successful finished dish. 

What does your character find attractive, either in people or in their own possessions?

Forrest finds it very attractive when someone takes notes of his little needs and interests. He definetely finds it attractive when someone can hold their own and challenge him ( despite his stubbornness and his inability to ever actually say he appreciates their challenging of him ), but after that initial attraction, it is the thoughtfulness in his partner that causes that initial attraction to deepen.

How does your character (negatively or positively) show their love or demonstrate their affection?

Like many Virgo Venuses, his shows his love and affection through small acts of service. If you mentioned that you were having a hard day at work, he will likely offer to come make dinner to take off stress or go on a grocery run for you. He loves the idea that he can in someway make the lives of his loved ones just a little easier.

How does your character fall in love? Do they jump into relationships, or take slow, measured steps? Describe their behaviors and actions, if you’d like.

Forrest takes slow, measured steps when falling in love. He’s always very conscious of his feelings, but he tries his best to not scare away whoever it is that he has started to fall for. After so many years of nothing but war and guilt, he has found it hard to see himself as a partner for really anyone. Due to this, it has been a slow process getting himself back to seeing that as a potential for his life. Prior to the war, it would become rather apparent that he was catching feelings by the keen attention to detail in the woman he was interested in. The small acts of service that he would normally do for any of his loved ones would become much more individualized, and while he is not normally one to verbalize his care, small compliments and words of affirmation would become more frequent.

THE MARS ( SCORPIO ): Your strifes, temperament, and passions…

What does your character want with every fiber of their being?

He has wanted a wife and children for as long as he can remember. His parents love was something he always dreamed of having for his own when he was a young child, and though his life plans have caused this dream to become a bit harder for him to see as becoming a reality, he still wants it more than anything.

What will your characters do to get what they want? How far will they go?

With the mixture of his Mars in Scorpio and Sun in Taurus, Forrest does have a slight tendency to become a bit obsessive with the things he wants. Once he has his eyes on something that he wants, he quickly begins to formulate an exact plan ( and usually a back-up plan ) on how he will make it happen.

What makes your character see red? What makes their blood boil?

While Forrest is a relatively mild-mannered individual, if anyone hurts his family or loved ones, that carefully built shell cracks, and his Mars in Scorpio nature is unleashed. It is a quiet anger more so than a ‘fists flying’ anger. He will withdraw just enough to allow himself to figure out exactly how to get justified retribution. This type of anger has yet to be seen, but if Dylan’s husband ever shows his face, expect to see it.

On a symbolic level, what battles has your character lost and what wounds have they suffered?

Forrest has suffered greatly from the loss of his mother, the loss of his uncle, and the guilt of joining the army. These all still weigh extremely heavily on him and are always lingering in the back of his head.

[that-fannerd-with-the-glasses]

Huhh so, here’s some general characterization/fun fact things for Incredibles AU!! I usually don’t post this kinda stuff but since I’m still working on chapter three, figured I might as well! 

Phoenix (36), Mr. Incredible/Bob Parr counterpart

Superpower is super strength

Superhero name is Captain Indestructible.

 Didn’t really start to realize his powers until late in high school, though he didn’t actually begin superhero work until he was in college. Mia was one of his professors and she ended up eventually catching on to his abilities and offered to be his mentor (as she’s also a super). They worked as a team together up until the point Mia was killed in a severe incident, from that point on Phoenix ended up working alone. He did end up taking Maya  under his wing since she was supposed to train with Mia before she died, though she eventually branched out on her own as well.

Was an art major, and had plans of mainly working from home as a freelance artist. 

He really does try to be a good dad, okay, and he fucking loves his kids. It’s not his fault that every job the government’s placed him sucks the life and willpower out of him. He studied art dammit, being stuck at a desk job selling insurance was his worst nightmare come true.

Was in peak shape during his hero days, but years of being hunched over at a desk and little to no exercise--not to mention poor eating habits ended up developing into a soft dad bod that he’s a tad insecure about.

Meets up with Maya once or twice during the week, they usually end up getting burgers and reminiscing about the old days together.

Tried so hard to forget about hero work and live a normal steady life with his family, but that’s easier said than done. His entire den at home is decorated with all sorts of posters and articles and lately, he’s been spending just a bit too much time in it.

He’s already blown cover on their family twice, and he’s so torn between wanting to stay put and wanting to resume hero work.

Miles (36), Elastigirl/Helen Parr counterpart

Superpower is elasticity. 

Superhero name is Flexuous. 

Has been dealing with his powers pretty much since childhood. After his parents died, he was taken in by Manfred Von Karma and trained to be his prodigy. 

He ended up breaking away from Von Karma’s teachings sometime later and tried to do hero work on his own, his first instance of this being when he and Phoenix met for the first time. For a while they actually were rivals, before becoming friends and eventually dating, and were far too amused by the media’s obsession with their supposed rivalry.

Was studying to obtain a law degree and had hopes of becoming a lawyer, but when the lawsuits started happening and superheros were all uprooted, he ended up having to abandon any hopes of having any sort of high profile career. 

Sometimes works as a legal mediator just to make a bit of extra money/put his law knowledge to good use. 

He is the true backbone of the Edgeworth-Wright household. It would be in shambles if he weren’t in charge of it, as hair pulling as such a task is. For some years he and Phoenix co-parented without a problem, but with middle age starting to settle and Phoenix delving into a midlife crisis, he’s more or less been having to manage things on his own.

Phoenix and Miles -

They formally met through a foreign language course they were both taking, though officially had actually met several times under their super personas. It didn’t take long for either of them to figure each other’s identities out, however.

By the media’s standards, Captain Indestructible and Flexuous were rivals to one another, which up until a point was true. When they started dating, however, the rivalry all became a pretense just for the public’s entertainment. Though that wasn’t to say their butting heads and bickering outside of their super suits wasn’t all real, because it very much was. 

They dated for about two years before they were engaged, but their wedding had to be put on hold due to all the lawsuits and Super-related scandals going on. 

Miles pretty much planned his and Phoenix’s wedding up to a T, which didn’t matter in the end since they couldn’t afford the venue they’d wanted. They tried to wait a while, so they could save up enough money but that didn’t work out, and thus they decided to just go ahead and have a small private ceremony at the local courthouse. 

Phoenix knows Miles will never admit it, but he’s heartbroken that they didn’t get to have the wedding they wanted, especially after all the effort he put into it. That and the venue they’d booked was where his parents had gotten married, it’d meant so much to him to have their wedding there and they didn’t get to do that. 

They made the promise to each other that someday, when they were more financially stable, that they’d renew their vows and have the ceremony they’d always wanted, however that’s easier said than done when you’re trying to pay off bills and raise three kids.

Adopted Apollo two years into their marriage, then Athena a few years after that, and just recently have adopted Trucy. 

Apollo (14), Violet Parr counterpart

Superpower is invisibility/force fields.

The oldest child of the Edgeworth-Wright family. 

Has a crush on Klavier, who’s one of the more popular students in school because of course he is.  

Struggles with having to keep his powers a secret, which in-turn causes a great deal of self doubt.

Enjoys classic literature and music. 

Is stressed 24/7. His family is weird and he just wants to be normal, please help him. 

Athena (10), Dash Parr counterpart

Superpower is super speed.

The middle child of the Edgeworth-Wright family.

Her biological mother was also a super, who was killed by an ex-villain. Something similar happened to Miles when he was young, so of course he was all for adopting her. 

She has way too much energy for her own good, and has trouble focusing on one thing at a time. Her parents have tried time and time again to find a proper outlet for her to take her energy out on, but nothing’s worked so far and has only resulted in multiple visits to the principal’s office.

She wants so badly to play sports and has begged her parents time and time again to let her try out for one of the teams, though this usually ends in disagreement. Miles will put his foot down over the fear of her having an unfair advantage due to her powers, while Phoenix wants nothing more than to let her go ahead and do it. 

She very much loves and cares for her siblings, even if she does tend to pick on Apollo sometimes. 

Trucy (11 months old), Jack Jack Parr counterpart

Superpower is transformation, but the rest of her family doesn’t know this yet shhhh. 

The youngest child of the Edgeworth-Wright family.

She was an urgent emergency adoption, as well as being a closed one, so not much is known about her birth family. 

Maya (30), Frozone/Lucius Best counterpart

Superpower is telepathy/telekinesis.

Every woman in her family ended up developing these sorts of powers one way or another, so when hers started to get out of control she confided in Mia and was promised help in the matter. When she did finally arrive in the city though, Mia was dead so Phoenix took over the whole mentor thing, even if admittedly he wasn’t very good at it.

Despite everything, with Phoenix knowing next to nothing about Maya’s sort of power, he really tried his best to be of help to her and they ended up becoming close friends, even when she went off to do hero work on her own. 

After the superhero relocation program went into effect, she started work as a medium as a low key means of using her powers without giving herself away. She now owns her own small “mystic elements” type of shop where she does palm readings and the like, though nothing too drastic since a full display of her powers would give her away and have her relocated. 

Has never once been relocated come to think of it, and Phoenix is kind of jealous. It helps that she can be more subdued about her powers, while he doesn’t really have that option. 

Pearl lives with her and works in the shop as well. She ran away from home several years ago after a fight with her mother and Maya’s been looking after her ever since.

Is the cool, eccentric aunt to Phoenix and Miles’ kids. She or Pearl are their go-to whenever they need a babysitter (since they can’t actually afford one lmao). 

Franziska (33), Edna Mode counterpart

Has no superpowers. 

Works in the fashion industry, used to be responsible for a lot of super’s suits before the whole lawsuits and relocation shit went down.

The adoptive sister of Miles, who at one point was incredibly resentful towards him due to their father paying him more attention than her due to his having powers. They’ve both made peace since then, on the account that their father sucks.

Before Phoenix had met her, he was wearing his own homemade suit which she absolutely tore to shreds upon seeing. Ever since that day, he’s been low key terrified of her. 

Is essentially that wealthy lesbian aunt who likes to show off around Christmas and dump expensive presents on her nieces and nephew. 

Travels around a lot due to her job, so she’s not around often.

Dick Gumshoe (45), Rick Dicker counterpart

Has no superpowers.

Works with the whole Agency that regulates supers and what not, personally made sure that he’d be both Phoenix and Miles’ assigned case worker since he’d already known them a while.

Is doing his best in a crappy situation. Personally if you asked him, he’d be fine with supers coming out of their forced retirement but he’s not able to do much about it in his position. Regardless, he’s still a valued family friend and the kids love it when he visits.

Is married to Maggey Byrde because its what he deserves. 

Dahlia Hawthorne (32), Syndrome counterpart

Has no superpowers so to speak, but instead relies on technology invented by her family’s company.

She and Phoenix crossed paths during a supers convention, where she tried to convince him to train her as well, going on and on about how she wanted to be a hero too. But seeing as she didn’t actually have powers and wasn’t a hero herself, he turned her down.

The first attempt wasn’t the last, as she tried time and time again to get his attention and get her to train him, and each time he would refuse. He admired her efforts but the fact was, she was a civilian and even with her technology, she could be seriously hurt. 

Inadvertently foiled his attempts to sabotage a villain that ended up causing a railway explosion. She was arrested afterwards for interference with hero work, and Phoenix didn’t see her again for a long time.

Took Phoenix’s rejection very personally, and holds her public humiliation towards her arrest as his fault. 

Moved away to the island after she got out of jail and spent the next several years building up a brand new company from the ground up as part of her revenge plot. 

Iris Hawthorne (32), Mirage counterpart

Has no superpowers.

Is the twin sister of Dahlia.

She took on many of the company responsibilities until Dahlia was released from jail, then was forced into being her assistant for the new company. 

[letterboxd]

How I Letterboxd #5: Will Slater.

Talking mullets and other manes with the man behind the internet’s definitive ‘exploding helicopters in movies’ catalog.

“Man cannot live on helicopter explosions alone. Even I need some occasional intellectual nourishment.”

A London-based PR man by day, by night Will Slater has a thing (and a podcast, blog and Twitter account) for movies that feature exploding helicopters. According to his Letterboxd bio, it’s “the world’s only podcast and blog dedicated to celebrating the art of exploding helicopters in films… as well as shaming those directors who dishonor the helicopter explosion genre”. As Will tells Jack Moulton, he also loves film noir, Wakaliwood, masala movies and much more. Just don’t get him started on the one action movie cliché that never fails to disappoint.

Sylvester Stallone takes aim in ‘Rambo III’ (1988).

First things first, have you ever had a ride in a helicopter? Will Slater: What, do you think I’m mad? Of course I’ve never flown in a helicopter! If I’ve learned anything from watching hundreds of films where helicopters spectacularly explode, it’s that they are a singularly dangerous form of transport. You never know when Sylvester Stallone is going to pop up with an explosive-tipped arrow and blow you out of the sky.

I’m going to say the words ‘the definitive action hero/heroine’. Who pops into your head first? No runners-up. Go. Snake Plissken, no question, for a number of good reasons. First, there’s the look: that eye-patch, the beaten-to-hell leather jacket and Kurt Russell’s lustrous mane of hair. Second, there’s the attitude: his contempt for authority, the drawled sarcasm and all-round bad-assery. And I also like that he doesn’t have any special abilities. Action heroes generally tend to be either musclebound slabs of beef—Arnold Schwarzenegger, Stallone—or martial arts specialists—Jean-Claude van Damme, Jackie Chan—Plissken is just a pissed-off, angry dude who’s trying to stay alive. He’s very relatable. Plus, I’d argue he pretty much invented the whole anti-hero formula that rules our screens today.

Kurt Russell as Snake Plissken in John Carpenter’s ‘Escape from New York’ (1981).

When did you start your podcast and which film got you into looking deeper into the topic? It was while watching the cheesily bad Cyborg Cop that I first had an epiphany about the weird and wonderful ways in which helicopters seemed to continually explode in movies. But the film that convinced me to start documenting the phenomenon was Stone Cold. If you’re not familiar with the film, it was an attempt to turn former gridiron star and mullet-king Brian Bosworth into the next big action star. It goes without saying that Stone Cold did not transform ‘The Boz’ into the next Arnold Schwarzenegger, but the film wasn’t a total failure as it features a helicopter explosion that is as brilliant as it is gloriously stupid.

And that was the prompt to start the Exploding Helicopter. I launched the website in 2009, and the podcast followed 2015. Since we started, our aim has been a simple one: to celebrate the strange and inventive ways that helicopters explode in films.

Motorcycle crashes into helicopter in mid-air, ‘Stone Cold’ (1991).

When did you join Letterboxd? What are your favorite features here? I’ve been around since 2013. As for the features, the stats are very cool. When you dig into your viewing history, you can learn some very revealing things about yourself. For example, I generally like to think I have a commendably broad taste in film, and watch only the most important and influential works from every decade, genre and country. But then you look at the data and find you’ve watched Thunderball nine times in the last five years, so maybe you’re not as cool as you thought.

We noticed that your profile faves are low-key and explosion-free, given your theme of choice. Why these four and not Die Hard four times? Man cannot live on helicopter explosions alone. Even I need some occasional intellectual nourishment, between watching whirlybird conflagrations. There’s a little bit of nostalgia tied up in The Ipcress File. I first saw it as a kid, and it made a big impression on me. It’s very stylishly directed, has a great John Barry score and a star-making turn from Michael Caine. I’m a big film noir fan and Sweet Smell Of Success is a beautifully sour tale of cynicism and manipulation. To borrow the words of Burt Lancaster in the film, it’s a “cookie full of arsenic”.

Jean-Pierre Melville is my favorite director and Le Samouraï was the first of his films that I saw. What Melville does so masterfully in this, and his other crime films, is distil the elements of film noir. Basically, he takes the genre’s iconography—the gun, the trenchcoat, the fedora—and familiar plot tropes—the betrayed assassin, the heist gone wrong, the criminal doing one last job—then elevates them above cliché into something almost mythic. And what do I really need to say about Taxi Driver, other than it’s a masterpiece?

Now you say you shame directors who dishonor the art of helicopter explosions? Which directors did you dirty? Well, one of the biggest names in our hall of shame is Tony Scott. For a man who specialized in hyper-stylized, pyrotechnic-filled action movies, he flunked every helicopter explosion he filmed. In our eyes, one of the most egregious offences you can commit is failing to show the helicopter explosion. And in both Spy Game and Domino, old Tony cheats the viewer by having the chopper fly out of sight before it explodes. Now, I can accept such visual chicanery in a low-budget film, where they presumably don’t have the money to stage the scene, but what’s Tony’s excuse? If you look at his filmography, at one time or another he’s wrecked trains, planes and automobiles in spectacular fashion. But for some reason, he repeatedly couldn’t be bothered to give us a satisfying chopper conflagration. At a certain point, it starts to feel like a personal slight. Tony, what did I ever do to you?

In your immortal words, “a film is always improved by a helicopter explosion.” When has this been especially true? When you see lists of worst-ever directors, Uwe Boll is a name that always seems to turn up. And, according to the internet, one of his worst-ever films is the video game adaptation, Far Cry. Now, I’m not going to try [to] convince you that the film is a neglected classic, but it does have a very imaginatively staged exploding helicopter scene. It’s too convoluted to explain here, but take my word that it wouldn’t be out of place in a Fast and Furious movie.

What about the unsung heroes; the stunt artists, the pilots, the pyrotechnicians, the VFX wizards who have worked on numerous iconic action moments, all of whom deserve a shoutout? Personally, I don’t understand why the Academy doesn’t have a stunts category. But if they did, I’d be lobbying hard for Spiro Razatos to get the first award. These days, he works as a stunt coordinator on the Fast and Furious and Marvel films, but I’d like to draw people’s attention to some of his early work. Back in the nineties, he did a lot of work with PM Entertainment films, an independent company that made low-budget action films for the home video market.

They might not have had much money, but they put every cent on the screen with glorious, raucously inventive set pieces that were often more spectacular than big-budget Hollywood offerings. And remember: this was in pre-CGI times, so every death-defying detail was absolutely ‘real’. Go back and watch films like The Sweeper or Rage, and you’ll can see why Super Spiro has now graduated to these more prestigious gigs.

Narrow this list down for us: which is the ultimate most spine-tingly epic “we got company” movie moment? As you may have gathered, I do like an action movie cliché. When you encounter one in a film, it’s like meeting an old friend. And one of my favorites is when someone uses this classic line of dialog to signal that a car chase or a gun battle is about to start. I’ve heard people deliver the line in all sorts of ways–funny, scared, angrily and often just badly. But if you want spine-tingly, then you can’t beat Harrison Ford in Star Wars. He drops the line during the detention-block scene after failing to bluff an imperial officer. As soon as he says it, John Williams’ iconic score kicks in. It gives you the ‘feels’ every time.

“Boring conversation anyway.” Han Solo and Chewbacca in ‘Star Wars’ (1977).

And which action movie cliché can you simply not stand? Stop it: my hackles are raising just thinking about it. For me, the trope that never fails to disappoint is the ‘reluctant’ hero being convinced to take up arms and join the fight. You know the scene. Invariably, the hero has hung up their spurs and is living a bucolic existence ‘off the grid’, when a gruff buddy shows up asking them to risk almost certain death by taking on ‘one last job’. Now, dialog is rarely an action film’s greatest strength, and these beefcake actors generally are not cast for their dramatic chops. Which means we get subjected to the same perfunctory and uninteresting scene over and over again: “I told you, I’m out the game”, “Goddamnit, we need you”, “OK, I’ll do it”. These scenes just never work and are never less than painful to watch.

Which up-and-coming action director are you most excited about? In terms of up-and-coming action talent, I’d pick the director Stefano Sollima. I first noticed his work on a couple of TV series: the fantastic Italian crime dramas, Romanzo Criminale and Gomorrah. The way he composed shots really stood out, and it was clear he had a very cinematic eye. He rather reminds me of Michael Mann. He’s now on Hollywood’s radar and got to direct Sicario: Day of the Soldado the other year. And he’s lined up to make a Tom Clancy adaptation with Michael B. Jordan. I can’t wait to see what he comes up with.

Have you witnessed the glory that is Wakaliwood—Ugandan DIY action filmmaking—three of which make Letterboxd’s official top ten films by black directors? Which international films do you feel out-match Hollywood? I love the Wakaliwood films I’ve seen. It’s fascinating to watch action films from around the world and see their different styles and flavors. Recently, I’ve been trying to investigate Indian cinema and, in particular, what are known as ‘masala movies’. These mix action, comedy, drama, romance and dance numbers into one big, crazy, entertaining mess. They’re a unique experience. If you want to check one out, I’d suggest Dhoom 2. It’s bananas.

Can you believe there are only two female directors represented in your exploding helicopter list? Do you believe that’s due to systemic or thematic reasons? You have to say it’s systemic. Men have dominated filmmaking for more than a century. Until women have the same opportunities to direct and make films as men, it’s impossible to know what their interest may or may not be in blowing up helicopters. [Will has previously written about the search for “true gender equality in the world of exploding helicopters”.]

To address the elephant in the room, how has Kobe Bryant’s unfortunate death earlier this year changed the way you look at these scenes? Obviously, I appreciate that Kobe Bryant’s death was very shocking and a tragedy for his family and fans. But basketball really is not a thing on these grim shores, so it didn’t register with us unenlightened Brits other than [as] a sad headline about a US sports star.

What was your most anticipated movie event of 2020 before Covid-19 pushed every tentpole back? That’s easy: No Time To Die. I’m a huge Bond fan and as soon as tickets were available, I booked myself in to see it on opening day at an IMAX. But if the Daniel Craig era is synonymous with anything, it’s lengthy delays between films.

Freerunner Sébastien Foucan in the opening scene from ‘Casino Royale’ (2006).

What’s a fond memory you have in theaters related to the Bond franchise? I remember going to see Casino Royale. I was excited, but also nervous to see it. The Brosnan era had ended with the risible Die Another Day: invisible cars, kitesurfing and, worst of all, John Cleese’s awful Q. Since that had come out, we’d had Mission: Impossible, Bourne and the Triple X films, so it wasn’t beyond the realms of possibility that Bond might be finished. Then the first ten minutes of Casino Royale happened. And while that outstanding parkour-inspired chase was terrifically exciting, it also hit me like cinematic Valium. I suddenly realised I could sit back and relax, safe in the knowledge that 007 was going to be just fine.

Are you planning on returning to theaters as soon as you can? When would you feel comfortable? I’m taking a wait-and-see approach. I’d love to see films back on the big screen again, but I want to know more about how cinemas are going to maintain social distancing inside.

Finally, what three Letterboxd accounts should we all be following? Why not give Todd Gaines, Jayson Kennedy or Fred Andersson a follow? If you’re interested in genre films that are a little off the beaten trail, they’ll likely all steer you towards some hidden gems.

[fuckheadwitha]

Listening to The 500 Greatest Albums of all Time According to Rolling Stone, #489-480

#489

Phil Spector and Various Artists, 'Back to Mono (1958-1969)'

Did you know Phil Spector is due for parole in 2025 for the murder he committed in 2003 of actress Lana Clarkson? Anyways this is a compilation album so skipping.

#488

The Stooges, 'The Stooges'

It’s the stooges self-titled, and it has both one of my favorite stooges songs, the proto punk “I Wanna Be Your Dog,” but also an interminable 10 minute take on a hindu prayer asking for a girl to come up to room “one two one” to fuck. Critics hated this album when it came out and now it’s seen as a precursor to like three genres, and Iggy is still alive, so I guess he won.

#487

Black Flag, 'Damaged'

Hey it’s their debut album, and also my favorite of theirs. Their gripes about Living in a Society seem almost quaint now (People watch too much TV, I buy stuff that doesn’t make me happy) but it’s put in such a perfect sonic stew of snarky shouting and major key riffs that you really feel DaMaGeD.

#486

John Mayer, 'Continuum'

Did you have that kid in your school who was like really into guitar and rock n’ roll as like concepts, and he was definitely mechanically talented but had such a surface level understanding of life and music that he couldn’t find anything to say with that talent? That is John Mayer.

#485

Richard and Linda Thompson, 'I Want to See the Bright Lights Tonight'

So here is another album which is critically beloved and cited by many musicians as their inspiration but my own personal bias gets in the way of enjoying it. I don’t like folk rock, and this is folk rock from England, but at least this relatively easy-listening album of songs about death has the title track, which is a stand-out for Linda Thompson’s vocal performance, and the cheesy celtic shit is pretty cute too.

#484

Lady Gaga, 'Born This Way'

Was it ever settled whether Lady Gaga’s whole bit was praxis or an empty cynical exploitation of gay liberation movements to sell controversy to both Peter Thiel and kids in the midwest who wear red flannel? Does it even matter? She’s trying so hard to be controversial on here, including falling in love with Judas on...“Judas,” and it definitely got the mom and dad who throw temper tantrums at the PTA meeting convinced she was going to destroy America by forcing everyone to get a gay wedding cake. In reality the album is an electro-house throwback to how you imagine cheesy 90s gay club music would sound, pleasantly catchy and inoffensive.

#483

Muddy Waters, 'The Anthology’

This is a collection so that’s a skip. Muddy Waters is good though I hope we get an actual album on here.

#482 

The Pharcyde, 'Bizarre Ride II the Pharcyde'

The Pharcyde kinda get forgotten for being ‘west coast A Tribe Called Quest’ and that’s unfortunately because none of their follow ups could match this debut and their solo careers never blew up, but this is still a classic. The low point is very low with Fatlip’s primordial-Tyler the Creator bit on “4 Better or 4 Worse” where he calls a woman’s house to threaten her (in a ~joking~ way, but nobody’s laughing), and the skits aren’t great in general, but this is quality jazz and sample production under clever takes on day to day nightmares (“Officer” in particular is a standout, a chronicle of the mundane terrors of dealing with cops when you’ve forgotten to reup your car’s registration). Also, “Passin’ Me By” invented the word Simp, so that’s an important piece of shared cultural history.

#481

Belle and Sebastian, 'If You’re Feeling Sinister'

This infuriatingly twee irish chamber pop group was the blueprint for multi instrumental songs about sex featuring ukuleles and horns and shit. “The Stars of Track and Field” is like an aural version of a parody of a Wes Anderson movie, but the title track is a coomer anthem: a dorky upbeat acoustic guitar yarn about how you’re probably better off seeking absolution in jerking off than in the approval of others.

#480

Miranda Lambert, 'The Weight of These Wings'

So mainstream country is another genre wall for me. All the songs have a wine feminism bent, whether it’s being a messy binch who needs her coffee on “We Should Be Friends” or “Pink Sunglasses,” to being a dirt queen who loves her brothers on “Tomboy.” But the one two punch of “Bad Boy,” a song about fucking a guy from a bar, immediately followed by “Six Degrees of Seperation,” a song about divorce, is really funny.

Current Standings:

[nebris]

How the Ballpoint Pen Killed Cursive

In 2015, Bic launched a campaign to “save handwriting.” Named “Fight for Your Write,” it includes a pledge to “encourage the act of handwriting” in the pledge-taker’s home and community, and emphasizes putting more of the company’s ballpoints into classrooms.

As a teacher, I couldn’t help but wonder how anyone could think there’s a shortage. I find ballpoint pens all over the place: on classroom floors, behind desks. Dozens of castaways collect in cups on every teacher’s desk. They’re so ubiquitous that the word “ballpoint” is rarely used; they’re just “pens.” But despite its popularity, the ballpoint pen is relatively new in the history of handwriting, and its influence on popular handwriting is more complicated than the Bic campaign would imply.

The creation story of the ballpoint pen tends to highlight a few key individuals, most notably the Hungarian journalist László Bíró, who is credited with inventing it. But as with most stories of individual genius, this take obscures a much longer history of iterative engineering and marketing successes. In fact, Bíró wasn’t the first to develop the idea: The ballpoint pen was originally patented in 1888 by an American leather tanner named John Loud, but his idea never went any further. Over the next few decades, dozens of other patents were issued for pens that used a ballpoint tip of some kind, but none of them made it to market.

These early pens failed not in their mechanical design, but in their choice of ink. The ink used in a fountain pen, the ballpoint’s predecessor, is thinner to facilitate better flow through the nib—but put that thinner ink inside a ballpoint pen, and you’ll end up with a leaky mess. Ink is where László Bíró, working with his chemist brother György, made the crucial changes: They experimented with thicker, quick-drying inks, starting with the ink used in newsprint presses. Eventually, they refined both the ink and the ball-tip design to create a pen that didn’t leak badly. (This was an era in which a pen could be a huge hit because it only leaked ink sometimes.)

The Bírós lived in a troubled time, however. The Hungarian author Gyoergy Moldova writes in his book Ballpoint about László’s flight from Europe to Argentina to avoid Nazi persecution. While his business deals in Europe were in disarray, he patented the design in Argentina in 1943 and began production. His big break came later that year, when the British Air Force, in search of a pen that would work at high altitudes, purchased 30,000 of them. Soon, patents were filed and sold to various companies in Europe and North America, and the ballpoint pen began to spread across the world.

Businessmen made significant fortunes by purchasing the rights to manufacture the ballpoint pen in their country, but one is especially noteworthy: Marcel Bich, the man who bought the patent rights in France. Bich didn’t just profit from the ballpoint; he won the race to make it cheap. When it first hit the market in 1946, a ballpoint pen sold for around $10, roughly equivalent to $100 today. Competition brought that price steadily down, but Bich’s design drove it into the ground. When the Bic Cristal hit American markets in 1959, the price was down to 19 cents a pen. Today the Cristal sells for about the same amount, despite inflation.

The ballpoint’s universal success has changed how most people experience ink. Its thicker ink was less likely to leak than that of its predecessors. For most purposes, this was a win—no more ink-stained shirts, no need for those stereotypically geeky pocket protectors. However, thicker ink also changes the physical experience of writing, not necessarily all for the better.

I wouldn’t have noticed the difference if it weren’t for my affection for unusual pens, which brought me to my first good fountain pen. A lifetime writing with the ballpoint and minor variations on the concept (gel pens, rollerballs) left me unprepared for how completely different a fountain pen would feel. Its thin ink immediately leaves a mark on paper with even the slightest, pressure-free touch to the surface. My writing suddenly grew extra lines, appearing between what used to be separate pen strokes. My hand, trained by the ballpoint, expected that lessening the pressure from the pen was enough to stop writing, but I found I had to lift it clear off the paper entirely. Once I started to adjust to this change, however, it felt like a godsend; a less-firm press on the page also meant less strain on my hand.

My fountain pen is a modern one, and probably not a great representation of the typical pens of the 1940s—but it still has some of the troubles that plagued the fountain pens and quills of old. I have to be careful where I rest my hand on the paper, or risk smudging my last still-wet line into an illegible blur. And since the thin ink flows more quickly, I have to refill the pen frequently. The ballpoint solved these problems, giving writers a long-lasting pen and a smudge-free paper for the low cost of some extra hand pressure.

As a teacher whose kids are usually working with numbers and computers, handwriting isn’t as immediate a concern to me as it is to many of my colleagues. But every so often I come across another story about the decline of handwriting. Inevitably, these articles focus on how writing has been supplanted by newer, digital forms of communication—typing, texting, Facebook, Snapchat. They discuss the loss of class time for handwriting practice that is instead devoted to typing lessons. Last year, a New York Times article—one that’s since been highlighted by the Bic’s “Fight for your Write” campaign—brought up an fMRI study suggesting that writing by hand may be better for kids’ learning than using a computer.

I can’t recall the last time I saw students passing actual paper notes in class, but I clearly remember students checking their phones (recently and often). In his history of handwriting, The Missing Ink, the author Philip Hensher recalls the moment he realized that he had no idea what his good friend’s handwriting looked like. “It never struck me as strange before… We could have gone on like this forever, hardly noticing that we had no need of handwriting anymore.”

No need of handwriting? Surely there must be some reason I keep finding pens everywhere.

Of course, the meaning of “handwriting” can vary. Handwriting romantics aren’t usually referring to any crude letterform created from pen and ink. They’re picturing the fluid, joined-up letters of the Palmer method, which dominated first- and second-grade pedagogy for much of the 20th century. (Or perhaps they’re longing for a past they never actually experienced, envisioning the sharply angled Spencerian script of the 1800s.) Despite the proliferation of handwriting eulogies, it seems that no one is really arguing against the fact that everyone still writes—we just tend to use unjoined print rather than a fluid Palmerian style, and we use it less often.

I have mixed feelings about this state of affairs. It pained me when I came across a student who was unable to read script handwriting at all. But my own writing morphed from Palmerian script into mostly print shortly after starting college. Like most gradual changes of habit, I can’t recall exactly why this happened, although I remember the change occurred at a time when I regularly had to copy down reams of notes for mathematics and engineering lectures.

In her book Teach Yourself Better Handwriting, the handwriting expert and type designer Rosemary Sassoon notes that “most of us need a flexible way of writing—fast, almost a scribble for ourselves to read, and progressively slower and more legible for other purposes.” Comparing unjoined print to joined writing, she points out that “separate letters can seldom be as fast as joined ones.” So if joined handwriting is supposed to be faster, why would I switch away from it at a time when I most needed to write quickly? Given the amount of time I spend on computers, it would be easy for an opinionated observer to count my handwriting as another victim of computer technology. But I knew script, I used it throughout high school, and I shifted away from it during the time when I was writing most.

My experience with fountain pens suggests a new answer. Perhaps it’s not digital technology that hindered my handwriting, but the technology that I was holding as I put pen to paper. Fountain pens want to connect letters. Ballpoint pens need to be convinced to write, need to be pushed into the paper rather than merely touch it. The No.2 pencils I used for math notes weren’t much of a break either, requiring pressure similar to that of a ballpoint pen.

Moreover, digital technology didn’t really take off until the fountain pen had already begin its decline, and the ballpoint its rise. The ballpoint became popular at roughly the same time as mainframe computers. Articles about the decline of handwriting date back to at least the 1960s—long after the typewriter, but a full decade before the rise of the home computer.

Sassoon’s analysis of how we’re taught to hold pens makes a much stronger case for the role of the ballpoint in the decline of cursive. She explains that the type of pen grip taught in contemporary grade school is the same grip that’s been used for generations, long before everyone wrote with ballpoints. However, writing with ballpoints and other modern pens requires that they be placed at a greater, more upright angle to the paper—a position that’s generally uncomfortable with a traditional pen hold. Even before computer keyboards turned so many people into carpal-tunnel sufferers, the ballpoint pen was already straining hands and wrists. Here’s Sassoon:

We must find ways of holding modern pens that will enable us to write without pain. …We also need to encourage efficient letters suited to modern pens. Unless we begin to do something sensible about both letters and penholds we will contribute more to the demise of handwriting than the coming of the computer has done.

I wonder how many other mundane skills, shaped to accommodate outmoded objects, persist beyond their utility. It’s not news to anyone that students used to write with fountain pens, but knowing this isn’t the same as the tactile experience of writing with one. Without that experience, it’s easy to continue past practice without stopping to notice that the action no longer fits the tool. Perhaps “saving handwriting” is less a matter of invoking blind nostalgia and more a process of examining the historical use of ordinary technologies as a way to understand contemporary ones. Otherwise we may not realize which habits are worth passing on, and which are vestiges of circumstances long since past.

Josh Giesbrecht is a writer, artist, programmer, and public-school teacher based in British Columbia, Canada.

https://getpocket.com/explore/item/how-the-ballpoint-pen-killed-cursive?utm_source=pocket-newtab

[shayde-n-friends]

Reaper High - Next Gen: Children of Nomads and Royals

((After getting 2 Commissions of Ajax, and seeing lots of love being given to Jazz, I decided to just up and make a post about the many Next Generation characters that i’ve created over the years.

Ajax - Shayde and Vega’s youngest daughter. She is the only one of the children who was born with Natural Guardian powers, or at the very least, something akin to them. (Perhaps it was her golden chip? No one knows...not even Shayde’s Ghost.) At some point in her life, she acquired Roulette’s old sword; Worldline Zero. With it’s power, combined with her ability to create rifts in space inherited from Vexus, Ajax discovered that she was able to travel through time using the sword. She’s quite the troublemaker when she wants to be, but more often than not her heart is in the right place. When she makes a mistake, it weighs heavy on her, and goes to the greatest lengths to fix what she has broken.

Avior - Shayde and Vega’s only son and Prince of Cluster Prime, Avior dedicated himself at a young age to defending those who could not defend themselves, and giving people something to look up to when things are looking grim. He studied and trained under some of the greatest heroes he could think of: Saint-14, All-Might, Super-Man and Captain America to name a few...Although, despite his knightly philosophy and manners, he styles himself after Lord Saladin and The Iron Lords. Being about 8 feet fall, he sometimes intimidates the other students at Reaper High. That, and the fact that he has Vexus’ eyes, and teeth.

Weiss - The Elder Daughter of the Royals, and seemingly the most low key, all Weiss wants to do is learn the history of her two heritages. When she was young, Weiss was as happy-go-lucky as her mother. Growing up, she began to learn about Vexus’ crimes, and the banishment of her grandfather. Combined a less than positive school experience, this caused Weiss to become far more jaded. Like Roulette, Weiss has little time for bullies, blowhards but is far more likely to shut them up if they don’t have the smarts to do so themselves. She appears to be the most tame of her family, but deep inside, power greater than her sibling, parents and grandparents combine BURNS...

Morrigin - Daughter of Stake and Number 86, Morrigin is as tough as both her parents and then some. Growing up among Ex-Teens Next Door agents and Clones, Morrigin had no shortage of exposure to extended family, her cousins included. Training from both her mother and father have honed her into a disciplined fighter, and a capable leader, if not a little arrogant. Of course, with her parent’s combined strengths, she also shares their weaknesses, such as 86′s temper, and Stake’s crippling lack of fashion sense and dance talent.

Thomas - Against everyone’s expectations, Volker and Brit remained together after the Apocalypse, even more unexpected was the birth of their son, Thomas. His parents raised him to be a cat-burglar from an early age, though Volker did remind him that not everything should be stolen...just the stuff that people who already have a lot don’t use. At some point before attending Reaper High, Thomas acquired the means to train as a Titan Pilot, but didn’t get his hands on one until getting to the school...Stealthy, Agile, and well versed in assassin combat styles and gadgets, Thomas can easily slip away from any trouble he might find himself in.

Kaze -  If Brit sticking around to raise her child was a surprise, than Misty raising her child with Dreamer was nothing short of a miracle. After they had amassed a small fortune from their Bounty and Treasure Hunting days, the two found a place to call home, and so the inquisitive Kaze was born. Of the Clones’ Children, she is the most in-tune with her heritage, having powers from her mother, as well as Combat skills passed down to her from both parents. She can speak fluent Mandolorian, and forged her own sword in the vein of Misty’s. Even more curious, is that Kaze appears to be able to use The Force, even though neither of her parents were able to...because of this, Kaze is exposed to dangers that others may not be. 

Coyote - Nobody knows where Coyote truly came from. He appears to be a Yautja-Human hybrid, with some elements of what seems to be Crescentian DNA...He is apart of a new tribe of Yautja founded by Marsh after the end of the Apocalypse, protecting the vulnerable Cresentian populace from natural predators and hunters in exchange for bonding with members of the clan as partners on the hunt. Though Coyote has no Partner, he more than makes up for it with his cunning and prowess as a tracker, Capable of wrestling with beasts 3 times his size, and just as able to take them out. He doesn’t speak very often, which is why no one can seem to get a straight answer about his origins out of him...

Samuel - It took Frida a long time to convince Russell to have a child, but the wait was well worth it. Russell made certain to be there during every step of Samuel’s life. As a result, the boy was spared from the parental issues that plauged his father. With his father’s training, and his mother’s inventive ingenuity, Samuel became a prodigy in combat and vigilante justice. Despite his mostly positive upbringing, he never found much reason to speak. As such, he tends to express himself through gestures and actions. He lacks his father’s temper, but has his dexterity and skill with weaponry. Samuel is more in tune with her mother, sharing her mechanical prowess...and her sense of humor.

Helena - Though some miracle of science and biology, Shard and Melody were able to have a child, a perfected techno-organic being known as Helena. Imbued with the powers of both her mother and father, Helena is a powerhouse of speed and power. The only issue being, she is incredibly shy. She has the ability to stop time, materialize armor for herself from thin air, transform into a mechanical beast like her parents, and move just as fast as Shard, if not faster. She’s fiercely loyal to those who she claims only “Tolerate” her as a friend, and doesn’t give herself as much credit as she deserves. The only time she’s been known to come out of her shell completely is when one of her friends are in danger, revealing that sometimes she can be just as cocky as her father. (...And that embarasses her to no end!)

Ragran & Selmaxen - At some point in RH History, Heater began a complex Relationship with a version of Hekapoo from another timeline or dimension. Which one? Nobody knows...what everyone does know is that after the apocalypse, Heater ran off with her for years, and came back with a pair of Twins: Two girls named Ragran and Selmaxen. Ragran shares her father’s vow of silence, while Selmaxen tends to chat up a storm. Both of the twins have the ability to use their mothers scissors, or duplicates from the looks of them, and have power to manipulate, control, and create fire, lava and obsidian thanks to their fathers supernatural exploits in Hell during the apocalypse. They aren’t dependent on one another, but when they team up to do much of anything, their synergy is unmatched.

((This is just too much fun to come up with and write about! Seeing RH Next Gen stuff makes my heart soar, and it saddens me that I fall into ruts so often that I’m starting to lose steam on this sort of thing. But i’ll keep trying to keep my motivation up, and so long as im motivated, i’ll keep writing stuff for RH!))

[irrevocably-delicious]

Cultivating an enjoyable video games experience with non gamers aka How do I get my non-gamer significant other to play games with me?

Video games.

Once a niche hobby of adult programmers in the 70s, before targeting 10 year old boys in the 80s and 90s, video games are now a mainstream hobby and entertainment product that has shown tremendous growth in the past 30 years. While films and serialized shows have shown some developments, with new technologies and the invent of streaming, the gaming industry has undergone a complete transformation in only a few short decades. Entire genres have been created, along with improved graphics, mechanics, and storytelling.

But with more people getting into video games now more than ever, the age-old question continuously resurfaces:

“How do I get my significant other to play video games with me?”

And it’s an understandable question! Games are an important hobby to some, and it’s nice to be able to share in that passion and joy with the person you love most. I completely understand this. I’m a cosplayer and I’ve definitely conned my boyfriend into pressing seams for me or sitting in hour long panels about EVA foam. It’s not exactly his number 1 priority, but we have fun together doing it, and he’s able to appreciate my craft a little more because of it.

Similarly, he’s not an artist, but he always helps me table in Artist Alley, gives advice on new prints to make (“If you’re going to make a niche DnD print, at least display it near the DnD stuff to be a conversation starter”) and stays up til 2am cutting stickers with me. It’s exhausting, but we have a lot of good memories from doing it together.

It’s nice to include your significant others in activities that bring you joy.

So how the hell do you convince your partner to engage with video games… if they never have before? And what kinds of games are going to give you the best experience?

Hi. Welcome. This is where I come in.

I’m not a gamer. At all. I’m awful at video games. Whilst my boyfriend was growing up and devouring every console he could convince his parents to buy, I was being a horse girl. No Halo for me today, sir, I have a showjumping class to attend. The only video game I would willingly participate in was Singstar during sleep overs, and that was because I was a musical theatre kid and knew this would be the only video game that I could completely decimate my peers with. Street fighter? No thank you. But I will wreck your shit with Stacy’s Mom by Fountains of Wayne.

But somehow, even though this is my upbringing, I have to acknowledge the fact that over the past 10 years I’ve actually played… a lot of video games. I think I’ve figured out the key. I think I’ve distilled the answer. Now obviously this is purely based on my experience, and everyone will have slightly different results, but I will now present you with my scientific anthropological findings of how you may be able to repeat this process.  

“How do I get my significant other to play video games with me?”

Now I think there are two ways to go about this.

1.       Play a video game together where both of you are holding a controller and in charge of some aspect of the game. Ie. Character, assistant, the right foot, etc.

Now I realize this seems obvious.

“You mean I can play a video game with my significant other by actually playing a game with my significant other??? Uhhhh yeah…. I WOULD THINK SO”

But hear me out. Out of the two ways you can go about this, I actually think this is the hardest way (I’ll explain why soon). My partner and I do not often play games together like this. What we usually do, and what I would be more likely to recommend is:

2.       Play a game where you (the gamer) have the controller, and your SO participates or watches from the couch.

This is what my boyfriend and I usually do, and it’s the less likely of the two options to cause arguments, fights, and tears.

But let’s first look at option 1.

Playing a game together

Do you remember when you were in high school and you had to do a film study for a semester? And your teacher would explain all the different camera shots and angles and what they meant? A low angle shot where a character towers above makes them seem intimidating. A character cloaked in shadow indicates that the character is sneaky.

Your teacher told you all this, but in reality, all of these meanings were probably pretty obvious to you. You intuitively knew what they meant because you had been raised on watching movies. You were already familiar with this language of film because it had always been present in your life.

Well guess what? Video games have a language too.

And just like film, if you have played video games your whole life, you might be surprised at just how much of this language you have absorbed, and how much of this literacy is REQUIRED to play a modern video game.

The fact that triangle is always jump, x to interact, L2 to aim, R2 to shoot, circle to crouch, square to reload… all of that is assumed knowledge that you would probably have ingested over time, so it comes completely natural to you now.

Your SO doesn’t know any of this. They probably don’t even know that the L and R buttons exist. I didn’t. I still forget.

This is why choosing a game to play together is so difficult. When you finally do choose one? You have to be patient. You cannot get annoyed when your SO has to ask every five minutes what jump is again. They may have difficulty navigating around menus and UI. They may have difficulty moving around in game. Side scrollers are pretty intuitive, but games that require you to position a camera? Ie. Most third person or first person anything? Oof. That’s hard. They might fall off a lot of bridges or stare at the ground a lot. This is a skill you have to build up. You have it already. They don’t. It’s important to remember that saying anything like “You can do it, it’s easy!” or “Why are you having so much trouble with this?” is NOT HELPFUL. It’s only going to make your SO feel stupid/bad. Remember, they don’t give a shit about video games. Their life has been just fine without them until now, and it will continue to be just fine without games. They are only doing this FOR YOU. So why would you want to make someone feel stupid for just trying to make you happy?

Treat them like a baby deer. Gently. Tentatively. You are slowly drawing them into the clearing. Any harsh comment will send them running.

Based on all this, here are some recommendations on games that work well to play with your SO.

1.    Games you are SUPPOSED to be bad at.

You know how I just talked about how there are general conventions over controls? And that it can be frustrating for your SO to learn these whilst they come intuitively for you?

Well what if you eliminated that disparity by playing games where the controls intentionally make no goddamn sense? By playing a game with whacky controls, it evens the playing field. Your SO is learning and struggling with controls, but so are you! This way your stupidity is not humiliating, it creates a sense of comradery. There’s no shame, just silliness and fun. The game I played with my partner that made me first realise the genius of this was… Octodad.

Octodad is collaborative. It’s an absolute nightmare to control, but for once my boyfriend’s muscle memory was actually a detriment. He would instinctively go to move like he would in other games, but that’s not how Octodad works. So he was rewiring his muscle memory whilst I was just a blank slate.

“Trigger to grab things? Yeah sure. Why not? I don’t know any better.”

It also hits that sweet spot of being short enough that the silliness doesn’t grow stale, and has a sincere enough story that you do become invested in the fate of the octopus in your hands.

10/10 Octodad. Highly recommend.

Other games in this genre that I feel would be worth a look:

-          Man Fall Flat

-          QWOP

-          Surgeon Simulator

-          Super Bunny Man

 2.    Hey! It’s Nintendo!

Ah Nintendo. It’s where most children start, so it seems like a logical place for a burgeoning gamer to begin. But specifically, what I want to recommend are the range of excellent Nintendo party games that are simple to navigate, fun, and often cooperative. I can’t play an FPS, but Mario Kart comes very easy to me…. Or as easy as it does to anyone. Similarly, Mario Party requires almost no video game literacy, and you can introduce it to your SO as “It’s just a board game that happens to be a video game”.

Although we do joke about Mario Kart and Mario Party being “friendship killers” because of their competitive nature and how easy it is to sabotage other players. If you are worried about these games maybe causing to much distress, I would also recommend the tried and true Wii Sports or the more modern 1-2-Switch. It has a cow milking game! It’s fun! And you can laugh at one another as you make terrible dick jokes.

I DO NOT RECOMMEND SUPER SMASH BROS. THAT IS NOT AN INTRODUCTORY GAME.

If you really want, play it on co-op team mode.

 In summary, when picking a game to play with your SO my general recommendations are:

- make sure the game has very simple controls and linear movement (if any at all)

- or have a game with bonkers controls so you can learn them together

- avoid competitive games to start. Or play competitive games that require no video game literacy. The best FPS or Tekken player is NOT going to win Mario Party. It’s just luck.

Playing games this way with my partner is fun, but not how we usually play games. This is because if I want to play a AAA title, or maybe a great JRPG I’ve heard about, I have to move on to the second method.

 Playing games where the gamer has the control and the non-gamer watches/participates via other means.

This is how my partner and I generally play games. Because my partner is the one holding the controller, navigating the game, combat and menus, I am not required to have any of that assumed knowledge I mentioned earlier.

But how can you make watching a video game compelling?

It’s actually not as difficult as you might imagine, but you’re right in that it does rule out a chunk of games. If you have grand dreams of your non-gamer girlfriend fawning over your sweet League of Legends skills… then I think you need a bit of a wake-up call. Competitive online games, FPS and sports games (such as FIFA) are generally not fun to watch. This isn’t a blanket statement! Some non-gamers could find these fun. But generally, if you don’t know the skill it requires to perform certain moves or strategies, or are unfamiliar with even the basic rules… these games just look like a mess.

Me watching someone play Overwatch: “Wow… I suddenly have motion sickness”

I find the most compelling games to watch are: Narrative driven

Think of all the games that are basically movies with some gameplay thrown in. Uncharted and the Tomb Raider reboot are just long form Indiana Jones movies. The Last of Us is a survival, drama, horror movie that makes you question your morals and how far you are willing to go to help humanity. The Witcher captures a rich narrative and lore comparable only to the Lord of the Rings films. The Yakuza series might be the best mob movie I’ve ever seen. All of these games are great and as engrossing to watch as they are to play. Lovable characters, compelling obstacles, and a good dose of spectacle keep them entertaining. Narrative driven games are my favorite to just sit and watch whilst my partner plays.

However, “narrative driven games” encapsulates thousands of titles, with some being more suited to watching than others. To help narrow down games that are enjoyable without a controller, I’ve narrowed it down into 3.5 sub categories.

1.       Games with a looser/more predictable narrative, but the visuals are just so damn appealing

2.       Choice based games – with the sub category of puzzle games

3.       Mediocre games, but they’re fun

 Each of these categories creates a uniquely different gaming experience, ranging from a cinematic “sit and watch” style, to a higher participation, more co-operative team based style. Let’s start with the first as it’s the easiest to define.

 1.    Games with a looser narrative, but engrossing visuals

Sometimes games will have a good story, but you’re just not sure if it’s good enough to sustain someone’s attention for 20+ hours. Maybe it’s a little predictable. Maybe you know the hero is destined to save the day. Will this be enough to hold my SOs attention?

And I think you are really the only one to answer that.

But let me first tell you about one of my favorite games, and probably only the second game I ever played with my partner.

DMC.

I fucking adore this game.

Eat my ass. It’s great.

But is the story that great? I mean it’s cool. Half angel, half demon boys. Long lost twin brothers. An evil demon who killed your father and has now essentially become a mob boss and corrupted your city. It’s cool. It’s interesting enough, but at the end of the day, you know Vergil is going to betray you. You know your cardboard cut out girlfriend(?) is going to be a liability. You know you’re going to defeat that demon boss with your big sword.

But god damn, if it isn’t a riot to watch. Devil May Cry has some of the most stylish and slick combat, that it’s really entertaining to just witness. You can cheer on your SO on as they climb up to a SSS ranking and maintain their combo over 5 whole minutes. The soundtrack is blasting. The level design and art direction are stunning. Watching Dante get dragged into Limbo is always an experience, and you’re never quite sure what you’re going to walk into this time. DMC still has one of the most inventive boss fights I’ve ever seen and I’m honestly waiting for another game to top it.

So, I think if your visuals are captivating enough… that can definitely save a game with maybe just a good to average story. It’s just a treat for the senses.

Other games I would put in this category would be:

- The Arkham games, particularly Arkham City and Arkham Knight. God the combat is just great to watch, with each punch really feeling brutal and heavy. The spookiness of Gotham is eerily beautiful, and finding all the easter eggs in the world is a real treat.

- The latest Spider-man game from Insomniac games

- Breath of the Wild – I just like… being in this game

-Nier Automata – this one is a bit weird. I wasn’t sure which category to put it in, but felt because of the interesting mechanics and gimmick of playing over and over again to reveal more of the world and story, I decided to put it here.

 2.    Choice based games

This is definitely my favorite type of game to play, and the one that I think is the easiest to engage with, despite the lack of controller in my hand.

The whole reason I started playing games with my partner is because he was playing a game and after a while I just… sat down… and started watching.

The game was Mass Effect 3, and I just became really involved in the story and the choices my partner was making. We have since gone back and played the entire Mass Effect series multiple times, and I feel it really exemplifies what is so fantastic about playing a choice-based game with a non-gamer.

Choice based games still allow your SO to be heavily involved. If you are letting your SO make choices, then they are still playing the game. Just because I wasn’t the one actively shooting Collectors does not mean I had no impact on our game experience. It was my choice to cure the genophage. My choice to spare the Rachni queen, and you can be damn sure that it was my choice to romance Garrus across the series. Choice based games are fantastic for keeping your SO engaged and the two of you can cultivate your own story and endure consequences together.

Obviously I love Mass Effect, but some similar games in this style would be:

-          Until Dawn

-          The Witcher

-          The Persona series – but be careful! These games are long so may not be great as an introductory game

 Visual Novels! – Visual novels are excellent for this! They’re purely choice based, and it doesn’t matter who is clicking the next button. For an added amount of goofiness, take on roles and do stupid voices. Do it. It’s great. Nothing makes me laugh harder than romancing an anime schoolgirl with an old man voice.

 They’re short, but can be replayed for a different ending if you wish. My partner and I played Dream Daddy together multiple times and were avid about who our favorite dads were. I liked Robert and Craig. My partner liked Damian and Brian. 

 My partner and I have actually just started playing a new visual novel, but along with it being choice based, I would also classify it as a puzzle/problem solving game.

 2.5  Puzzle/problem solving games

Puzzle games are great for a similar reason as choice-based games, as they keep your SO involved. Only this time they are helping to problem solve. Many times I’ve been able to figure something out before my boyfriend, so I can go “ohhhh take that, drop it here, then move that here” and it’ll work!

Currently we’re making our way through the Danganronpa series, which is a bit of a hybrid between a visual novel and puzzle game. It’s not a difficult game to control or navigate at all, so I could play it on my own, but I like playing it with my partner as we bounce theories off of one another and work together to solve a crime. I’ll remember certain pieces of evidence he doesn’t, or he’ll remember one throw away line from the opening 3 minutes of the game that is now an alibi. During free time, we’ll each pick a character to talk to, so we both get to learn more about our favorite characters.

“I wanna talk to Sakura because she seems sweet and I want her to have friends”

“Ok, then I’ll talk to Mondo because he seems funky.”

And so on. The process is collaborative.

Some games of a similar genre that might be fun:

-          Catherine from Atlus

-          Portal 1 and 2

-          The Phoenix Wright series

-          Resident evil 2 – this one is a bit odd, but resident evil 2 is almost a memory game as you work to remember all the things you’ve picked up, the pieces you need to unlock doors, and prioritize the weapons you’ll take with you. “No take the grenade rounds. If we’re going in the offices, we left that face hugger there, remember?”

Finally this brings us to our third category, and also the most difficult to explain. So I’ve just called it:

3.    Average Games, but there’s just something enjoyable about them

Sometimes games are just… fun. Sometimes the story is alright, the gameplay is repetitive, but the characters and writing are just so inherently likeable or interesting that you can keep watching. For me, this whole category was created as a way for me to justify my fondness for the Saints Row series.

Saints Row is, on paper, pretty unremarkable. It’s a ridiculous series of games about a street gang coming into fame and eventually political power, and the outlandish things they have to do to climb that ladder. Often cited as a “GTA clone” the gameplay is repetitive and almost boring at times, with most of the missions falling into the “Go here, kill people” category. The world isn’t particularly pretty or interesting. It’s just a city. One that you’ve seen a million times if you’ve played any city-based open world game.

So why do I love this unremarkable series? Why am I oddly attached to these characters?

Ultimately, I think it comes down to the characters being written with a certain amount of honesty, and the interactions between them feel genuine and oddly heartfelt. I don’t really care about rival gangs or accumulating money, but if it lets me ride in the car and have another sing along with Pierce, then I’m going to do it.

I like the weird sexual tension between the Boss and Shaundi, which only seems to become more prominent if you play as the female Boss. I love Matt Miller and him ranting about his Nyte blayde fan fiction. I like finding out the Boss has read Jane Austen.

It’s just silly and fun, with a good amount of ridiculous spectacle. It’s definitely not a series that I could recommend. It just kind of appealed to something in me. I think there are lots of games that could fit this category. Most people will say that the Borderlands series is “Alright” but it has a lot of fun dialogue and characters who keep it entertaining. Similarly, despite lack luster reviews, I know a lot of people really enjoyed the 2013 Deadpool game because Deadpool was written just like he is in the comics.

This category is the hardest to nail, and you may go through several games that you think are “hilarious” or “crazy fun” that just don’t gel with your SO. That’s ok. As you play more, you’ll eventually be able to develop a sense of each other’s tastes and what will appeal to you.

 General Advice in closing

TL;DR, here are some good parameters to stick to until you reach a consensus of what games your SO might enjoy.

-  Games with a good story and compelling characters will always be entertaining

- If the combat is long and takes up a good proportion of the game, it should be visually interesting to look at. If the combat is repetitive or boring to watch, it should clip along at a good pace and only come in short bursts. Bonus points if there’s party banter!

- Start with shorter games, then build up. It’s a big demand on someone to sit through a 60+ hour game for your first few attempts. Maybe put that Tales game on the shelf for now.

I’ve tried to keep this advice general, but obviously you and your SO will have different interests, and you should appeal to those. I love anime. I love hot boys. Due to these factors, I am more than willing to sit through a long form JRPG about two rival noble boys, as it appeals to my weeb sensibilities. This is not something I would expect others to be able to do.

I generally don’t like films about heists or organized crime. It’s just not a genre that appeals to me, so asking me to sit through Grand Theft Auto is probably not the wisest choice. I have played GTA5 for those that are curious, and it’s not my favorite. It’s definitely not bad, and I do expect other non-gamers would be entertained playing through the story of it. There’s definitely a good story there! It’s just not one that satisfies all of my needs. Just like how I don’t expect every person to love sitting through God of War or Jak and Daxter.

Getting to learn each other’s likes and dislikes takes time. Favorite movies can be a bit of an indicator, but transferring to a different medium complicates things. The most important thing is to listen to each other and be respectful. If your SO doesn’t like your favorite game of all time, that’s not a personal insult. You are likely just experiencing the game in a different way than they are, and they can’t relate to that.

Along with being respectful, obviously don’t pressure your SO into anything. Sometimes you’ll find that your SO might not want to play games with you because they had such an awful experience trying to play with their exes or other friends previously. I know I was really hesitant to ever pick up a controller again after an incident where I couldn’t navigate my character over a log, because I was not used to controlling a camera, and was made to feel really stupid and useless. I threw up my hands and said “Fuck this shit” for a long time. Your SO might be hesitant to play games with you because they worry that you’ll just get frustrated with how bad they are. You can reassure them that this won’t happen, but it’s still their choice to say no.

At the end of the day, it’s ok to have different hobbies. You don’t have to share everything. If you are lucky enough that your non-gamer SO might want to try playing games with you, then be kind, and be patient. When picking games to play together, try to pick something you can both enjoy. Go on a journey together. Have fun!

It’s a game after all.  

[bigherosixfeels]

Liv Amara: Analysis and Theories

Hello, everyone! Well, the first ten episodes of Season 2 of BH6:TS have come and gone. Liv Amara, the character most heavily predicted to be our villain for this season was correct. She’s proven to be an extremely clever, manipulative villain. The more we find out about her, the more questions than answers we seem to have, and that’s really exciting!

If you’ve seen all 10 episodes, you know what went down during Lie Detector. We now have a good idea of what Liv’s endgame could be, so let’s get right into this!

If Lie Detector did anything outside of give us an idea of Liv’s true motives, it also has inspired not one, but two strong theories and either could be the outcome. 1) Liv cloned herself or 2) Liv has a twin sister. Why are both these options so good?

The very last scene of Lie Detector speaks for itself. All this time, Liv’s secret project was working on...Liv? Seeing this moment the first time around is quite shocking, but it puts a lot of pieces together. This is something she’s clearly been working on long before we were even introduced to Liv.

So, what’s going on here? As heavily speculated, the Liv in the capsule is the real Liv. And the “Liv” we’ve known since Big Problem is either a clone or her twin sister. With these two solid theories in mind, it’s only natural to question why as well as realize why the Liv we’ve known up until now has been doing what she’s doing.

As also been pointed out, the real Liv has a rare disorder in need of being cured.

This is why the real Liv is in the capsule. She has a disorder and the Liv we’ve known is trying to find a way to cure her. That’s what she’s been doing not only throughout the entire season thus far, but since her introduction.

As we all know now, she’s the one responsible for turning Orso Knox into a monster. She injected a bio-chip into his arm and has the ability to change him into a monster at anytime. But as we’ve learned, she doesn’t usually do this unless someone invests in Sycorax first.

Sycorax is a new company which makes sense considering Liv is only 23. With that in mind, I think it’s a safe bet that Knox was the first person to invest in her company. Because he was willing to work with Liv, she used him as her first test subject. She designed a bio-chip, injected it into him and activated it. Knox turned into a monster. Whether or not this was her goal, she needed this outcome for her scientific research. However, I’d like to believe that Knox managed to escape after this and began to follow his schedule.

Perhaps Liv may have thought it was a dead end, but I also like to think she laid low to avoid suspicion. So instead, we saw what we thought was a young entrepreneur generously donating funds to SFIT while also secretly looking for an invention that would further help her studies.

She’s done her research and is already interested in funding Baymax prior to meeting him. Given what we know about her “secret” project, she clearly wanted Baymax to scan the real Liv. Diagnose her disorder (if possible), scan her vitals and figure out what treatments she would need. Baymax would without a doubt have been a huge help, but Liv immediately lost interest in Baymax when she found out Hiro wasn’t his creator. I’m going to assume she may know of Tadashi’s death and since she knew she couldn’t speak to the actual creator, she moved along.

But luckily, Karmi had an invention of her own that Liv was just as impressed by. The extradermal nanoreceptors.

It’s no surprise that she takes interest in it right away. These patches are capable of delivering medicine or chemicals through skin. It can be used for therapeutic and diagnostic purposes. Immediately hearing about this patch, Liv knew she could use it to help cure the real Liv.

A small electric current is applied to an iontophoretic chamber placed on the skin, containing a charged active agent and its solvent vehicle. Another chamber or a skin electrode carries the return current. One or two chambers are filled with a solution containing an active ingredient and its solvent vehicle. The positively charged chamber, called the anode, will repel a positively charged chemical species, whereas the negatively charged chamber, called the cathode, will repel a negatively charged species into the skin. (Source)

She may not have that cure yet, but when she has everything she needs, this patch is the key to curing the real Liv. It’s why she was so quick to fund it.

By the end of Big Problem, we get to see how useful these patches are with them being used on Orso Knox. 

The first time you watch these scene, it simply looks like Liv is about to be attacked by Knox, but Karmi saves her with her patches. But now, these scene is much different. Knox was mutated by Liv and when he sees her, he gets in her face and growls at her. And look at Liv! She is totally defenseless here and she knows it! She couldn’t pull out her phone and deactivate the bio-chip.

Luckily, Karmi was there to save her. Her patches have a medication that calmly put him to sleep. Because of this, Liv is not only safe, but no one is suspicious of her. She looked to be a harmless victim and even offered to help Knox which made her look more innocent.

This entire outcome worked in Liv’s favor by the end. No one suspected that she was behind Knox’s mutation and she was able to get Knox back to Sycorax where she could continue to monitor him.

Suspicions don’t rise until Prey Date where Hiro realizes that Liv has been saying she’s confident that they’re two to three weeks from a breakthrough. A statement she’s been saying for the last two months. It’s concerning that Knox hasn’t been cured yet which results in Hiro asking Karmi if she knows anything. This leads to Karmi trying to access the Orso Knox file, but she can’t get through. And then this happens...

The second Karmi mentions wanting to open the Knox file, Liv’s face falls. She’s not happy about Karmi wanting to get involved the the Knox project. She’s trying to keep Knox as a monster and it’s pretty obvious she doesn’t have a team for this so-called project. Keeping Knox as a monster is no longer for her studies, but instead to make sure he keeps his mouth shut about what she’s doing. Curing him would risk that, but she can’t tell that to Karmi.

Completely unaware of Liv’s true intentions, Karmi truly believes she has the answer to curing him. She’s excited about the idea of working on such a huge project. Even if she was tricked into finding out about Knox because of Hiro, she knows she has the skill and intellect to help.

I don’t think I need to go into detail over how emotionally manipulative Liv treats Karmi in this episode and definitely in this scene. Karmi truly feels that Liv and her are BFFs. And we already know (based on what Gogo said in Issue 188) that Karmi doesn’t have friends. We got to see these two appearing to have fun in Big Problem and with Liv funding her project and giving her an internship, it’s understandable as to why Karmi sees her as a best friend. She believes that Liv takes her seriously and would tell her anything.

But that’s not the case. This “friendship” is purely one-sided. Liv doesn’t take Karmi seriously at all and is using her for her invention and intellect. She belittles her by buttering her up with compliments while turning her down.

It disappoints Karmi a lot. She wanted to help and thought Liv would happily accept her offer, but being turned down by her idol and “friend” was far from what she expected to hear. She just doesn’t know the motives behind it.

Naturally, she doesn’t want to risk her internship, but Hiro convinces her that Knox needs to be cured. When they make it to Sub-Level 9 and find the cell Knox is being kept in, Karmi finds a console of Knox’s information.

She’s typing away and within less than a minute, she passes a trial. But before that trial is deemed passable, Liv catches them all in the act.

Her presence immediately has Karmi panicked. She knew she doesn’t belong here, especially after Liv has told her that she wouldn’t be working on the Knox project. With Liv catching them, she fears her job is on the line and it nearly is. Liv not only tells Karmi she’s disappointed in her for breaking a rule, but even points to her face for her to see that disappointment. It would have been simple for Liv to fire her for breaking a rule. Karmi would have been upset, but understood she disobeyed and wouldn’t have found it suspicious.

But then Liv sees what Karmi did

Liv sounds surprised at first. She knows they hadn’t been in Sub-Level 9 that long, so for Karmi to pass this trial in seconds is quite astonishing. And also threatening for her too. She’s admittedly impressed because of the quickness of her figuring this out, but with Karmi doing this despite rejecting her offer to help, she can’t have that. If Karmi was willing to break one rule, chances are she’s continue to help find a cure for Knox. Because of all of this, Liv appears to overlook it.

She may not have fired Karmi, but she thinks quickly. We already know that she took Fred out of the room, appearing to have a normal conversation about his mother, but this was just to get him out of the room.

She’s trying to get his mother be an investor for Sycorax. And she knows Fred’s mom won’t invest in the company if he gets hurt or worse when she leaves Karmi and Hiro in Sub-Level 9, disabling Knox’s cage to let him out.

Liv is so determined to not have anyone find about what really happened to Knox nor have Karmi find a cure that she was willing to let Knox try to kill them. Or at the very least this was meant to scare both of them as a warning to never come back to Sub-Level 9 and for Karmi to not get invested in the Knox project.

Whatever the case may be, things didn’t work out the way Liv had hoped. Hiro and Karmi managed to get away unharmed. Karmi was able to work on a cure for Knox. Hiro got kidnapped by Knox, but as speculated, Knox was probably taking Hiro out of Sycorax in fear of him getting mutated.

Knox is not trying to hurt anyone. Even if he’s been mutated for at least two months, he still has his morals intact. But Liv doesn’t know that. Not only that, but she still wants to make sure a cure doesn’t happen and that suspicions of how he was mutated stay on the down-low. So what does she suggest when he escapes Sycorax?

She doesn’t outright say what she wants to say, but it’s heavily implied. Again, she’s willing to have someone killed so no one finds out about what she’s really up to. This suggestion shocks our team especially since they all know he’s still a person.

And again Karmi knows she’s onto something for a cure. And again Liv shuts her down and simply tells her there’s no time. And again Karmi is left disappointed because she knows she can help save Knox, but doesn’t want to argue or go against Liv because she believes her and doesn’t want to lose her internship.

As we know, things don’t work in Liv’s favor. Knox isn’t as dangerous as he seems and Karmi does find the cure for him. However, Liv makes sure that her mutations remain under the radar. She tells the press that he graciously and generously has decided to invest in the future of Sycroax, but we know it’s all a threat behind closed doors.

She makes it very clear that she can turn him back into a monster whenever she pleases. He may be cured, but there’s still a bio-chip in his arm and if word gets out as to how he was mutated or anything about what Liv is doing, she’ll change him back. And he knows it.

Throughout the season thus far, we get to see Liv work with some villains as well. It’s seems simple. If villains pay her, she’ll mutate them and give them upgrades that enhance what they’re already skilled in.

We get to see how this process works with Momakase first in Seventh Wheel. She willingly agrees to work with her by getting money from the wealthiest people in San Fransokyo by hosting a fancy dinner. Before she got her money, Liv injected her with a bio-chip and once she got her money, she activated the chip.

This was pretty well constructed. No one knew that Liv and Momakase had made a deal together. When Granville tried to stop Momakase, everyone including Liv left the building which made her look as innocent as everyone else. And when the team things she’s been defeated, she allows her fingernails to transform into graphene. They eventually trap her in ice, but in a matter of minutes, her transformation takes a more monstrous turn.

In a matter of minutes she went from just having yellow eyes, to having graphene nails to this! She manages to escape and it’s easy to assume she went back to Sycorax.

Why? Because High Voltage had a similar experience with Liv. In Something’s Fishy, Liv breeaks High Voltage out of jail. She does this because she needs their crime dancing skills to get her more money for “investing”. They don’t want to be part of crimes anymore, but Liv says they have to because of the favor she did for them. After some convincing, they agree to help and we should know what happens here. Off screen, she injected bio-chips into them which gave them both the ability to use their electricity without the need of an energy orb. And she was able to achieve doing this by using electric eels.

Their mutation overall seems happen a little slower in comparison to Momakase’s. The day before they transform, they show a massive craving for fish. The night of their transformation, they truly didn’t realize what they were getting themselves into. They only thought that they got upgrades for the electricity so when they saw their appearance change to eels, they freaked out.

It’s a sad moment at first. Barb had just done a solo number about them both being on the good side and then this happens to them. They’r horrified about who they’ve turned into. In the end, they do fight against Big Hero 6 and like what Momakase did, they leave before they can be caught.

And this time, we do get to see where they go which is not only Sycorax, but specifically the fish tank in her office.

This is beyond disturbing. Before they left the dance, we saw that they had slithered their way out. It’s hard to say when they got to the point of becoming full on eel, but instead of being free and good people like they had tried to be, they’re now Liv’s pets.

Mutating Knox on top of villains is not actually necessarily for research purposes, but for them to be forced to work for her to get the money she desires so she can have it to cure the real Liv. And she’s working with villains because she knows they’ll commit crimes so long as she provides upgrades. And if they refuse her, she’ll convince them.

Somehow, word got around about villains being given powers. Without having to go to Mr. Sparkles next, he spends the entirety of The Fate of the Roommates to earn money from wealthy thrill seekers for his new game. Once Mr. Sparkles has all the money he needs, he gets away before he can be caught and goes to Sycorax with the cash.

Before we can see the outcome to his mutation, we get to see a more risky approach to Liv mutating someone in Muira-Horror! Liv wants the woods so she can find Bessie which she’s been trying to do for six months. While Krei manages to buy the land, Hiro spills who has the meteorite to Liv and Chris. Because of this, Liv plans on getting the meteorite while also plans to get rid of Krei and Hiro.

At first, things do seem to go well for Liv. They find where Ned lives, calmly knock him out and Liv puts one of Karmi’s patches on him. We know the patch has a sedative, but he was already knocked out because of Chris. But she says this...

We know that Karmi is the inventor of the extradermal nanoreceptors. We know what their purpose is. Despite Liv being impressed with her invention, she still altered it to her favor. Instead of a bio-chip, this time around she used a patch.

Off screen, I’m going to say they dumped Ned out of his tree house. By the time they got Bessie secured in a containment unit, Liv activates the patch which immediately turns Ned into a monster. There is no slow transition into it. All he can ask is what’s happening before he fully becomes the true Hibagon.

Again, she is willing to have people killed so no one finds out about what she’s up to. The only thing she didn’t count for was Krei’s impressive survival skills That saved himself, Hiro and Gogo on numerous occasions. Ned is still after them all the way to the middle of San Fransokyo Bridge. But because this was a patch instead of a bio-chip, Mochi, by complete luck, managed to scrape it off his neck.

Hiro grabs it and he knows exactly what this is. He saw Karmi’s patches. He held one of them. He heard Liv tell Karmi that her invention was being funded. So in this exact moment, this is where the mutations and Liv align for him.

Once the patch is off Ned, he gradually returns back to normal. Hiro and Gogo take him back home. They both know that someone turned him into a monster and their suspicions as to why are confirmed when Ned tells them that Bessie is gone.

Everything makes more sense to Hiro. He knows now that Liv is turning people into monsters.

And in Something Fluffy, he’s willing to call her out on it during a public speaker’s event. Everyone else is fooled with Liv giving vague answers about how Sycorax is the future, but Hiro no longer buys it. He asks her what they actually do and yet again she answers by saying “Sycorax invests in the future”.

But Hiro continues to challenge her with another question. And naturally, she doesn’t have an answer. The “product” as we know is turning people into monsters, but obviously Liv can’t say that. And as we can see, Liv is visibly unsure of how to answer it right away. She laughs it off and gives shifty eyes.

She gives her answer, but it’s not really an answer. Instead, she says this as says it in a manner that makes it so people won’t take interest in it. What’s going on isn’t a big deal. What should only matter is that people care about Sycorax being “the future”.

Liv is quick to ask who’s next to ask a question, but Hiro is not going to stop. Since she’s avoiding directly answering his questions, his next one is straight to the point.

He’s starting to corner her. It’s no longer about what Sycorax is doing, but what Liv is up to. He knows she’s behind the mutations and he’s going to at least try to get some answers.

We all know this is a huge lie. Hiro knows it too. But others that are attending this event don’t know that and why should they believe Hiro over her? Liv’s statement would sound true to just about anyone else because of Knox being cured. No one else suspects that Liv is mutating people. It’s also interesting to note that while Liv didn’t want to have Knox cured, she’s now using it to her advantage. And everyone else believes her.

He shows her the patch that she put on Ned. And she states that she’s seen something similar to it. She knew she couldn’t say no because she knows Hiro was in the room when Karmi introduced her to the patches. And Hiro continues to put her in her place, knowing that Liv had to be the only person to have put that patch on Ned since her and Chris were the only two other people in Muirahara Woods most recently.

But Liv isn’t going to admit defeat. She tells the room it’s just a coincidence and immediately tries to change the subject. She doesn’t get to finish her sentence, but her intentions are clear. She’s asking if people want an autograph in hopes they’ll all start to line up and keep Hiro from asking more questions.

But Hiro cuts her off.

This moment. This is the moment where you can practically feel the tension between the hero and the villain. From the moment Hiro started asking her questions to here, he’s slowly been asking more difficult questions towards Liv who’s been trying to brush them off. But Hiro knows she’s the one turning people into monsters and he flat out tells her the connection. Sycorax show up when monsters show up. Hiro wants her to know that he’s onto her.

And this time around, Liv isn’t trying to defend herself. She’s not making another attempt to change the subject or say it’s a coincidence. She glares back. She’s furious that Hiro knows what she’s doing. She knows now that she’s underestimated Hiro for far too long. The same kid that turned out to not be the creator of Baymax, created a huge thermometer in an attempt to impress her, and indirectly told her where she could find Bessie is much smarter than she realized. And if he’s able to get proof that it’s her, she’s in trouble.

Luckily for her, the speaker’s event is out of time and now Liv has to figure out a way to make herself look innocent. Not just to convince Hiro, but the entire city. Even if people at this event seemed to believe her more, she knew what he had to say may get some people thinking. So, her first move is to keep the city distracted by monsters. The Mayoi!

Look at these things! Adorable, right? Of course they are! Because Liv made them that way. The mutations that have turned people into monsters have been undeniably terrifying. So what did Liv do this time? She created an entire species of Mayoi that are super cute and they distract the entire city. Everyone thinks they’re cute and no one cares where they came from.

The only person that thinks through this logically and doesn’t once fall for this trick is Hiro. He knows Liv is behind this and just when he’s starting to wonder if he may be losing it, we all find out what’s happening. The Mayoi can grow.

And they’re growing fast and huge due to them being photosynthetic and after managing to get them all in one place, the team is in for quite the surprise.

Mr. Sparkles publicly takes the credit for all the monsters that have been appearing in San Fransokyo! The Mayoi and every mutation our team has witnessed.

But as we can see here, Hiro isn’t convinced. He’s understandably confused, but not because he thinks he was wrong. But more because in this moment, he doesn’t yet understand why Mr. Sparkles is taking the credit.

And now we get to see what Mr. Sparkles mutation is. He’s taken on a form that has a similar look to the Mayoi. And his power is mind control. He can speak with the Mayoi using vibrations. With the Mayoi being under his control and at their maximum size, the team is in a lot of trouble. And right before a Mayoi has the chance to strike Hiro and Baymax, it’s blasted and returns to its original size.

That’s right! Liv Amara! This has been her plan since the speaker’s event. She knew she needed to come up with a plan that would make her look good so no one would think she creates monsters and therefore continue her work in peace. And since Mr. Sparkles offered to invest in her, she had him be the one to take credit for the monsters so she could show up and act as a savior to the city alongside Big Hero 6! And it works!

She’s playing innocent and making sure she looks like a hero. And Hiro knows it. He knows she’s really the one who created the Mayoi and now he’s beginning to realize why. This was all a stunt on Liv’s part and now he’s the one that’s cornered. He can’t turn down working with Liv because that would make him (and the team) look bad, especially since her method is working. He’s reluctant to do so, but in the end he gives in because he knows it’s the only way to defeat the Mayoi.

And it sucks that it was the only option because if anyone had any doubts that Liv was a horrible person, all those doubts have vanished. She made a good move and she executed it well.

But thankfully she hasn’t fooled our main characters. They all know Mr. Sparkles isn’t behind the monsters and that Liv was faking her act of heroism. It only leaves them with one question and that’s wondering what her endgame is.

This is the scene that truly gets us all thinking. Everything Liv has been working for. Every person she’s mutated. Every risk she’s taken. It’s all because of who’s inside that capsule. So we can only assume that the person inside is very important.

But before we get to find out who it is, we get to see what Lie Detector brings and it’s a roller coaster. Hiro spends the majority of this episode trying to catch Liv in a lie to prove that she’s the one creating the monsters. And with Baymax as both his lie detector and witness, they find a moment to confront Liv directly.

Except Hiro is thrown off when this happens. Baymax’s lie detector is as accurate as you can get. Earlier in the episode, he detected both truths and lies from Liv during her conversation with Bluff. He’s expected to catch Liv in a lie when he straight up asks her if she’s creating the monsters. But her answering that Liv isn’t creating the monsters is a truthful answer.

How?

Because she’s not the real Liv. As pointed out, she answers what Hiro wants to know by saying that “Liv Amara is not creating the monsters.” If she had answered by saying “I am not creating the monsters.” Then Baymax would have detected it as a lie. But “Liv” outsmarts Hiro by both telling the truth and again making her look innocent. It’s incredibly clever because while Hiro knows that the Liv we’ve known is behind the mutations, he doesn’t know that it’s actually not the real Liv.

We’re left with this. The person inside the capsule is the real Liv. We’re left now with more questions than answers. Who is the fake Liv? A clone or her twin sister? What happened to the real Liv? Why is the fake Liv posing as the real Liv?

Well, this is where the theories begin. As already discussed, the real Liv has a rare disorder in need of being cured. And as we get to see in Lie Detector, Liv has (pun unintended) struck gold.

After what I’d guess is months of trying to find what she needs to cure Liv, she now knows it’s gold. And she’s not going to reveal everything about this rare disorder and who she’s trying to cure, but she needs a lot of gold to do so.

But why gold?

Earlier on, Chris indirectly gives her the idea. She discovers that gold is a great match for the cure because it’s bio-compatible and has nanoparticles.

Now, we don’t know the rare disorder that Liv has, but upon doing research, it makes perfect sense as to why gold is a perfect match.

First off, the gold won’t be harmful to living tissue. But it’s the nanoparticles that are more important.

The transport of therapeutic agents to the cells by AuNPs is a critical process in biomedical treatment.

Effective targeting and delivery strategies using AuNPs have been developed for therapeutic applications including photothermal therapy,genetic regulation, and drug treatment.

In one arena, AuNPs have been exploited as attractive scaffolds for the creation of transfection agents in gene therapy to cure cancer and genetic disorders. In one arena, AuNPs have been exploited as attractive scaffolds for the creation of transfection agents in gene therapy to cure cancer and genetic disorders. (Source)

This is definitely not something I’m knowledgeable in, but this source helped me understand why Liv realized gold was the answer she’s been looking for. Based on this information, I’m theorizing that the real Liv has a rare genetic disorder. It’s hard to guess which one exactly, but to narrow it down a little bit, I’m going to guess that’s it’s either a single-gene disorder or a more complex disorder that affects two or more of her genes.

I also just want to point out how literal Liv is when she tells Chris that he’s a lifesaver. While he didn’t intentionally give Liv the idea about using gold, she discovered it was the best match for the cure because of him and now she knows she could help the real Liv. 

Her desire for Globby’s glob in Nega-Globby make sense now. She believed that his glob had potential for curing Liv’s disorder. But when it became unstable, she knew it was a dead end and left it for the city to handle. But now she has the key component to her cure.

So let’s talk about the main theories. Is the fake Liv a clone or a twin sister? Both options are very possible and it’s hard to say which one is the true outcome.

Why a clone? Because who else could Liv trust to help her than herself? If the fake Liv is anything like the real Liv, she knows that a clone of herself will have the intellect and determination to cure her. And when she finds the cure, all she has to do is dispose of this clone and return to her life as if the fake Liv never existed. And no one will ever know the real Liv was sick in the first place. Plus, we know Sycorax has the technology that’s possible for cloning people. If “Liv” can turn people into monsters, surely there’s a way to clone people.

Why a twin sister? Because who else could Liv trust to help her than her own twin? Similiar to the clone theory, there’s a chance that if Liv has a twin, they both have an interest in biotech. And if we’re going along with the real Liv having a single-gene or complex disorder, that means that the disorder was passed down from their parents. So, what if Liv got affected by the disorder, but the twin sister didn’t? Or at very least could be a carrier? If that’s the case, I’m theorizing that both of them wanted to create Sycorax, but then Liv’s disorder got worse to the point where she’s almost dying. So her twin put her in a capsule, promising to not let her down and do whatever it taken to cure her. And then so no one would find out that Liv is sick, her twin decided to use her name.

Either way, it’s pretty obvious that Liv doesn’t want anyone to know that she’s sick and dying.

I’m not surprised that a place like Sycorax have nametags that are advanced enough to tell your readings, but look at that smile. No one would suspect that Liv has a disorder when both the fake Liv is standing in for her and saying that her readings are normal and healthy.

Whether a clone or twin, “Liv” needed to have someone on her side that she could trust to help her with the process of curing the real Liv. While what’s going on with Chris is a completely different theory post for another time, I’ll just say that Chris is either a clone, their family dog that she somehow genetically modified into a human which would explain the dog-like personality, or “person” she created that has dog-like characteristics. Someone she knew would stay loyal to her during this entire process.

While my first thought upon seeing the real Liv in the capsule was believing it’s a clone (and still very well could be the outcome), I’m definitely leaning more towards the Liv we’ve known actually being a twin. This Liv (who I’m headcanoning the name of Viv for her) is talking tons of risks and desperate measures to cure the real Liv. She’s more than likely seen Liv struggle with this disorder her whole life so when now at a point where she could lose her twin sister, she’s doing everything to keep her alive. And on top of that, now because Hiro suspects her, she’s also trying to make sure she doesn’t ruin Liv’s name. That’s another reason why she played hero in Something Fluffy. This entire journey to cure Liv hasn’t gone completely as planned so she has to also make sure that when Liv is cured that no one thinks badly of her for actions that she didn’t do.

What this means for what’s to come, I don’t know. I’d like to hope the real Liv will be cured, but I do wonder what her reaction will be when she finds out what the fake Liv has been up to. Since I’m leaning towards the twin theory more, I’m going to say that Liv is going to be thankful, but mostly horrified at the chaos her sister has caused.

For the other characters, I’m sure they’re going to be shocked when they learn the truth. But are they going to try stopping “Liv” before she can cure the real Liv? And I can’t begin to imagine what Karmi is going to think. She’ll more than likely feel betrayed and used by her idol and “friend” and I wouldn’t put it past Liv to attempt turning her into a monster just so she can continue her work. I also like the possibility of “Liv” mutating herself just so she can defeat everyone and return to normal to make sure no one knows. She did say in Seventh Wheel that “At Sycorax we believe in progress. At any cost.”

TD:LR (wouldn’t blame you) - The Liv in the capsule is the real Liv and whether or not the fake Liv is a clone or twin, she has had good intentions with trying to cure Liv of her disorder, but has gone about it in many wrong ways.

[pass-the-bechdel]

Marvel Cinematic Universe: Ant-Man (2015)

Does it pass the Bechdel Test?

Yes, once.

How many female characters (with names and lines) are there?

Four (22.22% of cast).

How many male characters (with names and lines) are there?

Fourteen.

Positive Content Rating:

Three.

General Film Quality:

It’s delightful. 

MORE INFO (and potential spoilers) UNDER THE CUT:

Passing the Bechdel:

Maggie passes with Cassie as she puts her to bed.

Female characters:

Peggy Carter.

Hope Van Dyne.

Cassie.

Maggie.

Male characters:

Howard Stark.

Hank Pym.

Scott Lang.

Peachy.

Luis.

Dale.

Kurt.

Dave.

Darren Cross.

Frank.

Paxton.

Gale.

Mitchell Carson.

Sam Wilson.

OTHER NOTES:

Dave calls Scott a pussy, and Scott is not fussed at all about accepting the attempted insult.

Ah, the old ‘wish you’d call me dad’ cliche, the most worn-out lazy way to establish an antagonistic parent/child relationship. 

“a sustainable environment of well-being”, what an excellent fascist euphemism.

Maggie is very reasonable with Scott about the conditions for seeing Cassie; it’s refreshing to not have this played as ‘harpy ex-wife refuses to let man see his child because she’s just the worst!’ Maggie has a child to look after - and has been doing so for years now while Scott was in jail - and she has every right to impose rules on how things proceed, Scott doesn’t get to just march in and have things his way ‘because she’s my daughter!’ Children are not possessions or status symbols, and this movie does a nice job of recognising that and having the adult characters recognise that and behave in reasonable and understanding ways for Cassie’s benefit rather than their own egos. Other films should take note. Also, real people.

“Yeah man, it killed DiCaprio.”

Turning lambs into goo is worse than kicking puppies. What a monster.

They do a pretty solid job with the reason for Hope not being allowed to don the suit instead. It has strong potential for seeming like flat-out sexism, the idea that a woman can’t get the job done (in universe) and that a female hero won’t sell (out universe), and while that may indeed still be the core reason, they still pull off the reasoning as if it’s genuine.

Pym’s excuse for why he never told Hope the truth about her mother’s death, on the other hand, is pretty fuckin’ weak. Tell people to stop pretending ‘I was trying to protect you’ is a reasonable explanation for lies. It’s super-high - easily Top 5 - on my list of Worst and Most Tedious Cliche Lines.

Kurt suggests that the suit is the work of gypsies and it’s...not the best line they could have picked. Something less racist instead, maybe? No?

Cross is really fixated on Pym as a father figure. It’s different. I like different.

“That’s a messed-up looking dog.”

Scott and Paxton making peace is so great. Paxton peeing in all the corners and Scott being all jealous and threatened by Paxton ‘usurping his place in the family’ would have been such a predictable cliche for them to use, and this very palatable mature adult behaviour is sooo much better. This is how you stop normalising petty possessive rivalries. 

Luis is magical, and also, mad cultured. I love it, but I love even more that they don’t hang a lantern on it, they just let it be part of his character.

Ok, I confess, this is probably gonna be a weird sort of meandering review, because I’ve had this post sitting in my drafts for two months gathering dust while I deal with the mental and physical fatigue of the first trimester of a pregnancy (it’s FUN), and now the due date for this post (pun definitely intended) is right on the horizon, so...I’m just gonna get it done, and it’ll be whatever the heck it is in the end. This is not a complex film filled with deep nuance, it’s basically just an action-y heist movie with some hand-waved scifi on top. And there’s ants. It’s not a hard film to talk about, so you’ll excuse me if it doesn’t get my very best effort. I’m kinda busy growing a human over here.

I remember a lot of grumbling and even some outrage in fandom, back when this film was announced; a lot of people upset that the MCU was bringing in a comparatively little-known and perhaps little-loved superhero like Ant-Man when they still hadn’t bothered with a single female-led film yet, and various complaints about the problematic nature of the Ant-Man character from the comics (referring, I believe, to the Hank Pym version). And then, of course, there was the doubt about whether or not an Ant-Man story was just a fucking idiotic idea in the first place, what with the questionable application of science and the even more questionable appeal of a tiny little man running around playing with ants. Expectations were not high. And yet, Ant-Man pulls through, not just with a great fun romp, but with what I consider one of the more entertaining films the MCU has churned out to date.

I have made my fair share of sour comments about previous films in the MCU and their unimaginative paint-by-numbers plots, and so what I’d like to talk about with Ant-Man is how it manages to be such a success to me despite an essentially uncomplicated story that follows a predictable narrative arc the likes of which we’ve all seen a hundred times before. The basic tenets of a heist movie are all there; the basic tenets of a good vs evil story play straight, alongside a low-key but typical redemption plot, and some plight-of-the-regular-guy vs corporate greed and warmongering, and the leading man hooks up with the leading lady in the end and proves himself as a hero to his family and all that jazz. We know every one of these story and character beats. So. Why do they work?

Let me back this up a second to talk about a couple of major-league pet peeves of mine, the one a microcosmic version of the other: firstly, when people say ‘all Marvel films are basically the same’, and secondly, the Advanced Level Faux-Intellectual Douche version of that sentiment, when people declare that ‘there’s no such thing as originality anymore! There are only seven types of story in the world anyway! Everything is derivative!’ It’s an obnoxious absence of a viewpoint that betrays a lack of imagination and a use of such broad-strokes surface-level comprehension as to be essentially meaningless. Sure, if you break down story concepts to their most fundamental core drives, you can summarise their arcs in a relatively small number of ways, and familiarity with these core concepts can provide a degree of predictability in the way things play out. But that doesn’t mean that every single version of, say, the classic Hero’s Journey is the same damn story, and therefore a useless derivation from which no entertainment or message can be gleaned. If someone asks you to tell them the plot of a movie and you just go ‘oh, it’s a Hero’s Journey’ and leave it at that, you’ve told them almost nothing about what to actually expect. The Matrix is a very, very different Hero’s Journey to The Lord of the Rings, which is a very different Hero’s Journey to Finding Nemo, which is not at all the same as Iron Man. And which of them is closest to The Odyssey, anyway? One of the most obvious differences with all of those examples is genre, and the traditional trappings which often (but not always) follow from them. Sure, the MCU films tend to all fit superhero-comic genre conventions, and some of them (particularly origin stories, as with Iron Man and Thor) may employ a lot of the same tropes while they’re at it. But does anyone really, genuinely think that Ant-Man is ‘basically the same’ as Captain America: The First Avenger? Is Guardians of the Galaxy almost indistinguishable from Black Panther? Does anyone who says ‘Marvel movies are all basically the same’ actually believe the words out of their own mouth, or do they just hope it makes them sound smart if they imply that they’re ‘above’ enjoying mainstream popcorn action?

All of this is to say, what makes Ant-Man work where other trope-heavy films fall apart? The same thing that makes literally any story ever work, and be worthwhile, whether it ‘breaks barriers’ or ‘teaches something’ or is considered ‘high art’ or not: details. Some films are too light on details, which makes them boring because they never really bother to build anything on top of those core foundations we know so well. Sometimes, the details - numerous as they might be - are too generic to have an impact, and the dull result is the same. Sometimes the details are too absurd to land, or there are too many to keep track of, or they require too much extraneous qualification to fit into the flow of the rest of the story, or they’re irrelevant to the rest of the story anyway. The thing about details? There are countless options. People come up with new ideas all the time, through the exercise of imagination or through developments and innovations in the real world. Basic, core plot arcs may be distilled to a handful of options, but story details are limitless, and the possibility of fun new combinations is always there, whether you’re inventing something entirely never-before-seen or not. The idea that you have to be shocking and unexpected to be worthwhile is ridiculous, and shepherds illogical contrivances and gimmicks without narrative cohesion or purpose much more often than it achieves something genuinely surprising with merit (and storytelling that prioritises ‘shocking twists’ is usually so busy trying to look clever it forgets to actually be clever, but, that’s another conversation). The point is, Ant-Man being a delightful film isn’t rocket science. It’s as simple as just a little forethought in the construction of its details.

As noted back near the top, the whole Ant-Man concept and its wobbly science was something that drew some doubt regarding whether or not it could be pulled off in a convincing manner; the solution to achieving that is to do more than just lean in to the idea. The film throws itself whole-heartedly into its core conceit and its tropes, and it drags us along with it to gleefully delight in the act. The story is not embarrassed by itself, it doesn’t try to keep its distance; instead, it gives us a flying ant named Antony, and a dramatic death scene for that ant. What is the point of the Pym particle science conceit if we don’t enjoy the comedic potential of an epic battle inside a briefcase, or on a child’s train set? Relevant to this also is the subject of casting choices (as much a detail-of-interest as anything; a single casting choice can legitimately make or break a film). Paul Rudd has a perfect blend of leading-man charisma and affable comedic chops; he plays Scott as a beta-personality, which is always a refreshing change-up for a lead, and one which invites other refreshing changes around him. It avoids tedious masculine antics in his interactions with other men, while encouraging balanced and respectful interactions with women; Scott never asserts himself as the boss or leader in his relationship with Luis and the rest of his crew, allowing for a smoothly-cooperative dynamic; no time or plot is wasted on pointless jostling for control of the operation with Pym; the idea that Scott needs to prove himself to the three female characters in his life - Hope, Maggie, and Cassie, each for similar but different reasons - is given legitimate weight, instead of implying that Scott and his perspective is inherently superior and correct and the onus is on the other characters to realise that, rather than being on him to live up to other people’s reasonable expectations. It should come as no surprise that the latter element is especially interesting and heartening in the context of this blog.

This is particularly good news when it comes to the kinds of relatively minor details which can make a huge difference in whether or not one reflects on a film in a positive or negative manner; the fact that the narrative supports and validates Hope’s anger, her frustration and resentment and her all-business-no-fun attitude, is vital to keeping a viewer like myself on-side with the film. Hope is never presented as someone who should ‘just loosen up’, or ‘have faith in her father’s plan’, the fact that she is denied the Ant-Man technology because Pym ‘can’t bare to risk losing her’ is offered as a reason but not as an excuse for something deeply patronising, and Scott proving that he can get the job done despite Hope’s misgivings about him is not framed as her being ‘wrong’ - her concerns were legitimate, as all her emotions across the film are, and the story never compromises on that in order to bolster another character. Whether or not Hope is well-handled is not important to the operation of the central narrative plot in a technical sense, but it means a lot in terms of delivering strong characters with satisfying arcs, and a central plot can easily fall flat if the characters participating in it don’t work well, individually or together.

I’m trying to wrap this up coherently, but it’s just as well that I disclaimered myself in the beginning because all I’ve got are frayed pieces of, probably, five other paragraphs I could waffle about. It’s not a complex film, no, but it has a surprising amount of quality details, the more I think about it, even regarding aspects of the movie that I liked less than others (Pym, for example, I did not love, but I like that the movie never tried to pass off his ‘genius’ as an excuse for him being a significantly flawed figure in the lives of most people who encountered him, often with bitter consequences. I’m also a big fan of the fact that both he and Scott have complicated but loving relationships with their daughters, considering that Hollywood has a hyper-obsession with the idea of ‘A Man And His Son’ as the beating heart of family narratives). I’m going to close this out with what may be my personal favourite refreshing detail of this movie, and that’s the mature adult relationship between Scott, Maggie, and Paxton. I mentioned it already in the notes, but honestly, how many times have we seen that toxic cliche, with the shrewish ex-wife and the terrible new man in her life, where the main character (who is Doing His Best!) has to prove through [insert plot heroics] that ex-wife is WRONG and should have stayed with him, the father of her child(ren), because did we mention, her new man is terrible and the main character is always right and good and better! In the end, ex-wife almost certainly leaves her terrible new man to get back together with the main character, because he is Doing His Best and that’s more important than actually being a stable/responsible person! The American nuclear family is the ideal! Divorce is for heathens! Y’all know that toxic plot. I can think of three different examples of it in action right off the top of my head, with no effort required. Point is, the degree to which I was utterly thrilled by this movie subverting cliche at every turn of its family saga really cannot be overstated. Maggie is a reasonable person! Scott respects that Cassie’s needs are more important than his wants! Paxton cares about his family and genuinely wants Scott to land on his feet, for the benefit of everyone! There’s no jealous posturing and Scott acting all hurt about being ‘replaced’! HE LITERALLY THANKS PAXTON FOR EVERYTHING HE DOES, WHEN HAVE I EVER SEEN THAT BEFORE?! Honestly, you don’t have to tell the most original story in the world to tell a story that resonates. You don’t even have to avoid common tropes, you just have to think about what you want to do with them. It’s not rocket science. It’s just good honest storytelling.

With ants.