completemessash

[dualdeixis]

[Image description: The latter eight pages of a digital comic featuring Vanitas and Ventus. There are full descriptions of all of the pages under the cut. End image description.]

the dishes, part two of two (previous)

[Image description: The ninth page. Ventus sighs softly and follows Vanitas, finding him sitting in an armchair next to a circular wooden table, holding his knees to his chest and facing the window. The Blue Sea Salt and a Red Hot Chili hover in the air, and the Hareraiser sits in the armchair opposite Vanitas. Ventus comes and picks up the Hareraiser, which wriggles around in a panic. He sits down and strokes the Hareraiser, calming it down. He’s silent for a beat, then says, “They’re not going to hurt you over a glass. Or over anything else.” Vanitas looks over at him, his face cast in shadow and his eyes glowing, and says, “Shut it, eavesdropper.” Ventus looks down at the Hareraiser sadly and replies, “I’m not trying to. Our hearts are connected. …Even when we’re not sharing a body.”

The tenth page. The central border between the panels wavers from left to right, in a push-pull type manner. Ventus sets the Hareraiser down on the floor and says, “I don’t think... that reuniting is possible anymore. And even if it were, I don’t know if I’d want to.” Vanitas smiles as Ventus says, “It’s selfish of me. I’m sorry.” Ventus places his hands on his lap, palms up. “But… we’re our own people now.” He clenches them into fists. “We can’t change… the things that changed us.” He relaxes them. “We can’t keep chasing a past that’s gone.” He begins to lace his fingers together. “So there’s no ‘true Ventus’ anymore. It’s just us.” His fingers are fully laced. “We’re him, and he’s us. That’s all.”

The eleventh page. The panels are drawn in the shape of an X. Vanitas's glowing eye is half-lidded as he replies, “...I don’t want to be me. I don’t want to be apart. It’s too painful this way, just the dark half of the person I was before. But that’s why you don’t want me back, isn’t it? Because then you’d be in pain, too.” Ventus insists emotionally, “I do want you. I want you here, not ‘fading away’—and you already are here, with me. Not reuniting doesn’t mean we’re apart. We’ve always been connected, even after that day.” The outline of Ventus and Vanitas’s armchairs is connected into the shape of a heart by a bright pink thread, which twists around the panels. Ventus holds his left hand to his chest and says firmly, “I’m with you.” The shadow on Vanitas’s face starts to melt away, and he gazes at Ventus silently with an ambivalent expression.

The twelfth page. Ventus keeps his hand on his chest and continues solemnly, “And maybe the pain isn’t coming from the darkness. I don’t think it’s as simple as light is good, and darkness is bad. Maybe you don’t think it’s possible for me to feel true pain with a heart of light, but I can and I do. Because ‘pure light and pure darkness don’t exist,’ right?” Vanitas’s face has cleared up and he leans into his palm. Annoyed, he mutters, “Eavesdropper...” Ventus continues, “Maybe it’s just… that you went through a lot. That someone hurt you a lot.” Vanitas’s face is half cast in shadow again as he looks down with a bitter smile. Ventus finishes, “So it’s not you. It’s not something that’s wrong with you. You just were never shown a different way. You hadn’t been given a chance to see all the good things in life, just the bad things.” Vanitas looks pensive as the Blue Sea Salt alights on his knee, the Red Hot Chilis flit through the air, and the Hareraiser and Thornbite look up at him. He says, “...Like the Unversed.”

The thirteenth page. Ventus smiles gently and says, “Yeah. So let’s live. Together.” He extends his right hand. “We can share our darkness and our light with each other.” Vanitas silently clenches his fists in his lap, then rises from the armchair. He slowly walks over to Ventus, who is questioning but silent as Vanitas grabs his extended hand, lifting him from his seat. The panel border bursts into a series of stars as Vanitas pulls Ventus in for a hug. Ventus reacts with initial surprise, then hugs him back with a relieved smile. Their panel transforms into a radiating yellow circle, with a black crescent and small white star within. A red halo is drawn around Vanitas’s head, and it fades into Ventus’s green one.

The fourteenth page. Still hugging, Ventus starts, “...Hey. Do you want me to call you ‘Ventus’?” Vanitas looks surprised. He pulls away and stutters uncertainly, “N-no, that’s...” He turns his face away with closed eyes and a bead of sweat on his cheek. He says, “It’s too late, and everyone would be confused and ask annoying questions, and… It’s fine. It’s your name as much as it is mine. You can keep it.” Ventus pensively taps his chin with his finger and asks, “But ‘Vanitas’ isn’t that good either, is it?” He’s silent for a beat, then points up with a smile and suggests, “What if I gave you a nickname?” Vanitas puts his hand on his hip with a wry grin and says, “Really? This whole thing started because I said I don’t like our name being mangled, and now you’re gonna do it too?” Ventus crosses his arms with an irritated grimace and answers, “Well, it’s a stupid name from a stupid guy. Maybe it deserves a little mangling.” Vanitas scoffs and says, “Yeah, I guess.”

The fifteenth page. Ventus asks, “So, ‘Van’?” Vanitas responds flatly, “No.” Ventus asks, “...‘Vani’?” Vanitas responds, “I’ve already given up.” Ventus urges, “Aw, come on, give me a chance! Umm, ‘Nita’!” Vanitas reacts with a slightly flustered expression. He turns around and snaps, “That’s it, I’m going to go do something actually pleasant. Like stick some more glass in my hand.” Ventus protests, “Nooo!!” The color palette changes to monochrome greens in a series of panels that show Vanitas back at the dishes, putting toothpaste on a toothbrush, lying in bed to sleep, and still lying awake as the sun rises. In all of them, he is thinking of the name “Nita,” and his expression gradually changes from neutral to deeply frustrated.

The final page. The color palette is in monochrome reds. Ventus strolls into the panel and yawns, “Morning, Vanitas.” Vanitas freezes, then looks silently over his shoulder at Ventus with an embarrassed expression, holding his hands up like a raptor. Ventus stares silently at him for a beat, then tilts his head and says quizzically, “...Nita?” Vanitas becomes very embarrassed, his face once again being covered in shadow and his glowing eyes darting away. He suddenly runs off into a big ball of darkness. From offscreen, Ventus cries, “Wha—?! NO CORRIDORS OF DARKNESS IN THE HOUSE!!” End image description.]

[magnetothehedgehog]

Dimension’s Ridge Announcement!

Hi everyone, With all the rise in Sonic media and the great releases coming up, such as The New sonic game in 2022,the sonic movie 2, sonic prime, and literally anything Idw has been releasing including their new side series “Imposter syndrome”, I am challenged to up my game and release information on my long running project in the works. Especially Since sonic prime and Idw is literally gonna blow out all the spoilers before I do if I don't start releasing stuff first. Since its been happening constantly, I gotta be a step ahead.

So, without further ado, I introduce you to the World of Dimension's Ridge.

Dimensions Ridge is My personal Alternate Universe that seeks to combine all aspects of sonic media. In fact, its super similar to the upcoming Sonic prime, archie and Idw Comics in this regard, with it possibly being a bit more ambitious, or at least equally as ambitious as Idw.

The Series will follow a number of favorite canon and non canon characters alike, but will also their universal counterparts and alternate universe selves.

The Main overarching plot line is that a Existence level Threat is putting everything in jepoardy. This Creature Known as an Existence Eater spreads its influence to a planet by releasing its minions into it, then after enough time, it comes to absorb the planet, thus erasing it from existence entirely, as if it had never been there in the first place. This has been happening for quite a while, until a few people caught onto it. They began leaving messages and warnings to others in a attempt to save them.

Being an existence level threat, this will take the combined effort of every Version of Sonic,Tails,Sally, Eggman and everyone else if they want anything to be left in the multi-verse. This Story is about how they all come together to do just that.

However that is the main plot. The story follows many minor or sub plotlines and stories that all connect and weave into this ultimate narrative. For Stories featuring Sonic and friends, Stories start off in the classic area and work their way into the modern area as the characters develop and mature, so we get to see and live their journey alongside them. For older characters and parents, I wanted them to have a  more staple involvement in the series, even if only at the beginning. Their Adventures as the World slowly slips into chaos can be read in War on Mobius.

While there are Prequels to the beginning of the story, such as the “Rift War.”, the main storylines that kicks off all the other starts is one of my current productions “War on Mobius.”This follows the economical and political collapse following the Recent End of The Rift War and begins the Egg Empire's rise to Power.I would like to mention that The Egg Empire Now consists of the collective versions of Eggman all working together as a family. Egg Fam for short. But we have Great additions such as boom eggman, Ova Eggman, Aosth Eggman, Satam Eggman, Russian Eggman,Eggette, and a few custom additions such as Omelette and Scramble.

Things That happen in War on Mobius will be seen effecting or influencing the states of things in my Classic Era Story “Classic adventures.” and others ones such as “The Freedom Fighters.”

Alongside canon appearances of less known or scrapped characters and designs, such as Tiara and Honey the Cat, Readers can expect appearances of my own characters, both as counterparts to main characters, and also as people who drive the story forward and show interesting and dynamic opinions of their changing world. A few Such ones would be “Tribal Ties” Focusing on the Tribes of Echidnas, Bayblonians and Pangolins Tribes, all of which play a part not only in Mobius history, but also will play a vital part in its future.

After Classic adventures, comes one of my long running claims to fame and a personal favorite of mine from my early script writing days. Zone Runners. This takes place after the Events of Classic adventures and as the world has been influenced by the political unrest in War on Mobius. It follows the Group of People on the East Side of the World as they try to fight back against the Egg Empire, Newly risen Oscillators Group, and The Very lack of Sonic and Freedom Fighter there. This series will also begin unraveling some of the mysteries behind the existence eater and the ultimate narrative. Originally this concept came from the Fleetway comics, and ever since I've been completely inspired to incorporate this into my own series. If anyone was ever on Sonic Amino, they might have seen me post things related to it back in the day.

I also wish to be a more character focused series as a whole, one who focuses on the people collectively as opposed to just Sonic himself. I want it to as if each character us actually a main character and can save the day, and that the day is only won because everyone has done their part, whether powerful or powerless.

To that End, I have many characters stories intertwine, or lead to one another. Some characters will have branching off stories, while others will be closely intertwined, and always interact with each other, regardless of who the story is currently focusing on.

A few I'd like to notable mention is, Shadow's Ark, Silvers Sanctuary, and Heir of Sol. Focusing on the characters Shadow, Silver, And Blaze Respectively.

While I have a lot of other Titles for the stories respectively, I'd just to touch on a few more before I close.

Worlds collide finally answers the question in sonic media about two planets and the dimensional connundrum of sonic rush and sonic 06. While also bringing together multiple characters who were on their own paths, for the collected purpose of setting up how everyone will be needed much later.

Dimension Forces is, a reimagined Version of Sonic Forces, including a whole new team of villains to take on the heroes from our prior stories. I call them: Forever Force. The Main Three Hitters Being the Villains Infinite, Eternity, And Enigma. In this Story we'll get to see Whispers team in action, and also get to see new stories involving Gadget and His Brother Widget, and a host of other rising heroes soldiers and returning cast members.

I also had this Idea that the wisps were able to use their abilities on their own, except in smaller weaker versions then when they had a mobians help.Thus you could call in drill air strikes and other things to help you in battle, and the flew alongside you rather than in containers. I had these idea way long ago, but what do you know Idw beat me to the punch again in rise of the wisps. However I would just like to say before they do it too, that I had the idea of the wisps combining their powers, as if anyone played Sonic simulator, you would know you can actually combine wisp powers. If its the same type, its twice as strong with a bonus effect. If its different, you can combine the strengths of two different powers. Think how eggman used cube with laser in the boss nega wisp armor.

Speaking of Sonic Simulator! Thats another Story I have plans for. Following alongside the events of Sonic colors, Sonic simulator follows the group of hedgehogs abducted from Mobius and sent to eggman's interstellar amusement park as part of an organic experiment to take out sonic. Suggested by The Leader of the Oscillators, These hedgehogs will now have to work together to prove their worth to Eggman and as worthy adversaries of Sonic! But what of their past memories? What will happen if they remember? And if they do, can they escape? Find out! Also its follow up story leads to sonic lost world.

I'd also like to talk about the Idw Verse Mini series I have been working on! Getting Art from the Talented CatRage and getting to voice my Ideas to My Friends as well as My sister, I present my own Miniseries! Mimic's misadventures!

This story takes place between  the events of Idw's Bad guys, and follows mimic's operations and struggles as he tries to complete his missions, and deal with people of similar caliber to himself. Will this mercenary manipulate his way easily out of another situation? Or has the Octopus finally met the one group who will send him back to the ocean? Find out!

Currently, this miniseries has 5 canon issues and one undecided.

1.Ghost Of The North.

2.Into the Spiders Nest

3.Hunt is on

4.Jaws of a Predator

5.Belly of the Beast

undecided: 6.Seaside Escapade.

Currently I am writing the script for Part 1 of Ghost of the North and hope to finish up the Audio drama reading for it soon.

So this is all the stuff I've had in production for the past few years! Along with my co writer Pinky heart.

Please, Please! Reblog or retweet this. It would mean the world to me. Also please! Ask as many questions as you'd like. I'll answer as many as I can, and would love to hear everyone's thoughts and opinions, as well as questions and inquires involving the series.

[laynemorgan]

I'm sure you've already provided it, but I'd be curious to hear your road to becoming a staffed writer. What first got you interested in it? Does it go back to school days?

Man it goes back far. I mean, I guess in some ways it doesn't. Since you asked more about what got me interested in where it goes back to, I'll give you the lest technical and more biographicl explanatin. My first goal was just to become a writer. I've been writing since I was a really little kid. I actually recently found journals from like the elementary and middle school days just filled with them. And it was never small scale, I'd always be planning out the whole fucking setting, how all the characters were connected, full universes. I made a fake fantasy. land in my backyard because my parents live on a lot of land. I called it Teleterania. I remember very little about it besides that that was the name hahah but I did do it!!! Everything I read only made me want to write. Everything I watched made me want to write.

Sometime around late middle school and early high school, I started watching more TV. I found soap operas and was OBSESSSED with their flare for drama. I found BTVS, Charmed, Smallville, Veronica Mars, OTH, etc. And all of those shows really got me actually looking at TV in a way I had never before. I got obsessed with their worlds and into their fandoms. I became the liek TV guy in my high school. There was even a group of girls I never got to really hang out with that would always call me over to their table to ask about what I knew about OTH stuff hahaha and 17 year old me thought that was awesome. Before my sister passed away, she and I took a road trip down to North Carolina to tour the One Tree Hill set. OTH was like the one thing that she and I agreed on. And it was so awesome. For me it was a first look at what the industry actually looked like, to see the sets and what went into it and all of that.

But I don't think my eyes really opened to actually WORKING in tv until college. I went to school for English Lit and Creative Writing in New Hampshire. My school had a great writing program and I was right at home there. i still credit my first writing professor who was only a grad student for really teaching me what I know about writing and editing and reading my own work for error and she passed me on to her favorite professor which was a hugely flattering moment for me. AND THEN -- I fell in love with PLL. And for me, that was really where shit started. I didn't realize it at the time and it wasn't even the show that did it it was what the show showed me. Through my tumblr at the time which had very little to do with fandom, I actually wound up running into Patrick Adams and Troian Bellisario. We all were always sharing each other's posts and at the time I was working for a journalist covering random TV out of a shitty free magazine in Boston doing work for peanuts. But I was going out to LA to meet up with a friend and we all decided to meet for lunch and they let me interview them for my magazine and stayed really rad people. They also helped boost my PLL photo recaps which I was doing at the time and those got the attention of the Director, Normal Buckley who asked me out to coffee and talked to me about my goals and what I was doing. He was the person who first really helped me understand that there's an approachability to the TV world that to me had always been this like magical hollywood bubble I didn't understand.

I went home THRILLED about LA, dropped out of college and set out to go to film school. From there, I hated film school because it was too technical adjacent, dropped out again, spent all the money I had on that move twice, and went home to boston broke and lost. I spent two years after that maybe more saving money, working in fandom, and waitressing while I went back to college online. That era wasn't super writing focused but it's where I found myself. I realized I was queer, I came out, I got into tumblr rpg, I met my fandom friends, I found tumblr fandom in a way I hadn't before. And then a couple years later I found tl100.

From there, the rest is kind of wonky. I had a big fan blog for the show and talked a lot about it on my twitter which lead me to many interactions with the writers who then invited me to dinner at comic con one year. I had a long talk with Shumway abut my goals and what I wanted to do with my life. I knew I wanted to be in TV somehow. I knew I wanted to be in writing somehow but I couldn't figure out how those two things aligned. I was doing a lot of journalism and critic stuff because that felt like the clsoest way to be both a fan and workin in the world I loved but it was really Kim and Shawna that opened my eyes to the ability to just .... be a TV writer. Film school had made me terrified of the wrtiing side but I think it was because film school was so much more about writing for film which I learned isn't my thing. But TV is a writers' medium, unlike film which is more fo a directors medium and suddenly I was like -- MIND BLOWN. It was everything I wanted in a career and married all of the things I loved. It was something that had previously felt like unattainable but they made it seem human and approachable.

They helped me get my first WPA job, I saved up 3 grand working and with the help of some friends and moved to LA to start that. And suddenly I was in a whirlwind of catching up on everything I felt like I had missed. I was reading scripts, learning what the process looked like, doing everything I coudl to figure out what being a TV writer looked like. After that job, I got another WPA job at Millar Gough on Into the Badlands and later Shannara.

THEN I got hired on Daybreak which I can fully credit with being a huge stepping stone for me and changing my life in a lot of ways. Aron was the best showrunner. He was educational and he taught us shit, he let us in the room, he let us write stuff, he let us pitch and try and fall on our faces and never judged us for it. My second season there he moved me up to writers assitant and patiently walked me through all the stuff I didn't know yet because he had faith in me and my voice and my ideas. He let me writ e afreelance episode that year and pitch it in the room and do all the things that real w riters get to do.

So after Daybreak season 2 got cancelled I was pretty ready to spend my next year or two just writing, finding an agent and moving forawrd. And then I got an email to go and work for Moira Walley Beckett. She was looking for an assistant with serious room experience to help develop something in a small room and stay on with her later. I took the job becuase she's MOIRA and I was stoked to learn from her and work for a woman for once. I ernded up very fortunate becuase a month later we were all surprised by the covid mess and I was fully employed that whole year while many people weren't which was a huge help. Moira was a STELLAR boss. I had thought I was ready and what she taught me was that ther's always so much more to learn. She walked me through the process of applying notes and taking notes and changing draft after draft of your story. SHe walked me through breaking a whole season of television. We had a great partnership for the year and I'm so grateful. And then that project didn't end up seeing hte light of day and we our separate ways as well.

Cut to a few months ago, I was still at home in Boston, post-covid, having been sick for most of january. My friend Rachel dared me to write a spec in a weekend for the Warner Bros fellowship deadline. So I did. It was a Legacies Spec. Given that we didn't have access to the WGA library because of the pandemic, Legacies was an easy and obvious choice. I had already seen it inside and out and didn't need as much access to learning a show from scratch. So I wrote what I loved, wrote a season 2 legacies spec that embraced my favorite things about legacies: the high school soap of one tree hill, Lizzie doing wild dialogue, buffy-esque monsters, and themes of grief and humanity.

AND THE REST you know.

Here we are. I'm still lost as fuck. I'm still running full speed through a world I don't always feel like I"m ready for. I'm still a perfectionist and an obsessive overworker. I still take notes I don't need to take and do work at 10pm and come in early and stare at the story boards. There's a whole journey in all of this about representation and coming to find myself and queer media and wanting to make more of it but that's one I don't feel like I can fully get into until I'm decades out of it and the world is truly made better. But I'm here. And it feels like the end of a journey and liek I'm standing at the edge of a brand new clif because I've only just started.

[clevercatchphrase]

2020 Year Review~

2020. Pretty unique year, don’t you think? It’s the first year since 2002 to have only two different digits in it. After 2022, this won’t happen again until 2111. Yep. Absolutely nothing more interesting than that.

Anyway! It’s time I reflect on my 2020, look back on my yearly goals and rant about things that happened to me this year. I made a post like this last year, where I went over my 2019 goals and talked about what I accomplished and what I didn’t, and it’s only fitting I do the same again this year. Read more under the cut for a random stream of consciousness ramble!

So, first things first, let’s look at my 2019 goals;

Finish paying off that last student loan

Put more stuff on my redbubble

Illustrate my own fan fics

Sew at least one stuffed animal

Make an enamel pin

Read one new book a month

Write one page a day/Complete at least one new fan fic

Learn Python or C# for the game I want to make

Finish fully scripting Ghost Switch

Boost my patreon

 Paying Off My Last Student Loan: Going down the list, I am proud to say that I FINALLY paid off all my student loans! (and not a moment too soon. The last payment I made was literally days before the first quarantine rolled out). It took me roughly 4 years on my part-time paycheck to pay off all my loans, and once I finished, I had no money to my name (literally; I had less than 1k as emergency money in case of car troubles or health issues). Heck, I’m STILL living at home as a save up for a place of my own. Finally paying off all my student loans DID activate my secret 2020 new year’s resolution, which was to adopt a cat! I did this too, literally a week later! She is the best thing that’s happened to me this entire year and I love her so much and she is the snuggliest cuddle bug I’ve ever met. I’m so happy she’s in my life now~

Put More Stuff On My Redbubble: ah ha ha ha… I thought I did this, but then I went and checked, and it turns out-! I did not. I made art I intended to go on my redbubble, but haven’t put there yet. They are all drawings of some OCs from a game I want to make, but because I haven’t progressed on making the game this year, I never got around to putting more stuff related to it on my redbubble. At the time of writing, there are 7 days left in December, so I guess I could go and put it up on my redbubble right now, but without context on where the characters are from, there wouldn’t be much point, now would there?

 Illustrate My Own Fan Fics: Another goal that I was so stoked to actually do… and then just didn’t. Gee, I wonder why I couldn’t find the energy or motivation to do it this year? Truly a conundrum. (Hey, you know what? If Ghost Switch counts as a fan fiction in a visual form, then I am doing GREAT on this goal. 2.5 years in, 1 of ~4 arcs done, and still going steady~)

 Sew At Least One Stuffed Animal: Okay, I have a valid excuse for not doing this one. I even knew which stuffed animal I wanted to make, and had the pattern drawn out and everything, but I had no money for materials because I had just paid off my student loans. And then, by the time I did have enough money again, quarantine was in full effect and I couldn’t go out to the fabric store. I’m still trying my best to stay out of public places even if the rules are laxer now, because I don’t want to catch the plague even if everyone in my goddamn city thinks and acts like the problem is over already. Even if they’re all wearing masks, even if they’re staying 6 feet apart, I still don’t want to risk it. I will stay inside until health experts give the all clear, and when that day comes, then I will buy some fleece and make a plush.

 Make An Enamel Pin: I ACTUALLY DID THIS ONE. TWICE! Halfway through quarantine, I was feeling anxious and depressed about my job and how they were planning to have me work with the public despite climbing infection rates and positive covid cases. I didn’t quit then, but in a desperate move to try and become self-sufficient, I went to madebycooper and made two enamel pins based on some butterfly dragons I drew last year. They’re on my etsy store now! I even went out of my way to open a P.O. box just to start a small business! I haven’t sold a single pin yet, and I’m actually really nervous to sell my first because I don’t trust the efficiency of the postal system thanks to the actions of the GOP that really screwed them over this year! (If you would like to see my enamel pins, click here!)

 Read One Book A Month: I did this! With dragon books I bought a couple years back! In fact, I read FOURTEEN dragon books, and still have more books for next year to read! The 14 books I read this year were:

 The Hive Queen

The Poison Jungle

Wings Of Fire Legends: Dragonslayer

Dealing With Dragons

Searching For Dragons

Calling on Dragons

Talking to Dragons

The Bronze Dragon Codex

The Brass Dragon Codex

The Black Dragon Codex

The Red Dragon Codex

The Silver Dragon Codex

Dragon Strike, and

Hatching Magic

 To be honest, I had read The Red Dragon Codex years ago when it first came out, but completely forgotten what it was about. I remembered liking it, and I knew the reading level was on the lower side, but the whole dragon codex series was pretty good! So far, the Silver dragon codex was my favorite, and black dragon codex was probably the worst! Hatching Magic was also really slow and bad and had plot points that went nowhere, but the book was written in the 80s, so I don’t know what I expected. The Dealing with Dragons series was very charming and great for the most part, save for one line in the last book that really rubbed me the wrong way, and all the Wings of Fire Books go above and beyond in this third arc. The second legends book could be a little tighter, though (sky and wren are the best duo and I want a book solely about them, but I honest to god do not care about leaf and ivy’s stories.)

 Write one Page of any story every day/ complete at least one fic: I… did this? Okay, I kinda cheated near the end of the year. I was keeping up the one page a day thing for the first four months, but then the world went to shit and my schedule and habits got disrupted and I fell off my good track record. I completed 7 out of roughly 12 one-shots I had planned for this year (my goal WAS supposed to be one short a month, but… you know how it happens) I kept trying to catch up on this goal all year, but the days kept piling up…. Until November hit. I managed to write over 250 pages for Nanowrimo, and I consider this goal a win. 365 pages of fiction in total, which averages out to about one a day~. SHUT UP IT COUNTS.

 Learn Python or C# for the game I want to make: Another goal I didn’t have the mental energy to commit to this year. Truly a mystery to where all our willpower went in 2020.

 Fully Finish Scripting Ghost Switch: still haven’t done this one yet! The Snowdin arc is completely planned, but I just haven’t gotten around to getting the other areas. I’m not worried, though. I know all the major plot points I gotta hit, it’s just weaving them together in a way that flows nice is the final task. I’m not too worried though. I don’t expect to finish the Snowdin arc for another year and a half, at the bare minimum.

 And my last goal of 2020, Boost My Patreon. I did this at the beginning of the year, but then very intentionally stopped about a third of the way through. It didn’t sit right with me to tell you guys to donate to me when suddenly EVERYONE was financially strained from layoffs or being furloughed. I told my patrons the same, and if you ever need to stop donating to me to take care of yourself first, then by all means, please do. I would feel much better knowing you’re using your money to see yourself fed and housed instead of given to me (where it is pretty much only used to buy gas for my car, honestly)

 Welp! That was all my goals for 2020! I achieved 4 out of 10 goals plus 1 secret goal! Pretty much the same ratio as last year, but now this time I can blame all my failures on the pandemic! I don’t feel so bad about myself anymore~

 ON TO 2021!

 I have 11 goals for the new year, again some rolled over from this list, and some from even older years. They are, in no particular order;

 Read 12 new books (roughly 1 book a month)

Finish the first draft of 2019’s Nanowrimo project and rewrite it

Script TDV

Finish Scripting Ghost Switch

Build A Comic Buffer

Sew 1 Stuffed Animal

Finish 1 Song Comic

Make another Enamel Pin

Finish 2 short original comics (this one counts as 2 goals)

Finish the 5 remaining one-shot fics

 Now to go into depth on each one, more for my own sake, really. I want to know exactly what I have planned for each goal this year, and sometimes just looking at a short list doesn’t capture all the smaller details.

 1)Read 12 new books. Same as last year! I The only difference is I might not be able to make it all dragon-related books. (I try my hardest not to buy from amazon anymore, but half-price-books doesn’t always have the obscure stuff I’m looking for)

 2)Finish 2019’s nanowrimo project. If you read my 2019 year reflection, you’ll notice I said I wanted to do some original writing. And I did! The story I wrote for nanowrimo back then was a story I’ve been toying with since 2017, but it was only last year I finally got pen to paper. Now, you may find it odd that the keyword says “finish”. You may think, “but isn’t that what you’re supposed to do for nanowrimo?” and to that I say, WRONG! I wrote 50k words for nanowrimo, but the draft was only about halfway complete. I was kinda discouraged about what I had written last year, because I didn’t like how it was coming out, but I did manage to get it half done. Now it’s time for me to bite the bullet and just finish the thing so I can finally revise it and make it into something I DO like. (It’s still gonna be hella long, tho. That’s what I get for trying to write an epic fantasy, I guess.)

 3)Script TDV. TDV is the abbreviation of the game I want to make. I… still need to do so much for this project OTL… In addition to getting the story solidified, I still need to draw art and game assets, and learn how to code for it, both of which are no small task. I keep having some sort of new year’s goal related to this on my list, and every year I just don’t hit this one. Will 2021 be different?

 4)Finish Scripting Ghost Switch. (Or at the very least, get the waterfall arc completely written out). I have a plan to break this down into simpler steps, by focusing on just one arc for a month or two. Every major arc has 2 to 3 parts, broken up by flashbacks, and if I can just finish one section a month, then I should have the entire thing scripted by the end of the year. It’s not a difficult pace, but seeing if I stick with it will be the real challenge, as it is will all my goals it seems.

 5)Build a Comic Buffer: I’m actually working on this one right now! Since I paid off my last loan and got a new job this year, my current Patreon goals are kind of out of date. They had all been centered around me paying off that last loan, and working towards full-time employment, but those are both completed now! So instead, I would love to get to a place where my patrons could read pages at least a week ahead, and to do that, I need to build a buffer. And since I’m working 5 full days a week now, I can’t afford to fall behind. But you can’t fall behind if you constantly stay ahead! I would like to have… a 10 to 12 page buffer. That’s roughly 3 months’ worth of pages to always have on hand in case I get swamped with work, or something. Right now I currently have a buffer of 3, which will cover me for half a January, which is better than not having anything at all, but still not the best. (ultimately, I would love to have a buffer so big, I could queue them up for the whole year. Wouldn’t that be something?)

 6) Sew one stuffed animal: same as last year. ASSUMING the plague gets under control in 2021, I don’t expect to get to this goal until the summer at the earliest.

 7)Finish 1 song comic: I have 7 song comics planned. One is a gift, one possibly for wandersong, one is a collab that’s currently in the works, but I’m waiting on a friend to do their part before I can continue mine, 2 are UT related, and 2 (well, technically 3, but one is the collab) are KH related. It’s one of the UT ones that will probably get finished, if I’m being honest. It’s completely story boarded, and now I just need to ink and color it. I would like to get it done for UT’s 6th birthday, since I made a song comic on the fly for the anniversary this year, and it was fun, and I’d like to do it again! So, look forward to that next september~

 8) Make another enamel pin: I have a dolphin design I’d like to make because dolphins are cute, if not little murder machines. (need to save up some expendable income first, tho. THESE THINGS AIN’T CHEAP TO MAKE.)

 9 and 10) start and finish 2 original short comics: I’ve got some comic ideas I want to do, but I need to get them written out first. I don’t think either would be too long. Each maybe a couple “episode’s” length, if envisioned on a website like webtoons or tapas. They’d both be heavy in allegory, but not overly drawn out (hopefully)

 11)And lastly, Finish the 5 remaining one-shots I had planned for this year but never got around to. I’m going to try to write one every other month. Pure self-indulgent shipping fluff. If I finish these 5, then maybe I’ll ask other people for more prompts and ideas, which I’ve never done before. We’ll see how it goes~

 Also, Like last year, I’d like to look at everything that’s happened to me this year, though to be honest, I’m not sure how much I remember/how accurate it’ll be. God, I don’t even remember what January was like. Who was I back then? Who were we all back then? I guess I’ll start my yearly retrospective in march because, heh, god we ALL know what started happening in march.

 Firstly, I paid off my last student loan! Then a week later on March 18th, I drove half an hour out of my city to adopt a cat and I love her and it was the best day of this year for me. Spring break is just beginning this weekend, but the attendance at the zoo is shockingly low this year. Apparently, a lot of people watch the news, and they’re all taking precautions about social distancing. I wasn’t too disappointed. Fewer people at the zoo, the easier my job is for me. I was looking forward to getting some free overtime on spring break, since I’m broke after paying off that loan, and I’m a cat parent now and have a furry child to feed. Monday rolls around. My manager calls me and tells me that the zoo is going into lockdown until further notice. I worry for the birds I take care of, but understand it’s for everyone’s safety.

 For two months I sleep in and watch way too much YouTube. I join a couple writing discords. I have nightmares about my birds escaping their enclosure and I dreamed one of the security guards I really like at the zoo gets covid and has to go to the ER. I woke up really upset.

 I started and finished BBS for the first time. I also replayed and finished KH2 final mix for the first time. It had been about 5 years since I last played KH2 before my PS2 died, and it was like coming home~ I also finished tearaway, and played and beat Ryme for a second time (which I can’t remember if I did that last year, but it was a fun experience regardless)

 Mid-June, and I’m allowed to start going back to work, be it on reduced hours. The zoo is still closed to the public, but I’m loving it! I get to work with full-time keepers and do full-time keeper things. It’s so much fun not having to deal with the public. August starts to creep up and there’s a rumor that the zoo will be opening to the public again, which I’m not stoked about. I don’t want to go back to standing in one exhibit all day, talking to guests who don’t listen to the rules or to me. 2 of my younger coworkers (who had both only been there a couple of months) get chosen for full-time positions, while I get passed up which really pisses me off. My other 2 coworkers quit when they think we might be reopening because they cannot risk catching the virus due to at-risk family. I am now the last keeper in the interactive bird exhibit.

 I keep working, the zoo slowly opens, but with me as the only interpreter in our interactive bird exhibit, we can’t open because I can’t run the entire exhibit by myself. So my exhibit stays closed. September comes and goes, and then October starts. Now there is more serious talk of opening my exhibit before the end of the year because the zoo expects to bring in larger crowds for the Christmas lights event in November/December. I ask if I get hazard pay or health insurance since I’m doing full-time hours until they hire more staff. They say no.

 I immediately start searching for a new job feeling incredibly indignant/hurt/slighted/insulted/used/abused/ALL the negative feelings at my job. I had been there for 4 years, but never got a chance to work full time, while the two newest hires who had only been there 2 months both got moved up. I can’t help but feel they were holding one mistake I made two years ago against me and never wanted to give me a chance. (that, or they knew I was reliable when it came to showing up for work in such a volatile position that sees a lot of new faces, and they didn’t want to bother going through the process of hiring someone new) I don’t want to risk my life working around guests who don’t wash their hands and don’t properly distance. I don’t want to gamble with my health when they won’t offer me health insurance because I’m part time.

 Mid October, I get an interview for a full time job and get hired on the spot. I peace out at the zoo 2 weeks later, literally 3 days before they planned to open my exhibit to the public. It was a close call for me to escape before they opened to the public (and pettiness was only partially the reason I dipped out so close to opening). Sorry new hires who are now in charge of the bird feeding exhibit. I taught you the best I could in the short time I had. If the managers are struggling with what to do with one less person, I can’t say I feel bad. I can only hope they delayed opening/closed you down again for your own safety. You are not lightbulbs. I really hope the higher ups stop considering you as replaceable as one. Will I go back to the zoo to visit? Probably. But not for a year at least.

 I started my new job the very next day after I quit the zoo, and have been there ever since, (which isn’t that long yet, tbh. Christmas day was my 2 month anniversary). It’s full time, but it’s also a small business, and everyone’s hours this year have been on the short side due to the plague. I understand, though. They don’t want us to work if they can’t afford to pay us. Everyone is nice enough, though some people smoke and it’s hard to avoid them with how frequently we have to go in and out, and I really don’t want to get lung cancer, sorry not sorry, please and thank you. Also, with such a small team, gossip is certainly harder to go undetected, so it’s a relief knowing people don’t talk behind one another’s backs.

 I participated and beat my 4th nanowrimo in a row, I made TWO apple crisps on thanksgiving, and made baklava on Christmas and both of these recipes were my first time making them, and they both came out adequately! I voted the first day of early voting, and I did an art trade/collab with two of my friends for my birthday! (normally we would have done monthly “art days” where we get together and do art projects for fun because we’re adults and we can spend our time together however we want, but the plague said otherwise this year) We drew pokemon and it was fun! (hopefully I can show you all the results soon. At the time of writing, I’m still waiting for the last two colored parts to get back to me)

 I reached 100 pages on my undertale comic, and finish the first arc out of…! (im not sure. It’s either going to be 4 or 5, I haven’t decided yet)

 Over all, I managed to stay healthy as far as I know. I wasn’t as productive as I wanted to be this year, but then again, who was? (don’t answer that. I don’t need that kind of comparison in my life right now)

 Will 2021be any better? Honestly? I don’t think so. Not right away, at least. Just because a new year is about to start does not mean the slate is completely wiped clean. The change of the calendar year doesn’t magically make all our current problems disappear. Covid will still be here and cases will still climb when January starts. Small business will still be strained when the month rolls over, police will still go on murdering innocent civilians and getting away scot free, amazon and disney will still be monopolizing all consumer goods and media, and I can’t help but feel like there’s an impending shit show about to go down on inauguration day. I do hope things will get better, though. It’ll be arduous and unpleasant, but I do hope things will improve, because sometimes hoping is all you can do.

 Good night.

[oh-to-imagine]

Sweet Acceptance

Part One // Part Two // Part Three // (Part Four Coming Soon)

Summary: After helping Kurt escape an abusive life at the circus you offer him shelter in the hidden basement of the theater in which you work. Though both of you are uncertain of what the next days will bring, Kurt will take the chance he’s been given and live the life he wants, with you by his side.

A.N. So it’s been forever since I updated this fic but here it is! Not sure if anyone who was originally interested in this still wants to read it, but maybe this’ll get some new readers as I write and post the fourth/last chapter of this mini series. Enjoy~

PS: Amanda and Stefan are Kurts adoptive siblings in the comics.

Warnings: Mentions of abuse

.

Kurt held your hand during the entirety of you explaining his situation and why he was staying at the theater. He kept quiet mostly obviously a little wary of being around so many new people who were all focused on him, though none of them looked afraid or hostile towards him.

"So, you all can see why I had to help him" you concluded after explaining the whole situation to everyone. "I didn't think it would hurt anything to let him stay here...I'm sorry, Mister Xavier, I should have told you or asked for permission but..." You averted your eyes and felt Kurt’s hand give yours a comforting, gentle squeeze.

Thankfully, Charles moved closer to you and put a hand on your shoulder. "Now now, no need to be so hard on yourself. I do wish you would have come to me the day after you brought him here, but I can understand why you didn't." You felt your heart deflate with relief at those words, then Charles turned towards Kurt. "Young man- Kurt, you are welcome to stay here as long as you need to. However, I would ask that you do some work around the theater during your stay and in return we'll set you up a proper room and provide meals." He turned his eyes back to you with a small smile "I'm sure your family’s starting to notice the missing food from your home."

You offered a sheepish grin in return but managed a "Thank you, Mister Xavier."

"Yes, thank you, thank you so much!" Kurt reiterated  "And of course I will work in exchange for your kindness, it's the least I can do."

"Then it's all settled. Everyone, please welcome our newest crew member."

"Welcome to the family, Kurt," said Ororo, offering him a warm smile.

One by one everyone introduced themselves, though, just as Rogue commented, he already knew some of their names from his time spent watching their rehearsals. The only one who acted oddly around Kurt was Kitty. She shied away from him and actually hid behind Pitor when he tried to shake her hand. She was the youngest in the group but you still felt a little annoyed at her reaction, especially when a hurt look ghosted across Kurt’s face for a moment.

Thankfully the awkward scene was sidestepped when Jean said,  "Alright, Kurt, I think Logan and Bobby would like your help in the back room, just some light work to get you started."

Later that night you, Kurt and Ororo worked on fixing up the room the priest would have used as a bedroom back in the days of the building being an actual church. Mostly it was used for storage now, but it was easy enough to move the boxes around and dust up the cobwebs so it would be suitable for the blue sweetheart to sleep in. Logan even brought in an old cot he had used in his army days so he wouldn't have to sleep on the floor. Logan was often like that, seeming gruff and indifferent, but really, he had a good heart.

Kurt had thanked Charles twice during the full course meal he bought him and as the kindly man handed Kurt some clean blankets and pillows for the night he thanked him again.

"Really it's nothing, Kurt" Charles assured "I will be demanding a lot from you during your stay here. I always expect the best work from my employees and you will be no different."

Kurt bowed his head slightly "I will do whatever is needed and give you my very best."

"Good, now get some rest, we'll see you tomorrow." He and Logan waved goodbye to you both as they headed out.

Ororo followed but she directed her final words to you as she left "You better be heading home too, it's already dark out and I know your family will start to worry."

"Don't worry, I will soon, promise" you assured as you waved. Now it was just you and Kurt but you just wanted to make sure he was settled in properly before you left. You two started walking back to his new room as you spoke. "Sure you have everything you need?"

"Yes, Mister Xavier and Miss Munroe saw to that. Everyone has been so kind, so accepting...Though I am not sure Kitty likes me too much" he added with a little frown as he set the fresh linings on his cot and sat down.

"Don't worry, she'll come around. She's just young and soon enough she'll see how spectacular you are."

He gave you that adorable, toothy (or rather, fangy) grin and he took your hand in his own, holding it in a gentle grip. "You really think I am spectacular?"

" 'Course I do, I’ve gotten to know you pretty well, I think. It doesn't take long to see the real you and the real you is pretty amazing."

He chuckled "Your kindness seems to know no bounds..." He let his voice trail off. Then after a moment of silence he kissed the back of your hand, which made something stir in your chest- particularly the heart area. He let his lips hover over your knuckles as he said, "I used to pray to god for help and he answered by sending me an angel."

Oh gosh, why did he have to be so sweet and charming!? You could not help the trembling chuckle that escaped your lips "Oh- I'm not sure I'm good looking enough to be an angel."

To that, he smiled up at you "I beg to differ, Liebling. I think only a true heavenly being could rival features such as yours."

You cursed the girlish giggle that you answered him with. You couldn't help it, you weren't used to this sweet brand of flirting. "Well, this angel needs to be getting home."

To that, Kurt stood up again "May I walk you home? I am not fond of the idea of you going home by yourself in the dark."

"I can take care of myself, you know" you informed- with a smile to show you were not cross by any means.

"I know, but you are my friend, and I want to know you are safe."

The offer was so simple, so sweet, even that made something inside you flutter "Alright, if you insist."

That became a common occurrence, if you stayed late and it even started to look dark out, Kurt would walk you home. You didn't mind, mostly because it allowed for some nice quality time with him, even if he did have to avoid streetlamps and any chance of being seen by others as you walked.

Over the next couple weeks Kurt really took to life at the theater well. He did everything asked of him with no complaints and soon enough he even started joking around with the other members of the cast and crew, showing some of that inner charm and charisma. Not to mention his natural showmanship and flare made him a perfect fit for the thespian atmosphere. In short, everyone was slowly starting to adore him.

Of course there were some worrisome topics coming to mind more often the longer Kurt stayed. The circus was still in town, and you could tell Kurt was getting more and more concerned about his adoptive siblings, Stefan and Amanda. They had never been the subjects of Getmann’s abuse, but Kurt had recently confided in you that he feared attention would be turned on them now that he had escaped. An understandable fear, but you were at a loss as to how to help the situation. Then of course, you yourself always had a fear that Getmann would find Kurt and drag him back to that awful prison.

“Eyes up, kid!”

A sudden smack to the back of your head brought you out of the troublesome musings, courtesy of Logan. It was deserved, you supposed, you were meant to be helping install new rods for the backdrops at the moment.

“Sorry! I’ll stop daydreaming” you assured, reaching up to hold the rod Bobby was working on more securely in place.

It didn’t take much longer and when you were done and started stepping down from the ladder, you spotted Jean at the foot of it, smiling up at you with an...interesting glint in her eyes. Something like excitement and determination wrapped in one.

“Hey, got a minute to talk?” she asked as you reached the last step.

“Sure, if you don’t mind me sewing while we do.” You indicated the box of costumes some feet away, ones you were meant to examine for any holes or tears and fix up should any be found.

The two of you sat with your legs dangling over the edge of the stage as you set to work and she started on her topic. “So, I was talking with Ororo the other day and she’s ninety-nine percent sure that Xavier has already chosen what play he wants to put on after this one, judging from the way he’s been talking. And I know you’ve been thinking a lot about auditioning for our next production, so, I took the liberty of getting a copy of the script- particularly a part I think you’re perfect for, so you can practice!”

Your eyes widened as she produced a decently thick stack of papers from her bag and handed them to you. After reading the top with the production title and character name, you realized it was a secondary character, but still a rather prominent role. Quite ambitious for your first play. Though, admittedly, as you skimmed over the script, it did seem like a character you could connect with.  

“And on top of that, so you’d have someone to run lines with, and because I know he’d also be interested in auditioning, I got the scene for a character for Kurt as well.”

She plopped a second stack of papers on top of the first, and after a cursory glance over the character page, you felt heat creep up under your collar and into your face. “J-Jean, these two characters are love interests. And” a flip to one of the center pages confirmed your next suspicion “and there’s a passionate- very passionate kissing scene between them!”

“Hm, fancy that” Jean was looking quite amused with your mini-meltdown as you stammered and tried to rationalize why she was setting these things in motion. “Let’s just say I think you two could easily bring the roles to life.”

A wink and a giggle later, and Jean was gone, leaving you to fluster over the character scripts in your hands. After a shake to clear your head you eventually you decided to simply set them aside and get back to work; trying and failing not to get too wrapped up in the thought of you and Kurt filling those roles.

Your turmoil only worsened when Kurt plopped down beside you “Finally done repairing the catwalks!” he proclaimed with a proud smile that sported his fangs.

“That’s-” you had to stop and clear your throat “That’s great, Kurt. You’ve been working so hard on them the past couple weeks, I know Mister Xavier will be so happy to have them finally fixed.”

Despite your attempt to keep the nervous tremor from your voice, your words still had a shake to them, which Kurt noticed immediately. “Liebchen, are you alright? Are you not feeling well?”

“Oh, I’m fine! Just...well, Jean just gave me some scripts to practice my first audition with, so just nervous thinking about that is all.” Well, it wasn’t exactly a lie.

His interest seemed piqued and he noticed the papers sitting at your other side. He leaned over you- practically laying in your lap as he picked the stack up in his hands. He flipped through the pages with an interested gleam in his amber eyes, his grin only widening as he went.

“Well I am not familiar with this play, but the role seems like a sweet, gentle beauty, perfect for you!” he actually flashed you a wink. Gosh was he smooth when he wanted to be. Then he weighed the other character script in his hand “Is this one for me? I was hoping you would take me up on my offer and let me help you practice the lines.”

Somehow, even after his light flirting, you were managing to calm the frantic fluttering of your heart and warmth of your face. Your voice barely even trembled as you said “Yeah it is, actually. I’d really appreciate your help, but not just that, Jean also thought you might want to audition for the play.”

“R-really?” His eyes were so wide at the idea you wondered if the thought in general had thrown him through a loop, or if he was just shocked someone else brought it up before he did. “That- that would be wonderful!”

For a moment you looked on as his eyes stared dreamily into the distance. You wondered if the true extent of not only his freedom but his acceptance among others was finally starting to sink in. Wondered if he would get used to it after all he’d been through. “I’ll do whatever I can to make sure no one hurts you like that again, Kurt” You found yourself thinking.

Then almost suddenly, the little blueberry seemed to snap back to reality, looking over at you as he set the scripts beside him neatly. “Here, let me help you with that,” he said, indicating the costume repairs you had barely started on between Jean and Kurt.

After giving him a thankful smile you handed him the silky skirt in your hands and asked him to look it over for tears and holes while you worked on sewing a button on a shirt. “With any luck, Getmann’s circus will be out of here soon and Kurt could finally rest easy.”

Setting the final prop box down into the backstage prep area marked the last of the day's work. Everything from scene dressings to costumes needed for this play were ready to be grabbed at a moment’s notice. As you stretched your arms above your head with a yawn Logan walked past on his way out.

“Better get some good rest tonight, tomorrow I’ll be asking you to help me built this crazy prop Xavier needs. You’ll be working those upper arms plenty, so don’t stay up too late with the elf, got it?”

The teasing chuckle and wink combo he threw you earned a blush as you waved him off “Alright, alright!”

He threw a goodbye wave at you as he departed, followed by Ororo and Kitty who you also exchanged goodnights with. After you grabbed your bag from the stage you made your way back to Kurt’s room, where he was touching up the paint on a couple of props to end his workday on.

Except he wasn’t actually working on them, you had no doubt he would get to it by the end of the night, but right now, he was sitting on his cot reading the script you gave him earlier.

When he heard you in the doorway he looked up with that usual smile of his “You know, I must admit, I think this character will test my acting a bit, while he is quite the wholesome gentleman, I’ll have to reign in my more flamboyant nature.”

“I’m sure you can manage it,” you said with a chuckle as you sat down beside him “would you like to go over a scene tonight?”

Instead of simple words he got to his feet, giving a dramatic bow as he said, “I am at your service!”

Finding scenes to run together wasn’t hard, the characters shared all but a few moments together, though you did have to finds one where there wasn’t too much dialog with the main protagonists. Since he had been looking it over, you wondered if Kurt had noticed that your roles were love interests yet. He likely had, and was avoiding mentioning it for some reason or another.

You also found that practicing with Kurt was...easy. You never stuttered in your lines out of nerves and the look in his eyes that spoke of encouragement and understanding made it easy to slip into the character and act your heart out with no embarrassment. Honestly, the thought that you would only take the role if you got to act with Kurt was already starting to play in the back of your mind.

Kurt needed a bit of direction on overplaying his body language, courtesy of your knowledge from seeing Xavier and Ororo correct their actors over the years, but he was, as you and everyone else suspected, a natural. However the genuine fun you two were having came to a slow halt as you two looked over another scene to do.

The sudden downcast to Kurt’s eyes drew your attention first. Then when his shoulders actually slumped you knew something was horribly wrong. Looking over his shoulder you read the scene he was skimming over.

Oh...well, you supposed all of that hit home for the poor young man.

The leading male character was Kurt’s brother, and in the scene his role had to tell said brother that he was thinking of leaving. Or rather, abandoning the family. It was little wonder why the air in the room had a sudden tinge of melancholy to it.

“Kurt…” you placed a hand on his back, wondering what on earth you should say to him.

He looked to the side, almost as if he were ashamed. “I’m sorry, I’m just…”

“It’s alright to be worried about Stefan and Amanda, Kurt. I just wish… I just wish we could do something to make sure they’re alright.”

Without a word he walked over to the bed, plopping down on it and staring intently at the ground as though deep in thought. You started to make your way over to him, but had to stop in your tracks at what he said next.

“I’m going to go see them tonight.”

“Wh-what?”

He looked up, meeting your eyes and in his amber depths, though the look was not unkind, you saw no room for argument. “I’m going back to the circus to see them. I have to know they’re alright, I have to let them know I didn’t abandon them without a second thought. If they’re still being treated well, at least I can say goodbye. If they aren’t, I’ll do for them what you did for me, now that I am at my full strength and not caged.”

“But what if you get caught!?”

“That is a risk I’m willing to take.”

You bit back any protest, knowing that he wouldn’t change his mind, but also knowing that Kurt needed this. He loved his siblings every bit as if they were actually blood-related, he couldn’t leave them without a word. Specially when they were still so close.

With a sigh, you plopped down on the bed beside him “Then I’m going with you.”

“What? No! I won’t ask you to risk yourself like that!”

“You’re not asking, I’m telling you I’m coming.”

He looked away from the sheer intensity of your unwavering gaze “I’m not sure how well two of us can sneak through the circus, even at night.”

“Then at least let me stay on the outskirts and wait for you, I’ll give you a time limit and if you aren’t back by then or if I hear a commotion I’ll know to get help.” After just a moment’s consideration you reached out and took his hand in yours, making him look you in the eyes again. “Please Kurt, let me help you. You aren’t alone and I won’t let you do this alone.”

Silence for a moment as he simply searched your expression, his eyes softening as they searched and finally locked on yours again. “Alright. We do this together, as long as you promise me to be careful.”

“Funny, I was just about to tell you the same thing.” You chuckled a bit in an effort to lighten the mood.

He continued to keep is gaze on you, not finding any reply as he took you in. Then he placed his hand over yours, the one holding his other hand. He ran his thumb over your knuckles, closing his eyes as he let out a long, almost content sigh.

“I…” Still not finding his words, Kurt opted instead to lean in and press his forehead to yours, eyes still closed, face relaxed. “Thank you. You are all I could have ever asked for and more. Thank you…”

You couldn’t help the light heat in your face, but even that was barely noticeable when you were just so lost in this moment. Lost in his closeness and this simple but sweetly intimate show of affection. You could barely admit that you had been falling for Kurt before, but now? Now you had to go straight to him likely being your first love.

After allowing yourself to hang in the moment for quite a while, you finally asked what needed to be asked, “So, what’s our plan?”

[that-shamrock-vibe]

Movie Review: The Lion King (Spoilers)

Spoiler Warning: So I am slightly later to the party than originally intended but I will be talking about this movie in detail and am posting this review a day or so after it is released in U.K. cinemas, so if you haven’t yet seen the movie, either go and watch the original or wait until you have seen it before reading on.

General Reaction:

I have several problems with Disney’s “live-action” remake of The Lion King, not only with the choices the actual movie makes, but unfortunately also some of my ranting will be down to the live-action remake fatigue that has struck almost every Disney fan with the recent onslaught of remakes coming out. For me, The Lion King is where I have reached my  peak because up until now the live-action remakes at least brought something different from the originals for me.

Here however, if for some strange reason you haven’t seen the original animated version of this movie...as I know at least one person who hasn’t...then this may be a brand new enjoyable movie for you. However, for the rest of the world that has, this was pretty much the exact same movie scene for scene with dialogue that seems very tired and characters that lack the basic sense of emotion.

I just want to clarify something, anyone who knows me knows I do not talk follow trends when writing these reviews, so the fact that I am going to spend a lot of this review pretty much complaining about the movie is not because it seems to be the “it thing” to hate it, but instead I have actual reasons as to my disdain.

I do blame Jon Favreau for some of the problems with the movie, especially because he hit it out of the park with The Jungle Book remake back in 2016. I can remember walking out of the cinema after seeing that movie with such a sense of enjoyment from my cinema experience which was decorated in Jungle Book paraphernalia, to the actual movie which was obviously based on the original animated version but also took inspiration from the novel the original was based on.

Here though there was no decor save for one lion totem hidden away, and from the very start of the movie I was seriously underwhelmed by it all.

I don’t know if something got lost between the 2D animation and the CG animation but the movie just felt rather slow compared to the 1994 animated version. There was something so iconic and special about the original version that maybe it was simply the case that nothing could match up to it, but if that is the case then the talent behind the scenes should have at least tried to do something different with the story like Aladdin and Dumbo tried to do.

I genuinely believe that Jonny Fav blinked when tackling this compared to The Jungle Book because while The Jungle Book is a classic it isn’t as iconic or beloved as The Lion King and therefore maybe he didn’t want the backlash if he changed it and it wasn’t received well.

Also, this “live-action” version of the animated movie has 30 minutes more content in it than the original 1994 animated version, this is both a good and a bad thing. The two worst crimes of this movie, aside from it lacking originality and emotive facial expressions, as well as one particular song which I will get into, are two minor scenes that stretch-out pointless plot-points.

The first just after the “Circle of Life” opening where the movie follows the travels of the mouse that Scar eventually tries to eat. But this mouse is followed from the bottom of the cliff-face into the cave that Scar is in.

The second is after Simba begins to question everything he has been told about life and slumps down on that ledge. In the original 1994 version there are leaves and particles that originally spell out “Sex” that are now replaced by a piece of Simba’s mane flying away and going on a journey for five long minutes.

This hair lands in a lake, floats across a Savannah, is eaten and subsequently pooped out by a giraffe, rolled away in a poop ball by a dung beetle before being separated from the pile and being carried up to Rafiki’s tree by worker ants. In the original, a breeze carries leaves across Rafiki’s path which he catches and it is over in about 2 minutes.

Both scenes are dragged out, almost completely irrelevant to the plot and just took me out of the movie questioning why I’m following a mouse and a piece of hair.

Then I have to quickly talk about the stampede scene which leads to Mufasa’s death. 2-D Animation vs. photo-realistic technology is becoming a massive battle in cinema recently particularly at Disney, but there are many things that hand-drawn animation can get away with that live-action cannot. Not only did I get zero facial expressions from Simba or Mufasa in this scene but also that stampede scene in the original animated movie is so grand and has such an emotive response from audience members no matter how many times you see it whereas here, it didn’t seem as epic. It still felt grand because it’s a stampede but not on the level of the animated version.

To end this section on a positive, I do appreciate the photo-realistic CG because it does comprise the entire movie, even the scenery, because it all does make it seem like watching realistic animals for the most part.

Cast:

Alright so there are some good and bad thing about the cast and characters. For a start, the characters in “live-action” are emotionless, lack any real form of empathy and require your love of their 2D animated counterparts to gain any affection from the audience.

The best characters in this version are Timon, Pumbaa and the Hyenas, even Zazu is high-up for me...this presents another problem with the movie, the comic relief of the movie is the best part about it. But it is true, while Billy Eichner as Timon and Seth Rogen as Pumbaa may not be as strong a double act as Nathan Lane and Ernie Sabella, they are still rather funny together and actually are given more of a meta humour than in the original movie. Not only with their version of “Hakuna Matata” but also the new Hyena distraction scene which in the original is the Hula scene but now starts off as the beginning of Beauty and the Beast’s “Be Our Guest”.

The hyenas meanwhile are made more formidable and fearsome in this movie, not only is Florence Kasumba as Shenzi more of a leader of her clan even opposing Scar at times, but both Keegan Michael-Kay and Eric André prove to be almost as good a double act as Kay & Peele. For this reason they’re high up on my list.

Donald Glover is an okay adult Simba. He has got that innocent youthful tone that adult Simba should have given the experiences of his life, but he does just feel like he’s reading a script rather than actually acting..

Beyoncé is, well Beyoncé in lioness form but the thing that lets her down is the lack of emotion on Nala’s face. Also I don’t understand why the back of her ears and tail were blackened aside from the fact that Favreau wanted Nala to stand out from the other lionesses.

Scar is as fierce as ever and Chiwetel Ejiofor proves once again why he is a great villain actor.

I was also pleasantly surprised by Simba’s mother Sarabi in this movie as not only did she have more to do but her backstory with Mufasa and Scar, which doesn’t necessarily make me want a prequel but adds to the Hamlet story that this story is based on, and has Scar state that she chose Mufasa over him...so does that mean she was somehow romantically involved with her now brother-in-law? Also Alfre Woodard is great in the role.

James Earl Jones is back and...it’s simply for nostalgic purposes because there is nothing really elevated in his performance. If anything his performance falls slightly flat in parts but otherwise he’s fine.

The biggest letdown for me is the character of Rafiki, who in the original 1994 version is my favourite character. I love the fact he’s a shaman, I loved his first meeting with Simba I could easily watch it over and over again. I do not understand why they effectively cut that scene and the message of morality that comes with it.

Then he only had his stick when preparing for that climactic fight. It seemed as if they were saying that point was him coming out of pacifism but it isn’t fully shown, but I wanted to see Rafiki walk around with his stick like he did in the original, they copied pretty much everything else but got rid of that?!

Also the one bit of facial emotion that any of these characters show is in the beginning “Circle of Life” sequence when Rafiki carries baby Simba to the edge of Pride Rock and Simba looks genuinely sad to be pulled away from his mother.

Speaking of young Simba, both JD McCrary and Shahadi Wright Joseph do a good job as the young versions of Simba and Nala respectively. I think McCrary tries very hard to recapture the emotion that can bring grown men to tears when Simba finds his father dead, it doesn’t quite stick but he tries.

Songs:

I don’t know if it is because the original score and soundtrack is so iconic and ingrained in popular culture, or just that reworks of the same songs don’t really work...Aladdin for all its plusses still fell into that category...but the songs from the original movie in this version do nothing good for me.

“Circle of Life” is supposed to be the energised introduction to the movie, but if you were to watch the opening to this movie and the original side-by-side, it is practically a shot for shot copy but this version is slower and therefore misses a lot of the cues. Even the shot where you first see Zazu flying over to Pride Rock is underwhelming and they screwed that up twice, first at the start and then again at the end of the movie.

“I Just Can’t Wait To Be King” was also slightly lackluster because of the fact this movie seemed to take away the fantastical elements of the performances in favour of apparently making it more grounded, but it was still a fun performance. I think the two young actors playing the two young cubs did a great job vocally and the performance of them hiding from Zazu amongst the animals was an okay alternative.

“Be Prepared” is the one time I have been actually offended in one of these Disney live-action remakes, this song is one of the greatest villain songs in history. They take a performance which fully executes the Elephant Graveyard but also turns the hyenas into the New Reich! This is Scar monologuing for a couple of minutes and the “song” lasts about maybe 30 seconds. This was my favourite song in the original and it fizzles out completely.

“Hakuna Matata” is a fun song as it was in the original, like “I Just Can’t Wait to Be King” the fantastical elements are taken out of it so Pumbaa swinging on the vine swing and the use of the bugs and the diving into water are all taken out. Even so, Billy Eichner and Seth Rogen do a good job singing as does JD McCrary...Donald Glover on the other hand is not a singer.

“The Lion Sleeps Tonight” is probably my favourite song in the movie, and it’s a song not original to The Lion King which is more of a problem for the revision of the soundtrack to the original 1994 version but the fact Timon and Pumbaa got essentially their own doo-wop group going of the animals that also inhabit their home, it’s just such a good rendition.

“Can You Feel the Love Tonight?”...if it wasn’t for Beyoncé would be an absolute bomb because Donald Glover, again, cannot sing. Also the song happens way too quickly. The movie is effectively a shot-for-shot remake but some scenes are cut short and Simba and Nala’s reunion is made very short before this song kicks in.

Recommendation:

I can’t say this is a perfect movie, if you love the original and want to see that again you will like this just fine, if you were wanting something different like how Aladdin and Beauty and the Beast altered themselves slightly then you won’t really get that here.

I still recommend it as a movie to see just one because it is an important movie to see just to see how stretched out these live-action remakes are becoming. However, I will agree with those that say it is one of the worst remakes.

[tessatechaitea]

Scarab #6

I don't know what's happening on this cover but I definitely have a new sexual fetish.

This comic book stars a raccoon. Rating: A+.

Most of the weird dialogue in this comic book probably comes from John Smith's high school notepads full of terrible poetry. I mean, this part about winter isn't too bad! I kind of like it. It's almost as if William Carlos Williams and H.P. Lovecraft were caught in a Star Trek transporter malfunction where their minds were melded but they had to overcome the horror of their new two-dicked physical existence to continue writing poetry. I knew John Smith was English from his previous work on 2000 A.D. and other British comic book periodicals but then he uses the phrase "Chinese whispers" in this issue and I think, "If I hadn't already known he was English from his previous work on 2000 A.D. and other British comic book periodicals, I'd now know he was English by his use of the phrase 'Chinese whispers.'" Here are some of the ideas John Smith throws into a two-page account of Scarab's recent adventures that he couldn't bother writing into full scripts but wanted everybody to know he thought up anyway: a television at the Waldorf haunted by the 20th Century, a pervert breaking the spirits of kids with his Zoo of Shame, The Phantom Barber stealing scalps from runway models, the world's sexiest man raped by Tarot cards, and the Electric Fetus Machine which manifests as a large organ whose music foments rebellion in fetuses. Is this how the British writers took over DC's adult comic books? By occluding our minds with so much random and weird pseudo-philosophical garbage that we couldn't think straight? Sure, I guess an Electric Fetus Machine sounds like a way better story than Batman beating The Riddler near to death. But is there really any substance there? I suppose there could be if the idea were fleshed out and some kind of theme built around the idea of fetuses rebelling. Maybe all of these ideas John Smith throws out are just a game of Chinese whispers where he takes, say, a story by John Barth from Lost in the Funhouse about the thoughts of a sperm considering how the race toward life is pointless and, maybe, they should all just give up, and he turns it into the Electric Fetus Machine so that when I read it, I don't instantly think, "Isn't this a John Barth story?" Instead, I think, "That's a better sounding story than the one where the guy is raped by the Three of Wands!"

Meanwhile, Scarab spends his downtime watching Eleanor turn into a Dr. Seuss tree. Or a mushroom cloud (because remember the theme established by the beginning quote and title?!).

Try to ignore Scarab's ass in the previous scan. It's phenomenal. If you're training to be a comic book artist, you need to spend a lot of time getting the ass right. And once you do, you'll never get an ass in pants right again because all you have ever learned to draw is a naked ass which readers will know is actually under skin tight Lycra unless the colorist completely shits the bed. The guy in the jar on the cover is a Russian experiment in psychotropic warfare called a Gloryboy. There are three of them and they're some kind of pacifist dream come true. They constantly mutter Vertigo phrases in a tonal frequency that makes normal people vomit and shit themselves. It's the Brown Note theory of winning battles but taken to the Vertigo extreme. Instead of a whomping bass sound system, the noise comes form a naked albino in a jar composed of dream matter. Maybe they're not composed of dream matter. And maybe they're not about pacifism at all. It seems they've been altered and experimented in such a way that they can give voice to "the Scream over Hiroshima!" That sounds pretty bad. It's probably some form of psychic bombardment, comparable to a nuclear blast, which drives everybody in the vicinity completely insane. Or maybe it really will just be a thing that pacifies everybody because have you ever tried to do anything while shitting yourself? I mean other than read the ingredients in your shampoo. And even then, I bet you take your eyes off the bottle for a moment to really be in the moment. As an aside, do women find shitting as enjoyable as men or is it just the fecal matter pressing up against our prostate as it passes that makes a big shit feel so good? The Russians test the Scream Over Hiroshima on London. What it does is project into the minds of everybody who hears it the entire reality of what happened in Hiroshima. It's the truth of war. It's pure horror and death and consequence. It probably also makes everybody shit themselves. But when it's done, they'll all understand, on a physically primal level what war is. And the assumption is that everybody will finally be against it, I guess? I've been on Twitter for many years and the one thing I know is that even physically experiencing the horrors of the bombing of Hiroshima isn't going to change the minds of most idiots. I mean, if you didn't become a vegan pacifist hug machine after hearing Sting's song, "Russians," why would you become one after living the horror of fifty thousand lives snuffed out in an instant?! Some people, you just can't reach. London turns into a burning chaotic mess as everybody flips the fuck out from suddenly experiencing the most painful thing they've ever experienced. Scarab arrives after it's all over and everybody is afraid of him. Surprise! There's nothing he can do. He just observes the mess and meets a psychic who tells him that Eleanor is coming back. And isn't that the most important part of this eight issue story? That Louis the Scarab's love returns to him while the rest of the world falls into death and chaos? Scarab #6 Rating: C. Smith seeded this issue with more story ideas than story. The main story is an idea that really goes nowhere as well. It's a thought experiment. It's a minor philosophical musing. And Scarab doesn't do anything but distract himself from his wife's condition. But it also wasn't uninteresting. So I think that means it's a C? What am I, a high school teacher? I don't know how to grade shit!

[almaasi]

reaction post typed while watching SPN 14x05 “Nightmare Logic”

oh, what a perfectly soft and emotional Destiel-parallelly piece of Meredith Glynn artwork. so precious, so loved~

03:47pm

things i know about this: meredith glynn wrote it

LET’S WATCH

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03:50

noooo maggie don’t do things like this alooooone

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i like the music as she enters... kinda weird and sparkly and awkward

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03:53

sammy...... you know what you need

someone to do the night shift

if only...... you had.............. someone else........................

*looks pointedly at dean*

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03:55

where does sam get the financial resources for shit like body cams

we never see them running credit card scams any more so........ ???????

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03:57

i love these cable things by the roads

so aesthetic

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03:58

even more spooky pretty music as dean and sam enter the tomb

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03:59

dean and sam lie so effortlessly and so in sync

i always enjoy seeing them do this, ever since dean told a firefighter he needed to go back into his apartment because he has a yorkie who pees when he’s nervous

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04:01

aw man i thought the “colleagues” would be cas and jack

bobby and mary’s cool too

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04:02

bobby’s wearing a cap like michael’s

and mary’s wearing a coat like cas’

..does this mean this story’s gonna be about dean’s war between those two things, like the two worlds he knows

bobby’s parenting vs. mary’s parenting

michael’s need for him as a vessel vs. cas’ love for him as a bestest buddy bro friend

not sure how bobby = micheal / mary = cas but i’m sure there’ll be some kind of explanation later

OR maybe they’re just costumes and they mean nothing

but......is that ever true? trenchcoats are automatically a cas thing now. and that cap is so iconic as michael now???

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04:09

i relate to this lady in the suit who has had Too Much Of Everything

i enjoy seeing people know their limits and expressing them to others rather than continuing past breaking point

sam’s doing great but also....... no

take a page from this lady’s book, sammy

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04:11

mary’s walking with sam

and i just wanna take a minute to appreciate how EASY meredith glynn’s episodes are to watch

her scripts flow so gently and everything makes logical sense

and her characters are coherent

there’s just this nice touch of emotional human realism cloaking all the supernatural weirdness and i so, so appreciate that

like.. for me personally, there’s not a single writer on the current team whose writing comes close to glynn’s

i want her to write more episodes with cas though, i know she’d write him just right

i honestly feel like i’m being hugged by someone as i watch this

so soft around my heart

is good

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04:16

sam: “you [and bobby have] gotten pretty close lately”

mary: “i thought so too”

OH WAIT I GET IT

I GET THE COAT AND THE HAT NOW

IT’S A DESTIEL THING

OH MY FUCKING GOD HOW DID I MISS THAT

IT’S SO BLINDINGLY OBVIOUS HOLY FUCKING FUCKDISAFKDSHGF

even the casual viewers will probably have noticed this one. i know it took me a second but as soon as this discussion happened it clicked

 this is probably the most obvious parallel they’ve ever done i think

i didn’t see it before because i didn’t EXPECT it, you know?? ugh this is so validating

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04:22

now every word mary says, i’m just envisioning how it applies to cas’ perspective too

“he’s been hunting all the time, he won’t take a break even for a second. there’s something on his mind”

yeah, that mICHEAL HAT, quite literally sitting over his head like a dark halo

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04:26

the music in this episode is just so pleasing to my ears

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04:31

things i appreciate:

normal people being all “wtf you hunt monsters” and just being present while dean and sam talk about their shit

sam’s reference to “hunteri heroici” (my all-time fave episode besides “scoobynatural” jdgd that was five years ago what the hell)

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04:35

me: takes screenshot of this very pretty, very anxious lady because i want my hair to do what her hair does

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04:36

oop we just found the dean mirror and now we get to hear someone talk about the things he feels and offer advice that ultimately helps himself

god i love this

AND THE FACT I CAN UNDERSTAND THIS PARALLEL AND WHY IT’S HAPPENING

AGAIN SOLIDIFIES THE DEAN/CAS THING WITH BOBBY/MARY

because what mary said about bobby = what cas thinks about dean = what’s true about dean = this lady being overworked = dean not taking time off from hunting

(although it does seem to specifically apply to sam as well ?)

and sam mentioned earlier about how the dad he knew and the dad mary knew were different people, plus the earlier mentions this season about john’s problematic parenting (i forget when)

yeah that really makes a point of saying john abused his kids, for sure

-

lady: “he was gone all the time, working for us, he said”

yeeeeeeeeeeeeeeeeep

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lady: “i worshipped him when i was a kid. didn’t know any better”

oh deanie

please take notes

please know it’s okay to be angry at john and not continue to love him in a way that excuses his behaviours, even 14 years after he died

-

wait wait wait

dean tells her to let it go, it’s the past, there’s nothing you can do about it now so it’s just baggage

WAIT

THAT MEANS

THAT MEANS HE LET THAT SHIT GO ALREADY???????

WHOA

OKAY COOL. COOL COOL COOL I’M PROUD OF YOU

now go be gay with cas

-

“i try. every single day.”

hell yeah dean winchester giving good mental health advice to people and also millions of depressed people with various traumas watching this

ngl this legit just helped me a tiny bit with my issues with my own dad

urhgutguugb meredith glynn you are the good we need in this world

..............suddenly getting real emotional because goddamn i wanna meet her someday ;~; i wanna meet 1. misha and 2. meredith glynn, maaaaybe 3. jensen idk

mEREDITH GLYNN IS MY KINDRED SPIRIT

and DEAN WINCHESTER HELPS ME BE A MORE SELF-ACCEPTING PERSON

yay

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04:49

no but like.......... everyone seemed to enjoy last week’s episode, i only saw people posting good reviews. and i felt bad not not enjoying it, even though all the things people pointed out should’ve been right up my alley, something about the overall thing just fell flat for me

but this one

this one speaks to my heart

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04:53

maggie: “i didn’t mean to get caught--”

sam: “no no no, stop that. you did nothing wrong. okay?”

sam being a better dad to maggie than john ever was to anyone

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04:57

OH NO BOBBY!!!!!!!!!!!!!!!!!!!! OH NO!!!!!!!!!!!

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05:01

dean: “you’re giving him transfusions?”

nurse: “keeps up his iron”

suddenly i don’t trust the nurse

trying to take over the property maybe? a la scooby-doo, it’s always about real estate

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05:02

dean: “sasha, could you go....... make me a ....sandwich ?”

DEAN NO

(i type, in pain, as i laugh)

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/rewatches that interaction because it was actually really sweet the way dean mouthed “go” to sasha and she understood

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05:05

i’ve wanted a djinn story for SO LONG

(even wrote one myself - Prince of the Ether Realms)

trust glynn to be the one to re-weave the exact threads of this 14-year saga that also interest me specifically

also kudos for the fact she’s so obviously knowledgeable about the ENTIRE HISTORY of the show, as opposed to certain other writers who seem to contradict previous facts and re-reference things that were used differently before to make an important point, thereby nullifying the first point when used a second time

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05:11

hunter with the shaved head 10/10 style

headcanoning them as non-binary and into girls because of reasons

also there was a slight continuity error, this hunter hugs maggie twice in the two consecutive shots

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05:15

bobby: “it ends the same” [with bobby dead, i guess?]

mary: “no. you are not allowed to give up on me”

seeing this as dean and cas again

yeah i saw someone mention how at the end of last episode, dean suggesting they drive off a cliff and sam being like NOPE kind of reflected the wrongness of the they-all-die-at-the-end for the finale of SPN

and i think this brings it back to that again

i agree that the best ending is the one where they live to fight another day, not go out guns a-blazing

and this is cas telling dean he’s not allowed to give up and die because he wants to live side-by-side for as long as they can

i just really really want cas to say that to dean in a soft emotional scene like this. we don’t really get those unless they’re parallels??? and i wANT MORE DEAN AND CAS TALKING ABOUT THEIR FEELINGS DAMMIT

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05:20

DEAN AND CAS PARALLELS um i mean BOBBY AND MARY GOING OFF TO HANG OUT ALONE IN A CABIN OF LOVE AND HEALING

GDI LET DEAN AND CAS DO THAT TOO

but also awwww i actually kinda like the mary/bobby thing? because at the core, they ARE dean and sam’s parents, really

family don’t end with blood etc

bobby was the dad john never was

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05:23

sam: USE THE BUDDY SYSTEM

this is so satisfying

next up: hula hoops of salt and iron knuckle-dusters

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05:25

i love love love that dean can have a healthy mental approach to this shit, finally

i’m so fucking proud of him you don’t even know

i just......... i really wanna see him not only return to baseline mental goodness, but then overcome that and become greater at his zen thing, and then AT LAST be ready to accept cas’ love for what it is: romantic and everlasting and epic, and not have to interpret it into something else or ignore it to protect himself

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05:28

that light over dean’s shoulder is the angel on his shoulder

but is it michael or cas?

i’m going with cas, given that michael is a dark-hat-halo

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05:30pm

it’s over

that was amaziiiiiiiiiiiiiiiing ;u;

bless meredith glynn for existing and bringing us such beautiful stories

BUT WHAT HAPPENED WITH THE GARDENER

WHY WAS HE THERE besides to ~add some colour~??? and i guess a red herring for viewers, so we have someone to suspect?

(idk. i never suspected him, because he was black and meredith glynn is better than that - unless she was trying to trick racist viewers?? (i know there's a lot of them, i saw the super-toxic comment section on instagram when jared, jensen and misha posted a “vote beto” thing the other day. and there was a poll mentioned at comic con once, half the american spn fanbase are republicans??? guess they really love guns and fascism))

i don’t really have anything to add here, i said it all as i went along

that dean/cas parallel....... oh boy

just please please please pleASE can we have Actual Destiel and not just parallels and hints. like. they barely talk???????? HOW IS THIS A SHOW WHERE TWO OF THE MAIN LEADS ARE CONSTANTLY FRAMED TO BE IN LOVE, WE’RE TOLD THEY’RE BEST FRIENDS, BUT WE ALMOST NEVER EVEN SEE THEM TOGETHER ANY MORE

HOW IS THIS HAPPENING

anyway the costuming was just so very UNSUBTLE and obvious and i think a lot of people would’ve caught that parallel even if they weren’t looking for it

music was good, directing was good, sasha’s hair was good, nobody we know actually died, that was good too

10/10

ten thumbs up

yeee

[thedrude]

Commissioned by Corben

I posted a video, about a year ago, in which I told the story of being hired by comics legend Richard Corben to do a back-up feature for him. A few days ago, I came across the offer letter from him, and thought I’d revisit that episode.

 I met Corben, when I was 23, at an extremely rare convention appearance. I think it was a con in Philadelphia, but it may have been Dallas... it was nearly 30 years ago! I had a handul  of the over-sized comic magazines he was publishing under his own FANTAGOR label. His drawing and painting were consistently impressive, as was Fantagor’s production quality. Surprised that there wasn’t a long line at his booth, I took the opportunity to introduce myself, and asked if I could show him my own work.

This was maybe 9 months after I’d graduated art school, so my portfolio must have still included some student work. He took particular interest in the pages of my then upcoming comic, PREY FOR US SINNERS. While perusing the pages, he casually dropped, “I’d like you to draw a back-up story for me.” “Sure!” I said, not really believing him. I didn’t take him seriously, I honestly thought he was just being nice. I think his wife Dona must have given me their card. She was MUCH more outgoing, in fact most of my conversations with Rich were actually through Dona.

Obviously, I sent the Corbens a follow up letter expressing my interest in doing a back-up down the line, whenever they had a story suitable for me... Just a week or 2 later, I was excited to find an offer letter from them, accompanied by a few scripts from frequent Corben collaborators, Bruce Jones, and Jan Strnad. They even gave me the option to pitch my own story! I wasn’t doing much writing yet, so based mostly on the fact the Jan Strnad script was a 2 parter (twice the number of pages, twice the pay, and my work would grace TWO issues of Corben’s FROM THE PIT!) , I chose to illustrate “Practically Midnight.”

I photo referenced almost everything back then, too uptight and nervous to draw out of my head. (This approach had really shot me in the foot the previous winter when I tackled a long story for the massive WEIRD BUSINESS anthology. That story was so silly, and over the top, it was not well suited for that approach. I unsuccessfully veered back and forth from what reference I could find, to nervously winging it. I hated that piece and was deeply embarrassed by it, until years later, I looked at it and realized that most of the more cartoony, from my imagination, bits worked quite well. If only I had trusted myself...) I’d spent the first half of ’94 in New York, but by the end of summer I was living in Dallas, where I had more friends, and it didn’t cost so much. I owed a debt of gratitude to my friend John Stack Ross (the male lead), a very indulgent property manager  (whose name I forget) at the apartment complex I lived at (female lead), and the late great artist/actor/ad man/Renaissance man Buffalo George Toomer! They very generously allowed me to light them, pose them, and shoot them with my old 35mm Nikon camera - all for a comic book story that has never seen print!

I turned the first part in pretty quickly. Rich was pleased with it, and we had a brief discussion about how it should be colored. Being so heavily cross-hatched, my thought was that it should be mostly monochromatic. Rich was noncommittal about that, saying it would be an interesting challenge for his daughter, who was to color it. I don’t know if she ever got started on it. They sent me a check immediately. I had already begun working on part 2.

That job was going so well. The Corbens were great to work for. I had started daydreaming about doing back-ups for them semi-regularly, maybe even pitch a longer serial with my frequent collaborator of the day, writer Franz Henkel. I had completed 5 or 6 pages of the 2nd 10-pager when the Corbens called. They had received the latest orders from the comics distributor. The orders were so low across the board (I think they published 3 or 4 titles monthly or bi-monthly), they had decided to cease all publishing immediately. Rich was going to freelance full-time for other publishers. I was asked to stop work and invoice them for the pages I’d completed. I was gutted. But again, the Corbens paid immediately.

A year or 2 later, I was working full-time on video games at Disney in LA. In my spare time, I had compiled the anthologies SHOCK THE MONKEY, and RAW PERIPHERY, and was planning a PG-13 version, PERIPHERY. I had that stack of originals for the nearly completed 2-parter Corben had commissioned. I created this mock cover image and sent the package over to Jan Strnad, suggesting we ask Rich for permission to print the story. Jan said, for him to feel right about it, we would have to pay back our page rates in full, which wasn’t an option for me. The reality of indie comics publishing, even back then, was we were unlikely to make much, if any, profit. And really, the most exciting thing about the project was that I was to be published alongside Corben, in his own magazine! So I let it go.

I wish I had stayed in better touch with the Corbens. Who knows, maybe Rich had more unpublished stories of his own, maybe we could have worked something out... maybe he’d have wanted to do a Fantagor anthology... who knows.

[onlymexico]

Guillermo del Toro Gómez born October 9, 1964, is a Mexican American film director, screenwriter, producer and novelist. In his filmmaking career, del Toro has alternated between Spanish-language dark fantasy pieces, such as the gothic horror film The Devil's Backbone (2001), and Pan's Labyrinth (2006), and more mainstream American action movies, such as the vampire superhero action film Blade II (2002), the supernatural superhero film Hellboy (2004), its sequel Hellboy II: The Golden Army (2008), and the science fiction monster film Pacific Rim (2013). His latest film, The Shape of Water, won the Golden Lion at the Venice Film Festival and is scheduled for an American release on December 8, 2017.

In addition to his directing works, del Toro is a prolific producer, his producing works including acclaimed and successful films such as The Orphanage (2007), Julia's Eyes (2010), Biutiful (2010), Kung Fu Panda 2 (2011), Puss in Boots (2011), and Mama (2013). He was originally chosen by Peter Jackson to direct The Hobbit films; he left the project due to production problems but was still credited as co-writer for his numerous contributions to the script.

Del Toro's work is characterised by a strong connection to fairy tales and horror, with an effort to infuse visual or poetic beauty.  He has a lifelong fascination with monsters, which he considers symbols of great power.[3] Del Toro is known for his use of insectile and religious imagery, the themes of Catholicism and celebrating imperfection, underworld and clockwork motifs, practical special effects, dominant amber lighting, and his frequent collaborations with actors Ron Perlman and Doug Jones. He is also friends with fellow Mexican directors Alfonso Cuarón and Alejandro González Iñárritu, collectively known as "The Three Amigos of Cinema”.

When del Toro was about eight years old, he began experimenting with his father's Super 8 camera, making short films with Planet of the Apes toys and other objects. One short focused on a "serial killer potato" with ambitions of world domination; it murdered del Toro's mother and brothers before stepping outside and being crushed by a car. Del Toro made about 10 short films before his first feature, including one titled Matilde, but only the last two, Doña Lupe and Geometria, have been made available. He also wrote four and directed five episodes of the cult series La Hora Marcada, along with other Mexican filmmakers such as Emmanuel Lubezki and Alfonso Cuarón.

Del Toro studied special effects and make-up with special-effects artist Dick Smith. He spent 10 years as a special-effects make-up designer and formed his own company, Necropia. He also co-founded the Guadalajara International Film Festival. Later in his directing career, he formed his own production company, the Tequila Gang.

In 1997, at the age of 33, Guillermo was given a $30 million budget from Miramax Films to shoot another film, Mimic. During this time, his father, automotive entrepreneur Federico del Toro, was kidnapped in Guadalajara. Del Toro's family had to pay twice the amount originally asked. The event prompted del Toro, his parents, and his siblings to move abroad. In an interview with Time magazine, he said this about the kidnapping of his father: "Every day, every week, something happens that reminds me that I am an involuntary exile [from my country]

Del Toro has directed a wide variety of films, from comic book adaptations (Blade II, Hellboy) to historical fantasy and horror films, two of which are set in Spain in the context of the Spanish Civil War under the authoritarian rule of Francisco Franco. These two films, The Devil's Backbone and Pan's Labyrinth, are among his most critically acclaimed works. They share similar settings, protagonists and themes with the 1973 Spanish film The Spirit of the Beehive, widely considered to be the finest Spanish film of the 1970s.

Del Toro views the horror genre as inherently political, explaining, "Much like fairy tales, there are two facets of horror. One is pro-institution, which is the most reprehensible type of fairy tale: Don't wander into the woods, and always obey your parents. The other type of fairy tale is completely anarchic and antiestablishment."

He is close friends with two other prominent and critically praised Mexican filmmakers Alfonso Cuarón and Alejandro González Iñárritu.[15] The three often influence each other's directorial decisions, and have been interviewed together by Charlie Rose. Cuarón was one of the producers of Pan's Labyrinth, while Iñárritu assisted in editing the film.

Del Toro has also contributed to the web series Trailers From Hell.

In April 2008, del Toro was hired by Peter Jackson to direct the live-action film adaptation of J. R. R. Tolkien's The Hobbit. On May 30, 2010, del Toro left the project due to extend delays brought on by MGM's financial troubles. Although he did not direct the films, he is credited as co-writer in An Unexpected Journey, The Desolation of Smaug and The Battle of the Five Armies.

On June 2, 2009, del Toro's first novel, The Strain, was released. It is the first part of an apocalyptic vampire trilogy co-authored by del Toro and Chuck Hogan. The second volume, The Fall, was released on September 21, 2010. The final installment, The Night Eternal, followed in October 2011. Del Toro cites writings of Antoine Augustin Calmet, Montague Summers and Bernhardt J. Hurwood among his favourites in the non-literary form about vampires.

On December 9, 2010, del Toro launched Mirada Studios with his long-time cinematographer Guillermo Navarro, director Mathew Cullen and executive producer Javier Jimenez. Mirada was formed in Los Angeles, California to be a collaborative space where they and other filmmakers can work with Mirada's artists to create and produce projects that span digital production and content for film, television, advertising, interactive and other media. Mirada launched as a sister company to production company Motion Theory.[19]

Del Toro directed Pacific Rim, a science fiction film based on a screenplay by del Toro and Travis Beacham. In the film, giant monsters rise from the Pacific Ocean and attack major cities, leading humans to retaliate with gigantic mecha suits called Jaegers. Del Toro commented, "This is my most un-modest film, this has everything. The scale is enormous and I'm just a big kid having fun." The film was released on July 12, 2013 and grossed $411 million at the box office.

Del Toro directed "Night Zero", the pilot episode of The Strain, a vampire horror television series based on the novel trilogy of the same name by del Toro and Chuck Hogan. FX has commissioned the pilot episode, which del Toro scripted with Hogan and was filmed in Toronto in September 2013. FX ordered a thirteen-episode first season for the series on November 19, 2013, and series premiered on July 13, 2014.

After The Strain's pilot episode, del Toro directed Crimson Peak, a gothic horror film he co-wrote with Matthew Robbins and Lucinda Cox. Del Toro has described the film as "a very set-oriented, classical but at the same time modern take on the ghost story", citing The Omen, The Exorcist and The Shining as influences. Del Toro also stated, "I think people are getting used to horror subjects done as found footage or B-value budgets. I wanted this to feel like a throwback." Jessica Chastain, Tom Hiddleston, Mia Wasikowska, and Charlie Hunnam starred in the film. Production began February 2014 in Toronto, with an April 2015 release date initially planned. The studio later pushed the date back to October 2015, to coincide with the Halloween season.[

He was selected to be on the jury for the main competition section of the 2015 Cannes Film Festival.

Del Toro directed the cold-war drama film The Shape of Water, starring Sally Hawkins, Octavia Spencer, and Michael Shannon.[29] Filming was set to begin on August 1, 2016 in Toronto,[30][31] but del Toro confirmed on his personal Twitter account that filming would begin on August 15, 2016.[32] Production was officially announced to have begun on that day and wrapped twelve weeks later, the film is currently in post-production.[33] On August 31, 2017 the movie was screened and premiered in the main competition section of the 74th Venice International Film Festival where it was awarded the Golden Lion for best film, making Del Toro the first mexican director to win the award[34][35].

On July 21, 2016, it was reported that del Toro will retire from producing for projects that he isn't creating or directing himself.

At the D23 Expo in 2009, his Double Dare You production company and Disney announced a production deal for a line of darker animated films. The label was announced with one original animated project, Trollhunters. However, del Toro moved his deal to DreamWorks in late 2010. Trollhunters was released to great acclaim on Netflix and "is tracking to be its most-watched kids original ever

[reactingtosomething]

Reacting to The Old Guard

She Is Not In Any Way Playing

The Setup: It’s our first Reaction to a comic book! And it’s not from the Big Two! Written by Greg Rucka (Wonder Woman, Gotham Central, Black Magick) and drawn by Leandro Fernandez (Punisher MAX, The Incredible Hulk, Deadpool & Cable) -- a duo who previously collaborated on Wolverine and Queen & Country -- The Old Guard is about (mostly) immortal warriors who can trace their lives back through Napoleon’s attempted invasion of Russia, the Crusades, and the conquests of Alexander the Great. They’re led by Andromache of Scythia, but you can call her Andy.

Andy’s fought and fucked, loved and loathed her way across thousands of years and at least six continents, and she is tired. So when a seemingly routine rescue mission goes way off the rails, and just a few hours later her team learns that -- contrary to what they’ve believed for a century or two -- they’re not the last immortals left after all, Andy has to find out if she can still surprise a world that she didn’t realize could still surprise her.

Kris, who briefly studied ancient military history in college, really liked Rucka’s Batwoman: Elegy and his webcomic Lady Sabre & The Pirates of the Ineffable Aether, so when he learned about The Old Guard he asked Marchae -- a BIG fan of Rucka’s Lazarus -- if she’d want to react to it.

Two spoiler notices below, but until the jump it’s just first-issue stuff.

KRIS: So we’ve both read some Greg Rucka before

I don’t think I’m an expert, but I’m fairly aware of at least the range of his work

MARCHAE: I am a HUGE fan of at least one of his comics!!!

KRIS: And he seems to be One of the Good Ones re: male feminist writers

MARCHAE: YES I absolutely agree and spent even more time thinking about that as I read The Old Guard

and this notion that I have about “super heros”

but also I like some of the things he examines in his works, at least what I’ve read

KRIS: Oh good I think we’ve all wanted to hear more from you about your theory of superheroes, so definitely feel free to get into that when it’s relevant

MARCHAE: LOL

I definitely will talk more that’s for sure - and especially since I’m reading Jessica Jones at the moment

KRIS: Also I really like how distinctive most of the faces in this are, just wanted to say that upfront although I am not super qualified to discuss the art

MARCHAE: So I’ve spent some time making connections between what I’m currently reading , a traditional comic, versus the indie books

Neither am I - but the art is gorgeous

KRIS: OH and for our readers who may not be super into comics (yet), maybe we should say how we’re reading

I’m using the Comixology reader on their website, in Guided View mode

MARCHAE: And I use an app from my public library called Hoopla

I also use  a guided view mode - however I definitely prefer hardcopies

KRIS: I like Guided View a lot, although occasionally you lose some of the impact of splash pages, and there are very rarely (but especially with older comics) sequencing errors

ANYWAY sorry tangent

MARCHAE: I am reading newer ones mostly, it definitely feels more cinematic to me reading it electronically.

I like it a lot especially for fast paced ones like The Old Guard

like an action film

KRIS: But I wanted to just get it out there that there are good accessible digital ways to read comics, which is often more affordable, and also for some reason Amazon is selling a bunch of Marvel comics at massive discounts

Yes! Thank you for getting us back on track -- the action layouts here are great

MARCHAE: Affordable and FREE!

and you’re welcome!

I am a newbie to comics- I’ve only been reading them for a year maybe less - and I am obsessed with how much I can relate to them from a screenwriting perspective in terms of sequencing and layout. In this weird abstract way. This was one of the best one’s I’ve read in a while in terms of the pacing with layout - and I love it. I actually started re-reading the book just to gawk at the art etc

KRIS: Oh you should check out Rucka’s web comic Lady Sabre and the Pirates of the Ineffable Aether [see above] -- it was like the equivalent of a page or so twice a week, and Rucka’s script for each entry was included

MARCHAE: **GASPS**

KRIS: I always mean to really break down and study a comic book or two but just like with studying TV, I end up being too lazy, and just hoping I’ll absorb lessons through sheer osmosis

MARCHAE: LOL -

I have studied the dialogue

I think more closely than anything

although I really need to study their structure

KRIS: That’s interesting

I would not guess that most comics writers do dialogue as well as Rucka

MARCHAE: It’s something about these short bursts of dialogue that kind of flow with the quick images we get that makes sense to me… I’ve read a couple that I really prefer

KRIS: I’m interested in how comics people obviously think in “shots”

MARCHAE: Revival is good and so is Alex and Ada … it shouldn’t come as a surprise that they are super character driven

KRIS: and I think a lot of screenwriters don’t

MARCHAE: YEAH

KRIS: or aren’t necessarily really well trained to

MARCHAE: It is fascinating when you think about because there are SO MANY correlations between the two

because as screenwriters and movie makers we end up having to think like comic writers when we get to the storyboarding portion of the work

which i guess is more of a production function

but

KRIS: Right, it should be super obvious, and we do get TOLD to think in shots but there’s still such a division (at least in our film school experience) between learning to write and learning to tell stories visually

MARCHAE: I feel like with comics the action - even  in some of the not as good ones I’ve read is all about taking you to that next shot

EXACTLY!!!

KRIS: Honestly this is one of my very favorite parts in the whole book, just as a visual storytelling beat:

MARCHAE: I was grateful that I had the experience of reading comics at least near the end of my time in school… i did take a lot of lessons from the comics

OHHH

tell me why

KRIS: I think a lot of the impact for me was in the guided view

The panel before this is Booker trying to talk Andy into the mission: “He says there are kids involved, Andy. Kids.”

Then in GV you get everyone looking at Booker, and you can linger on that panel

MARCHAE: The guided view makes a tremendous difference!

it feels like a moving image

KRIS: Then the next panel makes you sort of realize that it’s not really “everyone” looking at one person, but Joe and Nico looking back and forth between the new guy and the boss

although I guess you don’t get the “new guy” information until later

MARCHAE: Exactly

KRIS: Yes! The movement is there, and can have this weird interaction with how long you can linger in a single shot

But I guess what I like about this page is how the visuals help establish the relationships even without Andy’s exposition

MARCHAE: And i feel like you should be able to tell the story without the words

some of my favorites were the panels without words period

I especially love the first few pages

KRIS: Yeah, and in a nutshell that’s what comics writers are trained to do and what a lot of screenwriters (including me!) are often too precious about their own dialogue to internalize

MARCHAE: its just a few bits of inner dialogue

(side note your dialogue is beautiful!!!)

KRIS: Yeah but I didn’t become a playwright

MARCHAE: YESSSSSS

KRIS: ^That spread is so amazing and efficient

MARCHAE: YESSS  and YESSS

those were my favorites

oh my word and its just pretty

KRIS: It’s not even a really dense two-page spread by any means and there are only like 30 words on it

But it tells us so much about Andy

MARCHAE: I’m looking at it now on my device and its in guided view - so it shows up as each individual panel

YES!

KRIS: Right

MARCHAE: and I’m hooked from the beginning and that’s what I think makes this story effective and invests you in it

Rucka does this with my favorite comic - Lazarus

also

KRIS: She’s a warrior, she’s been around forever, she’s bi, she’s tired, she doesn’t have a lot of meaningful human connection in her life

MARCHAE: And we get that quickly

and efficiently

KRIS: and obviously the sense of repetition

in her day-to-day (century-to-century)

MARCHAE: thats been going on for centuries

[SPOILERS throughout below]

KRIS: Oh sorry did you want to say more about Lazarus

MARCHAE: It’s okay -

I was just going to say that there are some definite similarties between the two books

Specifically just the idea of strong female protagonists who are capable and leaders

and also the notion of these women dodging death

All. the. time!

I thought it was interesting to have read and to be a HUGE fan of both books now

and think critically about what he means to demonstrate and also why i consider the woman he portrays more heroic than other “heroes”

that was a long rant LOL

sorry

KRIS: And there’s a quietly great line in chapter 2 about how everyone just defaulted to Andy being the leader because she was the oldest, so it was obvious

MARCHAE: Yes I remember that

KRIS: And I haven’t really thought about this, but it’s interesting and I’m assuming very deliberate that the oldest and the youngest leads are the women

But so matter-of-factly

MARCHAE: Yes - I did note that and remember being worried for Andy and what it meant later on in the series

and also the conflicts that we could expect to see in the future books

I think it’s smart  honestly and kind of this mentorship that also gets to happen between the two women

we know that historically women have a difficult time finding mentors so I guess it is great to see it demonstrated in this medium

I think we’ll eventually see some bickering between the two , but ultimately a respect which is also not often depicted in other medium as much as I feel like it should be

KRIS: I’ll save it for a little later but I did screenshot that great (affectionate) bickering toward the end

MARCHAE: YES!

KRIS: We often write these in a way that sort of assumes the reader knows at least generally what we’re talking about but maybe we should try explaining a little about at least the main character relationships here

MARCHAE: That’s true - especially considering this is our first time reacting to a comic book

KRIS: Oh my god wait I just want to show this page transition I didn’t pick up on in Guided View

MARCHAE: I was trying to find a good article that listed the main concept with characters (mostly because I need to know how to spell andy’s real name)

KRIS: The color palette!

MARCHAE: It’s beautiful I liked these panels

KRIS: They only say Andy’s whole name twice but it’s not the same both times!

MARCHAE: I have this weird way that I read them… 1. for story. 2. art with story 3. only with art

KRIS: Oh interesting

MARCHAE: even the layout is nice

KRIS: I’m not much of a re-reader (or re-watcher) but I should be

MARCHAE: I don’t generally - but because I am so used to reading “regular books” I have to almost get the story then go back so I can appreciate the art with the story

then just the art cause #pretty

KRIS: Oh man I sidetracked us again

OK so

Andy!

MARCHAE: its okay really theres is a lot here to talk about actually!!!

Yes, Andy short for Andromeda?

I think

KRIS: I THINK Andromache is what her name is supposed to be, since that’s what the Comixology store “logline” uses

MARCHAE: YES

KRIS: and that’s what Booker calls her

MARCHAE: I was all off LOL

KRIS: but when she tells Nile an issue or two earlier, she says Andronika

which I’m assuming is just a continuity mistake on someone’s part

MARCHAE: I am now curious if it changes with the time

KRIS: and maybe a reprint will correct it

MARCHAE: like each century she modifies it?

yes but she’s centuries old

and most important

KRIS: But I got the sense that we were given everyone’s “true” name at least once

MARCHAE: Immortal - she can’t die - at least she’s not able to right now

KRIS: So “Andy” is her modern day shorthand and maybe in the 1800s it was something else, but Andromache is her birth name

MARCHAE: yeah! that’s my deduction at least

KRIS: So Andromache means “battle of a man”

(I think Andronika would mean something like victory of a man?)

MARCHAE: I love your to the minute, on the spot research!

KRIS: Well Andromache I knew because I briefly studied Greek in undergrad and have always been a little bit of an Ancient Greek Stuff nerd

What I’m not sure of is in what sense “battle” is being used

MARCHAE: are the names from the same era?

I guess it could be two fold

KRIS: Like, is it a battle as in an event, or is it in the sense of “she’s got fight like a man”

MARCHAE: Oh i was going in a different direction!!!

wow

yours is probably more appropriate LOL

KRIS: Andromache is at least as old as the Odyssey

MARCHAE: I was thinking more of “battle of a man” - as in battle against one’s self

KRIS: Oh interesting

MARCHAE: like man against man conflict which i suppose is fitting considering that she’s somewhat immortal

KRIS: oh I meant the Iliad -- Andromache is the wife of Hektor

MARCHAE: OH YEAH

Also thinking of “battle of a man” to mean battle of time and life

we always want to live longer, better, never die

KRIS: I don’t know much at all about Arabic so I don’t know how old Joe’s real name is, etymologically speaking

MARCHAE: and here Andy is wanting to be done

I loved that scene where introducing himself

KRIS: Yeah, that’s pretty classic

MARCHAE: and we get to Joe!

So I am checking an article and [the Newsarama interviewer] says Andy’s real name is Andronika

https://www.newsarama.com/33272-rucka-joins-the-old-guard-with-queen-country-artist-fernandez.html

(also side note I feel redeemed and a bit smart that he mentions some of the themes I pointed out and made similar comparisons! )

KRIS: OK skimming now

“John Wick meets Highlander”

That’s pretty great

MARCHAE: Truth!!

KRIS: Oh Black Magick I should link to that [see above]

MARCHAE: I haven’t read that one

KRIS: Anyway where were we?

MARCHAE: Ok we have digressed again! I guess a brief synopsis of the main characters

KRIS: Right right

So we have this 4-person mercenary team

MARCHAE: Right and they’ve been connected FOREVER it seems like

KRIS: Led by [Andronika/Andromache?] Andy, who is literally biblically old

MARCHAE: Well it doesn’t seem like - they have been together for ever

KRIS: Then Nico and Joe (Nicolo and Yusuf) who met during the First Crusade, so 1090s

And presumably they linked up with Andy sometime between the Crusades and the Napoleonic Wars, when we get Booker

MARCHAE: There is a lot of history here

KRIS: And there’s this stuff about how when a new immortal dies for the first time, other immortals (maybe within a certain range?) start having dreams about them

MARCHAE: and that’s how they are introduced or at least made aware that they will be meeting someone new? did I read that correctly

KRIS: Yeah

MARCHAE: HA - I misread your text LOL

I literally rephrased what you said LOL

KRIS: Andy had to figure it out the first time it happened, like the dream doesn’t spell anything out for them

MARCHAE: They are often killed or incredibly injured during their battles and they heal themselves which is how they discover ultimately that they are immortal

for a spell at least

KRIS: Oh there are some GREAT “match cuts” in this

There’s a really good one in the Nico/Joe origin story

MARCHAE: OH YEAHHHHHH

KRIS: 

But that whole sequence is great

MARCHAE: I loved the twist there

KRIS: So yeah sorry for our readers my mental leap isn’t obvious, but this is preceded by a couple pages of Joe and Nico during the Crusades repeatedly killing each other

MARCHAE: I sent over a few screen shots hopefully they will come through…

The book definitely has a distinct aesthetic that’s for sure

KRIS: It’s mostly serious but lightly comic, like they just don’t question it, like okay yeah I guess I’ll just kill you again

Oh getting your screenshots now

Yes the faces (again)! You can see the modern Nico and Joe even under all the facial hair

MARCHAE: you mentioned my idea of hero

KRIS: Yes

MARCHAE: and your point “it’s mostly serious but lightly comic”

that’s the thing… saving lives/the world is a serious thing

these people have real problems that are connected usually to slightly dystopia ideas of our current world

I feel like with more mainstream comics we are in some alternate reality all together and the people are trying to be funny and trying to save the world and trying to be cool…

I feel like in Rucka’s books (and also a few other’s I read) it’s rooted in something that i can grasp and their problems are real

so in this text it’s when does my suffering end

in a book like lazarus it’s why won’t my family love me

and it’s not in this over the top let me fly all over the place and shoot missiles out of my hands kind of way

it’s serious

it’s business

KRIS: But I think tonal variation is a good thing

for the genre and the industry

Like a lot of the recent DC movies are SUPER SERIOUS on a surface level, but they’re not necessarily handling ideas in an intellectually rigorous way

MARCHAE: I absolutely agree I guess in a world I could see myself being saved by someone who is more similar to Andy than say Captain America

I think that’s the thing I like is that it is this exploration of more complex ideas in these types of comics and I feel more connected to the work

it’s more accessible

KRIS: And even though the Marvel movies are lighter, and not SUPER thematically driven, they’re relatively smart about the thematics they do include

See I think most people would say Marvel’s tone is more accessible

But I think you might mean accessible in a different way

MARCHAE: LOL hence the mega fafillion dollar industry

KRIS: Like you’re looking for something concrete to latch onto

MARCHAE: I think I agree with you there - I want a take-away

KRIS: And I think the Iron Man tone is more “here is a world that speaks the language you speak with your friends” in a generalized sense

MARCHAE: I can give you that…

the more mainstream comics make the business of saving the world seem less serious

I also am a lover of drama and heavy topics so I think there is also the attraction - these people don’t always feel like they have be “on” to me

they are trying to make it

and that I can relate to!

KRIS: I think that’s because “saving the world” isn’t REALLY what they’re about, though, to the extent that they’re about something

I think at some point, maybe with all four of us, I do want to talk more about the difficulty you have with comedy

MARCHAE: It’s like an intervention LOL

KRIS: No! Well maybe a little. But it’s so ingrained for you that I think I also just want to understand

Maybe when we eventually return to Sweet/Vicious, which I still really want to do

MARCHAE: comedy is truly a challenge for me with the exception of a few - but even those make a larger statement in my opinion!

we do need to finish S/V

KRIS: I’d also like to see you and Keely talk about comedy

ANYWAY

We should talk about Nile

MARCHAE: that might be fun - Keely and I have talked about why I like her brand of comedy best…

OK NILE

KRIS: So Nile is an American Marine

in a Female Engagement Team in Afghanistan

MARCHAE: I absolutely adore her

she’s the “youngest” immortal

KRIS: So at first I didn’t realize she didn’t know she was immortal

For some reason I assumed she had abandoned the team at some point

MARCHAE: OHHHH

KRIS: But then she becomes our (great) audience surrogate

MARCHAE: Which is why I like her - she’s new- but it’s clear she’s competent

and is legit just trying to understand “what the heck is going on here”

KRIS: Yeah, and she gets to push back a lot when Andy is like “don’t worry about it”

But never in a way that sells out either of their characters

I feel like so often the “new one” is obnoxious

or the “old one” is a tired “Asshole with a Heart of Gold” trope

MARCHAE: Agreed! it is very organic and you can believe in them… but also it establishes what the relationship can be

I also think that because we know that eventually these people run out of “changes” to live - I almost felt like we are operating on a clock

ticking clock*

it ramped up the tension for me when reading  - my mind was legit going a mile a min.

KRIS: And it’s this female friendship that never really leans on “the women! they are alike and get along because they are women!” but also doesn’t completely pretend gender doesn’t matter

Oh man that freaked me out when Andy shot herself to convince Nile

I was like “WHAT IF THIS IS THE ONE, ANDY WHAT ARE YOU DOING”

MARCHAE: YESSS

Because she doesn’t know when the one will be

that’s what makes me nervous about this entire series …

KRIS: The moment when they find Booker [temporarily] dead was amazing to me

MARCHAE: like antsy and I like the characters so it’s worse LOL

KRIS: Andy’s narration is like “he’s the youngest, if he’s really dead it would be so unfair”

And we’re trained to THINK that means “unfair because he was so young”

But then there’s the reversal of “unfair to ME (Andy)”

MARCHAE: Right! But he isn’t young at all - none of them are except for Nile

it kind of plays with your mind when you put into context that one of them is 5000 years old? did I read that or am I making that up - either way it’s insane

But there is also this entertainment of how in real life we all want to live forever, Andy is ready to kick the can

KRIS: Yeah in the last issue Andy says she’s over 6000

so the others are ALL babies compared to her

MARCHAE: yet they don’t ACTUALLY live forever at all

geesh i was off by 1000 years

good googley-moogley

KRIS: haha

So we get what becomes, by a little bit, our central relationship between the oldest woman in the world and the youngest woman on the team

MARCHAE: I love that! LOVE LOVE LOVE IT!!!

KRIS: although the book really does manage to make all the relationships pretty robust

Nico and Joe are our romance, and where a lot of our humor comes from

MARCHAE: The majority of it actually… and they are some deep relationships

KRIS: Andy and Booker obviously have a lot going on because of her dependence on his tech savvy and then The Twist

MARCHAE: (but this isn’t unusual for Rucka which is why I’m #obsessed and why he was my entrance into comics)

KRIS: I loved how the running joke of Andy’s inability to learn new tech ends up becoming a totally serious, really important story detail

MARCHAE: It actually does and it runs through the entire story

it’s smart and well thought out and incredibly problematic in our current world

KRIS: Only tangentially related but I really like how well the body language is rendered in this panel:

MARCHAE: and intentional on the writers part and what I’d imagine- if I were a 6000 years old hero - a real real problem

KRIS: Here’s a better one for the “joke” aspect

MARCHAE: LOL

KRIS: If you had that panel out of context it would be totally relatable for a lot of people

MARCHAE: she is so clueless - and it’s funny

KRIS: Although maybe with relatives who don’t look as young as Andy does

MARCHAE: Oh god I know all too well!!!

It’s also funny because she’s so on top of it in every other area of the job

I want more of her backstory too - I am so curious - I’ve already downloaded the other book

KRIS: which other book?

I love her

MARCHAE: I misread - I just looked and it doesn’t exist LOL

😟 sad face

I was curious about what your thought were about the exploration of being immortal

or mostly immortal

KRIS: I mean personally I still find the idea of death terrifying, maybe because I’ve never really dealt with it yet

So I’m kind of in the “yes we should try to become immortal” camp most days

And I tend to feel that the idea that immortality would ultimately be boring or soul-crushing is kind of a self-serving one, to make us feel better about mortality

BUT

I think this is a really good exploration of it

MARCHAE: interesting!

KRIS: The speech Booker gives to Nile about why she shouldn’t contact her family is really really good

MARCHAE: and kind of sad I loved it (not because it was sad, but because it was good)

KRIS: And Andy’s ultimate epiphany -- she doesn’t want to die, she wants something to live for again -- is really simple in the best way

And it’s also really sad, and I think mostly unremarked upon, that it takes Booker betraying the team for Andy to realize that the team is what she has to live for

MARCHAE: yeah…. she’s incredibly melancholy to me and I like that she’s wanting to push again

they are her family

KRIS: And it’s great that part of how Nile pushes the change in Andy’s mindset is very specifically “millennial” -- she’s always hustled, she’s worked a bunch of jobs briefly and picked up a bunch of random skills

in a way that’s convenient to the plot but doesn’t feel TOO Convenient

MARCHAE: Exactly - I could believe and buy into each and every single character

KRIS: Everything about Nile is like, That’s So Real

MARCHAE: I wanted to be on the team by the end of it

even the emotions that Andy experiences

there is a lot of hurt …maybe that imitates from the page

A lot of it is in her inner dialogue, the panel placement and the colors

but you feel for her

and you want her to win and win hard

KRIS: So hard

It was amazing to me that they actually fit a Booker redemption arc into this

and it works because of Andy’s feelings

MARCHAE: they do! A lot rides on the protagonist here - And what I think is amazing is that she carries so much of the tone for what we experience over the story - because of her we are able to buy the rest of them

I think if we had been led by anyone else it might not have been as effective

KRIS: It’s very successful at being clearly led by one character but still having a really strong “ensemble” feel

And that first issue and a half have to do so much heavy lifting to establish the team relationships so we buy the motivations when they spend most of the rest of the story separated

MARCHAE: It really is amazing from a storytelling standpoint

I could see the movie adaptation as I was reading it

Its so well crafted

KRIS: I think this arc could actually work as a feature

MARCHAE: (have you read lazarus?)

KRIS: and not lose much detail

Not yet

MARCHAE: (KRIS!!!!!! THAT IS A FEATURE WAITING TO BE MADE)

(BUT KRIS READ IT STAT!!!)

And it would be beautiful to shoot those period scenes

KRIS: It would

(I just love the face drawing so much in this book)

MARCHAE: they are much more expressive than others  - I feel like other books Ive read are more sketch like

?

KRIS: This sequence was VERY cinematic too

Not in a spectacle way but just in a general visual storytelling way

with the elevator door

I feel like a lot of superhero books don’t bother making faces distinctive

MARCHAE: That bugs me too - I think it’s why i started reading them three times

KRIS: It can get especially ridiculous when people don’t bother drawing Clark Kent and Bruce Wayne differently from each other

The one issue I can think of in The Old Guard is that in the first issue, it wasn’t super clear to me that Joe was a man of color

And I feel like Andy’s skin tone was also a little variable, but it’s more or less obvious that she’s supposed to be from Somewhere In the Mediterranean

MARCHAE: I  didn’t entirely register that either until he said his name

I can agree with that too

I also get the impression that Nile is also likely a POC as well

KRIS: Nile for sure read to me as a black (or possibly multiracial) woman, I guess the color was just off in the first chapter

MARCHAE: it was refreshing to see a more diverse group of characters that’s for sure

KRIS: Oh shit my mistake I guess the Scythians (Andy) are of Iranian/Central Asian descent

Yes! Which was why I was so glad Joe turned out not to be white -- at first I was like “hmmm this is an oddly white book for someone as woke as Greg Rucka”

MARCHAE: OH NO WAY!! (Re Andy)

KRIS: I really should have known that from like freshman year classics courses

MARCHAE: You are much more well versed than I am in historical references  and I definitely don’t have a tremendous breath of the classics

KRIS: I guess we should talk about the action

It’s almost funny that we haven’t, much

This is very much an action story

MARCHAE: There is so much action that’s for certain and I LOVE IT

KRIS: And all of the set pieces are distinct

MARCHAE: I love seeing it on the page, the pacing of it, how the panels are set up and YES the set pieces!!!!

KRIS: Which is definitely something superhero comics struggle with

Guided View is GREAT for these layouts

MARCHAE: It works beautifully and makes the work fly

KRIS: There have to be some good interviews out there with comic artists about how that’s influenced their approach in the last several years

MARCHAE: like the action legitimately in this comic soared off the page in my opinion I wanted to be in it

that’s really interesting I’ll have to take a gander

KRIS: I do have to say, I wished Andy’s axe had come back

MARCHAE: YES! She’s fierce!

theres a cover where she’s flailing that axe

She’s powerful

the look on her face

even and her posture

I LOVE THIS IMAGE

KRIS: For our readers, that variant cover is by Nicola Scott, Greg Rucka’s collaborator on Wonder Woman: Year One

Yeah even though I’ll tag this as a spoiler post I won’t include the axe sequence, everyone should have to go read the book to see it

It’s short but awesome

MARCHAE: Its so unapologetic and that makes me happy as a woman!

(re the axe photo)

but to talk about action

I really liked this and how it looked!

KRIS: so good

The other standout for me was the Crusade battle -- the use of silhouettes in the night scene

MARCHAE: it reminded me of the old school batman TV show but also has this frantic feel to it like if you are in the room - the images move almost

KRIS: And the use of the BANGs in the background instead of within most of the panels is really interesting

MARCHAE: OHHHHH that’s a great one too

KRIS: literal background noise

MARCHAE: it reminds me of sound

AHHHH YESSSS!!!!

visual cacaphony

which i suppose is a bizarre pairing of words but the best i could come up with

KRIS: It conveys the chaos but also leaves the actual action layouts clear

MARCHAE: nothing is left to confuse the reader - which when I was a newer reader of comics was always confusing

KRIS: Oh here’s that great banter scene:

MARCHAE: these comics are new user friendly

KRIS: Definitely an advantage of indie books

MARCHAE: I like that one - laughed a few time reading this book like legit noise came out which doesn’t happen terribly often

KRIS: I mean I get it, if you’re writing Big Two characters, you want to reference the stuff you grew up with, it can’t be an easy balance to make it accessible to new readers and rich for longtime readers, but still, you can’t blame people for having trouble getting into most recent Marvel or DC stuff

Yeah I guess a way to describe how humor works best for you is that in a scene like this it’s like, cathartic?

Or it’s a release valve

You like it as punctuation, not as the baseline

MARCHAE: I can read it now but I tried starting with Hellboy and was like ABSOLUTELY NOT!

KRIS: Oh that’s interesting because isn’t Hellboy indie? Was it that you jumped into a late story arc?

MARCHAE: I am not sure… if it is… All i know is that it was a challenged to follow on the page

I think I started at the beginning?

Also YES! in regards to humor!!! It’s kind of like a sigh 😊

KRIS: I only know the movies but I’d believe it’s just a weird-ass book as a first comic

MARCHAE: I do not love humor as a baseline - ever generally

LOLOl

it was not a good first jaunt I didn’t finish it and sold it back and the comic book store owner was like what do you like - we chatted and he handled me Lazarus

and I’ve been hooked on the comics since and they all have the same tone save one that I like called Alex and Ada

We’ve digressed again

KRIS: yep

I’m just grabbing a link for Alex and Ada to put into the post [see above]

MARCHAE: yeah its drastically different in tone from what I generally read - but the characters and story were pretty good!

Also an Image comic if I’m not mistaking

KRIS: Yes

MARCHAE: Yup!

KRIS: (For readers: Image is a publishing house like DC and Marvel, but all of its books are creator-owned and independent of each other, rather than company-owned characters in a shared universe)

MARCHAE: Correct! The ones I’ve read seem incredibly character driven to me and tend to be more focused on themes and ideas

What else are we missing - I feel like we’ve covered so much with this one trade!

?

KRIS: I was just gonna ask you that

We haven’t really talked about the villain but I think that’s okay

Don’t want to spoil everything

We really want you to read it yourselves, everyone!

MARCHAE: I really hope people read this one!

Along with the others we’ve recommended!

KRIS: It’s very accessible if you’re new to comics, the art is clean and you won’t have trouble following it, and Greg Rucka is arguably one of the most acclaimed writers in comics right now so I promise it’s not a risky buy

although MM did you get it from the library, you said?

MARCHAE: I did using the Hoopla App but I will probably eventually buy it for my collection (I do have a comic collection and I keep them in plastic!)

KRIS: Should we talk about the ending? I can add another FOR REAL MAJOR SPOILERS warning around here

[the VERY END is briefly discussed below]

MARCHAE: Can i just say I was absolutely sad when it ended

I was mad indeed

but yes let’s

KRIS: I really liked it

MARCHAE: I think I just wanted the book to keep going LOL

KRIS: Oh for sure

But there’s just a lot of great storytelling in those few pages

Even just that first page in Malta

MARCHAE: And it really is a hero saves the day type deal and shows Nile and Andy working collaboratively

again the art is beautiful (I just sent another image let me know if you get it)

KRIS: Just got it

Yeah it’s such a hero shot

MARCHAE: The entire team really comes together!

KRIS: And the use of light is great

MARCHAE: (sent over another one)

KRIS: Yeah I don’t think I’ll include that in the post for spoilers’ sake but it’s a great page

I think the “zoom out” makes it

MARCHAE: but even the quote at the end is amazing: “ Soldiers live and wonder why”

and it perfectly encapsulates what this story is about thematically

why do they - survivors guilt

the desire to move forward and be better

the desire to end something peacefully and in your own time

KRIS: Glen Cook is a fantasy author you might like -- maybe check out The Black Company

MARCHAE: but you do want this story to keep going and be with these characters for much longer than the trade allows

I WILL!!!

KRIS: Someone’s adapting that series for TV, I forget who but I think for one of the premium cable channels

More great body language:

MARCHAE: http://deadline.com/2017/04/eliza-dushku-star-the-black-company-series-adaptation-david-goyer-im-global-1202076367/

There are so many interpersonal nuances in this book it was fun to look at

KRIS: I like that Nico is very clearly ignoring Joe here -- no word balloons, but it’s obvious that this is heated

and classic Andy not wanting to deal

MARCHAE: he’s turned away from him entirely

KRIS: (I love that I can say “classic Andy” after just five issues)

MARCHAE: LOLOLOL

she’s so unimpressed by the entire situation

probably mentally sighing

KRIS: So what do you think of the punishment?

MARCHAE: its kind of devastating I think for Booker - It also makes me curious about what time feels like for these people

KRIS: Yeah

MARCHAE: What does 100 years feel like when you’ve lived a fafillion years already

KRIS: They have no friends besides each other

You don’t even really get the sense that Booker sleeps around the way Andy does because the team is a liiiiittle bit judgey about it in #1

MARCHAE: LOL they kind of are!

and it would just be complicated - we see that with Andy and her relationship

it reminds me of the first book of a series i like called the discovery of witches

just that idea of engaging in a relationship with someone who is mortal you’re constantly reminded that you are too much - and that the person you are with will never be enough for you because they will perish

https://www.goodreads.com/book/show/8667848-a-discovery-of-witches

(the text is now being turned into a major television show)

KRIS: I really love that the last two pages have no dialogue

It’s not a long epilogue at all but it also doesn’t feel too abrupt because those last two pages are a really well done kind of fade-out

MARCHAE: it’s incredibly effective - just as much as the opening which had very little dialogue

KRIS: I mean, just to really drive this home for everyone, not that I think anyone missed this, but THE LAST LINE OF THE BOOK IS “you’re alone”

And it’s so simple, it’s not a Dramatic! scene at all, it’s so understated, and that’s why it lands so hard

Andy’s not a Dramatic! person

MARCHAE: and you absolutely know she means it and is not in any way playing with this man

KRIS: ANDY DOES NOT PLAY

MARCHAE: Almost like I’ve worked to hard to get us here  - I’m disappointed and i hate to do this but it has to be done

KRIS: It’s so good

This will probably not be our last comic Reaction. Marchae really hopes you read not just this but other Rucka work. In the meantime, follow us on Twitter!

[fireleaptfromhousetohouse]

Tintin in the 21st Century

It’s weird that Tintin is only really known in continental Europe, and obscure as hell in the UK, because it was localised extremely well - so much so that it really confused me as a kid when, in The Black Island, Tintin takes a ferry over to Britain. If he tends to be knocking about in Brussels pre-adventure, I certainly didn’t notice.

What tends to get emphasised about Tintin these days is the racism - as in this Robert Brockway column - and yes, Tintin in the Congo comes off like Kipling’s The White Man’s Burden crossed with those episodes of Looney Tunes that they won’t broadcast any more, but Herge himself disavowed that one as being basically early installment weirdness. There is a good deal of fairly iffy content in some of the others, including, in Shooting Star, a scheming Jewish financier serving as antagonist (which to be fair, Herge wrote while living under Nazi occupation, and later edited), but none of this was key to the comic’s appeal.

What I’m criticising specifically here is Brockway’s assertion that “Nobody knows how to deal with the racism. [Modern adaptations] keep trying to whitewash it -- pun so totally intended, friend-o -- and every time they do, they act surprised that the property has lost all its magic”, an assertion he illustrates entirely with excerpts from Tintin in the Congo and Tintin in the Land of Soviets (an even earlier work than Congo and an anti-communist tract in which Tintin is a prick to everyone in Russia). I’m well aware that this all may come off as a white European trying desperately to salvage one of his Boy’s Own mighty-whitey heroes from the dustbin of history, but look at the following excerpts:

(The next panel is Tintin breaking this awful man’s cane. There’s a lot of instances like this throughout the series, where someone’s being a dick to a POC, and Tintin lets them have it. Yes, it’s robbing the POC of agency in favour of Tintin as mightiest of whities, you could call it racist, but it’s not quite a Klan march, is it?)

Certainly they’re depicting racism, but is anyone really looking at those and getting the impression that the author endorses Native Americans being thrown off their land? Or that the author agrees with the stereotypes he’s calling people stupid for believing? (The stereotypical Chinaman picture serves as a bit of a brick joke when, later on, Thomson and Thompson attempt to blend in.) Those last two excerpts are from The Blue Lotus, often held up along with Tintin in Tibet as a rebuttal to the charges of racism laid against Herge (largely because of Chang, based on one of Herge’s life-long friends). Ironically, The Blue Lotus was criticised for racism against the Japanese: the villain, Mitsuhirato (that’s him in the last panel) is a pug-nosed, buck-toothed opium trafficker who commits seppuku after the climax, so it’s a fair cop, although The Blue Lotus depicting Imperial Japan as authoritarian warmongers claiming more and more of Manchuria on flimsy pretexts has perhaps been vindicated by history.

Brockway’s column describes Tintin as ‘a racist Indiana Jones...for kids’, and this is basically accurate, although I think it’s debatable whether Tintin is more Indiana Jones or James Bond. (Last Crusade, apparently, began life as Spielberg’s Tintin fan script.) You could easily go with both - the crucial points are the globe-trotting, the intrigue, and Tintin’s own indomitable capability. To paraphrase another Cracked columnist, the weird thing about Tintin is that he was awesome. He looks like a cherub but will happily get mixed up in, and win, a fistfight or gunfight any day. He’s about 19 and already has a nemesis - a Greek nemesis. Despite being half a boy, and despite being a journalist who never writes anything, he’s self-sufficient in every way, and as physically capable as a man twice his size - which can flow back into the mighty whitey stuff in some fairly unfortunate ways:

but then again, take the racial dynamic out of that page (or, if you prefer, focus more on the white colonialists bossing about the South Asian guys) and it’s pretty standard protagonisty stuff.

The series is ‘for kids’ in that Tintin is your classic boy hero - given his trusty dog companion, it’s a lot like one of The Famous Five aged a few years and got a real job - and a lot of the humour is generally accessible, slapstick stuff - there’s a bit in Tintin in Tibet where Captain Haddock spends about three pages bumping into people and tripping over. Then, out of nowhere, an international arms dealer will plant opium in Tintin’s luggage to get him banged up by the cops. Seriously, most of the villains are gun-runners, opium smugglers, or both - there’s nothing too graphic, no Trainspotting-style illustrations of the full horror of the global opiate trade, but still, heavy stuff for a comic book. Particularly considering the great costumed comic heroes never even touched the subject of drugs until around the ‘80s, and an endless stream of edutainment telling kids to hey, just say no, man.

One crucial difference between Tintin and Indiana Jones/James Bond is the series’s utter sexlessness. Female figures, on the rare occasion they show up at all, are either damsels in distress, desexualised mother-types, or both. This aspect of the series has drawn its share of Freudian analysis over the years, and, due to Tintin’s best friend and roommate being salty seaman Captain Haddock, came in for a bit of ribbing in the bootleg Tintin in Thailand. If you were to put James Bond into that machine from Red Dwarf that splits things into their good and evil selves, you’d end up with Tintin and Sterling Archer. 

Really, Tintin’s closer to a modernist-era Hitchcock protagonist, who gets swept up in events and has sufficient pluck to see them through, and while I forget which way round the inspiration came, The Black Island bears a striking resemblance to Hitch’s The 39 Steps. To stick with The Black Island a moment - being half-Scottish, it was always a family favourite - I’d just like to present the first page in full:

Take note, any film or narrative that wants me to spend fifteen minutes with idiots, because that’s how you kick off an adventure. There’s your wholesome protagonist out for a walk with his dog, and there’s your bad dudes up to bad shit. Tintin spends the night in hospital, then proceeds to walk off the bullet going after the guys - who, it turns out, are some conspicuously German forgers operating in Britain, in 1938. Again, there’s nothing too graphic, but perhaps that’s bending the definition of the word for a work that involves the protagonist stepping in a bear trap, nearly being consigned to a Nazi asylum, getting knocked out during a gunfight with a White Russian when his bullets smash some bottles of chloroform, and then getting caught in a house fire (all this, incidentally, happens in one sequence of five pages or so).

To return to The Blue Lotus, one of Tintin’s allies in that, Mr Wang Chen-yee, more-or-less fits the bill for @thathopeyetlives and @raggedjackscarlet‘s idea of a mirror-universe Rocky Horror Picture Show, in which Bizarro Frank-N-Furter comes to represent the good side of traditionalism, the idea that ‘here is something worth believing in, if you dare to’:

Yeah, he’s a stereotype - you know it, I know it - he’s that specific kind of East Asian man they invented the word ‘venerable’ for, and the fact that at no point in The Blue Lotus does he use kung fu to devastating effect just makes you more certain he’s a master of it. But crucially, he seems like - as with Speedy Gonzales - the kind of stereotype the people it depicts could really get behind.

Mr Wang is the leader of The Sons of the Dragon, a secret society - and a robust, active secret society at that, much closer to the mafia than to the Freemasons (or, if you like, closer to the classic Freemasons than the modern Freemasons). Tintin first meets him after having been kidnapped and smuggled back into China, on his orders - and Mr Wang is hoping that Tintin will help them to fight opium smuggling. How perfect is that for a secret society? There’s your completely justified underdog, there’s something you can believe in, or at least you could before world governments introduced some anti-drugs boilerplate and fucked everything up for everyone.

There was a very mild religious grounding to Tintin - it didn’t come up a lot, but to be fair these were still the days when religion and a moral core were thought of as basically one and the same. It wasn’t lessons in theology like Linus in Peanuts, it was a more general use of universally recognisable icons, a lot closer to how Baikinman was elevated to go-to antagonist symbol in Japan - here’s the villains of Tintin and the Broken Ear being literally dragged off to hell:

Here’s Tintin invoking heaven’s name to try and stop the villain from capping himself (luckily, his gun’s been switched for a joke one):

And here’s Snowy grappling with his alcohol problem via his good and evil selves:

(That’s not a joke. Snowy’s taste for hard liquor was a recurring theme, at one point leading to Tintin spanking him as punishment for getting drunk in the Himalayas and nearly going over a waterfall - both content which I suspect simply wouldn’t fly today in the face of the animal rights lobby, at least not in a children’s book.)

Interestingly, this isn’t limited to Christian theology - here’s Snowy again, this time envisioning Tintin’s wrath by having him wield Zeus-style thunderbolts:

And a Buddhist monk levitating while in a prophetic trance:

Similarly, bona fide magic makes some semi-regular appearances in the series. In Cigars of the Pharaoh, Tintin is temporarily hypnotised with one glance from a fakir, but the most audacious depiction of this comes in The Seven Crystal Balls/Prisoners of the Sun, in which ball lightning attacks the gang, causing Professor Calculus to levitate, and it turns out the neo-Incas have been using what are essentially voodoo dolls to torment the explorers who looted their temple - this is particularly jarring in Prisoners of the Sun, contrasted as it is with Tintin’s little yay-science moment of getting out of his own execution by exploiting his knowledge of an upcoming solar eclipse.

In a way, all this magic and the various acts of god were an extension of the deus ex machinas that were a staple of the series from the start. Tintin in America is probably the worst offender in this regard, with the most ridiculous moment being a toss-up between the time the meatpackers go on strike and turn off the machinery seconds before gangsters throw him into it, and the time he gets chained to a barbell and thrown in a lake, only to discover the barbell’s inexplicably been switched with the wooden barbell of a crooked strongman.

Come the later adventures, though, the deus ex machinas would take a slightly different form to the literal intervention of god:

That’s not out of context, that’s not an idle aside - in Flight 714, the second-to-last complete comic, the gang gets out of a tight spot (an erupting volcano-cum-ancient ruin, no less!) when literal fucking aliens turn up to save the day and cart off the baddies. And, unlike most narratives of that ilk, they get out of it with definitive proof of extraterrestrial contact - Professor Calculus brings back a bit of metal composed of an alloy that does not exist on earth, although this is played off as a product of his cloth-eared eccentricity.

Even with the time difference, you’d probably say there’s surely a bit of a leap between the wholesome-but gritty early exploits of Tintin, where he’s running around after forgers and smugglers, and where he’s literally encountering aliens. Fortunately, there was an adventure that bridged that gap very nicely:

And you may well gather from that adorably kitsch rocket that this went down long before the actual moon landings - but despite this, Herge had done his research, he didn’t have the place turn out to be composed of cheddar like Wallace and Gromit’s A Grand Day Out, he depicted space travel and lunar survival reasonably accurately. A lot of people credit the white expanses of Tintin in Tibet as Herge’s masterpiece, but man, the inky blackness of Explorers is surely its underdog brother:

The final adventure, Tintin and Alph-Art, exists only as concept art and various bootleg versions. It features some genuinely radical departures from the established norm - a black Jamaican artist gets to have a heroic moment of his own, rather than just being acted upon by white people, and Tintin plans a date with an actual human woman. So the series obviously had come a long way from the days of publishing a version of Heart of Darkness where Kurtz is the good guy. And to go back to where we started - it’s not like we had to write off Bugs Bunny because of all the times he blacked up, right?

[man-creates-dinosaurs]

Next week marks the home video release of KONG: SKULL ISLAND (2017, Dir. Jordan Vogt-Roberts) and to celebrate I’m going to be posting an updated version of an article I originally wrote for Kevin Derendorf’s fantastic blog Maser Patrol back in March in anticipation of KONG: SKULL ISLAND’s then impending theatrical release. As recounted on the KONG: SKULL ISLAND episode of the Maser Patrol Podcast (on which I also appeared), Kevin originally asked me to write something for the blog on account that I was currently teaching a course on King Kong and Western History and Culture. Initially I was unsure of what I could contribute until the subject of Delos W. Lovelace’s 1932 novelization of the original KING KONG (1933, Dir. Merian C. Cooper and Ernest B. Schoedsack) was broached. Having long been fascinated with the novelization of King Kong for reasons which should quickly become apparent I set to work writing an admittedly lengthy essay outlining both the history of the novelization’s conception and publication as well as the major differences between it and the final theatrical film. This proved to be a rewarding experience since shortly after the publication of my article I was contacted by Ernest Farino of Archive Editions LLC; the publisher of Mike Hankin’s exhaustively researched 3-volume series Ray Harryhausen - Master of Majicks, the first volume of which had proven an important source when researching the history of Lovelace’s King Kong novelization. Ernest was kind enough to share with me some incredibly rare and hard to come by documents and information regarding the different prose versions of King Kong that have been printed over the years as a result I have updated this essay to reflect, what are for me, new discoveries. This updated version of my essay is also coming into existence in a post-KONG: SKULL ISLAND world. When I originally wrote this article I had no idea that an exhaustive essay on the 1932 novelization of the original KING KONG would be so relevant to this latest Kong film, but it was, and so again this essay has been updated to reflect that. With all this out of the way here is…. KING KONG (1932) THE DELOS W. LOVELACE NOVELIZATION (2nd Ed.) Though often considered ‘junk literature,’ movie novelizations – that is, novels based on film scripts – remain a popular and lucrative part of the modern American literary landscape. According to Randall D. Larson’s authoritative book Film Into Books: An Analytical Bibliography of Film Novelizations, Movie and TV Tie-Ins, novelizations are as old as the cinema itself. Historically studios commissioned novelizations as another way of drumming up advance publicity for a film, as well as to provide their movie with a more erudite air at a time when films were still seen as a gimmick by many and not deserving of the same cultural status as books. Also in the days before home video and television, novelizations served as a way for people to revisit a beloved film. Today novelizations remain popular because they often provide fans with a more complete version of a particular story then what can be found in the two-hour runtime of a film. Characters that only got a few words in edgewise can monologue for pages, and various bits of narrative minutia can be expanded upon at length. And because novelizations have to be written well in advance of the film itself being finished, novelizations will often contain deleted or alternate versions of certain scenes not found in the theatrical release.

With regards to Delos W. Lovelace’s 1932 novelization of the 1933 version of King Kong, all of the above is true and then some, because part of what makes Lovelace’s novelization of the original King Kong so interesting is not just the more fully fleshed out characters or the numerous scenes found within the book but not the film, but the fact that Lovelace’s novelization is one of the very few which has never gone out of print – at least not for long. Casualties of their very nature, most movie novelizations are printed once, sold briefly and then disappear entirely; only to pop-up later on the collector’s market where they go for exorbitant prices. Only a lucky few – such as the novelizations for the original Star Wars Trilogy or Alan Dean Foster’s novelization of Ridley Scott’s Alien (1979) – stay in print perpetually. Lovelace’s King Kong is one of these.

King Kong was originally published in 1932 by Grosset & Dunlap and genuine first editions are identifiable thanks to a typo on the dust jacket where the word “by” is repeated twice (see above image). After this the novel briefly fell out of print until 1965 when it was reprinted by Bantam Books, followed by Ace Books in 1976 with a cover by legendary fantasy painter Frank Frazetta. That same year King Kong was also reissued by Albin Michel, Tempo Books and its original publisher Grosset & Dunlap this time with the later two featuring accompanying interior illustrations by artist Richard Powers. The following year Grosset & Dunlap reissued the book again as did publishers Arthur Barker, Futura and Otava. King Kong then briefly falls out of publication again until 2005 when Grosset & Dunlap reissue the novelization. That same year King Kong is also inducted into the prestigious Modern Library series, with this being the version still on the commercial market today. This edition features a new preface by Cooper biographer Mark Cotta Vaz and an introductory essay by noted sci-fi author Greg Bear, whose 1998 novel Dinosaur Summer – a sequel to Arthur Conan Doyle’s The Lost World set in the early 1950s  – I would be remise to not mention here only because it features Merian C. Cooper, Ernest Schoedsack, Willis O’Brien and Ray Harryhausen as strong supporting characters.

Undoubtedly much of the King Kong novelization’s success is owed to its author, Delos W. Lovelace, whose clear, crisp prose and taut pacing make the book an exciting and fast read. However, over the years there has been some confusion as to who exactly Mr. Lovelace was, with some even assuming that he was actually a pseudonym for either best-selling mystery writer Edgar Wallace or director Merian C. Cooper whose names also routinely appear on the novelization’s cover. To clarify this issue, Cooper originally hired Edgar Wallace to write the initial story treatment for King Kong and had also planned to hire him on as the writer of the novelization. However this was not to be as Wallace succumbed to pneumonia complicated by undiagnosed diabetes and died shortly after Cooper hired him and before he could contribute – to quote Cooper himself – “one bloody word” to King Kong. However out of respect to Wallace, and out of a less respectful desire to exploit the late author’s brand name, Cooper gave Wallace story credit on both the film and novelization anyway and also authorized for an abridged version of the novelization to be run in the February and March 1933 installments of Mystery magazine; the publication where much of Wallace’s work had seen print. This Mystery magazine version was simply titled Kong and was published under Wallace’s name alone though it was actually written by Walter F. Ripperger. Cooper then hired his old friend, journalist turned short-story writer Delos W. Lovelace to pen the actual novelization. Cooper had roomed with Lovelace in college and both men worked together as journalists for The Minneapolis Daily News in 1916. As a result Lovelace became the natural candidate to transform Cooper’s movie into a book. Lovelace was paid a total of $600 for his work on the novelization – a significant sum of money in the 1930s – with a contract signed for royalties up to $1,500, after which amount all profits would be split equally between Lovelace and the other “authors”; i.e. Cooper. According to researcher Ray Morton, Lovelace based his novelization off of screenwriter Ruth Rose’s first draft of the King Kong screenplay, which was itself a revised version of the screenplay penned by screenwriter James Creelman who had rewritten Wallace’s initial story treatment. As a result Lovelace’s novelization contains several scenes, a good bit of dialogue and a few more superficial details not found in the final theatrical version of King Kong released in 1933.           

Since it is these alternative bits of info which are most likely of interest to readers of this article who have themselves not read Lovelace’s novelization, the remainder of this essay will list the major differences found between the 1932 novelization and the 1933 film version – which I am assuming all readers are thoroughly familiar with. As a final note, there are conflicting reports as to what the legal status of Lovelace’s novelization actually is. Some sources claim that the novel is now in public domain while others dispute this while still other sources say that it is the Mystery magazine version which is public domain while yet others claim it is both. Whatever the case may be one thing is clear and that is that Lovelace’s novelization has proven a source for every major remake, reboot and adaptation of King Kong to come along since the original 1933 film was released. This includes Dino De Laurentiis and John Guillermin’s 1976 King Kong remake, as well as Peter Jackson’s 2005 version and the most recent iteration; Jordan Vogt-Robert’s Kong: Skull Island which is part of Legendary Picture’s MonsterVerse. In addition, both Gold Key and Monster Comics – an imprint of Fantagraphics Books – have produced comic book versions of King Kong based on Lovelace’s novelization in 1968 and 1991 respectively. There have also been animated versions of King Kong as well including 1998’s The Mighty Kong and an episode of the 1990 animated series Alvin and the Chipmunks Go to the Movies, among others, which have clearly used Lovelace’s novelization as a source of inspiration. As a result I have made notes in the following of when and where elements of the King Kong novelization turn up in other Kong media…      

·         A Ship by Any Other Name: In Lovelace’s novelization the ship Denham and co. take to Kong’s island is the Wanderer, not the Venture as in the movie. In Kong: Skull Island, a ship called the Wanderer is found in the native village where it has been converted into a shrine for Kong. Director Jordan Vogt-Roberts has said that this was done so as to suggest that some variation of the storyline from the original 1933 film was cannon with Legendary Picture’s MonsterVerse.  

·         Denham, Who?: Actor Robert Armstrong played movie mogul Carl Denham in the 1933 film, but in Lovelace’s 1932 novelization the character is just called Denham with no first name. This is one of the surest signs that you’re dealing with a Kong adaptation that is using the novel as its basis and includes both the 1968 and 1991 King Kong comic adaptations and 1998’s The Mighty Kong.

·         The Wanderer’s Crew: Other than Englehorn and Jack we don’t get to know much of the ship’s crew in the 1933 King Kong film. But in Lovelace’s novelization we are introduced to two additional characters; Jimmy and Lumpy. Lumpy is a veteran sailor who spends his time hanging out with a pet monkey named Ignatz. Lumpy never ventures into the interior of Kong’s island and so survives his time there. Jimmy, on the other hand, is a cabin boy who volunteers to go with the first wave of men after Ann and who carries the backpack full of gas bombs smuggled onto the island by Denham. Jimmy later dies in the Spider-Pit. Both of these characters are featured in Peter Jackson’s 2005 remake of King Kong with Jimmy being portrayed by actor Jamie Bell and Lumpy by actor Andy Serkis who pulled double duty as the motion-capture actor for Kong. In Jackson’s version Lumpy dies in the Spider-Pit while Jimmy survives but is badly injured by Kong. Jimmy also pops up in 1998’s The Mighty Kong now with a pet monkey named Chip.

·         Ann and Jack’s Backstory: Like the rest of the characters we learn only the scantest details about our principal protagonists Ann Darrow and Jack Driscoll in the 1933 film. Lovelace’s novelization fleshes these two out telling us that Ann was raised on a farm and loss her parent’s at a young age. The money left to her was entrusted to an uncle until she came of age, but her uncle squandered the money leaving Ann destitute and in New York searching for work. Likewise we learn that Jack ran away from home to avoid going to college, became a sailor and later reconciled with his mother – though she disapproves of his association with a known risk-taker like Denham.    

·         Love in the Crow’s Nest: In the 1933 film Jack confesses his love to Ann on the desk of the ship, but in Lovelace’s novelization he does it up in the ship’s crow’s nest – which is a far more atmospheric and romantic image.

·         Skull Mountain Island: Though it may come as a surprise to many, Kong’s home is never actually called “Skull Island” in the original 1933 film. Nor is it called this, per se, in Lovelace’s novelization where it is instead referred to as “Skull Mountain Island.” The name Skull Island appears to go back to Kingsley Long’s serialized version of the King Kong story (to be discussed in more detail below) but it is not until 1976 that the name Skull Island appears in association with any official King Kong merchandise, in this case the John Barry soundtrack for the Dino De Laurentiis and John Guillermin remake; though again the island itself is never called this in the actual film. Since then Kong’s home has been unambiguously referred to as Skull Island in all other movies. 

·         Racism: As a franchise King Kong has a poor track record when it comes to depictions of both people of color and indigenous cultures. Lovelace’s novelization is no exception here, though it does fair better in some ways and worse in others. For one Charlie the racially insensitive comic relief Chinese cook from the 1933 film – and its sequel Son of Kong – is nowhere to be found. The Skull Mountain Island natives however are still the same lamentable stereotypes with Lovelace contributing a few cringe worthy lines regarding both the white explorers “racial superiority” and how “primitive minds” find the act of thinking especially difficult. Lovelace also chooses to repeatedly emphasize the whiteness of Ann’s skin to a point that it becomes apparent he is attempting to make a link between white skin, virginal innocence and moral purity – ideas which have a long history of problematic racial and sexual connotations.

·         The Protagonists Figure out What Kong is Before Ever Seeing Him: After their initial encounter with the natives of Skull Mountain Island, Denham, Jack and Ann return to Englehorn’s cabin and try to make sense out of the mysterious ritual they’ve just seen. Knowing that the native girl they saw was intended as the bride of Kong the four attempt to figure out just what Kong is leading to the following exchange…

“But even agreeing to all this,” Englehorn puzzled, “I haven’t yet any clear idea of what Kong is.”

“I have,” Denham said with abrupt conviction. “That wall wasn’t built against any pintsized danger. There were a dozen proxy bridegrooms because only with so many could the natives approximate the size of the creature which was getting the sacrifices. And those gorilla skins that the dancers wore didn’t mean that Kong is a gorilla by a long shot. If he’s really there, he’s a brute big enough to use a gorilla for a medicine ball.”

“But there never was such a beast!” Ann laughed uncertainly. “At least not since prehistoric times.” Denham shifted in his seat to stare.

“Holy Mackerel!” he whispered. “I wonder if you’ve hit it, Ann?

”“Rot!” Discroll exploded. Englehorn shook an unbelieving head…

“Why shouldn’t such an out-of-the-way spot be just the place to find a solitary, surviving prehistoric freak?” [Denham’s] eyes flashed. “Holy Mackerel! If we find the brute, what a picture!”

·         Triceratops in the Asphalt Pit: Marian C. Cooper met Willis O’Brien while the later was at work on never-to-be-completed ‘Lost World’ picture Creation. At the time the only sequence from Creation which O’Brien had committed to film was a brief scene in which a hunter shoots and kills a baby triceratops, enraging its parents who proceed to chase the vandal down and gore him to death. Cooper had originally intended to make use of this footage and O’Brien’s triceratops models in a sequence following the crew of the Wanderer’s narrow escape from the lagoon dwelling brontosaurus. In Lovelace’s novelization the men catch up with Kong who is embroiled in a fight with a trio of triceratopses in an asphalt pit with Kong lobbing boulders at his dinosaur adversaries. Kong escapes the enraged dinosaurs that then turn their attention to the men and give chase, killing one, while the rest are forced onto a log leading across a ravine where they encounter Kong on the other side. It’s not clear at what point this sequence was cut from the 1933 film but it seems to have been fairly late and after having gone through several variations including one where the triceratops would be replaced by a prehistoric rhino – arsinoitherium – and another in which they were replaced by a different horned dinosaur; styracosaurus. Early publicity photos of the iconic log sequence exist showing the styracosaurus on the one side of the ravine and Kong on the other. Some, like Peter Jackson, believe a version of this scene, like the infamous ‘lost’ Spider-Pit sequence, may have even been shot and then deleted. Variations on this sequence show up in both the 1968 and 1991 King Kong comic adaptations. In the 1968 comic Kong battles a pair of triceratops while a styracosaurus chases the men across the log. The 1991 comic has Kong facing off against a whole heard of different ceratopsian dinosaurs and a random ankylosaurus(!) In 1998’s The Mighty Kong the stegosaurus the sailors initially encounter in the 1933 film is replaced with a lone ceratopian, anticipating Peter Jackson by seven years. A triceratops skull is also featured prominently in the mass grave seen in Kong: Skull Island, which director Jordan Vogt-Roberts says was done to indicate that while dinosaurs did once exist on Skull Island that by the 1970s they are all long dead.   

·         The Spider-Pit Sequence: Undoubtedly the most celebrated deleted-scene of all time is the infamous Spider-Pit sequence. Conceived early on in the 1933 film’s development this sequence would have taken place immediately after Kong knocks the remaining sailor off the log into the ravine. The sailors – most of whom are still alive – would have awakened to find themselves besieged by various giant arachnids, insects, lizards and other assorted monstrosities who lurk at the bottom of the ravine. Behind-the-scenes photos from the 1933 film show that the set and models for the scene were constructed but to this day debate rages over whether or not they were ever actually employed with many fans holding out hope that they were and that the deleted scene has survived the ravages of time locked away somewhere in an unmarked film canister waiting to be rediscovered. This sequence however definitely shows up in Lovelace’s novelization and is just as chilling as anyone might hope. It also shows up in 1991 King Kong comic adaptation and, of course, in Peter Jackson’s 2005 film. Jackson also commissioned a period-accurate reconstruction of the original Spider-Pit sequence which is included as a special feature on all current Blu-ray and most DVD releases of the original King Kong. Spiders are, of course, not the only denizens of the Spider-Pit and one of these beasts did make it into the 1933 film. This is a strange two-legged lizard which climbs up the side of the ravine in an attempt to get Jack. Identified as a fictitious “polysauro” in the Draycott Montagu Dell version of the King Kong story (to be discussed in more detail below) this creature also served as the principal inspiration for the Skull Crawler kaijū in Kong: Skull Island.    

·         Kong vs. a Giant Snake (Maybe?): Following his fight with the tyrannosaurus, Kong reaches his mountain lair where he encounters another foe lying in wait. Based on Lovelace’s description it’s not entirely clear what this creature is supposed to be though it is described as “serpentine” leading many subsequent artists and filmmakers to conclude that it is a giant snake. This includes most notably Dino De Laurentiis and John Guillermin in their 1976 King Kong remake as well as the artists for the 1968 and 1991 comic book adaptations, 1998’s The Mighty Kong and even the “Kong!” episode of the 1990 animated series Alvin and the Chipmunks Go to the Movies. In the 1933 film version of this sequence the creature Kong battles is actually an elasmosaurus; albeit an admittedly snake-like one.    

·         Escape from Kong’s Lair: In the 1933 film Ann and Jack escape from Kong’s lair by attempting to shimmy down a vine dangling over a cliff. When this doesn’t work the two jump into a pool of water below. In Lovelace’s novelization, however, Ann and Jack escape by diving down into the pool inside Kong’s cave – the same pool the giant snake had been hiding in – and swimming through an underwater tunnel and that spits them out over the adjacent waterfall. The two then swim down river until reaching the lagoon where the crew of the Wanderer previously encountered the angry brontosaurus and then running the rest of the way back to the native village.

·         Kong Caged: Lovelace describes Kong as being shackled to the floor inside a large cage when he is presented to the public as part of Denham’s show, as oppose to the now iconic crucifixion pose from the 1933 film. Both the 1968 comic adaptation and Dino De Laurentiis and John Guillermin’s 1976 King Kong remake share the cage imagery.    

·         Kong in New York: In Lovelace’s novelization Kong pursues Ann and Jack into the lobby of the hotel where Jack is staying which is across the street from the theater – Ann had the good sense to get a room nine blocks away – where a security guard opens fire on the beast-god with little effect. In the 1933 film Kong climbs the building searching for Ann and in one of the more horrific scenes finds another woman sleeping in bed. Thinking it may be Ann, Kong reaches inside of picks her up. When he realizes it is not he simply drops her to her death. In Lovelace’s novelization this moment still plays out but is surprisingly more terrifying since it occurs from Ann and Jack’s perspective who can only hear what is happening to the women in the room next door to them. Once Kong has Ann he escapes by climbing over various NYC rooftops until he reaches the Empire State Building. Unlike the 1933 film there is no sequence in which Kong destroys an elevated train.    

·         “It Was Beauty. As always, Beauty killed the Beast:” Denham still delivers a slightly wordier version of his famous last line in Lovelace’s novelization from atop the Empire State Building rather than on the ground next to Kong’s body as in the film.  

Lovelace’s novelization is not the only prose version of the original 1933 King Kong film to appear in print, though it is definitely the most accessible today. The aforementioned Mystery magazine version of the story has been reprinted in Mike Hankin’s Ray Harryhausen - Master of the Majicks Vol. 1: Beginnings and Endings. Forest J. Ackerman, founder of Famous Monsters of Filmland magazine also later rewrote the Mystery magazine version when he serialized it in Issues #25-27 (Oct. 1963-March ’64) of his now legendary fanzine. Ackerman evidently felt that “many of the ‘good’ parts were left out” in this adaptation (he’s right, there’s no T. Rex fight for one) and so Ackerman took the liberty of adding them back in.

Hankin also reports that beginning in April of 1933 the London Dailey Herald ran a serialized version of King Kong over the course of 37 installments penned by journalist turned crime-fiction novelist Kingsley Long. Long’s version of the story – which is virtually impossible to come by today with one of the few extant copies kept under lock-and-key at The Special Collections Library at Brigham Young University – is told in a pseudo-documentary style; reporting on the events of King Kong as if they had actually happened. Hankin writes that Long’s adaptation not only fleshes out the principal characters more but also contains such intriguing additional information including the idea that “the origins of Kong and the Skull Island civilization” lie in Atlantis – an idea that crops up in Weta Workshop’s faux-field guide The World of Kong: A Natural History of Skull Island and finds its fullest expression in the 2005 direct-to-DVD animated movie Kong: King of Atlantis – and reveals what happened to Kong’s body after his fall from the Empire State Building: Denham had it stuffed and mounted and charged folks to see it!

Yet another short-story version of the film appeared in the October 1933 issue of Cinema Weekly magazine where it was also credited to Edgar Wallace but actually written by Draycott Montague Dell. This adaptation was later reprinted in the 1988 book Movie Monsters published by Severn House and is now out-of-print, though it appears to be common throughout public libraries and used copies are not hard to track down. That same month this same version of the story also appeared in the juvenile publication Boys Magazine (Vol 23. No. 608, Oct. 1933).

There has also been at least one children’s book adaptation of the original King Kong. First published in 1983 and then again in 1988 by Random House this version was based on the Lovelace novelization but rewritten for children by Judith Conaway with accompanying illustrations by Michael Berenstain. Conaway was not the last to rewrite Lovelace’s prose however. In 2005 writers Joe DeVito and Brad Strickland also rewrote Lovelace’s 1932 novelization and published it under the title Merian C. Cooper’s King Kong: A Novel. The point of this was apparently to improve upon Lovelace’s original as well as to bring the novelization into the same narrative continuity as DeVito and Strickland’s own original prequel Kong novel Kong: King of Skull Island.           

[sambart93]

2017.05.01 Shinsekai Romance Orchestra Review!

My wonderful friend managed to get me tickets to Ueda’s stage for my Birthday DAY! I was super excited! Especially seen as it marked ONE year since their hiatus and ONE year since I’d last seen them live. So it was three super special things in one! Although I hear some people don’t find their birthdays special... that’s a shame... anyway! Onto the stage!

Official Website here Press Coverage 1, 2, 3, 4

CAST

Ueda Tatsuya Shimizu Kurumi Saori Misato Aoyama Nagai Mijika Nemoto Shuko Miyazaki Tomu Nishida Naomi

NON-SPOILER REVIEW

Overall: This was entertaining. It was definitely comical like they promised but the story was a lot more simple and very different to what I originally was expecting. I enjoyed myself and there was a lot of meta jokes; they joke about members leaving and they sang random Johnny’s songs and one character even says KAT-TUN lyrics are normal sentences quite a few times. Ueda did amazing and I’m very proud of him carrying this entire play for two hours without a break pretty much. Rating: 6/10

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SPOILER REVIEW

Unfortunately this is going to be pretty short. I wish I’d watched this twice so I could have a better idea of what happened and such and also it’s been like two weeks since I last saw it so my brain is a little rust. Sorry but I’ll try my best!

So the MAIN STORY is:

Ueda is a composer and the main lead of his now 2 (was 4) person band, but he’s currently in a writing slump and can’t figure out their next hit single. He wants to write something rocky but the only time he’s inspired to write and the only time he can figure out the next part of his song is when he sleeps with women (and they only give him soppy love song ideas) and so he’s made a system where he has multiple girlfriends at once so he can see a different one every day, sleep with them and still be inspired while having one day a week off/rest from them. 

BUT it starts with him breaking up with the one girl who doesn’t inspire him when they’re together but at first she refuses and proposes to him. So the entire story is him getting in trouble with these multiple girlfriends while realising he‘s in the love the one he tried to break up with in the beginning and trying to accept that she is all he needs in her life.

Crazy right?!

First can I quickly talk about the actual theatre because I found it totally weird! So there’s three floors to this theatre, yes three! So you’d imagine it’s this huge theatre right? WRONG! First floor has only 15 rows and then floors 2 and 3 only have 2-3 rows each. What the actual?!?! Just put ALL 20 rows on ONE floor! It’s SUCH a weird layout. AND the platforms stretch out much more than where the seats finish so everyone has to lean forward to see the front of the stage if they’re on second or third floor. It’s so inconvenient and silly and stupid. See here.

ACTING

Ueda Tatsuya: I’m so proud of this boy! For some reason, even though I’ve seen him act quite a few times (but never on stage), I was worried if he’d be able to do stage. I know he technically works on a (song) script when he does concerts but my brain was like ‘can he even do stage?!’ because naturally it’s different to TV and concerts right?! But I am so proud! He is literally on stage the entire 2 hours bar like 10 minutes and he didn’t obvious slip up and his performance was both funny but sexy but cool but his angry moments too were great! I really proved he can act! I am so so impressed at how well he delivers comedy too! ^_^ He was so cute during curtain call too. At the first one he hopped over the pool but because it was wet, he slipped forward and you heard ALL the girl (aka the entire audience) go ‘ahhh!’ but he regained his balance straight away. And then at the second curtain call he was walking off while waving but he was so focused on the audience he didn’t realise he was about to walk himself off the stage xD and we all freaked again but he just smiled and laughed at us so mischievously xD

Shimizu Kurumi: She played his one true love of his life. She was annoying and had a silly logic BUT it worked for the stage. An example of this will be the very first scene where he tries to break up with her and she doesn’t react and he’s like ‘you're not upset? You’re not going to cry?’ and she’s like ‘why would I cry? We’re not breaking up. We’re going to marry each other’ and he’s like ‘what you on about crazy bitch?’ and she’s like ‘I figured it out *pulls out paper* your only option is to marry me in the end’. So in real life; that is bad shit crazy(!) but for the story, it worked. I also really loved her outfits! And she did other crazy things like go into the pool fully clothed and always greeted him from his roof’s window after they broke up because she gave her key back to him. She was sweet but in real life would be a crazy bitch xD

Saori: If I remember correctly she was the ex-manager who he used to date. She’s still very much in love with him and still flirts with him and she’s still his bit on the side. It was her story to learn to let go of him and move on, and kinda gain some self respect for herself and her body.

Misato Aoyama: She plays the idol who Ueda’s been in love with since she was a young child star. But she’s nothing like her idol pictures and she’s very disgusting too (lots of fart sounds for her) but she always very chill and energetic. She didn’t care about the fact he was cheating on her so long as he was with her somewhat.

Nagai Mijika and Nemoto Shuko: They play Ueda’s Chinese maids and they aren’t attracted to him but they do allow him to have his way with them. Even he’s disgusted at the fact he becomes attracted to them, especially because “I don’t like foreigner girls” as he claims a few times. They’re definitely one of the main comedy reliefs and are always very straight and direct with their verbal abuse towards Ueda which is hilarious. Also Nagai’s character is able to see paranormal and supernatural beings whenever she cuts herself (which is easily cured and mended through her sisters special salt which she rubs in after) ,so the entire last 30minutes are literally spent her (and the rest of the girls) cutting themselves so they can talk to Ueda who is currently in a coma in the hospital but his spirit has come to them as a final penance. I really enjoyed the twins although couldn’t help but think its a shame they hired Japanese people to play Chinese maids but I guess that’s my White Western First World ideologies kicking in. They did great and I laughed at them a lot.

Miyazaki Tomu: The only other guy in this stage and he is so ridiculous and funny! He’s the only other member left in the band and he’s brought it upon himself to play ALL the band instruments and pose at the members who left. So in one Music video it’s Ueda singing while we transition to different shots of him on different instruments and with different coloured hair so you can see there’s a difference xD we were ALL laughing. Also at the end, unfortunately he actually dies and tries to take Ueda with him and he spent his last scene IN and AROUND the audience just spouting abuse at the girls and then he pretends to die and lies on the floor for ages and such. Very funny xD

Nishida Naomi: She’s probably the most famous actress/actor out of them all - or at least for me she is. She was great! She played a charmingly funny but somewhat crazy one. She spends a lot of time crying and with such a lack of confidence. She’s like ‘if I was a good manager then you wouldn’t always be consulting your ex-manager right?!?!’ and Ueda is like ‘no I just sleep with her... she’s not my manager, you are! You’re a great manager!’ and she’s like ‘really?! *all happy for a second* BUT! You sleep with her and not me because she’s prettier!!! *calms a little* I’M SORRY! PLEASE DON’T HATE ME! I DON’T MEAN TO BE NEGATIVE! DO YOU HATE ME?!?!?’ She’s actually hilarious xD her and Ueda were the funniest I think.

Now onto some scenes and comments and such:

So the people in the band are Ueda and Miyazaki Tomu. It was originally 4 people but very quickly into the show Ueda comments ‘well they left...*looks to the audience* you know who left!’ and everyone died laughing because he was clearly commenting on KAT-TUN losing members.

I thought it was interesting how they did the sex scenes; they would do like a duet dance around the stage while they held music notes showing that he was being inspired in his music as he slept with them. It was creative and much more visually pleasing than just seeing him ‘have sex’ with the girls on stage.

The two Chinese characters at one point started randomly singing ‘100% Yuuki’ which got everyone giggling.

Also towards the end it got pretty ridiculous and the girl would cut herself in order to see ghosts and before she did it (every time) everyone was like ‘why are you doing this to yourself?! It’s dangerous!’ and every time her only reply was ‘Giri giri de itsumo ikite itai kara’ which got laughs every time.

There’s a 5 - 10 minute sequence where all the girls want to go and watch LaLaLand at the cinema with him; at first he’s reluctant but by the end of it he ends up even inviting his band member to go and see LaLa Land with him because he’s seen it that many times and fallen in love with the movie and it’s music (xD), and the music from the show plays over during this scene too. So safe to say this stage WON’T get a DVD because of possible copyright infringement from this movie xD

The finally few minutes and final scene starts with the title (on the wall) ‘One Year Later’ and that really hit me in the feels because I went exactly one year after KAT-TUN went on Hiatus and the whole scene was about him and his lover finally getting back together and reuniting after a year of being apart. And to have that scene and for JE to NOT announce KAT-TUN’s come back one year later was really a blow to the feels; especially because JE fucking WROTE this stage. WHY would you do something like a ONE YEAR LATER scene and NOT announce KAT-TUN’s come back one year later? That’s fucking brutal and cruel JE...

---

All in all, I was laughing at all the meta jokes throughout this and this was entertaining, and I enjoyed myself a lot and the story is crazy and I did laugh pretty much the entire time, but underneath all that... I couldn’t help but be really hurt and sad too whenever some things were brought up, especially the ones about members leaving and the whole coincidental ‘one year later’ especially because I went on May 1st which is exactly one year since they went on hiatus and such. I definitely felt a stab in my heart. Also the making self harm a joke kinda hurt me at first but I decided to suck it up and just not take that too seriously.

It was definitely comical like they promised but the story was a lot more simple and very different to what I originally was expecting. When I saw the visual I thought we were going to be getting an actually musical orchestra university thing with Ueda as the star of the orchestra and he was like the Prince but it ended up being a lot more low budget, a lot more simple, realistic and completely different. But it was good.

Hope you enjoy that!

[clevercatchphrase]

2017 in review, and goals for 2018

If I had to describe 2017 in one word it would be... monotonous. Sure, there were plenty of ups and downs, but for the most part, especially the latter 6 months, I just felt like I was going through the motions, holding my nose to the grind stone, doing work and paying off student loans. 2017 blew by me, and I remember thinking each month passed by with unusal quickness. There's a strange sense of disociation with that, like I wasn't really connected to reality for most of the year, and instead watched it pass me by from a seperate temporal window. In a weird way it may have been a bit of a godsend as well. I hear 2017 was hard for a lot of people, but feeling so disonnected from the year may have protected me and cushioned the blow in a sense.

I lost a family member this year in early june. I knew it was coming ever since january as I hated having to watch them deteriorate and get worse and worse until they finally passed. The three months leading up to it and the three months after were particularly hard and left me feeling unable to write or draw or do anything productive. I still miss them terribly. I always will. But I hope I won't let it immobilize me as much this year as it did last year.

Anyway, Let's review my goals for last year and see what I've accomplished. I’ve a lot to say, so for brevity’s sake I’ve put it all under the cut.

GOALS FOR 2017 1) Finish my 50 billion fan fictions so I can get back to drawing Ah ha ha ha ha ha ha. HAHAHAHAHA. The depression I got halfway through the year throughly put a halt on this. I haven't even finished one of the fics I've started in 2016. I got close, seeing as i participated in NaNoWriMo this year to try and force myself to finish, but I still need to revise and edit all that I've written and the motivation is non existant. GOD, I have so many stories too, all of them still undertale fan fiction because I'm still not over that game. I'll list them all when I share my goals for this year later below. 2)Draw in 2 pages of my sketch book each week so I'll finish a sketch book in a year. I was SO CLOSE with this one! I filled out 95 pages! But you know what i discovered in august? I realized that my 100 page sketch book.... was actually 150 pages! Oh well! I drew more this year than I thought i would! Just because i didn't hit 100 pages, doesn't mean I didn't accomplish something! 3) Finish 14 out of the remaining 27 lessons on my duolingo course I went fucking above and beyond with this one. I hit this goal back in may, and then I completely finished up the danish duolingo course by november. I also passed my 1095 day streak which translates to doing duolingo daily for OVER 3 YEARS STRAIGHT. I still practice daily to build my vocabulary, and I know I can't speak it for the life of me, or follow along with fast speakers, but give me a few minutes and I can probably read it for you. Funny how that works, where I can understand danish if it's written out, but ask me to translate from english to danish and I struggle like a butterfly in a tumble dryer. 4) Become passibly fluent in ASL I have this box of 600 ASL flash cards, and this year I practiced two of them a day until I got through the entire box. I certainly learned a bunch of new words but I wouldn't say I was fluent yet. I certainly don't know all the grammar rules yet. I HAVE been able to sign with people at my job, though I do rely heavily on fingerspelling still. Most everyone I talked with seemed to know I was trying and they seemed really excited that I could understand them if they were patient with me. I put more of my focus on Danish last year, but now that I'm done with Danish, maybe I can focust more on ASL. My sister told me about this site similar to duolingo called "memrise" that actually has an ASL course, so you can bet I'll be looking into that. 5) Read the entire dictionary I did this! I kept two spiral note books and wrote down any words I thought were cool or interesting! I haven't gone back and re-read the words I wrote down, but maybe I will this year! It was exhausting. It was weird. I still can't believe I spent about 200 hours last year doing this. 6) Read one new book every month Much like my sketch book goal, I almost completed this one. I kept it up every month until October, and then I just... stopped. I read more than I thought this year, though I ended up usually waiting until the last week of each month to read, and I also cheated by counting the dictionary as one of the things I read (hey, it's a book, ain't it?) I also re-read old books that I know I like, so not entirely 10 new books were read this year. Reading 1 new book a month isn't one of my goals this year, but I hope to read more new stuff reguardless, 7) Actually use the tutorials and references I reblog Seeing as I barely did any digitial art this year, I can't say I did this one. 8) Do more art streams I think my goal was to stream once a month. I clearly didn't do this. I DID stream in 2017, I just didn't tell anyone. Idk why, I just... went live for people to see but didn't let anyone know I did. I also only streamed like... twice? sigh... So... out of the 8 goals I set, I would say I accomplished close to half. I read the dictionary, I finished my danish language course (which I'm counting as two completed goals) and combining the "read 1 new book a month" and "draw 100 pages in a sketch book" I'll count that as one completed goal. I went through all my ASL cards, though I'm not fluent, OH! I also wanted to pay off 6k loan that I had. I want to count this one as a success because I DID FUCKING PAY OVER 6 THOUSAND DOLLARS IN LOANS THIS YEAR. I got a surprise loan I had no idea about in june that was 1500 dollars, which threw me off. I managed to pay it off in 2 months, BUT IF THAT LOAN HAD NEVER EXISTED I TOTALLY WOULD HAVE FINISHED PAYING OFF THE 6K ONE. I've got a little over a thousand left to pay on the 6k loan now, which I will complete by the end of January. I'm so close to being under 10k in debt... GOALS FOR 2018 1)Go from being 5 figures in student loan debt down to 4 figures in debt (pay off 2 out of 4 loans) If everything goes according to Keikaku I'll achieve this by the end of June. This has to factor in things like updating my car registration in april, oil changes, tune ups, tire rotation, gas and food expenses, but as long as I don't get fired I should be fine! 2) Stretch Daily Not exercise. I never exercise. But it would be nice to increase my flexibility. 3) STOP TOUCHING YOUR GODDAMN FACE/ find an effective acne treatment I also want to try washing my face daily. Im fucking 25. I shouldn't have this many pimples. 4) Do another song comic I made A lyrictale for Undertale at the end of 2015 in ten days. I want to make another. I already have it scripted, now I just need to do it. 5) Do at least one art stream a month. Hey, maybe I can stream the next song comic I do. Sure, it'd spoil the song and story for everyone, but doesn't that sound fun? 6)Practice ASL I just started looking into Memrise and their ASL courses. They actually have A LOT, AND! THEY HAVE SIGN LANGUAGE COURSES FOR OTHER COUNTRIES! This year is gonna be fun. (Also, the only reason I want to learn ASL because of Undertale. I'll let you figure out how they are connected) 7) Sew 4 stuffed animals I started sewwing a Hobbes plush in the middle of last year. His body is finished. I just never did the head. The other three stuffed animals I want to make I will keep a secret because I love to keep people guessing. 8) Make two AMVs There are two songs I want to put to Avatar; The Last Airbender, and Avatar; The Legend of Korra. I have about half the footage... I just... need to rewatch the shows and put the clips together. Hey, maybe after I find all the clips I can do a stream of that as well. 9) Last but not least, finish my many, MANY Undertale Fan Fics. a. You Monster (34 out of 37 chapters are written, but only 29 are posted) b. Finish the "Of Two Minds" series (it's explicit don't look) c. Color Theory (A chasriel one shot) d. Something Left Behind (Terrible AU Idea #647) e. Let's Get Real (Self insert, joke, parody thing that will also be explicit) f. Game Day! (something about soccer games with Mettaton along the same vain as Field Trip!) g. Would You Like Fries With That (Nicepants because there's not enough of it in the world) h. Science Fair! (something with Undyne and school projects along the same vain as Field Trip!) i. One that is so horribly dark and fucked that I won't even describe it here. Welp! Those are my goals for 2018! What are your goals for 2018? Whatever they are, I wish you success and improvement, health and wealth! Stay safe this year! I love you all~

[roughentumble]

so i finally got to finish white rabbit and it was Bad. its bad film scoob

to get more detailed, and possibly i just wasn’t paying close enough attention to this first point, but, it’s something so basic that it should be pretty clear to the audience unless you’re messing with it on purpose, the timeline is absolutely confusing as heck. how long did harlon and julie know each other? i have NO IDEA. i legit am convinced it was only 2 days. i just can’t.... possibly conceive of it being any other increment of time? but also that still doesn’t make sense to me because things escalate So Damn Quickly. his bully bullied him literally right before summer, then summer ends and he insists he’s Changed and that all that stuff In The Past is something he’s improved about himself now that he’s Matured?????? wHat???? also there’s something very abrupt about the film’s timeline. we see one or two scenes with harlon as a child, then only scenes of him in a very specific summer in a very specific year(i.e. the year that he either violently shoots up his school, or dreams about violently shooting up his school, more on that later tho) which isn’t INHERENTLY bad, but... you didn’t get this... the film is striving to explain how things build up and build up and build up inside a person, why things go so wrong, and why we have school shootings(or at least, ONE explanation why some kids engage in school shootings) but you don’t GET a sense of things being built up. the whole film felt like a bunch of choppy scenes spliced together

and it didn’t really...... harlon’s hallucinations felt like such a small PART of the film, they were SO scattered and didn’t really. i dunno. it just didnt all click together in any coherent or meaningful sense. the whole film is so odd, poorly handled, and disjointed that i’m having trouble writing coherent thoughts about it. 

julie was, altogether, a shallow character who was literally a manic pixie dream girl. she stumbled into his life twice, the first time changing him for the better(in some ways, he does stand up for himself for the first time after kisses him), the second time using her own personal growth that all took place OFF-SCREEN and with barely an explanation thrown out there, TO TRY AND FIX HARLON AGAIN like she’s JUST a catalyst for his own growth that’s all she is, and she’s a shoddy one at that. she doesn’t feel like she belongs in the film at all, she feels like she was in an ENTIRELY DIFFERENT film and somehow managed to step through a door and land in this town somehow. she’s weird, she’s poorly-written imho, she’s distracting, she takes up time that COULD be used to actually give... literally any character any personality at all, even a little

oh yeah, nobody has any... personality. they’re all like these cardboard cutouts, the stereotypical abusive redneck dad, the stereotypical shitty siblings(fun fact! i literally forgot he had siblings, throughout the entire film i just kept forgetting, and i only remember now because a different review mentioned them! fun), the tired and slightly overbearing but ultimately caring mother, the bully, the sniveling friend, the angry shouty parents of the sniveling friend who seem to have no source for their anger they just Are Mad Now, the girl who waltzes into Main Character’s life and shakes things up, the Crazy School Shooter who Hears Voices From His Violent Comic Books! everybody is like every other character ever, and even when shoddy writing starts putting them on a different path, they just head down... that same cliche path anyway, even though it makes no sense for them in context, like the world’s shittiest roller coaster

for example, the school shooting ending had NO buildup. it was last minute, went by real fast, had NO real stressor to speak of, it just... literally didnt make sense. harlon wasn’t an exceedingly angry child, he wasn’t overly-programmed for violence by the way his parents raised him... and yet, just like he’s been locked onto the rails, just cuz he Hears Voices so this Must Be A School Shooter Movie, he just stands there while the tracks take him from point a to point b

also, the entire film felt like nothing more than a grocery list, loosely detailing all of the every reason you ever ever ever hear that anyone ever does A Big Bad Thing, without any real deeper understanding of any of those things. like. it felt so... the entire film felt sterile. everybody was a standee on a track, rolling up to one another and saying in a SIRI-esque voice “HELLO. HERE IS REASON NUMBER 284 WHY I WILL BE SAD LATER. BEEP BOOP DEPLOYING SADNESS” before calmly being carried away by the motor. 

plus the ending is a total cop-out. the beginning of the film includes what is obviously harlon getting ready to shoot up the school, plus some voice-overs that don’t make sense yet, which is fine. sure. plenty of films make use of devices like that. then at the end, when he shoots up the school, it eventually ends on very similar footage from the beginning, with some teeny tiny details changed here and there, but... like, was he thinking about shooting up the school before going in to do it, or was he dreaming it, or did he shoot himself and now he’s in purgatory, forced to revisit his crimes at the hands of his evil bunny overlord...? it was ambiguous in the exact way a film like this should NEVER be ambiguous(or at least, not unless you’re way better than these people at writing >:// )

all of this being said, i do want to make a specific note that i liked the actors. i think they did a great job. i liked watching nick krause(harlon), i liked watching Sam Trammell(the father) struggle to bring nuance to such an awkwardly written role. honestly, sam’s character was easily the most robust one in the film, since he was abusive but he did love his kids and had moments with them where things WEREN’T bad, and moments that made it clear that he was trying, he just didn’t know any better and lived in this environment that stifled any and all change and personal growth, but at the same time he was never excused for his abusive behavior. sam trammell did literally awesome at is and he was quite possibly..... 1.5 whole dimensions. incredible

anyway, back on topic, i believed ryan lee as a bullied child-- did i like the writing for him, or how things were edited? no. but his acting, his tears, his emotions that he brought to the performance were MORE than satisfactory. 

the one i’m most hesitant to speak about is britt robertson(julie). like, on one hand, i just straight up... did not like julie. or rather, i would’ve been fine watching a film about julie, she seems nice and interesting(what lead her to her downward spiral of drugs and alcohol and attempted suicide? was she mentally ill, or were there outside stressors? what did she go through to heal the way she did over just one summer? what about that night was so bad for her that it caused her to go to rehab/a mental hospital? did she decide to on her own, or did her father make her?) but she’s barely touched in the film, barely given any space to feel anything, and so i find her presence, quite frankly, annoying. she should have been bigger or not there at all. but she was there, and she wasn’t bigger, and the writing really did not care about her feelings or motivations in the SLIGHTEST. and there’s only so much you can bring to that, acting-wise! the scene where she nearly dies in the field with harlon, when she’s talking about praying and how she never gets an answer, i BELIEVED the tears in her voice. she sounded visceral and honest. at the middle/end, when she came back and truly wanted to help harlon? the way she acted when the shooting was happening? i mean, i didn’t like the WRITING for her character, but i liked the emotions she managed to put into these scenes

and like. i know i’m skipping back here a bit, but nick krause did Good man. i thoroughly believed at least 97.25% of his emotions. i didn’t understand his motivations, and there were certainly flat and emotionless moments aplenty, but mostly they were born out of poor writing, and not actor shortcomings

the actors were not the problem. i would 100% see a movie just cuz nick krause was in it(if only to see if his acting only looked good in comparison to the script he was handed)

honestly i can’t really sum it up much better than these guys did, ngl

white rabbit was boring and shit and i hated it but im probs gonna give it a thumbs up cuz netflix was created by the devil himself and also i wanna see other films like it so. i suffer