#mind you I’m terrible at character creator screens so I really do try my best

[sweetmapple]

Palico and Hunter design set!

[yukipri]

Bad Batch end of season thoughts/ramble, bc it's been a week and I just wanna get it all off my chest...

(end of season spoilers and very disorganized rambling)

First off, I do want to say that I enjoyed watching the show. It fulfilled its primary purpose: entertainment. It was nice having something to look forward to every week, and even though it wasn't quite what I was expecting, it was fun. The animation was gorgeous, I liked all the references and tie ins. I will likely watch it again, and will watch season 2. This is by no means meant to be a hate post.

That being said, it is critical so please just skip if you're not into that!

The thing is...it takes very, Very little for me to love a clone. He doesn't need lines, or a face, or even a name, and the default is that I will love him. He can even be a little bastard, like Slick, and it's fine. I always want to know more about them, and wish they had more screen time and time in general to develop their characters. So given that we were getting 16 (20 eps total if we count TCW S7 pilot arc) centered around these guys, I was expecting to absolutely adore them by the end.

And I wanted to love the Bad Batch, I wanted to love them so damn much, and I tried. But I think one of the reasons why they never fully clicked for me was that their thing seems to be "we're unique, we never fit in, we're outsiders in our own home, among the people who are supposed to be our own family, and so we've found our home with each other."

Which! That's usually a wonderful message, and not a particularly rare or unique one either for stories! I usually dig these kinds of stories!

The problem here is the extremely unique situation of the clones. They are literally created to be identical, brain washed to be uniform. They must conform, or are killed off by their creators, and their conformity isn't a choice in the slightest, but one of fear and necessity.

Their uniformity is something that they are also entirely aware of--it's unavoidable, they're clones. Once out in the real galaxy, they all strive to find and establish unique identities for themselves, struggling against a galaxy that just wants them to be faceless products. It's a shared struggle, and all they have are each other, and their brotherhood is sacred as a result. Shunning unique identity is the opposite of who a clone is--it's what they all want.

So on one hand, it's understandable that the Batch stuck out (when all others who would have also stuck out were culled, when individuality isn't allowed). It's understandable that they would have yearned for the brotherhood shared by the other clones, and when they couldn't have it, they stuck closer to each other. It's even understandable that they would feel bitter, having experienced bullying at the hands of the other clones (but isn't it also understandable that the other clones would feel bitter that the Batch gets special treatment, when their own brothers with less-than-beneficial mutations were taken by the Kaminoans to never return?).

And so we have this batch of clones, who the Kaminoans call "mutated," but also specify that their mutations are "desirable" (implying what happens to mutations that are undesirable...). They have their own unique unit, in which they're able to improvise and act freely with seemingly little to no oversight, so long as they complete their mission. No Jedi to obey, no nat-born officers who look down on them. In fact, they look so different from standard clone troopers that most of the galaxy probably don't even know they are clones. They have their own ship (personalized), they have their own possessions (which we don't really see any other clones have), they have their own barracks (probably also very unique), and they even have access to superior weapons and armor (most of the Batch, minus Echo, seem to be wearing modified Katarn-class armor which is supposed to be for Commandos. we KNOW it holds up better than standard trooper armor).

So I'm sure they had some unpleasant experiences growing up, and I do get it. But at least at "present" end of clone wars, they honestly seem to be living infinitely better than all other clones? They still need to follow orders but they have more freedom, and perhaps most importantly, they have clear uniqueness that is denied almost all other clones. And yes, some of the clones on Kamino bully them, but we've seen NONE of the "regular" clones that we know to be particularly nasty to them, and in fact it's Crosshair who starts it by calling them "Regs."

And how does the Batch respond to this situation? By acting superior. It's Crosshair who says and it believes this firmly, and I do feel that the others are likely mostly influenced by this, but it's also true that Hunter, Wrecker, and Tech don't really deny this either. They don't like the "regs," they do act like they're "better." Poor Echo, who they repeatedly seem to forget is in the room, and who they call "machine" and such...yikes yo

So I guess the point is, I just really struggled to feel sympathetic towards them, and was already on a kinda eh about their premise. They're marketed as "the special clone squad"--and yet they're not nice to the clones I love. I thought that wasn't great, but also hoped that the series would work towards them understanding the other clones better, and I love character development so that woulda been fine--but, nothing. A glance from Hunter at Howzer. Extended camaraderie from Gregor, who I feel they mostly just tolerate for the mission, other than Echo who genuinely cares.

And on top of feeling not feeling particularly sympathetic towards what I saw as a pretty privileged group of clones, the Batch seems to place primary blame of their woes on the "regs" themselves, who again, honestly seem far worse off! There isn't blame directed at the people who demanded the conformity from the other clones in the first place, that made it so the Batch couldn't fit in. The Batch was modified due to the Kaminoans (and implied specifically Nala Se). She's the reason why they don't fit in. And the Kaminoans are also why the other clones have to be so uniform, why they must fight to be people and not products.

Bitterness and pettiness can be fine in characters. But it's frustrating to see in a group supposed to be competent and elite, especially when those feelings have consequences. Sure, it sucks when someone throws a food tray at you. You can throw food back. It's not an equal reaction to feel no remorse when you shoot that guy dead in a blaster fight, when for all other clones, having to kill another clone is one of the most horrible, tragic things that one can do (thanks, Umbara).

Fives was the only clone to actually point a blaster at Nala Se.

We know Omega has deeply personal history with Nala Se. She was Nala Se's personal medical assistant. We see her cry when she takes off her head ornament that matches Nala Se. We know that being back in the lab gives Omega complicated, and probably not entirely positive feelings. But we barely learn more about this relationship, other than these glimpses.

And I get the feeling that to Omega at least, Nala Se wasn't all terrible. If Omega grew up with mostly only Nala Se for company, she had to have gotten her sheltered outlook on life, and her willingness to help others from somewhere. Nala Se intentionally let Omega go, to be "safe."

I think Omega's adorable, and I do like her. But I wasn't able to fully love her to the extent I wanted to, because there was always the fear that she was involved in the creation and implantation of the chips. She knows about them, she would have been positioned to do so. I want to think she would never, and I was hoping the show would reassure us of that, but it never did. We don't actually know how Omega feels about Nala Se, or even the chips and their presence in other clones. Instead, all we know is that Omega doesn't like "regs."

And again, "they call me lab scrubber," and "I helped put (or am complicit in putting) mind control devices in their heads," are kinda, unequal. Again I hope it's not the case. But it definitely kept me feeling uneasy throughout the show.

It really boils down to I don't trust or forgive Nala Se, and the Batch's lack of stance against her and the other Kaminoans, and clear distaste for their other clone brothers, really puts them in a situation that makes it difficult for me to take their side entirely.

And then gosh, Hunter. During Crosshair's whole "you never came back for me," spiel, I couldn't help but think he's kinda right. He had 15 episodes. Sure, it's difficult to get Crosshair back. But they could have done something. They could have done research. We could have had scenes of them wondering where Crosshair is, discussions on how best to find him, even if that discussion ended in, "but we can't risk it right now." They could have grilled Omega for information on the chips, which they really shoulda done either way, but especially since that knowledge is important to understanding what (they thought had) happened to Crosshair. Instead, they just ran every time Crosshair showed up. The show could have done better to show that they cared, and were trying, instead of just, y'know, doing chores for Cid. One, "I kinda miss him," doesn't really count as working on getting him back, at least in my books.

The sole exception to all of this, of course, is Echo. Who really, he works with the Batch fine, he's a former ARC and can more than keep up. Skillset-wise, he fits in well enough. But this season really made me wonder why he's with them at all. Crosshair's revelation and true feelings at the end of the season were no surprise to me, as they're consistent with what we've seen of him from TCW S7. But for Echo, a former "reg" to have to work with someone like Crosshair...even if Crosshair thought Echo was "different" enough to accept him, those are his brothers that Crosshair thinks he's so superior to, and has no issue speaking disdainfully about.

The increasing tension between Echo and Hunter, Echo's interest in helping Rex, in helping other clones, in doing something...I do hope they reach a point where Echo demands they go help, or he's leaving.

They gave Crosshair a chance, despite the fact that his choices were willing. I really hope Echo can convince the Batch to help save the other clones who don't have a choice. Because even if the Batch doesn't consider them their brothers, they're certainly Echo's. They matter just as much as Crosshair, and I really hope season 2 shows it narratively.

To conclude, again I'm interested in seeing what happens next, and I want answers about Omega and Nala Se. I find it interesting that they tied the facility where they took Nala Se in with the scientist dude collecting data on Grogu in the Mandalorian and those cloning labs. All of this is interesting, but at the same time I feel like it's trying to build up to Snoke/Palpatine stuff in the sequels which...I don't care nearly as much about, but who knows, could be neat ^ ^;

I'm okay with, and have made peace with the fact that the Bad Batch probably isn't the "clones-centric" show I wanted, and that they'll continue their own story, and probably continue to not care much about other clones in upcoming seasons. That's unfortunate, but alright. I'm interested enough in their story too.

But at the same time...I can't help but think man, if they have the time and budget to do a season 2, after seeing what was (or wasn't) accomplished in season 1...I wish they'd also make a Rex/Cody/Wolffe/"regular clones" show, because in the end, if you're going to do a "clones show"....that's who I want to see most.

If you got to the end, thank you for reading, and being an ear to my ranting ^ ^; Again this is literally just getting this off my chest. If this take isn't one you agree with, please just ignore. For people who did fall in love with the Batch, I'm happy for you, and regret that it just couldn't happen for me. But, I'm hoping that S2 will change my mind, but we'll just have to see! ^ ^;

[imperiuswrecked]

To me, it doesn’t make sense to make Magneto the main villain because it has been done so much before and it would connect it so much to the Fox Films. Also I think there is a GREAT laziness in writing Magneto especially in films. He generally didn’t want to kill all humans, subjugate them yes because he doesn’t trust them. Which isn’t a ‘good guy’ move in itself and he slips in and out of.

He legit murdered genocide I think when he was going to kill all humans. Like no.

I also think that the average cinema goer likes Magneto too much… or maybe that is me. It would also require them to recast the most famous faces of the franchises?

Like is anyone going to care if they recast Jean, Scott, Iceman, Rogue, Kitty, Beast even Mystique but Magneto? I don’t know. I have long been a fan of an actual Jewish actor playing Magneto but following Ian McKellan would be difficult for the casual fans to accept. I don’t think Fassbender left such an amazing impression.

Even my most average MCU fans friends (and god they love the MCU 😤 but I see past it) still talk about how much they want to see a Magneto solo film.

To me I would put the focus on their reveal and sentinels. Then again I thought they’ll go through Krakoa stuff. Like it turns out the mutants have been living on this Island etc

With the ‘simpler times’ comment I have to for the sake of my sanity have to think that it was because Pietro knew where he was. Things were clear to him, as much as it hurt he had his sister. The following trauma had not occurred. Again I don’t think this is true but I am trying to reason bad writing. He didn’t doubt his morality but was indebted and controlled. Shitty actions were out of his control.

I don’t read Avengers so I didn’t know he was shelved for so long.

I think the Trial of Magneto is trying to ride on the coattails of Wandavision because even though she’s not a mutant a lot of the internet was wanting Magneto to show up. So what is the best way to get those fans who wanted to see that? Set up a family comic book where they establish the family again because I guess the MCU fans heard they’ve changed their background and themselves didn’t like it.

I see the Trial of Magneto as something poorly thought out as they saw what the audience was interested in. The timeline kind of clashes uncomfortably with Inferno. Which makes me think it was wedged in there to ride the Wandavision train and undo the retcon on the side of the main storyline.

Thank you for reading my essay/rant

Ok so I'm going to first say you have a lot of great thoughts and great on picking up the whole forced feeling. You are right, it does feel wedged in there and it does feel forced because that's exactly what Marvel did.

The Trial of Magneto was supposed to be an X-Factor plot, it was Leah Williams next arc, here's an article link talking about her podcast: link (yes I know it's bleeding cool but I don't have time to listen to the podcast)

Leah Williams tells us that X-Factor was canceled because Leah's pitch for the Magneto/Wanda story for X-Factor, now called Trial Of Magneto, became such a popular pitch at Marvel but they thought the reader numbers for X-Factor wasn't big enough for this story, so they wanted it as a separate comic. And canceled X-Factor #10 rather than seeing it run as originally planned, with the Trial beginning in X-Factor #15. Williams says she only learned about the cancellation of X-Factor when she was writing #9, so as she had to finish the series quickly, squeezing six issues worth of story into those last two issues, calling it "cramped and rushed".

So I'm not a fan of Leah but the way Marvel treats it's writers has always been terrible so this cancellation doesn't surprise me. Could this be about W*ndaVision? It's likely, but it's more likely this has to do with Hickman bowing out. It's no secret literally everyone hated the retcon and I always knew it would be undone but I didn't think it would take 6 years but here we are.

Hickman leaving is a bigger thing, he stated in an interview ( link ) that he had planned Krakoa and X-Men to be a 3 arc story, and he wasn't allowed to move onto the 2nd arc because the clowns at Marvel liked the idea of Krakoa too much and I'm so mad because that's exactly the kinda behavior that annoys me with the fans, them thinking Krakoa is just a fun playground for the mutants to mess around with.

"Oh, plans have changed entirely," Hickman says. "When I pitched the X-Men story I wanted to do, I pitched a very big, very broad, three-act, three-event narrative, the first of which was House of X. And while this loosely worked as a three-year plan, I told Marvel upfront that I honestly had no idea how long the first part would last because there were a lot of interesting ideas that I had seeded that other creators would want to play with, and so, we left this rather open-ended. I was also pretty clear with all the writers that came into the office what the initial, three-act plan was so no one would be surprised when it was time for the line to pivot." Hickman continues, "However, I also knew that I was cooking with dynamite, and it was very possible that what I had written in House of X, and the ideas contained within, was not actually the first act of a three-act story, but something that resonated more deeply and worked more like Giant-Size X-Men, where it would represent a paradigm shift in the entire X-Men line for a prolonged period of time. So, during the pandemic, when the time came for me to start pointing things toward writing the second-act event, I asked everyone if they were ready for me to do that, and to a man, everyone wanted to stay in the first act. It was really interesting, because I appreciated that House of X resonated with them to the extent that they didn't want it to end, but the reality was that I knew I would be leaving the line early."

I'm so MAD because the thing I was predicting, that Hickman would have it come crashing down and everything would be revealed to be terrible and Mutant Death Sex Cult Island wasn't a paradise is never going to happen because the fucking CLOWNS at Marvel don't want him to move past it. I may have my personal gripes about some of Hickman's writing but we can't deny the man wrote one of the best if only the best Marvel Event with Fantastic Four/Avengers/Secret War.

As for the simpler times comment, like I have my theories that I wrote out here, and that's what I think is most likely but I do think Pietro's life has never been easy or simple once his adoptive parents died. Pietro could be drinking to a time before the Brotherhood.

I would love for a Jewish actor to play Magneto and any other characters who are Jewish. I would love for a Jewish writer to be able to write them too. However Ian's performance literally set him in the minds of the people as Magneto, not even Fassbender's bleh one note Magneto could compare. Imo the only reason people liked the younger Magneto was because he was young, handsome (? ig idk i dont simp for him) and they could ship him with young professor X (cowards. where is the old man ship???) But I feel like a new actor could definitely fill the role if they are Jewish and the writing was good.

Magneto's writing in comics... well I just wish we could have a Jewish writer for him. There's some great stuff for him but I feel like characters like him and Doom could be written better by non white/american writers.

Although by today's standards the og X-Men trilogy doesn't hold up I will defend the first two movies with my life simply because after Blade these movies opened up the idea that a good serious, non campy version where characters called Magneto and Cyclops were taken seriously. X2 in my mind was the definitive X-Men movie. Was it totally comic accurate? No, but it doesn't do what the MCU does, it doesn't treat the watcher like they need to have their hand held through all the military propaganda and "hints to the comics". Also side note; the reason no one cared about any of the other X-Men being recast is because all through most of the X-Men movies the focal story point has been Professor X vs Magneto. If they really want people to care about those characters/actors then we would need stories that focused on them. Not like how Storm barely had any character growth or plot in the og X-Men and even young Ororo got mishandled by the script. This is why I feel we should have "origin movies" for the X-Men that don't do what Wolverine Origins did and try to make a whole new cast but instead should use the stories as they are. If it was Kurt's story then we would see him join the X-Men, and have the other actors revolve around that. Same with each of the others, the X-Men work best when they are working off each other and each given enough screen/page time to shine. Unfortunately we all have our favorites, even movies and writers, so those are who are going to be pushed for fans to love.

Thank you for your long rant and sorry for my own long rant/reply.

[lilydalexf]

Old School X is a project interviewing X-Files fanfic authors who were posting fic during the original run of the show. New interviews are posted every Tuesday.

Interview with Syntax6

Syntax6 has 17 stories at Gossamer, but you should visit her website for the complete collection of her fics and to see the cover art that comes with many of the stories (and to find her pro writing!). She's written some of the most beloved casefiles in the fandom. I've recced literally all of them here before. Twice. Big thanks to Syntax6 for doing this interview.

Does it surprise you that people are still interested in reading your X-Files fanfics and others that were posted during the original run of the show (1993-2002)?

I’m delighted but not surprised because I’ve written and read fanfic for shows even older than XF. Also, I joined the XF fandom relatively late, at the end of 1999, so there were already hundreds of “classic” fics out there, stories that were theoretically superseded or dated by canon developments that came after them, but which nonetheless remained compelling in their own right. That is the beauty of fanfic: it is inspired by its original creators but not bound by them. It’s a world of “what if” and each story gets to run in a new direction, irrespective of the canon and all the other stories spinning off in their own universes. In this way, fanfic becomes almost timeless.

What do you think of when you think about your X-Files fandom experience? What did you take away from it? What did you take away from your experience with X-Files fic or with the fandom in general?

(I feel these are similar, at least for me, so I will combine them here.)

First and foremost, I found friends. There was a table full of XF fanfic writers at my wedding. Bugs was my maid of honor. I still talk to someone from XF fandom pretty much every day. Lysandra, Maybe Amanda, Michelle Kiefer, bugs…these are just some of the people who’ve been part of my life for half my existence now. Sometimes I get to have dinner with Audrey Roget or Anjou or MCA. Deb Wells and Sarah Ellen Parsons are part of my pro fic beta team. I have a similar list from the Hunter fandom, terrific people who have enriched my life in numerous ways and I am honored to count as friends.

Second, I learned a lot about writing during my years in XF fandom. I grew up there. Part of this growth experience was simply due to practice. I wrote about 1.2 million words of XF fanfic, which is the equivalent of 15 novels. I made mistakes and learned from them. But another essential part of learning is absorbing different kinds of well-told tales, and XF had these in spades. Some stories were funny. Others were lyrical. Some were short pieces with nary a word wasted while others were sprawling epics that took you on an adventure. The neat thing about XF is that it has space for many different kinds of stories, from hard-core sci-fi to historical romance. You can watch other authors executing these varied pieces and learn from them. You can form critique groups and ask for betas and get direct feedback on how to improve. It’s collaborative and fun, and this can’t be underestimated, generally supportive. The underlying shared love of the original product means that everyone comes into your work predisposed to enjoy it. I am grateful for all the encouragement and the critiques I received over my years in fandom.

Finally, I think a valuable lesson for writers that you can find in fandom, but not in your local author critique group, is how to handle yourself when your work goes public. Not everyone is going to like your work and they will make sure you know it. Some people will like it maybe too much, to the point where they cross boundaries. Learning to disengage yourself from public reaction to your work is a difficult but crucial aspect of being a writer. You control the story. You can’t control reaction to it. It’s frustrating at first, perhaps, but in the end, it’s freeing.

Social media didn't really exist during the show's original run. How were you most involved with the X-Files online (atxc, message board, email mailing list, etc.)?

I participated in ATXC, the Haven message boards, and the Scullyfic mailing list/news group. For a number of years, I also ran a fic discussion group with bugs called The Why Incision.

What got you involved with X-Files fanfic?

I started reading XF fanfic before I began watching the show. I had watched one season two episode (Soft Light) and then seen bits and pieces of a few others from season four. I’d seen Fight the Future. Basically, I’d seen enough to know which one was Mulder and which one was Scully, and which one believed in aliens. An acquaintance linked me to a rec site for XF fanfic (Gertie’s, maybe?) so that I could see how fic was formatted for the web. I clicked a fic, I think it was one by Lydia Bower dealing with Scully’s cancer arc, and basically did not stop reading. Soon I was printing off 300K of fic to take home with me each night. I could not believe the level of talent in the fandom, and that there were so many excellent writers just giving away their works for free. I wanted to play in this sandbox, too, so I started renting the VHS tapes to catch up on old episodes (see, I am An Old). After a few months, I began writing my own stuff.

What was it that got you hooked on the X-Files as a show?

I had to be dragged kicking and screaming to The X-Files. I’m not a sci-fi person by nature. I think my main objection is that, when done poorly, it feels lazy to me. Who did the thing? A ghost! Maybe an alien? I guess we’ll never know. You can always just shrug and play some spooky music and the “truth will always be out there…” somewhere beyond the story in front of you. You never have to commit to any kind of truth because you can invent some magical power or new kind of alien to change the story. I think, by the bitter end, the XF had devolved into this kind of storytelling. The mytharc made no kind of sense even in its own universe. But for years the XF achieved the best aspects of sci-fi storytelling—narrative flexibility and an apotheosis of our current fears dressed up as a super entertaining yarn.

What eventually sold me on the XF as a show is all of the smart storytelling and the sheer amount of ideas contained within its run. At its best, it’s a brilliant show. You have mediations on good versus evil, the role of government in a free society, is there a God, are we alone in the universe, and what are the elements that make us who we are? If Mulder and Morris Fletcher switch bodies, how do we know it’s really “them”? The tonal shifts from week to week were clever and engaging. For Vince Gilligan, truth was always found in fellow human beings. For Darin Morgan, humans were the biggest monster of all. The show was big enough to contain both these premises, and indeed, was stronger for it. The deep questions, the character quirks, the unsolved mysteries and all that went unsaid in the Mulder-Scully relationship left so much room for fanfic writers to do their own work. As such, the fandom attracted and continues to attract both dabbling writers and those who are serious craftspeople. People who like the mystery and those who like the sci-fi angle. Scientists and true believers. Like the show, it’s big enough for all.

What is your relationship like now to X-Files fandom?

I look at it like an old friend I catch up with once in a while. We’ve been close for so long that there’s no awkwardness—we just get each other! I love seeing people post screen shots and commentary, and I think it’s wonderful that so many writers are still inventing new adventures for Mulder and Scully. That is how the characters live on, and indeed how any of us lives on, through the stories that others tell about us.

Were you involved with any fandoms after the X-Files? If so, what was it like compared to X-Files?

I ran the Hunter fandom for about five years, mostly because when I poked my head back in, I found the person in change was a bully who’d shut down everything due to her own waning interest. A person would try to start a topic for discussion, and she’d say, “We’ve already covered that.” Well, yes, in a 30-year-old show, there’s not a lot of new ground…

Most other shows, Hunter included, have smaller fandoms and thus don’t attract the depth of fan talent. I don’t just mean fanfic writers. I mean those who do visual art, fan vids, critiques, etc. The XF fandom has all these in droves, which makes it a rare and special place. But all fandoms have the particular joy of geeking out over favorite scenes and reveling in the meeting of shared minds. It will always look odd to those not contained within it, which brings me to the part of modern fandom I find somewhat uncomfortable…the creators are often in fan-space.

In Hunter, the female lead joins fan groups and participates. This is more common now in the age of social media, where writers, producers, actors, etc., are on the same platforms as the rest of us. Fan and creator interaction used to be highly circumscribed: fans wrote letters and maybe received a signed headshot in return. There were cons where show runners gave panels and took questions from the audience. You could stand in line to meet your favorite star. Now, you can @ your favorite star on Twitter, message her on Facebook or follow him on Instagram. In some ways, this is so fun! In other ways, it blurs in the lines in ways that make me uncomfortable. I think it’s rude, for example, if a fan were to go on a star’s social media and post fanfic there or say, “I thought the episode you wrote was terrible.” But what if it’s fan space and the actor is sitting right there, watching you? Is it rude to post fanfic in front of her, especially if she says it makes her uncomfortable? Is it mean to tell a writer his episode sucked right to his face?

Do you ever still watch The X-Files or think about Mulder and Scully?

I own the first seven seasons on DVD and will pull them out from time to time to rewatch old faves. I’ve shown a few episodes over the spring and summer to my ten-year-old daughter, and it’s been fun to see the series through her eyes. We’ve mostly opted for the comedic episodes because there’s enough going on in the real world to give her nightmares. Her favorite so far is Je Souhaite.

Do you ever still read X-Files fic? Fic in another fandom?

I don’t have much bandwidth to read fanfic these days. My job as a mystery/thriller author means I have to keep up with the market so I do most of my reading there right now. I also beta read for some pro-fic friends and betaing a novel will keep you busy.

Do you have any favorite X-Files fanfic stories or authors?

I read so much back in the day that this answer could go on for pages. Alas, it also hasn’t changed much over the past fifteen years because I haven’t read much since then. But, as we’re talking Golden Oldies today, here are a bunch:

All the Mulders, by Alloway I find this short story both hilarious and haunting. Scully embraces her power in the upside down post-apocalyptic world.

Strangers and the Strange Dead, by Kipler Taut prose and an intriguing 3rd party POV make this story a winner, and that’s before the kicker of an ending, which presaged 1013’s.

Cellphone, by Marasmus Talk about your killer twists! Also one of the cleverest titles coming or going.

Arizona Highways, by Fialka I think this is one of the best-crafted stories to come out of the XF. It’s majestic in scope, full of complex literary structure and theme, and yet the plot moves like a runaway freight train. Both the Mulder and Scully characterizations are handled with tender care.

So, We Kissed, by Alelou What I love about this one is how it grounds Mulder and Scully in the ordinary. Mulder’s terrible secret doesn’t involve a UFO or some CSM-conspiracy. Scully goes to therapy that actually looks like therapy. I guess what I’m saying is that I utterly believe this version of M & S in addition to just enjoying reading about them.

Sore Luck at the Luxor, by Anubis Hot, funny, atmospheric. What’s not to love?

Black Hole Season, by Penumbra Nobody does wordsmithing like Penumbra. I use her in arguments with professional writers when they try to tell me that adverbs and adjectives MUST GO. Just gorgeous, sly, insightful prose.

The Dreaming Sea, by Revely This one reads like a fairytale in all the best ways. Revely creates such loving, beautiful worlds for M & S to live in, and I wish they could stay there always.

Malus Genius, by Plausible Deniability and MaybeAmanda Funny and fun, with great original characters, a sly casefile and some clear-eyed musings on the perils of getting older. This one resonates more and more the older I get. ;)

Riding the Whirlpool, by Pufferdeux I look this one up periodically to prove to people that it exists. Scully gets off on a washing machine while Mulder helps. Yet it’s in character? And kinda works? This one has to be read to be believed.

Bone of Contention (part 1, part 2), by Michelle Kiefer and Kel People used to tell me all the time that casefiles are super easy to write while the poetic vignette is hard. Well, I can’t say which is harder but there much fewer well-done casefiles in the fandom than there are poetic vignettes. This is one of the great ones.

Antidote, by Rachel Howard A fic that manages to be both hot and cold as it imagines Mulder and Scully trying to stay alive in the frosty wilderness while a deadly virus is on the loose. This is an ooooold fic that holds up impressively well given everything that followed it!

Falling Down in Four Acts, by Anubis Anubis was actually a bunch of different writers sharing a single author name. This particular one paints an angry, vivid world for Our Heroes and their compatriots. There is no happy ending here, but I read this once and it stayed with me forever.

The Opposite of Impulse, by Maria Nicole A sweet slice of life on a sunny day. When I imagine a gentler universe for Mulder and Scully, this is the kind of place I’d put them.

What is your favorite of your own fics, X-Files and/or otherwise?

Bait and Switch is probably the most sophisticated and tightly plotted. It was late in my fanfic “career” and so it shows the benefits to all that learning. My favorite varies a lot, but I’ll say Universal Invariants because that one was nothing but fun.

Do you think you'll ever write another X-Files story? Or dust off and post an oldie that for whatever reason never made it online?

I never say never! I don’t have any oldies sitting around, though. Everything I wrote, I posted.

Do you still write fic now? Or other creative work?

I write casefiles…er, I mean mysteries, under my own name now, Joanna Schaffhausen. My main series with Reed and Ellery consists of a male-female crime solving team, so I get a little bit of my XF kick that way. Their first book, The Vanishing Season, started its life as an XF fanfic back in the day. I had to rewrite it from the ground up to get it published, but if you know both stories, you can spot the similarities.

Where do you get ideas for stories?

The answer any writer will tell you is “everywhere.” Ideas are cheap and they’re all around us—on the news, on the subway, in conversations with friends, from Twitter memes, on a walk through the woods. My mysteries are often rooted in true crime, often more than one of them.

Each idea is like a strand of colored thread, and you have to braid them together into a coherent story. This is the tricky part, determining which threads belong in which story. If the ideas enhance one another or if they just create an ugly tangent.

Mostly, though, stories begin by asking “what if?” What if Scully’s boyfriend Ethan had never been cut from the pilot? What if Scully had moved to Utah after Fight the Future? What if the Lone Gunmen financed their toys by writing a successful comic book starring a thinly veiled Mulder and Scully?

Growing up, I had a sweet old lady for a neighbor. Her name was Doris and she gave me coffee ice cream while we watched Wheel of Fortune together. Every time there was a snow storm, the snow melted in her backyard in a such way that suggested she had numerous bodies buried out there. How’s that for a “what if?”

What's the story behind your pen name?

I’ve had a few of them and honestly can’t tell you where they came from, it’s been so long ago. The “6” part of syntax6 is because I joke that 6 is my lucky number. In eighth grade, my algebra teacher would go around the room in order, asking each student their answer to the previous night’s homework problems. I realized quickly that I didn’t have to do all the problems, just the fifteenth one because my desk was 15th on her list. This worked well until the day she decided to call on kids in random order. When she got to me and asked me the answer to the problem I had not done, I just invented something on the spot. “Uh…six?”

Her: “You mean 0.6, don’t you?”

Me, nodding vigorously: “YES, I DO.”

Her: “Very good. Moving on…”

Do your friends and family know about your fic and, if so, what have been their reactions?

My close friends and family have always known, and reactions have varied from mild befuddlement to enthusiastic support. My father voted in the Spookies one year, and you can believe he read the nominated stories before casting his vote. I think the most common reaction was: Why are you doing this for free? Why aren’t you trying to be a paid writer?

Well, having done both now, I can tell you that each kind of writing brings its own rewards. Fanfic is freeing because there is no pressure to make money from it. You can take risks and try new things and not have to worry if it fits into your business plan.

(Posted by Lilydale on September 15, 2020)

[enigma-im]

More Than Just a Line of Code Pt.1

Robot x Female Character. Tracey Romero recieves a bot from her Auntie Carol. Little does she know that he isnt just some everyday house bot.

Rating: Teen Relationship: Robot X Female!Human Warning: fluff, exposure of genitals, pg13 at most, robot and human relationships

Word Count: 3835

Part 2

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I walk up the steps to my two-story bungalow. Juggling the keys in one hand while adjusting the phone against my ear.

"Two weeks, tops! You can’t expect me to give you quality when you take away my clock," I chided. I unlock the door and head inside. The voice on the other end rants out some excuses and reprimands. It was idle threats, just some big dog talk. I throw the keys onto the side table, missing the bowl I bought for them.

I roll my eyes as I toe my shoes off," Let me explain how this will work if I do what you are asking. First, I will be rushed, I’ll work late with a fishbowl of coffee beside me at all times. Then after about three nights of this, I'm going to get sloppy. Which for me is still really good work but it’s not the best. I always promise my best but only if you work with me on this. So I ask you, do you want it done or do you want it done perfect?". I waited in the foyer for his answer. I already knew what he was going to say. No one wants subpar work, it’s understandable. He is paying big money for my expertise and it would be foolish of him to deny me now.

After a moment I heard the beautiful sound of his begrudging approval. I fist pump, "Two weeks and you will have the best software on this side of the Mississippi. The Tracey Romero guarantee.". With a few words, I hang up. I smirk down at my phone before shoving it into my pocket and walking to the kitchen.

I shimmy around the kitchen, dancing to my own music." I got the extend, I got the extend," I sing. I grab some bread and make myself a sandwich while still patting myself on the back.

I didn’t need the extend, his software was mostly done already. His team did a great job. It just needed some touching up then to be properly tested. Take about two afternoons at the most. I just wanted to go on break and get paid for it. Call me a con, it’s just a living.

-

As I sat at my computer, I heard the chimes of my security system. Then the quick thuds from the front door. I huffed as I pulled up my front door camera. I saw my front porch and a man walking away from the steps to a van.

"Someone has a package," I quirked to no one. I hopped off the chair and headed to the front door. Once I opened the door, I looked down at a huge box crate. It was as generic as they came, even had the large text of the word 'Fragile" on every side.

"Well, I have no idea how to move this," I mumbled as I tried to push it with my foot. It was heavy for sure. I bent over to try to pick it up, but it mostly just hurt my back. Rubbing my spine I pondered how to get this thing inside.

I would consider myself smart, maybe even a genius. I was a straight-A student, graduated top of my class at CMU in Pittsburgh. So using my beautiful mind I came up with a way to move the box. I pushed it inside.

Using a pry bar in my foyer to open the crate. The nails were removed smoothly, and the lid slid to the floor. Looking inside I first noticed a large black dome near my knees. Looking down from there I saw a large trapezoid shape then the rest was submerged in the shredded bits of cardboard. After a few moments of observing I figured out what it was.

"Of hell yea, it’s a robot," I shouted with giddy. I dropped to my knees and shoved my hands around the head. In most standard bipedal robots the on switch was near the neck. Right towards the faceplate. "Come on, momma wants to play with her new toy," I chuckle. With a flick, the faceplate turned on in a blinding light. It switched off quickly but still left me seeing stars. I jerk back when it jolted forward. It sat up straight then the soft sound of buzzing echoed in the room. I waited patiently for their system to boot up.

I got off my knees and walked around to watch it. Its face was blank, it just had the reflection of light. Showing off the dust and pieces of cardboard it laid in. getting bored I looked over at the lid to see who sent me a full robot. Even though robots are common it didn’t mean they were inexpensive. I make good money; I live very comfortably. Still buying a robot would set me back and make me eat nothing but microwave dinners for a month.

As I found that it is my aunt who sent it, I noticed the bot was staring at me. I turned at looked up at them and still, their faceplate showed nothing. I waved at them as I sat up. To my amusement, they waved back, but more jerky motions.

"Do you talk," I ask.

It dropped its hand, "Yes."

"Then mind introducing yourself," I smile. Its head tilted to the side for a second then back to normal. It faces plate lit up with a standard face. It was cartoony but it was most likely meant to be comforting. No one wants a robot with a mean-looking face. It smiled wide at me then dropped it to neutral. I quirked an eyebrow and they copied me. "You copying me," I chuckle.

"imitating, but yes," he answers. His voice isn't obstructed like in most bots. It sounds basically human, normal even.

"semantics, either way, I'm Tracey. Who might you be,” I greet. I try to coax them into introducing themselves.

"You are very appealing," they look me up and down.

I snap my fingers catching their attention," Getting off track, doll. Name please."

"Yes, I am D-4N1-3L," they finally introduce. I mumble out their text to myself.

"Daniel," I offer. They nod. "Alright, Daniel, do you mind if I call you a he?"

"He," he cocks his head.

"Give ya male pronouns. Or would you rather them/they," I clarify.

"He," they repeat, "I'm a man."

"Alright then Daniel, shall we get you out of that box," I stand and offer a hand. He looks at it before cautiously grabbing it. I don’t need to offer actual help because he stands on his own. He steps out of the crate and I get a good look at him. His build is standard if not a bit retro. Most robots I've seen are completely covered in their shielding plastic. Hiding all of their technical bits. Yet he has his joints exposed and everything else covered. His neck showed his wiring and the air cylinder that limits his neck movement. To anyone else, he would look like junk, some outdated pieces of hardware. But to me, oh to me he looks terrific.

-

I leaned against the island in the kitchen, watching as he wanders around. He snoops through my cabinets, investigating everything he finds. I look down at my phone that's ringing near my arm. I have set out to call my aunt about Daniel. I placed it on speakerphone so Daniel could listen if he felt inclined to.

After the fifth ring, she picks up. "Whose got three thumbs and is excited you called? This aunt," there was a confused pause," This would be funnier if you saw me, I'm holding a thumb right now. Either way what's up Chica?"

"If I didn’t know you were a mechanic id assume the worst about that severed thumb you are presumably holding," I eye Daniel as I answer. He was currently messing with the microwave. Pressing buttons and jumping when he turned it on.

"besides my possible dismemberment what do I owe this pleasure," She asks. In the background, I could hear some loud tinging noises. Probably in her workshop, or she does in fact have a human finger. Then probably a different workshop if that were the case.

"Well, I’ll give you a hint," I lean on my elbow.

"Oh goodie, I love games. Three hints," she chuckles.

I can’t help but chuckle as well, "alright three hints. Its long, hard, and came in a box."

"Tracey," She scolds, " I don’t believe you should talk about that kind of thing with your aunt. It seems more like a mother conversation."

"I don’t know, mom would be upset that I have him in the house," I answer vaguely.

"Oh, batteries not included? Who needed powered boyfriends when you can get the real thing," She jokes.

I shake my head," we both know battery-operated is better. Humans don’t tend to vibrate.". This caught Daniel's attention.

"I can vibrate," He informs pointing to his face.

"I'm sure you can, doll," I look up at him.

"And who is that," my aunt asks.

"My new boyfriend, best model out there. Even has same-day delivery," I joke. Daniel cocks his head and his electronic eyebrows furrow.

"A robot," she asks before it clicks," Right! The robot, god I'm a terrible creator. How could I forget my baby boy."

"Terrible mother indeed," I click my tongue," tsk, tsk. Don’t worry, I’ll take good care of him.". I look up at Daniel again and give him a wink. He turns his head as a pink color shines from his screen. "Aw, he blushes," I coo.

"Of course he blushes, he has a full range of emotions. My best work if I do say so myself," she pats herself on the back," Practically human."

"So it’s an A.I.," I ask," here I thought I was getting a butler. But I shouldn’t be so disappointed, I got a new friend instead."

Daniel turns his head to look at me," friend? I thought I was your boyfriend."

"We can talk about that later, doll," I answer.

"Aw, breaking up already. Poor Daniel, only been alive for a year and now he has his first broken heart," My aunt coos.

"We are talking about its later Carol, I'm sure it will be fine," Daniel says to the phone.

"You have me on speaker," My aunt asks, "Hi Daniel darling, how do you like Tracey's place?"

"It is cozy, living here would be most joyous," He answers.

"that’s a great sweetie. be nice to Tracey, ok?"

Daniel cocks his head," Why wouldn’t I be anything but?"

"No reason, sorry I doubted you," She apologizes.

"Well, I'm going to get off. Just making sure that you did indeed send me a bot. you can never be too sure," I call out.

"Oh absolutely. Love you baby, take good care of him. He is a sensitive bot, you may forget that he is more than a robot sometimes," She warns.

"Goodbye Carol," Daniel calls out. With that I press end. I cross my arms and lean forward. We both look each other over, observing in the silence.

"Do we need to talk," He asks with an adorable head tilt.

"About what," I answer with a question.

"Us. Are you breaking up with me?" I can’t help but laugh. This only confused him more.

"We aren't together, Daniel. That was just a joke I made with aunt Carol," I answer. I step away from the table and walk around to the fridge.

Daniel stepped away from the table as well and laces his fingers together. It was interesting, robots generally don’t have nervous ticks or idiosyncrasies. Auntie did a good job with him.

"Well, that I won’t lie and say that I'm unfavorable to that," He dropped his head. I was a bit confused about his reaction. He is a strange robot.

"You want to date," I ask. What did she program into this guy? It got my brain moving, how could anyone get a robot to seem so human. Most had applications built in to pretend to empathize with someone, but this was too detailed.

He looked up with a wide expression," Yes."

"Why?"

Daniel looks me up and down before walking over. He takes a hold of my hands and intertwines them.

"You are very appealing," He mimics his earlier words. I pull my hands from his and stare up at him confused. A strange robot indeed.

-

I sit at my computer with my legs crossed. I hunch over my keyboard and stare with my mouth partially opened. I'm working on pulling up Daniel's code and programs. He is currently hooked up to my tower with a bunch of cables. He is sitting patiently, if not happily, against the wall. His 'eyes' were darting around the room, taking in all the area has to offer.

"What is a battery-operated boyfriend," He cuts the silence. I jerk away from the computer, not use to having someone around in my office.

"what? Why do you ask," I blush.

His eyes focus on me, "you said it earlier, I was curious. Technically I'm a battery-operated boyfriend but I'm assuming it isn't me you were referencing."

I can’t help but smile," I guess you are a battery-operated boyfriend. But you are correct, I wasn’t referring to you."

"Then what is it," he asks again.

I look back to my computer, "I'm not going to answer that." I glance over at him for a second and see him pouting. Another curious attribute.

-

I stare amazed at the lines and lines of text. His code was so long, even too long. There were programs for such minor things like when to twitch his finger or raise an eyebrow. Looking further I found a curious program label 'Surprise'. Of course, I clicked on it, I'm only human. Looking it over I was nosy to turn the function on.

"Oh, this is new," Daniel mumbles to himself. I look over as he raises his hands from his lap. Looking down I see a protrusion.

"Oh indeed," I say shocked. He was majority matte black with traces of blue deep in his wiring. The protrusion was more on the blue side and had the lining of matte black. It was definitely an eye-catcher.

-

"Why does he have a cock," I nearly shout into the phone.

"Cutting to the chase, I guess. No foreplay, but I'm going to guess there was some if you found this out," My aunt jokes.

"Not funny, I looked through his programs. Also seriously, you named it surprise," I sneer. This was extremely uncalled for. Auntie has always been a mischievous person. Last year she spiked the punch at the family reunion to 'spice up the party'.  But this was too much. "Seriously, you sent me a sex robot? Not to steal your joke from earlier but I feel this would be a better present for mom," I scold. Mom divorced dad about five years ago, this seemed like a better gift to a lonely mother than a 25 y/o.

"First off, ew. I don’t want to think about my sister's sex life a-"

I interrupt her, "And you want to think about mine?"

"Do not use that tone with me. You haven't had a boyfriend since high school, you bury yourself in work. You convinced yourself that it’s enough, fulfilling even. Excuse me for thinking of you. Also, I will make this clear, I made his A.I. as a little side project. He was not for you till after he was made. His personality seemed perfect for you, so sue me for being kind," Carol snapped. I grabbed the bridge of my nose and sighed.

"Fine, I'm sorry. It was kind of you to think of me but It's a bit much that you added such a personal feature," I say calmer.

"I know you will find some use for it, till then please don’t treat him differently for it. I'm sure he doesn’t know what it’s even for," she pleads. I sigh again, this is just weird.

"Alright, I will still take good care of him," I relent. He is but a vessel for my aunt's ignorant kindness.

"I'm sure you will," she laughs.

"Goodbye carol," I hang up. I drop my phone onto the kitchen counter and exhale. Out of the corner of my eye, I can see Daniel peaking his head out from my office.

"Are you angry with me," he asks. I look up at him and can’t help but smile.

"Of course not, just surprised," I answer. It was honest, I can’t be mad at him. I've known him for a few hours and I already adore him. He has such wonder for everything around him that makes my jaded self feel humble.

-

A few weeks with Daniel have been both tiring and rejuvenating. He asks so many questions that I gave up answering them and just introduced him to the internet. I got curious one day and checked his history, he goes on a lot of tangents. Now that he can answer his own questions online, he has moved on to asking about myself. He would ask about my interest or my job. Even comment on things he likes about me. For a robot, he was a bit of a flirt. His favorite thing about me was my hands. He said they were 'gentle and talented'.

We currently stood in the kitchen. He watched me as I cooked, he says he enjoys watching my human rituals. He can’t eat so he just likes watching me eat.

I stir the pot of food as I call out to my home bot," Home, play 90's hits." There was a chime then the music began to play softly from the speakers. Daniel looks around the room a bit confused.

"what was that," he asks her.

"My home bot, it controls some electronics around the house like lights or locks," I explain. He nods his head.

I get into the music and shimmy a bit as I finish off my meal. I slide towards my cabinet and pull out a bowl. With a twirl, I slide the bowl to the stove. Shaking my hips I pour a large helping of soup. Another twirl and I turn to Daniel. His face had its pink cheeks and wide-eyed expression. I set my food down and stare curiously. Why was he blushing?

Before I could ask, I caught sight of his blue swelling. I raised my eyebrows in shock and acknowledgment.

"I'm sorry," he stepped closer to the island to hide himself from view.

"N-No needs to be sorry," I stutter," I'm just curious why it decided to make itself known."

He turned his head as he continued blushing," Y-you."

I point to myself," Me?"

He nods, "You w-were dancing around. You have a firm r-rear."

"O-Oh, thank you," I blush. For the time he has been here I have never witnessed his, um, member. Since the first day it has never come up, pun intended, it’s never been noted again.

"Have you ever, um. Have you ever had this happen before," I ask a bit nervous. We have flirted a bit but I'm still off-put of using him. To have a boyfriend was simple, but to fuck him felt wrong. It was a bit taboo to keep a fully functioning robot around as a sex toy. Even if he seemed human, he wasn’t.

"Yes," He answered short.

"When," I look up at him.

"Depends. Sometimes when you bend over, other times when your shirt drops a bit too low. Most the time is when we sit together on the couch," He answers calmer than earlier.

"When we watch movies," I ask. We watch movies every weekend, I never noticed anything. Not that I would be looking at his crotch.

"Yes," He steps around the island and stops on the side. His crotch still blocked but he was in arms reach. "when u start to daze off and you rest your head on my shoulder. I feel the tingle and I want nothing more than to touch you," he smiles. He places his hands on the counter, not moving them but keeping them where they are. Daniel was leaving me to decide.

Daniel is very smart, never doubted it. Yet he still surprises me with his emotional intelligence. It’s easy to program a robot to see patterns or understand words on a paper. To explain an abstract concept like emotions was hard. You can fake it, but it always comes across as wrong, almost psychopathic. In Daniel, it came off as authentic. It felt real, like he honestly felt those things.

I bounce my finger on the counter as I stare at his hands. He still waited on me.

"You want to touch me," I ask softly. I look down at his fingers. One hand was stretched a bit farther than the other. His hand was sideways, his fingers were slightly splayed.

"more than anything," He murmured. His index twitched a bit.

I skidded my fingers across the table and let our fingers tap against each other. He didn’t move more than his fingers, leaving me with the choice still. Daniel was really smart indeed. I moved closer and grasped his hand, intertwining our fingers. I could hear his body make a low buzzing noise and his chest expand slightly.

My other hand grabs his free one. I pulled him around the table and towards me. Releasing my grip, and him reluctantly doing the same, I reach forward and hug him. I rest my hands on his lower back and my head on his chest. He does his form of a sigh again before wrapping his arms around me. He rests his head on mine and we just stand there.

This feels nice. I can’t remember the last I hugged someone. It had to be over seven years ago when I dated that saxophone player in high school. This felt better though, Daniel was warmer. I ran my hands up his back along the cylinders that controlled his back. I leaned back and looked up at him. I reached for his neck and pulled him down. I kiss him where his lips were on the screen. The whirling in his chest became a bit louder and his hold on my back gets a bit tighter.

I pull back with a shy smile. It felt silly to kiss a screen, but his reaction made it less so. He smiled at me too, even had his adorable blush on his screen.

Daniel led his head down and tapped his screen to my forehead. He pulled back after a moment and looked down at me.

"You look pretty when you blush," He mumbles.

"I could say the same thing about you," I smile.

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There is a part two. Also i did a lot of unnecessary research on this. even the name of the main character is shared with a famous programmer John Romero. He designed games like Doom or Wolfenstein. But check out my Archive page.

[disaster-by-chance]

Okay, okay, I think I'm finally going to address Clover's death.

I know a lot of people had mixed feelings towards Clover and that a lot of people had upset feelings about his death, but I just wanna put my own opinions on it out here for all y'all.

Clover Thoughts:

At first, I wasn't too sure what to think about Clover. I wanted to like him and his team, I really did. I always get excited when cool new characters are introduced and these guys were no exception. However, since I didn't know them well and they all seemed really cocky, I couldn't help but think that they were going to be traitors or something. I bought into the Clover is a traitor theories, despite me being really interested in his character.

For me,, when someone like Clover comes along, big, confident, strong, I immediately latch onto them. There's just something so intriguing about those kinds of people that just draws me in. So I couldn't resist him. But I also didn't trust him.

Time went on and slowly I began to trust him. He really hadn't shown any warning signs or hinted at betrayal, so I started to step away from the traitor theories. I did have a nightmare in where Clover did turn and it destroyed some of the trust I had built up,, but we don't talk about that.

Okay, I liked Clover. I genuinely did. I know some fans didn't care too much for him or they just didn't like him at all, but I did. I thought he was an interesting character and I was excited to see how he and Qrow's relationship (not necessarily romantically) would play out. I just wanted luck puns

I think part of me liking Clover is just that he was nice to Qrow. He was different in his actions to him and that kinda helped Qrow with his journey to recovery. If it wasn't obvious, Qrow is my favorite character from RWBY. I'm just naturally drawn to characters who have problems and then just suddenly turn into dad figures.

So since he was nice to Qrow, I liked him. And that's just me, that's how I am. If someone's nice to me,, I just fall for them instantly. You have my never ending loyalty. Clover had my loyalty.

Soon Clover played a bigger part in how I lived life. I started to want to be more like him, more positive, more uplifting, and all that crap. I spent a week giving my siblings compliments and it freaked them out. Clover's character made me want to be better. Hell, we don't know how much Clover knew about Qrow before James paired them up. He was just nice for the sake of being nice. What was he going to get out of it? He just saw that Qrow needed a friend, Qrow needed to get better, and so he helped. And gods,, that really did motivate me.

His clover became a helpful symbol for me. I made a little paper cut out to put in my phone case for some good luck. Then I made a wallpaper of the pin for my digital watch face as a reminder to be better. And last Saturday I made a keychain to have with me at all times. A reminder to be better about things. More positive.

I guess you could say he was something of a role model to me? And I know that's ridiculous after what he did and seeing as he wasn't here for long,, but damn...I really did like him.

I don't know. I just really liked him and wish I knew more about his past and semblance. I wish his story could've been explored more and stuff but...Things didn't quite work out that way.

The Fight:

I was,, disappointed to say the least. And at this point, I don't even know why I expect anything from any creator.

Look, I'm in the Marvel and Star Wars fandoms so I've had my fair (haha) share of bad characterization, bad arcs, and bad writing. But I thought RWBY was different and better than that.

I spent most of the scenes when they were fighting in anger. Tyrian was their target. He was more of a priority. They should've acted like civilized huntsman. But no.

And I get it, Clover had to do his job. They were all under stress and the atmosphere was really tense, I understand. But really?

I'm glad Qrow attempted to talk things out, but then, y'know...That didn't work out well in the end.

After the plane crash, I was devastated. I hated seeing the two fight against each other after seeing them work so well together in capturing Tyrian, and it just sucked.

I kept telling them to just talk it out, and in between the fighting they kinda did, but it just hurt. The hurt in Qrow's voice? Ugh. So good.

The teamup?? I get it. Qrow doesn't want to fight both of them, but why not turn into a bird and fly away? Or would that not work? I don't know..Anything else would've been nice.

Still hated these fight scenes. Even if the choreography was really good.

His Death Thoughts:

If you didn't buy into the traitor theory, then you had the death theory. That either him or someone from the Ace Ops was going to kick the bucket. And if you were like me, you believed both were possible.

When I was unsure about Clover, I also bought into the death theories. I didn't really want him to die, but I knew that it could happen, but I thought it would be later on. Other times I found it very possible that both would happen. And they fucking did.

At this point, I had totally forgotten about the death theories. I loved Clover too much to believe in that kind of shit. So when it happened, it hit me like a bus.

I was in utter shock and I don't think I started crying till later. After the video ended,, I just slammed my laptop shut and sobbed for a good ten minutes.

It was probably the most brutal thing I'd ever seen and just,, it hurt so much. Emotionally and physically. It just sucked..

I was upset because I knew he wasn't coming back from this. It was a huge wound. I was upset because I loved Clover. Stop killing my favorites. I was upset because it could've been avoided. And I was upset because what was the point other than for Qrangst?

I'm going to be honest, the scene did make me a little sick. And for the rest of the day I just had a terrible feeling in my stomach and that night I had a nightmare because of all the stress and pain I was feeling over the death.

So, yeah. It really did affect me and I hated the whole thing a lot. Not from a shipping point of view or anything, but because I liked Clover and because I want just a little more Qrangst, not a lot.

Throughout the week though, my brain has tried to both hurt and try to comfort me over my loss. Constantly the scene of him being stabbed replays in my mind and then everything goes greyscale before a kazoo verison of "Piano Man" starts to play. It's ridiculous and I hate my brain for thinking about it.

But the death did make me feel a lot of things. None that which were positive emotions.

Fan Response:

Okay, I love being in a fandom. I do. But with every fandom comes toxicity and RWBY is no exception. We probably have some of the worst cases of toxic fans, right next to Star Wars and Marvel.

I acknowledge that it feels like queerbaiting and BYGs,, but I just,, I don't know.

I think death threats are terrible. There's no reason for this. It's a fucking ship. Representation is great, I know. I'm a biracial bisexual, I live for representation. Nothing was explicitly said (i.e Clover flat out saying that he was gay or bi or pan,, ect)

Were they flirting? Maybe. Did things happen off screen that we didn't get to see? Likely. Yeah, they had their gay moments but Clover's trying to get Qrow to loosen up. He wants him to crack jokes with him and stuff. Y'all gotta be friends first before any sort of romantic relationships blossom.

Yes, shame on CRWBY for hyping Fairgame up and then literally killing it, but the need for death threats?? Quitting the show?? Ridiculous! They're real life humans who enjoy working on this show! Leave them be!

Look, every fandom has a moment in where their fans are left disappointed. They can't please everyone but they try their best and I think CRWBY is one example.

I'm a multishipper. I don't care who ends up with who, so long as they're happy. And so since one guy is dead and the other is probably broken by it,, you can say I'm upset too.

Am I sending death threats? No. Do I feel for Fairgame shippers. Yes. Will I quit watching the show? Of course fucking not. Am I hoping Clover comes back? 🤡 It's not that complicated.

So yeah. Those are my thoughts on the major controversies that came out of the last episode. Let me know what y'all thought.

And please. Be respectful.

It's what Monty would want.

[aion-rsa]

Superman & Lois Episode 4 Review: Haywire

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This Superman & Lois review contains spoilers.

Superman and Lois Episode 4

One of the most tired arguments in comics is about whether or not Superman is too powerful to tell good stories with. The plethora of exceptional, meaningful, moving Superman stories out there should put that argument to bed for good, but if they haven’t, feel free to direct anyone making it to “Haywire,” the fourth episode of what’s shaping up to be one of the best Superman arcs ever.

To my mind, the key Superman conflict has nothing to do with his power level and everything to do with the fact that he can’t be everywhere at once. He is a man who wants to help everyone, but has to prioritize where he can be and how much time he can stay there, and those choices all have consequences. That’s basically the thesis statement of this episode: Clark is being pulled in a thousand different directions at once, with his father-in-law climbing on his back about not being seen enough in Metropolis; an Intergang prisoner transfer going down; Morgan Edge about to close the deal on a mine outside of Smallville and Lois trying to run headfirst into Edge; and the boys trying to navigate school and also one of their classmates developing super speed.

But the thing that makes this episode, and the show as a whole, such a good Superman story isn’t necessarily the content of the story. It’s the storytelling, too. Superman & Lois excels at showing and telling. It weaves the three storylines – Clark, Lois and the kids – in and out, contrasting points against each other by bouncing from scene to scene to heighten the point. There are two spots this week where this is really well done.

The first is about midway through the episode. Lois’ big Morgan Edge expose in the Gazette has been spiked by a lawsuit threat – turns out Lois, a star reporter at a major metropolitan newspaper, had a noncompete WHODATHUNK (note: see the mailbag for who indeed thunk). So she pushed it off on Clark, who, as a well known mediocrity, had no such legal conflict, and was planning to bring up the issue in the big town meeting where Smallville was voting on granting Edge’s Intercorp mining rights to the party spot from the first episode.

Meanwhile, the Department of Defense was moving a super-prisoner out of town because Superman’s lack of presence in town was making the authorities skittish about keeping him in town. And at the same time, Sam Lane was giving the kids a hard time about being too needy now that they know their dad was Superman, because the rest of the world needed him more. 

Of course, nothing works out right. Superman takes way too long on a wild goose chase, so Edge wins the town vote nearly unanimously, while the stuff with Jordan and Jon takes some time to blow up. 

The performances really carry this sequence over. Hoechlin’s Clark agonizes over missing the vote and practically begs Tulloch’s Lois to be mad at him, and their argument is so natural and honest feeling that it’s immediately relatable. 

Later, when the family finds out what Sam said to the kids, there’s an argument in the farmhouse that is also immediately recognizable and yet perfectly performed. Clark is pissed at Sam, but Superman’s anger is so often played as some world-ending threat, with glowing red eyes and menacing body language, yet here Hoechlin plays it completely straight – as an angry dad dealing with a shitty in-law. I’m sure we’re going to keep talking about this as the show goes along, but the amount of acting Hoechlin and Tulloch do with only their body language, and the way it conveys exactly who Superman and Lois are both alone and in relation to each other is a HUGE part of the mastery of this show. 

The only problem I have with the episode is how it’s all a path to Sam’s radicalization into creating Project 7734. This is pretty BS for a couple of reasons: first, there’s no way the shady-ass government doesn’t already have a similar contingency plan (or 6) for dealing with a rogue Superman; and second, I know the episode is all about what a terrible parent he is, but I really can’t wrap my head around turning on Superman because he’s spending too much time with your grandkids. Maybe that’s what makes Sam a villain, but it’s also what makes this Superman the best he’s been so far in an already great show.

Metropolis Mailbag

Thaddeus Killgrave is a weaselly little shit created in the 1980s as a weapons designer for Intergang. The Killgrave we see on screen bears little resemblance to his comics version, where he was almost childlike in his stature. Instead, this bearded, bedraggled, mouth-noise-making character actually looks a lot like his creator, John Byrne.

Superman’s call sign when he’s working with the Department of Defense is “Bishop 6.” So…uh…does Sam Lane work for Checkmate? Checkmate is one of the various super-clandestine services operating in the DC Universe (along with Task Force X/Suicide Squad, Spyral, Kobra, Argus, the D.E.O., and on and on and on). Checkmate was first seen in Action Comics in the late 1980s and has counted among its members any number of famous DC heroes, from Deathstroke to Alan Scott and Mr. Terrific.

We have confirmation here that Morgan Edge is running a company called “Intercorp.” The Inter- prefix usually has connotations with Intergang (which is also present in the show), a gang of thugs organized by Bruno Mannheim, usually working for Morgan Edge in some capacity, and all functioning as a subsidiary of Apokalips. Intergang was created by Jack Kirby when he first started on Superman’s Pal, Jimmy Olsen #133, recently reprinted in a gorgeous absolute edition which is worth every single penny.

Calling the mines “Shuster Mines” is a nice touch, especially when they get bought out by a big company and filled with Superman’s only weakness. 

Speaking of callbacks to Grant Morrison’s run, Glenmorgan Square is likely named after Glen Glenmorgan, a minor throwaway villain from the very beginning of Morrison’s Action Comics. 

It’s not really an easter egg or anything, but I want it to be known that when Lois walked into the local paper’s office, I texted someone else watching and said “she definitely has a noncompete.” I’m glad the show also remembered this so I could be proven correct.

X-Kryptonite is a deeeeeep cut. Supergirl originally created X-Kryptonite as an antidote for green k. But she made it wrong, and it ended up being able to give anyone powers who was exposed to it. Including her otherwise normal Earth cat, Streaky. Yes this was 1960, why do you ask?

Tag’s emerging powers are a lot of vague references all in one. The super healing and the fast movement are pretty clearly emerging speedster powers, but he doesn’t have any other characteristics of Flashes. Besides getting his powers from a mysterious energy discharge hitting a bunch of weird chemicals. That said, Sam was probably talking out of his ass when he blamed phosphorus for Tag’s powers, considering they were partying on top of a pile of power-giving crystals when it happened. 

cnx.cmd.push(function() { cnx({ playerId: "106e33c0-3911-473c-b599-b1426db57530", }).render("0270c398a82f44f49c23c16122516796"); });

Sam also says Tag is being sent to a “special school” for kids with powers, which…it’s weirdly early to be introducing Titans Academy to the TV shows, isn’t it? That new feature of the Infinite Frontier DCU is the only school for gifted youngsters I can think of that would fit the bill, but sound off in the comments if you know what he’s talking about! God I hope it’s not HIVE…

The post Superman & Lois Episode 4 Review: Haywire appeared first on Den of Geek.

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[videogametim]

Death Stranding Review

I’ve tried to keep this review as spoiler-free as possible. I make a brief mention to how the game is paced in the paragraph about story, as well as a couple of character names. Feel free to skip those paragraphs if you are concerned.

Hideo Kojima took the blank cheque that Sony gave him and used it to make the biggest budget arthouse indie game there ever was loaded with his favourite actors, directors, and other celebrities. The result was a game that on paper, should be AAA poison. Death Stranding is slow, meandering, sometimes frustrating, action is downplayed, and the plot is sometimes difficult to follow. Yet considering all that, it’s still earned a spot on my Top 10 list this year.

The primary gameplay of Death Stranding consists of package delivery. The main character Sam (Norman Reedus) is a porter who journeys across a post apocalyptic America, connecting outposts and depots to the network and delivering packages along the way. Upon your first journey to each outpost, the challenge is how you’re going to get there with the tools at your disposal. You’ll typically gear up with ladders, ropes, and a pair of boots to start with and you’ve got to do your best not to stumble or fall even with the mountain of cargo on your back that affects your balance. As you progress further through the game, you unlock more and more equipment that makes your job that little bit easier. All these unlocks are well-paced throughout the story. I really recommend that anyone who is having a tough time with the early game to just stick with it until Chapter 3. Once you’re in that chapter the game really opens up and you get some much-needed equipment almost immediately that make your life a whole lot easier.

Once you’ve linked an outpost up to the network, you’ll be able to see other player’s structures and equipment in the surrounding area. You can see how lots of other people tried to solve the same problems you did, and it makes subsequent trips that much easier. Maybe someone put a ladder across a gap you didn’t think to do. Maybe someone built a bridge over a river that saves you some time and stamina trying to cross it. This is absolutely one of my favourite parts of the game and something I’ve never really seen on this scale before. There was one moment in particular during Chapter 3 where I was about to walk into an enemy encampment when on the corner of my screen I noticed someone had left a sign warning me that there were enemies ahead, and behind me was another sign from a different player pointing to a side path up a cliff that let me avoid the area entirely.

Another core part of the experience is the Like system. Say you found someone’s structure or sign helpful, you can literally mash that like button and send that player a whole bunch of likes, which upgrades one of their five Porter stats. You’re constantly getting notifications about players who liked something you did or built which really helps it feel like an interconnected experience.

Combat does exist in the game and it’s serviceable, but it takes quite some time for it to pick up and be a little more engaging because many of the combat equipment is locked to later chapters. Much of it is fun to use though. Stealth exists too, but in all my time playing I didn’t have any success in (or really, need to) sneaking up on the regular human enemies.

The stealth instead comes up in the BT areas in which you must maneuver your way through rainy areas of ghosts that you can only see if you’re either very close to them or you aren’t moving at all. The BT stealth segments I found to be well done on their own. They’re stressful because you’re typically trying to get through them with all the gear on your back, and since the rain accelerates time of anything it touches, you’re on an invisible timer to get through it before all your gear is ruined. If one of the ghosts catches you, it will attempt to drag you off into a mini-boss encounter. These mini-boss fights are generally easy if you’re well equipped, but you can also attempt to escape the zone too. Defeating the BT will stop the rain in that area while you’re there and reward you with an otherwise uncommon resource as well. My problem with these encounters is that they are too frequent. After defeating a BT, the encounter respawns almost immediately after you leave the vicinity and it’s often difficult to run right through them which gets annoying even in familiar areas.

For me, the weakest part of the game is unfortunately the story. It’s rarely engaging, and I think the major reason for this is Kojima’s tendency to over-explain himself. This has always been the case and was especially true of the Metal Gear series, but I think the key difference here in Death Stranding is that Kojima explained things he shouldn’t have.  There’s so much incredible world building and Lovecraftian designs/ideas in the game and a lot of that is diminished when you get beat over the head with every conceivable explanation and detail of what it all means. There are plenty of great moments and set pieces too, but a ton of that is backloaded into the final stretch of the game. A certain Square Enix game earlier this year was paced similarly, and this is that times a million, so keep that in mind if it does or doesn’t bother you.

The other side of the writing is the characters, whose writing quality is bizarrely all over the place. A few of the characters are wonderfully written and a joy whenever they are on screen (Heartman was my personal favourite), a few of the characters are criminally underdeveloped (see Deadman), and a few of the characters are downright nonsensical or straight-up terrible. It sometimes felt a lot like all the characters and their arcs were written by different people.  

Overall though, I’m very happy this game exists. I hope Kojima continues to get the funding he needs because for better or for worse, he is doing what he wants to do. A game like Death Stranding achieving the success that it has is also hopefully a symbol for certain publishers and creators that it’s okay to take a chance on things that are further outside the realm of convention. I’m going to continue playing it myself because I still haven’t tired of making deliveries, and I’ll probably be listening to Low Roar while I do it.

[xexilia]

I notice when you do your comics, it applies a certain level of toner. I ended up deciding on the route of using paint brush india ink, and charcoal for toner instead. Does this aesthetic difference change the marketability of graphic novel, compared to just using toner? In the context of the prologue in this web comic, it is used to denote a fog atmosphere. In the upcoming chapter, I might use it for graveyard fog.

I think first I need to establish that what you mean by “toner” is “shading”?

I do use tones, but tonER is the stuff used in and by physical printers. Print tones refer to the dots, lines, etc. that are present in the majority of my work and that Roy Lichtenstein emulated in his paintings. Tones are dots because that’s how printers print; Thousands of dots. The closer together, the more solid the shade or color is. I’m not trying to correct you on terms, but knowing this difference will help you later because I promise, if you buy toner online and expect to get tones, you’ll be disappointed by what arrives in the mail!

So, I think you’re falling into a common trap webcomic artists make in the beginning, which is focusing on the wrong parts of the project. You asked me if this changes marketability; But you didn’t tell me:

What medium do you want to publish in? Do you want to ONLY have your comics online, or do you want to print them?

Who is your target audience and age group?

Do you want to sell or profit off your webcomic?

The first question is important because far too often, webcomic artists design for the web/screens first, foremost, and only; Later, they decide to print a book, and this is when all hell breaks loose. Lots of media (Charcole, watercolors, etc.—media is the art term for materials) can look both better OR WORSE on a screen—this is where technology comes into play, like the scanner you have, the DPI (dots per inch) its able to scan things in at, and the size of scannable area. A lot of my favorite media and mediums (I like pencil on paper), are really delicate drawings—and like a lot of artists who favor these materials, scanners just never seem to do them justice. Lots of fine artists I talk to admit that they feel their work looks best in person, and no matter how high the quality scanner, small, delicate details get lost. Part of it can be a cheap scanner, the wrong DPI setting, but the other part can be the wrong medium (That’s the term for things like canvas or paper), or the wrong SIZE medium.

Size matters; Both in terms of the scanner surface area AND the size of your medium. A lot of people (And I did this myself for a lot of the first book), work on standard size paper—8.5 by 11 inches; But professional artists, print or not, are always better off to work at a LARGER size than the end result will be. When I printed my book, I didn’t come out too terribly for the size I worked in, because manga book page sizes are smaller than their American counter parts. I also knew I planned to print from the first page onward, so everything was designed for print first and web second—this is much easier and less time consuming to do than the reverse, because a lot of print errors can occur that don’t appear on screens—and literally can’t—and can take hours, days, weeks or more to fix, depending on how bad and common the issue is and how many of your pages have this problem. A big one is called moire, which DOES NOT show up on screens; This happens when an artist applies on tone directly over another. Because most of us work digitally these days, it’s even easier for artists to start doing this and not realize the consequence until you print a book. . .and discover all places where tones overlap create this weird square pattern within them—which is called moire. This is why it’s critical to use separate tones for different shades and such, because unlike solid color printing, you cannot overlay tones like you would layers in Photoshop or other such programs. Ignore this at your peril!

My first suggestion before you go to far is; Of you want to ever, EVER print this, print out a copy of a page at home. Even if you’re happy with it, consider how you may be printing or mass producing these things; If you’re going to make them via a copier at Kinko’s, take a page down to a copier at Kinko’s and see what quality you get. If you don’t like it at full size to the ratio you worked in (In other words, printing on the same size paper you created it on), you can get some improvement by using smaller pages—but going UP in page size will cause quality to drop. I now work on paper—digital or not—that’s always 11 by 17 inches AT LEAST. For anything I make, I try to work in a size 3 to 4 times larger than the end result will be.

When I first began, I made my comics with a copier at Kinko’s, and discovered while my ink wash method looked good, it looked better with color printing; Color printing is ALWAYS more expensive, hence why when digital comic creation tools (Like Clip Studio) got invented, I was an instant convert! It saved a lot of time and money (Tones and such are all expensive), the environment (No trees died for my drawings), effort (Tones are REALLY tricky to work with by hand), and it’s no wonder that manga artists now are nearly ALL working digitally.

Also, for the disabled (Like me), digital allows us to work from beds, at home, etc. instead of in front of a desk, all hunched over. I don’t accidentally smudge ink, my cat doesn’t drink my ink (Yes, it’s a thing cats do!), and if I mess up, the power of Undo/Redo/Copy/Paste/Transform CANNOT be understated. I’ve mentioned it before, but I believe in working smarter, NOT harder. This is why I draw out a lot of backgrounds (Which you can’t see on the free copies online, but you can if you buy a physical copy or the Amazon eBook), separately, and I can just drag and drop them around as I need. That way, I can focus on drawing the characters and not on drawing a giant cathedral for every damn appearance it makes or scene change I do.

As for marketability; A lot of this depends on your target audience and age group. Even so, people tend to grow to like something even if it may be atypical of the general stuff they like. I’m generally not a fan of shoujo-ai—but many of my favorite anime and manga ARE in this genre! Turns out, if the story is good, I don’t care about the sexuality of the characters!

A lot of people expect or want color comics these days though, which is odd to me, since the manga produced in Japan is in black and white (Color printing is expensive—even for a major publishing company!) People still read it, and those who expect an artist to make a free webcomic with color pages and update several times a week or month aren’t aware of the time, effort, or consequences. Generally; No, they will NOT buy a book they’ve read for free online (As much as people love to say to support us creators, they rarely actually do), and they damn sure won’t pay for the extra cost of color printing. If you want to see the difference, check out Ka-Blam comic printers and do a price comparison between printing pages in color versus black and white.

Yes, there are people who do a Kickstarter and such and get these funds up front; They are exceptions, not the rules. Consider them—and most artists who make comics or art they make of their own choosing (Not commissions, but only originals), the same as you might someone who plays a sport and decides that they are GOING to play professionally for some orginazation or team—which is, they are counting on being in this LESS THAN 1% of their field. Yes, some people pull it off; The vast majority don’t—and skill isn’t the biggest factor in the end. Just like an athlete with all the promise in the world can have their career ended before it’s begun by an injury that never heals right, art itself is a career path with MANY hidden pitfalls and problems—and health is a major one. Too many of us don’t eat right, don’t exercise our bodies and minds, and so on; It adds up. I personally really recommend a diet with a caloric/carb intake ratio that works within your activity levels; In other words, if you’re determined not to work out (Which—don’t make this mistake), you can’t eat as much as you’d like—not only will you gain weight, but it impacts your health health, your blood sugar—it can be a recipe for an early, but preventable, grave or a LOT of suffering that could be avoided. I try to jog at least two miles a day, meditate daily, and really put my health as the main focus in my life—even before my art. I can’t draw anything or write more stories if I’m dead, after all, and I can’t produce my best work if I’m not in the best condition I can manage. With an autoimmune disease, there’s only so much I can do or control and I’m often still very sick and in a lot of pain; But I still do all I can to run or walk two miles—at least, and even if it takes me an hour or more—and to keep my heart rate at 120 beats per min. when I do. There’s a lot of days where this is about the ONLY thing I can manage and where my pain is so bad I cry and cry—because right now I don’t have a lot of means of relief; This doesn’t happen to everyone, but it means that health—no matter what you do in life—can make or break you at times. Audiences aren’t always understanding of these circumstances and yes, ones career can dry up as a result. Just because someone manages to play for the sports team of their dreams doesn’t mean their health can’t or won’t turn on them, or a serious injury will end their career; We do not live in a world where people will continue to support you because of a series of or singular unfortunate event.

This brings me to the last point, which is if you plan to sell or profit off your work; We all want to, but often making sales can come at the cost of producing something that we, as the creators, really love or are passionate about. I decided from the jump that, while profiting was nice, I’d much rather make the title I wanted to make rather than the one that sells the most copies; If I were concerned with it, trust me, Eternity Concepts would be a wildly different story, with different art, etc. I’d have written a formulaic story that was entirely predictable and changed so many aspects, you’d never recognize it; Manga fans tend to be teens, so I’d have made the cast all teenagers! It’d be set in school! Someone might magically transform to fight evil or some such thing.

I didn’t want that; If you do, there’s no shame in that, but audiences will keep buying and reading what we keep producing, and if we’re too afraid to take a risk on a chance that our story won’t make a dime—because making a dime is the most important part for you—then we can’t be surprised when it’s what people keep buying—because we aren’t even attempting to sell anything else.

Publishing houses (With novels and such) can be really guilty of pushing for changes based on market research; The thing is, the research is often based off past sales of what’s already in the market. Plenty of novels that became classics and best sellers got rejected for years and years until a publishing company was willing to take a chance and discovered that people can, will, and do enjoy new and different things. They might also do market focus group testing—but these are small sample sizes of average people—and your audience may NOT be average people.

All creative pursuits involve risks, at the end of the day; You just have to decide what rewards you want or are willing to sacrifice if you take them.

As for aesthetics, there’s no accounting for taste and I’ve seen plenty of paintings I hated sell for insane amounts of money, plenty of art styles I hated become popular titles, etc.

I will say this; When I, PERSONALLY, see a comic with tones or color, usually that’s digitally produced (It cuts out the need for a scanner!), it looks to me like it’s professionally made—by someone who is on their way or already at such a level.

While a lot of newer artists try to make do with other materials, again, the world is not a kind place and making do is just that—making do. Yes, there are a million and one reasons why one can’t get their hands on better or more professional materials—but sadly, people don’t want to hear excuses, and many successful artists got their tools by working jobs they hated, saving up, living in their cars—making major sacrifices to get to where they are now. There’s no easy road or shortcuts to the end; Yes, I do, sadly, think the mixed media approach you’re trying won’t be favorable towards your marketability—but I could always be wrong (Look at how many MS Paint comics made it big!) There’s a first time for everything.

Comics, though, is also about production speed, and traditional materials can come at the cost of working quicker. I’m a big fan of suggesting people save and wait and invest (And it IS an investment) in serious materials and tools if they wish to be seen and taken as seriously; This means making sacrifices and at the end of the day, plenty of people still won’t like what you make, no matter what tools you have or plot you employ. The person who NEEDS to like it most? . . .Is only you.

You cannot please all of the people all of the time, and the faster you accept that, the happier you’ll be with what you make.

[jayhartwinsterling]

Bandersnatch (Black Mirror) Megapost

Now loading... A *very* sizeable post with a lot to get through - here I am going to talk about the five “main” endings, the Easter eggs, why constructing a traditional flowchart for this game is technically a bit of a vain effort, how it’s probably best to link everything up in a guide - and the implications this story has regarding *us*.

Chapter 1: The Endings

So, we basically have five “main” endings. I say “main” because... well, we’ll get back to it on ending number five. 

Ending One Description: The first of which is what I call the “How It Was Meant To Go” - and getting this one is quite simple. All you need to do is accept the proposal Stefan’s given by the Boss to make Bandersnatch with a in-house team. Satpal shows up and then Colin tells Stefan as he’s leaving “Sorry mate, wrong path.” We then jump forward five months to find that Bandersnatch was rushed in production, cut down and done badly because of it being a team effort and it gets a 0/5 review.

We loop back around to that decision again but this time, Colin thinks he’s met Stefan before and Stefan knows the memory error with Colin’s game when it happens. And we come back to the decision. (Refusal again will give a similar scene btw where Stefan accepts and Colin tells him it was the wrong choice again - but Satpal doesn’t enter and we just... end. 

Ending One Analysis: So this first ending is rather simple. But the key to it for me lies rather simply in the fact that it can be done... without doing anything at all. If you left your remote/controller/mouse/finger wherever it is and don’t make any choices, this is where you end up. In essence, the universe just runs as it should and we don’t play god over Stefan’s life at all. I know it might be a little difficult to get what I’m on about here but consider that Stefan makes a remark to Dr. Haynes not too long after you take the refuse path, that he wanted to accept the offer and he doesn’t know what made him refuse. We did. This is more clearly pressed upon if you get to the point in your path where Stefan realises something is dictating his life and asks for a sign. We directly throw him a sign - if you’re super direct, that sign happens to be the most direct interaction we could possibly make with him. Telling him that he’s on Netflix in the 21st century for our entertainment and we’re controlling his life.

So, as I say, Ending One is where we don’t have an impact and thus things play out in the universe as they should. Bandersnatch is finished, it gets a 0/5 and Stefan resolves to try again. Ironically, if you just sit back and don’t take the option of making a choice (because, remember, us even making a choice is in itself a choice), though all the game does terribly - this is arguably the best outcome for Stefan. And all because we listened to the exact advice the trailer gave us with its music choice: “Relax. Don’t do it.”

Ending Two: If you go straight to Dr. Haynes (rather than going after Colin) and take your pills when you get home, you get what I call the “” ending. Stefan takes the pills, we jump forward five months to find that Bandersnatch got completed by Stefan but due to his pills, it comes across flat after the midway point and only gets a 2.5/5 rating.

Ending Two Analysis: Not a lot to say here - but it’s worth noting that the review dude on the TV mentions that if the creator had second chances, they should go back and do this game all over again but differently. Keep that in mind for later. It’s worth noting that if you take Stefan off the path that the universe was “meant” to take and then leave it to its own devices (and Stefan to his own choices) again, not making choices for him - then you’ll end up at this one. Almost as if the universe was trying to course correct itself...

Ending Three: “Stefan Jumps.” explanatory how we get here... We jump forward four months, and find that due to Stefan’s accidental death, the game seems to have been speedily finished by someone else.

Ending Three Analysis: We get no rating this time but TV review guy does say the game is bad. He also mentions that it seems abrupt, jarring, bleak, creepy... Almost a perfect way to describe the ending - since it then just ends.

Ending Four: “The P.A.C.S. Ending”. In this one, we unlock Stefan’s dad’s safe with the password “PAC” (obtained by crossing over paths from following Colin to visiting Dr. Haynes... we’ll come by to the implications of such things later.) and find to our surprise that Stefan’s entire life is part of a conspiratorial program, not only well documented but also manufactured with the trauma of his mother’s death being totally falsified. Dad wakes up, refuses to speak and in his rage, Stefan hits him with somethi--- Oh wait, it’s a dream. Just a dream... But then it goes off the rails, quickly plunging us into the choice where we give Stefan a sign that he’s being controlled. Instead of Netflix, we now have the choice of P.A.C.S. - taking that option leads Stefan to kill his dad with the ashtray in a rage about the apparent conspiracy. Stefan then picks up the phone to phone Dr. Haynes - and we have to enter her number. Entering it correctly means that Stefan outright says to Hayne’s receptionist that he’s killed his dad. As he’s burying his dad, we hear distinct sirens and then cut to a review of Bandersnatch. The game is given a 2/5 rating and we discover that Stefan has been charged with killing his dad and locked up in jail.

Ending Four Analysis: It’s safe to say that P.A.C.S. didn’t actually exist outside of Stefan’s head and it’s his life paralleling Jerome F Davies’ obsession with conspiracy theories and delusions. But... what nobody seems to be really talking about is - we did that. Again. Leaving aside all the choices up to and including the safe, we make the P.A.C.S. sign appear and fuel Stefan’s dream-induced paranoia. In this ending, we in a way become Stefan’s delusion. (Oh, and don’t be surprised if you didn’t get this ending with your choices, or only part of it - again we’re coming to all that...)

Ending Five: “Time Rewritten” - now I’ll be honest, I did all these endings in one straight through run. Which made for a REALLY messy time in both my head and the game. Particularly with Colin... But anyway, for this one, I had to make Stefan pick up the family photo after having followed Colin and heard him say that mirrors let you travel through time. Stefan then seems to head through a mirror in the bathroom back in time to when he was a kid. And discovers that his dad took the teddy away from Stefan and locked it away in his room. He wakes up, I take him through the Netflix sign again. [During this, I led into what I’ll be addressing in a minute as Ending Four-B.] And take Stefan back to the locked room, this time entering the password “TOY”. Stefan unlocks the safe and finds his teddy within... And then it takes an odd turn. Stefan turns to find a younger dad - and then suddenly he is a child again. The younger dad relents and lets young Stefan put the teddy back under his bed. After doing so, suddenly older Stefan is looking at young Stefan sleeping. We cut back to young Stefan on the day Mum leaves... This time, he finds the teddy but his Mum is still running late. She’s gonna have to catch the next train - the one that leads to her demise - and we have to make the decision for young Stefan on whether to go or not. Of course, yes is my choice here - for though it’s a tragedy, it’s the last of these paths to take - we get young Stefan and Mum on the train, cut to black, and then see that older Stefan has died in Dr. Haynes’ office. We then get shown a TV screen and the credits come rolling in, whether we like it or not. And there’s what seems almost a tune playing but we’ll get back to that because if you’re a ZX Spectrum fan like myself, you know where that’s headed.

Ending Five Analysis: Alright, now there’s debate to be had here. Did Stefan really walk through a mirror and change time, undoing his own existence in the present, rendering himself dead on the spot? Did he slip away into a divergent reality and leave his original one behind? Or did he, in reliving the trauma with Dr. Haynes, live too far into it and died? Well, my opinion is that the last of those three is true. (Although, this conclusion is a little shot in the foot for me personally because I never discussed the death of Stefan’s mum with Dr. Haynes ever. Unless you try to make the conclusion that the entirety of my personal run through this game even from Stefan getting up at the very start of it was all in his reliving). Time to come clean about something I’ve been hinting through this post. Delusions. Almost all of the endings involve delusions. But, you’ll have to wait until the end of this chapter before I bring all of that together.

Ending Four-B: “Cut!” - having taken Stefan down the Netflix path and into a fight with Dr. Haynes, I told him to jump through the window. He runs to the window but it doesn’t open - and then we hear something shout CUT! The view pulls out to reveal that Stefan is in a studio, and that - in a very meta move - all of this is just a production being made (for TV, for film... for Netflix?) and that trying to jump out of the window isn’t in the script. Stefan is then addressed as Mike and it seems to be the case that he has fallen a little too much into character. The studio assistant, worried with his insistence that he is Stefan, rushes off to find a medic. And that’s the end of that.

Ending Four-B Analysis: Firstly, I put this with Ending Four because it’s down a similar path, and once again we become Stefan... sorry, Mike’s delusion. And this led me to an interesting thought about this universe where we’ve taken control of a delusional actor - is the alternative for taking the Netflix sign, which is having the fight with Dr. Haynes (as “scripted”) and being dragged off just a part of this universe’s production? In that instance, is the delusional then our own that this world is a reality when - surprise, surprise, it’s a Netflix production (and presumably, in that universe, also a Black Mirror episode)? Secondly, as an aside, the only option presented to me after this ending for a rewind was “Get Rabbit From Dad”...

Well, there you go, five “main” endings (and a bit) and an awful lot for me to explain...

Except... Ending Six. What I Believe Is The True “Main” Ending.

So we lead Stefan back to the sign, give him the Diverging Paths sign (or call it Whitebear, if thus inclined.), make him kill Dad, and make him chop up the body. Then, the Boss and Colin discuss the fact that Stefan is late with his work - Colin convinces him to leave Stefan be for another day. And what happens here on, well, happens. It’s worth noting the reluctance and pain Stefan has carrying out the order we gave him to chop up his Dad. But then, it’s contrasted by the lack of emotion he shows in Dr. Haynes’ office. Perhaps he’s taken that JFD documentary to heart about believing that if all paths occur, and there is no free will - then why care? Why feel guilt on behalf of what seems to be destiny? And honestly, I can’t blame Stefan... Because he doesn’t have free will here, we’re throwing decisions at him and he’s along for the ride. We made him kill his dad. We made him chop him up. 

And herein lies our delusion. That in making these choices for him, we have a choice. Because we really don’t - we’re in a Bandersnatch of our own (if you’re a CYOA fan then you might’ve sensed this coming...) and honestly, we should’ve known from the start. We’re the ones that selected the option Black Mirror: Bandersnatch on Netflix and hit play, after all. Just as Stefan has pulled back from making an infinity of paths and left enough complexity to make it seem so. I mean, I’ll be blunt here even though I’ve yet to discuss it in depth in Chapter Two - technically, there is no way that any one human being is getting through every possible path/universe. To us, it may as well be infinite. And yet, it’s all just an illusion of free will.

Endings Two and Three all push us, the player, bluntly into going back into this warren of choices - to try again. Pushing us further on. Ending Four is more subtle, toying with us by giving us a tragic ending for Stefan so we feel inclined to go again and do better for him (and in my case, straight up offers up a path to Ending Five, and what seems a more hopeful ending until you get into it.) Ending One is even there if you decide to take the choice to not make any choices, to not interfere at all. Leaving the universe on course - but of course, this is our game and trap so it tells us not so subtly to try again as well.

And Ending Five leads us to ending with... A delusion. There’s the crux of the matter.

Ending One is our delusion that we can game the system by not getting involved.

Ending Two is Stefan’s (and our) delusion that if we play by the nicest choices and rules of life, it’s all going to turn out happily.

Ending Three is Stefan’s delusion (spurred on by the acid? by Colin’s way of thinking? by both?) that if infinite worlds are out there and free will is an illusion then what does it matter if he jumps?

Ending Four is where Stefan becomes delusional as a result of us and ends up locked up. We are the delusion. Four-B is where Stefan himself, as a person, is the delusion.

Ending Five is either the delusion of a man who relived his trauma too deeply or the delusion of us in thinking that when the paths were all clear and we had what seemed like a final end, that it would be happy. (Or none of the above, if you really want to go analysing this one differently.)

And Ending Six is our delusion. “And now, they’ve only got the illusion of free will but really, I decide the ending.”

In a few short seconds, we realise that we have been the Stefan of Charlie Brooker and co. - being led towards this ending that is out of our hands now. Despite all the paths and other endings you take, you’re likely to end up back here. 

And as Stefan says about how he thinks Bandersnatch led to a happy ending, and we see him in his room, with his computer - and walls covered in paths; trying to make sense of the maze he’s playing... well, I think you can piece together the parallels between him and us.

And then we’re landed with the fact that he’s kept his dad’s head. And the 5/5 review we’ve been looking for all game finally comes, but then it turns out even that comes at a price. We’ve driven Stefan insane, certainly - and we’ve tainted the happiness of a moment we were striving for. And there’s a final delusion for us - the delusion that whatever choices were out there for us to make, we could get an ending where everyone lives, Stefan is happy, the game gets 5/5 and all is well. But we can’t. No matter what Stefan does, he can’t divert from the path we choose and no matter what we do, we can’t divert from the path Charlie Brooker chose.

Colin’s daughter takes up the mantle of her father, inspired by having found Stefan’s work, just as Stefan was inspired by having found Jerome F Davies’. (She even has Jerome’s book as well!) And one more time, we fall into the meta hole as it’s revealed that she’s creating her game for TVs and smart devices under Netflix. Her game is the Bandersnatch we’re playing. 

As a parting shot, Charlie Brooker brings himself into the web the one we can without completely shattering what remains of the fourth wall. Pearl represents him, trapped in the same madness, trying to put this game together. We are given our final choice - and either way, it’s a moot choice. Both destroy Bandersnatch. Both cause the screen to cut out - did we just erase Bandersnatch? Does it matter, given that our choice or even abstaining meant nothing in the end?

And I suppose you have to feel sympathy for Charlie Brooker, because the pain Stefan felt and the pain we felt - he’s no stranger to it.

And we’re left with one question now that the game is gone: What about real life?

Chapter 2: Why A Flowchart Won’t Ever Cut It (Technically)

TO BE ADDED SOON

Chapter 3: So Many Easter Eggs

TO BE ADDED SOON

Chapter 4: The Best Way To Document Every Piece Of Bandersnatch

TO BE ADDED SOON

Chapter 5: Us

TO BE ADDED SOON

[youknowmymethods]

Content Creator Interview #11

Hello folks and happy Friday! We’re back, and this time @likingthistoomuch interviews @ohaine (aka, me) so I’m jumping straight into the interview because it’s awkward af to introduce yourself.

Trigger warnings: here be brief discussions of grief and mourning, and because it’s me, there’s also some bad language. Sorry.

OhAine: She arts, she fics, now you can add witty limericks to her repertoire for she is truly an accomplished young lady; because when the question of how to introduce me for this interview came up likingthistoomuch chose to write a poem.

It goes like this:

 She is smart

She has sass

Thinks her writing isn’t good

Someone get her head outta her ass.

 Charming. And as that isn’t massively helpful to anyone reading, I’ll flesh it out a bit for you. My name is Áine (yes, my pseud is that imaginative), I’m Irish, married to a tall, curly haired Brit (no, not *that* tall, curly haired Brit). I’m a professional doer of double entry (that means I’m an accountant not a p0rn star, get your dirty minds out of the gutter), an amateur writer who is obsessed with Sherlock and Sherlolly to a point that isn’t dignified. I’m the mod of this interview project, and also of the MaybeItsJustMyType Collection on AO3, a double SAMFA winner (yay me!) and I also won a Community Games gold medal when I was eight ( @hobbitsdoitbetter will know what that is, but she’s literally the only one of you who will) for a picture I drew in crayon of a cat jumping over a skipping rope (although if I’m honest I think everyone who entered the competition got a prize so I really don’t know if I should brag too much about it.) Currently I’m in the market for someone who’ll do a better job of my eulogy than I’ve done with this intro, so maybe it’s best if I stop talking now and we just move along with the questions… Ahem… Gee it’s back to you.

 likingthistoomuch: I’m going to start with Kat (aka satin_doll, aka @ashockinglackofsatin) who’s submitted a few reader questions if you’re ready.

 OhAine: Sure. Shoot.

 satin_doll: The Fate of Glass is one of the most beautiful and touching stories I’ve ever read dealing with grief and the aftermath of the death of a character. It also illustrates perfectly Molly’s relationship with Sherlock from her side. We know you were dealing with your own loss when this was written. How much of your writing springs from your own real life emotional experiences?

 OhAine: Well first, thank you dear heart. It’s a tricky question to answer because The Fate of Glass is unique for me. I wrote it and ‘Where the Lost Things Go’ in the same two week period, at a time when I was really struggling to accept what had happened to Kieren. Funnily enough, Gee (likingthistoomuch) and I were talking only a few weeks ago, and I told her this: for the only time I can ever remember doing, I put my words into Sherlock’s mouth. The bit where they’re sitting on the floor, smoking and talking about Mrs H, where Sherlock finally says what’s on his mind – that he’d failed her – was exactly what I felt at that moment about Kiki’s death. I drew on something deeply personal in a way I hadn’t done since ‘Take me and erase me’ and the death of Molly and Sherlock’s son. Initially that story was me working through my feelings and grief, but after the first draft I had to abandon that agenda and remember that this was about Sherlock and Molly now. The real life experience of survivor’s guilt, of losing someone you love was there, but oddly Molly’s rebuttal to Sherlock’s assertions about blame were very much me too, they came from my father’s loss, and that reconciling a terrible end with a life well lived and full of love. Of all my stories, it’s the closest to describing my actual experience in a given context.

 I suppose in the first instance, what you write has be honest, authentic. That doesn’t mean that it has to come from your experience directly, but if you have the framework there for something that you want to say, then you use it. There are small bits of me in all of my stories, but I can’t rely on my own emotional experiences too heavily because then I’m limiting the characters. What I’ve found you can do is take the essence of an emotion, distil it down to its component parts and feelings, and then apply them to a different situation. Your job when writing a story is to tell someone else’s story, so you have to be able to extrapolate beyond your own experiences. But if you can ground that in something real, it somehow gives it a ring of truth that wouldn’t otherwise be there.

 satin_doll: Amor Vincit Omnia is quite simply devastatingly beautiful, despite the pain that runs through it from beginning to end. You’re so adept at writing Molly’s steadfastness and loyalty despite Sherlock’s rough treatment of her over the years and it seems to be a recurrent theme in your stories. Can you talk a little about where this picture of Molly comes from, how she developed as a character in your head?

 OhAine: We get so little of Molly on screen, and in a way that’s a blessing: we have so much room for interpretation, so many directions we can take her in, you know? But something Mofftiss have gone to pains to point out is that not only is Molly loyal to the bone, but that Sherlock trusts her loyalty in a way that he doesn’t trust anyone else’s.

 You have to be careful how you allow her to give that loyalty, it can’t be done in a way that demeans her, or would make her bitter. In order for that not to happen you have to imagine why someone would give so much in the face of – what you termed – rough treatment. I’ve come to the conclusion that although she’s sometimes hurt by it, impatient with it, she views his actions not as intentional, but rather as him simply not knowing how to do things any differently. He’s ever so gentle with her in TEH, when no one else is around to see, and that episode informs so much of what I imagine their between-the-scenes life to be like: he shows respect for her, love, affection, he respects her mind, her opinions, he is eternally grateful for all that she has done for him, and grateful that despite everything he’s done she still allows him to call her friend.

 Sherlock asks in TRF, ‘If I wasn’t everything you think I am, everything that I think I am, would you still want to help me?’ and Molly doesn’t hesitate, she’s straight in with ‘What do you need?’ She has zero doubts about the man that he is.

 Earlier in that episode she says, ‘You’re a bit like my dad,’ going on to tell Sherlock about how her dad behaved when he was dying, and I think that’s a very under rated line. I think it shows that to Molly he’s more than – what other’s call him – the great detective, machine, freak. It shows she sees the man beneath. She sees that he is more than the sum of his parts. She’s telling him that she sees his humanity.

 She doesn’t want to change him into someone he’s not. She sees deeper, she sees the bits of him that he guards, the parts of him that are just like you and me. Molly’s not blinded by his brilliance. To her he’s just a man, albeit one who has a very special gift.

 Even when she says ‘Why do you always say such horrible things?’ she’s not treating him like a bold puppy and smacking him on the nose with a rolled up newspaper like the others do, she’s attempting to understand him, perhaps even asking him to try to understand himself.

 He’s a very vulnerable man, and she treats him with care because of that. His actions weigh on her I think, they have a cost, but it’s one she chooses to accept and she doesn’t punish him for her choice.

 It can be argued that Molly is the only one who loves him just for him. Lestrade wants his brain; Mycroft sees him as an asset; John is a junkie, Sherlock his dealer; Mary takes his help; Hudders once took help from him. But amongst those who take, there’s only one person who takes nothing. Molly.

 I suppose the other large part of her development in my mind is the ethical code that she’s had instilled into her from an early stage of her education. Medical ethics, and the application of deontological and utilitarian principles in her everyday decision making, must have influenced the person she became by the time we meet her. There are four major principles at play for her: do good, avoid doing harm, be fair, and respect individual autonomy. And I think it’s those principles of fairness and respect that she applies to her relationship with Sherlock. I think she respects his mind, his abilities, even his education (because they have components of their formal education in common), but I think it’s fairness that she applies most liberally: he is unique, different, and he lacks certain skills when it comes to interacting with others, Molly takes his treatment of her in that context.

 satin_doll: In Take Me and Erase Me, one of your earliest stories, you mention Lorca (the Spanish poet) and you’ve made numerous references to poetry since you started posting fics. What else besides poetry and fanfic do you read these days? What do you see as the biggest influences on your writing?

 OhAine: Biggest influences. Honestly?  Stephen (both of the King and Moffat varieties) have said that the best advice they could give aspiring writers was to read as much as you can of the kind of thing you want to write, and I’ve found that to be so true. The Sustain Stories are probably the single biggest influence on my interpretation of Sherlock and Molly. I remember saying it to someone once (I think it was actually you Kat) that I’ve been writing Sustain fanfiction rather than Sherlock fanfiction all these years. It was that big a deal for me.

 As for what I’m reading now… I always have a few books on the go, currently open are Leonard Cohen’s Book of Longing (Jesus, the raw intensity of his imagery), Tom Robbins’ Even Cowgirls Get the Blues (the absurdity of it appeals to me) and James Joyce’s Dubliners (The Dead is my favourite short story ever, so I finally decided to read the rest of the book).

 Thank you Kat for your lovely questions x

 likingthistoomuch: Going all the way back to the beginning, what prompted you to start writing fanfic in the first place? Where did that first impulse come from?

 OhAine: I’d never heard of fanfic until I became obsessed by Sherlock, but once I found it, it was like falling down a rabbit hole. I read. And I read and I read and I read. When I first found Sherlolly in mid-2014 there were about 3,000 stories in the tag on AO3 and I went about systematically reading them all in descending order from the largest hit. It took me about six months or so to get through them and then I hit a wall, there was nothing left to read. But by then I started seeing Sherlolly everywhere: in every song I heard, every poem I read… and at the time I was living away from home while doing a master’s degree, and I remember so clearly driving back to my little flat outside Galway one night after a late lecture and Lana del Rey’s Young and Beautiful came on the radio, and it was like, BANG!, this fully formed story of an insecure Sherlock hit me. It was so clear, so well defined and complete, and it wouldn’t leave me alone. The end result was Saving for a rainy day, and the other two stories in The Dance series.  

 Honourable mention too at this point to @sundance201 and her beautiful fic Hello My Old Heart. That story was the beginning of my love affair with music in fanfiction, I started my Sherlolly playlist with the song it references and I don’t know if I would have ever made the connection between music and writing without it. So blame Sundance201 :P

 Likingthistoomuch: When you wrote your first fic how did that process go? Did you have someone review the work? Also, when did you share the fact that you had attempted fanfiction with someone around you?

 OhAine: As above. No, it was a type and go thing. Literally. I have no idea what madness overtook me to actually post it on the internet where other real live people would see it. It was (still is) full of mistakes, and reads like an outline rather than an actual story, but I knew no better at the time. It was the first piece of fiction I’d ever written, and I had zero expectations that anyone would read it. I bawled like a baby when the first comment came in.

 Anyway, it was a Sunday morning, and I was staying at Uni that weekend because I had exams the following week, hubby was coming that day to see me and make sure I hadn’t died under a pile of textbooks and fast-food containers. When he arrived I showed him the post on AO3, and he was so sweet. He still reads all of my fics, gives me feedback and suggestions. He’s even got an AO3 account now so that he can leave kudos. Bless him. He’s still the only one I share with.

 Likingthistoomuch: You are amongst the few who seem to write comic themed, angsty, fluff as well as explicit with ease. At least that’s how it comes across. Which genre is the easiest for you and which one would you prefer to write as, say an outlet for real life pressures?

 OhAine: I’m shocked that it comes across that way, because writing doesn’t come easily for me at all. I’m not a writer, I’m an auditor who writes when she has time. Every single word is like squeezing that last bit of toothpaste from the tube, and although I’m a very verbal person words are not my strong point. My vocabulary is technical and that’s fine when I’m writing reports and letters for work, but I don’t have an emotional vocabulary so I have to work really hard at finding the words to describe the feelings I want to write. And I’m not a fluffy person so writing anything sweet is like pulling teeth for me. None of it’s easy, but Molly and Sherlock are in my bones now so I keep doing it.

 I suppose comedy and angst are slightly less of a struggle. But comedy is a tricky one, because you’re either in the right frame of mind to write it or you’re not. It can’t be forced, you can’t make something funny if it’s not.

I don’t have a favourite genre, and none of them come naturally, but if it’s a question of what’s an outlet, then I’d say all of them serve an equal purpose, although the most satisfying to get right is definitely angst, even if it’s a rare jewel. I think I’ve only ever managed to get it almost right twice, maybe three times: Amor Vincit Omnia, The Fate of Glass and possibly A Sunset Bird in Winter. I kind of hold those three up as times when I was happy with the finished product.

 Likingthistoomuch: How do you plan out your work? Do you plan the end, the beginning and what’s in the middle before you start posting?

 OhAine: Bold of you to assume I plan!!!!

 The beauty of writing (mostly) one-shots is that you’re presenting a finished piece. I’ve written just one multi, Take me and erase me, and that was done completely on the fly. I was so traumatised by the whole thing that I’ve been put off for life.

 When it comes to the one-shots, I usually have a pretty good idea what the beginning, middle and end are before I begin – even if the end result turns out to be something else entirely. I do a first draft, then revise, revise, revise until the flow feels good and I think I’m saying what it is I set out to say.

 Likingthistoomuch: You work with a beta - do you share the entire plot of your fic and discuss before you start the writing process? How does that work?

 OhAine: It works differently with different people. When Kiki and I worked together, every detail was shared and there were masses of emails over and back discussing plot and structure. A three thousand word doc could come back with fifteen hundred extra words of notes. She had an opinion about everything. It worked because we were each other’s beta, and we’d built up a rapport and trust. She was never afraid to offend me and I loved that about her. She was also very verbal, so feedback was always detailed, she’d be very clear about the whys of it. We were both new, both learning, so that extra communication was great to get. And I genuinely miss being a beta for her.

 Kat on the other hand has a light touch approach, she gives me a far longer leash and lets me express myself – just myself and my ideas. If I have a specific concern I’ll share that with her, and she’ll give me advice and her opinion. What I tend to share with Kat is what I’m hoping to achieve, and she’ll let me know if, in her opinion, I’ve done what I set out to do. She trusts me more as a writer, if you know what I mean.

 likingthistoomuch: I am heavily influenced by Bollywood songs and get one shot ideas by the ton. Kat mentioned your love of poetry, and I wondered has there been a poem that literally made you wanna rush home and write down stuff as soon as possible?

 OhAine: Oh that was Where The Lost Things Go, by Anne Casey. She wrote an entire book of poetry about loss (in particular losing her mother) and it makes for a devastating read. When I heard her recite that poem:

“We sat upon a golden bow, my little bird and I, indivisibly apart, we dived into the sky. And to the purple-hearted dark, an ocean we did cry, for all the lost things gathered there, in rooms beyond the eye.”

I could see Sherlock and his little bird crying for the things they’ve lost, things hidden in secret places. I’d had the image for ages and ages of a little girl coming to Sherlock with a case, but the story that went with it never presented itself. Stories are like that sometimes, bits of them linger until the right structure comes to you. The fic came out in one draft, I did minor revisions later, but it was just this one thing all of its own from the start. And it was sort of the poem coming to me at a time when I was grieving too, and it fitted so well with this image I had of Watson in her big boots and pink hair. Everything coalesced into a coherent story. The end result was my own ‘Where the lost things go.’

 Generally that isn’t how it works for me. I usually take away just an image or a phrase, sometimes just a feeling, and I try to structure something around it. But like you, I get a lot from music (Elbow’s music could be the official soundtrack of Sherlolly) and movies as well as poems

 Likingthistoomuch: Let’s be honest here, you get tons of reviews. I know, I read most of them (turn down that stalker alarm!!!). Has your story ever been influenced by a comment given on the initial chapters of a multi fic? Not the plot per say, but maybe a small scene or interaction?

 OhAine: No, I really don’t think so. But then there’s really only ever been one multi of any real significance, Take me and erase me, and the initial chapters of that got very few comments, or even hits for that matter (chapter one got 17 hits on its first day, but I stuck with it and it did okay in the end). What does happen with comments is they encourage me to keep going, to keep writing, especially when I feel like I’m just rubbish at this. I’ve been blessed with people who are generous and kind when it comes to egging me on and making me feel okay about what I’ve written. I tend to be very sure about where I want to go when I write something, and I think that if you allow things to intrude on the picture you have in your mind you run the risk of ending up with something that’s a bit all over the place. The reader you write for is you, and you either live or die by it.

 Likingthistoomuch: In your fic “The Pinch Hitter” (I absolutely love the Simple Chemistry series) there is dialogue that has the potential to turn the fic any way you want:

“I don’t want you because I’m lonely, you little moron.” He shouts, full to breaking point with impotent frustration and clawing at his own hair. "I'm lonely because I want you!" 

Funny and yet heart wrenchingly raw. Did you work specifically on introducing something like that, which can be a palate changer for a moment?

 OhAine: Oh boy, tough question. Short answer is no, I wasn’t looking specifically for that line. The prompt for this fic came to me by way of a pinch hitter assignment in the 2017 Sherlolly Fic exchange, and I had about four days to come up with a story that fitted the brief. I work at a snail’s pace under normal circumstances, and I was under so much pressure to get something done. I’d pissed away three of the four days on a fic that I couldn’t make work (still can’t, *sigh*) and in desperation I turned to the next prompt on the list of four. In the end this one just came out, and I’m lucky it’s as okay as it is given the rush it was written in. That line: if I recall, it came out of some wanky meta that was doing the rounds at the time, the mirror theory, and I guess that line is my response to it. He wasn’t running to her because she was a surrogate, she, Molly, was the reason he ran to Molly.

 On the other hand, that line is very much part of my overall head canon for Sherlock in the series. He’s the cause of his own isolation and I remember either Moffat or Gatiss saying that he was like a child pressed up against a sweet shop, window, longing. I see him very much that way. He doesn’t make friends because he’s lonely – the loneliness is part of the choices he’s made – but he acutely feels loneliness now because he finally understands friendship and love. Does that make sense??

 I don’t seem to be able to do straight comedy, there’s always a little angst with my absurdity, a little absurdity with my angst. Some of that is to do with wanting to introduce contrast, some of it is because I think the show does that too and when I’m writing, to some extent, I’m trying to emulate that style.

 Likingthistoomuch: On the topic of light works or ones with a comedic thread, you seem to have mastered the tough-as-nails art of writing genuinely funny work which is not slapstick by a mile. Is the writing process for that different than your other works?

 OhAine: It is. Totally. I can’t decide to write something funny. It either is or it isn’t, and I don’t have much control over that. No amount of revisions will make something that’s not funny work as a comedy piece. I tried that once with The Truth Will Set You Free, and I think it was 20+ drafts before it started to get giggles from my beta. That was when I realised that trying to be funny wouldn’t work. Kiki said to me after that one was posted that she thought I was rubbish at comedy, which was strange given how often I made her laugh in my emails. It dawned on me then to just be myself, write in a more naturalistic tone and focus on being absurd instead of laugh out loud slapstick.

 The next one I tried my hand at was The Adventure of the Berenstein Baby. I took a different approach and wrote it as though I was telling a friend about something hubs and I did, using the exact same style I’d use in conversations (like the side bar thing, my emails are famous for them, I go off on so many tangents) and the result was one draft with minor revisions to get the finished product. When that fic won the 2017 SAMFA for humour, I almost died of pride.

 Likingthistoomuch: The Fate of Glass, that letter, that fabulous, fabulous, piece of work. How long did you take you write that?

 OhAine: The first draft contained all the bones of the story, it was 1,700 words long and it came out in one afternoon. The letter was there right from the start, always at the end. The rest needed much more work, I think I added another 2,000 words during revisions. I have a memory of it being an easy one to write, but I had a week off work that January, and I know I spent at least another 40 hours picking at it during my leave. It had the story right off the bat, but none of the detail. My vocabulary isn’t what I’d like it to be, so when I feel I don’t have the words to tell a story I read. I had an anthology of Pablo Neruda’s poetry on the arm of my Queen Anne, and every night I’d read for an hour or so, and the next day I’d have the words I needed. Reading, for me, is sort of an ignition tool, it sort of opens that part of my brain that isn’t bogged down with technical language, it opens up my creative side. I sometimes forget just how many revisions even the easy stories take. I forget sometimes that I have to work hard at it, but I do.

 Likingthistoomuch: When it comes to naming you work, how do you plan that out?

 OhAine: More bold assumptions about planning!!!!

 Sometimes a story has an obvious title, like The Science of Seduction (because it was about the application of mathematical theories to love and relationships, so it just seemed obvious). Others, like Better, or The last person you’d think of, they were obvious because the whole story is geared toward making the point that these phrases represent. When I find a name I want to use I do an AO3 search of the Sherlock/Molly tag just to be sure no one else is using it (or has used it for a very long time).

 Names are something I struggle with, and at the beginning I went almost exclusively with lines from songs, but I’ve stopped doing that now because it felt, I don’t know, a little forced? These days I try to make a stronger connection between the story and the title without making it too wordy or over explaining what’s going on in the story. I often have a placeholder title while I’m working on it, but keep trying out new ones as I go to see how they fit.

 Don’t ever underestimate the power of a good title: along with the summary they’re your elevator pitch to the reader. A brilliant story can be sunk by a bland title or bland summary.

 Likingthistoomuch: How do you gauge the success of your work?

 OhAine: Oh jeepers. I’m a numbers girl, so the stats page on my AO3 account is my enemy LOL. I’ve tried to find my own metrics, because it’s easy to fall into the trap of judging success on hits and kudos when there are so many things that can influence those little numbers. Like, Trial by Existence was a failure if you go by the stats, but I still feel in my gut that it’s a strong fic, and I learned so much about writing from it. Anyway. There’s a bunch of things I ask myself during the inevitable post-mortem: first and foremost, did I say what I wanted to say? Did I convey the message that I was attempting to put out there? But then I also consider was the quality up to standard, did I build on my learning from the last thing that I wrote? If it’s a gift work, did I please the person it was gifted to? In terms of grammar and punctuation, phrasing (none of which are my strong suit) have I improved? And though I never set out meaning to, I start to fret about the stats…

 But I also think that if someone has said in the comments that they’d love to see more of this particular story, then you’ve succeeded in making something that someone else connected with. That’s always a really important metric for me.

 Likingthistoomuch: Coming to the topic of Social Media, what effect does that have on your work? Have you ever faced rude reviews or comments or called out for offending people? Because we know, if you log in, someone somewhere is offended.

 OhAine: And I specialise in offending people LOL it’s why I stay off social media for the most part.

 Everyone gets the odd rude comment, I think. It’s the risk you sign on for when you put something out into a public space. I try hard not to take those personally.

 It seems to me people are looking for a fight and they don’t care what it’s about. I’ve come to the conclusion that no matter how convinced I am of my position or opinion, if there’s even a hint of aggression I walk away because to engage with them is just giving them what they want. Don’t add fuel to the fire, you know? And it’s not my job to educate. It just isn’t. So I do what’s healthy for me, and I avoid the nonsense even when I know I’m right and they’re not. I don’t need to explain myself to strangers.

 Having those things said, I wouldn’t trade away the positives of social media just to be rid of the negatives. I’ve found fantastic friends on sites like AO3 and tumblr, I get so much from our little community and the lovely people in it. I suppose the Sherlolly community is lucky: we’re small, able to self-regulate, and the people here are genuine and kind. I’ve learned so much, gotten so much joy from writing, so much from reading, the beautiful artwork that’s posted here, and my fellow shippers… I’m grateful for that, so that’s where I keep my focus.

 Likingthistoomuch: As per the new guideline, the blue hellsite will not allow explicit work to be posted. Does that make you want to write more E rated stuff, in a virtual Up Yours to Staff?

 OhAine: I gave up on writing E-rated fics two years ago, and I suppose I am kind of sad that I don’t anymore because I would dearly love to say to anyone who tries to censor others to go fuck themselves.

 On the one hand, the ban doesn’t really affect me because I don’t create that kind of content anymore, so I could just be tempted to shrug my shoulders and move on. But. It affects others who do create that kind of content, and I’ll support them all the way, not only because they should be allowed freedom of expression, but also because the purge is part of a bigger problem: the suppression of freedoms, under the guise of protecting the innocent, and is driven by a puritanical streak that’s becoming pervasive in our culture, one that is more about control and suppression of free ideas than protection. Tumblr is lying to us, pure and simple. They could deal with the p0rn problem but they don’t, and therefore you have to assume this isn’t about p0rnbots: this is about commercial considerations, and the suppression of creativity that they can’t commercialise. It’s also very telling that the ban is overly focused on the female body (and I can’t help but feel that because a good percentage of content creators are women, that the purge conveniently silences women’s voices) and the ideal of womanhood held by a very narrow band of its user base.

 Historically, censorship (and that is what this is) doesn’t lead us anywhere good. It’s a slippery slope, folks. We’ve got to be careful, or next thing you know we’ll be in red capes and white hats remembering the good old days when women were allowed to read.

 likingthistoomuch: Last question: If you could change just one thing about BBC’s version of Sherlock, what would it be?

 OhAine: Oh dear. Just one??? Okay, let me discount a few contenders first:

 I would ask that there be more Molly. Lots more Molly. That the kiss had been real. That Sherlock be naked at all times. That the shirts were tighter and the curls longer. That Mary had lived. That Holmes got the Watson he deserved. That Moriarty had lived. That Eurus hadn’t. That Paul McGuigan had stuck around. Ditto Stephen Thompson. That they had kept production values at primetime and not Saturday tea-time CBBC levels. That the production staff hadn’t stirred the shit just because they liked the attention. That Mofftiss had had a beta, or at least someone who challenged their ideas…

 But if I could choose just one thing, one thing that would be possible for them to do and not go off at a tangent, then I would have them stick to the cases. Tell the story they were telling at the start: The Adventures of Sherlock Holmes, as told by his Boswell. I’ll be forever sad that they chose not to do that.

Next week, Friday 10th of May, part two of this interview turns the tables and @ohaine interviews @likingthistoomuch.

[natsthinkitythinkthinkthonk]

Anime Recommendations for Cthuturu

My great pal @cthuturu recommended some anime, so I decided to post a list! You know, just in case anyone else wants to watch it.

Action:

Fullmetal Alchemist: Brotherhood 

You don’t need to watch the original. This one is the canon timeline, and it’s purely based off the manga. It’s a classic, and it’s the highest rated anime on a whole lot of anime sites. This was one of the first anime I watched, so I don’t remember it too well, but I remember really enjoying it.

Magi: The Labyrinth of Magic 

Sequel: Magi: The Kingdom of Magic Spinoff: Magi: Sinbad no Bouken (you don’t need to watch this one)

This one actually was the first official anime that I watched beside some dubbed Pokemon and Yu-Gi-Oh. It set the standard of anime I watched pretty high, but I found myself laughing a ton and enjoying it. It’s not as action-driven as a lot of shounen though since they do play into a more political and adventurous background at times. But this story is about a perverted kid, Aliboob the guy who can’t get his life together and cries a little too often (like Deku), and one kick girl.

Kyoukai no Kanata

Beware: This contains romance

It’s goe the cutesy elements of Kyoto Animation, but it’s got action too. 

Noragami 

Sequel: Noragami OVA, Noragami Aragato, Noragami Aragato OVA (in that order)

Beware: This one does contain romance elements

This one is really funny too, and it’s about some slacker god who is down on his luck of being a god. 

My Hero Academia

Sequel: Season Two, Three, and Four (S4 is coming in September) Side story: OVAs

Because if you haven’t watched it, you should go do that.

One Punch Man

If you liked Mob Psycho 100, you might like this one. Season two is coming out soon. 

No. 6

Beware: This one contains romance elements

But I found those romance elements to be secondary to the show’s actual plot because if I were to choose between the setting of post-apocalyptic chaos vs romance, I’d say the first is far more dominant.

Slice of Life:

Kimi to Boku

Beware: Contains the occasional romance elements

I say this because nobody ends up being canon, their lives are a mundane humdrum, and I enjoyed that it was a friendship driven show. It’s about bros being bros and living out life. You’ve got the twins (who I still can’t tell apart), the feminine one, the glasses nerd, and the foreign loud one.

Gin no Saji

Beware: Contains romance elements

It’s basically about a farming school. It also touches on the values of people and their goals that sometimes aren’t reached and how to recover from failure. But really, it’s just a fun show. This is from the creator of Fullmetal Alchemist.

Barakamon

This is about the antics of a bunch of kids and a self-centred calligraphy guy who originally just wants to get better at his craft but eventually gets roped into the activities of everyday life.

Hinamatsuri

This one is about a yakuza essentially adopting some random esper girl who landed in his apartment. If you liked Mob Psycho 100, you’ll probably like this one.

Violet Evergarden

Edit: they put this where the hinamatsuri gif was, and I almost lost it. HAHAHA

Beware: Death mention

A former cold-hearted soldier tries to discover the meaning of love while writing letters for others. Apparently, it’s quite sad.

Anohana

Beware: Contains romance elements; heavy death mention; can be interpreted as sad

This one is about a girl who died and comes back as a ghost and tries to haunt her former friend group back together since they can’t overcome the grief of their loss. It represents the importance of life and just how much a person can mean to someone else.

Natsume Yuujinchou

It’s about a guy and his cat trying to relieve spirits. It’s a little episodic, but there are orders to the thing. But they’re literally called, “Natsume Yuujinchou San/Go/etc.” which are basically numbers, so I probably don’t need to go over what order they go in.

Gekkan Shoujo Nozaki-kun

I’m not calling this a romance because if you wanted some good canon romance, you should’ve gone somewhere else. Nobody ends up with anyone, life is a mess, and how did these characters end up where they are? It’s really funny.

Danshi Koukousei no Nichijou

The humour is hit and miss, but this is usually a recommendation for people finished Nichijou which is a far better-known slice of life comedy. This one is centred around boys and their antics though.

Angel Beats

Warning: Contains romance elements; heavy death mention

They’re all dead. What can I say? It’s oddly funny for a series about dead people, but some people do find it sad.

Violet Evergarden

Romance:

I think I recall them saying that they don’t like romance because of the singleness in life, but I will still put these down here in case they ever change their mind.

Toradora

It’s about two people trying to get into a relationship with each other’s friend. It’s also one of the best romance anime I’ve watched to date.

Akagami no Shirayuki-hime

This one is purely cheese and sugary sweetness. It is a modern adaptation of a fairy tale romance featuring a red-haired (more like pinkish red) Shirayuki (Snow White), a white-haired prince and his retainers, and some scrub they picked off the street that has no eyebrows.

Wotakoi

It’s about two forever alone friends trying to be in a relationship.

Ouran High School Host Club

Some person broke an expensive vase and now has to pay back the debt by working at the host club even though she’s biologically female.

Chuunibyou demo Koi ga Shitai

Chuuni is a term used for people who like to act like fictional characters in real life. It’s also an adorable anime.

Tamako Love Story

This one is also pure cheese and sugar. You can watch Tamako Market first, but this is also an independent movie if you take out all the parts with the fat bird in it. That sounds weird without context.

Your Lie in April

This is one of the most popular romance anime out there, and it’s really nice. I would highly recommend it.

Seishun Buta Yarou

People usually recommend the Monogatari series after this one, but this one is far easier to watch and easier to navigate since it doesn’t have a bunch of seasons and movies. It’s about a plain guy solving these girls’ problems.

Tsurezure Children

A bunch of people try to find their own romances but end up having a lot of odd situations along the way.

Movie:

Anthem of the Heart

This does contain romance being hinted, but they never show it on-screen. This movie is about a girl with anxiety being cursed by an egg. I kid you not, an egg.

A Silent Voice

Beware: contains suicide and bullying

Besides the warnings above, this movie is a coming of age tale about a boy who seeks redemption after bullying a girl when they were younger. It brings up the question of whether a man can ever truly redeem his sins.

Your Name

This one is about body-swapping and a lot of switching between two characters: a city boy and a country girl. They each try to live each other’s lives. I’m planning on watching this one again on Sunday.

The Boy and the Beast

This one is about a boy who ends up being mentored by a beast. Uh... besides that, it’s just easier to watch than for me to explain terribly (but isn’t that the case for all of these?)

Other Anime that I Haven’t Watched (Moe stuff):

K-On

The Melancholy of Haruhi Suzumiya

Hibike Euphonium

Non Non Biyori

Sora yori mo Tooi Basho

Love Live

Lucky Star

Azumanga Daioh

Yuru Camp

[fortunatelylori]

Why the Jon/Daenerys romance doesn’t work (Part 1)

Are D&D really idiots?

Disclaimer: So ... my experience with Tumblr is veeeery limited ... as in this is my first post on here so if I fail to link things properly, give credit for gifs, caps or other people’s creations in an appropriate manner, I apologize in advance. Please let me know if you notice something like that and I will change things accordingly.

I have been scrolling around the site for about a week now, after having revisited season 7 of GOT. I will freely admit in advance that I ship Jonsa. However, for what it’s worth, when season 7 first came out, I was more than ready to abandon my Jonsa dreams and get on board with the Jonerys love fest, since everyone around me assured me that it was the end all be all of romance. After seeing the episodes for the first time, I was completely underwhelmed but I ignored my gut feelings because well ... everyone assured me that Jon and Dany were oh, so meant to be. Who am I to fight fate, I thought?!? So I just shrugged and moved on with my life.

However, part of the problem with this ship is that the more time passes, the more people like me, who actually enjoy watching and rewatching the same thing over and over again, start to see the cracks in it. I don’t mean to offend anyone that ships Jonerys, even though I probably will or anyone who likes Dany. Personally, I’ve had a whole host of problems with her character but I will refrain from commenting on my issues with her in this series and just give an opinion on why this story has the deepest scent of red herring since the invention of red herrings.

Before I get into it, I will keep these metas mainly focused on the story from a scriptwriting POV, since that was my job for a time. This series will be less focused on visual cues, camera angles and such. People with far more patience and experience have already done this so I will focus my observations around my area of expertise, such as it is.

In this first part I will try to dispel a few notions about  David Benioff, D.B. Weiss and their writing crew.

One of the common defenses for Jonerys, is that the creators of GOT are simply not every good at their job. They are unable to craft a decent love story for these two characters.

So the guys who created the most popular TV show on Earth, a show that HBO has invested hundreds of millions of dollars into, are hacks. Ok … 

Why do people believe that? Well, for a number of reasons:

1)      The show does not have the thematic scope and wealth of characters that GRRM included in his series

This is true. From the direwolves, to the missing characters, to entire plot threads, prophecies and themes upon themes, D&D have significantly simplified GRRM’s work.

But I would argue this is not because they don’t know how to do their jobs, but rather because they do know how to do it.

GRRM’s himself has said that he started writing ASOIAF out of sheer frustration with being a scriptwriter. Writing a book IS an extremely liberating experience after writing scripts. Why? Because words on a page cost nothing, aside from time and creativity. The sky is the limit.

The sky is absolutely not the limit when you’re a scriptwriter. You are constrained by all sorts of things like: money, sets, weather, daylight vs. night time, actors ‘availability etc. You’re always looking at what you can condense, tighten up. You’re always cutting words out of lines to make them sharper, regrouping scenes so you can maximize your locations, cut out all the fat so you can get an episode that is the required length.

And then there’s the all important element: the audience. People have different reactions to reading something vs. watching something. You read to get lost in a world, the journey is the main entertainment. In contrast, you come back week after week to watch a TV show to see what your favorite characters are getting up to.

Considering all of this, is it really surprising that they would cut out things like the young Griff or fArya from the show? Does anyone believe that the general audience out there cares about them? No. They want to see Jon, Arya, Tyrion, Dany … And they also want to see progression. A season of Tyrion on a boat thinking about stuff is not an option.

Also, GOT has quite a reputation for having a hellava lot of characters. Just watch the honest trailer that Screen Junkies have done:

At around the 3:20 mark they point out all the characters whose names you remember and all those you don’t. And it’s hilarious. Why? Because it’s true.

By season 3, people were still struggling to remember Littlefinger’s actual name. How do you think they’d fair with all the Greyjoys that pop up in the books like mushrooms after the rain?

So yes, D&D and their team cut out themes, characters and storylines for the sake of brevity. That’s what scriptwriters have to do, as sad as it may sound. That’s not to say they do everything right but by and large they’ve done a decent enough job for me not to assume they can’t write a proper love story for 2 characters that they’ve been working with for 6 seasons.

2)      Emilia and Kit have chemistry in real life so if that didn’t translate on screen, it’s because the scriptwriters were doing a terrible job at tapping into it

See, I would almost buy into that if it wasn’t for the fact that their scenes aren’t poorly conceived but rather are actively undermining the budding romance. You never get a sense of completion, of certainty from any of them. I will go through every scene in my next post, but for now, I’d just like to draw your attention to this moment:

(source: @dreamofspring )

We’ll leave aside character motivations on this for now, but if the script writers put that line in there to further advance the Jonerys romance, then they shouldn’t be in charge of writing commercials, let alone multimillion productions.

Are we to assume they simply forgot the other two instances where this line was used?

They revisited the Tower of Joy this season but apparently no alarm bells went off in the writer’s room at this:

(source:  @dreamofspring​)

They paralleled Jon’s arc this season to Mance Rayder’s but nope, simply forgot about this:

This script went through a dozen rewrites and probably 100 hands by the time it made it to the screen and yet at no point did anyone think: “Hey guys maybe we shouldn’t have Jon say good bye to his lady love by quoting Mance right before he was burned alive.” Those silly, silly writers.

3)      The show has taken a dive quality wise since they can’t follow GRRM’s source material any longer

There is some validity to this, I will admit. This season we’ve seen the likes of Tyrion, Varys and Littlefinger lose some of their vital energy and characteristics that have made them such interesting, fun characters to watch.

The Littlefinger plot, in particular, was poorly executed. In their desire to leave us in the dark about what was happening in order to have what amounted to a cheap twist at the end, we were given a convoluted, clunky mystery plot where everyone was playing everyone else but not really. While I’m glad, on principal, that the show established the Stark sisters coming together as a unit against a common foe, giving Littlefinger such a stupid ending left a bitter taste in my mouth. Not a worthy completion to the arc of one of the best players of the Game of Thrones at all. So yes, they dropped the ball on that one.

Tyrion and Varys are a different matter. The main reason why they’re rather ineffective and sidelined is because they probably shouldn’t be there in the first place. That’s because their entire vision on life, justice and good kingship comes directly at odds with Dany’s “Fire and blood” policy. They are just now starting to worry about this predicament but they’re both far too smart not to have noticed until now. The woman brought 3 dragons and a Dothraki horde into Westeros. What did they think she was going to do with them? Play boggle?!?

If I try really hard, I can find an explanation for Tyrion. I think, probably, he’s still reeling for the trial and murdering dad so he’s not in the best state of mind.

Varys however? He definitely shouldn’t be there. He should be with young Griff which makes much more sense since it’s very likely there is a deep, personal connection there that would make the usually cynical and skeptical Varys trust that the person he is actively supporting is actually best for the realm. But alas, young Griff doesn’t exist so he’s stuck with Dany, until he finally turncoats and gets burned alive. So brevity is at fault here.

All that being said, I think it’s unfair to assert that the show runners have dropped the ball. That’s because the more I think about it, the more season 7 looks like a part of a whole, instead of an arc on its own. There are too many open ended questions, too many character choices that don’t make sense (particularly Jon who is, by far, the central character this season) for it to feel complete.

Season 7 is like the Infinity War part 1 of Game of Thrones. You can analyze it on its own but you can’t really determine its true quality or meaning until you see Part 2.

I know this got very long so thank you to everyone that had the patience to read until the end. J

[boueibu-valentines]

Creator: @my-yuujin Recipient: @chuuugs Characters/Pairings: Atsushi/En Comment: I do not usually write fanfic even in my native language, so this may be an embarrassing gift to give🙈 Please forgive any grammar/spellings mistakes and weird sentences you may found in this very short story.

———-

“Wow! It looks delicious, Atsushi-senpai!!” exclaimed Yumoto, sparkling eyes staring blithely at the inside of the lunch box Atsushi showed them. The youngest boy of the bunch cocked his head, deeply breathing in the delicious smell.

“Hey, now! You will drop your drool all over the brownies!” Atsushi drifted away the box from Yumoto’s hungry nose.  “Aren’t we going to eat this with everyone in the club?”

“I guess it’s for Valentine’s Day, is it, Senpai?” Io asked politely. The pale green haired boy unusually tucked away his smartphone, which screen was always full of complicated graphics regarding his activity of trading stocks. “I heard that heart-shaped pink brownies are being popular these days.”

“Yeah…, my sister told me that too,” Atsushi admitted as he arranged the brownies onto the plate. “I’m not really used to baking. She pretty much helped me with this, so I can say I’m quite confident on its taste.”

“Hm! You’re right!” Taking a bite of a piece, Ryuu agreed. “It tastes as good as the ones I received from my girls!”

“I love how it has both strawberry and chocolate flavors at the same time!” Yumoto pointed out. He gobbled up the brownie piece in one bite, and soon craved for another one. “Even though I’m still wondering if someday I can have An-chan’s riceball-flavored chocolate for Valentine.”

“That’s some absurd chocolate you’re fancying, Yumoto,” commented Ryuu with a sweatdrop.

“But still…,” Io talked after he’s done eating one piece. “It’s really a shame that Yufuin-senpai can’t try your chocolate, Kinugawa-senpai.”

“Now that you mention it, Yufuin-senpai is absent today because of cold, isn’t he?” supported Ryuu. “Though it’s sort of rare for him to suddenly get sick like that.”

Atsushi didn’t deny that.

“For someone who’s neither energetic, nor taking care of himself properly, En-chan had always been pretty healthy. That makes him being in bad condition kind of worrying….”

“So you’re planning to give him a visit after school?” reckoned Io.

Atsushi nodded. “I have to give him today’s lesson notes, too. Though…I doubt he’ll read them at all….”

“Rather than the notes, I bet Yufuin-senpai will be happier if you bring him your chocolate!” convinced Ryuu.

“You’re right,” Io complied. “It tastes this good, after all.”

“What is it? Visiting En-chan-senpai?” Yumoto suddenly butted in. “Count me in!”

Ryuu and Io jolted at Yumoto’s idea.

“No…, Yumoto! You don’t understand…! The point is…,” Ryuu struggled to explain, that he and Io wanted both of their senpai to be alone.

“That reminds me, Yumoto. Don’t you have to help Goura-san cleaning your family’s bath house today?” Io cut in

“Ugh…that’s right…. I completely forgot…!” Yumoto sighed in disappointment.

Atsushi smiled and patted the youngest boy’s head.

“Don’t worry, Yumoto. I’ll give En-chan your regards,” Atsushi turned to Io and Ryuu. “How about you two? Do you want to go visiting En-chan too?”

“Uh…we are…,” Ryuu was glancing around, looking for good excuse to refuse.

Io put up his right hand. “I’m sorry, Kinugawa-senpai. I have to spend my evening to arrange my investment strategy and some other stuffs.”

“M-me too!” followed Ryuu. “I have promised my new girlfriend to try some new cafe after school. So….”

“Well, that can’t be helped, then,” Atsushi smiled understandingly. “I guess I’ll go alone.”

“It’s fine, Senpai. Yufuin-senpai must need a good rest,” Io gave another good point. “The less people go, the better.”

.

.

.

Catching cold was always annoying. Especially when you didn’t usually catch one. Headache, sore throat, stuffy nose…. And worst of them, everything would taste terrible.

En buried his face in his pillow, rolling from side to another side of his bed, trying to find comfortable position to sleep. Exhausted, he finally settled by curling his body under blanket, sleeping without any pillow comforting his dizzy head.

En found himself waking up when the sun was almost setting. That meant he had almost slept for almost three hours. His pajamas drenched in sweat, and he felt terribly thristy. Reaching for a nightstand, he clucked tounge as he found the bottles on it were all empty.

In the end I’ll have to walk to get some water… En rose to sit, sighing lazily. How troublesome….

“Hm?”

En’s eyes rounded for realizing something wet fell from his forehead to his lap.

A towel?

He didn’t remember having that being put on his forehead before he fell asleep.

“Ah, En-chan! You’re already up?”

A familiar voice came from the door’s direction. Someone still wearing school uniform, was bringing in a tray with two steamy bowls on it.

“Atsushi?”

“Yeah…, I was asked by teacher to give you today’s note,” Atsushi put the tray on a round low table near En’s bed. “How are you feeling?”

“Not so good,” Eh shrugged. “And I’m hungry.”

“I know,” Atsushi helplessly chuckled.  “Just by looking your miserable figure sleeping on the bed, I knew you hadn’t eaten anything today.”

“Too troublesome to cook and eat,” answered En, which didn’t surprise Atsushi at all. Even when he’s fit, he wouldn’t move too much. Let alone when he’s sick.

“Well, I made you some chicken soup,” Atsushi turned to the tray he had brought in. “Eat up and don’t forget to have your medicine.”

En stared at the dish. Warm rice and simple soup consisting shredded chicken, sliced carrots, green onions, and bok choy. The broth smelled delicious. It was a shame that it wasn’t apparent to En because of his stuffy nose. But since it was Atsushi, En still could bet that it must taste good.

While En was eating, Atsushi remembered that he also brought En some melon.

“I’ll cut it for you,” said Atsushi. “Or do you prefer it to be juiced?”

En sticked up his thumb with his free hand. “I’d have the melon juice.”

So Atsushi walked out and left En alone in his room.  En could hear Atsushi‘s busyness in the kitchen as he cut and blended the melon. It sounded to take some time.

While inhaling the soup, En realized that Atsushi left his bag open in En’s room. At first, En didn’t really mind it, until he noticed a suspicious transparent little package containing some pieces of pink and brown.

En left his food to check on the package, and found out that the pink and brown things were actually some chocolate candies.

Right…, today is valentine, isn’t it? En pondered. Then, this must be for me, I guess….

En had enough reasons to believe that. The candies’ package was too plain to be a special gift from a girl. Even if it was just for obligatory chocolate. Besides, that wouldn’t likely to be one, since their school was all-boys.

En heard Atsushi ‘s sandals rubbed against the floor, heading towards his room. The blond quickly returned the chocolate to its place and fixed his position back to holding his chopsticks and rice bowl.

Well, it’s no good to take someone’s belonging from their bag, even if it’s actually a gift for you. I’ll pretend not to know and let Atsushi himself to give that to me.

Atsushi came with a glass on his hand.

“Here, the melon juice you wanted, En-chan,” he said, setting it on the table.

“Thanks.”

Atsushi approached his bag and put it on his shoulder. Good thing that he didn’t realize that En had zipped closed the bag he’d left open after getting En’s notes out.

“You wanna go already?” En held back his surprised tone.

Atsushi nodded. “I have to change my clothes and take bath after all. Don’t worry. I will be back here soon…, if you think you’ll still need me. But I guess your parents will be home tonight, won’t they?”

En didn’t answered. Instead, he quietly asked, “Say, Atsushi…did you get or give something for Valentine today?”

Atsushi blinked. That’s sure not something that En would usually ask. 

“No, I didn’t receive anything,” Atsushi replied honestly. “What’s the matter with that?”

En put his still half-filled bowl down, followed by his chopsticks. The next moment, the blond crawled back to his bed.

“Hey, what’s wrong, En-chan? Why didn’t you finish your meal?”

“I’ll soon finish it when I get my appetite back,” En’s voice was heard from under the blanket he’s engulfing himself with.

“And you’re still not taking your medicine either…!”

“I’ll take it after dinner.”

“En-chan…!”

“My parent will be home early,” En said flatly. “You don’t have to accompany me tonight. I’ll be fine by myself.”

Atsushi, of course, with En being like that, didn’t just buy what his best friend told him.

“Are you alright, En-chan? Did the soup taste bad? I can make the new one for you, while it’s still not too late to buy groceries…”

“No, the soup was fine,” En replied quickly. “I just wanted to be alone.”

“You’re acting weird, En-chan! Is it because of some monster again…” Atsushi walked closer and yanked the blanket off En’s head.  The eyes behind those glasses widened as they found tears on the corner of En’s cerulean eyes.

“En…cha—“

“Geez, just leave me alone, would you?!” En snatched his blanket from Atsushi, and covered his whole body with it.

Atsushi stared silently at the bulge under the blanket.

“Are you mad about something, En-chan?”

No answer.

“I won’t leave until you tell me what is wrong,” Atsushi stated as he took a seat on the bed’s edge.

Still no answer.

“Did I do something that makes you angry?”

The bulge of the blanket didn’t even move—

“Actually…, about chocolate, I did make some brownies for Valentine’s Day.”

—until Atsushi said that.

“I brought some to school, but Yumoto and the others ended up eating them all….”

The lock on En’s lips got loose.

“But I found a package of chocolate in your bag.”

“Eh, really?”

Atsushi immediately checked inside his bag. He jolted in surprise when he found exactly like En had said.

“This is…?”

“Is it for Kusat—“

“It’s the chocolate candies my sister made herself yesterday!” Atsushi exclaimed. “She made these using the leftover chocolate we got after making the brownies. She told me it’s obligatory chocolate for her friends. So why was it inside my bag?”

En quietly peeked, “Your sister?”

“Was my sister trying to prank me?” Atsushi mused in suspicion. Even though his sister did give him obligatory chocolate every year, she always gave the chocolate directly without warping it.

This year, Kinugawa siblings had made their chocolate together. Naturally, Atsushi himself had eaten some of the chocolate, and regarded it as his yearly obligatory gift. He’d never expected to get another one from his sister.

“Atsushi,“ En came out from his hiding, cracking Atsushi’s musing. “Stay here.”

Atsushi blinked at the sudden change in En’s behavior. “Didn’t you tell me to leave some minutes ago?”

“I was wrong. Sorry,” En’s reply was quick. He’s now sitting on his bed, lowering his head toward Atsushi in apology.

Atsushi rounded his mouth, before trying to guess, “Don’t tell me…, you was restless because of the chocolate candies you found in my bag?”

En pouted a little, and shifted his gaze. “No, i just thought that you were lying to me about not getting any chocolate. That’s all.”

Atsushi smiled to hide his chuckles. “Well, I’d be glad to stay. But you do understand that I need to change clothes and take a bath, right? I’ll be back here after I’m done with―”

“Take your bath here.”

“Eh?”

“What? You have once had bath in my house when we were in middle school, right? Our bathroom doesn’t change that much, to the point you can’t use it anymore.”

Atsushi waved his hand in denial, “No, no, that not the problem. I still need to change clothes and―”

“You can wear mine.”

“But, En-chan…! Your parents will be home soo―”

“Ah. I was lying about that. They won’t be home until tomorrow. Sorry.”

“What?” Atsushi raised his voice a bit. “You’re worried about me lying to you, but you too were lying to me?”

“Like I said, I’m sorry….”

Atsushi sighed, “You’re so helpless En-chan…. If anything, isn’t that you who need to take a bath and change clothes right now? Your pajama’s drenched with sweat.”

“Then we can take bath together,” En rose from his bed and shrugged off his pajamas. The next moment, the blond lifted Atsushi from the bed’s edge onto his shoulder.

“Wait! En-chan! I thought you’re sick?!” Atsushi struggled. Where did he get so much strength to lift me around?

“It’s because you’re too light!” shot En, as if he could read Atsushi’s mind.

“Wait, if we take bath together, you’ll end up passing your cold to me!” Atsushi still tried to convince En.

“Then we will have cold together.”

“En-chaaan!!!”

“You’re the worst, En-chan. If I really end up getting cold because of this―”

“Are you gonna sue me?” En replied as he rubbed his nose against Atsushi’s naked nape.  “I can sue you for not providing me some Valentine’s chocolate too, you know.”

The shorter boy who wasn’t wearing his glasses now, sighed, as he was tracing his hands against En’s wet arms enveloping him from behind.

“That’s not my fault. I actually planned to go home, to fetch the leftover brownies I have in my fridge and give them to you. But since you forced me to stay here….“

“Well…,” En moved his chin onto Atsushi right shoulder. “To be honest, it’ll be pointless if my chocolate is just the same as the ones for Yumoto and the others.”

Atsushi chuckled as he felt En’s lips marking a kiss on him. “So… En-chan want to get a serious chocolate from me, huh?”

The kiss changed into a light lick, as En whispered deeply.

“You are my serious chocolate, Atsushi.”

[captainmazzic]

So every now and again I get a message in my inbox asking about what I thought about such-and-such a thing in new canon, or if I’m intending on writing any meta or analysis on a particular subject in Star Wars. And sometimes I keep those messages sitting in my inbox for months (one has been sitting there for a little over a year), because I think, maybe I will feel comfortable doing in-depth meta again and I’ll wish I’d remembered what this message had asked. But as time goes by I don’t think that’s going to happen.

Okay. Real talk for a minute here. Bear with me as I’m long-winded and I don’t really have a concise way of communicating this. Potential political views and personal opinions on certain points in cinematic history below.

Short backstory first. I’m an older Star Wars fan. I was a tiny child when the last of the original trilogy came out, and both my parents are sci-fi nerds so I was practically raised on Star Wars. They are also tabletop RPG nerds so I was also raised on D&D and the like. So naturally when Star Wars tabletop RPGs were floating around I snapped them up and consumed them like candy. The novels were a natural extension of the RPGs, and I consumed those just as enthusiastically. The Expanded Universe was my bread and butter, and to this day I’m very nostalgic and fond of it even if most of it is quite laughably terrible.

Where am I going with this? Everything is a product of their time. The original trilogy was created when George Lucas was a young liberal-minded fresh-faced director looking to change the world and make his mark. This was the 70s, war was awful, the government was evil, hippies and protests were everywhere, and the only thing that seemed to have any hope of changing the world were small bands of spunky misfits with a mission and a message. And that mentality is one that shows, in the original Star Wars films. Lucas designed the Empire as a representation of the United States circa the Vietnam War, just dressed up in the fashion and ceremony of Nazi Germany and the Soviet Union. (Sources: Chris Taylor, How Star Wars Conquered the Universe, Pp. 87-88; Michael Ondaatje, The Conversations: Walter Murch and the Art of Editing Film, p.70) The message of the original trilogy boiled down to “the ability of a small group of people to defeat a gigantic power simply by the force of their convictions… no matter how small you are, you can defeat the overwhelmingly big power.” (quote: Walter Murch). He really struggled to get Star Wars onto the big screen, with a lot of setbacks and rejections, and many times when he thought it would never happen. But it did, and it was wildly successful. And I think in part it was because that message really spoke to people, and it didn’t hurt that it was wrapped up in a package with cool laser swords and explosions and space battles.

But then the 80s happened. And the 90s happened. And through that, what happened to Lucas is what happens to many people as they gain success, wealth, and fame as they grow older. The system started to work for him instead of against him. Suddenly the Powers That Be weren’t trying to suppress his ideas from getting to an audience; suddenly all those organizations that seemed so hell-bent on keeping him out were now enabling him to get and stay in, to conserve and gain influence; suddenly his opinion counted for so much it almost seemed god-like, especially in this galaxy far, far away that was unflowering under his direction and all-seeing eye. I guess the system isn’t so bad after all, eh?

And thus we have the Prequels. They can be a rollicking good time, but their message is muddled. Before them the books and the RPGs seemed to try as best they could to hold on to that earlier message of underdog vs. the powers-that-be (with the RPGs succeeding more often, imho), but they couldn’t continue in the face of their Ultimate Creator coming back in to make more SW movies. With the Prequels, suddenly the Old Republic is portrayed as noble and struggling instead of corrupt and dying, with a lot of hand-waving and “something something well actually” in regards to the role of the Jedi, the nature of the Senate, etc. There’s mixed messages where sometimes we get the old Star Wars back, with energetic groups of activists and freedom fighters trying to bring down the oppressors, but there’s also a lot of storytelling awkwardness where the audience is implored to trust the authorities and rely on the judgment of those with power over you within the same breath. This trend continues throughout the Clone Wars animation, and it is there that it becomes often so cognitively dissonant one wonders how you don’t get whiplash trying to follow whatever garbled message they think they’re communicating. And I think that’s where the Star Wars franchise really began to become a monster in its own right. Big businesses are hulking entities unto themselves, functioning like capitalist plutocracies within their host nations, and the Star Wars franchise is no exception. Whatever garbled message Lucas tried to send out with the Prequels grew amplified and even more confused with the Clone Wars, spread into the video games and the books, and continued to infect Star Wars as the franchise was turned over to the quintessential mega-plutocratic-empire, The Walt Disney Company.

And here we have the Sequel movies, the New Canon, and all of the disasters that come with them.

Disney walks a fine line between well-meaning family-friendly sugar and spice, and ruthless all-consuming hypercontroller of everything from arts and entertainment to food and clothes and government lobbying. Their bottom line is the dollar and the influence on – and power over – people’s lives that the dollar brings with it. Handing them a story whose original message was about people resisting the very kind of mammoth force that Disney embodies, and hoping that they will try to stay true to said original message, is hopeless and foolish at best and utterly disastrous at worst.

With the Sequels and subsequent movies, Disney pays good overt lip service to the original trilogy with things like Rogue One and the Rebels animation, which on the surface certainly do look like the same sort of message as the original trilogy. But scratch just below that surface and Disney is all about communicating that submitting to the authority of, say, higher Rebel command and following their orders even when it goes against your gut feeling (ex. Ezra Bridger in the Rebels animation), or that rebelling against an unjust government is only valid if it is done according to a strict but nebulous set of arbitrary rules and only if it is done in the service of a different unjust government that just happens to be slightly less evil than the one you’re trying to overthrow (ex. any iteration of the Old Republic ever, but I’m especially and particularly looking at you, Sequel-era Republic/Resistance and SWTOR Jedi/Republic).

And here is where I balk about ever doing meta on Star Wars again. I hate that this is the direction Star Wars is taking. I hate that New Canon feels like propaganda to me. I hate that I can’t enjoy any of this stuff if I take it for what it presents itself to be. I hate that the only way I truly can enjoy Star Wars now is by cherry-picking all of the tiny bits of window dressing that was pretty enough or interesting enough for me to want to look at it again, and very deliberately and consciously throwing out all the rest.

The experience of Star Wars that I create for myself is escapist and isolating, because it is so very tailor-made to what I can enjoy out of it now. When I go see a new Star Wars film or play a Star Wars game, I don’t actually see whatever story the franchise is trying to actually tell. I see bits and pieces that I can put together into something I can cope with better, something I can actually enjoy.

Examples include:

In Rebels, when the official franchise’s story killed off Maul. I cannot and will not acknowledge that, or function as though it happened. And I can’t really give my opinion on how not having Maul around will affect the future story, because I very literally do not care at all about any Star Wars where he is not in it.

In The Clone Wars, there are so many instances of Anakin Skywalker having agency and making decisions independent of the Jedi Council or without having their insipid code squarely in mind, where if he had made those decisions in a more realistic setting they would have turned out quite well, but what we get on screen is ominous background music and FoReShAdOwInG.

In The Last Jedi, I cannot fathom any reason why Yoda would be given the role that he was given, and find it a complete affront to Darth Vader/Anakin Skywalker, who had every motivation, every reason, every right to have that role instead. So I can’t see that scene without him in it. I just… I don’t see it. It didn’t happen that way, and I find I cannot discuss it as it’s presented on-screen. I have nothing to say.

In the Sequel media, both books and movies, Supreme Leader Snoke is portrayed as a one-dimensional Saturday morning cartoon villain whose intended role in the story is blurred as the story progresses, and his death is completely nonsensical in regards to the buildup of information that we as an audience have gleaned about him. We see pieces of evidence that he could have actually cared about Kylo Ren that go nowhere in the actual story, and he ends up just being a scapegoat that gets thrown away halfway through the second sequel movie. I choose to see more in his character than what we were given in Actual Canon™, and thus see him very differently than what common discourse would allow. Because of this, if I discuss Snoke in mixed company I know that I will be called out as someone who advocates for only the limited cardboard-character that is portrayed on screen, instead of for the internalized view that I have personally built for him.

I know everyone’s personal view of a character or characters is different, because we all have different points of view. But there is often some sort of vague common ground in their portrayal that the author or storyteller was originally going for, that most people usually pick up on and base their opinions around. But what if some of the key characteristics that make up a character are just… things you choose not to see or are incapable of seeing, and your own personal view of that character becomes almost entirely different from the “original”? Probably the most benign example I can think of is Hera Syndulla. If I take what I see of her in canon, she infuriates me with how she treats her crew. But if I just decide that such-and-such a conversation never happened, or her decisions on such-and-such a mission were different than the on-screen one, she essentially becomes an alternate-universe version of herself. Only that this version is one that I can tolerate, and it is the only version I see anymore.

How does one communicate that my entire experience of Star Wars is as an AU?

And on and on it goes. Discussing meta and Actual Canon Events™ as portrayed on screen and on printed page has become nothing but a migraine headache to me. I cannot engage in discourse, because I am very much not seeing what everyone else is seeing and talking about, nor do I care to. I just… I can’t keep talking about the same stupid things over and over again. I can’t keep screaming into the void about the unsustainability of the Sith or the Jedi, about the complete inequality and corruption that would have to be absolutely omnipresent in the Republic for it to even be remotely realistic even by cartoon standards, about the inevitability of the Republic turning into an Empire, about the weird dissonance given to the concept of the Force that would end up making both the Jedi and the Sith’s case baseless and weak, etc. etc. ETC. It’s exhausting, it’s stressful, and for something that I’m here to try to enjoy, it’s not even remotely enjoyable.

The very core of the matter is that I love the Star Wars universe. I love the worlds, I love the aliens, I love the ships and the droids and the technology and the concept of the Force. I love the characters. I love all of these things, and sometimes I even love the plots and stories (thank you Chuck Wendig and Timothy Zahn). But I just can’t enjoy digging into the meta of it anymore.

So if you like what I post of my own personal Star Wars-brand AU, by all means dig right in. But I don’t think I can do anymore general meta or discourse. I’m sticking with fanart and fanfic.

[starberry-cupcake]

Extensive Les Mis fanon character interpretation Discourse under the cut, read at your own risk

I’ve been thinking about this for an embarrassingly long while and I know I’m not the best person to discuss this, because talking about Les Mis is like opening this huge box of things which you need to be a scholar to be prepared to back up fully. That’s why this is under ‘read more’, because I am aware and accept my own ignorance and limitations BUT I also think this is an interesting topic, so here we go. 

One thing that has been increasingly bothering me in what we can call “the current fanon interpretation” of Les Mis, namely the fanon interpretation that arose/became popular post 2012 movie and through tumblr/ao3, is this idea that Enjolras is a toxic person and he tramples selfishly over people’s feelings. 

This is something that escalates sometimes a lot, even to a point in which I had to one time witness someone on tumblr dot com saying that Montparnasse was a better person and preferable ship partner than Enjolras which made me just stop and stare at the screen for a long moment trying to comprehend where this was coming from. 

There was an escalating fandom acceptance of Enjolras being incredibly selfish towards people in the benefit of “his cause”, which makes him a sort of childish persona who is unable to take care of himself and who doesn’t understand people’s feelings in the slightest. 

This is 99.999999% of the time paired with Grantaire’s interpretation, which I think is a key to understanding why this happened in the first place and why it evolved into turning Enjolras into an unfeeling person who understands nothing of human emotions. 

And I think it’s a fascinating thing to think about and deconstruct, even if I’m not fond of the interpretation. 

I think that Grantaire is, to the current Les Mis fandom (more so than ever before, but I’ll talk about that in a bit), what Éponine was to the musical fandom (and creators) in the 80s/90s. 

A big problem I have with Éponine’s interpretation in the musical (and again, I’m in no way the most qualified person to talk about this and my word should be taken with a bucket of salt) is that she was taken as the victim in a made up “love triangle” that never was. The musical uses Éponine as a tragic figure whose love for Marius is depicted as wholesome and romanticized, whereas Cosette is reduced to a Cinderella story and a very shallow characterization once she becomes an adult (let’s remember her storyline is reduced to being an object to Fantine’s hope, Valejan’s salvation and Marius’s survival without much of an own agency since her entire plot and growth and storyline are cut after she’s rescued by Valjean). So the musical puts the two against each other as the two “options” Marius has, but doesn’t focus on Marius and Cosette’s relationship aside from a couple songs and moments, instead gives Éponine a solo on how much she’s unrequited and a death scene where the entire plot point of her wanting Marius to go to the barricade is erased. 

Éponine’s character complexity is reduced to the character people is meant to feel for and women are meant to root for because she is “the underdog”. And, most often that not, that’s what love triangles do, the underdog is the one people root for because they’re meant to identify with their unfair situation and their tough luck. 

This is a disservice to Éponine and to Cosette, who are much more complex than this and it’s something most people tend to let pass because the musical didn’t have as much time to expand, but it isn’t a matter of amount of content depicted but on which perspective to focus and what lens to see the story through. 

Ask anyone who was a fan of the musical in the 80s and who hasn’t read the book or seen any other adaptation who they prefer between Éponine and Cosette, if you don’t believe me. I mean, On My Own was adopted as the “anthem of the female friendzone” as cringe-y as hell as that sounds. 

Anyway, what does that have to do with Grantaire, you ask me? Well, first of, it’s very easy to see how modern fandom tends to interpret Grantaire and Éponine as friends, really really close to one another. This is a very common occurrence that results from the comparison of their situations and strengthens my point, but it’s not where I’m going with exactly.  

What I think that has happened with Grantaire, and here is the anthropological/sociological hypothesis nobody asked for, is that he became the embraced character for the current tumblr/ao3 fandom as Éponine was for that 80s/90s musical fandom, due to the interpretation he is given, to satisfy certain fandom needs that are current. Which isn’t wrong in itself, it’s what happens with archetypes all the time (and a subject of study for me, which is why this interests me specifically, I’m currently writing two projects that involve literary archetypes, but I digress). 

Grantaire’s drunkenness and confrontational nature were turned into coping mechanisms for a battle with severe depression, in most cases, or other underlying mental illnesses. Which isn’t that much of a long shot in itself, all things considered, it has a canon basis to stand on, but creates a complex case when it comes to the consequences of the things he does. 

Fanon transformed Grantaire’s confrontational nature into a constant cry for help, one which Enjolras most often, if not almost always, ignores. Sometimes out of being oblivious, sometimes out of selfishness, sometimes out of derision and contempt. Sometimes all of them at once. 

And one consequence of this was that it started becoming more and more often for Grantaire’s actions to be fully embraced by fandom because he was starting to be conceived as a vessel for a lot of self-reflection. It isn’t completely random that Grantaire’s characterization became more inclined towards the narrative of mental illness and conflicting coping mechanisms, because they are all subjects we talk about more openly now than ever before, especially in the platforms where this interpretation is more often seen, namely tumblr and ao3. Not that they didn’t exist before, but that they’re discussed more freely now, especially through the idea of safe zones that social media and the internet in general allow. 

What Éponine’s character was for the female fandom of the 80s looking for an underdog to root for, in a market filled with products about the female underdog who was unrequited and deserved to be loved, Grantaire somewhat became to a fandom needing to express this idea of existential emptiness and overall doubt about not only one’s state of mind but also where one is going with their life when others seem so certain about it. 

And talking about being certain about a life goal, what’s going in with Enjolras, meanwhile? I believe that, much like Grantaire’s fandom characterization having somewhere canon to stand on, Enjolras’s severity has some places where it came from which we can all clearly see. I am a little bit tired of how many times people use the “capable of being terrible” phrase at this point, and then there was the whole thing with Saint Just which I’m not getting into because this is already too long. 

But, much like characters written to be two sides of the same coin, Enjolras and Grantaire tend to be connected to each other’s characterization. They were like that in canon, they were written to be a pair which influenced, directly or indirectly, the other, so it isn’t strange to see that in fanon interpretations, the two also go hand in hand. Pun very much intended. 

The issue I have with Grantaire’s interpretation isn’t that his perspective is more directly viewed, or that fandom goes more in-depth with his underlying issues, but the fact that sometimes identification turns into idealization. It happens very frequently in writing (and not only in fic) that authors who see themselves reflected in a character tend to try to erase any blame from them in a way to channel a sense of embrace for their own actions, and that can be counterproductive to the character’s complexity. 

Because it isn’t really the problems and hardship what make a character relatable, it is their growth which comes from learning, which, in turn, comes from making mistakes. 

When Grantaire’s mistakes are characterized as reactions to things that are outside his capability to control, when they are seen as mechanisms of what anyone would do if they were in his place, Enjolras’s reactions to them turn not severe but unfair. 

Suddenly, all of Grantaire’s mistakes, jokes, derision and his unfavorable actions are seen as a product of an inescapable situation, out of his control, which, in turn makes Enjolras’s anger unjust and an over-reaction. Which, paired with the fact that Enjolras’s “cause” varies from interpretation to interpretation (especially in modern contexts, which are the most popular among this generation of fandom, where the “cause” has to be determined from social and political contexts that tend to be very vague out of the global state of the world and the intersectionality of issues, which overlay in every one of them), makes him unfairly distant and overall incapable of feeling empathy. 

Something that can be seen very clearly in the way in which, when it’s written as a ship, Enjolras often has to “choose” between Grantaire and “his cause”, whatever that is in each specific narrative. 

More so than making Enjolras too severe, my problem is with his desensitization. I feel that making Grantaire a constant victim (out of fandom willingness to grab onto him as a vessel of current issues of the generation he represents due to his canon-ish age) makes Enjolras desensitized to human emotion, especially because, most often than not, it is only him who is represented as oblivious or uncaring, while the rest of the group understands and sometimes even defends Grantaire, in stances even turning their backs on Enjolras for that reason, which always baffles me, truly. 

Enjolras is a very complex character and his actions are matter of many essays and interpretations, but one thing I don’t think he can be seen as is uncaring. Even less so uncaring towards human emotion. His constant inner turmoil during the barricade is something to behold and I always turn to his decision to execute Le Cabuc/Claquesous as one of my favorite parts in the entire thing, and the fact that he grieves his decision in the way he does is a proof of his emotional complexity and empathy. 

I don’t have a problem with Enjolras’s severity or Grantaire’s motives, I have a problem with the simplification of their narratives into a judge and a victim, which I think is what leads to these conversations of toxicity among them, opening another bag of complications. 

But even if it’s something that bothers me, it also fascinates me to see how these interpretations shift so much and how they change according to the audience that embraces the text at a certain point in time. How we charge it with additional symbolic value as we go, transforming it a bit with each read. 

I want to clarify, very strongly and vehemently, that these ramblings are IN NO WAY meant as derision of fandom interpretation or anyone’s particular writing. I too have written Les Mis fics and have fallen into interpretative conundrums that now, with experience, I judge unfitting to my current views, some which I have deleted, others which are still around. So this is in no way a call out of any form, not at all. 

It is also not to criticize Grantaire’s interpretation, as someone who suffers from mental illness myself, I find it not only positive but necessary the inclusion of these topics in writing, whether it is in fic form or in any other type. 

I find this a fascinating topic because, like Tournier said: “In some masterpieces - and that is why they are first among universal literature - there is an incentive to create, an infection of the creative verb, a way to put in motion the creative process of readers. I confess that, for me, that is the peak of art”. That is the magic of works like Les Mis, that we can use them to see ourselves, no matter how much time has passed, and if these characters still help to see ourselves and our reality in a way in which we can observe it better, I think Hugo would be glad.