#not a lot but a weirdly specific concept to have two comics of

[catsharky]

[Slamming fists on table] TIME STONES! TIME STONES!

This was pretty much my first thought when Amy showed up. I know it probably won't happen but wow it sure is convenient that the game Amy debuted in was the one with the magic rocks that control spacetime...

(I also just like the idea that Stone is significantly more effective than Robotnik and when sufficiently motivated to work against Sonic and gang, he just... wins. Good thing for them then that he wasn't particularly interested in those time powers beyond using them for a Resurreggtion)

My thought process here was that this was only possible because Stone had the exact time and position of Eggman's death down to the millisecond thanks to the livestream, and he wouldn't have been able to do this without that information. So no bringing back Maria, sorry Shadow 😔

Also sorry for putting you in a glue trap Sonic I sure hope that washes out

[scarlet--wiccan]

Oh God I was really hoping the backstory that was leaked for Billy was fake... just heard about the new episode and it turns out it wasn't. why would they choose this over adoption or reincarnation-

It's bad! I really feel like the M C U goes out of its way to interpret these characters in bad faith and come up with the worst possible versions of their stories. I've said this before, but everything about Wanda's origins and the nature of her power seems designed to make her an objectively worse person who is more directly responsible for causing harm than her comics counterpart, but is also weirdly set on punishing her for existing and having trauma. She's simultaneously more doomed by the narrative, and infinitely less deserving of redemption.

With Billy, they took a situation that, while complex and, at times, difficult to parse, is ultimately miraculous and joyful, and they made it just.... incredibly grim. There is no real distinction between Billy Maximoff and Billy Kaplan in the comics-- they're the same person, given a second chance at life and the great fortune to reconnect with his original family, in a way that doesn't invalidate or erase the second. And, again, I want to emphasize that when YA and CC were written, Wanda had Jewish heritage, so I don't think there needs to be any awkwardness in the transfer between the Maximoff and Kaplan families, and the text never does anything to imply that Billy's cultural upbringing is any less valid, or any less central to his character after his origins are revealed.

Here, they created a false dichotomy between the two characters, killed one them off, and made the other into a body-snatcher. That is so much darker, and so much more tragic for the Kaplans-- and it creates uncomfortable questions about their relationship, and Billy's identity, that I don't think can ever be neatly resolved. I will say that, thus far, I don't think the show explicitly disavows "William's" heritage, or writes off Billy's relationship with the Kaplans, the way some people are reporting. He doesn't actually remember his life before the switch, so it's not a total takeover, and at points, the episode seems to imply that he's somehow both, and neither-- a new gestalt.

But I don't trust these writers to execute that concept with integrity, or even consistency. In WV and MoM, Wanda's motives, sense of self, and relationship to her powers repeatedly change at the drop of a dime, and we're seeing the same thing, here, with the abrupt change that takes place when Billy reveals his identity. The shift in personality, escalation of power, and the vague implication that he's been masterminding this whole excursion makes no sense with the established timeline-- this is all happening within 24 hours of him even learning that Wanda had kids, let alone that he might be one of them, not to mention hearing about both Agatha the Witches Road for the first time. And up until that point, he really was just an earnest kid. The heel-turn feels silly and juvenile, and the needle drop at the end of episode #5 underscores that a little too perfectly-- his "bad guy" act is just as ill-fitting and unsubstantiated as the Eilish's edgy, wannabe-thug aesthetics.

Obviously, the most important issue here is not the quality of writing, but where this character falls into the spectrum of whitewashing and erasure. The fact that Locke is not Jewish but, before the switch, is playing a Jewish character-- and, specifically trespassing on prayer and religious ceremonies-- is a problem. I've seen a lot of different opinions expressed by a lot of different people within the community about who can or can't play Jewish characters, but I think we can all agree that this is worth criticizing, especially given the larger context of repeated erasure and historical distortion against Jewish and Roma people in this franchise.

But I also want to emphasize that, because of what was done to Wanda, and the franchise's insistence on conducting blatant anti-Romani racism, there was never going to be a truly authentic or acceptable version of this character. Now matter how they cast the role, a significant part of his background had already been erased, and he was already saddled with significant racist baggage. I am very, very tired of white people and Young Avengers fans overlooking that fact.

[felassan]

its that time again! 🍵 Thoughts/wonderings on Dragon Age: The Missing #3, under a cut due to spoilers for The Missing (not just #3):

Thoughts on Issue 1

Thoughts on Issue 2 (note: this post also contains spoilers from DA:D leaks)

Thoughts on the first 4 pages of issue 3 (which came out via preview)

Overall I enjoyed the issue a lot and it's my favorite of the 3 so far! Issue 2 was more fun and punchy/had more oomph (as Teia and Viago are amazing and simply showstealers tbh⭐), but this issue has been my fav so far because i] I'm hyped that after three (3) years we got to see Strife's design, and more importantly ii] the issue advanced the DA:D [pre-]plot a bit and dropped inchrestingggg new lore stuff. (The pacing wasn't great, it was kind of rushed in places and it was a lot to try to fit in to just a few pages. I also would have liked it if the the Veil Jumpers could have been given a bit more depth/been fleshed out a bit more, but again there's limited pages in these comics)

I like what they're doing with a different color palette version of the picture on page 2 in every issue :>

On page one, are those icebergs floating in the sea? would there be icebergs in the Nocen Sea or Ventus Straits? it seems like the climate around there is warm.

On the map, I like the little representation of the Imperial Highway.

^ one example of the triangle motifs incorporated into the Veil Jumpers' outfits.

^ the face on Tist's shoulderpad reminded me of Sentinel armor.

Tist looks like a Greek statue of a youth hh

I liked the designs and hairstyles of all 4 Veil Jumpers. Irelin's fur collar is a nice touch to have remembered, in TN she was described as wearing supple leather trimmed with fur.

Strife is tall and stacked. this didnt surprise me, after reading the first story in TN I came away with that impression of him. in TN he was specifically described as being tall and strong, square-shouldered and straight-backed with calloused hands, lean with long ropey muscle. also I'm simply biased and a tall buff elf enthusiast hh. (in terms of build and stuff he reminds me of my Lavellan)

^ I wonder if the book at Strife's belt here is the leatherbound journal from Ruins of Reality, the relic of the Morlyn clan?

I wasn't sure about some of Strife's dialogue, he seemed to be missing the sort of snarky or lighter-hearted manner he had at times in TN? dialogue in general was a bit stilted in this issue tho, not bad so much as just quite info-dump-y.

Veil Jumpers faction details: they are an alliance between the best Dalish mages and hunters (not an all-elf and/or all-mage group) and other non-elves who were wiling and able to help contain the threat of timespace warping hijinks and chaos that's reigning in Arlathan Forest. presumably a fair few of the Dalish elves in the group are from Clan Morlyn. the mixed nature of the faction and Binde's presence in Strife's group feels like a natural progression of Strife at the end of his story in TN: [said to Myrion] "You're right, shem. This [Arlathan forest] isn't your place. But then, once upon a time, it wasn't mine, either."

also their base or HQ is a "sanctum". about that.. remember this? from this concept art? maybe that piece of concept art was showing the Veil Jumper sanctum? some of the concept art of Veil Jumpers shows them in a similar location with floating rocks and orange vegetation/foliage. [one, two]

in a previous posted I wondered,

last time we got a look in [Arlathan forest], Strife had noticed something had gone wrong in the forest. time and space was stretching and folding weirdly, reality warping, and he and Irelin saw echoes or mirages of themselves running around. mysterious entries had begun appearing in the relic journal of the Morlyn clan describing sacred ruins in there guarding a powerful fabled artifact, a halla figurine that Irelin grabs during that story. when Varric&Harding arrive, will they also be facing this sort of thing (mad sylvans, reality& time/space warping)? is the crucious stone similarly guarded by sacred ruins? could it have something to do with what’s gone wrong in the Forest? even when Irelin succeeds in grabbing the figurine, Strife still feels that something has gone wrong in there.

fun to see that this speculation was also correct ⸜(｡˃ ᵕ ˂ )⸝ as in this issue Arlathan is still timespace warping, Varric&Harding have to run a gauntlet facing these dangers, the crucious stone was contained in the ruins of an ancient temple, and Irelin posits that someone walking around using the crucious stone could explain the timespace warping in Arlathan.

Harding continues to eyeroll at Varric's bad jokes. he's basically an old man with dad/grandpa jokes at this point.

"Deep inside the Veil"? I found this to be kind of odd phrasing. we've long known that the Veil is thin in Arlathan forest, indeed thinner in such a way as to be different than how it is in other places where it is also known to be thin, somehow. inside the Fade is a place one can go. is that what's meant by this line? or is it meant to mean more like "deep in the forest, where the Veil is very thin" / "inside a place where reality and the Fade are mushing together" sorta thing? or is inside the Veil itself a place in which one can go? 🤔

that aside, these "Ruins of Reality", this "world turned upside down", this "place where chaos reigns", this "threat".. it reminds me bigtime of when Solas says in Trespasser "as the world burns in the raw chaos".. and indeed, Harding infers as much at the end of this issue, saying "[this] is going to be happening everywhere unless we find [Solas]", and Solas refers to the damage himself in his letter, "I will limit the damage as best I can". and I wonder.. in TN Solas talks about a few years of peace before his ritual is complete. it made it sound like the ritual would take a few years to prepare for or a few years to carry out (in ancient Elvhenan some spells and stuff would take years to cast). if his ritual/plans along these lines have already begun, it would make sense that places in the waking world which are "weakest" (i.e. places where the Veil is thin) would be the ones which are affected first.

the trials and gauntlet gave me nostalgia for the Urn of Sacred Ashes questline in DA:O

the map from page one of Varric and Harding's voyage contrasted with the map of the forest.. hhh

Spirits trading places with the living, literally ripping you out your own body and stealing it.. (by this point Strife, Irelin and the other Veil Jumpers are old hats at the Arlathan forest timespace shenanigans hh.) this is neat and interesting new lore, and it reminded me of the Nevarran belief that when a dead soul crosses to the Fade it displaces a Fade spirit. I wonder if it's related to that. also I thought it was represented in a cool way, with the reflection world and the muted grayscaleish color palette swap when their souls had been displaced and they were in the 'spirit world'.

the panels when Varric and Irelin are conversing from random upside down angles reminded me a lot of when the party enters the Fade physically with Hawke and goes "wtf" in Inquisition :)

Varric is having such a terrible time. again

Does Harding have the Inquisition hairy eyeball on her kneeguard?

Varric's reaction to the sky being the wrong way around reminded me of how it must feel to be a dwarf from Orzammar going to the surface and seeing sky above for the first time, dizzying, weird, disorienting

I like that while a mage, Irelin still has an alternative weapon (knife/dagger) just in case ^^

Varric seeming to sort've push Harding ahead of him while they fled the animals was a nice touch

is this the first time leopards were confirmed in Thedas? :D tho they look more like cougars or maybe lionesses or sabretooth tigers or something, and leopards are typically solitary. also lmao first the deepstalkers attack and now this. Varric's like "bloodthirsty wildlife omg" like they didnt already have that problem in issue 1 hh.

RIP Gilf Varric fans

hh, does Varric not know that he's been graying lately anyway, time shenanigans aside?

the time warping reminds me of In Hushed Whispers 👁️ very interesting in terms of implications. you can see why creating the Veil (which is connected to timespaceywarpy happenings) caused the ancient elves to begin aging.

^ check this out, the glowing green light on Strife's shoulder in his golden armor. seems like the green-glowing aspect of some Veil Jumper gear is still a thing [one, two, three]. it got more open, triangley and brighter in the second panel, like he was powering it up and gearing up for the fight. if they hadn't decided to run, would he have started to use it like the Veil Jumpers in those pictures? curious to find out more about the Veil Jumper gear - how it works and where they got it from.

^ what's happening in this panel? they seem to be straight-up disintegrating? not aging, disintegrating.

^ the presence of and focus on this satchel on the 'assassin', with its bright red fastener (draws the eye), seems sus. Varric says later in the issue that the 'assassin' saved him. it's hard to tell whether "I don't think this was the Venatori. I think it was Solas" means he thinks it was Solas who already entered the vault and took the stone OR if he means that and that the 'assassin' who saved him was Solas in disguise and that he's the one that's been tailing them this entire time. if the 'assassin' was Solas in disguise, I sus that the stone - which he had clearly already gotten at that point - is inside the lil pouch and that's what this panel is trying to convey. also it wouldnt be Solas' first time dressing up in disguise (Bard in TN).

the twisting pathway reminds me of the yellow brick road in Wizard of Oz

The Varterral. it looks nothing like the ones we've seen in-game or like the one described in Masked Empire (or depicted in the illustration in the Deluxe edition). is this an art/design oversight, or new lore showing that varterrals come in multiple forms? in fairness, in Dalish lore the first varterral was created by Dirthamen, fashioned of the "fallen trees of the forest" into a deadly guardian. this ent-like varterral looks like that. maybe "varterral" is actually just a name for any created creature that's been magically created and is guarding an ancient elven site, golem-like?

Irelin's staff-less magic and the spell distraction she did was cool. was she doing Stinging Swarm? ^^

And ofc the final pages are the motherlode, especially the new painting! Look here. I think the green figure (the one with the crescent moon headpiece) is the monster figure with the crescent moon head from that mural and from that concept art piece. and I think that's Ghilan'nain (Horror of Hormak and all that). BUT I don't think the red figure is the other monster figure from that mural (the one with pointy, crab-like shoulders, who I think is Elgar'nan). the headpieces don't match, the red figure's headpiece better matches with one of the other sigils from the hemispheres. I think the red figure is someone else. the question is who, and my guess is they're Andruil. the two figures could be read as feminine, and the feel of the painting could be read as romantic - definitely close. Ghil was Andruil's chosen, and her beloved. Andruil was the one who offered Ghil ascendance.

the painting also bears a resemblance to the red lyrium idol, which has been variously and interestingly described - a couple hugging, two lovers, one comforting the other, or a god mourning her sacrifice. does the painting depict the same moment from the idol, or not long before it at least? the main figure on the idol's headpiece is different, but coincidentally Andruil was also known as the Goddess of Sacrifice. wouldn't it be interesting and ironic if there was a time in the distant past when Ghil had to sacrifice the goddess of sacrifice? if this painting is depicting a moment before such a thing, that would help explain why the other monster figure from the mural has a different headpiece. if "the Evil Gods" are returning, Andruil couldn't be one of them, if she was killed. Ruins of Reality and Three Trees to Midnight are also full of references to both Ghil and Andruil..

Strife was looking at it now. On the other side, so was his double. Both transfixed by a statue of elven goddess Ghilan'nain holding a crystal halla figurine, exactly as the journal described.   - As the Strifes drew the attention of the merciless trees, Irelin swooped in and snagged the figurine with her talons, tearing it from Ghilan'nain's grip. The statue didn't let go easily, but neither did Irelin. With an angry squawk, she yanked the prize free and disappeared into the sky.

-- Ruins of Reality

in TN, the story title "Three Trees to Midnight" refers to the Way of Three Trees/Vir Tanadhal, which Dalish lore holds were teachings of Andruil given to the People. Strife thinks of the Ways during his escape, using them to escape, and invoke's Andruil's name multiple times. Strife also refers to Arlathan Forest as belonging to the Lady of the Hunt/Andruil. He also calls on Ghilan'nain, and Irelin shapeshifts into a halla (Ghil's sacred animal, being Mother of the Halla and the first halla), as well as a falcon and an owl (hawks are sacred to Andruil and the Dalish believe owls are Andruil's messengers). meanwhile Strife has turned up in this comic with Andruil vallaslin, after not having them in TN. very inch... resting... indeed.

why Ghil and Andruil in the painting? presumably this ancient temple, deep in Arlathan Forest, was a temple either to Andruil (whose forest it is) or Ghil (her beloved). why next to a painting of the Dread Wolf doing something to the Veil? in the story of Ghil's ascension, there is a reference to Pride -

On the second day she drowned the giants of the sea, except those in deep waters, for they were too well-wrought, and Pride stopped her hand.

On the third day she killed the beasts of the land, except the halla, whose grace she loved above all else.

This is how Ghilan'nain was made youngest of the gods.

there is also a story in which Andruil wanted to punish Fen'Harel. it could also simply be (or both could be true) that Solas painted the Dread Wolf mural when he stopped by earlier before Varric and Harding to obtain the crucious stone. what if in this comic panel we're looking at the same location as here, just with the comic version of the mural compacted down due to limited panel space:

and what's the relevance to Solas' plans, what happened the past, and the idol? I am guessing it is something to do with how Andruil went mad and hunted in the Abyss, putting on armor made of the Void and making weapons of darkness, to the extent that she brought "plague" to her lands and howled things meant to be forgotten. it's often theorized that Andruil accidentally brought the Blight/Taint back from the Void, and of course that links to red lyrium (Blighted blue lyrium, the red lyrium idol) and is reminiscent of the Evanuris digging deep, mining the bodies of Titans for "something else" and unleashing something terrible by doing so by mistake (we read of elves frantically collapsing tunnels, "let this place be forgotten, let no one wake its anger"). also I'm obsessed with the Balrog Theory so

Solas being kinda extra with his dramatic fursona red seal

he is always one step ahead of them isn't he

"You're joking. You've got to be" Strife +50 Headache

"Interfering in matters you do not understand can only make things worse" explain them then pls Solas. if you're cryptic and don't explain things in full all the time, then ofc people are going to be Concerned

the Orb of Fen'Harel, the red lyrium idol and the crucious stone.. Solas' list of Maguffins I Need For My Plans keeps getting longer.

As for the crucious stone itself.. whatever it does, it sounds like it weakens the Veil. makes sense why Solas would want it, then. there was this line in Ruins of Reality: "Mysterious entries appeared of their own accord, describing sacred ruins in Arlathan Forest that guarded an artifact of fabled power." In Ruins of Reality it referred to a crystal halla figurine. maybe the journal has since produced more entries of its own accord, telling of other ruins and artifacts - Strife and Irelin in this comic had heard of the crucious stone and had a map to where it was located after all.

Also the final question is who is the person on the final page, which is the cover for issue 4? Presumably the trusted informant from the issue 4 synopsis, "Varric connects with a trusted informant who might help them." I've seen speculation that they are the person from this concept art and I like that idea and could see it :] I love their outfit and the design of it makes me think of snakes, so again I'm wondering about the Viper. their oufits are similar, and so far we've had Wardens-Crows-Veil Jumpers in 1-3. perhaps issue 4 will introduce (in advance of DA:D) the Viper's faction. in the 2020 trailer you have the pair of boots (speculated to be a Warden) character, a character on the roof (speculated to be a Crow) and a Veil Jumper stalking through the woods. there's also the character in an alley of Minrathous with the knife. the pattern on their hood -

is like reptile scales, like the pattern on the Viper here and the pattern on the character on the final page's shoulders (as well as the scaley reptile on the person in that concept art's staff).

[mdhwrites]

Okay so, we know the show is over, and that shortening is not the sole reason for the show's decrease in quality but with that begs the question.

We know that dana was offer to produce the owl house in other channels under the condition of the episodes would be 2 segments of 11 minutes each per episode.

Could have this formant change benefit the owl house, helping it to streamline storylines from the start and dedicate shorter episodes to more simple concepts?

So this feels like a misconception with storytelling. See, I've talked about characters getting full episodes to themselves, specifically Hunter's Arc versus what time we may have gotten with The Collector in a full S3. Technically, one could say there is no difference. Every episode is a full episode so claiming Hunter gets any half episodes is wrong.

But that's where A and B plotting in stories comes into play. So as to fill time in an episode, or cover an idea more expansively, a show will often implement a B plot that usually has less importance than what is going on in the main plot. King gets a LOT of these in S1. In fact, like 80% minimum of King's plotlines in the show are in B plots. A lot of them also serve zero point to ANYTHING.

And technically B plots do not have to be this way. They can actually be covering something just as important as the other things going on. Knock Knock Knocking is actually a good example of this because all three plots, so even a C plot, are theoretically of true importance. They're all moving characters forward, they all have developments that matter to the story as a whole, etc. like that. Lumity is weirdly the least important in that episode because Amity is never actually important to the plot in a meaningful way which sucks.

But the larger point in general is that this is a critical part of TOH. Very few episodes stay focused on a single pair of characters during its entire run time. After all, how different really is splitting two plotlines between two halves and constantly, as an example, cutting back to King who is having his stuffed animal boot camp while Luz and Eda are off training at the Knee? There is none except that you can have an ebb and flow of tension by those cutaways that I would argue commonly just hurts the show more than anything else. It's hard to keep tension when all of your B plots are constant comedy.

But this may have been also why Dana wanted this. She could allow characters like Amity and Luz be more serious in their interactions while claiming it was a comedy because the B plot is the main source of comedy in the episode. That's why TOH has comedic relief characters when in most kid's shows, you can't just point to one character in each group of characters as the comic relief. They normally all pull that duty or none. TOH makes it very pointed that certain characters are the butts of jokes and they commonly get B plots.

This actually leads to the hilarious fact that Willow has one conversation with King in the whole series... While Gus has two plot lines with him. One in Understanding Willow with the B plot of the interviews and once during Grom with King and him being Masters of Ceremony. Even HOOTY gets more plot lines that are genuinely about him and King than say... Amity, who never properly interacts/has a plot line with either Eda or King despite how many plot lines she has the show. And no, Eclipse Lake doesn't count because she's practically talking past the other two the entire time. It shows how they interact but has no weight or meaning behind it. It's easily forgettable and disposable.

Now this actually touches on the one strength TOH could have gotten from the other format. See, the problem with the full episode format with B plots is that commonly the multiple plots don't interact so each episode can only have one plot line per character. If Amity has fourteen plot lines with Luz, Luz literally loses a third of the plot lines she can have in the WHOLE SERIES to Amity. Amity, Gus and Willow altogether take up roughly half of the entire storytelling potential Luz has like this. That's why during a lot of S1, Eda is either doing things alone, with King or with Lilith. King has even less characters to interact with so he gets plots alone, with Eda or with Hooty. This problem directly is part of why the Found Family Theme doesn't function for The Owl House. Luz literally has no time to spend with King and Eda because she's constantly with other characters. After all, she has one off characters like Viney or Vee to spend time with. She has Hunter to deal with for two episodes. She has two episodes dedicated to facing Belos alone or with friends. She has three episodes in S2 where she either effectively isn't there, like Eclipse Lake and Thems the Breaks, or literally never shows up like Labyrinth Hunters.

This is really the only strength TOH I think would have gained from twin 11 minute formats. Luz can have plot lines with her friends and her romantic interest and now they only take up a quarter of her time rather than close to half.

There's one problem: This also requires the idea that the 11 minute episodes would be good. There's no guaranty they get spent on plot after all. In S1, they would more likely be spent on shenanigans like the B plots or villains like Tibbles. Most people point to the one villains and the more traditional kids show episodes like Once Upon a Swap as when TOH is at its weakest... And I don't disagree. TOH has very few narrative tricks up its sleeve to make these characters interesting, the best one being when they make crunch culture literal, and none of them are ones you can take seriously. Frankly, The Owl House is so against its genre that having to come up with more plots for its world, its magic, etc. like that...

Now, one last note: The B plots likely couldn't have been just made half episodes either. Not if the show wanted to be taken seriously at all. How much more annoying would King's B plots in most episodes feel if you couldn't cut away from it? Him constantly trying to make an army and obviously going to fail because of it. It's too repetitive, the point is made within five seconds and then drawn out and it would be repeated too many times to be VERY noticeable.

King would have had to be MUCH more a real character than his one note self in order for the 11 minute format to work... Or it'd become even more noticeable that he's just mostly absent or inconsequential to most of the series. You weirdly enough need MORE distinct characters for 11 minute episodes than you do in a longer format. The more stories you have to tell with them after all, the more they have to be capable of multiple types of stories. This is part of why the Plantars are all so distinct from one another because they all have different tales they can then tell and have a full range of tales to tell, whether they be fully comedic or emotional. Even Polly has that with her tomboy nature, her age, her immaturity, etc.

And that is the real killer for if the writers of TOH could even do it. As someone who watched some Rise of the TMNT just yesterday, that show is WILD. But do you want to know what it doesn't do? It doesn't waste time. It doesn't waste a damn thing. You are bombarded with EVERYTHING a concept can be at all times at 11 and even that still allows morals and character to somehow shine at times, or let the creativity of the writers shine and how they're making this different from other TMNT interpretations.

And TOH is not good about not wasting time. It loves its languid pacing. It loves its setups even though could be cut. Gus and Willow contribute NOTHING to Covention after all so why not have Eda, King and Luz just show up at the Covention hall with a couple lines of "Now, I know you're grumpy but thank you so much for taking me to this."

"I only did it because otherwise, you were going to read that fluffy witch dreck at me the entire day. Let's just get this over with and quickly if we can."

We could have had that ten second exchange instead of the full two minutes that is spent on the intro before the title having Gus and Willow show up, having the banter, having the admittedly good, fun joke of Eda trying to leave through the portal but with King on her head and THEN going to the Covention. Not to say these other shows don't waste any time but they'd never waste two minutes setting up to the good stuff with characters who are going to vanish in almost just as many minutes, even if that makes little sense. Seriously, why doesn't Willow comment at all about the Witch's Duel?

So I don't think it would have fixed the problems of TOH. I think, quite honestly, it would have just doubled down on the issues and made them more glaring to more people because constraints have never helped this show.

Just look at their unwillingness to make obvious, required changes in the face of the shortening. =======

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[miriamundertale]

hi heres my current reading list for manga. still being updated. post is very very long so under a readmore. images are only if i have specific screencaps to help the big spam

The apothecary diaries

Clasic miriam strategy of reading the manga of a popular anime instead of watching it. I did not realise how like. Political drama this would be. It rules a lot. More stuff like this please.

Babanbabanban Vampire

Aw yeah. This is vampire yaoi i can get behind. This is vampire yaoi i can respect on a primal level across generations. Please give me more opportunities to fujo out about a vampire so pathetic and bad at being down bad he cucks himself.

Berserk

I guess it goes here now wtf. Curious where it goes but im not upset if it turns away from what i like. The last miura chapter was an ok open ending for me

Black clover

i originally started reading this due to it feeling like a good example of shounen as a genre with the good and the bad, and for a while was going to say its my "if you want to understand the genre just read it" rec but one piece has been here. just here 4 fun now

Bocchi the Rock!

Ill be blunt just watch the anime. I enjoy reading the manga but its pretty classical mid. mainlining shots of kikuri until the spinoff lands jokes on you im already blasted

Bocchi the Rock! Gaiden: Hiroi Kikuri no Fukazake Nikki

Hiroi spinoff This woman is too pathetic for her own good [redacted for public safety]

Im caught up, rough start but very fun overall and good horny art. hard to complain

Boku no Kokoro no Yabai Yatsu

Boku wa Kimitachi wo Shihai suru

This is one of my "this is blatantly porn" reads but its got some good fucked up elements that make it fun. i also pr it so woo

Boy's Abyss

Bungou Stray Dogs

see before reading himegoto i genuinely loved it despite it kinda getting comical with the fucked up ness near the end. now its fine, but i read for my girl chako

its pretty ok so far. i think its hilarious its made people go back and read classic lit

Chainsaw Man

God i love act two. Asa is the best possible followup to denji and seeing her and denji interract is going to make the inevitable fujimotofication of the story even more fun

Hazure Skill "Kage ga Usui" o Motsu Guild Shokuin ga, Jitsuha Densetsu no Ansatsusha

Yeah ik long name. its an isekai lite aka the whole "this is an isekai in all but including the start of an isekai" genre thats popped up lately. its very charming and gorgeously drawn

Heavenly Delusion

in terms of post apocalyptic stuff it stands out and winds up pretty fun. the art isnt something wild but stands out with its own charm

Henjo

Henjo is hornybait with fucked up age gap, so a very boring and tread upon category, but the target audience is clearly less the horny 20 year olds hunting high school girls and more the high school girls who think they can pull. An important part of the manga ecosystem.

The Summer Hikaru Died

the art style is really evocative and i do love me some weirdly fucked up yaoi. good recent pickup

Hikikomari Kyuuketsuki no Monmon

Isekai Meikyuu de Harem o

kinda slippin on this one. it feels like a bit that they abandon quickly but i do love my vampire media. Im also kinda sad the anime adaptation didnt really pick up interest in more being adapted.

In/spectre

See the solution to writing good het is to make them kinda fucked up in some way. This works even better with gay ships but two people with something wrong with themselves clicking together is too great not to use. This is me being vague so you read the manga

Ishuzoku Reviewers

I read this out of this fucked up interest in how the mangaka spends the majority of this horny isekai not worldbuilding but game designing the rules of this isekai. Its such a weird focus of priorities

fun concept fun art horny is fun fuck you

Jahy-sama wa kujienai!

Jahy is going to abolish capitalism

Ka「」Ku「」Shi「」Go「」To「

Please someone pick this up again please if you need an editor i will fucking do it just reach out

Jibaku Shounen Hanako-kun

This manga is fuckin gorgeous tbh. I think its close to its endgame and im excited to see how it goes

Kagurabachi

fuck you shut up fuck you i thought it would be funny. its pretty ok shounen. needs more homoeroticism though

Kemono jihen

Kobayashi-san Chi no Maid Dragon

Its a fun read and i like a lot of the character designs. It holds me pretty solidly at least

Kesa mo Yuraretemasu

Eiji masuda could make me read a manga about a wet dog undrying painted walls and id read in seconds and hype it up. Thankfully this is great above that. Romcom but entirely from an audience perspective is SUCH a fun idea.

Dramaid is watching someone with immense talent at writing domestic slice of life work REALLY hard at learning how to draw tits

The vampire dies in no time

I thought this was gonna be yaoi but instead its nothing but pathetic characters i absolutely love. Really good stuff

Mahou Shoujo ni Akogarete

Mieruko-chan

i dont need to justify reading this to you. you know its good. we all know its good. fuck you.

How is this not more popular. Great concept. Really striking art. Solid writing. I barely see anyone talk about it. Might be due to the really uninteresting anime adaptation

My hero academia

i just want to see this train crash

Natsume Yuujinchou

I love the show and the mangas no exception. Really enjoyable and yuki midorikawa's style is pleasant on the eyes

Noss and Zakuro

this is insanely cute on every level. you agree.

One piece

Its fucking real lads

One Punch Man (webcomic)

Welcome to gremlintown (we got an update :D)

One Punch Man (Manga)

thank god were free from garou arc

Onimai

goated.

Oshi ni Amagami

i like my funny vampire stories and this is a fun vampire neet one

Oshi no ko

i am committed to this idc about the outcome

Ousama Ranking

IMPLYING ANYONE EVER DOES 70-155 LMAO SORRY I LIKE READING THE MANGA cant believe you made me watch the anime. tl the missing chapters please

Please Give Me Your Blood, I Will Serve You In Gratitude

Miriam "Trashy Vampire Manga Fan" Undertale

Record of Ragnarok

i needed something trashy and fun and this does it

Rent a Girlfriend

my least defensible read. its garbage. i hate it. its horrible trash and i read it purely out of some weird revival of the author attempt to understand miyajima innately and emotionally through his work

Sakamoto days

Im sorry it took me this long to hop on. I wasn't familiar with your game.

Senpai ga Uzai Kouhai no Hanashi

This manga gives me severe dysphoria and yet i keep reading it. well not rly because its kinda gotten mega boring

Shingeki no Eroko-san ~Hen na Oneesan wa Danshikousei to Nakayoku Naritai~

Continuing her streak of having the biggest mind ever, yoshiru konogi pops off with the manga targeted towards pathetic 30 year old women who want a high school boy to a massive degree

Shojo null

Art is cracked and the energy is utterly hogwild. I love the "no actually please torture your oppressors" vibe so far

SHY

im so happy im getting updates again. anime was good despite low budget. excited for s2 yes yes yes

Skip and loafer

The art style is so lovely and its a breath of fresh air compared to a lot of the romance ive been reading lately

Sono Bisque Doll wa Koi wo Suru

Its fun fuck you. The seasonals in 2022 had a great selection of source materials and bisque doll slams it out of the park

Sousou no Frieren

the severe nature of how much this goes will never be beat.

Spy x Family

Its good and thats Fine. no clue whats going on with the manga it feels like i get maybe an update every 5 months

The Dungeon That Kills All Adventurers

another dowman sayman banger who could have predicted this

To Your Eternity

TYE is enjoyable though i think its kinda suffering from jojofication. i think it deserves an ending soon

Usuzumi no Hate

i refuse to believe this is this mangakas first work. this is fucking incredible. gorgeously drawn with an incredible concept. read now

The 100 Girlfriends Who Really, Really, Really, Really, Really Love You

the type of peak that could only exist to those willing to brave their own doubts. a work of art that will only exist for those strong enough to resist their hearts saying "cringe"

The Case Study of Vanitas

who could have predicted gay vampires are good

VERSUS

Why are we once again in a world where people are not translating kino by one

Vinland Saga

Man this grew on me fast. I picked it up not expecting a lot and got the world with it

Witch Hat Atelier

Yorashi Ni warau

At this point it feels like im very obviously drawn to pretty stuff but honestly its a really good read. Qifrey and olruggio should kiss already

Witch watch

I was lied to about there being vampires as a core part of things. But in return i got a really cute comedy that has just enough of the right type of derrangement to worm into my brain. Good mistake.

I cannot get over the art still, fucking gorgeous, the story hasnt really gotten stuck in my craw like some other things but the art genuinely makes up for it.

Yotsuba

Yotsuba is one of the mangas of all time

zom 100

this is one of those "i saw the start of a genre trending and assumed one of the main firestarters would be bad" stories and im glad i was wrong. it's very charming in a kinda fun childish way

[genericpuff]

Hello! As a previous fan of LO (back when there was actual effort in the art and I mistakenly thought certain themes and symbolism would be carried through the story) I’m really excited to see what you do with these characters! I was honestly pretty invested in the whole fertility/death goddess dissonance I initially thought was going on, so you can guess I was mega disappointed with where the story went. And I’m already way happier that you’ve begun to build off their relationship as something tangible and emotional, rather than insta love.

Honestly, when I first started reading I thought a major plot point was gonna be Persephone having to balance these two sides of her self that are in conflict, and come out to be a goddess of spring and new growth from decay and death. I thought it was gonna be clever, since that’s kinda what springs like, right? New life and growth from death and rotting matter of the previous seasons. That and the whole ‘red eyed wrath’ thing she had going seemed like a fun hint that she was suppressing her real emotions, and a lot (but not all) of her overly sweet personality was to cover that and be what she thought she was supposed to be. Kinda sad in retrospect, but that’s part of why I’m excited to see where your reimagining goes!

First off, been loving the asks I've been getting from y'all the last little bit, it's a great way to keep stuff updated here in between new Rekindled uploads and essay dumps LMAO so keep 'em coming!

Moving on-

I was really hoping to see that same kind of dissonance carry through the story as well, and it's proooobably one of the biggest things I'll be tackling in this rewrite because it was the one thing I was most disappointed to see fall through in LO.

Fun fact, a lot of my writing over the past decade has focused on dualities like this, alter egos, buried trauma, light vs. dark, host vs. parasite, etc. many of which were concepts you would find in stuff like Undertale, Omori, etc. but like... before those things even existed (I've been writng and making comics online for... a looong time.) I suppose it's the weeb in me that's drawn to these types of personifications of personal dark sides that are present in elements like Chara, Headspace/Black Space, etc. Needless to say, playing games like Undertale and Omori was like, super validating LMAO (if not a little oof because it also reminds me that my ideas aren't that original but that's not a bad thing, there's no such thing as an original idea anymore and that's what makes writing such a great process!)

So like... I weirdly feel that the plots and character dynamics/tropes I usually write and thought no one was interested in has prepared me for this one specific thing??? And it's for a fucking Lore Olympus rewrite comic jfc-

The universe has a funny way of preparing you for things you never expected to be guided to, I suppose. The only fallout is I'm not really eager to share my normal work on this blog due to how rabid/pervasive Rachel's fanbase is (and, y'know, Rachel herself) and I'd rather just protect my usual projects from that potential mess because my usual projects are the ones that are wholly my own, and I intend to still be working on long after Rekindled is done.

But trust me, it's out there and its heartbeat is in perfect sync with that of Rekindled's.

Maybe that'll be the essay I write at the end of all this.

[autisticandroids]

anyway ok so lets talk about ruby SPECIFICALLY in my good s6 au. this ruby concept is almost the same as @lesbiansamwinchester‘s ruby lives au but has some key differences, mainly ruby doesn’t redeem herself in s5. lucifer raises her in sympathy for the devil because she really was the best of those sons of bitches and she deserves it but she spends all of s5 conflicted in her loyalties because while she really DOES want lucifer to win she is also In Love With Sam, Unfortunately, and gets more and more uncomfortable with sam being lucifer’s vessel and shit. and then she finally betrays lucifer in like, two minutes to midnight or swan song and he IMMEDIATELY kills her (very important: lucifer must already be possessing sam when this happens). then she’s brought back like. face down in a ditch 300 miles away. that’s how ruby ends season five.

anyway watch this video to set the mood. ruby stuff in season six:

- so at FIRST she is actually running around with a ragtag group of lucifer loyalist demons led by meg. meg kind of hates her for betraying lucifer for sam but also you know sam’s dead and ruby won’t do it again and most importantly they need EVERY pair of hands on board for this. so ruby is kissing huge amounts of ass mostly meg’s, like, meg is making her wait on her hand and foot in an apron. it’s comically villain homoerotic. you know. like ruby serves meg tea in a maid outfit for no other reason then as like. ridiculous humiliation that’s also intensely, weirdly horny. like the lucifer crowley dog stuff in s11. actually meg literally makes ruby wear a dog collar with a little tag that says like, “ruby. if found, please call 666 and return to owner (meg).” i cannot stress enough that this is just STUPID horny for NO reason. you guys know what i mean. it’s basically sorority hazing but up to eleven because demons, and also forever. also meg makes ruby kiss her hand at least once. or like no she makes her kiss her boot. i am having too much fun i’ve gotten distracted.

- ruby finds out sam is alive and immediately ditches. like she just fucks off to nowhere and they can’t figure out where she went. anyway this samruby reunion takes place like, before the first episode definitely, maybe a few months.

- i do like @lesbiansamwinchester‘s thing where ruby tries very hard to be sam’s moral compass but also imo she fucks up, very bad, and a lot. and soulless sam can’t really catch her at it so they end up doing a lot of very fucked shit actually. but she tries very hard because she cares about sam and she wants him to think well of himself y’know. and she wants to be someone who sam would think was worth following.

- re: that last point. many thoughts. head full.

- when sam and dean finally see each other again ruby is there and dean is like what the FUCK. like he did see that she betrayed lucifer for sam at the last minute but also he hates her and doesn’t trust her, and he actually kind of suspects that whatever’s wrong with sam might actually be HER fault. 

- this post is relevant.

- okay but i’ve decided that the cas/meg kiss DOES in fact happen in this au because i do kind of love it and also more importantly, with the addition of the insane meg being ruby’s shitty ex vibe that i am jamming into this au with both hands, it is just. chefkiss. ruby and dean look at each other in horror while sam is just like huh? i’m sorry but imagine being ruby and being forced to watch your horrible ex get kissed dommily by castiel. god this is funny i love this. again this is all in subtext because we are imagining cw censors and i’ve used up my one allotted gay kiss for the season by having anna make out with a random woman at an orgy to prove that all angels are degenerate pansexual hedonists, you know. (is this homophobic enough for the cw? i hope so!) also: an orgy which balthazar organized and cas refused to attend, to be clear. 

- dean is actually garbage enough about the whole ruby thing that sam and ruby fuck off by themselves for a good while like, maybe three or four episodes, leaving dean alone or sometimes with cas. during this time dean gets a little bit involved with the angel revolutionaries.

- anyway when sam gets his soul back he’s like, torn, between dean and ruby. he feels guilty for how he behaved towards and thought about dean but he would ALSO feel guilty just kicking ruby to the curb.

- HOWEVER when he gets his soulless memories back he does kick her to the curb because she has done some REALLY fucked up shit while trying to be his moral compass like she is BAD at it.

- once ruby is left all alone in the world, guess who shows up in a flutter of wings and ambiguity! it’s anna! 

- she is here to ask ruby if she wants to spy on hell for the angel revolution. ruby accepts because everyone else hates her right now. if anna wants to take her in under cas’ banner (and not tell the winchesters because they’re technically on the same side but what’s a little subterfuge between friends) ruby will take it.

- ruby and anna DO get to have some fun agent runner/agent lesbian subtext, as a treat! at least when anna isn’t busy eating food out of lisa braeden’s fridge like villanelle and other nuts things. 

- like i do wanna be clear anna just. appears in lisa braeden’s kitchen, slowly, wordlessly eats her leftovers while staring her down, and then flies away. this contributes to lisa’s impending mental breakdown. MY season six is about the madness of the suburban housewife, among many other various things.

- also i want to be clear that raphael’s side is actually like, funneling weapons to the lucifer loyalist demons to try and get them to defeat crowley but it’s all very hush hush, like, raphael would NOT want his underlings to know that he has organized this, like, they can barely stand to work with naomi. the fact that raphael had naomi organize help for DEMONS is unthinkable. anyway it’s basically celestial iran-contra.

- ruby is actually one of the last people to stick by cas even when like, anna and balthazar are betraying him, because like. whomst among us has never wanted to become god a little. and also, ruby is weak to authority figures we KNOW this she might be down to accept cas as her heavenly father a little, she’s NOT a rebel. but most importantly she sticks by him because, you know, i love sam and he’s mad at me for kinda betraying him and you [REDACTED] dean and he’s mad at you for kinda betraying him like we’re all winchester derangement syndrome patients here, and also like. i get it. sometimes they don’t know what’s good for them. sometimes in order to love you have to betray a little bit.

- ruby doesn’t turn on cas until he breaks sam’s wall. but by then it’s too late and there’s nothing she can do really.

- the parallel where it was dean who stabbed ruby in lucifer rising and it’s sam who stabs cas in the man who knew too much is actually intentional this time and WAY more aggressive. actually there are tons of cas-ruby parallels. i think meg should call ruby a whore like one episode before crowley calls cas a whore just to hammer it home. i think the thing where soulless sam runs away from dean’s judgement and is running around with ruby while dean is sulking about it but also running around with cas is super aggressively obvious. god i love that ruby’s existence makes it super obvious that cas is dean’s [REDACTED]. that’s so fun. 

- this has been an intensely hypertextual romp and it’s apparently nearly fifteen hundred words, good god. anyway, special thanks to @lesbiansamwinchester, @pietacastiel, and @seragamble, all of whom brainstormed with me

[trainsinanime]

So, for all the Miraculous Ladybug fans who are wondering about that new Zoé character, here is my theory:

Zoé’s last name is Zimmer. She was born in France but grew up in New Jersey. She’s a lesbian, though it took her a while to figure that out. And she’s friends with a teenage girl who is secretly a world-famous superhero: Kamala Khan, aka Ms. Marvel.

[Image description: Comic panel: A girl with blond hair with a red streak dyed into it, telling someone off-screen: “I don’t… I don’t like boys, Josh. I never really have. But they’ve always liked me, so I just sort of… went with the program. I know I was super mean to you a lot when we were going out, but it wasn’t because I thought you were stupid. If anything, I was angry at myself.”]

(Source: Ms. Marvel (2015-2019) #9)

I’m not kidding. Zoe Zimmer (spelled without the accent) is a real Marvel comics character who very much looks like the new Zoé on Miraculous Ladybug - after the latest “Endgame”-style massive crossover shakeup changed her outlook on life anyway; before that, she’s more or less the same as Chloé. 

[Image Description: A comics page, set in a New Jersey Bodega. Zoe comes in, without the red streak in her hair, and asks for her usual. The cashier, Bruno, tells her that this is not a Starbucks and she has to get her coffee herself. Zoe says, “God, I only buy stuff here to top you, because I’m concerned about your economic situation. You should be nice”. Other characters discuss an ongoing party. Then Zoe says to a girl who is wearing a hijab, “Your headscarf is so pretty, Kiki, I love that color”. The girl corrects her and says that her name is Nakia. Zoe ignores that and says, “But I mean… nobody pressured you to start wearing it, right? Your father or somebody? Nobody’s going to, like, honour kill you? I’m just concerned”]

(Source: Ms. Marvel (2014-2015) #1)

The current Ms Marvel comic is easily one of the best of its wave of new titles that came out around 2014; a wave that actually includes several of my all-time favourites, so it’s not like it got that title just handed to it. It’s set in Jersey City and follows Kamala Khan, a pakistani-american muslim teenage girl who can transform into the shapeshifting superhero Ms. Marvel.

In the comic, Zoe appears right from the start, in the page I showed above, and is essentially your standard Chloe, Coredelia Chase or Draco Malfoy character: Rich, arrogant, a bit antagonistic but mostly an annoyance. Her particular deal is that she acts superficially nice, but clearly does not care about the people around her at all, which makes her rather infuriating.

Then Marvel does the super annoying “super important crossover” that they do every five years or so, the kind of weirdly popular stupid shit that movie goers have finally had to endure as well with Endgame. Worlds get rearranged, mini-series get spawned, time gets skipped, Rose Rowell proves she can write Runaways, and we end up basically where we left off, just a few months later with some characters evolved a bit, and Zoe profited the most from that.

[Image description: A comic panel, set inside a crowded high school corridor. A narration box says, “Even Zoe Zimmer is different now. That whole thing with the world almost ending gave her some kind of existential crisis, and now she’s going this what-does-it-all-mean phase.” On the left, Nakia from before is walking, saying, “Morning sleepyhead! Zoe brought caffeine!” In the middle, Zoe is walking, now with red and light blue streaks in her hair and carrying two cups of coffee, saying, “Are you going to gym class? I’m thinking of coming down with sudden flu-like symptoms…”. On the right and in the foreground, a sleep-deprived Kamala Khan is saying “Buhh…”. A final narration box says, “What can I say? It’s like we’re all growing up”]

(Source: Ms. Marvel (2015-2019) #1)

She is now actually nice, making an effort to understand the people around her and, as I said initially, to actually understand herself. And she’s got a red streak in her hair. Initially it’s light blue and red, presumably to honour Ms Marvel, whose color scheme is blue, red and gold - yes, just like Captain Marvel, that’s by design. The artists very quickly settled on only red, though, which means… well, she looks like the new Zoé in Miraculous Ladybug.

And yes, she does get to be a superhero, although in that case that mostly means her and her friends dressing up like Ms. Marvel on their own, with no super-powers.

[Image Description: Comic panel: Zoe, somewhat banged up, wearing a blue mask over her eyes and a long blue shirt with red and yellow details, matching Ms. Marvel’s outfit in this comic. She’s saying, “I’m… s-still here… unless heck looks j-just like Jersey City…”]

(Source: Ms. Marvel (2015-2019) #27)

All in all, it seems like nearly the exact same thing as the new Zoé character in Miraculous Ladybug, just perhaps two years older. Is that just a coincidence?

…yeah, probably. It’s honestly not that creative; both Zoes seem to be the result of similar character archetypes, and Zoe Zimmer isn’t even the only of her kind in Marvel comics. There is a lot of overlap with Karolina Dean, for example, even though Karolina is incredibly good-hearted. At the end of the day, neither Ms. Marvel nor Miraculous Ladybug invented truly new concepts; what makes them unique and fun are the details they add to their well-known frameworks. I’m posting all this only because I think the coincidence is funny and interesting.

Anyway, if you’re into american comics, or want to be, then I can strongly recommend Ms. Marvel (specifically the runs written by G. Willow Wilson). A TV show for Disney+ is also in the works.

And if it turns out that this new Zoé actually is from New Jersey, then I want it known that I friggin’ called it.

[bedlamsbard]

Putting aside aesthetics and characterization (inasmuch as I can), I have been trying to logic out why Mando Ahsoka feels so different from Rebels Ahsoka (to me, personally; I know many other people feel fine about it), especially in terms of having a character who’s known in Rebels for her “I am no Jedi” line going to a character who is specifically introduced as “The Jedi” in The Mandalorian.  (And who is identified as “Ahsoka Tano, Jedi Knight” on merch -- merch is merch, it’s essentially meaningless, but it’s still a choice that was made somewhere along the line.)

“Shroud of Darkness,” Rebels 2.17

“Twilight of the Apprentice,” Rebels 2.21

This is strictly Doylist and not Watsonian; I don’t care what went on in the character’s life in between Rebels and Mando; I’m trying to guess what was happening in the writers room.

I was noodling through this on Twitter, in case it looks familiar.

My first thought was Dave taking a cut scene from Rebels as canon going into Mando, something he shared on Twitter back in the lead-up to S4.  Looking at this again I’m not sure this was a cut scene or a scene that he wrote that never made it into the actual script. (Certainly I can’t see how it would have fit into the episode.)

Here Bendu specifically identifies Ahsoka as “former Jedi Knight.”  This is also obviously not canon, because Twitter posts aren’t canon, Dave.  (Though that doesn’t mean that he might have taken it as part of his working backstory for the character anyway.)

I was then thinking about TCW and the unused TCW arcs as they existed in 2016 when this aired (with the rough guess that Rebels S2 was probably written in 2014).  There are three Ahsoka arcs that were written and existed in 2016 in some form (”scripts and some artwork” is what Pablo Hidalgo says, and some pre-viz and recordings from the original Walkabout arc that were shown at a couple Celebrations), but which hadn’t made it into S6 (which came out in 2014): Ahsoka’s Walkabout (in its original form with Nix Okami instead of the Martez sisters), the Siege of Mandalore, and an arc which would have taken place between those two, “Return to the Jedi.”  We know about these because of a panel from Star Wars Celebration Europe in 2016 called Ahsoka’s Untold Tales -- I was actually at this panel, but I haven’t thought about it in a while.  Here’s the SW.com liveblog of it; here’s the video.

I remember hearing somewhere that the TCW team had nine seasons or so written, but can’t find the source for that number now.  When S7 was made, there were obviously a lot of compromises made that we’ll never really know about, minus a tell-all memoir or documentary, which probably isn’t coming any time soon.  Knowing that this Return to the Jedi arc existed, I wondered if at one point Dave had tried to get all three Ahsoka arcs into S7 before having to give one up for the Bad Batch arc (especially as we now know there’s going to be a Bad Batch TV show); it’s also entirely possible that at one point in the production process there was the possibility of a full 22 episode season floated, which would have made three Ahsoka arcs in one season less unbalanced.

I went to go look up what the Return to the Jedi arc actually was, since 2016 was a long time ago and I haven’t really thought about this panel since.  My guess is that it had been intended for one Ahsoka arc per remaining season (7, 8, 9).  Pablo Hidalgo says that after the Walkabout arc, Ahsoka would have stayed on Coruscant as “an under-city vigilante of some degree, helping people who can’t help themselves,” and Dave points out that he talked about this with George Lucas, as well.  The Return of the Jedi arc would have involved Ahsoka finding out about a nefarious plot targeting Yoda and working with the Jedi to figure out what’s what with that -- this revealed that below the Jedi Temple was an ancient Sith shrine. (Some details of this were revealed at Star Wars Celebration Anaheim in 2015.)

Ahsoka would have been protecting the holocron vault from Darth Sidious, putting her lightsaber blade through the door while Palps shoots Force lightning up the blade.

“The whole purpose of that particular arc would have been to bring Ahsoka back. She’s not a Jedi, she doesn’t change her decision, but she gets involved in Jedi business again.”

The next Ahsoka arc and the final arc of the series would have been the Siege of Mandalore arc, which “reunites Ahsoka with the clone troopers, with Anakin.”  My guess is that the end of the Return to the Jedi arc would have involved Ahsoka making the decision to go to Mandalore because the Jedi themselves couldn’t get involved in that conflict at the time (especially the emphasis in the panel that Pablo and Dave put on Ahsoka as being “a responsible person” who couldn’t ignore that the war was still going on, and because Ahsoka knew Satine).  (It would be interesting to know when if this arc would have fallen before or after the Darth Maul - Son of Dathomir comics, which are based off another unmade TCW arc.)  This would probably have put as much as a season between this arc and the final arc -- given TCW’s funky timeline that doesn’t mean much, but in terms of audience expectation it helps.

(also, damn, the context of the beginning of Siege of Mandalore in the original concept vs. how it actually happens in S7 is very different -- like, on the surface identical but the emotions involved are totally different.)

Before going into the next part of the panel (post-war), Pablo Hidalgo adds “We consider it to have happened and that’s how we inform the writing in Rebels, because that’s the history that these characters carry in their heads.”

So going into Rebels, the writing team was working with the background that Ahsoka had not only left the Jedi Order once, in “The Wrong Jedi,” but had reinforced her decision not to go back to the Jedi by not returning to the Order during the Return to the Jedi arc.  That explains why in Rebels she’s so adamant about not being a Jedi or being in the Order; it’s a decision that she has made not once, but twice.

Fast forward four years to 2020, where we have the Siege of Mandalore arc in S7.

It’s heavily implied that Ahsoka was planning to go back to the Order after the end of the war, and in fact Yoda treats her as such.

Now, there’s no way to know if this exchange was in the original Siege of Mandalore scripts short of those being released at some point (which is possible but seems unlikely when the character is still in play), but because of the way S7 plays out there is no way to put the Return to the Jedi arc back into the story, which means all the emotional context and Ahsoka doubling down on not returning to the Order is thrown out of the window.  That’s a fair chunk of backstory to take into the Rebels writers room.

(It should also be noted that presumably E.K. Johnston wrote the Ahsoka novel with the assumption that that arc was still part of Ahsoka’s working canon, though she may not have seen scripts for it; I feel like I read somewhere that she had seen scripts for the original version of the Siege of Mandalore, which changed quite a lot between original concept and the eventual 2020 version, as is evident from the novel vs the show.)

Going into The Mandalorian, then, Dave Filoni is not only working without a writers room (as Mando has only had two writers, Dave Filoni and Jon Favreau), but working with an entirely different continuity than what the Rebels writers room was working with.

Trying to backtrack when various scripts were written is an exercise in futility to some extent; I usually guess anywhere from a year to two years out from when the shows air.  (I seem to remember that around this time in 2016 it came out that Katee Sackhoff was doing something for Disney, which ended up being the recording for Bo-Katan in Rebels S4, which wouldn’t air for another year, but don’t quote me on these dates.)  Dave ends the panel by saying that “After the season 2 finale for Rebels I was very adamant that that was it for Ahsoka...in Rebels...but after this reaction it might just be possible...it might be possible to see her again. She might have something to do. Maybe.”  (For those trying to run dates in their heads: the con was in July 2016, the season 2 finale aired in March 2016, WBW aired in February 2018.)  My guess is that they hadn’t recorded for that part of S4 yet (and S4 is so weirdly paced that I have questions about how it was made), but that the initial scripts for S4 had already been written at this point.

Looking back at the Star Wars Celebration Chicago 2019 TCW panel where Ashley Eckstein talks about getting the news about TCW S7 from Dee Bradley Baker (rather than from Dave Filoni, and hoo boy is this uncomfortable to watch knowing that the script for “The Jedi” had almost certainly been written and Dave may have already made the decision not to talk to Ashley about it), there’s still not like...a clear way to tell when that happened.  Except that Dee talks about “wine tasting with the Rebels,” which likely puts it back when Rebels S4 was either still actively airing (2017-2018) or before it had wrapped filming (2017).  (I actually vaguely remember seeing pictures from this wine tasting but I can’t remember whose twitter it was on and going to look feels creepy.)  Probably the scripts weren’t fully revised at that point but they may have been -- still, this was certainly after S2 and could potentially be before S4 had been fully finalized.  We got the TCW renewal announcement in 2019, but the animation wasn’t fully completed yet so didn’t get more than that teaser trailer.  This is only important insofar as it involves which set of backstory was being used for WBW Ahsoka, an episode that Dave Filoni wrote and co-directed.  (Honestly? I think Mando Ahsoka matches okay with WBW Ahsoka but is a little off Rebels S2 Ahsoka, but that’s off my memory of WBW, an episode I refuse to rewatch.)  Certainly with the epilogue he knew he was setting up for something else.

ETA: I FORGOT AN IMPORTANT PART OF THIS TIMELINE AND THAT’S THE RISE OF SKYWALKER because I try not to think about TROS, frankly, but as we may remember Ahsoka is included in the “be with me” scene in the final confrontation.  This always struck me as weird given the “I am no Jedi” thing from Rebels, but she’s the most well-known female Force-user so I had just mentally written it off as easy shorthand and JJ Abrams being lazy about it. HOWEVER, presumably JJ talked to Dave about which prequel era Jedi to include (there’s a note in one of the previous SWC liveblogs about Rian Johnson being in the Rebels writers room at some point).  TROS came out in December 2019, I can’t recall exactly when they did the voiceovers for that scene (if anyone has ever mentioned it), but it was probably fairly late in the process since I believe that there were still edits being made up until fairly soon before the premiere.  (I have a completely different theory that the Lego Star Wars Holiday Special from this year was written off an earlier version of TROS.)  If Dave had already moved towards making Ahsoka more inclined towards the Jedi, with a full-on return to calling herself one regardless of the existence of the Order (as Mando implies), then her inclusion here makes a LOT more sense than it did a year ago.

Anyway this is all very conspiracy theorist, but it does explain something that was puzzling me: Rebels S2 Ahsoka and Mando Ahsoka (as well as TCW S7 Ahsoka and potentially Rebels S4 Ahsoka) were written off slightly different backstories which differed in one very key thing: how committed Ahsoka was to no longer being a Jedi.

Now, this sort of thing happens all the time in anything with an ongoing continuity; obviously TCW makes major changes to how viewers might read or write Obi-Wan and Anakin/Vader in RotS or the OT.  I was just trying to narrow it down in this particular case because until I started thinking about it I had assumed that it was all being written off the same assumed backstory. And many people read Ahsoka differently in Mando than I did or found her perfectly in character, this was for me to track references down about something that was bothering me in hopes of an explanation that would satisfy me.

[thefoulbeast]

Writers tag game!

A big thank you to @saathiray for the tag! This looks like a really interesting one to do!! :D :D

Alright, let's get into it...

How many works do you have on ao3?

21!

What's your total ao3 word count?

ough.... maths..... if i wrote the numbers down right, then 187 780 words! :D

What are your top 5 fics by kudos?

To no one's surprise, most of there are blue exorcist fics haha :,D

1. Clickflight. (71) 2. Ad terram nullium. (61) 3. Oh, my worst emotions. (60) 4. Human(oid?) (59) 5. aranea et flamma (42)

Do you respond to comments; why or why not?

I do! Well, almost every time (but the comment has to rub me the wrong way / confuse quite hard to make me not respond). I don't really know why? It just feels polite maybe shdusdh

What's the fic you've written with the angstiest ending?

I'm not sure any of my fics have particularly angsty endings 🤔 They're mostly ambiguous or menacing in some way hahah... Perhaps Ad terram nullium or Oh, my worst emotions are the angstiest ones. Cor Aegrotum is also a good contender because it definitely ends on a bitter note. :D :D ahh idk lmao

What's the fic you've written with the happiest ending?

Another difficult question. Not sure. Speak fondly upon that memory is probably the most feel-good fic I have so I reckon it has the happiest ending 😂

Do you write crossovers? If so, what's the craziest one you've ever written?

I don't think I've ever written a crossover, no. The closest is a current wip that's like characters from one thing in the setting of another thing? But I didn't keep any characters from the thing I got the setting from, not sure if it counts as a crossover lmao.

Hope this made sense <3

Have you ever received hate on a fic?

No, I have not, thank goodness! Perhaps quite lucky, since I know one of my faves isn't too well liked in the fandom lol. But it's a small fandom, and the character isn't very popular so ¯\(´･ω･`)/¯

Also, I'm not exactly a well known/popular author so. I can just do whatever I want most of the time lmao

Do you write smut? If so, what kind?

I have written smut, various kinds of it. >//-//>

Have you ever had a fic stolen?

Not that I know of. Hopefully not :D

Have you ever had a fic translated?

No, I haven't ^w^ I've considered trying my hand at translating fics on occasion though, I like translating stuff well enough. Not that anyone needs fics translated into latvian much 😂

Have you ever co-written a fic before?

Nope! But I think I'd like to try someday maybe, because two authors and friends I look up to a lot (jay & rynoa if u read this ily) collaborate on a lot of fics and they always come out so cool and good and solid and i think that's so neat that creatives can come together like that?? like wow!! truly amazing and beautiful to witness <3

What's your all-time favourite ship?

Genuinely don't know!

I've come back to a specific collection of Tarn/Deathsaurus (from the transformers more than meets the eye comic) fics a whole bunch so I guess that's as close as it gets!

I... have a hard time remembering stuff I like outside of the periods I am obsessed with it, you see. Currently I'm reading a lot of star wars fics so there's a lot of kylux and some gingerpilot?

it's really hard to say, im not sure i have an all-time favourite , more just a bunch of faves i come back to from time to time

What's a WIP that you want to finish but don't think you ever will?

A fic I started about Tarn from transformers getting some kind of head injury and having to re-learn how to speak? I really like the concept of it because his voice is how he kills and all that, but I just don't know what direction it could go in anymore. It's more of a thing I can ponder about privately rather than something I want to bring to a finish and publish, if that makes sense?

Other than that one, I have a whole bunch of fics I started in fandoms I dipped my hands into but never found friends and stuff off who to bounce my ideas so the motivation kind of died. One of those was a thing for Gotham's Penguin - I was going to do like a life story in vignettes but I recognise now I won't finish it :D

What are your writing strengths?

I sort of? Idk how to put this in a way that doesn't sound too self-aggrandizing, but once I get into a character's head, I get into a character's head. Multiple people have praised my characterizations, one even going as far as to say that the voices sound like the canon and that's something I hold really dearly in my heart and which makes me feel v warm inside. ;3; <3 <3 <3

What are your writing weaknesses?

World building and having more than 2 people in a fic 😭 I focus so much on the character I'm writing about that sometimes it's hard to think about everything that happens around them, or to make the other characters have enough depth! All my fics are like... sticking to a single person, deep pov style. I would like to get out of my comfort zone more and try and write fics that focus on more than one character!

What are your thougts on writing dialogue in other languages in a fic?

There's a time and place for everything! Usually I just hope that there's translations in the end notes 😂😂 But it can definitely help in making the reader feel as helpless and confused as the character who doesn't speak the language :D

What was the first fandom you wrote fic for?

Ib, the rpg game, I think? At least that's the first one I wrote fic for on the computer, I think I might have written something like yugioh fanfic in a notepad in sixth grade 🤔🤔 afraid i've lost both, though

What's your favourite fic that you've written?

ahh... difficult question...

I think it's sort of a tie between Somnus and Even a worm will turn? They're both about Toudou and I like them for different reasons. Somnus just came out so beautiful and poetic, I think, a lot of meaning packed into just under 1k words, whereas Even a worm will turn is like a beast full of negative emotions and violence and all the dark stuff and the way the soul blackens as it goes down the slippery slope between what one feels they have to do and what is right that i managed to get out in a weirdly cathartic way... It's really hard to decide on this question hahah...

-------------------------

As for tagging my fellow writers and friends: @shiroufujimoto @29rynoah @tonguetiedraven @kugisaki-nobara-rights @yuriotoko @inuyoshie @bluewindfall @emperorsvornskr

[redantsunderneath]

DC COMICS: Incoherence as Not-a-Bug-but-a-Feature (Spoilers for Batman 89-100)

Due to the emergence of the new Batman villain character Punchline, I wound up buying the last 12 issues of Batman and reading them in a single sitting. I’ve had trouble following DC comics for a while, constantly feeling that they were in trouble since back in the mid 2000s (with a glimmer of hope here and there). The act of reading DC comics has been a frustrating experience, where individual good stories and runs were laying around in the context of a lot of things that didn’t make sense while the company’s thrust felt chaotic and ideas not well blended. Every status quo change seemed hard to figure out the rules of enough to parse the context.  We’ll get into the background of this, but my reading today of this extended stretch of comics that keeps losing the plot in favor of a fever dream of what’s happening at the moment with specific characters that refuse to cohere, it became obvious that what I had been looking at as subtext or critique was actually the text. I could see the messed up trees but was missing the the forest the universe was trying to describe.

What happens in these issues (Batman current series 89-100, I missed the beginning of the first of 2 arcs) is rolling war between the major Batman villains and the heroes (plus Harley Quinn and Catwoman), which shifts into a Joker and Joker adjacent vs. all as the Joker double crosses everyone then manages to steal Bruce Wayne’s fortune.  We meet 3 new baddies – Underbroker, whose schtick is putting ill-gotten gains beyond the reach of the legal system (with an explicit line to rich globalists drawn), the Designer, who back in the day offered the four A list Batman villains plans to achieve what they most wanted, and Punchline, who is your toxic ex’s new millennial GF who really has it in for you (there is also a new good guy Clownhunter, which is a whole different thing, and a new costumed detective that predates Batman).  This doesn’t convey the chaotic nature of what is happening issue to issue, but there’s more than one Batman hallucinogenic spirit quest, dead characters ostensibly walking around, a plan revolving around the Bat’s origin story that tells some version of it several times, and a no-nonsense declaration that the Joker, as the Devil of the Batman spiritual system, cannot die.   The whole thing has the effect of convincing you there is no definitive sequence of events, only versions.

Alan Moore’s Killing Joke is not a favorite of mine, for a number of reasons.  But the ending holds up.  The Joker has done terrible things there is no antecedent for, and Batman wonders aloud if this never-ending dance they do ends in anything but both of their deaths; can they uncouple from the unhealthy duality the cycle of which simply repeats.  The Joker responds, well, with a joke about two lunatics trying to escape an asylum.  One jumps the roof to the next building, while the other is too scared to try.  The escapee offers to hold a light while the other crosses on a beam but he says no, no you’ll just cut the light while I’m half way across.  This not very funny joke nonetheless has a bunch of resonances – BM and Joker as conspiring co inmates, BM wanting to break out, a commentary about their natures (almost a reversal of the frog and scorpion story where the scorpion won’t go because he knows how this ends), but mostly it implicates BM as the one who is enabling the cycle, the reason why it won’t end.  They both laugh uproariously, and the ambiguous final panels can be read as the fundamental realization of his complicity causing BM to kill J.  A lethal joke indeed… except, next month, we see the both of them again.  In broader context, the ceaseless cycle of the diad is reaffirmed.  This has been hellaciously sticky as an idea in the Batmen universe.

My realization of what DC has been doing is pretty banal in its pieces. Marvel has “ground level” heroes while DC has a mythos, a pantheon.  Their archetypal makeup is strong, the seven JLA members lining up with the pantheon of Greek gods and the Chakras weirdly closely.  DC has big characters that are somewhat flat which they can use tell big bold individual stories that are cool the way legends and fables are cool. But these stories require bold strokes that a bit incompatible with each other. People get attached to these iterations. Meanwhile, Marvel trucks in soap operas where the characters give you an empathetic stand in and are narratively flexible. Marvel events are usually about the writer vs. the company, asking you to sympathize or deconstruct the creative impulse amid efforts to impose control or order.  DC’s events are about editorial vs. the audience, the shapers vs. the forces of the world.  It may seem obvious, given this description, that DC’s focus is on an archetypal tableau though it may be less obvious that this tableau is under extreme pressure from expectations when trying to tell ongoing tales month in, month out (or semi-monthly in some cases). The stories are constantly compared against the big stories that have gone before, and the audience’s ideas of the characters exert pressure to push them in directions that capture “the” version they believe in.  This circle is not possible to square.

DC and Marvel both have a multiverse of sorts.  DC used to tell “Elseworlds” stories which were later tucked into pocket universes.  DC invented crossing over between “realities.”  DC’s continuity is heavy baggage and they began to have “Crises” to resolve the narrative incompatibilities.  These only made things worse as you can’t get rid of the past people have a relationship with – it will come back.  Now you have to explain that away too.  Marvel just lets it lay – forget about the iffy stories, they count, sure, just no one is ever going to talk about them unless they have an angle.  Marvel continuity is all angles and amnesia. This is just easier to do with dating and rent and your ancient aunt’s medical bills than with Gods. Marvel’s multiverse is about sandboxes that you can always dump into the mainframe if they work (and never really mention the sandbox again).

There is a shift that occurred in the industry in the 2004 to 2005 era that is less remarked upon than many upheavals in comic’s history. Marvel had gone through a period of incredible new idea generation in the early 2000s after a late 90s creative cratering but had just fired the pro wrestling inflected soul of that moment (Bill Jemas).  DC was coming off of a period of trying to do moderately updated versions of what they basically been doing all along. The attitude was “yeah we’re under stress from the combined history of these characters, but we got to keep telling the stories.” Geoff Johns was one voice of DC over the 99-04 period that showed potential - he seemed to get how to find the core of characters and push them into a new in sync directions if they over the years have lost a clear identity.  But mostly he had internalized a basic schism between something mean that the audience wanted, and something good and wholesome about the characters themselves, and figured out how to mess around with this in a equilibrating fashion.

Interestingly, the ignition point of the main forces that were going to blow DC over the next decade and a half was a comic that had virtually nothing to do with any of those main forces. Brad Meltzer, a novelist, was hired to do a comic called Infinity Crisis, which sold extremely well and was, justifiably or not, recognized as an event.  At the same time, everyone also kind of hated it because the dark desires of some DC fans were pushed forward just a bit too much for comfort and for a comic with Crisis in the name it didn’t do a whole lot other than “darken” things.  Nonetheless, this lit an “event” fire at both companies.  Marvel chose a shake up the status quo for a year, then do it again, pattern and was off to the races (I have written about this, and more, here) while continuing its Randian framing of beleaguered do-gooders opposed by rule making freedom haters.

As this was playing out, Dan Didio quietly took power in DC Editorial.  His outlook was more Bloomian – he seemed to spark off of writers who exhibited anxiety of influence. He recognized Johns was the one person they had could be promoted into something of a universe architect, starting work on two key projects from which the rest would evolve. The first, was bringing back Hal Jordan as Green Lantern and diffracting the GL universe into its own symbolic system, with parts frisson-ing other parts, and almost a Magic the Gathering color scheme of ideas. The other was to build up to Infinite Crisis, which would become the model for most of their universe changing events until the present day.

The basic frame is this: DC heroes want to be good (in a sense of their inherent nature) but forces outside form a context that makes them fall.  It’s a very gnostic universe, DC.  They  examine reflections of the concepts, invent scapegoats for certain tendencies (see Superboy Prime as entitled fanboy, Dr. Manhattan as editors that try and fail to mend things, etc), make characters violate principles, rehabilitate them, then show that the world if anything is more broken than before.  This is kind of Johns’ thing and it fits Didio’s narrative as historicval tension fetish.  But then came Scott Snyder (not to be confused with Zack) who began to work on Batman in 2011.  Since then, as much as Justice League is pushed as the central title and Lex Luthor has been pimped, Batman has been the core of the universe and the Joker the core villain.

Snyder had the same continuity conflict wavelength but was significantly more meta and able to contain multitudes than Johns.  He was the first to make an explicit mystery of how there could be several Jokers around at one time (who are the same but not, he posited 3 – man, Christians!) that seems prescient given the near future coexistence of filmic Jokers that are not able to be resolved.  I believe he was the first to begin to tease out an idea – that different versions of things in comics are not a diffraction or filter effect, a using the set of things that work best for that story and leaving the rest, but are a matter of the archetypal system of the audience coming apart. From an in story perspective what appears to happen is that multiple versions of incompatible things exist in the collective unconscious of the continuing narrative, and this is something that the characters may become conscious of.  

The run I just read is written by James Tynion IV building on the above trends.  The trick seems to be going all in on the Jungian aspect (at Jung’s most religiously epiphanic).  The Designer was a progenitor and adversary to Batman’s predecessor and his intellectual approach eventually defeated the detective… broke him.  At some point in early Batman history, the Designer brought the top four Bat-baddies together and offered each, in turn, a plan to achieve what they most desired: the Riddler, a way to achieve an empire of the mind; the Penguin, power; and Catwoman, money.  They are all elated as they await the Joker to come out.  The Joker emerges with a furious Designer on his heals and promptly shoots him dead.  He explains that he didn’t like his joke in the form of a fable – the devil offered four people the path to their greatest desire: the three chose earthly things, but the Joker’s wish was to be him, to become the devil.  The story proceeds to suggest that the Joker just exists, he is present as a necessary component in the system.   You can kill him, yet he is alive.

DC has been using physics metaphors for the nature of their reality since Flash of Two Worlds in 1963.  The multiverse as a continuity concept was their idea and the holographic universe of the hypertime was a thing.  It seems like since Dan Didio took over, they’ve been heading towards a concept of broad superimposition, of measurement effect being weak, of the universe being like a quantum computer with all possibilities coexisting and the story instantiating not one reality but a path through all the possible ones.  By making Batman trip balls through quite a few issues and relive his origin from different angles, the story is one of its own instability and the heroic task that confronts our hero is attempting to actualize the world.  The Joker is the Devil in the sense of lack of fixed meaning, of relativistic chaos, of the world not making sense because it’s unmoored nature with ultimately no knowability.  Batman, in this story, functions as a postmodern knight crusading against the impossibility of epistemological grounding.

There’s more going on, sure.  One plot is, literally, defund Batman.  There is rioting, people brainwashed by being exposed to toxic ether, people paid to go to theaters even though they will die as a result, and questions about neoliberalism similar to that one Joker movie. Punchline has no personality yet (Tynion’s not the best at that) but she serves well as a generational foil for Harley – a rudderless ideological vacuum susceptible to Joker-as-idea-virus rather than an unfulfilled MD who felt alienated due to the structures of her life and was seeking escape into structureless possibility.  The Designer stuff is both continuity play (See why they changed from goofy villains to more “realistic” ones! Look how pulp heroes informed superheroes!), a comment on the nature of a longstanding narrative (strong intentions die out as Brownian motion overwhelms momentum), and a lawful evil/chaotic evil setup of the dualism of apocalypses (overdetermined authoritarian vs. center does not hold barbarism).  But the thing that ties this to the past decade and a half of DC is the sense that the reality is fluid and susceptible to change or outright s’cool incompatibility.

This is different than other flavors of meta in superhero comics.  Grant Morrison believes the archetypes are stronger than the forces that seek to bend them.  Alan Moore wants you to deconstruct your sacred cows and probably hates you personally.  Marvel might play with self-awareness, but effortlessly resolves inconsistencies after it’s finished playing.  DC, at this point, allows you to watch the waves solidfy into symbols and dissolve, and the constant confusion and lack of grounding is more of a choice then I thought this time yesterday.  The conflict theory of DC reality has been in full swing but this looks to be turning towards a kind of Zen historicism, holding contradictory things in your mind at once. Warren Ellis’ JLA/Authority book is the nearest comparable text I can think of. I need to call this, but I didn’t even talk about Death Metal, DC character multiplicity as meta-psychosis event extraordinaire.  Comics just keep getting weirder.

[thanksjro]

Eugenesis, an Overview: Let Me Get Weirdly Serious About This Book For A Sec

HOLY SHIT WHAT A RIDE.

So, let’s recap what we’ve learned over the last 282 pages.

In 2001, James Roberts published nearly 300 pages of fictional prose, based in the established franchise of Transformers, specifically the Marvel UK comic continuity. This novel tells the story of the Transformers, in their dwindling numbers, being attacked, not by their opposing factions, but by an outside force hellbent on revenge. Those who are captured by this force- the Quintessons- are stripped of their very individuality, forced into servitude until the moment they die of exhaustion. Everyone is pushed to- and in some cases beyond- their limits, the horrors of a literal genocide beating down on them like a tidal wave. Only by casting aside their differences and banding together can they hope to survive the nightmare that is the Eugenesis Wars.

But people don’t really talk about all that, even though it’s a majority of what the book’s about. No, people only talk about what happens after the Quintessons are defeated. People only talk about the robots getting pregnant, because honestly it is the most bizarre thing.

Not because the idea itself is terribly odd- I mean, at least it’s in line with the lore the comics set up. It’s bizarre in how we get to that point. All the torture, all the suicide and death and depression and destruction of entire belief systems, leads up to these robots getting pregnant. Almost like that was the whole point. And considering that this story is presenting to us a bridge for the gap between the classic Transformers and the Beast-Era ones, it could have very well been.

I won’t say fetish, because that doesn’t feel quite right, but our dear author seems to have a sort of… obscene fascination with the concept of mechpreg. A fascination that will carry on well into his career as a professional comic scriptwriter, setting readers on edge for the duration of his run with IDW.

Comparing Eugenesis to More Than Meets The Eye and Lost Light, you get an interesting view of Roberts’ growth, as both a writer and a human being. Eugenesis is the work of what Billy Joel might call an "angry young man”, focusing on the despair of wartime and the futility of one’s struggle against the flow of time and mortality. The theme of time only being perceived as linear, and being in actuality an unending plane where all moments are equal and eternal might seem oddly specific, but it’s reflected upon by multiple characters within the story of Eugenesis. Perhaps this is why he has Brainstorm and Perceptor collectively and completely jack up time itself in the Elegant Chaos storyline.

Character moments sprinkled throughout the narrative give us a glimpse of the relationships that would be written later on- some of the most compelling scene writing happens between Quark and Rev-Tone, two original characters who have such a delightful dynamic between them, they very quickly became some of my favorites. You truly believe that they care so strongly for one another, they would do just about anything to keep the other safe. And they do, in a couple cases.

Then there’s all the death. There’s a lot of death in Eugenesis, and none of it is by way of natural causes- you’ve either got suicide, murder, or suicide-by-way-of-murder. You really see Roberts shine in these death scenes, both then and now, as he captures the utter, raw tranquility as one stares down their own demise, and on the other side of the coin, the complete annihilation of one’s very heart as someone they love is destroyed. It’s downright poetic how he handles these scenes.

Still, there is a difference in how the aftermath is handled. When someone dies in the MTMTE/LL run, there’s always meaning and purpose to it- nobody dies just to die, and those who are left behind are left at least something to comfort them.

A message of love.

The return of a friend.

A chance to keep living.

A chance to be a better person.

You don’t get that in Eugenesis. In most cases, there’s no salve for the wound, only more hurting. There’s no time to even mourn, as the fight rages on and on and on. Any happiness pulled from the narrative for the characters is laced with a bittersweet understanding that these folks probably aren’t going to make it, and they’re just as aware of that fact as the reader is.

And yet there’s something kind of beautiful about that, in a twisted sort of way.

Eugenesis is a sort of love letter to those dark thoughts hiding in our heads, those deeply scary intrusive visions of everything we care about being ripped away from us. It’s a book make up of catharsis, of hurting that begs for some sort of outlet. The characters in this story are lost, and scared, and hollowed out before the mass extinction even arrives, and are put through wringer after wringer, like some sort of distanced facsimile of self-harm.

Perhaps I’m reading a bit too into this, but with how intense things get, with self-insert characters no less, I can’t help but wonder if the James Roberts who was writing Eugenesis truly needed this outlet in more than just a creative sense.

Which isn’t to say that there aren’t issues with this novel just because it was a vessel for catharsis. Pacing can end up going so rapidly it feels as if you’re being pushed towards the edge of a cliff, then stutter to a halt to the point where continuing on feels like an absolute slog. But it always seems just as you’re about to put the thing down and give up, something completely thrilling, completely insane and powerful and profoundly attention-grabbing happens, pulling you right back in. If nothing else, this book demands one’s attention.

There are also some other, more interesting issues with Eugenesis. Issues I wasn’t really expecting to run into. To highlight one such issue, we’re going to play a game.

The game is called Guess That Character Design!

Hey Transformers fandom, got a new quandary for y’all to fight over. Forget the Frenzy/Rumble color debate, forget the Bombshell/Skywarp is Cyclonus debate, it’s time for the What The Actual Everloving Fuck Is Quark Supposed To Look Like debate! Do we follow the comic and its script, which show him as being either about on par with Rev-Tone and Mirage or taller, but fails to note any sort of color because it’s in black-and-white? Or do we follow the novel, which states he’s short exactly once, and crimson? And if he’s red, where did the blue paint chips come from in Part Five? They sure didn’t come from Rev-Tone, who I know is mostly red- not because the novel told me, but because I’ve seen art of him outside of this. Honestly, other than him having big honkin’ shoulders and a bust to match, nothing about Quark’s visual aesthetic is concrete.

Now, I could tell you all about his quirks and mannerisms, how he holds himself, how he talks, how he interacts with others, all sorts of stuff. Nothing wrong with the writing there, characterization’s great! I just couldn’t tell you for the life of me how his body is supposed to look. Rev-Tone’s in the same boat, except it’d be even worse without the helpful input of some friends. Did you know he has a visor? Because I sure as shit didn’t until someone showed me. It’s never mentioned in the book. You can barely see it in the prequel comic art if you’re looking for it, and the script is less than helpful to me because I’m not Matt friggin’ Dallas, nor have I had the pleasure of reading Transtrip. All the information presented in the novel about his looks involves his mouth.

Hell, some of the writing in Eugenesis seems to imply that he actually just has normal eyeballs.

What I’m getting at here is that Roberts leans a bit too much on the reader knowing exactly as much as he does about the characters, the plot points, the lore. And he knows A LOT about Transformers.

This book essentially requires the reader to have the wiki open with multiple tabs at all times. Roberts put his heart and soul into the prose, but the world-building had his nerdy little brains smeared all over it, because there are some obscure references in here, not to mention the sci-fi jargon. You basically NEED an internet connection to get through this- I’ve never read a novel that pretty much forbid an acoustic reading, but here it is, in all its glory.

Eugenesis is a dark, morbid, conflicted story with the oddest little bright spots in it. Within five pages, you’ll go from some of the most horridly bleak death scenes to someone accidentally burning a hole in their hand like a cartoon character. But never once, in nearly 300 pages, does it ever stop trying. It may not succeed in what it’s attempting 100% of the time, but goddamn does it go as hard as it can. This isn’t something that was done for money, or fame, or anything like that. Eugenesis is a passion project in the purest sense, and you can really feel it in the way it’s been crafted. For all the frustration it put me through, never once did I think “man, this guy just doesn’t care.” The ambition Roberts shows in the prose, in the world-building, in all the funny little moments that show just so much personality within the story, truly were harbingers for what was to come just a decade later.

Ambitious. Bleak. Brutal. Weird. Ultimately unforgettable. That’s James Roberts’ Eugenesis.

But let’s get to the heart of the matter, shall we? The one question that truly matters for any novel: is it worth reading?

Well, that depends.

If you had a hard time with the darker parts of MTMTE/LL, I really couldn’t recommend that you read Eugenesis. You will have an awful time, because most of it is Grindcore x100 levels of depressing and brutal. There were a couple points where I had to take a break because things got so intense- and I’m not exactly squeamish. Maybe stick to a breakdown- like this one!- or try a group read-along. Friends make everything better, after all.

If you like Roberts work and want to see where he came from, like I did, I highly recommend you find a copy- digital of course, there are only a few hundred physical copies in existence. I recommend you find the 2nd edition, which includes Telefunken and fixes some of the more glaring continuity mistakes and typos.

It’s a good read. Just... it’s a lot at times.

Like, a lot.

Up next-

Oh, what? You didn’t think that was it, did you? This url is way too sweet to just be done with so soon.

Next, I’ll be taking a gander at Children of a Lesser Matrix, which is something that was never finished by Roberts, but is still floating around the internet because hey! It’s the internet.

If anyone has any other somewhat obscure writings from JRo, feel free to send them my way. Especially if you have any of the TMUK zines from back in the day. I wish to consume all the works.

[infini-tree]

5 6 19

its time to get meta

5/6. what character that you’re writing do you most identify with? / what character do you have the most fun writing?

i’m gonna have to combine this because right now. it’s krupp and cu respectively--

i don’t want to get into how i relate to krupp because i’ve already glanced at that can of worms and went into a weird funk afterwards so i’d rather not do that. but the implication that his movie iteration has a chance to be-- perhaps not nice (i’ve always imagined him grumpy and no-nonsense at his best), but becomes marginally better feels, idk, weirdly comforting?

captain, on the other hand is interesting on multiple levels and frankly i’ve already talked your ear off on the subject gfhfgj. from dialogue and how to write his pov, to him essentially being a case study on the concept of death of the author as a result of krupp’s slight influence on him in the sticky notes au, to just trying to find where captain the comic book character hero ends and captain the person begins

(my brain really just looked at captain underpants and went present-day oogway/heroic paragon archetype deconstruction???)

and in the case of kfp:

idk, it’s difficult to relate to kfp characters, even back when i was way in it. like, i consider their arcs and character compelling, but i can’t find consistent common ground, and the ones i do relate to... is because i put in the backstory, and inherently i relate to it by default. so i gotta choose au stuff, specifically generationswap!oogway, for that quiet awkwardness, contradicting shyness and ambition in him, and themes of estrangement

any iteration of soothsayer for most fun to write. i am Very Obvious, i know-- i just like clever characters with bite in them. and in a world that is kung fu fighting, she doesn’t have the physical strength to back her up-- not that it would ever stop her from pointing out the heart of the issue or delivering a quip-- which makes her stick out to me

19. is there something you always find yourself repeating in your writing? (favourite verb, something you describe ‘too often’, trope you can’t get enough of?)

in terms of words/phrases i use-- run ons, certain ways to describe body language (i use ‘lips pursed’ a lot imo)

as for tropes? let’s be real, most of my fics are just. Hurt Comfort Two Characters Talk It Out In A Vague Space. first it was sageway friendship, now its sticky notes au with krupp and cu. the fact that both their dynamics/characters hits some very specific themes doesn’t help either. all complicated friendship dynamics is the same /j

[pikablob]

Fanfic Writers: Director’s Cut: "Another Loss", your Oregan AU, your Firestorm AU, "Alone"

Ooh okie:

Another Loss came out of nowhere; I saw Owen Dennis’ tweet about Tulip drowning while browsing the Infinity Train tag and the idea just kind-of lodged in my head. It’s actually one of what I like to call my ‘vaguefics’ - sometimes (often just to get an AU idea out), I’ll write a mini-oneshot in present tense that deliberately tries not to mention names. It’s a very specific narrative voice that I like using a lot. This is why this fic had two drafts (which is very unusual for me) - I had to redraft it to make it less confusing and understandable to the fandom at large.

Forests of Oregon is an AU I’ve been daydreaming about on-and-off for a while now. It started out as Hilda-centric, The Disappearing Game (now the 2nd story arc) was originally the first of three; as an aside, it’s also a massive Care Bears reference. Infinity Train got added fairly early on, but the Apex weren’t involved because the idea of Reggie taking over the train actually predates their introduction to canon. Season 3 effectively rewrote that entire arc (because originally the New Apex had ditched both Grace & Simon) but I’m really glad with how it came out. Unusually considering she’s now the main character of the whole AU, Connie was a late addition. Constance and Variables was originally a separate AU, and the end of a long period where I wanted to do a Connie adopted AU but couldn’t think of an ending that I liked (due to my very mixed feelings on the early-seasons Maheswarans). I suddenly realised that Connie would play really well off the New Apex (they are basically in the same position as her, just more extreme), so it got rolled into Oregon.

Firestorm (the War of 1839) began as a Brave Tangled Dragons AU - specifically about Corona, DunBroch, and the clans of Berk uniting to fight against an evil Elsa (inspired by After Ever After 2). Literally the only thing to survive from this concept is that Corona’s flagship is called the Vergoldete Brume (or ‘Gilded Flower’), since it was originally going to be an ironclad icebreaker with golden armour designed by Hiccup. I decided to revive the idea after seeing Tangled the Series, specifically focusing on Varian, Aisling, and the Royalist movement; the whole thing was effectively reworked. Sofia the First was also involved for a while, and this is actually where I got the name - that arc was inspired by the song ‘Freedom of the Snow’ by Leslie Fish, from the album ‘Firestorm’ - then Varian got associated with one of the other songs on the album (’Heart Like An Axle’) and it stuck. One of my weirdest ideas for this was that the Royalists would survive into present day as a secret society lead by Aisling; this concept is still there in the current version, but originally this secret order would have reappeared in a Mary Poppins AU set in the 1930s (this eventually became an original story concept called The Edge Of Night), and, weirdly, in Forests of Oregon. I’m glad that’s not the direction I ended up taking it.

Alone is very unusual for me, because I used to think I would never like (or enjoy) a fic without a happy ending. This fic was basically me putting all of my frustrations over SU Future (and Connverse) into a story; the idea came when I filtered by ‘Steven Universe Future’, ‘Connie Maheswaran’, and ‘Hurt no Comfort’ on AO3 (I just wanted to see things crash and burn I guess?) and after not coming out satisified I set out to create my own angst. I looked to the (in)famous comic where he punches Connie out during a Diamond vision for inspiration, but I specifically wanted this to be Steven’s fault so I ran with the pink instead.

[jezmmart]

Chamomile Comic Trivia #12

#56 Way

Nothing too much to say about this one. The fact that I dedicated a whole establishing shot to it partially reveals that I was just really in the mood to design a cute new outfit for Cammie here. Lots of people commented on it, which is why it’s shown up a bunch of times since!

#57 Issues

A momentous occasion, the first comic without Chamomile making any appearance! I knew it would happen eventually if I wanted to let other characters be more than just supports for the main character, so I didn’t make a song or dance about it. This conversation was inspired by a RL friend who worked at a coffee place at one point and was also livid about the tweeness of “babyccinos”. In fleshing out the concept for the joke I did have to research the etymology of cappucino so Brianna is acting as conduit to my own surprise at the truth of the matter when I did. This comic inspired me to make Vienna being kind of into history a consistent thing for her - it’s intentionally come up from time to time since without any major attention drawn to it.

I also had to research what the correct possessive/plural form for “two pence worth of milk” was, which my fellow creative writing graduate University friends on facebook were extremely helpful with. I knew I kept them around for a reason.

Oh, and finally, Brianna also gets a new outfit here!  Unlike Cammie’s, this one existed out of comic first, and was specifically designed because I just wanted an additional day-to-day outfit for her as I was bored of her default one.

#58 Nope

Some real Vienna development here! I felt it’d be a nice surprise to make her, the most seemingly anti-social of the characters, be the one who was most interested in obtaining a romantic partner.

I’m also really happy with this strip in general, I managed to cram a whole bunch of jokes into one with some classic Cammie slapstick to boot. Vienna’s two panels above are one of my favourite moments for her to date. Although I am a little iffy about Brianna’s response afterwards - I don’t feel her little joke was unnecessary, but I feel pacing-wise, having a one-two panel joke with Vienna where the “camera” doesn’t change between them, followed immediately by another one-two panel joke with Brianna and the same “camera” behaviour, just comes off as a little repetitive (and Brianna’s repeated use of “know” in her sentence doubles up the clunkiness-inducing repetition wah).

Finally, I really like doing fun little comic-exclusive tricks like Cammie’s speech bubble being outside of the door with her. If her “What the heck...” sounded muffled by the closed door in your head when you read it, mission accomplished!

#59 Observant

It’s entirely possible that no reader thought I would go this way, but I wanted to write off the idea that I was ever gonna go for the ol’ “the two characters who seem the most incompatible actually end up together” by outright having Vienna state that Cammie is not to her taste lol. Cammie’s response here comes from her relative disinterest in seeking a romantic relationship. Having said this, Cammie still enjoys looking good just for own pleasure, and I thought it’d make good humour to - just lightly - take her down a peg for being so outwardly prideful of this by having her be a bit disappointed that the girl she knows who likes girls isn’t attracted to her.

For the record? Cammie’s intuition was right, Vienna probably did check her out at one point, but Vienna, like many people, is prone to having their level of physical attraction be greatly affected by level of emotional attraction.

Bonus tidbit that only UK viewers will notice: Brianna’s café has a 5 out of 5 food hygiene rating. Good work Brianna!

#60 See

Another fourth-wall comic that doesn’t actually break the fourth-wall. I just got a bit silly with this one.  Around this time, behind the scenes, I started doodling pictures of Vienna without her glasses.  Since her face was designed with the glasses in mind (i.e. no thought at all to what kind of eyes would fit behind them and still look “right” on her face), I knew I’d have to privately draw her without them a few times just to get used to it for if/when I ever take them off. Every now and then I’ll draw a comic panel of her without them, again, to get used to it, then draw the glasses over the top. Weirdly, upon checking the .sai file... this strip wasn’t one of them though!  I’ll be sure to share the lot if the time ever comes.

A bonus early bird cameo for Mimi on the staff rota here! I didn’t know if/when I’d make use of her, but I made sure to future-proof myself by, even in this little doodle form, designing a somewhat unique appearance for her that I could base her real design off of later.  The alternative would’ve been zooming in even further to just show Brianna and Vienna on the rota, but that would’ve made it hard to parse what was going on.

The 4th person on the rota... was just a scribble.

Their name is “Person” with a few dashes to imply a more interesting name where the panel cuts us off from reading it. I really wish I was better at writing an extended cast for the characters’ lives than just implying they’re there. Who knows how many other people Cammie and Layla work with over at the music shop! I sure don’t!

...Well... actually I do now.  This trivia post was written over a month ago but it felt too close to the previous one to post. I’ve just opened it in my drafts since and it’s kind of funny that I’d do so right after introducing Samantha as a co-worker for Cammie and Layla, haha!

[More Chamomile Comic Trivia]  

[my-add-chronicles]

Ironically, the video game I spent that time playing kind of has amplified the need to examine this phenomena

I wouldn’t even call it negative self-talk, it’s more complex than that. More a sort of... self-damaging practice that comes naturally with the default way our society tends to communicate socially, especially specifically in regard to the habitual tone adopted re: presentation of self

and this sort of..

-Actually wait that’s a fun one, one could argue, Christianity weaving itself into mainstream American culture and the global culture (violently imposing a culture, really, considering aspects of forced cultural assimilation among the literal violence...) .. and this bleeding into things especially during the Internet age, which creates a sort of global risk of similar habits in English-speakers because the Internet age provides a unique platform of ‘standardization’, which is to say people who don’t feel confident about their social etiquette will tend to mirror the person who seems most ‘normal’ and confident which may be as meaningless as just.. the person and communication style that our culture validates most loudly or, even more so, has the least reaction to (because if someone makes a mistake, people tend to feel obligated to tell them so. And the internet provides a weirdly transparent place to view these interactions)

- all that, in mind.. and with respect it being overly simplified, back to- ‘well Christianity’s influence on our culture is a prime suspect’, that influence could also be considered a layer of this sort of...

..politeness almost exclusively being associated with humbleness.

And more relevantly to what I’m thinking a lot about (because it’s so much less visible): this sort of virtue of self-exposing faults.

I mean, the aspect of centering sin as core human identity makes it seem comically obvious how that could carry over into language habits and concepts of how we talk about ourselves. And obviously the two-gender system seems to amplify this towards women because it amplifies an importance in being socially thoughtful.

Hm!

Just some anecdotal feelings really, not meant to be a sort of debate topic starter (I hate debates, they are almost never without intense callousness as a undertone)- but it’s fun and interesting thinking about these things and why they may have come to be and how invisible they are to us because it’s just.. there.. as a habit.. just comes up naturally as a tone and a way of speaking and expressing.

And it irks me I suppose lol. It’s not self-depreciation but what a strangely negative default language style, I don’t think I want to keep that, if I can help it

(I haven’t really proofread a damned thing here, just had fun seeing where the reflection would bring me as I wrote it lol)