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duhragonball · 3 years ago

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What are your favorite fights from each anime iteration of Dragon Ball? (DB/Z/GT/Super etc. Yknow lol) I’m curious!

This is a good ask, anon. Just wanted to point it out.

I'm not sure how long a list I want to make for this, because if I really go nuts with this I'll probably end up covering like 75% of the fights in the franchise. But I don't want to just pick one favorite fight from each series, because that feels too short. Tell you what, let's just play it by ear and see how this goes. I won't bother ranking these, because I'm not sure I can.

OG Dragon Ball

1) Goku vs. Jackie Chun, 21st World Tournament final

2) Goku vs. Tien Shinhan, 22nd World Tournament final

3) Goku vs. Piccolo Junior, 23rd World Tournament final.

We'll start with these, because they're tentpole moments for the series, and they define Goku's character arc so well. The Jackie Chun fight was pretty short, but it was really the first big fight in the franchise, and it set the tone for all the later battles to follow. What makes it work is how Chun is determined to keep Goku from winning, not for his own sake, but because he thinks Goku will lose interest in martial arts if he wins a big tournament on his first try. Chun entered as a ringer, but he finds Goku a lot harder to stop than he expected, and the match very nearly ends in a draw.

So you'd think Goku would be a shoo-in at the next tournament, but he has to get through Tien for that, and Tien turns out to be extremely tough and he wants to murder Goku to avenge his master's brother. It's an awesome fight, made more awesome by the way Tien's character arc begins to overtake the action itself. He starts out wanting Goku dead, then decides he'd rather fight fair because he enjoys the competition too much.

So by the time we get to the 23rd tournament, the contest itself feels like an afterthought. This is just the venue for the more important showdown between Goku and Piccolo. Except Goku still wants that World title. It means a lot to him, and no one else seems to get that. Through this whole arc, everyone is scared shitless of Piccolo, worrying that Goku might not be able to beat him. But Goku has a game plan, and he sticks to it and powers on through to victory. And yet it's still this insanely close match. I dare say this is the most even battle in the franchise, but Goku seems like an underdog to start out, and by the end of it, you see that he had things under control the whole time.

4) Goku vs. Red Ribbon Army HQ

5) Goku vs. King Piccolo

6) Goku vs. Grandpa Gohan

I guess you can call these #reference fights, because when I rewatched these episodes in 2019, I noticed how much they resembled battles I've written in to my big-ass OC fanfic. Goku just charging headlong into an army base is sort of the prototype for Saiyan mayhem, and when I started writing Luffa I quickly realized that this would have to be the sort of combat she'd be used to. There's no Vegeta or Perfect Cell to tackle a thousand years ago. She's got no rival, so her best bet is to fight large armies single-handedly, as Goku does here.

Likewise, I ended up inventing a lot of villains who think themselves invincible, only to get knocked on their ass when they find out how vincible they really are. King Piccolo's meltdown during this battle is a sight to behold, because once he starts losing, all he knows how to do is talk about his fearsome reputation, except it's completely hollow when the other guy is feeding you a can of whoop-ass. He just doesn't know how to process this beating, and that's always left an impression with me.

Let's just say, hypothetically speaking, that you had this character who has some relation to another character, and gosh, wouldn't it be nice if they could meet and fight each other, and one of them could leap forward beyond their natural lifespan to make that happen? I dunno, maybe it'd be kind of emotional? I haven't actually written anything like that so far, but if I ever do, it'll probably resemble Goku vs. Grandpa Gohan quite a bit.

Dragon Ball Z

1) Goku vs. Vegeta

I mean, what else can you say here? This one's a classic.

2) Anybody vs. Cell, pretty much.

Obviously, the Goku and Gohan fights from the Cell Games are the best of the best, but Cell's entire run in DBZ is awesome, including the fights he has with Vegeta, Trunks, Android 16, Piccolo... you just can't lose. I could go on, but I don't want to get too far down this one category.

3) Pikkon vs. Goku.

This one gets dunked on a lot because it's filler, but it's excellent. Just a friendly competition where everyone's dead and there's nothing at stake but bragging rights and fighting spirit. Pikkon's a brilliant opponent and Goku has to find a way to beat him, and that's really all the story you need, sometimes.

4) Goku-Vegeta II

This one's a bit wonky because there's no clear-cut winner and the Buu crisis overshadows it, and it doesn't quite hold up compared to the original Goku/Vegeta fight, but it's still awesome, because of the buildup and also a lot of the intensity. It kind of functions as a coda to the Androids/Cell Saga, where both guys were Super Saiyans but they never got a chance to duke it out. As it turns out, they're so evenly matched that it kind of works against the fight. One of them does a big move, and the other one just shrugs it off like nothing happened. In a way it's kind of the opposite of the Goku/Piccolo fight. When it's a couple of Super Saiyan 2's, there's just no way for anybody to pull ahead, and ultimately their battle takes on a very tragic tone, which is awesome.

5) Majin Buu vs. Everybody in Season 9.

Okay, apparently Tumblr won't let me post any more images, but that's cool, you all know what Buu looks like. I remember flipping through an issue of Beckett DBZ Collector at the grocery in 2003 or 2004, and it did this top ten fights article, with this as #1. I just liked the sheer gall of counting the entire Fusion and Kid Buu Sagas as one big fight. But let's face it, it works. From the moment Evil Buu shows up to the Spirit Bomb finale, it's basically nonstop action for Majin Buu, as he takes on one opponent after another in a zany gauntlet. And sure, I'd probably say Vegito and SSJ3 Goku were my favorite portions of that larger battle, but it's tough to isolate any one section.

Dragon Ball GT: There were no good fights in GT.

Dragon Ball Super

1) The Tournament of Power.

I suppose this also counts as one big battle, although my absolute favorite part is when Caulifla and Kale battle Goku and he ends up using Ultra Instinct to beat them.

There's also a lot to be said for Vegeta vs. God of Destruction Toppo, and the whole endgame with Jiren against Goku, 17, and Frieza. Oh, and the part where Universe 9 gets wiped out in one episode.

For my money, Dragon Ball Super doesn't really get off the blocks until the Tournament of Power begins, which has always frustrated me about DBS. It's basically one really good run of episodes at the tail end of an otherwise lackluster series. The U6 tournament was pretty weak and the Zamasu/Goku Black saga was downright pathetic.

Movie-wise... let me see here. Mystical Adventure had some good action, Dead Zone, Cooler 1, Super Android 13, Broly 1, Fusion Reborn and Wrath of the Dragon were classics, and Battle of Gods and Super Broly had some excellent fights too.

And yeah, I think that about covers it.

#dragon ball #ask duhragonball #dbgt has no good fights #no i will not elaborate #what else can i say?#if there was a decent fight in gt i would talk about it

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wallspikes · 3 years ago

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metamorphosis and/or portal with the funky lil dude of your choice?

let’s stick with weld cause he’s like um. my main guy :)

Metamorphosis. Has this character evolved/changed since you first conceptualized them?

OH ABSOLUTELY. weld has gone through sooooo much. his first iteration was named “jon”, and he was literally The Most basic character you can think of. i literally think i named him jon because he was just a john doe borrower for a story because i needed a character and he was filler. BUT his one merit was that he had a character design, and that was the character design that went forward into the next story —> where “jon” became a borrower that was a bit of a rocker with a coolguy attitude (literally a line he says in that story :/ 👇)

and he 1) gained the name “weld” 2) gained a brother and 3) started to gain a bit of a background —> ANYWAY. that story kinda sucked and i hated his attitude in that one cause i thought it was grody to write (it was) and now weld is where he is in the story he’s currently in and i’m comfy with him there!!! i like his attitude more (he’s pathetic 👍)

Portal. What is a crossover you’ve done/thought about for this character?

WELL i put weld everywhere. anytime my friends make a small guy i go oh weld would/wouldn’t get along with them (usually he does) cause i like to give him friends. i’ve written a couple of things where he interacts with my own ocs in different universes like my dnd oc wayland, or my friends ocs, or occasionally i put him in media i like 😳 but nothing really ever comes of it! just some occasional art or writing :)

#ask games

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betweengenesisfrogs · 6 years ago

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Homestuck is My Favorite Sprite Comic

Yes, you read that right.

Homestuck is my favorite sprite comic.

Those of you who remember the earlier days of the internet are probably looking at this post in disbelief right about now. Others of you might be scratching your heads, not knowing what I’m talking about.

But here’s my pitch: Homestuck is the culmination of an entire genre of internet art, and the tools that make it so powerful are the very tools that made that genre once so reviled.

Homestuck is the greatest and most successful sprite comic of all time.

And honestly, I’ve wanted to talk about that for ages, so let’s do it.

WHAT SPRITE COMICS WERE

Many of my readers are probably too young to remember the era of sprite comics. So: what were sprite comics?

Sprite comics were a genre of webcomics made entirely by taking pixel art from video games – especially character art, called “sprites,” but also backgrounds and other images—and placing them into panels to tell a story. They were near-ubiquitous on the internet in the early 2000s, emerging right as webcomics in general were seeking to establish themselves as an art form.

They were not, shall we say, known for their quality. The low bar to access meant that art skill was not an obstacle to starting one. The folks behind the huge swell of them tended to be young people, kids and early teenagers recreating the plots of their favorite video games with new OCs—not the most advanced writers or artists. They were the early 2000s’ quintessential example of ephemeral, childish art. Unfortunately, they look even worse today—blown-up pixels don’t hold up well when displayed on higher-resolution monitors.

Today, they’re mostly forgotten, remembered only as a weird, strange moment in the youth of the internet. Someone who evoked them today, such as a blogger who compared them to one of the most successful webcomics of all time, would be inviting good-natured teasing at the very least.

It would be unfair to dismiss them entirely, though. In this low-stakes environment, comics where the author could bring more skill—engaging writing, legitimately funny jokes, or especially, a real ability to work with pixel art—really stood out. (Unsurprisingly, these authors tended to skew a bit older.)

The obvious one to mention is Bob and George. Bob and George wasn’t the first sprite comic, but it was the most influential. Conceived initially as Mega Man-themed filler for a hand-drawn comic about superheroes, it quickly became a merging of the two concepts, with the original characters made into Mega Man-style sprites, full of running gags, humorous retellings of the Mega Man games, elaborate storylines about time travel, and robots eating ice cream. It was generally agreed, even among sprite comic haters, that Bob and George was a pretty good comic. Worth mentioning also are 8-Bit Theater, which turned the plot of the first Final Fantasy into a spectacular and hilarious farce, and of course Kid Radd, my second favorite sprite comic. (More on that later.)

But even if you weren’t looking for greatness—there was something just damn fun about them. The passion of sprite comic authors was clear, even if their ideas didn’t always cohere. To this day, I think the sprite comic scene has the same appeal pulp art does—it’s crude and rough, full of garbage to sift through, but every so often, something deeply sincere and bizarre shines through, and the culture of its authors is a fascinating object of study in itself.

Okay, full disclosure: I was one of the people who made a sprite comic. I’ve written about my experiences with that in more depth elsewhere, but yeah, I was on the inside of this scene, rather than a disinterested observer, and from the inside, maybe it’s a lot easier to see the appeal.

Still, let me make this claim: even with all their flaws, sprite comics were doing some incredibly interesting things, and Homestuck is heir to their legacy.

TAKE ME DOWN TO RECOLOR CITY

One of the problems people always had with sprite comics was the sprites themselves. They’re the most repetitive thing in the world. You just keep copying and pasting the same images over and over again, maybe with a few tweaks. That’s not really being an artist, is it? It’s so lazy. Re-drawing things from different angles keeps things dynamic, develops your skill, and makes your work better in general. Right?

I’m mostly in agreement. Certainly I think it’s fair to rag on the Control-Alt-Delete guy, along with other early bad webcomics, for copy-pasting their characters while dropping in new expressions and mass-producing tepid strips. And to be fair, digging through bad sprite comics often felt like an exercise in seeing the same slightly-edited recolors of Mega Man characters over and over again. You got really tired of that same body with its blobby feet and hands.

(It should be noted, though, that there were folks in the sprite comic scene who could pixel art the quills off a porcupine. I salute you, brave pixel art masters of 2006. I hope you all got into your chosen art school.)

All this said, I think the repetitive and simplistic nature of sprite comics was often their biggest strength.

THE POWER OF ABSTRACTION

In his classic work Understanding Comics, Scott McCloud makes an observation about cartooning that has stayed with me to this day.

McCloud notes that simple, abstract drawings, like faces that are only few lines and dots on a page, resonate with us more strongly than more detailed drawings. This is because our minds fill in what’s missing on the page. We ascribe human depth to simple gestures and expressions based on our own emotions and experiences – and this makes us feel closer to these characters as readers. Secretly, simple cartoons can be one of the most powerful forms of storytelling. If you want your readers to fall in love with your characters, draw them simply, and let them fill them in.

Video game sprites work very well in this regard. They have that same simplicity that cartoons do. In fact, I’d be willing to bet a huge part of the success of SNES-era RPGs was simple, almost childlike character sprites drawing people in. I think sprites did the same for sprite comics.

Here’s the weird thing: Bob and George worked. Despite four different characters being variations on the same friggin’ Mega Man sprite in different colors, they immediately began to seem like different people with distinct personalities. For me, George’s befuddled, helpless dismay immediately comes to mind whenever I picture his face, while with Mega Man himself it’s usually a wide-eyed, childlike glee. I would never confuse them. This, despite the fact that the only actual difference between their faces is that George is blonde. It’s pretty clear what happened. The personalities the author established for them through dialogue and storytelling shone through, and my brain did the rest.

Sprites, in short, were a canvas upon which the mind could project any story the author wanted to tell. Even the most minute differences in pixel art came to stand, in the best sprite comics, for wide divergences in personality and ideals, once the reader spent enough time with them to adapt to their style of representation.

Wait a minute, haven’t we seen this somewhere before? Character designs that focus on variations on a theme, with subtle differences that nonetheless render them instantly recognizable?

Oh, right.

Look at what greets us on the very first page of Homestuck. An absurdly simple cartoon boy, abstracted to a ridiculous degree—he doesn’t even have arms!—followed a whole bunch of characters that follow suit. Though many other representations of the characters emerge, these little figures never quite go away, do they? Why is that?

Simple: they’re very easy to manipulate. They’re modular—you can give John arms or not, depending on whether it’s useful. You can put him in a whole variety of poses and save them to a template. You can change out his facial expressions with copy and paste. You can give him a new haircut and call him Jake. It’s all very quick and easy.

Sprite comics proliferated because they were very easy to mass-produce. Andrew Hussie’s original conception of Homestuck was very similar: something he could put out very quickly and easily, where even the most elaborate ideas could rely on existing assets to be sped smoothly along. We all know the result: an incredible production machine, churning out unfathomable amounts of content from 2009-2012. I’d say it was a good call.

But it goes way deeper than that. The modular nature of sprites always suggested a kind of modularity to the sprite comic premise. George and Mega Man were different people, true, but also two variations on a theme. Was there something underlying them that they had in common? Perhaps their similarity says something like: We exist in a world which has a certain set of rules? One of my favorite conceits from Bob and George was that when characters visited the past, they were represented by NES-era Mega Man sprites, while in the present, they were SNES sprites, and in the future, the author used elaborate splicing to render them as 32-bit Mega Man 8 sprites or similar.

Suppose there was a skilled cartoonist thinking about his next big project, who wanted to tell a story centered around this kind of modularity, a narrative that was built out of iterative, swappable pieces by its very design. He might very well create a sprite comic named Homestuck.

Homestuck is a story about a game that creates a hyperflexible mythology for its players, where the villains, challenges, and setting change depending upon what players bring to the experience, yet which all share underlying goals and assumptions. What more perfect opportunity to create a modular story as well? Different groups of kids and trolls have motifs that get swapped around to produce new characters, whether that’s through ectobiology, the Scratch, or the eerie parallels between the kids and trolls’ sessions. And yet each character can be analyzed as an individual.

This is an incredible way to build a huge emotional investment from your readers. Not only does this kind of characterization invite analysis, the abstractions draw readers in to generate their own headcanons and interpretations. A deep commitment to pluralism is at the heart of Hussie’s character design. Then, too, it encourages readers to build their own new designs from these models. Kidswaps, bloodswaps, fantrolls—these have long been the heart of Homestuck’s fandom. And what are bloodswaps if not sprite recolors for a new generation? With the added bonus that now a change in color carries narrative weight, evoking new moods and identities for these characters in ways that early sprite comics could only dream of.

In Hussie’s hands, even the dreaded copy-and-paste takes on heroic depth of meaning. Even when Hussie moves away from sprites to his own loose art style, he continues to remix what we’ve previously see. Indeed, Hussie talks about how he would go out of his way to edit his own art into new images even when it would take more time than drawing something new. Why? Because he wanted to evoke that very feeling of having seen this before—the visual callback to go along with the many conceptual and verbal callbacks that echo throughout Homestuck. This is at the heart of what Doc Scratch (speaking for Hussie) called “circumstantial simultaneity:” we are invited to compare two moments or two characters, to see what they have in common, or how they contrast. Everything in Paradox Space is deeply linked with everything else. And Hussie establishes this in our minds using nothing less than the tool sprite comics were so deeply reviled for: the “lazy” repetition of an image.

(It’s fitting that some of the most jaw-droppingly gorgeous images in Homestuck—dream bubble scenery and the like—are the result of Hussie taking things he’s made before and combining them into fantastic dreamscapes.)

But it all started with the hyperflexible, adaptable character images Hussie created at the very beginning of Homestuck.

And if you need more proof that Homestuck is a sprite comic, I think we need look no further than what Hussie, and the rest of the Homestuck community call these images.

We call them sprites.

THE FIRST GENRE-BENDERS

Was Andrew Hussie influenced by sprite comics in the development of Homestuck? It’s hard to say, but as a webcomic artist in the first decade of the 2000s, he was surely aware of them. It’s likely that he quickly realized that his quick, adaptable images served the same purposes as a sprite in a video game or a sprite comic, and chose to call them that.

One purpose I haven’t mentioned up until now: sprites lend themselves very well to animations. In fact, in their original context of video games, that’s exactly what they’re for: frames of art that can be used to show a character running, jumping, posing, moving across a screen. It’s not surprising, then, that sprite comic makers quickly saw the utility in that.

Homestuck was, in fact, not the first webcomic to make Flash animations part of its story. There were experiments with various gifs and such in other comics, but I think sprite comics were among the most successful at becoming the multi-media creations that would come to be known as hypercomics..

Take a look at this animation from Bob and George. It represents a climactic final confrontation against a long-standing villain, using special effects to make everything dramatic, but ultimately, like many a Homestuck animation, leads to kind of a pyscheout. The drama and the humor of the moment are clear, though. This relies in large part on the music—which is taken directly from the game Chrono Trigger. This makes total sense. Interestingly, it also contains voice acting, which is something Homestuck never tried—probably because it would run contrary to its ideals of pluralism. What I find fascinating is that in sprite comics, animations like these served a very similar purpose to Homestuck’s big flashes: elevating a big moment into something larger-than-life. Another good example is this sequence from Crash and Bass. Seriously, it seems like every sprite comic maker wanted to try their hand at Flash animation.

(By the way, it’s a lot harder than it looks!! I envy Hussie his vectorized sprites. Pixel art is a PAIN to work with in the already buggy program that is Flash.)

The result: because of the sprites themselves, sprite comics were among the first works to play around with the border between comics and other media in the way that would come to be thought of as quintessentially Homestuck.

What it also meant was that another genre emerged in parallel with sprite comics: the sprite animation. Frequently these would retell the story of a particular game, offer a spectacular animated battle sequence, parody the source material, or all three. Great examples include this animation for Mega Man Zero, and this frankly preposterous crossover battle sequence. Chris Niosi’s TOME also found its earliest roots as an animation series of this kind. You also found plenty of sprite-based flash games, in which players could manipulate game characters in a way that was totally outside the context of the original works.

The website the vast majority of these games and animations were hosted on?

Newgrounds, best known to Homestuck fans as the website Hussie crashed in 2011 while trying to upload Cascade.

What’s less talked about is that Hussie was friends, or at least on conversational terms with, the owner of the site, hence the idea to host his huge animation there in the first place, and other flashes, like the first Alterniabound, were initially hosted there as well.

It’s hard to believe that Hussie wasn’t at least a little familiar with the Newgrounds scene. I suspect that he largely conceived of Homestuck as part of the world of “Flash animation—” which in 2009 meant the wide variety of things that were hosted on Newgrounds, including sprite animations.

The freedom and fluidity sprite comics had to change into games and animations and back into comics again was one of their most fascinating traits. Homestuck’s commitment to media-bending needs, at this point, no introduction. But what’s less known is that sprite comics were exploring that territory first—that Homestuck, in short, is the kind of thing they wanted to grow up to be.

PUT ME IN THE GAME

I would be a fool not to mention another big thing Homestuck and sprite comics have in common: a character who is literally the author in cartoon form, running around doing goofy things and messing with the story. This was an incredibly common cliché in sprite comics, no doubt because of Bob and George, who did it early on and never looked back. You might have noticed that the animation I linked above concerns a showdown between Bob and George’s author, David Anez—depicted, delightfully, as another Mega Man recolor—and a mysterious alternate author named Helmut—who is like Mega Man plus Sepiroth I think? It’s all very strange. I could ramble for hours about the relationship between Hussie and the alt-author villains of Homestuck and what it all means, but I’m not sure I can nail anything down with certainty for these two. Maybe Bob and George was never quite that metaphysical.

But yes, bringing the author into the story in some form was already a cliché by the time Homestuck started up. Indeed, I think that’s why Hussie’s character refers to it as “a bad idea” to break the fourth wall—he’s recognizing that people will have seen this before, and are already tired of this sort of shit. And then he goes and does it anyway and makes it somehow brilliant, because he’s Andrew Hussie.

Homestuck breathes life into the cliché by taking it in a metaphysical/metafictional direction. I don’t think that was really the motivation for most sprite comic authors, though. Let’s see if we can dig a little deeper.

I think the cliché kept happening because sprite comic authors were writing about a subject that very closely concerned themselves: video games. I’m only kind of joking. The thing about video games is that even though they’re made for everyone, playing through one yourself feels like an intensely personal experience. You develop an emotional relationship to a world, to its characters, that feels distinctly your own. Now, suddenly, thanks to the magic of sprites, you have an opportunity to tell stories about that world for others to read. Of course you’re going to want to put yourself in the story in some form.

When it wasn’t author characters in sprite comics, it was OCs. You know Dr. Wily? Well here’s my own original villain, Dr. Vindictus. You know Mega Man? Here’s my new character, Super Cool Man. He hangs out with Mega Man and they beat the bad guys together. Stuff like that. Most sprite comics retold the story of a game, or multiple games in a big crossover format, with original elements added in. There was quite a lot of “Link and Sonic and Mega Man are all friends with my OC and they hang out at his house.”

What’s interesting, though, is that because these sprite comics were very aware that they were about video games, this was where they sometimes got very meta. It started with humorous observation—hey, isn’t it funny that Link goes around breaking into people’s houses and smashing their pots? But sometimes, it grew into more serious commentary. Is Mega Man trapped in a never-ending cycle, doomed to fight the same fight against the same mad scientist until the end of time? Is it worth it, being a video game hero?

Enter Homestuck. What I’ve been dancing around this whole time is:

Homestuck is a sprite comic…because Homestuck is a video game.

Or more specifically, Homestuck’s a comic about a video game called SBURB, where the lines between the game and the comic about the game blur as characters wrestle with the narratives around them, both those encoded into the game and those encoded into our expectations.

Homestuck presents the fantasy of many a sprite comic maker: I get to go on heroic quests, I get to change the world and become a god. I get to be part of the video game. And then it asks the same question certain sprite comics were beginning to ask:

Is it worth it, to be that hero?

I want to tell you about my second favorite sprite comic, a comic called Kid Radd.

Kid Radd distinguished itself from other sprite comics of the time by being a completely original production. Its sprites looked like they could be from a variety of NES and SNES-era video games, but they were all done from scratch, and the games they purported to represent were all fictional. Kid Radd used animations with original music, and sometimes interactive, clickable games, to tell its story. It also used all sorts of neat programming tricks to make it load faster on the internet of the early 2000s, which was great—unfortunately, these same techniques made it break as web technology evolved, something Homestuck fans in 2019 can definitely relate to. The good news is, fans have maintained a dedicated and reformatted archive where the comics can still be seen and downloaded.

Kid Radd’s premise is that video game characters themselves are conscious and alive—more specifically, their sprites. Sprites developed consciousness as human beings projected personality and identity onto them, remaining aware of their status as video game constructs while also seeking to be something more. The story follows the titular Kid Radd, at first in the context of his own game, commenting on the choices the player controlling him. He must endure every death, every strange decision along the way to save his girlfriend Sheena. Then the story expands into a larger context as Radd, Sheena, and many other video game characters are released onto the internet as data. They try to find their own identities and build a society for themselves, but struggle with the tendency toward violence that games have programmed into them. The story culminates in an honestly moving moment where Radd confronts the all-powerful creators of their reality—human beings.

It’s a very good comic.

The first sprite comic authors wanted to fuse real life with video games. Later sprite comic authors decided to ask: what would that really mean? Would it be painful? Would you suffer? Would you find a way to make your life meaningful all the same? Despite the limitations of sprite comics, these ideas had incredible potential, and in works like Kid Radd, they flourished.

Homestuck is heir to that legacy.

It takes the questions Kid Radd was asking, and asks them in new ways. It tries to understand, on an even deeper level, how the rules of video games shape our own minds and give us ways to understand ourselves.

At its heart, Homestuck is a sprite comic, and it might just be the greatest of them all.

EPILOGUE

I’ve seen a lot of good discussion recently on how Homestuck preserves a certain era of the internet like a time capsule: its culture, its technology, its assumptions, its memes.

I think sprite comics, too, are part of the culture that created Homestuck. Do I think Hussie spent the early 2000s recoloring Mega Man sprites? No, probably not. But what I do know is that sprite comics were part of his world. The first webcomic cartoonists came of age alongside an odd companion, the weird, overly sincere, dorky little sibling that was sprite comics. Like them or hate them, you couldn’t escape them. They were there.

And maybe a certain cartoonist saw a kind of potential in them, in the same way he summoned Sweet Bro and Hella Jeff from the depths of bad gamer culture.

Or maybe he just knew, as some sprite comic authors did, that the time was right for their kind of story.

On a personal level—Homestuck came along right when I needed it.

Around 2009, the bubble that was sprite comics finally burst. People were getting tired of them, or growing out of them, and blown-up sprites no longer looked so good on modern monitors.

I was more than a little heartbroken. I’d enjoyed Bob and George, read my fill of Mega Man generica, and fallen utterly in love with Kid Radd. I’d been working on my own sprite comic for a long time out of a sense that there was huge potential in them that we were only scratching the surface of. I’d dreamed of maybe someday doing something as amazing as the best of them did. But I was watching that world disappear. I had to admit to myself that my work wasn’t going to continue to find an audience. That I could live with. But it was painful to think that the potential I sensed, the feats of storytelling I wanted to see in the world, would never be realized.

And then, in the fall of 2010, a friend linked me to a comic that broke all the rules, that mixed animation, games, music, images and chatlogs. A comic that crafted its own sprites, just as Kid Radd did, and remixed its images into an ever-expanding web of associations and meanings. A comic that took on the idea of living inside a video game with relish and turned it into a gorgeous meditation on escaping the ideas and systems that control us.

That this comic would exist, let alone that it would succeed. That it would become one of the most popular creations of all time, that it would surpass other webcomics and break out into anime conventions and the real world, that it would become such a cultural juggernaut, to the point where it’s impossible to imagine an internet without Homestuck—

I can’t even put into words how happy that makes me. It’s the reason I’m still writing essays about Homestuck nearly eight years after I found it.

And it’s why Homestuck will always be my favorite sprite comic.

-Ari

[Notes: The image of the kids came from the ever-useful MSPA Wiki—please support and aid in their efforts to provide a good source of info about Homestuck! They need more support these days than ever.

For more on Homestuck’s place as a continuation of the zeitgeist of early 2000s experimental webcomics, this article by Sam Keeper at Storming the Ivory Tower is excellent and insightful.

Thanks for reading, y’all.]

#homestuck analysis #homestuck #homestuck's influences #hypercomics #understanding homestuck #sprite comics #internet culture

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dokidokiliteraturegirls · 6 years ago

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Hello everyone! Yui here, with today’s special feature, DDLitG Behind the Scenes: What’s the deal with Ako?

In this special update we’ll talk about her character in general, design, her place in the story, and more! So get comfortable in your seat, get yourself some good snacks, and let’s delve into the background of DDLitG’s 1st-ish original character~

Who is Ako?

Ako, formerly known as “female student”, was originally one of the many NPCs used by the game’s engine to fill its world with nondescript background characters, so as to make it feel less empty. However, Sayori took a special interest in her, and decided to befriend her, following the steps of a young MC who befriended Sayori in a similar situation and ended up saving her life. This would in turn allow Ako to grow as a character beyond her 1 line of coding and get her own sprites, as well as being able to interact with the world. She would later go on to fall in love with Sayori and shenanigans ensue.

Ako was created with the purpose of telling the story of the Friendship arc.

Designing Ako.

Let me make one thing clear: I’m not a character designer. I don’t know jack about it besides the very basics. But I did try to make someone who looked mildly original and, most importantly, different from the other girls.

Originally, she was going to be the image of a shy, fragile girl who Sayori befriended out of pity, more than anything. Based on this initial idea, I made this beta Ako design on one of my copybooks when I should’ve been working:

As you can see, her very first sprite was the one where she’s shyly looking away to avoid eye contact (and to seem annoying, but more on that later). I was happy with the pose but not with her face, as it looked super unoriginal. She resembled Ochako Uraraka from My Hero Academia a bit too much, so I tried to change her hair to make her stand out more. Here is her second iteration:

This time, I felt like I cranked it up too much to the other side. Now she stood out TOO much. Her hair felt like it came more from a protagonist than someone who’s supposed to be a background character. I adopted a new philosophy after seeing this result: she had to look as bland as possible. She had to be the kind of character you see all the time in the background of an anime - those simple, unassuming designs you’d never look twice at because you’re too focused on the protagonists with candy-coloured hair. In DDLitG’s canon she’s a filler NPC brought to the forefront, and her design had to reflect that more than my desire to make her look “cool”.

With this in mind, we come to Ako v0.3

As you can see, this is much closer to her current design. But this was still a sketch (even the drawing above is very much unfinished). As you can see, I got closer to her 0.1 version with the hair, but changed the eyes to make them look more unique, giving her that more neutral, “nothing” expression. Having finally found some ground I was comfortable with, I redefined her design a little further, gave her some more details around the hair and clothes, adjusted the proportions of her body (because apparently I draw heads huge), and made her finalized design.

I was happy.

What’s with this sassy... monochrome child?

If there’s one constant to be found in the pictures above, is that she was always meant to be black and white. There are plenty of reasons, which I’ll list because, honestly, there are a lot.

1. I didn’t want to look her like the rest of the cast at fucking all. She is an OC introduced in a story with already established characters made by a much more talented writer. She’s an outsider, someone who doesn’t belong with this cast of colorful characters, and I wanted readers to be able to tell that at first glance. No, she’s not like the other girls. They don’t belong in the same place. She is not a member of the original DDLC cast, and it shows.

2. I know I can’t draw as well as Satchely, so trying to copy DDLC’s art style would just end up looking awkward and wrong. I had no choice but to do my own thing. And if I’m doing my own thing, why not take it all the way? I already gave myself artistic freedom, I might as well go crazy with it~

3. I just adore characters in a fictional universe that look different from the rest of the cast or have some strange design choice for literally no reason. Like Krillin from Dragonball, with his eyes that make him look like he belongs in an entirely different manga...

...or even Jotaro Kujo, whose hat merges with his hair because why not!

I live for dumb crap like that.

4. A huuuuuge inspiration for me while writing (besides my own uninteresting life) is music. Many times I listen to a specific track or imagine situations with specific background music to make them seem more real, and be able to better portray the feelings of a scene when writing [For example, I listened to My Chemical Romance’s Welcome to the Black Parade a lot while writing Monika’s Death].

Ako’s creation was no exception. Her appearance was partially based on the cover for not only one of my favorite Vocaloid albums of all time, but one of my favorite albums period: Wowaka’s glorious Unhappy Refrain.

I’ve been writing stuff based on this album alone for years because it’s just so damn striking to me. The picture of the faceless schoolgirl falling into the unseen abyss, the background uninterested characters that imply they are used to seeing fellow girls suffer, the distorted world they live in, the album’s way to explore teenage depression, the freaking name of the album, EVERYTHING! IT’S SUCH A GOOD EXPLORATION OF THE DIFFICULT LIFE TEENS FACE THAT OFTEN GOES UNNOTICED!! AAAAAAHHHH IT’S SO GOOD.

5. Ako was also based on a previous design I made for another character meant for an original visual novel I was writing and I’m probably never going to finish, who was also going to be monochromatic to reference this album (in that context it made more sense though cuz every character was a musical reference).

This character, in turn, was based on Monoko from Yume Nikki, which is more obvious because of her crying eye and extra arm.

So basically at this point it would’ve been weird if I hadn’t made her monochromatic.

Naming Ako

This was one of the most difficult parts, ngl.

As I mentioned, Ako was originally going to be a fragile, shy girl. Based on this, her original name during the design face was Moromi, which is one more letter than “Moroi”, which Google translate promises me means “Brittle” or “Fragile” in Japanese.

However, after the philosophy change that happened during her conceptual stage, “Fragility” was no longer at the core of her character, as it was now “Nothingness/Blandness”. Because of this, I changed her name to “Ako”.

Many people have submitted their interpretations of the name, ranging from its meaning “To teach/to learn”, and “To yearn for”, which all fit better than the original tbh.

The intended meaning is for “Ako” to be read as “A-Ko”, which is a way by which Japenese media often refers to filler characters, as it translates to “Girl A”.

Examples of this can be seen in Super Danganronpa 2, where a character in a videogame is called “A-Ko” to hide their identity...

...and in a movie called “Project A-ko”, which was a parody of the anime tropes from the time, so they gave the protagonist the most generic name ever. The antagonist and side character, by the way, are called “B-Ko” and “C-Ko” respectively. This movie is fucking awesome.

This name also made sense in the context of the story, because we already had a character named “Student A”, so this goes to show that the game just gave Ako the default name it had stored for female NPCs.

Blinded Ako, or How I Learned to Convey Emotion Through Ahegao

When I came up with Ako, she was meant to have most of her character revolving around her infatuation with Sayori. She was, after all, written in the story with the purpose of falling in love with her, and nothing else. Her character, personality, likes/dislikes, and hobbies came afterwards. As the story progressed, however, I decided that she should have a personality separate from just being in love with another character. So to separate the actions she committed under the influence of her passion, I did a little design change in the middle of the arc: Blinded Ako.

In this version, Ako has been literally blinded by love and stops being rational. This is represented by the hearts covering her eyes, and clouding her judgement. This was done not only with the purpose of representing she was past her breaking point, but also to differentiate the Ako that makes mistakes with the Ako that was introduced in the beginning of the arc. Almost so as to make them two different characters, so when she is reintroduced as a regular character after Friendship, readers could think “oh, she’s not going to do dumb stuff again, she’s not blinded by love anymore.”

Many people compared the above panel with “ahegao”, a trope in hentai manga where a character does a silly face to represent them breaking from enjoying themselves so much. This was done partially on purpose. The main idea was to represent Ako being blinded by her infatuation for Sayori, not to equate her sate of being with anything sexual. It DID end up looking more hentai-esque than I expected though, as, well, Ako is in black and white, and the heart eyes are also a trope in ahegao. And she’s sweating. And she’s saying that she’s about to break....

.....

....well at least I drove my point home.

Ako’s musical influences

Above I mentioned how music was a big part of my inspiration, and how I listened to Welcome to the Black Parade while writing Monika’s Death, so the question in no one’s mind is: what music did Yui use as inspiration for Ako’s character and the arc? 🤔

Well, hypothetical reader, the answer is that since Ako was meant to be bland and flavour-free, her original depiction is not based on a song or anything. Her desperation towards Sayori and Blinded Ako, though, are based on TRONICBOX’s 80′s style remix of Ariana Grande’s Into You. And yes, this 80′s remix in specific. Not the original song. I highly encourage you to give it a listen and pay attention to the lyrics if you want an insight into how Ako was feeling during her breaking point.

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Also, as a side note, no one has asked me this, but I imagine Ako’s voice to sound like the vocals of Panty and Stocking’s ending, Fallen Angel. It’s a truly beautiful song, and once again, I highly encourage you to give it a listen and pay attention tot he lyrics if you want an insight in Ako’s current feelings towards Sayori.

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Ako’s reception

This is more something personal than an explanation of the character, but it’s something I want to share nonetheless.

Remember when I said Ako was meant to be annoying? Yeah... xD

When I decided to add a new character I did so under the idea that everyone was going to hate her, because it’s a purposefully boring OC made by some insane person with the sole purpose of being added to an already interesting and loved cast of characters just to fuck everything up.

The first scene I ever wrote for Ako was the part where Monika asked if she had hurt Sayori, and she said “Not intentionally...” while looking away, which is why her first sprite ever was in that position. She was meant to make people feel frustrated over this girl just looking away from her problems and avoiding responsibility, while also telling Monika to her face that she had done something bad to Sayori. Readers were expected to hate her. That’s why in the beginning she says she doesn’t like literature, to assure you that she’s not joining the literature club. That’s why there’s a scene where she gets punched in the face. That’s why she looks so extremely out of place.

YOU WERE SUPPOSED TO DISLIKE HER!! omg I’m still surprised at how warm the reception was, you guys are just too nice for me~ ❤️

Because of the unexpected reception I had to change some parts of the arc, which were originally going to be much crueler towards her [I even questioned adding the punch at all, but it was an important part of Monika’s development so I felt it]. I also established her as a recurring character in spite of her dislike of literature, and did my best to make her less hate-able than she was originally going to be, even cutting some planned lines of dialogue that made her pretty irredeemable. Looking back, I am glad I did those changes, we ended up with a well-liked and pretty nice girl because of it~

Final thoughts

The introduction of Ako and writing Friendship in general was a very intense experience for me. It was very difficult to balance Ako as being both relevant to the story and moving the plot forward, but not make her the sole focus of everything and have her obscure everyone else, because OCs in established pieces of media tend to do that.

This arc also got a LOT of mixed reviews, some people liking it, some hating everything I did. This made me really question what I was doing and at many points even regret I was writing Friendship at all. At a certain point I lost almost 50 followers in a single update.

I also had trouble writing some parts because they were too sad. And that’s not my style! I like writing happy people being good friends, damn it, not everyone crying and hating each other.

But when all is said and done, I’m happy I wrote both Friendship and Ako into the story. I’ve received many wonderful, supportive messages telling me how much readers enjoyed it. Even some people saying they had been in a similar situation to the one depicted in the story, and were glad to see a story that showed a positive outcome.

Will I write more OCs into DDLitG?

Meh, who knows. I love writing more original stuff and expanding the world of DDLitG, but I also feel like if I introduce yet another OC, people will crucify me and hate me for flooding the story with too much stuff that’s irrelevant to the DDLC they’re used to. That being said, writing this blog is my first, and very possibly last chance to expose my stories to such a large audience. And seeing people like what you do not only because you’re riding the coattails of a recognizable brand, but because they like what you do with it, makes me pretty darn happy. Being completely honest, I’d like to add another character. But just one. And only if it’s something that will push both the story and the girls’ character arcs forward. Not just adding OCs for the sake of it.

Thanks for sticking until the end of this BTS, and I hope you found it an enjoyable read, or at the very least I made you a little bit less bored~ ❤️

Next time, in DDLitG Behind the scenes: What’s the deal with The Perfect Yuri?

#ddlitg behind the scenes #updated version!

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alteredphoenix · 3 years ago

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In Every Song A Heartbeat (WoW/ToLuminaria)(Celia/Michelle)[Tentative Prologue + Chapter Notes][First Draft]

A/N: So I’ve been plunking away at the ZM Fic for a couple days (which, as you can see above in the header, it finally has a title!), and as I’m trucking along trying to get a cohesive plot outline going - which is condensed as a table of contents in a separate notebook - I thought to myself Let’s try writing a prologue from an OC’s POV and share it, because initially my plan was to just start things off with Celia and Michelle wandering into Zereth Mortis during a scouting mission they’re sent on by Lisette in Silvayer by sheer coincidence because some Xy saboteur managed to get a portal open while the Enlightened was distracted pushing back the Cartel/Mawsworn/Dreadlords and BOOM go from there.

Which leads me to my current problem: if I should include this prologue in the actual, main story or put it in a separate fic that acts as an anthology to other side-stories a’la gap fillers/missing scenes and character-building chapters that might not be able to fit into the former. Not because this prologue is bad (although the bulk of it certainly had me trimming and retrimming it several times because I got the impression that, while it was trying to describe the greater conflict a’la the Jailer and the Mawsworn, it was going too off-track from what the journal entry is supposed to be about aka love as a powerful, recursive state of being that is being tested to its limits by external influences beyond the control of both the Enlightened, the Alliance and Horde, and the Covenants), but because I’m not sure whether or not it’s really necessary to include it outside of it being a small lore-building introduction, since:

a) As it’s already mentioned, if the prologue were to be included then the next chapter would immediately have the girls wind up in ZM, like, almost right after a short timeskip a’la shortly after Sylvanas wakes up in Oribos (but this could work as a case of “the readers know but the characters don’t”, except this probably defeats the purpose of the ZM Fic being explicitly described as “a very loose adaptation of Eternity’s End experienced from an outsider’s POV”, in which case having a prologue chapter describing the conflict and just describing it again to the readers would make it pretty redundant),

b) They’re going to find about the Iteration later on anyway from another broker campsite, and they view it differently as a force of nature called the Resonance that some brokers that are more religious go so far as to consider it a prophecy lain down by the gods they follow, the First Ones, and just happen to attribute it to the girls because they’re not from Azeroth/Draenor/Outland/Shadowlands and thus are not personally affected by the Jailer’s war (YET), and,

c) This particular broker camp plays a very minor role a’la serve as a starting point to where the girls end up and settle in Haven for the duration of the fic; and I like to think that when they are told about the Iteration from another camp, they’ll hear the other points of view from their first camp and others a’la Haven (which most consider to be a load of bunk and, even if it’s true, shouldn’t be shared with outsiders that shouldn’t be in ZM), Pilgrim’s Grace (the whole ‘gods work in mysterious ways, if it happens it happens because of something we did’ shtick), etc.

I took great care not to tip off the reader that the POV and the camp aren’t human or from Luminaria’s world (which...AFAIK...doesn’t have a name...?), and this being a perfunctory first draft I think I can tidy it up a bit more so it remains vague.

Most of the inspiration for this chapter and its ideologies stem from a Star Fox fanfic trilogy called The Books of Fox McCloud set in an AU world that practices Christianity, two of its stories being The Unonian Rose and The Significance of the Rose that are complete. Unfortunately, these two and the third and final story (which was never completed OOF) are no longer available on Fanfiction.net and can only be found by downloading and extracting them from the Fanfiction.net Pack off the Internet Archive. (I also understand that religion, especially Christianity, is a pretty contentious topic in this day and age, but those fics were written in 2007-2008, and while I was never religious to begin with I always did like how innocently they were portrayed. So even without the context behind this inspiration, I like to think that kind of ‘innocent, honest love that survives all odds even through death’ is universal. Maybe too idealistic and optimistic, but something to aspire to.)

For every story that is told, there must be a song to accompany it.

So many songs I have heard in passing whenever these threads are woven and spun, in those days when I knew only glory and greed. There are such stories that reflect my own with similar endings, and yet there are those same stories that do not end so gallantly, so powerfully, so wonderfully it would reduce the audience to fits of passion. Fairy tales and fables and poems laced with triumph, tragedy, sweetness, tartness—as small and inconsequential as the walls of one’s home to as far-reaching as the chaotic horrors and wonders of the spaces that construct their patterns to all that may hear, see, and pay respect to the lands that would be devoured and birthed anew.

Every song must be a story, but not every story must contain a song: it is but the way of creation and, by rote, the pattern in which the gods have made reality. Were it all the sound of music, I’d wager there would be little silence to be had for concentration! Oh, but I digress; I have known people that find luxury and motivation in the madness, the lights, the uproar of voices. Although I prefer my storytelling to be conducted in contemplative quiet among the drone of the eidolons and the trill of ambiance from the workers outside, I can appreciate the beauty within such calamity.

Much as I would like to, I cannot hear all these songs at once, and that is my greatest shame to bear. For every second that passes into a minute that becomes the hour and extends into eternity, there is music: the crescendo, the decrescendo, the diminuendo, notes, pitches, the stanza, the pattern of rhymes. Ah, but the voices—the voices. In all the realms that I have traveled and all the worlds I have visited in my days as a chronicler have I never found nor heard such articulated beauty as a voice in melody. A group which raises their voices to the high heavens is pleasant to hear, but a single voice, especially one joined by another in duet? Oh, it is harmony. Oh, it is unity. To join one’s voice among another and dance as the song is sung and the dance is spun is closest to reaching perfection. It is the grand design the gods have laid out for any one person, that we have been granted these instruments so that we may give praise and homage to for being alive.

That, I believe, is the definition of love.

It’s such a wonderful feeling, isn’t it? To be moved in ways that could be so easily put to words but at the same time be transcendental beyond any mere connotation. The response, our response, is universal: it is warm, it is comforting, it is divine. It has the power to instill flame into the meekest of souls and has the strength to force the coldest, hardest hears to their knees. We have been blessed to feel it, understand it, and to give it freely from one unto another from the gods, though we are undeserving of it. It is through our bodies and our voices that we express our gratitude to them and hope that our love shall be reciprocated. From these acts we create a union that is all-encompassing, fulfilling, and pure. It is an honest love that would survive even death.

I do not know if the other caravans adhere to this in the same manner we do, but here in our camp we have a word for this. My colleagues have seen this crop up time and again during our research into interpreting the lords’ tongue across the various plaques and facilities scattered throughout the lands; and although there is still much debate among us, we agreed that this note, this song, is integral to not only being in communion with them but ourselves as well. It is not just a fractal—it is a state of being, and it begins with the resonance of two alike minds.

We call it the Iteration.

Some of my colleagues have discussed that it would be more appropriate to call it an Iteration rather than the Iteration; what one person uncovers as love, another will find a different meaning to it and respond accordingly to that particular whim, and they are not quite wrong in that assumption. No song nor sound is the same, for if they were then it would make for a very dull if quite noisome existence! However, I think that is a rather cynical way of viewing the Iteration; I feel that line of reasoning comes from our more sinful, wayward days prior to our revelation, and it does not surprise me that a few of my brethren find my thoughts hypocritical if not heretical in regards to the laws the other elders have established among the caravans.

And I do not blame them. In fact, during those moments, when darkfall is heaviest and only the chorus of the bufonids to keep me company as I recite my prayers and pen my thoughts by the buzz of the lamplight at my desk, I think they are right. It is a very whimsical, hopeful idea to cling to, one that I should have moved on from long ago, when I was younger and more innocent. Everything that we are and everything that we are driven to do is based on imperfection, that the only way to achieve perfection and unity is to put our faith and trust in the gods, the one true beings that are, have, and will be perfect. To hope that there exists a kind of love that is bereft of the problems that can sully it in one fell stroke, or taint it in a way that will be deteriorate over time and be turned into hate, is to hope too much. Something that perfect, that whole, is simply unattainable.

Maybe they are right. Maybe I am being too idealistic to hope that something like that is possible. Maybe it is too much to even imagine what that would be like. The gods have plans for all of us, even though we may turn away from them for but a time, in disbelief and thinking we know better than them, but it is a plan we must follow to the end all the same. Those plans will be rife with tribulations that will test our resolve and make us want to desert and leave the path we have decided for ourselves. To desert it would mean to abandon the gods and ourselves, and to abandon one another means to abandon love and give in to our doubts and despair.

Yet even as the darkness closes in around us, even as the peace we have known for so long is disrupted by the discord of unholy monsters and their cruel masters, even as all they have shown is hate—for what has been taken from us—and given us grief—for what has been lost to us—and will continue to pursue those dark roads to their bitter end, I must have hope.

I must have hope that our love for the gods will be strong, and that the love they have for us will be strong enough for us to endure.

That is our Iteration. It is my Iteration. And I am sure, if I were to risk leaving the safety of the shield and make the journey across the Veldt to the camp that sits therein, it would be their Iteration as well.

It does not hurt to hope, does it? To hope that the darkness that has desecrated and plagued this sacred land be banished from whence it came and protect that which we hold dear, even as we push through the wounds that are inflicted upon our hearts. To hope that even when it seems twilight reigns supreme and the dawn out of reach, even when those same hearts are mired in turmoil and cannot see past the fog of turmoil they are lost in, love will still be there.

That is why I believe in the Iteration. Something, someone, must be out there to give back that hope. Not only to my brethren, but to everyone that has chased the darkness here and fought to bring back the sounds and the music that the trees and the rocks in their crevices, the wind and the grains of sand carried on its wings, and the water that flows from down high on the mountaintops used to sing.

There must be. Even those that have weathered the storms of war and heartache must have the strength to remind us that we are not alone...and that we cannot give in.

“Sir!” The door to the chamber whirled open behind him, and he did not have to look up to see the shadow of the protector standing in the threshold. The glow of his energy blade tossed a teal light over the walls. “Enemy forces have been spotted by the Path! They’re carrying translocators! What are your orders?”

He rested his hand next to the journal and bowed his head, thinking. Then he looked up, staring at the inactive lamppost on the wall, where it would soon be switched on for darkfall. “We cannot take any chances. Gather with you whatever servitors are still in functional operation and go with Ratashi and Ivect. Take the portal and redirect its coordinates to cross over the mountains. If we are lucky, we should be able to intercept them before they breach the gates and prepare the light step cyphers. Go now, with haste. I will join you.”

“What?! My Elder, you must stay here!” said the protector. “We cannot afford to put your life in danger!”

“What sort of leader would I be if I cannot stand among my kin and fight? I would be remiss if I were to confine myself here while you are putting yourselves on the line.” A terse silence fell, to which the protector uncertainly shuffled his lower leg articulations. The Elder sighed and twisted round where he sat, giving the protector a reassuring flare. “Forgive me, brother. I am not mad. I appreciate your concern, but I would not forgive myself if I did not do my part—and that part includes ensuring that not a single one of those translocators goes off.”

“Elder….”

“You have your orders. Go. We have no time to waste.”

“Sir!” The protector saluted and dashed out of the vault. The door shortly closed in on itself.

The Elder turned back to his desk and spared only a moment at the lamppost. Then he picked up the pen, shook it so that the ink loosened in the case, and set the tip to the flimsy once more.

A long, arduous road awaits us. I fear that it will break more than its fair share of people by the time this war will come to an end—far more than I and everyone else spread across the realm will see and hear about.

But I believe victory, and peace, will be within our grasp. If we reach hard enough and strain against this ill, misbegotten wind, then we will have it. We need only seize it.

We need not forget who we are, lest we fall from the grace of the gods. We must remember the Iteration.

Then and only then we shall be able to move forward and love again.

#fanfiction #warcraft #tales of luminaria #mywriting #that fic where celia & michelle go to zereth mortis fic

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