#or actually became a writer and illustrator

[dduane]

I just received a copy of a book I've been very much looking forward to by a favorite author, but the quality of the book itself is... not great. Cheap paper, weak binding, even a weird illustration of the main character on the cover that I'm having trouble believing the author approved. Obviously, I don't want to leave a bad review on Amazon or GoodReads or anywhere, as I'm 100% certain the content is as excellent as her other work. But how can I best let the publisher (Baen) know I'm disappointed without threatening to never buy her books again? Because, well, if this is the only option, I'm gonna keep buying them even in my disappointment.

Well, the first thing I thought when I read this was "Wow, I'm really glad I don't have anything in print from Baen at the moment except a couple of anthologized short stories." :)

As for the rest of it, let's take it point by point.

Adding a cut here, because this will run a bit long. Caution: contains auctorial bitching and moaning, painful illustrations of cases in point, and brief advice on how to complain most effectively. (Also links to paintings of cats.)

Cheap paper: This has been an accurate complaint since well before COVID—and it's often been worse since, with supply chain issues also being involved. That said: one way publishers routinely save money on printing books, especially the bigger ones, is by going for thinner/cheaper paper. I remember one of our UK editors going on at great length and with huge annoyance—during one of those late-night convention-bar bitch sessions—over how the only way they could get some really good books published (because Upstairs insisted on reducing the per-copy production costs) was by reducing the paper quality to the point where you could nearly read through it. Sacrificing decent text size(s) also became part of this. Nobody in editorial was happy about the result: but there wasn't much they could do.

Bad bindings: Similar problem. Sewn bindings used to be a thing in paperbacks... but not any more: not for a good while, now. These days, it's all glue. Even hardcovers are showing up glued rather than sewn. Don't get me started. :/ (This is why I so treasure some of the oldest paperbacks I've acquired, which are actually sewn.)

Crap covers: I've had my share of these—though my share of some really good ones, too. And one of the endless frustrations of traditional publishing is that the writer routinely has little or even no influence over what the cover will look like... let alone how much will be spent on it, or (an often-related issue) how good the execution will be.

There are of course exceptions. If you're working at the, well, @neil-gaiman -esque level or similar in publishing, a lot more attention is going to be paid to your thoughts. You may even be able to get "cover veto" written into your contracts, so that if you disapprove, changes will get made. But without actual contractual stipulations, the writer has zero legal recourse or way to withhold approval. (And I bet even Neil has some horror stories.)

The normal workflow looks like this. After a book's purchased, its editor and the art director discuss what it's about and what the cover should look like. The art director then hires an artist and tells them what to do. After that, the artist executes their vision and gets paid. It is incredibly rare for a writer to have any significant input into this process. And as to whether or not they approve of the final result, well... the publisher mostly just shrugs and goes back to eyeing the bottom line, muttering "Who told them they get a vote?"

Now, I've been seriously lucky to occasionally be an exception in this regard. In particular, my editors at Harcourt (when Jane Yolen and Michael Stearns were editing Harcourt's Magic Carpet YA imprint) would ask me what I thought would be a good idea for the next Young Wizards cover, and I'd think about it a bit and send them back a paragraph or so about some core scene. They'd then talk to their art director, and after that send their notes and mine to Cliff Nielsen (who started doing the covers for the hardcover and mass-market paperback editions of the series in the mid-90s) or to Greg Swearingen (who was the artist on the digest-format editions). And the results, by and large, were pretty good. ...I also think affectionately of the UK artist Mick Posen, who insisted on seeing pictures of our cats before painting the covers for the Hodder editions of The Book of Night with Moon and On Her Majesty's Wizardly Service (the UK title for To Visit The Queen).

But this kind of treatment is a courtesy—not even vaguely suggested in the books' contracts, and very much the exception to the rule. And for every writer who's midlist, there are times when the luck runs out. For example: one time I wrote a book that was an AU-Earth-near-future fantasy police procedural, thematically pretty dark—dealing with issues of abuse of megacorporate power, institutionalized bigotry, and (explicitly) attempted genocide. And the cover, done by an artist who's a good friend and some of whose fabulous art hangs in our house, came out looking like this. It was... let's just say "not ideally representative."

So I was glad, when my local workflow allowed it, to recover the current, revised version of the book with something at least a little more apropos. But the original cover's not the artist's fault. He did what the art director told him... as a cover artist must do to get paid, and (ideally) to get hired again. At present, that's how the system works.

...So. You've got a badly-built and -presented book on your hands. How best to make your feelings known in some way that might make a difference down the line? (As you make it plain that you'll keep buying this author's books this way if you must.)

First of all: when (as part of my psych nursing training) we were taught how to complain most effectively, we were told that the first and most basic rule of the art is this:

Only Complain To Someone Who Can Actually Do Something About Your Problem

So I salute your desire not to waste your time taking the issue to the reviews on Amazon, or the pages of Goodreads... because they can't do anything. The odds that anyone from production at Baen is reading the comments there strike me as... well, not infinitesimally small, not being hit-by-a-meteorite-while-in-the-shopping-center-parking-lot small... but really low.

So: write to corporate.

In your place I would go online and rummage around a bit to find out who's on record as the publisher at Baen. I would then write them a letter on paper. And I would lay out the problem pretty much as you laid it out up at the top.

The tone I think I'd choose would be the more-in-sorrow-than-in-anger approach. I'd say, "I write to comment about your recently published book by [X Writer], whose work I love. I have to say, though, that I don't think the cover on [X Book] is terribly representative of the quality of the prose inside. And also, the construction and production quality of the book itself was a disappointment to me because [here spell out why].

"I'd really like to see [X. Writer's] books succeed with you, and I'd like to buy more of them without wondering whether I was going to be disappointed again. But if this is typical of how they're being produced, I'd also be concerned that the state of these books is setting up a situation in which the author's sales will be damaged, and you would stop publishing them... which would really be a shame. Whereas on the other hand, better production quality could keep previous purchasers coming back and buying, not only more books by this author, but books by others whom you publish."

This phrasing, as you'll have seen, walks a bit wide around the issue of your further purchases, while directing attention toward the bottom line... which will routinely be what the publisher's looking at from day to day. And—being, one has to hope, in possession of the wider picture as regards what's going on with their production costs—maybe they can actually do something about it.

Anyway, nothing ventured, nothing gained, yeah? It's worth a try. All you can do is hope for the best.

And finally: please know that I admire your commitment to the author: whoever she is, she's lucky to have you. It's a terrific thing to have readers who'll willing to spend the time to hunt you down, and who're willing not to judge a book by its cover. :)

[cerastes]

I think some people need to hear this, so I want to say it.

The moment you start taking something seriously, that moment you decide “I’m going to improve at this, I’m going to become better at this”, you become slightly worse at it. This applies to everything: Art, games, sports, analysis, research, anything. You become slightly worse at it because you are actually thinking about it.

For most things, most people tend to run on autopilot, not particularly thinking too much and getting it over with or just enjoying it in the moment. When you really want to improve at something, though, you become slower and a bit worse at it, because now you are thinking about it, you are noticing things, you are making conscious decisions that are not as fast or as spontaneous or as natural as you just simply doing it. Now you’re performing, or attempting to.

This isn’t a bad thing.

It’s because of this period of temporary perceived weakness that we improve. That which we analyze, mull over, think hard about it, we start internalizing it, and the more we internalize something, the better we become, because that now becomes a part of our autopiloting, if that makes sense to you. Slowly but surely, that thing you really needed to focus on to do properly now just comes naturally, and now you have a much better skillset without thinking about it.

And what happens after? Since you became better, you also understand more, and can notice more things, more things that those really good at the thing do, more things that you were doing wrong all along, and can now identify it was bad and that you have to correct it, and now you have more things to think about and internalize. The cycle repeats. You become better through periods of being worse. 

It’s a cruel balance.

Ask any illustrator or writer: First comes the honeymoon period where they are improving by leaps and bounds with experimentation, thought, and exercise. Then comes the downs. “Oh I am so god damn bad at drawing”. “I can’t write to save my life”. Why? Because the artist learns, and they can see things they couldn’t before, and now they see their improvement, but they also see their flaws. It is at these crossroads where the artist will ask themselves, “do I dare go through this period of self-admonishment, or do I go back to the comfy laurels?” The comfy laurels are stagnant, they never stop blooming, but they only bloom once. The self-admonishment is a harsh self-imposed winter, but the flowers that grow after it passes bloom several times, and as the snow clears, yet another crossroad stands before you, and we go back to the same question once more.

It’s a beautiful balance.

Where I am going with this is, if you find your commitment to something has instead made it harder, has made you sluggish, has made you see perhaps too much for your own comfort: Hang in there. These are growing pains. You need these, and they aren’t wonderful to go through and good lord do they weigh heavily on you... Why? Because you care. That’s why you’ll improve. Hang in there.

It’s a necessary balance.

Hang in there. You’ll improve so much. You’ll be incredible, and then go on to agonize hundreds of times more and improve thousands of times more. Hang in there. If it was easy to improve, then there wouldn’t be merit to it. It’s hard because it matters, it’s difficult because you care. If you didn’t care, you’d be blind to hardship, but to so many beautiful things you can only experience after you’ve sought adversity. In the end, the rest follows, but only if you follow through.

Hang in there. You are getting better.

[megamagimugi]

Art for @silenzahra

This is a post of appreciation for @silenzahra who welcomed me to Tumblr so warmly, became my first mutual and has ever since treated me with nothing but extreme kindness and sweetness.

And it all started with my comment on her post where she announced chapter 3 of her amazing story "Anything for him". I absolutely love this story and was so, so happy to hear that it would be finished after all. If you haven't read it yet, go do that. There are going to be spoilers in my post.

You can find the story here:

So. Here are my illustrations for each chapter compiled into a single image (CW: blood stains, nothing too gruesome):

Below are full versions of each image, along with chapter descriptions.

Chapter one is a beautiful description of Luigi's POV in Luigi's Mansion. It's canon compliant and not unlike other Luigi's Mansion retelling fanfics. We can see into Luigi's head as he faces his fears with one goal in mind: to find and rescue his beloved brother Mario.

Chapter two is where it gets really exciting as not only do we get to see Mario's side of the story, but we get an amazing twist that diverges from canon. Spoiler: Luigi gets seriously injured and Mario actually manages to get out of the painting on his own in order to help him! And thankfully, he succeeds. Luigi's wounds are healed and the brothers are together again.

The last chapter wraps up the story, switching back to Luigi's side. Some of the story overlaps with the previous chapter, then we get to see the proper reunion after Luigi wakes up. Lots of brotherly affection in this one. I like how the ending is sort of open yet definitely optimistic. I just had to try to draw the forehead touch.

Well, Zahra, I hope you like these little illustrations. I'm sorry it took so long, I know at this point it's been a while since you posted the last chapter, but I hope this post still brings a smile to your face.

Thank you once again for being such a nice and fun person, and of course such a good writer as well. I mean it when I say: keep being you :) Looking forward to your next works.

Btw, this is my first time posting my digital art here, which I'm not very good at so I'm kinda nervous. Please be gentle everyone? ^^' Shoutout to @peaches2217 for encouraging me to try posting fanart here on Tumblr, though!

[j4gm]

SPOILERS!!! REFERENCES AND EASTER EGGS IN F&C ep. 4: Prismo the Wishmaster

This is the Drift from Distant Lands BMO! I wonder if Y5 is mayor yet. It's been about 23 years since the events of that episode. Overgrown Hugo-Mats can been seen in the background of some shots.

It's hard to figure out if any of these captured cosmic criminals are returning characters. The one in the middle looks strikingly like a catalyst comet.

Void Caster was one of the prisoners in the Citadel with Martin. He was also seen chronologically before that in Distant Lands BMO.

Martin's entry raises some questions. Was desertion the cosmic crime he committed which caused him to be imprisoned? Or is this a crime he committed after being freed? He's not marked as neutralized, despite the fact last time we saw him he discorporated and became one with the universe. Also, he's flipping the bird for real, which is the first time we've seen that in Adventure Time unless you count Shelby in Five More Short Graybles.

Wyatt keeps sneaking his way into things because writer Steve Wolfhard likes him a lot. Last time we saw him was in Together Again, when he was the only soul left in the First Dead World after Mr. Fox became Death, suggesting he did some pretty terrible things in life. It appears those dark deeds were in aid of his quest to reach the Time Room, presumably to wish for something creepy involving Tree Trunks. Luckily he doesn't get to make that wish.

The silent movie universe is fun. There is a very creepy Lich in this cave behind Princess Bubblegum. This could be the result of the Lich Hand that got pushed into every dimension during Crossover. The Snail is also there. I believe this is the Snail's first living appearance in Fionna and Cake.

Peps and Blaine are still in Wizard School, and they seem to have become good friends. They must be graduating pretty soon.

Susan and Frieda!

Simon mentions that Prismo was unable to bring Betty back, which is why he took things into his own hands. This is a reference to the scene in the finale montage where he attempts to wish her back but it fails.

Apparently the Misadventures of Flapjack is a universe within Adventure Time's Multiverse! This is a show that Pen Ward, Adam Muto, and Pat McHale all worked on as storyboard artists before they went to work on Adventure Time.

This is the alternate universe from Beyond the Grotto.

The shot on Prismo's laptop when he first creates the Fionna and Cake universe is from the original Fionna and Cake title sequence.

Fionna has her sword from the comics in this brief scene.

This obviously explains the red beam from Fionna and Cake and Fionna.

New cosmic entities! The one on the left is cracked. I wonder if that's an indicator of how long the Multiverse has left.

This depiction of the Multiverse is based on the depiction in Crossover, which itself is based on an illustration in an article from Scientific American.

This is the bed chamber from Is That You. This old man is actually an alternate Jake. Prismo has reworked the room into a GOLB chamber so Simon can perform the same spell that brought Fionna and Cake to Ooo.

The credits scene is a bunch of yellow children's building blocks. Sort of like the Time Room.

[genericpuff]

think rachel needed the hire a bunch of writers instead of drawing assistants after season one so she could focus on one part and not get burnt out while someone else kept track of and developed all her plot points in a lore Bible or something

Honestly yeah, LO is a huge example of why the Webtoons' editors don't actually function as editors, more so just messenger pigeons between the creators and the company who are there to make sure creators are following ToS and otherwise answering questions on behalf of the higher-ups for the creators. And this is especially wild for something like LO because 1.) you'd think the #1 webtoon on the platform would be given all the resources it needs to succeed, and 2.) LO's editor in the end was Bre Boswell who actually has a background in television writing (and yet ironically, the series only got worse after Bre suddenly replaced the previous editors around Ep 100).

Rachel's strong points have always been in conceptual design and illustration. Despite this, LO's own iconic design and illustration aspects that made people fall in love with it in the first place were lost after it became as big as it did. I know folks will argue that LO's production was purely the fault of Webtoons' insane deadlines, but her writing has always been her weakest point and that's evident in all of her previous works prior to LO. She's good at coming up with standalone ideas - again, concepts - but executing them and finalizing them through an actual conclusion beyond the initial idea is always something she's struggled with.

This is also apparent to a point in her art as well, as much as her strengths used to be in illustration and conceptual design, she also clearly struggled in staying committed to the same character designs and concepts for long periods of time and was never good at coming up with efficient ways to reproduce her own art - even gorgeous comics like The Doctor Foxglove Show started off strong just to inevitably slip into the same habits of inconsistent half-assing that LO did, and it wasn't even an Originals series.

Back to the writing though, she absolutely would have benefited from having another writer or two on her team, but unfortunately she also doesn't seem like she's aware of her own faults in her writing or willing to let anyone else in on her process, especially considering she's even admitted that her own writing process is "chaos" and has supposedly convinced herself that the faults in her writing are a good thing.

There's "embracing the chaos" of your own process (my process is chaotic too, I get it) and then there's just going "oh well, sucks to suck, I don't want to bother doing better for the sake of my own dedicated audience so it's fine if I totally whiff the comic's plot".

The reality is that if you've never learned how to identify and break your own bad habits, you'll inevitably think that those bad habits are the norm and/or are what makes you good at what you do - all the while, you wind up missing what could have actually helped you. Rachel started off on a very strong foot with the concept of LO, but then inevitably fell into the exact same bad habits she had with previous works but was now enabled by the contract and money and fame she got through Webtoons to never change - after all, if she was going to keep being rewarded Eisners and merch deals anyways regardless of the quality of her writing/art, what point would there be in improving? From my perspective, she clearly doesn't really have the integrity to improve for the sake of herself and her audience, so as long as the end result is to her benefit, the means don't really matter.

Of course, in the long-term it makes for a very horrid legacy especially in hindsight, but as far as I'm concerned, she got what she wanted regardless.

[milliebobbyflay]

Okay so I've spent a while thinking about how to word my actual problem with homestuck 2, and the works that make up post-canon homestuck more broadly. I think a lot of people resort to nitpicking bits of awkward writing or art in some attempt to pinpoint a source to an underlying sort of hollow uncanniness, which is funny because homestuck's supposed golden age of acts 1-5 are themselves FAR more of a tonally inconsistent mess of odd character beats, jokes that don't always land, and janky looking art.

Homestuck 2 has been written and drawn by very talented and passionate artists from the beginning, I think the actual issue comes down to a mix between the general pitfalls of hiring fans and the particulars of hussie's outsider background and unorthodox writing style.

First is the issue of hiring fans in general; while it can seem like an easy shortcut to finding talented writers already familiar with the voice and story of the original work, you have to be very aware of how fan culture operates. Beyond the obvious pitfalls that fans are unlikely to approach the story from a detached perspective, there is the larger issue that past a certain point fandom becomes essentially self sustaining. Once a fandom has existed for a long enough period, its most avid members have likely spent FAR more time engaging with other fan works than they have with the original art object. Fandom and the art it produces are, in this way, a sort of a folk tradition; artists are imitating and responding to other artists, characters become archetypes through which to explore certain ideas and dynamics, and the values and tastes of the most prolific and influential fan artists become as inseparable from a participants mental image of the character as the original work itself.

For an example, the affected theatrical mannerisms and cruelty Vriska adopts while in her Mindfang persona have become inseparable from the popular view of the character. Despite the fact that it's heavily signposted as a sort of role playing performance from the jump and she's more or less dropped it by the back half of the comic, it was nevertheless how she had acted in the bulk of her scenes around the time the ur-texts of homestuck fandom were being written, and as so an understandable misread of a character became inscribed into the fandom canon, and by extension her characterization in Homestuck 2.

All of this is extrapolated by the sort of unorthdox, building-the-plane-while-flying-it manner in which Hussie's writing style developed.

Based on his commentary, I get the sense that Andrew is an incredibly clever and thoughtful writer who lacks the theory and vocabulary to precisely describe his process. He tends to communicate in sort of abstract metaphors which aim to bridge the gap in explaining the actual conscious process he uses to plot his stories, but the way he talks about technical nuts and bolts writing craft stuff gives me the impression that his approach is largely intuitive, bordering on unconscious. He's a lot better at describing how he writes than what he writes or why.

You can of course piece a lot this together—his approach to art draws from the tradition of videogame spritework, where the visuals exist as a utilitarian vehicle for conveying information first and a work of illustration only inasmuch is needed to serve the greater story. His character writing draws more from a synthesis of literary fiction, sitcom writing, and "making up a guy" style posting humor, where characters are defined more by their life experiences and underlying psychology than by their goals and values, but also seem to have largely been constructed backwards from a starting point of a funny or interesting manner of speaking. Importantly though, I don't get the sense that these were conscious decisions, just that to Hussie they seemed like the logical way to approach these tasks, and I don't really think he could outline them in a way that would actually help a new team of creators grok how to draw and write in a way that feels like homestuck. I also don't think Hussie could actually explain the psychology that undergirds his character writing, I think he was mostly just drawing on his own life experience and imagining how this sort of character might logically speak and act.

As a novelist, and Hussie is one, both your thought processes and the sum total of your worldview and life experience are just as important to your work as the actual conscious decisions you're making, and I think that where there are gaps in understanding, the new writers are filling in the gaps with both a more conventional approach to the creative process and over a decade of accumulated fanon, and I think that's why homestuck 2 never really rises above feeling like a very well-made fanfic to me?

[girlactionfigure]

With the kindness of strangers, they were able to escape.

“They were taken in by strangers, even housed in a barn along the route of their escape.”

They were refugees, fleeing for their safety, fleeing for their lives, trying to find a new life.

The war-torn country they were living in had been invaded, and they knew they had to get out.

Fortunately, according to the National Endowment for the Humanities, the couple were able to obtain Brazilian passports.

Others trying to escape to the United States, like Anne Frank and her family never made it that far, according to the History Channel, hindered by “American bias against accepting . . . refugees”, which halted most immigration from Europe.

But, first they had to get out.

“On May 10, 1940, Adolf Hitler sent three million troops through the Low Countries into France, according to the Smithsonian. “Parisians fled by the hundreds of thousands before the Germans captured their city on June 14. Among them a young couple, German Jews who had been living in Paris for just four years. They had waited too long. There wasn’t a car or a bicycle left in the city. The husband bought every spare part he could find and built two bikes from scratch. At 5:30 on the morning of June 12, they rode out of Paris with a monkey hidden in the basket.”

Although the couple had previously owned two marmoset monkeys, they did not have an actual live monkey in their basket.

Writer Sarah Stewart Taylor explains further, after the couple got aboard the train:

Hans Reyersbach and his wife, Margarete Waldstein “tried to remain calm as the official came through the train car packed with refugees fleeing Nazi-occupied France and asked for identity papers. When the official saw the stacks of papers inside Hans’s bag, he became immediately suspicious.

“But when Hans . . . pulled out a manuscript for a children’s book entitled ‘The Adventures of Fifi’ . . . the official smiled and passed them by.

“Nearly a year later, after a harrowing wartime escape and journey to the United States”, the couple were able to publish their book “about a mischievous and curious monkey who was always getting into trouble.”

Immigrants Hans Reyersbach and his wife, Margarete Waldstein, used pen names and changed the monkey’s name. Their pen names were H. A. and Margret Rey and the monkey’s name was changed per their publisher to reflect a more American name. “Curious George” would become “one of the most popular children’s books of the 20th century.”

This is a new story for the Peace Page.

~~~~~

According to Taylor, “The Reys were living in Paris when World War II began on September 1, 1939. As news of the Nazis’ advance through Belgium and Holland reached Paris, the Reys began to accept that, as German Jews, they were in danger and would have to leave their adopted country. They were able to secure updated Brazilian passports and collect what they would need for the trip.”

“The Reys boarded a train for Spain in Orleans, France on June 14, 1940, the day the Nazis marched into Paris. On June 23, they arrived in Lisbon. Three months later, after a stay in Rio de Janeiro to secure visas, the Reys arrived in New York. They would live the rest of their lives in their adopted country.”

“The Reys were taken in by strangers, even housed in a barn along the route of their escape. They arrived in New York with almost no money, with their main luggage gone,” according to Rivka Galchen of The New Yorker.

“Little was publicly known about the Reys’ wartime experiences until a 2005 book, ‘The Journey That Saved Curious George,’ written by Louise Borden and illustrated by Allan Drummond. A journal entry of H. A. Rey’s from 1940 included in that book tells us something of Hans’s temperament: Work was going “very slowly on account of events,” he noted, of the week the Nazis breached the French border. A letter of intent to publish ‘Curious George’ from the English publisher Chatto & Windus specifies plans to publish the book barring any international ‘incident involving force majeur.’ And later, a 1944 New Year’s card written from New York reads, ‘Let us think of the future; that’s where we shall spend the rest of our lives.’”

~~~~~

“So far 75 million copies of the Curious George books have been sold worldwide in over a dozen languages,” according to writer Jeff MacGregor.

“You can find the day-to-day, even hour-by-hour notations of their escape in Hans’ meticulous notebooks, saved at the University of Southern Mississippi, in a collection that bears the couple’s pen names: H. A. and Margret Rey.”

“A series of lectures and programs sponsored by the Rey Center and the New Hampshire Humanities Council has put the Reys and their work in the larger context of American history and children’s literature, focusing on U.S. immigration policy,” according to the National Endowment for the Humanities.

“The Wartime Escape: Margret and H. A. Rey’s Journey from France” has attracted a lot of national attention, says Audrey Eisenhauer, executive director of the Rey Center. “This has opened it up to the world,” says Louise Borden of the exhibit. “It has let people know about these perilous times and made them imagine a world without Curious George.”

~ jsr

"Small acts of kindness can make a big difference in someone's life."

The Jon S. Randal Peace Page

[munchkinmarauder]

Seen this floating around twitter and I think we need to property address the MCU fans insistence that comic Wanda is only revenant because of the MCU.

Like MCU fans really double down hard on the MCU version brining wanda out of comic obscurity but

(1) Wanda had been active on comics since Children's crusade in 2010 and had her own solo which in ballsy move emphasised her Romani heritage at the time Age of Ultron and the MCU version came out. She was very much active and thriving at the time of the comics. She had also already redeemed herself for HoM in events like the children's crusade and Avengers Vs X-Men. Her redemption and the return of the mad women trope came after Axis and the MCU version which walked all this development back to coincide with MCU Scarlet Witch being more villianous and the bringing of mutants into the MCU.

(2) Wanda has been an Avenger for over 59 years of her history. She was the second ever woman to join the avengers and was on its second roster (arguably in terms of memorability the Kooky Quartet eclipses the original team and is what helped the Avengers cement themselves as one of the big leagues). At the time of the AOU movie she was a core member of the first iteration of the Uncanny Avengers team

(2) Wanda and Pietro were such significant and popular characters that two movie studios were fighting to have them in their movies. Something that they would not have bothered with if they were obscure characters. The comics themselves made fun of this in a Scotty Young illustrated comic. The twins might have actually been amongst some of the most mainstream on their debut. How many would have had even a passing knowledge of them from the cartoons or of their connection to Magneto? Certainly more than many would have to Black widow or Hawkeye or even Iron Man to an extent!

(3) the MCU is the reason she was retconned into not being a mutant and thus made her fair game to be referred to as the pretender. This if anything is an example of how the MCU really damaged her in the comics because once she stopped being part of the mutants she became one of the "oppressors" (nevermind the implications of attaching that to a Romani Jewish woman) and so was opened up to being demonised more by X writers.

(4) the character is called a real life slur by the actress and the studios which is worse

(5) the bad castings conversations were opened up about the twins race leading to more ernest attempts at representation and conversations about the twins heritage down the line but it shouldn't have happened in the first place and those conversations likely would have happened if they cast Romani actors. The MCU would have also gotten props for actually committing to it's promises of diversity.

Yes the popularity of the MCU version gave the character a boost, opened up some conversations and brought new fans in for good and for ill. However to attribute all Wanda's success to the MCU version is a fallacy and exaggeration. Ultimately I feel the MCU did more to hurt rather than help the character.

[ennabear]

hii !! 🫶🏻 just discovered your account and i love it !! :) i was wondering if you could write some more headcannons about ellie? like, what job would she do? etc. i like to think that if she existed today, she'd probably be an illustrator for children's books !! that'd be so cool, tbh. i can see her making books about space or dinosaurs, and going to book fairs at schools to meet kiddos and talk to them about it. (crossover with professor!abby who used to teach little kids 🫶🏻🫶🏻) aah. sorry for rambling. but like, i just think ellie would have a blast if she existed today. like with all the museums ?? all the new ways to make art ?? but anyway !! what are *your* headcannons for modern ellie !! 🪐🫶🏻

modern!ellie’s job!! (hc) 🦕

thx for the request bae cause this made me smile so big. i have SO many hcs for modern ellie like i’ve been waiting for this moment!!!!! also dw about rambling i love to hear your thoughts 🤗

ok for starters i think ellie would be a nerd in high school. i know that some people headcanon her as a jock or a stoner (and that ellie has a special place in my heart) but i definitely think she’d be the opposite tbh. i imagine her with only a few friends (dina, jesse, cat). and i also think she’d have insanely good grades because she’s just smart like that. and all of her teachers love her because even though she’s quiet, she’s really kind and creative.

also i think her family would be just her and joel and maybe a dog. like imagine her spending her weekends getting guitar lessons from joel and then taking her dog on a walk and documenting it in her journal. she would fr have such a blast!!!!

for college i definitely think she’d major in astronomy/astrophysics or maybe art history?? and in her last years of college, she’d get a job as a secretary for a science museum. honestly, she didn’t hate it, but she was super jealous of the tour guide because she got to take all of the cute little kids on a walk and talk about the fun stuff while ellie had to sit behind a desk all day. but after begging her supervisor enough, she’d get promoted to tour guide after the mean old lady who used to do it retired.

and guess what??? the kiddos loved her!!! she always made sure the kids were having a great time and she knew a lot about what she was talking about, whether it was dinosaurs or planets or volcanoes. and the joke book came everywhere with her!! absolutely nothing made her happier than hearing the little monsters giggling and squealing about a joke that wasn’t even that funny.

abby and ellie would become good friends because of the time abby took her class to the museum on a field trip. they ended up actually really liking each other, especially because they had so much in common. and sometimes after work they’d meet up at a bar and talk about life, it was nice for them to both have a new friend who was equally as nerdy.

ellie would be a tour guide for quite a few years while abby got her doctorate. a few years after abby became a professor, ellie tried out illustrating a childrens book for a local visitor at the museum who was really fond of ellie. it was nothing too big, but she was really proud of it.

after she finished the drawings for the book, she wanted to try writing one of her own. so she decided to write a textbook for kids about dinosaurs with her own illustrations and a joke on every page.

safe to say it was super successful!!! she ended up going to local elementary schools and educating the littles about the different types of dinosaurs and each era they lived in. and you better believe old man joel was so proud!!!! his little girl ellie that he used to take to dinosaur museums was now writing her own dinosaur books!!!

i think eventually she’d quit her job at the museum and focus on being a writer full time, along with keeping art as a hobby. and i can 100% see her getting married and adopting a kid just like joel adopted her, and she’d pass on all of her science knowledge to her mini self. also i think she’d mainly only write science textbooks for kids, but may end up publishing a sci-fi novel or two.

i think that’s all :3 thanks for the ask sweetie pie ilysm 🫶

daily click / israeli themes in tlou

[nalyra-dreaming]

I have seen quite a few people state that if the season 1 episode 5 fight isn't resolved to their satisfaction by the end of this season they are done with this show. And my resolved, I mean the drop having not happened at all. And maybe I am the cheese that stands alone, but I guess I just don't get it? I admit I am rather new but I have read up to book 5 and I get that it seems out of character for Lestat, especially considering that it had happened to him, but we are dealing with monsters here so even if it did happen the with the drop, I don't see that as a dealbreaker for this show. I know that the episode was quite triggering for people. That I totally get, especially as I have had to deal with violence myself. But in terms of this show and these characters as monsters in toxic relationships, I didn't find it to be as egregious as people think, especially if we get confirmation that Lestat didn't walk away as clean and unharmed as it appeared he did. What am I missing with that? I gather you have a long history with these characters and books so maybe there is something major I am really missing.

The thing is...

for some it is totally OOC for Lestat to be shown doing this at all, and the DV that was shown tainted it all for them. Because for others... Lestat became the big bad white abuser™️ there, and the sheer mention that it would be revisited and that the tale might not have been as it was shown... ended in accusations of racism, abuse apology, and so on. I wished I was kidding.

Episode 5... divided the fandom. The fact that they always intended to revisit did not mean shit, what the actors and writers and producers said was ignored for the most part, I actually did a rant post a while back about that, which blew up into a big accusation spree wrt me.

And... here we are, as predicted, with Armand having meddled, and the tale... a tale. A story. A misremembered and flawed story.

I have been pointing out the discrepancies for ages. I got a lot of hate for that. I have been called things. There's people screenshotting my page and ranting about me alllll the fucking time.

I'm just pointing that out to illustrate that this is a high emotions topic.

High, high, HIGH. :))

There will be those who will be unhappy with what will happen, for one reason or the other.

There is nothing that can be done about that, the show does its own thing and it has done so from the beginning.

Those who will not like it might leave. That's fine.

Those who continue to love it (like me for example^^), will stay.

Ultimately, that is all there is to it. :)

The books are old, emotions are connected to them. Not everyone likes what the show does. *shrugs*

[the-colourful-witch]

i'd love to know more about astrid cresswell if you're willing to tell us more. such as her family, is she dirk cresswell's daughter? what's her wand like? what year was she born? etc

Hiya! I can't believe you found her! I forgot I shared an illustration of Astrid on my page a long time ago :) Astrid Cresswell is my OC. And yes, I did take inspiration for her name from Dirk Cresswell, who is an Auror at the Ministry. He was one of the Aurors who was supposed to arrest Dumbledore if I remember correctly. In Order of the Phoenix. The two of them have no relation, actually. I took the last name when I was toying with the idea of her being the daughter of Dirk, but I went in a different direction. The last name kind of stuck, oops :) Anyway! Astrid!

Astrid is a Slytherin, in the same year as Fred and George (born 1978). My story for her is:

She was raised by her dad, who is a Healer at St Mungo's, in the permanent ward. Her mother was a Muggle, who died in childbirth. Robb Cresswell, Astrid's father, never told his girlfriend he was a Wizard. Astrid grew up with her dad, who was always working. They lived in the hillside village of Ottery St Catchpole where a few more magical families were housed in the hills. Robb regularly dropped Astrid off at the Weasleys, where Molly was more than happy to look after Astrid when he went to work. And so Astrid grew up with her two best friends: Fred and George Weasley. But that friendship didn't last very long after Astrid got sorted into Slytherin House. From that moment on, Astrid and the twins became rivals. They will do anything to destroy each other, both on and off the Quidditch pitch.

Astrid is a Chaser, the only girl on the Slytherin team. She's constantly dealing with Marcus Flint's sexist antics but is determined to play. She has something to prove, after all. Her patronus is a fox and her wand is 9 1/2 inches, Aspen wood with a dragon heartstring core. It stylishly resembles ivory; excellent for duelling and charm-casting. It's a wand made for revolutionaries but can be temperamentful, reacting to uncontrolled emotions. Astrid has two best friends: Maeve and Dorian, both Slytherins in her year. Dorian plays on the Quidditch team with her, as a Beater. He wants to be an Auror, like his father John Dawlish and is ahead of everyone in their class in all subjects. Maeve is the oldest of seven girls and the only one sorted into Slytherin. Hogwarts is the only place where she doesn't have to be a parent to her sisters. She enjoys reading and is Captain of the chess club. Oh, and she has a pet: a tubby black and white cat named Tibo. Tibo likes treats and scratches behind his ears. He has one of those loud purrs.

Astrid herself has a toad, which is a surprisingly uncool pet for a girl of her status. He's called Samuel the Second. You don't want to know what happened to the first. Sebastian usually hangs out in Astrid's room, but she takes him with her to the greenhouses sometimes when she's doing extra credit work. And Astrid is popular! After finding out she wasn't ever going to fit in with her Gryffindor friends (not really friends anymore), she decided to really embrace the Slytherin identity. She is clever and cunning. She knows how to get what she wants. To everyone who does not know her, she is perfect. Prefect, Quidditch player, star student. Behind the scenes, it's a little more rough... But she tries. She wants to become a Healer, after a successful Quidditch career, of course.

I am still figuring out Astrid's story, but it's fun for me to work on her every now and then. I admit, it's been a while. I dream of writing a fic for her one day, but I am not much of a writer. I start with something and then I can't finish, because I get distracted and instead draw my characters. What can I say, I like to draw! Maybe one day I'll actually finish a first draft :)

(an older version of Astrid - I don't love how I drew this)

I would like to share some more OC work in the future, but it's been a while since I worked on my characters. All the existing HP characters take up a lot of my time at the moment. One day :) I hope you like this. I'm happy to answer more questions if you have them <3

Magical wishes, Fleur

Some more earlier concepts of Astrid..

[noelcollection]

An admirable eighteenth-century attempt to portray the American alligator. However, one must ask, did the artist really believe the reptile’s tail curls like a pig’s, or were they working with limited engraving space? 

This illustration accompanies a comprehensive four-volume description and analysis of the Americas authored by Rev. William Winterbotham. The British Baptist minister wrote this text while serving a sentence in Newgate Prison for preaching a sermon in 1792 that was deemed too favorable to the anti-monarchical rebels of the French Revolution. As far as we can tell, William never actually visited the lands he described, but his son John did immigrate to Connecticut, and John's daughter, Ann Sophia Stephens, became a noted American writer and progenitor of the “dime novel” genre. 

Image from: 

Winterbotham, William. An Historical, Geographical, Commercial, and Philosophical View of the American United States and of the European Settlements in America and the West-Indies. London: J. Ridgway and H.D. Symonds, 1795. Vol. 1. Catalog record: https://bit.ly/3pbKwhu

[davycoquette]

Writerly Questionnaire

I got tagged back in my own questionnaire (tysm @saturnine-saturneight), so here we go!

By the way, if you see this and feel up to answering it, please do! I’d also love if you tagged me in your response so I can be sure to read it!

Smol trigger warning for mentions of various tough things.

About You

When did you start writing? I’ve been writing since I could hold a pen, quite frankly! As a toddler, I’d draw doodles then scrawl zig zags beneath to represent the “words” of the illustrated story. They became real words as I learned to read. I was never found without a notebook.

Are the genres/themes you enjoy reading different from the ones you write? I read a lot of stuff I don’t think I could ever actually write. My all-time favorite author is Cormac McCarthy, followed by Jane Austen and Jack London. Larry McMurtry is becoming a fast favorite. My stories tend to require less lived experience. I am not well traveled or thoroughly educated, so, while I’m happy to do research, I most often write stuff that requires less expertise. I also write more about gay cowboys than any of the authors named above — at least as far as is publicly known.

Is there an author (or just a fellow writer!) you want to emulate, or one to whom you’re often compared? I have been compared to Chuck Palahniuk, which is enormously flattering (if not deserved!) It’s massively important to me to have my own style/voice, so I don’t want to write like anyone but me… but I would love one day to harness even a modicum of McCarthy’s talent.

Can you tell me a little about your writing space(s)? (Room, coffee shop, desk, etc.) At a desk or coffee shop. The stars must align just so, my mood must be just so, I must have creative juices flowing and absolutely no distractions or particularly strong feelings. (I end up not writing anything more often than not.)

What’s your most effective way to muster up some muse? I wish I knew. Inspiration hits me light a lightning bolt once in a blue moon. Other than that, maladaptive daydreaming watching head movies. Music is an excellent source of muse.

Did the place(s) you grew up in influence the people and places you write about? Absolutely. In a way that reminds me a bit of Donald Ray Pollock, who writes about a pretty bleak and raunchy Appalachia.

Are there any recurring themes in your writing, and if so, do they surprise you at all? Loneliness, self-loathing, self sabotage, addiction in many forms, mental illness, abuse, and suicidal ideation/thoughts/attempts, “taboo” romances (usually sexuality vs time period). Some of these come as a slight surprise; others are no surprise at all.

Your Characters

Would you please tell me about your current favorite character? (Current WIP, past WIP, never used, etc.) It’s Shiloh. I have no idea why. He’s been my favorite since 2018 or 2019. He’s weird as hell but writing him comes effortlessly.

Which of your characters do you think you’d be friends with in real life? Preferably none. They’re kinda awful. In all seriousness, maybe Lou? He’s chill and makes a good listener.

Which of your characters would you dislike the most if you met them? Ruck. We have nothing in common, would have nothing to talk about, and his poor decisions would stress me out. He’s one of my favorite characters I’ve ever written, but I would hate to actually know him.

Tell me about the process of coming up with of one, all, or any of your characters. Just about every one of my favorites started out as a side character meant to garner very little attention. Somehow or another, they demanded to be written — demanded I let their personalities shine. And lo, here they are.

Do you notice any recurring themes/traits among your characters? Mentally ill lonesome addicts.

How do you picture them? (As real people you imagined, as models/actors who exist in real life, as imaginary artwork, as artwork you made or commissioned, anime style, etc.) As real people! Often I’ll pick a model/actor as a template, but they always evolve into a slightly varied appearance from that person in my imagination.

Your Writing

What’s your reason for writing? It feels so compulsory there’s no other option but to write.

Is there a specific comment or type of comment you find particularly motivating coming from your readers? I like when people tell me what they felt when they read my writing. Whether it’s attachment or hatred aimed at a character, or nostalgia, or just feeling like they were there when the scene took place. Anything that shows they absorbed and enjoyed it feels like the hugest compliment.

How do you want to be thought of by those who read your work? (For example: as a literary genius, or as a writer who “gets” the human condition; as a talented worldbuilder, as a role model, etc.) I want people to think, this bitch loves words. She loves writing. She is a writer.

What do you feel is your greatest strength as a writer? Making people feel endeared to the characters. Realistic dialogue. Getting inside a character’s head.

What have you been frequently told your greatest writing strength is by others? Pacing & setting description. Which is awesome, but I always feel like these things are weaknesses of mine? I’m always iffy about them - pacing in particular. I have no idea how to do it, but I’ve been told I do it well. That said, there are definitely things -I- think I do well that get the most negative feedback/criticism.

How do you feel about your own writing? (Answer in whatever way you interpret this question.) Writing is the only thing I feel I do relatively well. I’m certainly not the world’s best, and I don’t think I’m really ready to be published or anything like that - but I am pretty proud of it. It’s the only thing I feel this way about. I want to show it to people. I wanna talk about it. I love to read what I wrote. It feels gross to say that, but I’m making myself say it anyway, lmfao. I love to see other people feel this way vs anxious or self conscious about their writing.

If you were the last person on earth and knew your writing would never be read by another human, would you still write? Yeah, for sure. I don’t know if I’d write as much fiction, because part of the fun is talking with others about it. But I’d still journal, and I would still imagine stories in my mind.

When you write, are you influenced by what others might enjoy reading, or do you write purely what you enjoy? If it’s a mix of the two, which holds the most influence? I hate this question, wtf Davy. It’s a slight mix. I’ll admit a part of me wants validation from others, but a larger part would rather write what she wants to write than turn it into a chore. Doing something just to entertain others is definitely a chore. My writing is heavily self-indulgent and I think it may suffer a little from that - but it also means when people enjoy it, they enjoy it more. I think it’s the same for any writer who does it this way. When I belonged to a huge online critique group, I edited the life out of a novel I was working on and made it less enjoyable to its biggest fans while trying to net a larger audience. I now know that was a huge mistake, because having a tiny group of people who eat your shit up is way better than having a ton of people read it, approve of it, but ultimately forget it existed because it wasn’t memorable.

[david-talks-sw]

MORE evidence that George Lucas wasn't involved in the Expanded Universe...

Almost a year ago, I wrote a verrry detailed post that explained just how little involvement Lucas had with the old Expanded Universe. There were 109 quotes used as sources, back then.

Recently, I came across 17 more so I figured I'd share:

George Lucas quotes:

So the above is him saying he doesn't actually get involved too deeply, that the EU stories were done outside his universe, that he didn't follow up on them and tried not to think of them.

We could stop right here. But let's keep going.

Quotes from other people:

People repeating that George was barely involved at all, that EU writers could pretty much write what they wanted beyond a few minor limitations, that EU stories weren't canon to the films:

(note: did a typo on Brett Rector's name, in the third one)

Similar ideas from Lucasfilm's Leland Chee and Pablo Hidalgo. Chee, in particular states something that encapsulates the whole Lucas/EU dynamic: Lucas wasn't beholden to the EU, but the EU had to adapt to Lucas' story. By and large, it was a one-way relationship.

(note: I revised the prompts Hidalgo was responding so they're easier to consume, for the unrevised thread you can go on his Twitter page).

This next one is interesting, because it shows Lucas was indeed less uninvolved during the 90s, what with answering 'OK/Not OK' questionnaires and such... before he became too busy with the Prequels, The Clone Wars and revolutionizing the film industry.

Here's just a collection of Tim Truman interviews where he explains how he created the lore surrounding the Tuskens' and their way of life, A'Sharad Hett, and the backstory for Aurra Sing.

None of that lore came from Lucas (and you'll notice that Aurra Sing's EU backstory wasn't acknowledged in any way when she appeared in The Clone Wars, which Lucas did oversee).

Finally, here are Karen Traviss' statements regarding the reason she stepped away from Star Wars. It's interesting to look at this because it's a prime example of just how little the EU's lore factored into Lucas' creative decision:

(note: this is a heavily condensed version of way longer blog posts, in which she also explained that business reasons factored into her decision)

This case is also interesting because it reinforces the fact that the narrative content of the EU didn't align with Lucas' intentions, as illustrated by what both Sam Witwer and Henry Gilroy had to say about Traviss' outlook on the Star Wars universe.

We also explored the subject in this post where we compare the rhetoric Lucas and Traviss use when referring to Dooku and Yoda.

Aaaand that's it, that's the new stuff!

BOTTOM LINE:

Just because the EU content came out while George Lucas was in charge does not mean that it aligned with his views on Star Wars. You can't use "Lucas owning the company" as an authority argument to validate the EU because:

It doesn't need validating, they're great stories.

He wasn't really involved in the development of those stories. He barely gave a crap.

For the original post with the 109 quotes, you can read it here:

[tetrakys]

Very old tea - Beemoov's writers

Every day I wake up and find new drama in the fandom. I have to admit it is entertaining but fake news and misinformation really annoy me so here we go. What's the new tea? It's actually very old tea, but it needs to be put into context.

A few hours ago, someone rummaging through the New Gen website, ended up on the credit page, where they found this

This page isn't reachable from the website, there are no links, you need to type the full url to get there because it's only a placeholder. You can clearly see that those are Eldarya TO credits, and an old Priya illustration is used as background. Literally yesterday Chino mentioned in her Instagram stories that there are lots of placeholders on the website.

Despite this, news is now circulating that the same team that worked on Eldarya is now working on New Gen. I don't think people have been saying this maliciously, it's possible that they got confused with the placeholder, which didn't have the big red disclaimer I added in the screenshot above. However now they are freaking out for no reason and bringing back so much old drama, which is also partially wrong. So here I am trying to clarify, hoping that people will see this (but alas, tumblr isn't as popular as facebook and twitter so maybe I'm just shouting into the wind).

MCL and Eldarya writing team

Part 1. High School Life and the Sally Anne drama

Firstly, at the very very beginning of MCL, Chino was on her own, she was working on both the art and the writing. However, soon later the company looked for a writer, Chino pushed for her friend Sally Anne to be hired even if she had no prior professional experience, and the company agreed. Eventually they also became roommates and even closer friends.

Now, the people who have been around for ages like me know that there was huge drama at some point. Sally Anne had some health issues and pretty much disappeared for months in the middle of Nath's arc. Lots of things were said at the time, some true some very untrue. Sally Anne made a facebook post mentioning how Chino and the company were bullying her. One of the accusations that people like to bring back all the time is that the character of Aleja, who was based on Sally Anne, was used to bully her because she was written as a bit silly. Maybe people forget that all Eldarya self-inserts are very flawed. Jamon can barely use grammar when he speaks, Kero is a coward, Ykhar an anxious nervous train wreak. I don't see anyone say that Chinomiko bullied herself by making Miiko such a raging bitch.

Anyway I believe that Sally Anne herself realised that this and other bullying accusations were unfair since she later retracted it. Some people say that she was forced by Beemoov to do so (I don't know where they would get this information, it's a pretty strong accusation). Others say that all this is common behaviour for people who suffer from addiction. I'm just going to add some additional context that most people may not be aware of since I hardly see it mentioned.

When Sally Anne left the company she started her own personal project with some friends. They put together a kickstarted campaign for a BL game and earned around 58,000€. After that however, the project never came to light because of, again, Sally Anne's personal issues. Here you can see a post from the team describing the situation, which is proof that her health condition was not connected to Beemoov work environment at all, since the same thing happened again while working on her own personal project with other friends of hers. Additionally here is the final post written soon afterward, where the team explained that they would not be able to make the game. They also said that they had used up most of the kickstarter money already even though the game had not been produced. They gave people only one month to claim their kickstarter pledge back. Considering to this day there's still people who wonder what happened to their Eldarya account, I strongly believe not many people managed to see that post and claim their money with only a one month timeframe.

Anyway, this serves as a context to show that in a very small company, when the writer disappears for whatever reason, either the project is cancelled or they have to hire someone else. Lots of people believe that Beemoov is a huge company when it's not. At the time of these events there were around 50 employees, and those people had to earn a living. Sally Anne was the only writer, this whole situation led to MCL not being released for at least half a year, which compromised everyone's salaries. Players were complaining like crazy but, despite hearing only one side of the story, they were very happy to jump on the "Sally Anne was being bullied" train once new writers were hired and they could play the game again.

So, let's talk about the "new" writers.

Part 2. Second half of High School Life and Eldarya TO

Once it was clear that Sally Anne would not be able to come back to work, Beemoov hired two new writers. Hikaru who would end up being Eldarya TO's writer, and Cassandre who took over MCL and finished High School season. (These info you can find in the games credits).

Hikaru was the CM at the time, because the company was looking for a writer for this new game Eldarya they gave her a chance. Chino and Hikaru got along well and I think it's visible in TO's writing. Remember Chino is the creator, she decides the story and the events, the writer writes them, and Chino reads and corrects the script. I think it's clear from TO's writing that they had a good synergy. Hikaru left around the end of TO for personal reasons, she moved to another city and changed career, it was her choice to kill off her self-insert (Ykhar) before leaving, so no there was no big conspiracy around the self-inserts. To this day she and Chino are still friends. But no, she's not coming back to write New Gen as people who saw the placeholder seem to believe.

Cassandre, as I said, took over MCL HSL in the middle of Nath's arc. I think it's visible that the season feels a bit different with a different writer, but I still like it, I think she did a good job as a writer. However, once high school was over, in a move that I will never understand, Beemoov's management decided to assign Eldarya to her, not as a writer but as a project manager, effectively taking over Chino's role. So Chino had to leave from around episodes 20-22 and never went back. She only provided the main storyline of the worlds merging, but at some point she resumed working on the events only.

So from around episode 20-22 to episode 29 Hikaru and Cassandre worked together, with Hikaru as the writer and Cassandre as the one deciding the plot/scenes and supervising the writing.

Part 3. Eldarya ANE + MCL University, Love and Alternate Life

Once Hikaru left, Alexis took over. So from episode 30 of TO and throughout ANE he and Cassandre have worked on Eldarya alone. This is the dream team we owe the state of Eldarya to. None of them knew the first 22 episodes of the games in depth and hence why we have all the plot holes and different characters' personalities. Additionally, at that point Cassandre started working on Uncoven so it is my personal opinion that Alexis was mostly on his own during ANE because clearly you can see that the person who wrote that had no idea what Eldarya was really about.

What happened in MCL at the same time? Once Cassandre moved to Eldarya, Beemoov found another writer for MCL, Cara, who wrote University Life. My personal opinion is that she was a good writer, I like University Life, but there's very little romance. Less than HSL for sure. But there are many funny scenes and a young adults feel that I really liked. She and Chino worked on UL together as writer/creator and it's still one of my favourite seasons, however the lack of flirting scenes is visible.

Then, when Love Life started, another writer joined the team, Antoine, Chino was still the creator and Cara remained as proofreader and also worked on Uncoven with Cassandre. My personal opinion is that there are lots of issues in Love Life because of how some themes of feminism, sexual harassment etc. are treated. Additionally the romance was even less than in UL, and some characters' personalities took a slightly strange turn. However I did like the main storyline and the ending that went full circle.

By the time Alternate Life started, both Cassandre and Cara had left the company, Antoine was still around to write additional LL episodes such as wedding and honeymoon, and the events. Eldarya's writing was over and so Alternate's writing has been the product of Alexis and Chino alone.

Part 4. What about today? MCL New Gen

New Gen is being written by Alexis and Chino, same team and dynamic as Alternate, the two of them alone. So if you see people around saying that Hikaru is back or whatever else, it's not true.

You may not like Alexis' writing after what was done to Eldarya, which I totally understand. If I hadn't played all Alternate Life I would feel the same and think that the guy isn't able to think deeper than a teaspoon. But luckily I really like what he and Chino can do together so I have a good feeling for New Gen.

[sokkastyles]

ATLA LA Ep2 Let's go:

I love that they kept a lot of the original music, but one thing I could have done without is the generic three-note chord to signal a cut to a scene with a villainous character. Those specific notes have been parodied too often for me to take it seriously. It's one thing that always jarred me in the original and it is especially jarring in live action to hear music that signifies a cartoon villain is about to walk on screen.

Zuko throwing things and chewing the scenery my beloved

"He ran! He's a coward!" I do love the angle of Zuko being confronted with the reality of what he thought would be a glorious destiny. There are two reasons Zuko associates not fighting with cowardice. One is because of what he believes about the fire nation as a whole, but also because of what his father made him believe about himself.

I do like that Aang is identifying that controlling the Avatar State is a problem he needs to solve. It gives me hope that the writers are trying to actually flesh out that plot point where the original failed. I don't like that there's been no mention yet of him needing to learn waterbending. Which brings me to...

Yes, Katara, it IS unbelievable that you've learned waterbending in a day all because Aang said some mumbo to you about energy. That's why I don't believe it. Katara does grow fast in the original, too, but it still feels organic. Here it doesn't and once again, it feels like they are giving that credit all to Aang and I hate that. I also hate that this is Katara's motivation rather than the Katara who took it upon herself to make sure the Avatar learned waterbending whether he wanted to or not.

There is something missed by Kanna giving Katara the waterbending scroll. Idk, trying not to compare to the original because I did want Kanna to be more active in Katara's life. But I get the same feeling of loss here as Aang already having Appa's whistle. Those two things in the original were part of a point about the tragedy of cultural attrition, that Aang has to buy back a cultural artifact that the seller does not even know the true meaning of, that Katara has to steal hers from pirates who already stole from her culture. It also begs the question that if Kanna had that scroll the whole time, why didn't she show it to Katara before, who was so desperate to learn waterbending?

Zuko talking about being gone three years, clearly ecstatic at the thought that his banishment will come to an end, while Iroh looks like he's about to send his son to his death for the second time. Kudos to the actors' faces expressing so much in that one scene.

The actor for Sokka is very good-looking.

Aang and Katara playing in the water was cute, but they seem even farther apart in maturity here than in the original. Even that scene comes across as a much older sister honoring a young child. I don't get a sense of Katara as someone yearning to be a child.

She's not wrong about the Avatar bringing connections, but Aang showing off isn't really the best illustration of that concept.

Okay, so, I saw some people complaining about Suki wanting to leave home "because of a boy" and like, that also happened in the original. What feels kinda pat here is that we've also added overprotective mom to the mix, which I don't love. When I said I wanted Suki's mom I meant I wanted to know how Suki became a warrior, I wanted to see more women bonding with other women and women's autonomy being treated as normal. Not whatever this is.

So they don't already know Zhao here? That's less interesting. Also "actual royalty." Another log to keep the "Zhao is a royal bastard" theory burning. Heh, burning.

Sokka is still a prick about girls fighting, everyone can rest easy now. Also his reaction when Suki tries to flirt with him the same way he does with her is exactly how that would play out in real life.

Aang avoiding fighting out of fear of his own power adds an interesting dimension to his character which is only briefly touched on in the original.

Zuko and Katara 1v1 yes!!!

Katara flashbacking to her mom's death during her first real fight is a nice touch.

KYOSHI!!!

Zhao wasn't very impressive until Zuko accidentally gave him a foothold, then that shit-eating grin was great.

I'll hold off on really commenting on this because I haven't gotten that far yet, but I heard that Ozai is more willing to praise Zuko here and it just does not make a lot of sense to me, not only because that is not how that kind of parent works, but also because hearing the news from Zhao, who would 100% play up Zuko having discovered and then LOST the Avatar, would just make Ozai see Zuko as more of a failure for having come close. Unless Zuko does something spectacular in the next few episodes I don't see Ozai being impressed.