#slyvia will show up eventually

[justaghostingon]

Superhero au

It was supposed to be a simple mission. A suicidal one sure, but a simple mission. Take the time machine that Oli had fixed up from the notebook, hope it actually worked and wasn’t like...didn’t take after Him...that it worked and wasn’t going to kill Kodya or turn him shadow like...

‘Don’t think about it.’ Kodya shook his head.

‘What had he been thinking about again? Ah yes. Simple,’ he gripped his sword tighter as the three, six-eyed freaks ramaged through the outdoor mall, sending civilians screaming left and right. One grabbed a table, breaking it in two, and sending a group of college students scrambling for cover. Another started eating the supporting poles of the canopy overhead, sending it toppling onto more people. The third started biting at anyone who moved, as people shoved each other into its wake.

‘Why couldn’t things be simple?’

If their were less people, this would have been easy. As it was they were creating half the problem, screaming and running about in blind panic, while the police whose guns were useless against the creatures jellied skin tried in vain to rally them. Worse, the police force’s guns ricksheed off, hitting more civilians in the process and leaving them on the ground, screaming. Helpless in the monsters’ wake.

Kodya summoned his bow and shot one before it bit off the arm of a screaming woman in a buisness suit. It expolded into purple jelly all over lady in the suit; her screams reached a crescendo as the goo covered her eyes. Another lady crawled towards her, grabbing a broken piece of table leg and weilding it with surprising skill.

Huh, her movements weren’t to bad. In other circumstances she would have made a decent recruit. Unfortunately she was to far away to do any real damage to the remaining monsters.

Kodya reached for another arrow and felt nothing. He cursed. That had been his last one. Looks like he’d have to do this the old fashioned way.

He surveyed the situation. The beast eating the canopy poles had decided that brick was more edible, climbing up the wall and eating a path through the brick. Already brick was falling on the people on the street, and if it kept going it was likely to bring the thick steel enforced roof down on them all. On the otherside of the street, the beast had cornered one of the students against the wall. His friends had abandoned him it seemed, likely using his capture to help their escape. He looked terrified, staring up at the monster’s sharp teeth as it opened its mouth.

Kodya drew his eyes away. ‘Can’t save everyone,’ he reminded himself as he ran towards the first beast. ‘Priorize. This isn’t a fairy tale.’

He scrambled up as fast as he could go up the side of the building, using the broken brick as handholds. The creature screetched as he approached, its clawed arms cutting like knives in his side as it tried to send him plumeting to the street. He held on, cursing, with one hand while the other shoved the sword deep into the monster’s jellied flesh.

A scream cut through the air, louder than the creature’s dying gasp, desperate and so familiar...

Kodya’s body moved before he had time to think, twisting into a jump as the explosion of the beast provided him a boost in distance. He landed on his feet on the tilting canopy, near the only pole not to collapse, and rode down the side like it were a slide. With the ground fast approaching, he jumped, body flying through the air as he drew his sword mid flight and held it out.

The sword sliced through the monster like a knife through butter and embedded itself in the wall behind. Sticky purple goop exploded everywhere, covering Kodya and the kid still huddled below.

Kodya glanced down at the kid. He seemed unhurt, no lasting damage beyond a some light bleeding from his foot...had he tried to kick the monster in the teeth? And He said Kodya was an idiot... his clothes hung in tattered yellow around him, but didn’t seem to hide an injuries.

The kid looked up and Kodya’s breath caught. Wide purple eyes peeked up at him through messy green hair in a too familiar style. His face was a little too round, a little too young, his eyes held only awe in place of the familiar terror that should lurk in the corners. But there could be no doubt.

“Gyrus?!!” Kodya exclaimed, taking an instinctive step back.

Gyrus...no, the kid who would be Gyrus, Gyrus wasn’t weak, didn’t do stupid things like try to kick a monster’s teeth...the kid’s brow furrowed, head tilted to the side as confusion flooded his face. No recognition in his eyes.

Kodya didn’t know how to respond to that. Weither he should scream or run or cry or be grateful it wasn’t Him, not yet.

“You saved my life!” a voice directly to his left startled him out of his thoughts. He whirled around to see the woman in the buisness suit from earlier, other lady sticking close to her side. He tensed, hand reaching instinctively for the hilt of his sword, but it was still stuck in the wall.

The other woman mimicked him, still clutching the table leg, ready to attach if he made a move. The lady in the buisness suit put a calming hand on her arm. The lady in the suit’s lips curved into a gentle smile as she drew herself up to her full hight, seeming dignified even covered in goo. “I am Mayor Mary Queen and I want to thank you sir, on behalf of this city.”

A cheer went up from all around. A quick glance confirmed that he was surrounded on all sides by cheering civilians. Even the police eyed him with gratitude. Oh no.

His eyes swung back to the Mayor who was still talking. “What can we call you, our heroic savior?”

Oh no. Oh no, no, no. Simple. Why couldn’t things be “Simple.”

Oh no, had he said that outloud?

“Simple. Very well. Let’s here a loud welcome for our hero, the brave Simple!”

The crowd errupted into cheers. Even the woman at the Mayor’s side relaxed enough to smile. He glanced back at Gyrus, but he was cheering to, eyes shining and absolutely no help whatsoever. Because of course he wasn’t, he was just a kid still.

Well, there was only one thing to say to all of this. Kodya opened his mouth, and prayed someone understood Russian.

[x-adoringvoid-x]

FOR THE UNIVERSE THINGY!!! Wander over yonder maybe? Or the Disney universe would be rlly cool to see you do :))

Alright so, I had a little bit of trouble finding my way with this, but I’m happy with the result!

My first thought was about Lord Hater because he is also a skeleton. I like him a lot! I like a dumb big villain character that might also have some soft spots. For a self insert character though, I don’t think I’d like him much. Not only is he a dictator, but he’s also kinda girl crazy so I don’t think I’d be comfortable with that.

So this is Brix! She is as smart as a brick and has similarly violent potential. She was originally just a normal skeleton just vibing on a planet until more and more people started mentioning Hater around her. “Oh, are you a Hater goon!?” or “Are you related to Lord Hater??”. This drove her crazy because she had no idea who this guy is. So she goes on a journey to find Hater, and when she finds him, she absolutely hates him. Total jerk!

Brix hates him so much that she decides that she’s gonna destroy him as some kind of superhero/masked vigilante. She gets a costume and dubs herself Lord Lover and beats the crap out of anything Hater related while trying to get to Hater himself. Her thought process is 'I have to be the opposite of him!!' and she didn't think about it at all after that.

Hater doesn’t destroy her immediately because having someone this obsessed with him is fun. Also potential girlfriend? Brix wants none of this.

While messing up Hater’s property, Brix also seeks out people to add to her “No Hate” gang. She has her sights set on Wander and Slyvia because they’re ‘Hater’s rivals’ and they’ve encountered him a lot. They want none of this. Brix eventually corners Wander alone and tries to get him to join but Wander ends up talking her down. I’m not sure exactly what he would say or do (my research has been fairly minimal) but I think it would be basically saying that fighting Hater won’t turn out well and if you keep going this way, you’re going to be a villain too.

Brix finally gets some common sense and decides to rethink what she wants to do. Basically I think she’s just a side character that shows up for one episode to show more about the characters. I fully acknowledge that I have side character energy and I will embrace that. I guess this episode also has the “Don’t be obsessed with your Haters” moral too.

Oh and a little extra featuring @fle4floves self-insert!:

[behindthewaterfall]

omg could you tell us more about miranda and moira? 👁👁 im very intrigued by your oc x canon tags

OH MOOD

So Miranda was my first wizard from 2010, and like she's been through so much. She was raised in Grizzlehiem, and of course she's a Necromancer, but she's BIG upset she never got Malistaire as a professor so she's real sassy towards Dworgyn. So I've been paving a new story for her, she becomes really obsessed with the idea of confronting Malistaire, and after Dragonspyre, she became real upset about a lot of things with her life, and more or less starts studying hard to become a true Necromancer, a wizard who can rise the dead, not just as a zombie, but a fully functioning back to normal revived being. So cut like a ton of years later because Miranda is an adult. My wizard101 canon is kinda odd so like, Miranda doesn't get to graduate with her class because she's kinda gone AWOL, she begins to finally get ahold on the reanimation spell as she's closing in on Morganthe and Malistaire the Undying. She found a way to combine life magic, death magic, and a majority of monstrology, so in a long story short Miranda is abandoned and alone from her friends when she needs them the most when confronting Morganthe, and gets a killing blow from her, but before that she casts the reviving spell on Malistaire, who drops in pain in front of a confused Morganthe leaving because she thinks the job is done and she's rid of Miranda and Malistaire. Somehow Malistaire revives Miranda (wow look at me being like a real gaming company leaving a giant plot hole right there) and after that Miranda kinda just looks at Malistaire and says, that's it you're going to help me perfect my death magic since I was stuck with Dworgyn during my Wizard City days, so Malistaire reluctantly follows her around until she gets a hidden house in Dragonspyre and they just kinda vibe there until Fallon and Valerian who are the next generation "young wizards" show up asking way too many questions about the supposed death of Miranda and Malistaire.

OH GOD THAT WAS LONG ...did any of it make sense?

So Moira! She's Miranda's mom, her family is distinctly of Dragonspyre bloodline, but obviously the family left before the entire world basically died. So Moira actually grows up in Wysteria! She's a life wizard and over the course of a few years, meets Warwick, a pirate witch doctor who was raised in Marleybone. Basically Moira and Warwick eventually have baby Miranda but Warwick was meddling in things about the Armada and Wizard City and it doesn't end well. Moira gets cursed into a tree, but she eventually wakes up as a literal Treant, and kinda just becomes a really strong and powerful leader.

As for the OC x Canon stuff, so as like stupid as it sounds like,,we do be out here loving and supporting wlw couple Slyvia Spitfire (she reclaimed her maiden last name when she was revived) and Moira, and uhhhh Miranda (who is an adult) and Malistaire

[ryrepko-blog]

Biography

Saul Bass Biography

Saul Bass was a successful and prominent American graphic designer during the twentieth century. He is most recognized and remembered by his title sequences at the beginning of television shows and motion pictures, and the corporate logos he designed that still live on today. You’ve probably encountered his work before without even knowing it.  

         Saul Bass was born on May 8th, 1920 in The Bronx, New York, United States to Russian Jewish parents. His parents, Aaron and Pauline Bass who immigrated to the States from Europe in 1907. His father owned a small shop as a furrier, and his mother was a homemaker. He also had an older sister, Slyvia. Bass had a middle-class childhood. His family were known in the community for their generosity and kindness. (Comer 1).

Bass discovered his interest in art and design at a very young age. He was intrigued by movie posters, store signs, and all the different commercial advertisements that he would see out in the world. He started to study and draw them as a child, and his parents encouraged his interest. He recalls looking back and wondering if his love for creating art could have been a result of watching his father work all those years growing up. Although he was “just a furrier”, Bass still considered him to be an artist, and watching him invest so much time and effort into his work process inspired Bass in his own process (Comer 1).

He attended James Monroe High School in the Bronx where he graduated in 1936. During his high school career, he became the editor for the school’s literary and arts publication, The Monroe Doctrine, along with being editor of the yearbook (French 1). He won two awards from the Art Student of New York City, one for excellence in design, and one for excellence in craftsmanship (“Saul Bass” 2004). After graduation, Bass worked as a delivery boy and painted signs for local stores on the side to earn extra cash. Eventually a scout came across one of his storefront painting and after learning who painted it, went on to locate Bass and offer him a scholarship to Art Students League in Manhattan (French 1).

In 1936, he began formally studying there. He took his classes during the night, and worked during the day. While there he grew to admire one of his professors, Howard Trafton. He was a commercial illustrator and professor at his college. He aimed to show his students something in a new, less ordinary way. Bass took this and ran with it, and it would continue to play an evident part in his future designs (Douglas 1).

After college, despite it being the depression, Bass was able to secure a job. His first two jobs had relatively nothing to do with design, but a year after leaving college, he compiled a portfolio and took it around town to various agencies and made multiple calls until he eventually got a call back. Later in 1938, he was offered a position at Warner Brothers, where he would make twice as much. That same year Bass married Ruth Cooper, who he would later have two children with (Douglas 1).

His career eventually led him to relocate in Hollywood, California. It was during his time working there that he collaborated with a filmmaker, Otto Preminger to design a poster for his 1954 film, Carmen Jones. Preminger was so impressed that he asked him to create the film’s title sequence as well (Brown 1). Prior to Bass’s time, title sequences were much more basic, and had no real concept or design behind them. They consisted of just the minimum, the required credits. When Bass designed title sequences, his goal was to symbolize and summarize the film, or give the audience some kind of an idea on what they were about to watch. He recognized that for a film to be truly great and successful, the entire film had to be great, meaning they couldn’t get lazy with the title sequence (Brown 1). After all, that’s the first thing the viewer will see. So, he utilized the possibilities of what a title sequence could be, reinvented it, and mastered it. From that point on Saul Bass was the favored choice when film makers wanted the credits or closing to really add to the audience’s experience. Title sequences and films were never the same. His designs are considered to be some of the most inventive design work of the twentieth century.

In 1941, Bass was offered a position at Twentieth Century-Fox, this was a big career move and raise for him, so he took it. Although he was glad this job gave him more of a say in style and execution, he realized much of it was still fixed with a set formula, ads crammed with anything in hopes to attract the viewer’s attention. Displeased with this style, he left in late 1943 vowing to never work for film advertising again (Douglas 1). Determined to be the artist and designer he wanted to be, he took a fifty percent wage cut and joined Blaine Thompson Company, a well-known agency in New York. The only condition, no film advertisements (Comer 1). He was finally happy with the work he was creating.

One day on his commute to work one day he read that a designer and author he admired was currently teaching at Brooklyn College, and immediately enrolled. He began taking night classes and studying with Gyorgy Kepes, a Hungarian born designer, painter, and art theorist. Kepes was a great inspiration to him and became a mentor to him. He stayed at Brooklyn college from 1944 until 1946 (“Saul Bass” 2004).

After several other jobs at agencies working as everything from the art director, account person, to an office head. What he really wanted to do was design. By 1955 he finally had a practice of his own, Saul Bass & Associates. He hired Elaine Makatura as his assistant, and the two almost immediately clicked creatively, and romantically. Leading Bass to divorce his wife Ruth and remarry to Elaine in 1961. The two made a great team and collaborated on projects for the next four decades. Right around the time Bass created his agency, he created what is still considered to be one of the best title sequences in the film industry, for a movie called “The Man with the Golden Arm”, by Otto Preminger. He went on and designed for more films including Vertigo in 1958, North by Northwest in 1959, and Psycho in 1960 (“Saul Bass” 2004).

In the early 1960’s, Bass and his wife branched away from title sequences, and had two more children with Elaine, one in 1964 and one in 1967. They began working on films of their own, a series of shorts, the most popular being, Why Man Creates (1968), which won an Academy Awards. It was during this time in his life that he and his wife got into corporate identity projects. Some of their highest profile projects included: AT&T, Exxon, Quaker Oats, Girl Scouts, and United Airlines to name a few. Bass’s logos are some of the most long lasting in the industry; the average life span of a Saul Bass logo is about 34 years. Some of his logos are still in use, even 19 years after his death (Brown 1). The reason they’re still in use is because they are timeless, and it’s unlikely anyone could do it better.

Although Bass enjoyed and was great at identity design, him and Elaine were eventually persuaded back into film titles my Martin Scorsese who asked them to do the title sequences for his three films. All the directors Bass ever worked with agreed that there was just something special about the way Bass created a title sequence that made the movie that much more magical, so much so that the movie would never be the same without it (Comer 1).

What made Bass an innovator in design was that while he had a distinctive style, he was constantly evolving and finding new solutions to new problems. He once said, “You can’t find the answer by using somebody else’s answer to another question… It is not so much a moral issue. It just doesn’t work” (Brown 1). Bass died on April 25, 1996 of non-Hodgkin’s lymphoma in Cedars-Sinai Medical Center in Los Angeles. He was 75 years old. It was a loss to the design world and to the many who admired him and his work. Even with him gone, his legacy and impact on the graphic design lives on, inspiring and affecting designers and non-designers alike.

References

 Brown, David R. "1981 AIGA Medalist: Saul Bass." AIGA | the Professional Association for Design. N.p., 2017. Web. 8 Apr. 2017. <http://www.aiga.org/medalist-saulbass>.

Comer, Caitlin. "My Blog." Mid-Century Commercial Artists. Garreth Blackwell, 2015. Web. 8 Apr. 2017. <http://learn.graphicdesignincontext.com/bass/saul-bass-a-biography-of-his-life-and-achievements/>.

Douglas, Ava. "Saul Bass." History of Graphic Design. N.p., 2017. Web. 8 Apr. 2017. <http://www.historygraphicdesign.com/the-age-of-information/the-new-york-school/182-saul-bass>.

French, Philip. "Saul Bass: A Life in Film & Design by Jennifer Bass and Pat Kirkham – Review." The Observer. Guardian News and Media, 29 Oct. 2011. Web. 8 Apr. 2017. <https://www.theguardian.com/artanddesign/2011/oct/30/saul-bass-life-film-review>.

"Saul Bass." Encyclopedia of Biography. Encyclopedia.com, 2004. Web. 8 Apr. 2017. <http://www.encyclopedia.com/people/literature-and-arts/film-and-television-biographies/saul-bass>.

My Critiques

1. The Man with the Golden Arm - I chose this poster because of the composition. I like the Mondrian type layout, with the geometric shapes throughout. Typically, I wouldn’t like the look of the focus point being directly in the center, or close to it, but somehow it works here. The rectangles frame the title well, with the arm having those same geometric shapes that the rest of the poster does. Even though the shapes are not the same on each side, they have different sizes, weights, and colors, the poster still has balance. The typography in this is really nice, how it separates the top fourth of the poster, and the title wraps around the arm and hand and is easily legible. It’s interesting to me that he was able to only use purple once and it still look okay, but I suppose maybe that’s what grounds the poster since it is a somewhat dark color.

2. Vertigo – I chose this poster just because it was really cool to look at. It’s obviously not moving but if you look at it long enough you can kind of see the black shaped person and outline falling down a hole of some sort. With that shape being sort of complex, I like that the color scheme is very simple, three colors, and the typography is very clear and not overwhelming. I do have one critique with this though, and it’s that the word masterpiece touches the illustration and I wish there was more of a space there. The contrast between the black shaped figure and the outline is good too, and that also adds more to the idea that the figure is falling in my opinion.

3. Anatomy of a Murder - This has been one of my favorite posters since I first seen it. The simplicity of it great. You know what it’s a poster for as soon as you look at it, and it’s also visually interesting and pleasing to the eye. The colors, black and red, also symbolize murder in a way. Red for blood, and Black can be associated with dark, bad thoughts. Since the illustration, itself is perfect how it is, I’m glad he put all the text at the bottom together rather than adding it to the illustration. It’s organized well and also grounds the poster. If there’s one thing I don’t like about this poster it’s the black figure at the end of the text, I just kind of think it’s repetitive and unnecessary.

4. Exodus – I chose this piece because it seemed different than a lot of his other posters. The fire and text was different to see. Typically, he would use flat colors so it was nice to see how he did this. It looks realistic and like the wind is blowing it around as it burns the poster. The flat blue background is nice in contrast to the fire, and the black shadows reaching for the gun behind the fire gives me a feeling of desperation. The type “EXODUS” also has that kind of feel of danger or emergency. I like the right alignment of most of the parts works well because that’s the direction the fire is going.

5. The Fixer - I chose this poster because of the line work. I think the line work is really incredible because lines are so simple, but the way he uses them is really interesting. He creates a type of mood with the flow of his lines and the person walking through it gives me the impression of such a vast space, and he does it only using the curves and distance between each line. The color choice goes well with the simple design, I like that he stuck to just three colors. I especially enjoy the detailed castle in the background, it’s rather entriquette compared to the rest of the poster. The poster has good balance even though the castle is settled to the top right. His use of negative space is really nice, my eye follows the castle, to the person, all the way down to the title which has really simple line work like a majority of the poster. It looks hand-drawn also, which I like and appreciate more than a normal font.

[blackbirdhunting-blog]

fundamentals of feminism

Sylvia Plath is one of the biggest icons used for feminists in a argument. I say “used” because that is a accurate discription of it. As for many famous writers and woman of influence are seen or portrayed as a symbol of feminine progression. I take Sylvia Plath as a example, because the story that surrounded her life was a tragic one. Many biografies are based of only one side of the story; that of Sylvia’s. They speak of her as the victim in a marriage that had poisened her (litteraly), but they conviently leave out the aspect her husband Ted Hughes. Now Ted Hughes was a awknoledged poem writer who came into Sylvia’s life, rather being enchanted by her. It is discribed as a meeting of two adults being opposed of eachoters existance, but also being insignificant if not togheter. As a second birth, but with the knowledge of inevitable death. He discribed her as a black magic woman, almost with a sense of helplessness. Ted saw her potential in her talent for writing poems, and motivated her to do so. It is said that Sylvia felt down when she wasn’t recognized by significant writers of publishers, dispite her efforts to create her best pieces. While Ted had allready been published and reviewed far before they met, which made Sylvia jealous in some ways. Ted always kept pushing her, because he knew it would take time and commitment for people to actually see her work pay off. They spend days separate; writing in their rooms. It later would show that Ted succeeded in his efforts to make Sylvia express her talents to the world, as she so desperately wanted. Sylvia and Ted weren’t involved in a healthy marriage as most people know. There wasn’t a lot of communication outside the fact of a passionate one, either being consumed by their love (alsmost obsessed) or completely lost in a dark parallel of eachothers lives. There wasn’t a calm balance in it, which only fed their words and poems. They were a muze for eachother in a poisoned way. It is reflected in their work, which ironicly opened up their closed marriage to the world. And people, as their nature is, concluded and chose which side they were on. Right before Sylvia commited suicide by poisoning herself with carbon monoxide in her kitchen by turning on the gas of the stove, she wrote “Ariel” for her children. It is a poem filled with her deep love, but with a sensible core of injustice. She made sure that her son and daughter weren’t killed in her attempt of suicide by making sure she cracked their bedroom window and covered up the doors with towls. Ted was devistated by the loss of his wife and muze. Many think he was relieved to be released of her grip, but he had a great and commited love for her. A love that eventually progressively made him into a man he didn’t recognize. He fell in love with other woman, but they were a sheer shadow or parallel universe of the woman he couldn’t live without. When Ted died it became known that he had been writing a book since the beginning of his relationship with Sylvia. This book was released after his death, containing a fraction of his heart. This book called “Crow” is one of which only Ted can understand the weight of his words. It is as if people want him to be the senseless man without conciousness. A man that only is a prop in the story of Sylvia Plath. Accept the fact that this is not a story, but a duet. It is two people being perfectly imperfect for eachother.

Sylvia wasn’t a victim and Ted wasn’t a agressor. The only victim in this duet was the lack of a good ending, and the absolute victory of a sacrefice in the name of poetry.

Slyvia never asked to be a argument in a debate she never even was involved in. She wasn’t a symbol of “man hate”. Making her into a way to use her for a argument she never was involved in might be worse than her experiances. It bagitalises her life and her marriage, making her life choices judged and rediculed. It makes a fool out of a man who was much more than people read about or can ever imagine. It is another statue in the hall of powerless woman who feel the need to make strong woman of history seem weak. It is a ironic and selfish thing to make other woman a staircase to a world in which woman can not be respected.

[justaghostingon]

Superhero au: Characters

KODYA

Codename: Simple (don’t ask)

Volenteered for a dangerous mission which involved time traveling back to the past. His main goal: prevent the apocalypse from taking place. No one, not even Kodya, really thought he could pull this one off, but thats ok, because Don sent him with three more manageable tasks: retrieve the sword lost to the Numbers Gang and any others he can find, stop Gyrus from meeting with and becoming host to a shadow, and training The first generation of the Room of Swords to be “proper heroes” so they don’t overly rely on Gyrus.

Here’s the problem: Don, and everyone else in the Room of Swords, failed to factor in that most of civilization is still up and running. (In there defense, its been a long time.) A mysterious hero with strange powers in strange clothes who fights monsters? That’s going to attract attention.

Heralded as a hero in a city whose name he never bothered to learn, he quickly gains the kind of fame and dependency he was trying to avoid, far earlier than even Gyrus’s infamous streak as a hero. To make matter’s worse he can’t find Don or any earlier versions of the others, can’t investigate the Numbers Gang without police interfering or paparazzi interrupting, and time is slowly ticking down. If he wants to do this, he’s gonna need help.

GYRUS

Codename: Astro (the but was removed by the press)

Grad student with degrees in Mathematics, Physical Science, Biological Science, Engineering, as well as an internship to one of thee most prestigious advanced technology institutions in the world. At the age of 20, he already graduated and is now just working on the homestretch of his last degree, astro-physics, before he can join NASA and achieve his dream of becoming an astronaut.

And he’d just like to say he didn’t sign up for any of this.

But when a valuable piece of equitment was stolen from his lab, he knows he needs to get it back soon because its more than just his grades on the line. He may not be cut out for hero work but if Simple can do it maybe he can too, with a little help of course.

TORI

Codename: White Knight (why she gets a good name, no one knows)

Once a gang leader with a formidable reputation, now the devoted body guard to the mayor herself, Tori has lived an interesting life. She credits her rise to two factors: Mary Queen’s compassion and her own hard work. Now at Mary’s side, there is nothing else she wants in life. (Even if Mary herself keeps encouraging her to take night classes and build up her education).

But with the rise of strange monsters and a stranger man who seems able to fight them, strange occurrences start. When Mary falls ill with a mysterious illness seemingly linked to the strange purple goo, it becomes her mission to track down a cure by confronting the only people that seem to know anything about it: the Numbers Gang and Simple.

MARY QUEEN

Let it be known that Mary Queen is not a fool. She knows exactly how dangerous Simple is and how his ruthless, efficient demeanor could be very, very dangerous if pointed at her citizens. She also knows that it is not, in fact, pointed at her citizens but instead at a threat that her police force don’t stand a chance against.

So she’ll give her blessing and support, ensuring that most citizens look to him with awe and respect instead of the fear that so often leads to someone picking a fight they can’t win. She’ll keep a close eye on him though, have a friend in the paparazzi follow him so he knows he’s being watched, and invite him to important events even if he doesn’t come. She endeavors to keep him on their side through consistant kindness such as offering food, medical services, and other thoughtful rewards. He is reluctant to approach and take anything offered, but that is fine. Rome wasn’t built in a day.

But she’s not worried by his reluctance to interact; she’s got what she wants right now since he seems to make an effort to behave properly on camera (even if he does give them the slip a lot). As for the rest, she knows what she’s doing. Other’s may call her naive but she knows just how powerful kindness can be if used correctly. It’s what got her Tori after all.

Now if only Tori would take her night classes more seriously, she really could have a bright future helping this city.