#so I just reworked part of it to work as a single art piece instead

[thepillowhoarder]

No Reprieve from Cold

Based on my interpretation of Hyi - Mind Breaking the Body

[inkykeiji]

i piss myself off so bad because i have these amazing ideas in my head, but when it comes to execution i feel so let down..mainly just because i can’t word things correctly. like don’t get me wrong, i’ve always been very good at english and writing yadayadayada but for some reason it just looks like just words on a page? like i only feel like that when i try to write in a y/n perspective and i drive myself up the fucking walls. it’s so frustrating experiencing trial and error over and over again but i’m just the type of person that if i’m not good at something immediately, i’ll literally give up. but hopefully i’ll just push through this rocky patch and i’ll finally be happy with some of my own work, because at the end of the day, seeing something you made and actually being happy just feels so rewarding. but with all that, i’d just like to thank you for being one of my biggest inspirations! your play on words gives me a brain orgasm, so thank you for the constant serotonin!! have a stupendoussssss weekend lovely

hi anon <33

i’m so sorry to hear that, and i want you to know that we have all been there. you are absolutely not alone in that struggle, and every single writer (and creator in general!) has gone through what you’re going through in one way or another (and we continue to go through similar things, such as writers block/art block, or being extremely unsatisfied with your work regardless of how much you rework it. it’s a part of creating in general!! i just hope that this brings you some level of comfort, even if it’s teeny tiny, to know that you are not alone and this is normal!!!). writing in second person can be difficult!!

i’m only curious and throwing suggestions out there, but have you thought about/tried writing from the character’s point of view instead??? what i mean by that is, you still keep the whole ‘you’/reader aspect, written in second person, but instead of being inside of the readers head, you’re inside of the character’s head. does that make sense??? i did it a lot with the first part of break my bones!! i just know that some writers find it easier to write in second person pov if they’re, in a way, writing from the character’s pov instead!!

please, sweetpea, please i urge you to keep pushing through it. you are so so SO right in that, it’s literally the best feeling when you look at something you’ve made and feel proud or accomplished!!! so yes, use that as motivation to continue moving forward!!! the best way to learn is by doing, so please please please keep writing, even if you hate every single word.

i know this is cliche and you hear it literally aaaaaall the time but it really is true; we are our own worst and harshest critics. i could take any one of my fics and give you a list of things i don’t like/want to work on and improve. i’m not quite sure anyone is ever 100% satisfied with their work; because even though i am extremely proud of the work i’ve posted on here, i can still pick out bits and pieces that i don’t like or want to improve. because art (any form) is endless in the sense that there will always be something new to learn and something to improve on; in other words, you never stop improving—you’ll never stop improving.

you are always going to be able to see the flaws better than anyone else, because this is YOUR creation. it’s your baby!!! but just because there are flaws and things you don’t like about it, doesn’t mean it isn’t good, or valuable, or important!! it is!!!!!! nothing is perfect, and nothing ever will be. it’s a hard fact to accept (at least for me it is!!) but it’s an important thing to keep in mind (going back to the endless improvement point above; this is how i try to look at it, that there’s always room to improve and become even better, instead of looking at it negatively like ‘oh nothing will ever be perfect’ yk what i mean?).

hopefully this doesn’t come off as preachy because that is NOT the way i intend for it to sound at all, i can just tell you’re a very passionate individual and i want you to continue working at and improving your craft, even if it’s just for fun!! and thank you so very much for your kind words, i am honoured and flattered to be one of your inspirations <3 i love u very much and i support you in your writing journey!!

[may-shepard]

the fine art of positive beta-ing

(This post was inspired by the incredible writers at the 2018 Fic Writers’ Retreat, which has just wrapped, and especially by @shamelessmash and @nautilicious. I love you awesome nerds!)

I have a confession to make: for a long time, I thought I was a writer who could not receive feedback. In an effort to hone my craft, I attended workshops and took classes where critique circles were part of the deal, hoping that some insight that my crit partners offered would help me get better, and better. This, I thought, was what I needed: another flail, in addition to the ones I applied to my work myself.

You know this kind of workshop, and this kind of attitude. Maybe you are holding onto it yourself: good writers are forged in Hell Places where All Mistakes Must Be Pointed Out and Eliminated and If You Can’t Take the Heat Get Out of the Kitchen. I was told that my use of commas was annoying. I was told that my choice of subgenre was untimely. I was red penned into a stupor. 

Despite the fact that I was able to edit myself to the point where I got a few pieces accepted for publication, crit never, ever worked for me. I emerged from these experiences both pissed off and self-flagellating. I couldn’t see through the multiple and often contradictory corrections offered by my fellow critters, or the instructor, when I was taking a course. 

Any piece I exposed to someone else’s crit, I always trunked, totally convinced that the problems with it were intractable, and that there was no point in trying to fix it. Worse yet, I felt like somehow I’d failed as a writer: I couldn’t take the heat. Perhaps it was time for me to exit the kitchen.

After a few failed attempts to find a crit circumstance that worked for me, and a really long bout of writer’s block, I managed to recover myself enough that I could write, by convincing myself that maybe I was just not a crit sort of a writer. I limited myself to troubleshooting my plots with my partner, who is great at reworking plots. As for making my craft better, I decided to go it alone.

Then I met @shamelessmash​, and everything changed, because she changed the way I look at the act of beta reading, and the way I do it.  

Way back when (uh, at 2017’s Fic Writer’s Retreat?), Mash and I were both working on longish projects, and, in part because I had a hand in helping her develop the idea for her lovely Sherlock fic A Case of Identity--The Musical, we agreed to trade beta. 

(I can admit now that I hoped that she would accept beta from me and then like, forget that she’d offered to beta my fic in return.)

When she first asked me to read a chapter of ACOI, she specified that she wanted squee only: just positive feedback on what was working so far. I’d never had anyone ask that before, so I had no idea what was going to happen next. (Spoiler: really great things.) 

At first, I thought, no problem! The fic was in the early stages of development, and we all want a little bit of encouragement along the way. As I read, and I thought, oh, there’s a comma here, a verb that could verb in a verbier way over there, I was tempted to mention it, but then I remembered her request and I refrained. I try, when I can, not to be a shitty friend. I also try not to be a shitty beta, which, hey you guys, means respecting the writer’s right to ask for the kind of feedback they want, and trying your best to offer it. 

At the same time, the part of me that wants to be useful was squirming. How could 100% positive feedback possibly help someone hone their work into something better? 

Boy was I about to find out. You will too, under the cut.

Receiving positive feedback makes you want to keep going. 

Mash, super smart awesome writer that she is, knew that she wanted motivation to carry on forward. She was trying to get as much of the draft done as possible, before she started to post. There is nothing wrong with needing positive feedback in order to keep going. It’s really, really clever to ask for it. Knowing that the premise was working and that what she’d written so far was charming (and it was, so so so charming, holy crap) gave her a boost, and who the fuck doesn’t need that?

Asking for positive feedback only is a good idea, you guys. Try it the next time you ask for help with an early draft of a thing.

The other lessons came when it was time for me to share my stuff with her. See above re: reasons why I really hesitate to let people crit my stuff, but, given who Mash is, I was pretty sure it would be okay.

It was okay. It was more than okay. It was brilliant, amazing, incredible.

If you’ve never had the pleasure of receiving beta from a writer who is really really good at knowing what works in a story, and is willing to yell at you about what’s working in yours, let me tell you, it is a treat and so, so helpful. As I watched Mash go through my google doc on the first couple of chapters of my Sherlock fic The Burning Heart, leaving trails of keysmash and screaming as she went, I not only felt like a goddamn writing genius, but I also was taking substantial notes about where she was doing it. 

Knowing what is working in a story is even more important for a writer than knowing what is not working.

If you know what works, you can play that up, and do more of it. That’s one reason, one very good reason, why telling a writer what you like in their story is a good idea, but there’s an even more important one. 

Telling a writer what works helps them understand their own magic.   

We all know, even if we’ve never been told, that what makes a writer great is not whether or not they can follow the rules for good writing, but rather, whatever it is that is uniquely theirs, that they bring to a story. Good craft, which you can learn, will always, always help you make your story more clear to whoever is reading it. Good story, good magic, the unique ineffable sense of play that makes you want to tell this story in this way at this point in time, that’s what makes people think, whoa wow whoa, this is amazing. It flourishes when it’s praised. When your magic is ignored, like it is when you receive crit that’s 100% focused on your mistakes, it lies down on the floor and refuses to get up again.

This is one major source of writer’s block. Even if you think offering positive feedback is kind of bullshit, I think it’s good, from a writerly karma pov, to avoid doing things that block other writers, especially the ones who’ve asked you for feedback. 

But wait there’s more!

Mash did a lot more than keysmash and scream: she also asked questions when she was particularly excited. 

The questions you, as a reader, are dying to have answered are invaluable writer feedback.

Hey is x going to do y next? (Insert inevitable joke about x being y’s love interest.)

Oh my god what did he mean by that?

How long is it going to be before we find out the answer to the question you laid out in Chapter Three?

These questions let me know where the breadcrumb trail I was trying to leave was effective. Under some circumstances, they let me know when I was waiting too long for a reveal. This alone helped me hone my plot. 

Radio silence helps you see where what you wanted to achieve isn’t coming through.

We all have those places in our writing where we think we’ve really nailed it. When you’re dealing with a beta whose primary mode is positive, and they skim past the moment that you hoped was Big and Significant and Came off Well, you know you have more work to do. As writers we have ideas of what we’re trying to achieve, and we’re all trying to bridge that gap between what’s in our heads (which is potentially AMAZING) and what’s on the page (which inevitably NEEDS WORK). We know that what we’ve done will benefit from polishing. A lukewarm response to a big deal moment is a great indicator that we need to hit it harder or make it more clear. 

The Role of What We Usually Think of When We Think of Crit

What do I think about comments that point out errors or ask thornier questions about what isn’t working? I think they have a place. I think that place is probably less important than most of us think.

It is still definitely helpful, and useful, to let a writer know if you think they’ve made a mistake, or if you think that something could be more clear. If they have an excessive attachment to a particular word or sentence structure, or whatever it may be, it’s fine and helpful and good to note that. 

There are gentler ways of doing this that will be more helpful to most writers. 

Instead of citing a “writing rule,” consider pointing out what the writer has done. 

Never use adverbs they are the devil is easier to take and more useful if you stick to observing what’s on the page: you’ve used twelve adverbs in the last three paragraphs. 

Show don’t tell could become instead of saying he’s sad, what about one sentence describing his internal reaction to finding his former partner’s scarf in the glove box?

If you’re offering crit in order to show off your knowledge of “the rules” and to talk about how you would never break those rules but the writer you’re critting has, your ego has taken over, and you’re probably not going to be super helpful in this moment. 

Teach, don’t overcorrect.

Where a writer makes the same grammar mistake over and over, this is not the time to judge them and point out every single instance of it, unless they’ve asked you for a SPAG edit. It’s the time to recognise that they probably don’t understand semi-colons and link them to a post that explains them, point out one or maybe two wrong uses of semi-colons as you do your crit, and leave it up to the writer to correct it themselves (or not!). 

Believe it or not, people generally like it better when you leave it up to them to take responsibility for their own work, and allow them to decide how much they want to take on board at any given time. If that writer doesn’t want to learn about semi-colons in this exact moment, then that is cool. If you’re not cool with it, perhaps it’s time to examine your excessive attachment to semi-colon evangelism. 

Consider the level of the writer and emphasize the positive anyway

If you’re dealing with a beginner writer who is just figuring shit out, for the love of all that’s sweet and tender, just pick one or two mistakes to work on. Tackle verb tenses or POV this time--leave run on sentences for some future moment, and let them know, in no uncertain terms, what you like about what they’ve done. You could be the difference between shutting a writer down or ensuring that they keep going.

If you’re dealing with an advanced writer, please, please don’t assume that they don’t need positive feedback. Mighty oaks need the sun just as much as seedlings do. I’m by no means super adept at my craft, but I’m not a beginner either, and I always, always learn so fucking much when I see what people respond to in my work, when I understand what resonates with them. 

A note on the proportion of positive to negative comments

There’s an old saw, that I’ve always found to be a bit cynical, about saying something positive before offering something negative in crit. This is a great idea, in theory. In practice, sometimes people following this rule offer comments like this:

This paragraph has some nice description in it, but 

*deep, sucking inhale*

eight sentences follow that go into intimate detail about how many times the writer has used the word feel and how that is not a great idea for these thirteen reasons and also there’s a mistake in the research with reference to the specific century the armor the main character is wearing was most likely to be manufactured and and and and

Okay, I’m hoping you can see why, if this is the only form of positive feedback offered, it might come off as insincere. 

On the other hand, in the context of a crit that lavishes praise on everything good, a genuine observation that a particular paragraph has issues or a particular aspect of the timeline is self-contradictory or the writer flips wantonly between first person and third person, is so much easier to take, and so much more likely to be seen as genuinely helpful. 

When I go into a crit, I usually try to get my energy up and my mindset into a positive space before I do. I try to remember that on the other end of this work of fiction is a human person who, in the act of offering their work up for feedback, is making themselves vulnerable. If I catch myself dryly pointing out errors without saying much positive, I know that it’s either not a good time for me to be offering crit, or I need to slow down a little and enjoy what I’m reading. (In rare cases, it means I’m not the right person to be beta-ing that particular story.) I try to read like a reader, not like a writer. I try to avoid reading like I do when I’m combing my own stuff for infelicitous turns of phrase or bad logic, unless that’s what the writer has requested.

If you yourself are from the Hell Place and believe that You Work Best When You’re Being Punched In the Face and So Should Everyone Else, first, uh, you probably need a hug, but also, try offering positive crit the next time you beta for someone, and see what a difference it makes. If you’ve never received a crit that’s largely positive, consider asking for one, the next time you go to a trusted beta. Ask them to tell you whatever it is that they think is working. (If they refuse, find someone else who is not from the Hell Place.) 

Even if you’re not from the Hell Place, give positive crit a try. We certainly have enough misery in this world. There are many, many reasons to spread some joy, especially where that joy is functional, helpful, and potentially life-changing.

I think you’ll be pleasantly surprised. 

[vinylexams]

A very special fireside interview with XUXA SANTAMARIA

Check Insta for our thoughts on this landmark album from Oakland duo XUXA SANTAMARIA. Stay right where you are to read a really fun interview I scored with the band this week. They’ve just released Chancletas D’Oro on Ratskin Records out of Oakland and Michael blessed me with my very own copy. It was so good I knew I needed to tell you all about it and I wanted to pick their brains a little bit, too. Without further ado, please enjoy:

//INTERVIEW

You’re still breaking into indie world at large, but you’ve already got a huge following back in California and your home-base in Oakland. What has it been like to be featured in major outlets like The Fader?

SC: We are a funny project; we ebb and flow from being total hermits to having periods of relatively high visibility (relative to aforementioned hermit state). I wouldn’t say we have a huuuge following in CA but I do think that the ‘fandom’ we’ve developed here is really genuine because we don’t play shows out of an obligation to remain visible but instead do so because we feel super passionate about the work and the audience and I think people respond to that energy. I for one, and perhaps this is because of my background in performance, have a hard time performing the same stuff over and over without change which accounts for us being selective with our playing live. That’s also why videos are such an important part of what we’re about. The piece in The Fader was important to the launch of this album because it established some of the themes and, to an extent, the aesthetics of this album in a way that can be experienced outside of a live setting. None of this is to say we don’t like playing live, in fact we love it, we just like to make our sets pleasurable to ourselves and to our audience by constantly reworking it. We strike a weird balance for sure but we’ve made peace with it. If we ever ‘make it’ (lol) it’ll be on these terms.

Chancletas D'Oro is a pretty incredible record and while it reminds me of a few bands here or there, it’s got a really fresh and unique style that merges dance with all sorts of flavors. How would you describe your music to someone who is curious to listen?

MGK: Haha, we generally struggle to describe our music in a short, neat way (not because we make some kind of impossible-to-categorize music, but just because it’s the synthesis of a ton of different influences and it’s hard for US to perceive clearly). But with that caveat in mind - IDK, bilingual art-punk influenced dance/electronic music?

SC: Thank you for saying so, we’re pretty into it :) Like Matt says, we struggle to pin it down which I think is in part to what he says – our particular taste being all over the place, from Drexciya to The Kinks to Hector Lavoe- but I think this slipperiness has a relationship to our concept making and world building. As creative people we make and intake culture like sharks, always moving, never staying in one place too long. Maybe it’s because we’re both so severely ADHD (a boon in this instance tbh) that we don’t sit still in terms of what we consume and I think naturally that results in an output that is similarly traveling. Point is, the instance a set of words - ‘electronic’, ‘dance’, ‘punk’- feel right for the music is the same instance they are not sufficient. I propose something like: the sound of a rainforest on the edge of a city, breathy but bombastic, music made by machines to dance to, pleasurably, while also feeling some of the sensual pathos of late capitalism as seen from the bottom of the hill.

The internet tells me you’ve been making music as Xuxa Santamaria for a decade now. What has the evolution and development of your songwriting been like over those ten years?

MGK: Well, when we first started out as a band we were so new to making electronic music (Sofia’s background was in the art world and mine was in more guitar-based ‘indie rock’ I guess - lots of smoking weed and making 4 track tapes haha), so we legit forgot to put bass parts on like half the songs on our first album LOL. We’ve learned a lot since then! But in seriousness, we’ve definitely gotten better at bouncing ideas back and forth, at putting in a ton of different parts and then pulling stuff back, and the process is really dynamic and entertaining for both of us.

SC: This project started out somewhat unusually: I was in graduate school and beginning what would become a performance practice. I had hit a creative roadblock working with photography - the medium I was in school to develop- and after reading Frank Kogan’s Real Punks Don’t Wear Black felt this urge to make music as a document of experience following Kogan’s excellent essay on how punk and disco served as spatial receptacles for a wealth of experiences not present in the mainstream of the time. I extrapolated from this notion the idea that popular dance genres like Salsa, early Hip Hop, and Latin Freestyle among many others, had served a similar purpose for protagonists of a myriad Caribbean diasporas. These genres in turn served as sonic spaces to record, even if indirectly, the lived experiences of the coming and going from one’s native island to the mainland US wherein new colonial identities are placed upon you. From this I decided to create an alter ego (ChuCha Santamaria, where our band name originally stems from) to narrate a fantastical version of the history of Puerto Rico post 1492 via dance music. We had absolutely no idea what we were doing but I look back on that album (ChuCha Santamaria y Usted - on vinyl from Young Cubs Records) fondly. It’s rough and strange and we’ve come so far from that sound but it’s a key part of our trajectory. Though my songwriting has evolved to move beyond the subjective scope of this first album - I want to be more inclusive of other marginalized spaces- , it was key that we cut our teeth making it. We are proud to be in the grand tradition of making an album with limited resources and no experience :P

We’re a big community of vinyl enthusiasts and record collectors so first and foremost, thanks for making this available on vinyl. What does the vinyl medium mean to you as individuals and/or as a band?

MGK: I think for us, it’s the combination of the following: A. The experience of listening in a more considered way, a side at a time. B. Tons of real estate for graphics and design and details. C. The sound, duh!

SC: In addition to Matt’s list, I would just say that I approach making an album that will exist in record form as though we were honing a talisman. Its objecthood is very important. It contains a lot of possibility and energy meant to zap you the moment you see it/ hold it. I imagine the encounter with it as having a sequence: first, the graphics - given ample space unlike any other musical medium/substrate- begin to tell a story, vaguely at first. Then, the experience of the music being segmented into Side A and Side B dictate a use of time that is impervious to - at the risk of sounding like an oldie - our contemporary habit of hitting ‘shuffle’ or ‘skip’. Sequencing is thus super important to us (this album has very distinct dynamics at play between sides a/b ). We rarely work outside of a concept so while I take no issue with the current mode of music dissemination, that of prioritizing singles, it doesn’t really work for how we write music.

MGK: We definitely both remain in love with the ‘album as art object/cohesive work’ ideal, so I would say definitely - we care a lot about track sequencing, always think in terms of “Side A/Side B” (each one should be a distinct experience), and details like album art/inserts/LP labels etc matter a lot to us.

What records or albums were most important to you growing up? Which ones do you feel influenced your music the most?

SC: I know they’re canceled cus of that one guy but I listened to Ace of Base’s The Sign a lot as a kid and I think that sorta stuff has a way of sticking with you. I always point to the slippery role language plays in them being a Swedish band singing in English being consumed by a not-yet-English speaking Sofía in Puerto Rico in the mid 90s. Other influences from childhood include Garbage, Spice Girls, Brandy + Monica’s The Boy is Mine, Aaliyah, Gloria Trevi, Olga Tañon etc etc. In terms of who influences me now, that’s a moving target but I’d say for this album I thought a lot about the sound and style of Kate Bush, Technotronic, Black Box, Steely Dan, ‘Ray of Light’-era Madonna plus a million things I’m forgetting.

MGK: Idk, probably a mix of 70-80s art rock/punk/postpunk (Stooges, Roxy Music, John Cale, Eno, Kate Bush, Talking Heads, Wire, Buzzcocks, etc etc), disco/post-disco R&B and dance music (Prince, George Clinton, Chic, Kid Creole), 90s pop + R&B + hip hop (Missy & Timbaland, Outkast/Dungeon Family production-wise are obviously awe-inspiring, So So Def comps, Jock Jams comps, Garbage & Hole & Massive Attack & so on), and unloved pop trash of all eras and styles.

Do you have any “white whale” records that you’ve yet to find?

MGK: Ha - the truth is that we’re both much more of a “what weird shit that we’ve never heard of can we find in the bargain bin” type of record buyer than “I have a custom list of $50 plus records on my discogs account that I lust over”.

SC: Not really, I’m wary of collectorship. That sort of ownership might have an appeal in the hunt, once you have it do you really use it, enjoy it? Funnily, I have a massive collection of salsa records that has entries a lot of music nerds would cry over (though they’re far from good condition, the spines were destroyed by my Abuela’s cat, Misita lol, but some are first pressings in small runs). For me its value however, comes from its link to family, as documents from another time and as an amazing capsule of some of the best music out of the Caribbean. I’m glad I am their guardian (a lot of this stuff is hard to find elsewhere, even digitally) but I live with those records, they’re not hidden away in archival sleeves, in fact, I use some of that music in my other work. Other than that, the records I covet are either those of friends or copies of albums that hold significance but which are likely readily available, Kate Bush’s The Dreaming or Love’s Forever Changes, or The Byrds Sweetheart of The Rodeo as random examples

Finally, is there a piece of interesting band trivia you’ve never shared in another interview?

SC: haha, not really? Maybe that we just had a baby together?

//

Congrats on your new baby, and also for this wonderful new album. It was a pleasure chatting with you and I can’t wait to see what the future has in store for you and your music!

[traincat]

i just found out about the gwen and norman babies and i’m just wondering what the fuck

“What the fuck” is a pretty accurate summary, but okay, so. Story time, because while this ask refers to the developments of a story called Sins Past (Amazing Spider-Man #509-#514), in which it was revealed that Gwen Stacy had twins fathered by Norman Osborn, to grasp the full story here we’ve got to go back to a little bit to before the death of Gwen Stacy.

In Amazing Spider-Man #93, after George Stacy’s death, his brother Arthur invites Gwen to come stay with his family in England. (This is notably where The Amazing Spider-Man 2 gets its “Gwen moving to England” storyline.) Peter had been planning to propose to her, but freezes up under the knowledge that Gwen blames Spider-Man for her father’s death:

Gwen takes it as a rejection, and leaves to go stay with her aunt and uncle in England. One thing I don’t think gets touched on enough with Gwen is that she’s very empathic, and good at picking up on all of Peter’s feelings and cues – it’s just that she doesn’t have the full context to interpret them. This also isn’t the first time Peter’s been in this situation; after he graduated high school, knowing that Ned Leeds had proposed to Betty Brant, Peter also had planned to propose to her, somewhat secure in the knowledge that Betty would’ve chosen him over Ned. (She would’ve, and in fact when Betty’s marriage to Ned began falling apart much later, she and Peter briefly engaged in an affair.) But when Betty says she could never love a man who was an adventurer, “a man who risks his life each day”, Peter realizes that as Spider-Man it wouldn’t be fair to propose to her and storms out.

(He notably did not take into consideration that he was a high school graduate with a freelance job who still lived with his aunt in the “to propose or not to propose” dilemma. Typical.)

Gwen would return to New York in Amazing Spider-Man #98 – a whole five issues later. Coincidentally, this also marked the return of the Green Goblin, Norman’s memories of Peter’s secret identity as Spider-Man having returned. The Green Goblin was briefly stopped when Peter used the sight of Harry – who was suffering from a drug overdose – to shock Norman out of the Green Goblin persona. With Norman once again unaware that his son’s best friend and roommate was Spider-Man, Harry on the mend, and Gwen back from England, everything was coming up Parker and, though no specific details had been ironed out, Peter and Gwen were set to marry. (I think it’s important to note with PeterGwen how serious they were, and that they were planning to get married.)

But, famously, that didn’t last – Norman did remember, during a particularly nasty overdose of Harry’s, and he kidnapped and killed Gwen in Amazing Spider-Man #121. 

So with all that in mind, let’s talk Sins Past itself. This got long. More under the cut.

Alright, so, all that said and done – in Sins Past, the story is flipped on its head. In Amazing Spider-Man #509, Peter receives a letter from Gwen, allegedly written while she was in Paris, indicating that when she died she did so with some kind of secret. The letter arrives incomplete, the secret unrevealed.

Furthermore, two mysterious (and super-powered) shadowy figures are trying to kill Peter, but that’s just like, a Wednesday for him. Along the way, and with a stunning admission from Mary Jane, it’s revealed that the two shadowy would-be assassins are Gwen’s twin children, and that their father is Norman Osborn. 

Yeah.

The twins – Sarah and Gabriel Stacy – are aging preternaturally fast because of the Goblin serum Norman had dosed himself with. They were also born after only seven months – but the infants weren’t premature. It’s revealed that that’s why Gwen left for Europe, not, in fact, to stay with her father’s family, but to secretly have her children.

Yeah.

The twins were brought up in France by Norman, kept isolated from the world, and raised as trained fighters who believed that Peter was their father, and that he had abandoned them and killed their mother. So now they’re here to kill him.

Yeah.

So we’ll pause here to take some questions.

1) “What? Why? What?”

So initially, writerJ. Michael Straczynski wanted Sarah and Gabriel to be Peter’s children with Gwen. This was nixed by Marvel, under the belief that having two adult children would age the character too much. I mean, they’re actually like, seven years old, but okay. Denying Peter the status of fatherhood because it would “age him” too much is a frustrating pattern in Spider-Man canon: Norman notably orchestrated the murder of Peter and MJ’s baby several years before. Instead of chucking the story out of the window altogether, which you know, would have been my first pick, it was reworked so that Norman was the father of Gwen’s children, because that was so much better than Peter discovering he had children with one of the people he loved most in the world. Comics are here to be a frustrating experience for everyone.

2) “So Gwen cheated on Peter?”

This is a frustrating take on the situation I’ve seen on more than one anti-Gwen post, painting Gwen as the villain of the piece for sleeping with Norman, instead of as a vulnerable young woman taken advantage of by the father of one of her best friends, a disturbingly realistic scenario before you ever even add in the fact that Norman is a literal supervillain. When Gwen recounts her one sexual encounter with Norman to Mary Jane, she herself seems confused about how and why she ended up in the situation. While I don’t think the intent was to have the encounter be out and out nonconsensual, there’s more than enough room to wonder. 

This is a very emotional time for the cast of Spider-Man; George Stacy is dead. Gwen blames Spider-Man and Peter is dealing with that and the way he is dealing with it is making Gwen doubt his love for her. Both Harry and Norman are falling apart in very different ways. Sometimes, things happen and situations arise and there’s no planning involved; “naive young woman is seduced by the darkness inside of an older man” is a tired trope, but a prevalent one. In any event, even if Gwen did deliberately cheat on Peter (which, no matter how you read the issue of consent in Sins Past, is clearly not what Gwen describes to Mary Jane), she was taken advantage of by an older man in a position of power over her, and after she had his children he turned around, killed her, and raised and abused her children to believe that the man Gwen wanted to raise them had abandoned them and murdered Gwen. So there’s no version of events here in which Gwen Stacy is the bad guy, and using that argument to prop up one of Peter’s other love interests as a better person than her is a bad take. There are no “good people” here: these are fictional characters who have been handled by many different creators over the years. They cannot make their own choices.

3) “Wait, J. Michael Straczynski? Isn’t that the guy whose Spider-Man comics you’re always telling people to read?”

Haha yeah it sure is!! It can be rough recommending a whole run, because the longer they get, the greater the chance there is of there being that one story in there you reaaaaally don’t think is for everyone, which is Sins Past. And this is tough, because as much as I don’t think Sins Past should be in continuity, JMS’ amazing voices for both Peter and Mary Jane never falters.

There are a lot of different kinds of bad stories in mainstream superhero comics: bad plot, bad characterization; good plot, bad characterization; bad plot, good characterization – and those are just some of the possible bad story combinations. I think Sins Past is a bad plot that’s very disrespectful to a female character whose legacy was already her brutal death at the hands of a supervillain. Reframing that death so that, instead of merely being at the wrong place at the wrong time and paying the ultimate price, Norman purposefully hunted down Gwen before she could tell Peter about her twins, doesn’t help. As a fan of Gwen, I don’t like her part in this story and I personally don’t think it should exist (as the story it currently is, and I’ll touch on that later) in continuity. I think it should be explicitly retconned out in a way that brooks no argument. (JMS himself has said he wished to retcon it out, but wasn’t allowed.)

That being said, have I read this like eight times? You bet. I think the art is stunning, I think JMS’ is really an incredible talent when it comes to writing Peter, who can be, to put it simply, a difficult character to get. I find the PeterMJ scenes are beautiful, as are Peter’s melancholy-tinged memories of Gwen. Also, I love comic book garbage. Skrulls? Clones? Robots? A character’s long lost children, artificially aged to adulthood and back to kill their supposed father? Oh my God, that’s so stupid. I want twenty of it.

So my feelings here are really mixed. I don’t like the rewrite of Gwen’s history. I don’t like that this is in serious continuity (and I’ll touch on that in a moment). Additionally, I don’t think the timeline really works – I’ve never felt Gwen was abroad for quite that long, even with the sped up pregnancy, and when she does come back, there’s quite a lot of time for her to tell Peter, which was something Sins Past had made clear she’d intended to do. But whatever, retcons are retcons, they rarely if ever are perfect fits. I do like the characterization of Peter and Mary Jane, and I like it a lot. If I had to pick a story that in my own opinion perfectly highlights how Peter experiences every single strong emotion, it would be this one, which is unfortunate because, well, everything else about this. It is unfortunately totally believable to me that Norman would have slept with Gwen and then killed her, but tbh if I was picking a member of Peter’s social circle who would willingly sleep with Norman, it’d be Flash, who briefly worked for Norman and was quite enamored by him – before he waterboarded Flash with whiskey, strapped him into a semi-truck, and made him crash into Midtown High, landing him in a coma. Oh, and then, way later, also murdering him. Norman’s gonna Norman.

Like I said: mixed feelings.

3) “Wait, but is it in continuity when it’s almost never brought up again, and nobody, not Peter or Mary Jane or Norman, mentions it even when it would make sense to and also nobody wants this in continuity anymore?”

Hhhh yeah it unfortunately is, and I’ll outline why, because it would have been so easy to take it out of continuity. So Sins Past takes place shortly before One More Day, wherein Aunt May was shot following the events of Civil War, during which Peter had revealed his identity on national television and the Spider-Man cat was out of the bag. In One More Day, Peter’s offered a choice by Mephisto: his marriage for his aunt’s life. Ultimately, unable to live with himself if he says no, Peter agrees. The marriage (although notably not the long term committed relationship – in the altered timeline, Peter and Mary Jane were still together from the date of their wedding to just after Civil War) was erased from the timeline, Aunt May was saved, and Peter’s identity was once again hidden from the world and from many of the people who had already know, like Felicia Hardy, the Fantastic Four, and most notably from Aunt May. There were also some additional changes made: most notably, Harry Osborn, who died in Spectacular Spider-Man #200, the best issue of all time, was alive. Clearly, the changes to the narrative’s web, if you will, extended beyond the framework of just Peter and Mary Jane’s marriage. Like I said: basically nobody talks about this story. It shows up on lists of the worst comic book plots of all time all the time. The characters almost never bring up Gabriel or Sarah – there is a sequel story called Sins Remembered: Sarah’s Story (The Spectacular Spider-Man vol 2 issues #23-26), written by Samm Barnes, where Sarah sends for Peter’s help in Paris and he does his level best to be her dad.

But of course all is not as it seems blah blah. I won’t say it’s the worst comic I’ve ever read. 

It would have been easy, then, to retcon Gabriel and Sarah out with Brand New Day, since nobody ever talks about them or wants this story to be in continuity, including its original writer. Right?

Wrong. In the American Son miniseries, which is post-Brand New Day, Gabriel Stacy makes a prominent reappearance, although Sarah’s whereabouts are unknown.

I’ll be honest: I personally don’t consider this series of events to be canon. I never mention or include it. As far as I’m concerned, it’s extra-canon material, not to be counted. But that’s just me personally as a reader. If I was asked whether or not this was actually canon, in that it was published and not retconned back out – the answer is yes, the twins exist in canon. Not my personal canon, but the actual canon.

But we could fix that.

4) “Well, Traincat,” said nobody, “how WOULD you fix Gabriel and Sarah Stacy so that the twins could be kept in continuity without everyone screaming?”

Great question, me! I would fix it with the greatest out Spider-Man storytelling has ever given us: clones. It’s very notable that Sarah looks exactly like Gwen…

Gabriel was specifically drawn with a strong resemblance to Peter. Look at that. The Osborn hair doesn’t spare people that way. The answer then, becomes simple: keep the story. Keep Gabriel and Sarah. But have them be revealed as two of the Jackal’s Peter and Gwen clones. It’s a better explanation for why Gabriel and Sarah would be adults than “the goblin serum did it”, and planting the twins, who could fully believe they were who they said they were with the use of artificial memories, in Peter’s path as a form of psychological torment fits with many of villains – presenting Spider-Man with the children of his lost love, fathered by one of his greatest enemies, as a form of torture. As for Mary Jane’s recount of when she found out, well – the same thing: implanted memories. There are more than enough characters on the Marvel landscape who are capable of that. It’d be pretty easy to pull off, since Marvel seems stubbornly set on keeping Gabriel and Sarah on the playing field, and honestly, it makes a lot more sense. Clones! (Let me pull it off, Marvel!!)

One final note: Sins Past outright alleges that Gwen and Peter never had sex, because Peter knows from the start in the story that they couldn’t be his children. To which I would like to say: lol yeah right.

So that’s (probably more than you wanted to know about) Sins Past! 

[apieters]

The clash of steel rang on the streets of the Magic Kingdom as a furious duel erupted in New Orleans Square. In the midst of a band of soldiers all the way from Agrabah, lead by Captain Razoul, two swordsman stood their ground, slashing and thrusting back-to-back against superior odds—in other words, it was a fairly average Friday afternoon for Christopher “Chris” Carnovo and André Caron, the Swashbucklers of the Magic Kingdom.

A stranger duo couldn’t be found from the Frozen lands of Arendelle to the Primeval World. Chris was a young, greyish-blue tyrannosaur, dressed in a blue pirate’s coat belted with a white sash, wielding a rapier with lightning-fast thrusts. André was a young man with shaggy brown hair and a black padded jacket, slashing violently at his foes with a sabre. The soldiers of Agrabah pressed hard on every side, but the odd pair had two things in their favor—they were both masters in the art of swordsmanship, and they had been fighting together since childhood.

Chris and André had a long and colorful career—starting as privateers in their youth, the two had almost single-handedly cleared the seas of pirates such as the notorious Captains Nathaniel Flint, Henry Morgan and “Black Bart” Roberts, before taking up service as fight choreographers in their young adult years. The two friends had choreographed almost every fight scene in almost every movie made in the Magic Kingdom, a land of princes and princesses, wizards and witches, pirates and knights, talking animals and other motley characters. Under the leadership of Mickey Mouse, the protégé of the late Good King Walt, the Magic Kingdom was a land of art, culture, and storytelling, producing some of the finest movies in the world. But while some made their names on the silver screen as actors or served the Kingdom as statesmen and captains of industry (often all three), others made their names behind the scenes. Chris and André belonged to the latter category, but their work had made them many friends all over the Magic Kingdom—friends that sometimes had need of their special set of skills.

“Just once, I’d like to be called in for a favor that doesn’t involve the risk of getting stabbed!” André Caron snapped at the tyrannosaur as he slashed up, knocking a sword out of a soldier’s hand.

“We’re professional swordsmen, André,” Chris shot back as he spiraled his rapier, sending another scimitar flying out of a soldier’s grip. “What kinds of favors do you expect people need from us?” He lunged to the side just as a soldier was trying to flank his friend, arresting the attack. The two shifted positions effortlessly, their efforts coordinated like a dance. “Besides,” he smirked, parrying a wild cut from another soldier, “Where’s your sense of adventure?”

“I left it at home with the good book I was reading!” André shouted. A soldier rushed him and he grabbed the soldier’s wrist, wrenching his arm back before kicking him into his comrades.

“So, you don’t think we should be out here rescuing our friend?” Chris asked, spiraling his blade to intercept a cut and slashing at a second swordsman before thrusting over his shoulder at the first.

“I never said we shouldn’t be here,” André said, smashing his guard into a soldier’s forehead before parrying another incoming strike. “Just don’t expect me to be happy about it!” He swiped wide, left and right, whirling his sword in a dangerous dance of steel. He plowed through the soldiers, knocking them this way and that, clearing a way for the tyrannosaur. “Alright, Chris, I’m holding off as many as I can. Find Razoul and work your magic.”

This is the opening scene of a Disney fan-fiction story I’m rewriting. I started writing it for a couple reasons:

1) Chris needed a home. I’ve been drawing this swashbuckling tyrannosaur and his human companion (yes, André is named after me—there aren’t enough characters with my name, and that needs to be fixed) for just about 20 years now, and figured he needed a proper story. But what kind? Well, as I looked back, I realized that he was always sort of inserting himself into whatever I was interested in or reading at the time—piracy, Disney movies, books, etc. He was always a fan-fic character. So he needed to be in a fanfiction story. And as I tend to prefer a Disney-esque/traditional Western cartoon style, I decided he needed to be a Disney character—just one who works off-screen.

2) I really want to write original stories. I have at least 3 or 4 solid concepts, but when I decided in college that I wanted to write, I figured out I SUCKED at dialogue. And pretty much everything else. I had some raw talent, but of course that’s never enough—and being a perfectionist, I wasn’t going to waste an original story as my first attempt at learning the craft of writing. So I started exploring blogs about writing fantasy and credible, published authors all said the same thing: they started by writing fan-fiction. The reason they gave was that it was motivating because you already love the characters, and the world building and character creation is done for you (you can learn those skills later), leaving you free to focus on more fundamental aspects of writing craft—things like dialogue, pacing, plotting, planning, description, active vs. passive voice, all that jazz. So I decided to follow their advice.

I said earlier I was rewriting it—well, I got a little more than halfway through and the story just ran out of gas. The characters, I realized, would never and could never do the things necessary to advance the plot without breaking character, getting themselves killed, or using a dues ex machina. There were too many dangling plot threads, too many unnecessary characters, and after five years of intermittent drafting (I was in college, then I’ve had a day job or been job hunting ever since—I’m busy) I had gotten to know my characters (or my interpretations of several preexisting Disney characters) well enough that I could see major inconsistencies across the 200+ pages I had written. So I decided to go back to the beginning and rework the plot, making it a lot more consistent and focusing on a tighter core of characters. This scene was not in the original draft, and I think it establishes my characters far better than what I’d written before (which was essentially an info-dump of exposition—classic mistake).

Artist Behind the Scenes

Illustrating the picture presented several difficulties—one, I absolutely loathe myself for constantly choosing ground like grass or—in this case—cobblestones, which require a lot of repetitive, regular shapes. But that’s what the picture required, so I decided to make the cobblestones a little scribbled and blurry, and made the background lines thicker and fuzzier too. The biggest challenge was drawing multiple opponents—each guardsman is a unique person and requires individual attention to meet my minimum visual quality standards, and I can’t get away with vaguely soldier-looking blobs (as I’ve done in other pictures) since they are an integral part of the action that is the main focus of the piece.

The solution was to remember the adage, “the essence of the picture is the frame.” By positioning Chris and André just right in the frame and filling up as much space as I could using them, I could get away with only drawing parts of most of the guardsmen to give the effect of an outnumbered, chaotic street duel. I ended up framing the two characters with a ring of enemies, with Razoul appearing in the back to round out the impression of being surrounded on all sides.

The scimitar sabres (“scimitar” is a European butchering of the Persian shamshir) were a compromise between the way the Agrabah guards’ weapons appear in the movie Aladdin (where they are comically short and fat and have a clipped point) and real weapons. No actual Middle Eastern sword, to my knowledge, ever had a clipped point, which was actually a common feature of European single-edged swords like falchions and messers (which probably were the real inspiration behind Western artwork’s depictions of Eastern sabres); few sabres were ever as fat as the cartoons make them out to be; and most Middle Eastern sabres have straight, not recurved quillons. Most real sabres were relatively narrow, light swords meant for slashing/draw-cutting from horseback, not percussive chopping, and instead of a clipped point Turkish sabres often had a flared, double-edged tip called a yelman. I was thus faced with an artistic dilemma: integrity to reality or integrity to the source I was emulating. These are supposed to be the same guards as appeared in the “One Jump Ahead of the Breadline” musical number in Aladdin, armed with the same weapons; yet the action is taking place in “real life,” off-camera. I ultimately decided on a compromise: the scimitars would retain the same shape and features as in the movie, but I edited the dimensions to look a little more like real swords instead of meat cleavers.

(Disclaimer: Chris and André belong to me—everything else belongs to Disney).

[wi-fu]

Hi wifu! I’ve been following your blog for a while and I really love your work! How did you get so popular?

This is…a very wide topic to discuss!

I feel like it’s really easy to forget that having ‘appealing’ art and being a very skilled artist are two different things. Why did that sketch by that popular artist get thousand of notes but my full illustration with background only got 5 notes? That’s very discouraging. Does that mean my drawing was worse? Not really, at least not in terms of execution.

It’s a little harsh to put it this way, but think of it as if we were on Tinder. It only takes two second to swipe left if your artwork doesn’t catch the viewer’s attention.

There’s a huge difference between being skilled and knowing how to present your art, and blaming others for not getting notes is a detrimental way of thinking that will only slow you down!

This is not just some anti-negativity bullshit. It’s practical. It’s not the average viewer’s fault if he ignored or “just liked” your piece without reblogging. Blaming external causes for your own lack of popularity just makes it so you keep doing what you do blindly, holding yourself back from improving.

I recommend checking this post by tamberella out for a much better understanding (and more insightful tips) on the topic of appealing art.

It doesn’t mean you shouldn’t strive for popularity (after all, especially if art’s gonna be your job, it’s important to understand what works and what doesn’t, in a field in which communication is key), but make sure you do it with understanding instead of blaming others or guilt tripping them into reblogging your art. (I made a comic about this a while ago)

Back to your question…there’s not a specific way to become popular.  I can only offer a few tips on attitude / blog management / drawing:

Practicing by drawing a lot is important but practicing by observing a lot is the key to improvement! Being exclusively self-referential leads to stagnation.

Observe what other people do, understand why certain things work more than others do. This doesn’t mean you should copy specific pieces. Just take the overall vibe of something and rework it. See what people like!

Find popular artists who do something you feel is similiar to what you do. Understand what is it that makes their art so appealing.

Artstyles work as a the sum of their parts. There are so many parameters when ‘rating’ a drawing. Anatomy, lineart, coloring, composition, style, perspective, posing etc. are just a few of them, and just because you have an understanding of some it doesn’t mean you got it all figured out. For example, realistic shading might not be the best choice with very cartoony proportions, but might work in some cases. Analyze single pieces instead of a whole gallery!

Make separate folders for the art you like solely for its content (as in fandom/character depicted), and the art you like for how it’s made. Name the folders accordingly, such as concept, composition, coloring, poses, etc. You’ll need these more than you realize.

Tag your drawings in the right way. The first 5 tags are the only ones showing up in the tumblr /tagged/ (and the first 20 tags are ones showing up in /search/), so use them carefully instead of filling them up with #this sucks i know im sorry, #i did this very quickly, #im so tired, and so on.

Be consistent! You won’t get much of a following if you post a sketch once every six months.

It’s ok to reblog your own art once or twice but filling your followers’ dash with the same drawing over and over again won’t make it suddenly go viral, so finding a good balance might be useful

Negativity can be very heavy to handle sometimes, and people who don’t know you just wanna have a good time looking at your art, without the angry/sad stuff. Getting an art-only blog might be a good idea - this is especially true if you’re not ranting about your personal life, but about the lack of attention your art gets. Be nice to your followers, blaming them for not reblogging your art is counterproductive!

Give it time! Regardless of your skill, it’s gonna take a while to gain an audience.

On a final note, I would like to clarify that at the end of the day you’re free to draw whatever you want, these are just tips for a better understanding of how visual impact affects the amount of visibility you get. As long as you’re having fun, keep drawing whatever it is that you’re drawing!

I hope this was somewhat helpful. Take care!

[lyntendoswitch]

At the tail end of 2020 I discovered the video content of Tim Rogers who has inspired me to also voice my game opinions in an unnecessarily verbose and personal way. I don’t recommend clicking on the read more, but if you’d like to read a little bit about the best games I played this year, go on ahead.

10. What Remains of Edith Finch 9. A Short Hike 8. Disco Elysium 7. Personal 5 The Royal 6. Persona 3 Dancing In Moonlight 5. Vestaria Saga War of the Scions 4. Ring FIt Adventure 3. Final Fantasy 7 Remake 2. Hades 1. Animal Crossing New Horizons

2020 found me with an unprecedented amount of free time. I spent most of this year working for the government (a job with a very small brain effort that left me with evenings and weekends free to do whatever the hell). Additionally, I spent most of the year in quarantine with video games as my true, real friend and life companion. Compiling this list gave me more titles than ever to choose from, so I feel better about my list than ever. So here are the best games that I played this year.

Before I get into the top 10 I want to give 4 honourable mentions.

13 Sentinels: Aegis Rim This is the most recent game I played since making this list. I loved so many things about this game - the soft art style, the harsh music, the convoluted crazy plot. I love the aesthetic of this game and loved the characters - I believe it is rare to have an anime game where none of the characters irritate you. I even loved the combat, although I did not think I would. Something about shooting so very many missiles is so satisfying even when you don’t exactly know what is going on in the screen. The final battle in this game was definitely my favourite moment in this game - it was stressful, it was engaging, it was so extremely fun. The tragedy of this game comes down to personal taste. All time travel stories with complex timelines are bound to fall apart eventually, because no writer can keep all the threads together in a logical sense. 13 sentinels had so many story beats, plot twists, betrayals, and sci-fi tropes crammed into their storyline that I knew halfway through the story that there was no way they would be able to resolve all of it in a fulfilling way. I was, unfortunately, right - the ending explanation for all the chaos is, in my (correct) opinion, extremely lame. However, I certainly had fun on the journey.

Fire Emblem 3 Houses: Ashen Demons DLC I did not place this on my ranking since it is not really fleshed out enough to be considered its own game (unlike in previous years, where I have confidently but the Splatoon 2 Octoling Expansion as a separate title from Splatoon 2). However, this blog is, above all else, a Fire Emblem stan account, and I will not NOT talk about Fire Emblem. I do not care for the Abyss house. I think the characters are too close to being plucked out of the Fire Emblem Fates universe for comfort, and I mean this to be as profound an insult as possible. These characters are gimmicks above all else. I also do not care for the expanded lore that the sewer city brings to Garreg Mach. The idea of a centralized church school army is already so unstable, and to have a population of rat people living under it makes the whole foundation of the world crumble a little. However, the story and gameplay of the Ashen Demons DLC added something that the base game did not, which is challenge. (As an aside, I play on normal mode and am aware that there is challenge available to me if I wish for it.) FE3H offers you so many characters, so many paralogues, so many opportunities for training and stat increases, that eventually plot missions become completely boring. Ashen demons limiting everyone to new and interesting classes, limiting your available units, and preventing any sort of training made the chapters fun again. I found the chapter where you were supposed to outrun a golem before some gates closed fun as hell - it was my favourite part of the entire side story. 

Kentucky: Route Zero I played this game in February, and I remember not liking it at any point. It is confusing, disorienting, and lacked a clear goal. However, it has now been 10 months and I still think about it constantly - both the vignettes presented in it, and the way it made me feel. The Besties podcast made an excellent point about this game when they said that no one who plays this game ever compares it to other games - only books, movies, or paintings. The whole game is so fascinating and sticks with you - the wretched circle of a highway, the horse funeral. My favourite part is the live performance you attend at a run down diner with your party of four as the only audience. It is so quiet and contemplative and melancholy, and the scene is absolutely perfect. Kentucky Route Zero might be my favourite high concept artsy abstract artwork ever.

Blaseball As with everyone, it is difficult to call Blaseball a game. As the website says, it is a cultural event that I am so happy to participate in. I am so happy to have found a piece of media to fill the aching void that left by Homestuck when it ended, then re-opened the wound with their awful post-epilogue novel. I deleted my Twitter account this summer because I was tired of being angry and doomscrolling. And then, after Chris Plante on the Besties told me about Blaseball, I happily remade a Twitter account that only followed the official Blaseball account, the devs, and the numerous RP accounts. The quality of life improvement that having simulated, pleasant, hilarious social media to check every day is indescribable. It helped me cope with a rough life transition. Thank you, Blaseball. My favourite moment of 2020 is the 11pm boss battle of Shoe Thieves vs The Shelled One’s Pods.

And now....... The List.

10. What Remains of Edith Finch The start of 2020 was incredible because games journalism websites were churning out endless top 10 lists for both the end of 2019 as well as the end of the decade. I religiously picked through all of these lists and wrote down a list of 30 best indie games of this past decade that I missed out on for whatever reason. It was my first and last experience with a backlog - previously, I would simply impulse purchase games I really wanted to play, and I would not rest until the game is beaten. Having a backlog of things to try stressed me out endless and it dampened the impact of almost all of these quirky 1-6 hour indie experiences. However, not even the stress of meeting a self-imposed quota could dampen the impact of What Remains of Edith Finch. Exploring this house and playing through its various scenarios was so fascinating and beautiful. For me, the most impactful moment of the game was playing as the little girl who became an owl who became a sea serpent. That was when I realized I was not playing something that I would be thinking about for a very long time.

9. A Short Hike A Short Hike was the very first game I played off my backlog list of Best Indie Games. And boy, is it ever. This game takes 2 hours to finish but is absolutely saturated with heart and the exploration makes those 2 hours feel like you have been on a much longer and more fulfilling journey than you believed possible with so few hours. It is Animal Crossing and Legend of Zelda combined, condensed, and polished into a beautiful pearl. I was so instantly in love with the characters and loved doing the little side quests. I also loved getting totally lost because I wanted to see how far I could swim and ended up on a different part of the island. The most impactful moment of this game is its finale, which I won’t spoil, but it is absolutely incredible.

8. Disco Elysium Many people more eloquent than me have said great things about Disco Elysium, and they are all correct. As someone who loves character building and creating a character to roleplay instead of playing as myself in a game, I have never been more enabled to do just that than Disco Elysium. The mystery was so cool, the mechanics are exactly what I like, the exploration is great. The one drawback of this game is that I literally cannot remember a single song from it. Maybe it had an amazing OST? Every game that is released nowadays has to have an amazing OST. There is so much reading in this game that the music really has to be unintrusive, and so it faded right into the background and out of my memory. I love that you could create your own persona in the game, but that you find your identification later and discover who you were before. Also, I would die for Kim Kitsuragi. The finale of this game also kicks ass - I will not spoil it but there is a moment that is so quiet and intimate that it took my breath away. What an amazing experience.

7. Persona 5: The Royal In 2017, I did something that is not the deciding factor, but definitely contributed to, my being sent to hell after I die. I was in an unhappy relationship and really wanted out, but my boyfriend at the time had a PS4 and I did not, and I really wanted to play Persona 5. As such, when he got the game and I borrowed it, I tried to finish it as quickly as possible so that I could give it back and break up with him. To my dismay, Persona 5 is upwards of 80 hours long, and I was burned out long before it was over. I finished the game with such resentment in my heart that I could not fathom why anyone would like it. As someone who is older, wiser, PS4-er, and in a better mental state, I decided to give P5R a try. Playing the remake at a much slower pace and really contemplating the story and characters made for a totally different and much more pleasant experience. I finally was able to shed my dislike for these characters who held me hostage 3 years ago and really appreciate them. Additionally, the new content they added to the original was SO good. The new music in Mementos makes that whole section bearable!! Akechi’s entirely reworked social link!! Maruki is one of Atlus’s most interesting characters, and the final dungeon was so so so interesting!! I am profoundly sad that I can’t recommend this game to anyone because 120 hours is just prohibitively long. Most impactful moment: when Akechi joins the party and he is like, totally feral, lol

6. Persona 3: Dancing In Moonlight Every once in a while my palms start to itch because it has been entirely too long since I’ve played a rhythm game. This palm itch feeling sunk me deep into Theatrhythm Final Fantasy back in 2017, and this feeling forced me to impulse buy Persona 3 Dance. I am furious that I liked this game so much, because I know it was created simply to extract money from fools like me. The story was so blatant about it! “It’s a dream, ok? We’re all dancing because it’s a dream and none of this matters. Go play a song, idiot.” I’m not even angry at this - I almost respect the hustle. Additionally, it was so wonderful to hang out with the Persona 3 crew again. I did also play Persona 5 Dancing in Starlight, but since I had already spent a hundred and twenty hours with the phantom thieves, there was no feeling of being reunited like with P3D. Also, in my mind palace, I consider P3D to have “actually happened”, and P5D to be the money grab hustle. S.E.E.S. is a cohesive unit. If Mitsuru Kirijo says it is time to dance, then dance we shall. I cannot be made to believe that Ryuji, Futaba, or Makoto will be compelled to dance even in a dream. Finally, having Elizabeth as your velvet room attendant did wonders. If there is a line between being a loveable eccentric and being annoying, Elizabeth tiptoes just around the former, whereas the twins are squarely located in the latter. The remixes in P3D also all kick ass (Burn My Dread Novoiski Mix? Deep Mentality Lotus Juice Mix?? Neither had any right to go as hard as they did), and I loved how they personalized the dance styles to the characters’ personalities. Even if this game was a money grabber, it was still made with love and respect for the series, and I loved playing it.  Most impactful moment: That first king crazy ranking on all night difficulty... god damn

5. Vestaria Saga: War of the Scions I had mentioned earlier that I appreciated the FE3H DLC for adding challenge back into 3 houses, but then I played Vestaria Saga and I realized I simply did not remember what challenge actually was. Vestaria Saga, the game by Fire Emblem’s creator, is the hardest Fire Emblem game I’ve ever played. This game honestly rules - it closes its door to the waifus of modern fire emblem games and is a return to form with political intrigue and smart tactical decisions and well-rounded characters. Every single chapter has these wonderful and deeply stressful plot twists and you always have to scramble to get all of the objectives complete without dying. There is a moment in this game where the main Lord, Zade, scolds princess Athol for being so reckless, how he had to force the army to fight a losing battle to rescue her, and look at how exhausted everyone is. He gestures to his army, and for the first time in a tactical RPG, I felt it. In all the fire emblems I play, my units end up being able to dodge and tank any hits they receive, but in Vestaria Saga finishing a map was a stressful, long, and sweaty process. I loved every second of playing this game - it is so rewarding in its gameplay and so rewarding in its story. Most impactful moment: the kiss!!! And how all of them face consequences immediately afterwards!!! I adore this game.

4. Ring Fit Adventure Ring Fit Adventure is the most fun I’ve ever had with a gimmicky fitness game. This game finally understands that they key to continuing with the game and building good habits is the ability to unlock and equip beautiful athleisure clothing. I actually got gains from Ring Fit Adventure, and I know this because I stopped playing it for a month, came back, and was unable to finish the reps at the difficulty I set for myself. This game make gym stuff so genuinely fun in a way that no one else has been able to do. I also really like the feel of the ring con! I have a few moderate complaints about it (a fitness game will never be perfect, unfortunately): you always start reps on the same side, and if you kill enemies then you don’t get a chance to try the other side at all, the motion sensor on yoga poses is wack, and FUCK the robot baseball minigame game to hell. Despite this, I absolutely adore this game and what it stands for. I may never beat the campaign, but it will always have a place in my heart. Most impactful moment: the first fight with Drageaux

3. Final Fantasy 7 Remake I was so so so curious about the hype surrounding this game that in the month before its release I manically played through the original Final Fantasy 7 so that I would have enough background information to be able to play and enjoy the remake. I was very glad I did. FF7R kicks ass. It is my favourite Final Fantasy game ever, and maybe it will always be so. I take a lot of issue with most FF games because they get too cosmically big and ridiculous and nonsensical by the end and that ruins the immersion of the story for me. Since FF7R only covers the Midgar portion of the original, it is forced to create grounded characters and a grounded, smaller scale story. And it is AMAZING. I loved every single minute of this game. The OST is incredible, and the art in it is absolutely unbelievable. I love how they incorporated random encounter enemies in this more realistic version. Also the dialogue!!! The way these characters banter with each other is so life-like and true to character that it boggles my mind. Even the NPC side conversations - never has a city or town felt so alive and filled with people than in FF7R. The ending of this game filled me with PRIMAL fear for the future, but it is so clear that the team making this game loves the world and its characters so much that I cautiously say I trust them to take the story further in the later remakes. Most impactful moment: Cloud saying “bring it on bitch” to an enemy made me black out laughing

2. Hades I generally stay away from rogue-likes and from real-time combat because for a game-liker I SURE am bad at video games. However, everything Supergiant Games ever makes seems tailor made for me, so when Hades came out of early access I bought it, and then I didn’t stop playing it until 80 hours later when I had unlocked everything ever. This game is SO good. The voice acting and storytelling is phenomenal. They did a spectacular job blending the story with the core gameplay elements. They made dying in a rogue-like fun and rewarding. The music is (as always) transcendent. I cannot say enough good things about Hades. Most impactful moment: a tie between the first time you watch the sunrise after your first successful escape, and the romance social link between Zagreus and Thanatos

1. Animal Crossing: New Horizons Of course... Death Stranding may have prophesized the pandemic, but Nintendo created it to sell copies Animal Crossing New Horizons. This game saved all of us. The experience of having so many people I knew playing the same game all the time for the entirety of March and April was so incredible. I have plenty of quips about ACNH with relation to old games in the series (I loathe crafting, I loathe printing out Nook Miles Tickets one by one, and I worry that the sandbox landscaping feel of this game makes me less inclined than ever to actually talk to my villagers), but while they are all valid criticisms, they certainly did not stop me from pouring 350 hours and counting into this game. I have loved slowly, carefully crafting my island into a replica of Garreg Mach. I have loved collecting furniture and making turnip money and completing the museum. There is simply no other game that can be 2020′s game of the year. Most impactful moment: checking your mail and having one of your friends mail you an item that reminded them of you

[noelclover]

Just some updates, thoughts, basically an attempt at communication with you all who read my stuff and, for some bizarre reason, enjoy the idea of conversing with me. Which is rather mad of you. Thankfully, you’re a rare lot. ((A quick warning for those who actually try to talk to me: I’m absolutely shite at conversing and most of the time I’m joking around like the wanker I am. Quite a few people can confirm this, I’m sure.))

Since I’m somewhat more cured off (or rather, put off) by the more political side of things, mostly because they’re all ridiculous and absolute bonkers, I feel somewhat better about everything, enough to just start posting about the random things that I may have been doing or am considering. So currently I’m considering a sketch of u’s with Final Fantasy classes, mostly because FF has always kind of been a nice fantasy set of games I’ve enjoyed, including the absolutely mad (I didn’t understand a single thing in the tutorial) FFT. I’ve also been playing around with the idea of an ARPG (I don’t like the term, but it’s shorter than Diablo-Clone) based off of FF. Though it’s just a bounce of ideas it’s kind of fun. Maybe I’ll write something up for a table top, or learn programming and 3D art, which I’ve kind of wanted to play around with for a while now.

Speaking of ARPGs, Path of Exile has been quite a blast to play, mostly because I enjoy the whole Path of Building thing and I enjoy these sorts of games I guess. Wish there was 3D art for some of the uniques. I do like how the skills and passive tree works out, it’s like an advancement for the materia and (rather arse) sphere grid from the FF games. Which I’d probably take too if I ever get to make an FF-Ivalice ARPG, which is most likely never, but thinking about things is always fun.

(Also wish there was a way for me to set myself on fire and benefit quite a bit from it. No, random person in Global Chat, I refuse to play the game like a normie and not set myself on fire.)

I’ve also been kind of struggling with drawing. I find myself absolutely loathing colouring for some reason, but I think it’s kind of good that it’s the colouring bit since I don’t think people really fancy me colouring too much. Bless your eyes and hearts. I’ve been kind of torn between how I want to draw since there’s a lot of emotions and things that I want to portray. Fortunately that’s not too much of an issue, so all is well. The only thing I think you guys can expect would be... even less coloured pieces. Which would be impressive given how little of those I do.

I’m thinking of rebooting Shipper Kotori, though I might just rework it instead.

A part of me also wants to actually work out the 2hu board game idea I have and maybe, hopefully, make some money out of it if I can. Tossing ideas about.

Mmm... I think that’s it for now. If you actually read this through to the end, thanks for reading! If you came down for a tl;dr, there’s none.

[satireknight]

TMNT S02E01 - Return of the Shredder

I’m gonna get this out of the way now: the rest of the 1987 series is not as beautifully animated as the first five episodes, and the stories don’t tend to have many arcs or other such things that I tended to praise in the first season. But I’m not gonna bitch about those things, because it’s the norm and shouldn’t constantly be negatively judged by the highest points. 

Anyway, this episode opens an unspecified amount of time after the last one, with Michelangelo and Leonardo shopping for groceries and squabbling about what toppings they’re buying.

I know we’re meant to suspend our disbelief about nobody on the planet being able to notice what they look like under their trenchcoats, but... come on.

Just then somebody robs the checkout counter, so they decide to intervene, and.... why is Leonardo wearing a jacket under his coat?

The one part of his body he decides to hide... is the one part nobody can see anyway because of the coat? I just don’t get it.

Anyway, they whip the robbers using grocery products (a lot of them) and tie them up with a store sign, and are allowed to leave with a free shopping cart full of groceries. I think the store might want the cart back, though. They’re remarkably expensive.

It must be a slow day, because April is covering a thwarted robbery at a grocery store. 

This episode also solidifies the supporting cast at Channel 6, by introducing April’s receptionist friend Irma, who is kind of dim and man-hungry; April’s douchebag boss Burne, who is a douchebag who lets his way-younger girlfriend influence his news work; and Vernon, who turns from just kinda sleazy to a full-on oily misogynist prick.

We then switch back to the Technodrome in Dimension X, where Shredder has donned his Whiny Little Bitch Hat and has apparently been pestering Krang to send him back to Earth about half as hard as Krang pestered him for a body. So Krang sends him back, apparently just to get some peace and quiet.

And Splinter apparently gets a premonition about this while the Turtles are busy infodumping each other about stuff they already know. You know, as people are wont to do.

Is it just me, or does that strapping look like it’s coming loose?

Anyway, Shredder gets kinda pissed off when he comes back, first because he was inconvenienced by some muggers, and secondly because he doesn’t have a small army of followers there to back him up. Krang’s attitude is that he can have some backup if he actually manages to accomplish something like killing his enemies. I assume Krang is going to spend his infinite time taking over something in his own dimension.

“Of course, I’m in the Big Apple.” I sometimes wonder if anyplace else exists in this series, to be honest.

Apparently that armor is made out of adamantium too, if a single punch can severe a branch as thick as a man’s torso.

So he does what any respectable villain would do: heads to a crappy run-down martial-arts dojo filled with flabby white guys who couldn’t throw a good punch with a catapult. The most notable thing about it is that the schmuck in charge is voiced by none other than Optimus Prime. I’m not even kidding.

And they highlight what wusses they are by immediately joining him when he destroys a punching bag. Imagine if Megatron had done that.

So in the course of maybe an afternoon, Shredder has managed to whip all the losers into semi-competent martial artists... which really highlights that his talents are wasted as a supervillain. Hell, if he just got enough disaffected people together for a few weeks, he could train an actual army.

And his brilliant scheme? He’s going to have them dress up in Turtle-themed T-shirts and paper bag masks, and have them commit crimes in order to wreck the Turtles’ good name.

I gotta say, this is a step down in writing. I guess if wearing a trenchcoat can disguise every single part of your body, from the shape to the color, then it’s not too implausible that all these incredibly nearsighted people would be incapable of telling actual turtles apart from guys in T-shirts.

But it’s really just such a silly idea for a villain to come up with, especially when the whole idea is “they’ll have to surface to clear their name, despite having spent their whole lives up to this point in hiding.” Even the voice of Peter Cullen can’t make this whole scheme seem anything but silly.

And I think Krang agrees with me, because he just yells, “You call that a plan?” and tells Shredder to stop calling him until he’s actually done something. I like to think he’s prepping for a planetary invasion or something interesting like that, and he’s annoyed that Shredder is constantly pestering him.

So Shredder decides to get some quality help... at the nuthouse. No, seriously.

And now suddenly I’m having visions of a Monty Python skit involving a lot of overacting.

So yes, he’s come there to break out Baxter Stockman, who has apparently been wearing the same clothes for quite some time now. Why? Because if at first you completely fail to kill a giant rat, try try again... using the same designer. So Baxter latches onto the first piece of construction equipment he sees and plans to rework it.

“... not a rat in this city will be safe!” Um, technically that was also what was supposed to be true of your Mousers, and just look what happened there.

April is also stressing out because of the robbers masquerading as the Turtles, which pretty much everybody is assuming are the actual Turtles because... people are kinda stupid. And instead of just making a copy of the tape and bringing it to the Turtles, she insists that they come to the Channel 6 building... and risk getting caught by hostile people. She didn’t think this through, I think.

Then again, they decided to bring their giant blimp with the word “Turtles” on the side. Apparently they aren’t that worried about being seen.

And even though the video only has one guy doing a single martial-arts move (kicking open a door), Leonardo is able to discern the guy’s fighting style instantly, figuring out that Shredder must have taught him. Because apparently the Foot Clan has only two members.

And then they’re chased out by the shrill voice of Burne’s girlfriend, which can double as a torture device.

“And what exactly are you doing here?” “Tell her, snookums...” Um... did the show just imply that Burne is having sex with his girlfriend at work? Talk about getting crap past the radar!

And for the second time in as many weeks, Splinter is chased down by chompy robots made by Baxter Stockman. He must be having so much deja vu.

I’m starting to wonder if they keep repairing these walls between episodes. Also, this means that Baxter knows where they live... even though Shredder spends most of the series trying to figure that out. Oops.

The Turtles obviously notice that something smashed down the wall and kidnapped their sensei, so they follow the trail and... end up in a hole barely big enough to crawl through.

I’m going to guess and say that that was not where the construction equipment came up.

But oh no, Peter Cullen and the Pasty Guys are waiting for them there... and it’s not the most suspenseful fight in the world, because I think we can guess which team is going to be triumphant: the super-strong ninjas, or the schmucks who literally only learned to fight the previous day.

One thing that becomes more obvious is that there was probably some censorship issues that came up with the series, because the fights are a lot less weapon-based and brutal, and more about using otherwise-harmless surroundings to disarm and immobilize. Like sofa springs or tires.

Leonardo seems oddly cheerful.

“He left you a message... right there.” Yes, he left you a message on a large easily-seen wall, which somehow none of you saw before.

So Shredder, having finally gotten ahold of the guy he’s spent years trying to murder, decides to outright murder him before the Turtles even show up. Nah, I’m kidding. He goes Bond villain and arranges Splinter in an easily-thwarted, overly-elaborate death trap.

And now I’m having traumatic Dennis McKiernan flashbacks. Also, where did he even find a giant fist-shaped battering ram?

I’m also not confident that the Turtles couldn’t stop it, considering what we’ve seen them do before. I mean, Donatello tore the side off a van with his bare hands with little visible effort. Are we really gonna assume that the four of them couldn’t do something about this?

But then Baxter busts in for... some reason. I think he just wants to show off his construction-equipment invention. 

Also, he seems to have gone round the bend a little. I guess living in the loony bin will do that for you.

Fortunately for Splinter, the battering ram takes several seconds to actually move forward, so the Leonardo is able to free him pretty quickly because... he has swords. And the ratcatching machine gets smashed instead.

And Shredder does something that will soon become very familiar to anyone who sees this series: he loudly proclaims that sure, they’ve won, but he’s totally going to kill them some other day, followed by him scampering off into the distance with his bruised ego.

So the Turtles head home... the compromised home that Baxter apparently knows the location of. April turns up and is apparently confident that some incredibly crappy dojo being destroyed is a wonderful story. No, I’m not sure how. But her report does highlight that the criminal “Turtles” are some schmucks in costumes, which pisses off Burne’s girlfriend.

And if we need further proof that the Turtles are starved for any kind of feminine attention, they start debating over which one of them April was winking at on the news.

Seriously, they need to actually make the acquaintance of more than one woman.

And then she says, “If you must know, I was winking at... Splinter.”

Wait... does that mean she can see them through the TV set? Or are they just so predictable that she knows how they’ll react to any kind of positive attention, and she had the camera people just keep filming her staring blankly for several seconds before she said that?

Look at Splinter’s smile. He’s loving it.

Verdict:

So, obviously this episode was a step down on all accounts compared to the first season, but even taken on average from the rest of the series, it’s pretty mediocre. Mostly that’s because so much time is spent on the Crooked Ninja Turtle Gang, who are basically disposable mooks that Shredder openly admits aren’t actually more than a distraction. And yes, it irks me that Baxter found their lair, but there’s no real consequences for it.

And in case you’re wondering, no, Peter Cullen doesn’t really add anything except me wishing that Optimus Prime would show up.

It does set up something of the model for how the series would unfold after this, with Shredder developing schemes and plans that would never work the way he intended, and usually being sent scuttling away by the end of the episode. Not to mention the Turtles being more public figures that are recognizable by most people, and the dynamic created at Channel 6. 

I do love Krang’s approach to everything in this episode, repeatedly telling Shredder that he can fuck off and stop bothering him. He really doesn’t have any reason to help out if you think about it - he’s gotten back to his home dimension, which he was banished from, and he has all the technology and resources on his side. 

It’s not profoundly bad or anything, but it has a distinct lack of good. 

Grade: C

[theticklishpear]

Writer’s Questionnaire Meme

Tagged by @roselinproductions - <3!

Rules: Answer the questions for your work. You can use different works in progress. Don’t hesitate to link your stuff for the curious ones. And tag writer friends to play along!

1) Which scene/paragraph/sentence are you the most proud of?

Quill should have felt sorry for them all; every single person still standing around the docks staring up at the huge mass of rock floating away remained because the city meant something for them. Seeing it leave meant that something was gone. It didn't mean nearly so much for Quill. It wasn't his life down the gutter or anything else so important, but it was adventure. Corduroy Andrews' voice rang in his ears from just hours before: "You'll never be anything more than you are now." Quill wiped his bloody nose on the edge of his sleeve, gave the city one last contemptuous glance, and headed back toward the newspaper stand where he helped the old man day after day. He could always be found there, no matter the weather nor holiday. The words, "See you tomorrow," fell from the lips of their regular customers as easily as rain from the sky, but it made Quill's skin twitch to know they assumed he would be there. Worse yet, they were right.

2) For which work/piece of work do you get comments telling how marvelous it is, while you’re not that enthralled by that piece yourself?

My works don’t get feedback, so I don’t have an answer to this, sorry. OC works just don’t get noticed.

3) Which character highjacked the story they’re in?

In the third book of the Moonwater series, I introduced a little neighborhood-mischief-maker girl. My main characters were new to the country and the city they were in, and every time they thought they knew what they were doing, it would turn out they hadn’t taken some part of the culture or the environment into account, and this little thief girl would almost always be standing somewhere just “off-camera” watching them be less than brilliant, and she’d call insults at them and tell them their plan wasn’t going to work, and eventually, she became rather integral to the plot, where she was really just my personal relief character when I put her in (fully intending to remove her and rework the scenes when the draft was done). Instead, I’ve reworked her character to round her out and make her appearances more meaningful and whatnot. So she’s staying.

4) Which sentence/kind of sentence do you overuse?

The [noun] [verbed], [like an unexpected simile]. (Where the noun is not something that usually verbs at all.)

5) Which work of yours would you be dying to get fan art for?

I would even settle for incoherent expletives or even a, “[Action] is so typical of [character]! Hah!” But fan art, for sure any of the Moonwater Series stuff, core or companion pieces.

6) Which work would you rather forget?

I have a box of old works in my closet and I ask myself every time I move if it’s time to get rid of them, and the answer is always no. Even the angst-ridden poems after the deaths of friends or the long rambling prose poetry written after botched attempts at being cool in public. They are where I came from, reminders of how low I’ve been, barometers for how far I’ve come. I don’t want to forget them. I want to remember, and I want to progress.

7) Do you have a project you never got the nerves/guts to write?

Less a question of nerves/guts--I don’t know what I’m not capable of until I try, after all--and more a question of knowing I didn’t have a story to go with it. The Deerking story, for instance, I haven’t written because I don’t know what the story is yet. I have lots of ideas I haven’t done anything with, but it’s not because I don’t think I can--I don’t have that kind of judgement--but because I don’t know where they belong yet.

8) For which fandom have you written the most? (can be original fic, say if you count in terms of words, chapters or fics)

I’ve never written for fandom, but I have written more than 500,000 words in the Moonwater universe, including an upcoming D&D campaign!

Just tagging: @akiwitch & @ancient-trees this time.

[chuchumeister]

Diablo 3 Wizard (based on concept art by Glowie aka Wang Wei)

I started this cosplay in late January 2017, and debuted it in early February at Sigmacon. It took about 3 weeks of work to complete the base costume, although I am still working on other details, such as her spellbook and scrolls, and prop (still deciding on staff/wand/source). I’ll either update this post or make another one for those bits. I started with the cloth portions. The base dress is made of two parts. The back skirt is connected to the “vest” which are really just two strips of fabric which drape in front. The side and front skirt panels are attached to a waistband which keeps the vest and back skirt in position. I’m sure there are better ways I could have done this, but honestly it works pretty well. For modesty’s sake, I’m wearing a black leotard and dance tights underneath.  The main fabric is a blue shot purple silk taffeta and I was over the moon to find it -- it’s absolutely gorgeous in person, and is perfect for the wizard aesthetic. 

The waist cincher is self-drafted and made out of black stretch pleather, which I lined with some leftover suedecloth in order to stop it from stretching. It is also boned with plastic boning which is always a no-good terrible bad idea and you should never do it. I was worried I would not have enough time to source the spiral steel boning online, so I went with the cheap stuff I had on hand.

I used cotton sateen for the white skirt panels, a burgundy phoenix brocade for the breastplate and gold lame for the trim. I also bought a tiny bit of duochrome organza for the decorative thingy in the front. The skirt panels were basic A-lines so that they would have a bit of flow without too much gathering at the top. 

Then, I moved on to the armor. After my disappointing effort with EVA foam for Sylvanas, I decided to go back to my roots and use Worbla for this. This time, I did the sandwich method instead of a single-layer wrapped around as I have done in the past. Although it uses more Worbla (double, obviously) I found that I liked the results a lot better. I wouldn’t necessarily say it’s objectively better, but I just found the resulting pieces to be sturdier and, somewhat ironically, easier to form. I ended up using right around two and a half jumbo sheets of Worbla for this (yikes).  I drafted the patterns using the good old Saran wrap and painter’s tape method. For the gauntlets, I added a “platform” on the inside so they would have the proper shape when sitting on my arms. 

The concept art is unfortunately short on high-resolution details, so I just kind of winged it. I first sketched out a rough idea directly onto the base piece, then just added detailing until I felt it “looked” right. The boobie cups were shaped over a 140mm plastic ornament so I could get maximum roundness (huehue). 

The gems were cast out of clear epoxy resin. Instead of tinting the resin, I painted the backs of the cured pieces with an iridescent flaky top coat first, then iridescent purple throughout the middle almost to the edges, and finishing with a black holographic on the edges and overlapping some of the purple. Next time I think I’ll embed iridescent flakes directly into the resin, but the nail polish on the back gave the whole piece a nice clarity that I find is otherwise difficult to get with tinted resin. 

The gem seen above on the breastplate is a placeholder, as it wasn’t large enough. I ended up making a master out of hot glue using a spoon as a mold (ooh la la so high-tech), then casting RTV silicone over that to make a mold. I cast two of these -- one for the breastplate, the other for the spikey thingamabob on the front of the waist cincher. 

The crown was an exercise in frustration. After a lot of wasted cardstock drafting patterns, I settled on this design, which I’m still not entirely happy with. I unfortunately didn’t have time to figure out a good way to secure it, and it ended up falling off my head the whole day. This is definitely something I’m going to rework, if not redo entirely for the next time I wear this. 

The wig is a Jeannie from Arda Wigs, and I luckily didn’t have to do much styling to it. I did have to take in the wig cap for it to fit me, although the back-heavy nature of the wig meant it was sliding around my head a lot of the time. My current plan is to stub the base wig and perhaps permanently affix the ponytail on to it in order to stabilize it, but I will play around with it and see. 

Then, painting! I first primed each piece with wood glue to get a smooth finish. I used about 5-6 layers of wood glue for each piece, although the boobie cups in particular got several more as they were very rough from being stretched. 

Afterwards, I gave it a couple light coats of filler primer, then a very quick black base coat. I like to put down a dark base coat first so that I have an easier time when it comes to adding the weathering later on. 

It’s really easy to get the weathered look after you have your darkest shade in place. I just dry-brush on the base color, which honestly does a lot of the work for me. Anywhere that needs extra weathering, I go in with straight black and feather it out. After that, I mix up a lighter version of my base color and feather it on the high points. Finally, I use a white Sharpie paint pen to outline all the details. This step is super tedious, but I feel like it really makes the pieces stand out in photos. I used to use a thin brush dipped in white acrylic, but the Sharpie pens are way easier to use. I have some comparisons below, with just the base colors on, and after weathering and highlighting. 

The attachments were D-rings, paracord, and Velcro. It’s pretty difficult to describe, so I may take some extra pictures or even film a video of what the attachments look like some day. It all held up very well with the exception of the pauldrons, which I need to reassess. 

And that’s basically it! If you have any questions, please feel free to ask! <3

[airadam]

Episode 102 : Play With Joy

"Give me a minute, I'll give you my spirit."

- Konny Kon

Another month, another mix to keep your ears nourished! Listen out for Juice Crew appearances and connections throughout the selection, after Manchester witnessed them tear up the stage this month. We've got some soulful numbers, turntable wizardry, and quotables for days. Let's get it started...

Twitter : @airadam13

Playlist/Notes

Cesar Comanche : A-Game

With the intro and all that, this is a track that needs to be at the start of a mix, and as such I've been saving it for quite a long time. One of my favourites from the original days of the Justus League, this track is from Cesar's second album "Paper Gods", and is a great ode to working hard in music and not being a hanger-on or a daydreamer; as the title suggests, bring your A-game. 9th Wonder is on the beat, slapping that snare as always!

Kev Brown : The Beat Tape (Instro)

One of the instrumentals from the "Selective Hearing" LP; nothing super complex, just a good example of doing something funky with a handful of elements. The insertion of that "yeah" sample is worth the price of admission!

Kool G Rap & DJ Polo : Letters

Another one I've had in the "to play" list for ages, it's a straight mic workout for G Rap taken from his final album in collaboration with DJ Polo, "Live and Let Die". As an aside, I didn't realise that the album was shelved some time after initial release because of the controversial cover art! Luckily, it got a re-release so you should be able to find it - there are some excellent tracks on there. As with most of the rest of the album, Sir Jinx, best known for his work with Ice Cube, handles the production; a nice funky soul sample forms the basis of the track.

Wordsworth : Feel Me

Hadn't given "The Picture Album" a listen in a long time and had totally forgotten about this Ill Poetic-produced track - I was looking to include something featuring Masta Ace but this got the nod instead, as it were. "Feel me internally"? Hold that thought, we're coming back to it later in the show...

Bumpy Knuckles : Lazy

One of those tunes you can drop on a mixtape or in a club night full of real heads. DJ Premier on the beat with a meat-and-potatoes drum pattern underpinning a disjointed string sample, and Bumpy going in on the mic straight line style. Bonus points for him impression of crying MCs in the intro :) We will definitely return to the "Konexion" album again!

Big Daddy Kane, Jay-Z, ODB : Show & Prove

The full version of this tune from the 1994 "Daddy's Home" album is long! Coming off a loop of the DJ Premier beat, I actually missed off the first three verses (Scoob, Sauce Money, and Shyheim) and jumped in at Kane's appearance. A then mostly-unknown Jay-Z can be heard here with his old style, and ODB shuts it down on the final verse, overwhelming the track with sheer force of personality! Three Brooklyn kings, no question. The sharp-eared amongst you will find the last word on the tune very familiar...

[Pete Rock] All City : Priceless (Instrumental)

I played the vocal version of this many moons ago on episode 12, and Pete Rock's beat fits brilliantly here - a bridge between the explosion that ends the previous cut, and the tempo of the one that follows...

Top Rawmen : Symphony 3000

I'm amongst friends here, so I can admit it - at least partly due to cultural differences, I didn't realise for years that this turntablist crew's name is a pun! Yeroc, Nando, Nomad, Mike c, and Jay Slim brilliantly execute the concept of a turntable version of the Juice Crew classic "The Symphony" on this selection from "Return of the DJ, Volume IV". The beats are sampled/cut/reworked from that 1988 record, and several quotes from the track get sliced and diced here too.

Camp Lo : Cookers

This Ski-produced B-side (you know the deal) from the "Trouble Man" single bangs hard in a specific way that often makes it tough to fit into mixes, but I think this is a good spot for it! There's a detail worth noting on this one - check how Sonny and Geechi start each two-bar phrase of the first verse with their syllables landing dead on each hit of the kick drum. 

Diamond D ft. Kurupt and The Alkaholiks : We Are The People Of The World

Diamond just keeps on going - with a record collection and a mind like his, the beats will hopefully keep on coming for a long time yet! His 2014 album "The Diam Piece" is a producer-centred project where he brings in a star-studded roster of guests to bless his beats; on this cut, we get veteran West Coast lyricism from the 'Liks and Kurupt, keeping it positive. I do need to stop giving myself these awkward bar counts to mix with though...

J-Zone ft. Has-Lo : Caddy Coupe

I love seeing people win, so this track works on two levels; firstly, it comes from "Fish 'n' Grits", an excellent album from the latter phase of J-Zone's musical career, and secondly because of the story. I can totally get behind a real-life tale of a man treating himself to a bit of luxury after a hard working life; it's just a genuinely nice story. Philadephia's Has-Lo takes the second verse to expand the theme a little more, and Zone's production (in all senses of the word) is excellent and inventive as always.

Trifeckta : First Time (Janet Jackson Flip)

I wanted to bridge here with something having a bit of 80s style and also some soul, and finally found the right beat on the Producers I Know compilation "The 80s Beat Tape" - which I'm sure we'll visit again. St.Louis'/NYC's Trifeckta dices up some Janet Jackson and tops it off with some skilled drum machine work.

John Legend and The Roots : Hang On In There

Somehow the "Wake Up!" collaborative project slipped by me until recently, despite being years old! It's mostly made up of covers of old soul records, and they're done well. Here's one example, their take on the low-key 1972 classic "Hang On In There" by Mike James Kirkland, with a beautiful groove and a solid message.

Children of Zeus : Rock You Internally

Yet another great cut from Konny Kon and Tyler Daly, both of whom are in fine rhyming style right here - classic tag team vocal styles. No slouches on the boards either, they cook up a quality beat from a classic soul sample. "The Story So Far..." is an essential purchase...and that's just a collection of their past work. The album, when it comes, is really going to be something.

Ill Camille : Take A Ride

Ill Camille is an artist coming out of Los Angeles who gets much respect from those in the know. While her latest LP "Heirloom" is getting rave reviews, here we go all the way back to 2011's "The Pre-Write" for a track which I think features the sadly late Alori Joh ; they collaborated on a version of this track I've seen titled as "Take That Ride". Camille handles her business here lyrically, and the hook is very nicely done as a bonus. I've not got any credits indicating who produced it, but I do like the beat - incidentally, all that EQ/filtering going on towards the end is part of the track itself!

KING : The Greatest

I don't know how many times I've played this track this year, but it's a lot. Paris Strother kills it on this production (as she does on the whole "We Are KING" album), and on the mic along with the other two members for this ethereal and grooving tribute to the great Muhammad Ali. If you're hearing it for the first time, it deserves an immediate rewind - alternatively, watch the excellent 8-bit-styled video :)

Tall Black Guy : Sade's Taboo (Sweetest Taboo Blap-Up)

The brother from another mother (and father) once again shows you how he flips well-known samples into his own head-nodding, shoulder-slumping style!

Craig G : W.F.W.T (What's Fuckin With That)

Ending things on an up note, we take a track from the amazingly titled "I Rap and Go Home" album. The Juice Crew veteran gives you a small window into his life as a live performer..and he loves it! Again, I like to see people win and so it's nice to know that Craig's working life is pretty awesome. Vaporworldz isn't an artist I've heard of before, but this beat is on-point; a light, cheerful head-nodder with a little reggae seasoning in there. I hope Craig G and the rest of the crew left Manchester with happy memories - although we couldn't help much with the weather, sadly.

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

Check out this episode!