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multiverseforger · 3 years ago

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The character has appeared in several Spider-Man media adaptations over the years, including animated television series and video games. Dimitri Smerdyakov appeared in the Marvel Cinematic Universe film Spider-Man: Far From Home (2019), portrayed by Numan Acar. IGN ranked the Chameleon as Spider-Man's 14th greatest enemy.[2]

Publication history

Fictional character biographyEdit

Dmitri Smerdyakov was born in Soviet Russia. In his youth, he became a servant and half-brother to Sergei Kravinoff, and later a minor associate of Gustav Fiers. Although Dmitri and Sergei were friends, Sergei was often abusive to Smerdyakov, leading to a combination of admiration and resentment towards Kravinoff. Eventually, Smerdyakov emigrated to the United States of America. As he had made a talent for himself during his youth by impressing his brother by impersonating friends and neighbors, he assumed an even more impressive disguise: the identity of Chameleon. During his first known criminal outing, he impersonated Spider-Man, though he was soon exposed and arrested. Shortly afterward, Sergei (now known as "Kraven the Hunter") came to America, and the Chameleon set his old associate's sights on Spider-Man.[10] Both men became long-time enemies of Spider-Man, part of his primary rogues' gallery.

The Chameleon inspired Kraven to begin hunting Spider-Man, inviting Kraven to dispose of the hero.[11] With Kraven, the Chameleon battled Iron Man,[12] and then confronted the Hulk.[13] At one point, the Chameleon disguised himself as Hank Pym, and robbed Pym's laboratory for documents to combat Virus Nine. While delivering the documents and a shrunken Hulk to HYDRA, he was encountered and defeated by Ant-Man.[14] The Chameleon disguised himself as the Torpedo and battled Daredevil.[15]

When his half-brother committed suicide,[16] the Chameleon became obsessed with making Spider-Man suffer for his failure to prevent this. He ingested a serum which made his face permanently featureless and malleable. He attempted to kidnap America's leading expert on superconductors, but was thwarted by Spider-Man.[17] He then kidnapped J. Jonah Jameson. He approached the Maggia for support to be New York's new crime lord, and formed an alliance with Hammerhead.[18] Disguised as a scientist, the Chameleon temporarily removed Spider-Man's powers. He allied himself with the Femme Fatales, the Scorpion, and the Tarantula to eliminate Spider-Man and the Black Cat, but escaped when his plan failed.[19]

The Chameleon's most ambitious play against Spider-Man happened when he formed an alliance with Harry Osborn as the Green Goblin. Before Harry's death, the Chameleon was told Spider-Man's secret identity could be found through Peter Parker, to construct androids of Peter's parents; the Chameleon later admitted that he went through with the plot to confirm once and for all that Peter was Spider-Man. The plan led to a psychotic breakdown for both Spider-Man and the Chameleon, Spider-Man briefly renouncing the civilian identity while the Chameleon is sent to Ravencroft Asylum.[volume & issue needed] But when Doctor Ashley Kafka sneaks him into a basement to try to continue treating him in the belief that he was close to a breakthrough when the court were preparing to put him on trial, the Chameleon escaped and attempted to convince Spider-Man of actually a hallucinating writer who had suffered a mental breakdown after his daughter's death in a car accident but Peter managed to break through this deception due to his own strength of will.[20] The Chameleon's confirmation of Spider-Man's secret identity led him to try to attack Spider-Man through family and friends but this effort met with rather dismal results when Mary Jane Watson subdued him with a baseball bat.[21] Somewhere in between this and subsequent appearances, he appeared to have been destroyed by his nephew Alyosha Kravinoff; Alyosha later threw a Chameleon mask at Spider-Man's feet, referring to it as 'That weakling Dmitri' but apparently recovered, waking in a hospital.[volume & issue needed]

After tricking Spider-Man to the bridge where Gwen Stacy's death occurred, on the pretext of having kidnapped Mary Jane, he declared his own loneliness and love for Peter. When Peter laughed, he threw himself off the bridge.[22] He reappeared some time later in a mental institution, completely incapacitated, believing himself to be Sergei Kravinoff rather than his true self.[volume & issue needed] He later reappeared in his Chameleon identity as part of the Sinister Twelve villain team organized by Norman Osborn as the Green Goblin.[23]

After Spider-Man was unmasked, the Chameleon gathered a gang of villains called the Exterminators,[1] including Will O' The Wisp, Scarecrow, Swarm and Electro, and also blackmailed the Molten Man into his employ all in an effort to defeat Spider-Man and attack the web-slinger's family.[volume & issue needed]

However, the Chameleon was dealt a most humiliating defeat by May Parker's hands, when he attempted to trick May into believing he was Peter, then murder May. But May was not fooled by any means, and defeated the villain with a plate of oatmeal-raisin cookies laced with Ambien. The Rhino was also employed as part of the team up and later defeated Spider-Man only to be unable to collect payment from the Chameleon as he was already captured.[24]

After the "Civil War", the Chameleon showed up among the villains at Stilt-Man's funeral at the Bar with No Name where the Punisher poisoned the drinks and blew up the bar.[25]

The Chameleon next appeared in the newest incarnation of Super Villain Team-Up called MODOK's Eleven. In this limited series, it is revealed that he contacted A.I.M. the moment he was telepathically summoned by MODOK. He then allowed A.I.M. to send in their newest creation, the Ultra-Adaptoid, under the guise of the Chameleon.[volume & issue needed] Additionally, it was revealed in Super Villain Team-Up: MODOK's Eleven that his apparent insanity and demise years earlier were in fact well-crafted ruses designed so that he could fade into the background once more.[volume & issue needed]

The "One More Day" storyline ended with the removal of Peter and Mary Jane's timeline from all memories and no one knows Spider-Man's identity, including the Chameleon.[26]

The Chameleon returns to New York more sadistic and sociopathic than ever before. To complete his hired goal of bombing City Hall, he kidnaps Peter who works for Mayor J. Jonah Jameson. While posing as Parker, he tries to better his life, revealing that he always tries to rectify the problems in the lives of his "faces".[27] Using Peter's security clearance to get access to various materials, the Chameleon was poised to bomb City Hall before Peter escaped and thwarted his plans as Spider-Man. During the resulting confusion, the Chameleon escaped.[28]

Sometime later at an alley building during "The Gauntlet and Grim Hunt" storyline, the distraught Chameleon is met by Sasha Kravinoff and Ana Kravinoff who want his help in avenging Sergei's death.[29] Various follow up issues during The Gauntlet storyline show the Chameleon helping the Kravinoff family into creating an alliance of Spider-Man's enemies as well as Diablo.[30] First, he and Sasha managed to spring Electro from prison.[31] Then Chameleon approached Mysterio stating that he has friends that are "dying" to meet him.[32] When it came to the Grim Hunt part, he posed as Ezekiel in order to get close to Spider-Man to defeat and bring to the Kravinoffs in order to sacrifice as part of a ritual that will revive Sergei.[33] After Sergei is resurrected, the Chameleon states that the problem might stem from inward anger of being resurrected. He and the Kravinoffs discover Spider-Man's corpse, which turns out to be Kaine in Spider-Man's costume instead.[34] The real Spider-Man goes to take revenge on the Kravenoff family. Spider-Man soon arrives and pulled the Chameleon and Alyosha into the huge nest of spiders. Sasha realizes that the Kravinoff family wasn't hunting the spiders, but it was the spiders hunting them.[35]

During the "Origin of the Species" storyline, the Chameleon is invited by Doctor Octopus to join his supervillain team where he gets involved in securing some specific items for Doctor Octopus. He poses as Harry Osborn to trick Spider-Man by telling him that Menace's infant has died. When Spider-Man has been away, the Chameleon got the infant.[36] Doctor Octopus later talks with the Chameleon saying that the baby is the first of a new species. Using a lead gained when he took down Shocker, Spider-Man arrives at the Kravinoff Mansion where he captures the Chameleon who reveals that the baby is still alive and is in the Lizard's clutches.[37]

The Chameleon later becomes a member of Doctor Octopus's latest incarnation of the Sinister Six. He poses as Captain Steve Rogers in order to infiltrate an Air Force base.[38] The Chameleon disguises himself as a tribal chief when he and Mysterio pull off a zombie pirate attack on some natives.[39] Using robots of the other Sinister Six members, Chameleon and Mysterio pulled off this scheme as a diversion so that Doctor Octopus and the other Sinister Six members can infiltrate the Baxter Building to look for specific technology plans while the Future Foundation were investigating the more obvious threat.[40]

The Chameleon later poses as Klaw in order to infiltrate Intelligencia so that he can help the Sinister Six steal their Zero Cannon.[41]

During the "Ends of the Earth" storyline, the Chameleon was present with the Sinister Six when Doctor Octopus tells them about a master plan.[42] The Chameleon was present at Palazzo Senatorio at a summit where the world's greatest minds and the world leaders is carried out to discuss about Doctor Octopus's supposed offer to save the world with the Chameleon disguised as Al Gore. As Al Gore, the Chameleon states that Doctor Octopus would save them. Without a counter-argument, Spider-Man punches Al Gore and reveals to everyone present that Al Gore is actually the Chameleon in disguise. Spider-Man's new costume could detect which person is actually the Chameleon based on heartbeats. A transmission from Doctor Octopus states activating the Octavian Lens which are blocking the harmful UV rays from the sun in order to reinforce this offer. After letting the Chameleon go, Spider-Man secretly places a Spider-Tracer on the Chameleon so that the Avengers could follow him. They follow the Chameleon to the Mediterranean Coasts where the Sinister Six is waiting for the Chameleon. Using many of the stolen objects, the Sinister Six successfully subdue the Avengers leaving only Spider-Man standing.[43] After Spider-Man and the Black Widow escape with Silver Sable's help, the Chameleon suggest that since the Sinister Six's remaining members had each received their $2 billion and their criminal records expunged, they should just leave Doctor Octopus and his scheme. But they stay on board as that would make an enemy out of Doctor Octopus. The Chameleon later gets involved with Mysterio in tricking Spider-Man's allies into thinking they were destroying Symkaria, in order to give Doctor Octopus more time to complete the 200 satellites. However, the Chameleon is captured and the Black Widow threatens to reveal the secret behind his real face.[44]

Following the "Dying Wish" storyline, the Chameleon later fights Superior Spider-Man (Otto Octavius's mind in Spider-Man's body) and the Secret Avengers on the S.H.I.E.L.D. Helicarrier.[45] The Chameleon ends up knocked unconscious and the Superior Spider-Man transports him to his hidden underwater lab where he ends up imprisoned.[46] The Chameleon, Electro, Sandman, Mysterion, and the Vulture are later seen as part of the "Superior Six" team. The Superior Spider-Man has been temporarily controlling their minds in order to redeem them for their crimes, doing this by forcing them do heroic deeds against their will which almost get some of them killed. Every time they are done being controlled, they are put back in their containment cells.[47] They eventually break free of the Superior Spider-Man's control and attempt to exact revenge, while nearly destroying New York in order to do so.[48] With Sun Girl's help, the Superior Spider-Man is barely able to stop the Superior Six.[49]

Following the true Spider-Man's return, the Chameleon attempts to drive Spider-Man insane as revenge for the Superior Spider-Man's earlier treatment of him. However, Deadpool switches costumes with Spider-Man, with the Chameleon unaware of this. He fails at driving Deadpool insane (as Deadpool is already insane), and ends up being shot in the leg by him. Both heroes (in each other's costumes) punch the Chameleon at the same time, knocking him out and later delivered him to the authorities.[50]

At the conclusion of the "Hunted" storyline, the Chameleon is revealed to be one of the attendees at Sergei's funeral as he is pleased that Sergei spared him from the Great Hunt. As he walks away, the Chameleon quotes to his dead stepbrother to sleep well and states "You needn't worry. The world is no longer your burden. Besides, there won't be much of it left soon...Not by the time I've finished."[51

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loopy777 · 5 years ago

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whats your thoughts on Venom, the green goblin and doctor octopus, the three characters who are generally held up as spidermans archenemies? which one do you think has the best potential as spidermans definite enemy if they were written perfectly, and which series do you think had the best portrayal of each of them respectively?

If I had to crown THE Spider-Man Archnemesis, I would have to give it to Green Goblin. Doc Ock is the oldest, and the first to both defeat Spider-Man and make him consider quitting, but ultimately Norman has taken more from Spidey, gotten more personal in their conflict, and created more of a legacy for the mythos. Sorry, Otto.

That said, I don’t really like designating a single archnemesis for Spidey because Norman hasn’t completely dominated the field. Ock runs the Sinister Six, Spidey’s big Villain Team and one of the best Villain Teams in all of superhero comics. (And let’s face it, the Legion of Doom is bigger only because DC characters got more media exposure for a long time and Superman’s villains are so good that Lex Luthor, Brainiac, and Bizarro lift up the likes of Solomon Grundy and Cheetah when they’re all on a team together.) Venom has the whole Evil Knockoff thing going and a unique and terrifying ‘stalker’ gimmick that puts him in a special class, not to mention how he directly overpowers or counters all Spidey’s abilities.

And, honestly, the whole ‘Goblin’ gimmick is kind of arbitrary and has nothing to do with spiders. Clowns and bats don’t have a direct relation, but at least they’re opposites in terms of color and purpose, so Batman and Joker kind of seem like twisted rivals. Goblins and spiders are only linked in that they’re both kind of Halloweeny, but Spider-Man has little to do with Halloween or spooky stuff, anyway. But I better cut this line of thought off before I start explaining how Spider-Man shouldn’t be Spider-Man at all and him being Frog-Man would make just as much sense and then we wouldn’t have to deal with pictures of icky spiders in all Spider-Man media.

But yeah, Norman Osborne is still indisputably a cut above the others.

Ock is really just a typical mad scientist with a robot-arm gimmick that allows him to directly fight with Spider-man. He’s well-written and constructed, granted, and I love how his arrogance contrasts with Peter’s humility, how they’re such opposites in terms of empathy, and how different their paths become after science-based accidents that granted them unusual powers. Bendis’s “Ultimate Spider-Man” comics nicely honed in on this theme, and I also appreciate how both Stan Lee’s prose story in the unrelated “Ultimate Spider-Man” short story collection (...it’s a title Marvel loves to reuse for some reason) and John Byrne’s attempted origin revision linked the irradiated spider to the explosion that created Ock. All great villains should be dark reflections of their heroes, but while Ock has gotten some great stories that make him a top-tier villain, he still offers little storytelling potential beyond his mad scientist archetype. Now, I know what comics-readers are thinking at this point: Yes, I did read the original “Superior Spider-Man” run and I think there’s some real potential there, but honestly I feel like it was under-served by Dan Slott’s pacing and foibles. And I haven’t seen an adaptation of it yet that I think really fulfills the possibilities. But the idea is great, so maybe Otto will get his chance to level up his rivalry with Spider-Man.

Venom’s problem is that he’s a little too focused on his revenge on Spider-Man. The stories where he stalks Spidey, wandering into Peter’s life to fold laundry with Aunt May, popping up to have a surprise tussle with Spidey just to throw him off-balance, etc- Those are great and make Venom seem super-scary, especially since Spidey can’t beat Venom in a fight without some kind of edge or gimmick. But all Venom wants is revenge on Spidey, so after he’s failed a few times to get it, what do you do with the character? He’s not scary if he keeps failing. The original idea was to have the symbiote pass on from Eddie Brock and take on other hosts, and that might have opened the door for some new kinds of stories. I know this was eventually implemented 20 years later, with the original Scorpion getting to be Venom for a while, and symbiotes becoming a whole Thing with a bunch in various colors, but I didn’t read any of those stories and they don’t seem to have left much impression on the general Spider-Man fandom. Ultimately, it was chosen to ‘redeem’ Eddie Brock and make Venom into an “anti-hero” (for a definition of the term that means “protagonist who kills people but doesn’t have to worry about that whole ‘consistently laid low by their fatal flaw’ thing”) which did sell a bunch of comics in the 90′s and set up some tension-filled team-ups with Spidey. Nice idea, if implemented in a really shaggy way, but -- again -- what do you do after that? Venom/Eddie isn’t really a compelling lead who you can keep telling stories about. (Yes, I saw the Venom movie. It has like two minutes of amusing material and two hours of boring dreck, and none of it is memorable.) And making him evil again runs into the same problem as having left him evil in the first place. Venom was a good idea whose time came and went, and perhaps someone will find a way to make him fresh again. But until then, I think he gets by more on his visuals than anything.

The Green Goblin, in contrast, has a lot going for him in terms of storytelling potential. He’s a mad scientist, a wanna-be crime boss, a dark shadow of his civilian identity looking for revenge and/or illicit thrills, and personally has that ongoing personal hatred/rivalry for Spider-Man. That offers a whole bunch of storytelling paths, all of which have been taken and proven fruitful over the years. And that’s without getting into how Norman Osborne is the father of Peter’s best friend Harry, a flawed father figure to Peter in his own right, a ruthless millionaire industrialist before Lex Luthor gave it a try, and another dark reflection of the paths Peter could have taken in both aspects of his life. Even when Norman is dead, his legacy continued to be felt for 20-odd years with how Harry fell from grace. You can even link Norman to his spin-off the Hobgoblin; just Norman’s equipment getting passed on created another enduring villain. And, again, that’s without even looking at Norman’s murder of the one-time romantic lead Gwen Stacy being the event that ended the Silver Age of comics. Norman Osborne is just plain a truly great, versatile villainous character who has managed, despite being almost 60 years old, to still maintain an “Oh, no!” impact among Spidey fans when he shows up. Sure, there have been bad stories about him, and some over-exposure at times, but that hasn’t diminished his impact or ongoing potential.

As for portrayals, I’m overall a fan of the 90′s animated series and their takes. That show really petered out after a few seasons, but it introduced Ock with a bang and got a lot of mileage out of him. Venom got to do the whole scary stalker thing, and then the show put him on a shelf until his ‘redeeming’ death to avoid over-exposure, so that worked out fairly well. And while it’s odd how Kingpin and Hobgoblin took over most of the Green Goblin’s role in Spider-Man’s stories, what we did get of Norman was good, and the performance that went into the Green Goblin really sold the weird psychology of the character. Those three villains definitely got a chance to shine in this series, even if Green Goblin was under-used.

I also think the Sam Raimi movies overall did a good job. Green Goblin was perfect- aside from the costume. Willem Dafoe utterly nailed every aspect of the character, right down to the body language, and the movie did a good job condensing his rivalry with Spider-Man into a single movie. As for Doctor Octopus, I’m of two minds about how he got a sympathetic backstory and characterization. On the one hand, it made him a more compelling character and Alfred Molina danced nicely between the human side and the villainous side. On the other hand, though, Ock has classically never really been sympathetic; he’s an utter monster in behavior, and the insertions of bullying in his backstory have never changed that. Venom is the only one I think didn’t really get a chance in these movies; I like this version of Eddie Brock (really!), but he barely got an opportunity to be Venom and you can tell no aspect of the character really inspired the storytellers.

Spectacular Spider-Man, naturally, did a good job. I think this version of Green Goblin is the best of them all; I even got my DVD set signed by Steve Blum! Ock was also done well, getting to be the Master Planner as well as leader of the Sinister Six, although I don’t think I quite buy the timidity they gave the character before the accident. Similarly, I didn’t buy Eddie’s fall from grace as Peter’s best friend; one episode he’s upset because Peter’s blowing him off for hanging out, and the next episode he’s nearly killing Mary Jane just to mess with Peter. You might as well just start with Eddie being a monster, like the Raimi movie did.

I also think Bendis’s Ultimate comics did well by all three characters. I’m not really a fan of Goblin-Hulk, but Norman’s impact was fully in effect (even if we had yet another toothless homage to Gwen Stacey’s death with Mary Jane getting thrown off a bridge and surviving), and they fit him well into the Super-Soldier Arms Race aspect of the setting. Ock got some really great use, including an arc of character development and ‘redemption’ that still managed to allow him to be an arrogant monster to the end. Venom was under-used, but this might be the best ever interpretation of Eddie Brock and obviously inspired the Raimi version, and I love the origin of the symbiote here and how it tied to Peter’s father. My only complaint is that after that first great story, Bendis didn’t seem to quite know what to do with Venom; the video game and its comic adaptation seemed to be setting him up for more, but that didn’t come to anything.

So, those are my thoughts. As a Spider-Man fan, I think I’m spoiled for choice in picking an achnemesis. Despite the little flaws that keep Ock and Venom from topping the Green Goblin, they’re still heavy-hitters as comic book villains and could run the game in the rogues gallery of most other superheroes. But Spidey has one of the best sets of villains in the business, so that’s not surprising.

#thekingofwinterblog

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idle-flower · 5 years ago

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Dear Yuletide Author - 2019

Thank you for your time and attention, and I hope your wishes are granted this holiday!

Likes:

I prefer plot and angst and adventure to fluff, though a nice warm fluffy scene can make a good dessert at the end of the pain and suffering. I lean more to f/f and m/f than m/m. I enjoy forbidden relationships. I love exploring the 'what if' spinoffs of a small change in a canon. I swoon for lovers who take dramatic risks to protect their loved ones.

I also enjoy detailed description of clothing/furniture/jewelry/pretty things in general. Not just heaping up brand names, but sensory detail.

Dislikes:

Please avoid sweeping tropey AUs like 'what if noir' or 'what if everyone was in high school'. I'm REALLY picky about comedy so it's probably not a good idea to go for wacky funny stuff. No excited rambling about pregnancy or babies. (Older kids are okay.) While I am okay with pretty dark stuff, please don't gorily torture characters to death on screen. If people gotta die, limit the details! I am generally not keen on crossovers. I dislike PWP unless it is exceedingly hot smut (see below).

Smut:

I don't require it, but I do read a good bit of filthy porn.

Kinks I find interesting: mild bdsm, pain mixed with pleasure, dubcon, sibling or cousin incest, strap-ons, futanari and other magical appendages, teasing, teenagers, drugs/magic with interesting effects, people making terrible decisions due to being emotionally overwrought or really really horny

DO NOT WANT:

rape or painful sex that one party is not enjoying at all, inserting anything edible (licking off boobs is okay), aggressive face-fucking, choking, degradation, scat/watersports, bukkake, parental incest, anyone younger than teen, emphasis on 'virgin blood' (some writers make it a huge deal with tearing pain and fountains of blood, please don't).

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Poison Ivy (1992 film)

Sylvie Cooper, Ivy

I was struggling through the confusions of puberty, Ivy was hot, this film left an impression on me. In a way it's perfect as it is, and trying to build any sort of happy ending for Ivy feels out of place, but on the other hand there's a lot of loose ends left after the story.

Throughout the film, there's a lot the audience never knows about Ivy, including her legal name. Did Coop know it? (Maybe, probably.) Did her father? (Quite possibly not). How do they handle all the legal responsibilities of her death? Were Ivy's stories about the aunt she was staying with true? How do they break the news? How does her funeral go?

What do Sylvie and her father have to say to each other about Ivy after the truth comes out? Does he admit everything that he did? How does he handle the guilt? How do they rebuild their relationship?

What is school like, afterwards? What rumors escape? How does Coop handle them?

Or - what if Ivy survives the fall? Seriously injured, possibly paralysed, but alive? How do they deal with her, once the truth comes out? Do they cover up her crimes? Do they keep her in their home? What happens to their relationships?

For AUs, what would have happened if Ivy had met Coop when they were several years younger, so she couldn't get her hooks into Darryl as easily? What if they met at summer camp and Ivy was just as messed-up and needy but the situations were different? What if the movie plot is actually a fantasy younger-Ivy spins about her future to her fascinated-and-appalled friend, who then has a chance to react to it?

Bittersweet endings are good here but I don’t mind it going all dark if you feel like it. Too happy would just feel wrong.

Smutwise, I'm fine with Sylvie/Ivy, I'm okay with Darryl/Ivy but I would rather he not be the focus of the story (Sylvie catching them having sex has possibilities, or Ivy thinking about Sylvie while seducing Darryl)

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Xanth - Piers Anthony

Jenny Elf, Gwendolyn Goblin

I have an ulterior motive, I badly want to insert some gayness into Xanth after the author has tried so hard to make it impossible, even allegedly threatening magical straightjackets to cure homosexuality. And it is difficult to think of a good f/f pairing because female characters in Xanth are almost completely obsessed with flashing their panties and attracting men. Almost the only good female friendship actually on-page (as opposed to a vague comment that Ivy and Nada used to hang out) is Jenny/Gwenny, who are best friends.

The events of The Color Of Her Panties even provide some possible groundwork to build on. They've been raised together in the care of centaurs who have different views on morality/sexuality than humans do. They're forced to think about sex and be inducted into the Adult Conspiracy together. Gwenny's new contacts mean that she starts seeing other people's sexual fantasies (and Jenny does too, for a while). They're bound to have some good girly gossip on the subject at some point, talking about what all these weirdoes are into and trying to figure out what the appeal is! Or some simple "ugh boys are gross, especially goblin boys" that leads to pushing them closer together. (Well, Che is quite different from the goblin boys, and I'm not totally opposed to including him, but my ulterior motive makes me more interested in Jenny/Gwenny as a couple than all of them as an OT3.)

I basically stopped reading the series at that point so please don't refer to plot developments and characters that came later in the series. I know that both girls are married off to men eventually in canon. Don't care.

Straightforward romance: Gwenny relies on Jenny to cheer her up and help her relax from her duties. Romance blossoms! Simple.

Silly fluff: Gwenny and Jenny visit the Pantry, try on tons of lingerie together, have a ridiculous slumber party and pillow fight, end up snogging... maybe they even accidentally found Dolph and Electra's honeymoon chamber.

For a slightly more dramatic plot, Gwenny's bound to feel like she has to marry and have a child because goblins have hereditary rulership. She also knows all the good and bad sides of that - she would never have come to power without those rules, but those rules also made her bastard half-brother a threat when he would have been a terrible leader. And she knows that true family is what you choose, not just an accident of birth. Will she decide that she has to have a husband? Will she decide that she cannot have a husband, who might threaten her power, but must give birth to a child for the succession? (And hey, magic can be involved, this is Xanth, she can TOTALLY have Jenny's baby somehow) Or what about adoption?

If you smut it, I don't care if they're still as young as they were in TCOHP (but no younger). I'm also fine with them being older. I would rather not do any temporary sex-change because that defeats my ulterior motive, but weird uses for Xanth-style magic stuff could be entertaining.

If the real-world implications of Jenny Elf bother you, I'll settle for Ivy/Nada, but that's going to need a lot more imagination to get a satisfying story out of it. How does their friendship develop between Isle of View and Man from Mundania, other than gossipping about their respective brothers? Do they have any adventures? How does Ivy cope with Nada's occasional self-destructive tendencies? How does Electra fit into their group?

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Fern Capel - Jan Siegel

Any

This is a tall ask, since this book series doesn't seem very well known here, and the writing style is hard to match. On top of that, I've got a love/hate relationship with the series.

I adored the first book. I liked the rest of the trilogy... up to the ending WHICH I HATED. I detest reset-button plots, and I find "just let me forget everything" resolutions to be unpleasantly reminscent of suicidal inclination. Life is making choices and carrying on and learning how to deal with the consequences. We don't get to wipe out our histories. They're part of us. Also, choosing to stop fighting evil as long as you and your friend can be safe is... I don't want to say cowardly, because it's human, but it's very unsatisfying as the end of a heroic story.

I want a fix-it. Somehow. Anyhow. Rewrite the universe, change the events of the third book. Give me an ending with hope. Doesn't have to be super-happy, can acknowledge that the fight against darkness can never be 'won' and we'll all die in the end, but we carry on regardless and we find some joy in the world we live in on the way.

Find Fern another way out of her dilemma - or rewrite enough of the plot that she doesn't feel so hopeless to begin with. Let Fern love again! Let her _really_ love, let her experience different kinds of love and find them all valuable rather than holding on forever to what she's lost.

Any sort of story taking place within this world could be nice to read.

Other things that might be entertaining - reincarnate Morgun? Trap Morgus in a harmless, powerless body and force her to interact with the world until she learns to be less evil (which will take centuries)? I tend to enjoy ancient evils forced to be helpful and friendly (while being very bitter about it). Get Will and Gaynor together? Get Will, Gaynor, and Fern all together (sharing non-incestuously)? Let Fern find an older magical woman, a mother-witch type, who is kind and understanding and supportive, so she no longer has to feel like she's the one bearing all the knowledge and responsibility alone? Fern never really relaxes. What would it take for her to be safe and happy and still herself, rather than giving it all up?

DNW: Will/Fern.

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Anyplace Anywhere Anytime - Nena ft. Kim Wilde (Music Video)

Any

So when I first saw this video, I thought, "OMG that is absolutely 90s White Wolf / Vampire the Masquerade. And kind of gay!" And that's basically what I'm requesting. Dark urban fantasy romance in the streets of London (or some other European city with gothic churches around). A story that has the feel of this video, whether or not it's a direct connection. Bring all your darkest teen vampire angst fantasies, let them run wild, and give them a happy ending (because this isn't a sad song!)

Desirable elements: lesbians (please!) vampires (please!) people wearing sunglasses (including at night, to hide their inhuman eyes) people wearing black leather, with extra straps and buckles and spikes trenchcoats fishnets - possibly even full-body stiletto boots dancing/nightclubs staff fighting, maybe some sort of ritual challenge for position forbidden romance, which somehow works out

Could be cool: time travel (but not a full Dark crossover please) reincarnation a lyric drop - either "anyplace, anywhere, anytime" or "I'll build you a castle of sand" (yes, I know that's a little awkward in English but if they're vampires maybe someone's first language isn't English, and it needs 'castle of sand' rather than 'sandcastle' to be a proper lyric drop IMO... Or you could just say it in German to begin with.)

DNW:

tragic dead lesbians at the end of it. NO BAD ENDING FOR THIS PLEASE.

#yuletide 2019 #yuletide letter

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