#the comic I was inspired by is really good

[kianamaiart]

Hello your magical girl story looks really intriguing, the premise feels very creative, the art style is simple but good with its own identity, and the characters seem to be fleshed out with depth, personality, and backstory. In short, I love it, and I do have a few questions.

One: Is the story character driven, story driven, or something else

Two: Is the story rated G, PG, PG-13, or something else

Three: Would the story be a web comic, web show, or something else

Four: Will there be a lot of lore and world building, yes or no

Five: what other inspirations did you have for the story's characters, plot, and art style

Six: What humor do you use for the story

I'm only asking these questions out of curiosity. This is just because I love your story, and would like to know more about.

So please be free to not answer all the questions if you want. I'm also fine if you ignore this ask. so please, no pressure.

At the end of the day, please have fun, relax, work hard, take your time, and have a nice day.

I'm so glad! Thanks so much for your interest <3

Character driven (always)

PG/PG-13

Dunno! I've been reached out to already for a few opportunities but right now, I'm just trying to have fun with it and keep it mine until I feel like the idea is fully realized and ready for something bigger. Right now, I'm shooting to make a lil pilot animatic mostly on my own with help from a few friends

Depends on what you mean by a lot but I'd say a soft yes

For Aika, just generally other anime protagonists from shoujo and shonen. I feel like when you're doing a spin on something you do have to rely on the tropes from the genre at least a little bit. For Zira, Toko Fukawa was the jumping off point but they're very different. They're also both based off of aspects of myself (I feel like most artists do this with their ocs tho). Style and story-wise, I was definitely looking at Doremi and Panty&Stocking. That chunky cute look that's distinctly anime but takes some notes from Western cartoons. But mine's flipped where it's more based on my own style from working in Western animation but then having anime influence. And story-wise I like how they're more episodic with an underlying story. The magical girl stuff is more a backdrop that helps the story move forward and enhances the slice of life stuff that's being focused on.

I'm not sure what kind of humor to say other than my own? But my sense of humor has been shaped by Big City Greens (obviously) Adventure Time, Jimmy Neutron, Bob's Burgers, Smiling Friends and many other things but hopefully that gives you the gist

[raven-at-the-writing-desk]

OMG OMG DID YOU SEE DID YOU SEE DID YOU SEE

ACE TRAPPOLA LOUNGE WEAR GROOVY HHJVDVJSXAJXKCDNCS AAAAAAAAAAAAAAAASJFNDNFF HES SO CUUUUJTEEEEE!!!!!

Someone's excited, huh?

Yes, I saw! I tend to look at new birthday artwork as soon as I can so I can get inspiration for the brief one-shots I write in celebration of each NRC boy's birthday. In fact, I'm writing Ace's as we speak!

It feels very intentional on the part of the devs to have Ace running late; it suits his character (since we know he kind of slacks and stays up late talking to his brother) but it's also a clever reference to the White Rabbit in Alice in Wonderland running late for a very important date. AGDVSASDLVIYwqvsssdB His bedhead makes him look SO much like Sylvain 😭 THE FUCKBOI WITH A HEART OF GOLD FROM FE3H.. . . ..... . . ...... .. .. .. . . .... . . . .

I like the little details about his dorm life sprinkled in the illustration: the comics/magazines (?) falling off of his bed--did he fall asleep while reading them?--and the sticker on the back of his phone. We've seen so few phones from the characters (I think the only prominent one we see is Cater's; we know the other characters own phones but we rarely get to see the full designs for them), so it's nice to add another one to our list.

I don't really know what else to say here other than good for you, Ace got a cute Groovy ^^; even if he's panicking in it... There's sort of a charm in that panic!

[thefuzzyaya]

Mind to tell us how did you got inspiration for this short au? 🥺 i-i really want to know🥺

I just wrote the tweet about this idea and that I want to read fanfic like this and then thought that it was too good to give it to others lol and made a little comic.

I dunno, was just thinking about them two being sealed now and whole thing of how they always kinda die together and thought what would happen if Naruto died first. Just one of gazillion ideas I have in my head all the time

[auriza-side-tomb]

It’s been a strange experience getting into Warhammer 40K lore recently.

Like until a few days ago all I knew about it was that it was a tabletop boardgame involving expensive painted mini figures, it coined the tern Grimdark and a lot of the fans were infamous for being bigoted assholes.

Then I actually started watching videos about the lore and I quickly realised that the story is actually really good?!?

Like, this is the series that created the term Grimdark to describe a setting that is dark and violent just for the sake of shock value.

But… the lore of Warhammer 40K kind of isn’t that. The violence and darkness (mostly) seems to have a purpose. The narrative exaggerates the awfulness of the universe to such an extreme that I can’t see it as anything other than satire.

For example; humanity in the 41st millennium is a fascis, xenophobic cult that worships the slowly-rotting corpse of their God-Emporor (who btw never wanted to be worshipped). Thay literally sacrifice 1000 souls to the Emporor every day just to keep him semi-alive, some of the highest ranked people are Inquisitors (above even the genetically engineered super soldiers) who have the authority to destroy planets and many of the officer uniforms are inspired by Soviet and Nazi military uniforms.

Humanity in Wh40K is so evil that it’s almost comedic, and the story is very explicit about how bad everything is as a result of this. It also gives a very detailed explanation as to how and why humanity reached this point, and shows that most of this horror just resulted from bad luck and humans being human. And this level of care and narrative subtly is given to almost every intellegent faction in the game (excluding the orcs who are there for comic relief).

This series is similar to Fight Club or Wolf of Wall Street in that it is a genuine satirical criticism of several societal issues. And yet somehow, some bigots are stupid enough to look at it and genuinely buy into the worldviews of the characters, despite the narrative’s entire point being that said beliefs are terrible.

All of that combined with some great characters, excellent worldbuilding and a topping of eldritch horror makes for one of the most genuinely investing stories I’ve ever seen.

So TLDR, Warhammer 40K’s story is way better than I expected it to be and I may have found a new hyperfixation.

[mrdogface]

So I finished Birds of Prey (1996 - 2009).

Highs:

known unrepentant homophobe Chuck Dixon accidentally wrote a pretty incredible bi sapphic story during his tenure on Birds of Prey, although much of the queering does come from the artists working on the books. We all know the “call me Barbara” moment – apparently, after the audience reaction to that, Dixon started leaving notes for artists like “be careful and make sure the audience doesn’t misinterpret this scene” lol. 

imo, the realization of Helena Bertinelli’s arc happens in the Birds of Prey. She is finally removed from an environment where she needs and is actively craving Batman’s approval, and she ends up thriving, infiltrating the mob and earning the “good work” from Bruce. Personally, I would’ve preferred if her character moved completely away from Bruce’s opinions of her, and it kind of does, but Gail SImone does close that arc off by giving it to her. 

Gail Simone uses the series as a who’s who of women in DC, showcasing a number of minor and often underrated women, from returning classic characters like Ice to giving Zinda Blake / Lady Blackhawk a second chance at comics relevance (Lady Blackhawk’s best story in the Birds of Prey, imo, happens under Tony Bedard, concluding the character’s arc from her 1950s roots). 

Infinity, introduced very late in Bedard’s time on the team, is a severely underrated nonstarter superhero and it is criminal she never went anywhere. Weird ambiguously Australian ghost girl? Hello??

Barbara as a character who learns to accept her disability. A lot of people, including Dixon and Simone, tend to point out that Barbara learns to be a superhero in spite of her disability, but that’s not the interesting part imo. I think the more interesting story here is that they almost accidentally cobbled together a very genuine character arc of Barbara initially being insecure and doubtful that she’ll be perceived as an equal, as romantically desirable, as a real leader in the superhero world, all this stuff, due to the chair. What we end up seeing is her growth into someone who realizes she’s accepted within the bubble of people who are relevant to her, and that the bigotry of people who aren’t can be made irrelevant simply by building one’s life without them. Her disability isn’t written as saccharine inspiration porn (I think it actually veers too far in the other direction at times; at its worst, it’s a point of grimdark melodrama lol) and it isn’t something she “overcomes” in the classic superhero sense of getting a magical wheelchair or psychic powers, and imo in the superhero genre that’s rare and valuable. The execution isn’t perfect but for me it’s very close. 

Lows:

Chuck Dixon makes Barbara and Power Girl do an accidental war crime lmao. dw, both DC editorial and the fanbase ignore this and the less said about it the better.

Dixon really likes James Bond, Indiana Jones (surprising because Indie keeps beating up his friends) and other travel-adventure stories, so throughout his run Black Canary keeps ending up in exotic locations… and judging the people there, before doing some insane “World Policing.” The racism is uhhhhhhh

Simone ties the Birds into the wider DC universe and it does, frustratingly, hit a point where you need to be either really up-to-date with other books or cracking open google to know who a lot of characters even are. This is kind of just how DC works in the mid-2000s, frustratingly. She’s also forced to work with a lot of off-screen deaths, like Ted Kord’s death should be an enormous thing for Barbara, but we have deadlines to keep and we can’t be certain people have been keeping up with Jaime Reyes, so gogogogo

Misfit and Black Alice. They never worked for me. I hate Misfit’s whole archetype of zany comics fan who acquires powers. Making her Jason Todd-adjacent by giving her the sad homeless backstory did not sell me on her and felt like a cheap attempt to make a nonstarter character function. Black Alice’s whole thing devolves into a “stay on your meds, emo kids” PSA. Just very clumsy 30-somethings-writing-teens material. 

the last arc, set in DC Silicon Valley, kind of sucks. The Calculator isn’t an interesting villain to me. The chemistry between characters after Dinah leaves never feels right. 

it all ends with Barbara believing she's lost her edge, writing a signed note, peacing out, and dumping her adopted homeless kid friend on Helena after getting her ass kicked by the Joker. The last page: Ganthet lamenting that she's in a wheelchair, "to be continued in Oracle: The Cure." oy.

[matcha-milkies]

WELL, YOU DID ASK

Summary: Aboard the Stan-O’-War II, Stan finds out and confronts Ford about his past relationship with Bill.

Alternatively: “Ford, why did Bill call you babygirl?”

Relationships: Sea Grunkles, Bill Cipher/Ford Pines (Mentioned)

Content Warnings: Implied/Referenced Sex

Tags: Humor, Light Angst, Banter

Inspired By: This Meme and This Comic

Word Count: 2,489

Link to AO3: Here

A/N: Yeah it’s been a HOT MINUTE five years since I watched Gravity Falls, and I’m still waiting on my copy of Book of Bill, so I’m sorry if there are any inconsistencies with canon in this. I was riffing hard off of secondhand material lol

Stan stares up at the top bunk as the room gently sways from side to side, a cabin cradled in the bosom of the ocean. He’s lying face up on his cot, hands on his abdomen, and he’s contemplating something very deeply. It’s unnerving, this thing. He almost wishes he could forget all about it. Almost.

He bites his bottom lip and deliberates over what to do about this. He could just leave it alone. Things have been good lately. Why rock the boat, so to speak? They could go about their day, have their coffee, cast their lines into the sea, fry that leftover kraken meat for dinner. Blegh, he’s so sick of kraken meat. He’s going to have to find a way to season that thing to spice it up a bit or else he’s gonna go crazy. Why do krakens have to be so enormous anyway?

Yeah, he could do that. He could be normal.

After all, if the answer is no, then there’s nothing to worry about in the first place. And if the answer is yes… does he really want to know about it? What is he going to do, where is he going to go from there? Ask for details? He’s racked by a fullbody shudder. As if.

But deep down, he knows he’s kidding himself. If he doesn’t confront his brother, then this is going to linger in the back of Stan’s mind for all of eternity. He won’t be able to look at his twin without pondering all the ‘why’s. Why him? Why didn’t you tell me?

Stan hauls himself to a sitting position and swings his legs over the side of his bunk. He stares at the wall for a little bit, mouth quirked to the side. The Stan-O’-War II creaks, as if it’s also pondering to itself. He can hear his brother rustling papers a ways away in the other room. It’s a small boat. Of course it is. There’s only two of them to man it.

Stan starts to walk into the other room, then turns around and changes course at the last second, heading above deck instead. Hopefully his twin was too preoccupied with his work to notice. Stan walks over to the port side and leans his arms against the railing with a sigh. It’s a nice day out, at least. The sun is shining high in the sky with only a few clouds drifting overhead. They’re somewhere off the coast of Canada.

Somewhere further south but still along the same coast are his great niece and nephew, going to school again. He wonders how they’re doing. He wishes he could call them. He misses them, but he also wants to take his mind off of this. He hears footsteps pacing below deck, probably to grab a book off a shelf or something, because they soon pace right back to where the desk would be. 

Stan lowers his head until his forehead is against the railing and sighs. He’s probably going to have to ask. The thing he’s dreading is knowing that it’s not gonna go over well. He gives it maybe another ten minutes to psyche himself up, then turns and tramps back down the stairs.

Ford is situated at his desk (it’s not anyone’s desk but really it’s Ford’s desk), sifting through some old creased pages that look like they’re about to disintegrate at the slightest breeze. On his right-hand side is a cold, half-finished cup of joe. Occasionally, he mutters something to himself and pens something in his new journal. He’s entirely absorbed. He doesn’t even seem to notice when Stan appears in the doorway and leans his elbow against it.

“Uh, hey, Sixer, how’s it goin’ in here?”

Ford starts. The pen drops from his hand and rolls around on the swaying floor. “Stanley, how many times do I have to tell you not to sneak up like that?”

“I didn’t sneak up on you. I’m notoriously loud. You’re the one with your nose glued to that journal.”

“I–” Ford’s breath catches in his throat before he lets it out in a sigh. “I suppose you have a point. I’m sorry, Stanley. I’m just frustrated at how little progress I’ve made with this. It’s unlike anything I’ve ever seen.”

“You know you say that, like, every time we find some weird thing, right?”

“I didn’t think we would encounter this many paranormal phenomena outside of Gravity Falls.”

“Maybe you’re the weirdness magnet.”

“Perhaps both of us are. After all, you were the one living in my shack for all those years pretending to be me.”

“Ha, yeah…” Stan musses his own hair. “Must run in the family.”

“Anyway–” after stooping to pick up the pen, Ford seats himself at the desk again– “you know I always appreciate your company, Stan, but I’d like to make some real headway before dinner if at all possible.”

“Uh, well, actually,” Stan says, and Ford glances up with a raised brow.

“What is it? Don’t tell me you accidentally dropped something overboard,” replies Ford, testing the temperature of his coffee. He looks displeased at the result but nevertheless continues to sip it anyway.

“Relax, relax, it’s nothing like that. Sheesh, are you ever gonna let me live that down?”

“It happened yesterday.”

“Ancient history!” Eh, might as well spit it out, right? “Hey, speaking of ancient history, what was going on with you and Bill?”

Ford makes some sort of choking sound and dribbles coffee back into his cup. He casts about for a napkin or a towel. “What do you mean by that?”

“Were you like, just a fling, boyfriend-boyfriend, married? What was going on there?”

Ford sputters, gives up and rolls up his sleeve to wipe his mouth on his bare arm. His voice cracks a little as he speaks. “What- What do you- What do- Why would you–”

“Look, don’t play dumb with me, IQ. When he was in my head, he said some things. And I didn’t think much of it at the time, but see, now I got nothing but time out here on this tin can, and I…”

His twin finally manages to school himself back into neutrality, although they’re both well aware it’s too late. He’s already shown his hand. All he can do is pretend, deny, for whatever that gets him. He spares Stan a glance over his spectacles, and it seems to last an eternity, before the man finally returns his gaze to his notes. “Now is not the time to talk about this.” Oh. Okay. So not even a denial then.

“Uh, right. Sure. And when exactly is the right time gonna be?”

Ford pinches the bridge of his nose and sighs with a kind of bone-deep exhaustion. “I don’t know, Stanley, any time I’m not trying to decipher the code that we found etched onto the side of that washed up precolonial artifact last week?”

“Well, I don’t know why it needs to be a whole song and dance, Einstein, it’s a simple question.”

“Yes, we were… romantically involved. Obviously. Now please leave me in peace.” Not that he had expected that answer to buy him anything, but he still finds himself chagrined when Stan stubbornly continues his line of questioning.

“Why didn’t you tell me about that?”

“I didn’t think it pertinent.” Ford closes the book on his left-hand side, resigning himself to the unfortunate reality that this conversation is happening, and there is no walking away from it. Where would he even escape to? They’re stuck on a boat together until they land at the next port.

“You didn’t think I’d wanna know you were getting… close with the literal demon that tried to kill us?”

“He wasn’t trying to kill us when I was getting to know him. Again, this should be obvious, Stanley. I don’t know why you’re making me spell it all out for you.” He strangles the air, vibrating with more frustration than he can dissipate. “Unless it’s just to torture me, which I wouldn’t put past you.”

“What is that supposed to mean? After all the things I’ve done for you, all I’m asking for here is a little honesty.”

Ford very graciously decides not to dwell on the “all the things I’ve done for you” bit and reopen that particular wound. Instead, he doffs his glasses, the better to massage his forehead.

“Oh, for the love of… We’re in our 60s, Stan.” He unfurls his arms on the table, palms upward. “What did you want me to do, honestly? You wanted me to sit you down and tell you about my crush like we’re still in high school?”

There’s something in the sincerity of his tone that throws Stan off kilter, disarms him.

“I’m not sayin’ that! I just— You’re makin’ it sound more unreasonable than it is! I’m still your twin and I thought you trusted me with this kinda thing.”

Ford pushes his glasses back up the bridge of his nose. He stares at a point just past Stan’s shoulder, mouth flattened into a line. “Oh, god,” he laments, as it dawns on him that the emotionally mature thing to do is to be vulnerable. He sighs, busying his hands by straightening all the papers on his desk. “It’s embarrassing. It was already embarrassing, don’t you see? And this just makes it so much worse.”

“What?” Stan pulls up a chair and sits across from his twin. “Sixer, come on. You think I came in here and brought this up just to laugh at you? I mean, don’t get me wrong, it is objectively very funny, hilarious even—” he grins in the face of Ford’s glare— “but the last thing I’m gonna do is judge you. Between you and me, I think your relationship with that freaky triangle was more stable than anything I’ve ever had with any human.”

“Stable is not the word I would use to describe anything that went on in that shack in the 1980s.”

“Yeah, that just goes to show how low the bar is. Anyway, my point is, while I’m not gonna laugh at you, I definitely will still laugh.”

The scientist raises an unamused brow. “With me, you mean?”

“No, I’m just gonna laugh. Ha! Ha-ha!” Stan reaches across the desk to nudge Ford with his elbow. “Come on, it’s funny! You had a relationship with a triangle! Oh, the kids are gonna be so traumatized!”

“Wh- D- Stan, don’t tell them!”

“Why not? Dipper worships the ground you walk on. This won’t change anything for him. And Mabel… well, Mabel will laugh too actually. Very hard.” He brings a hand to his chin and narrows his eyes. “Or worse, she’ll start shipping you.”

“What does that even mean? She’s going to ship me? Where? How?”

“Uh, not important, and for all intents and purposes, I do not know what that word means either. Look, I’m just pulling your leg, Poindexter. I won’t tell them if you don’t want me to. It’s your business.”

“You honestly mean that?”

Stan sweeps an arm through the air with finality. “It’s your own business and nobody else’s. Look, I’m—” He finds himself rubbing the back of his neck. “I’m sorry for pushing you about this. It’s not something you’d wanna look back on, I get it.”

“Oh.” Ford doesn’t really know what to do with that so he resumes straightening papers even though they’ve been straight for the past three minutes. “I’m not used to fights ending like this.”

“Yeah, me neither. It’s weird. It’s like we emotionally matured or something.”

“Something like that,” Ford agrees.

They lapse into awkward silence. That should've been the end of it, and yet.

“I guess I just don’t get it,” Stan admits.

“What don’t you understand, Stanley?”

“He’s a— Well, he’s a little two-dimensional, don’t you think?”

“It was an extremely intellectual affair, Stan. Physicality had very little to do with it.” Well, that isn’t entirely true but his brother doesn’t need to know about any of that.

“You know what, I’d believe that. I’m just having trouble envisioning what it… what it was like.”

“Why are you trying to envision that?”

“Because it’s weird, Ford! It’s weird and morbidly fascinating. It’s like a train wreck, I can’t look away.”

“Do you have any more questions? So that I can answer them and we can be done talking about this forever?”

“So you… you never… y'know…”

“No,” Ford says about five seconds too late. There’s heat rising to his cheeks and he smothers his face with his hands as Stan sits slack-jawed in abject horror.

“What? Wait, seriously? How did that even work?”

“Ask me something else.”

“Okay. For scientific purposes, hypothetically, in a hypothetical situation, how would a human with glasses and a triangular demon go about—”

“Oh, for God’s sake, Stan!”

“God had nothin’ to do with it, I know that much.” Stan leans back in his chair, then eyes Ford suspiciously. “Wait. He didn’t possess someone else, did he?”

“No!” Ford sounds genuinely horrified. “How depraved do you think I am? That would be tantamount to— I wouldn’t do that. Do you really think so lowly of me?”

“I mean, they could’ve consented beforehand anyway, right? That’s all I’m saying. Although, Sixer, I cannot stress this enough: You locked yourself in a cabin in the middle of Nowhere, Oregon and started drawing freaky symbols on the floor and communing with a literal demon. I think I’m allowed to be a little concerned.”

“Well– Sure, when you put it like that, it sounds more occult than scientific, but I can assure you my methodology was very sound.”

“Oh, okay, good. I’m glad your methodology was sound. That was the main thing I was worried about.”

“May I return to my cipher now?”

“Your Cipher, huh?”

Ford stares pointedly at his twin, trying to telepathically communicate how exhausting this conversation is.

“I just need to know how you did it. It’s gonna keep me up at night.”

“I fail to see how that’s my issue.”

“And then I’ll keep you up at night.”

“And then I’ll throw you overboard so that you can find that notebook you lost!”

“And then I’ll haunt you from the watery grave, you know I will. Besides, it’s laughable you think you could throw me overboard, Poindexter.”

“You really want to know?”

“For my own peace of mind, please.”

Ford sighs deeply, eyes shifting from wall to wall, as though afraid someone’s eavesdropping. Maybe he’s paranoid that a mermaid is listening in from outside. He gestures for Stan to lean in closer, cups his hands to his ear and whispers for a few seconds. Stan’s expression becomes unreadable.

“Oh. Wow. Creative. Okay. Welp. That answers that.” He claps his hands together as if to dispel dirt. “Say, you wouldn’t happen to have another one of those memory-wiping guns?”

[mrs-stans]

Sebastian Stan Talks Career Interests And His ‘A Different Man’ Film

By Jeff Conway

Sure, you likely know him for his many Marvel film appearances as Bucky Barnes, but actor Sebastian Stan has often taken “the road less traveled” when it comes to his career, having built quite the unique repertoire of memorable performances in far less conventional films.

That observation has arguably never been more visible than with his involvement in the new A24 film, A Different Man. Written & directed by Aaron Schimberg and co-starring Adam Pearson and Renate Reinsve, it tells the story of Edward (Stan), an aspiring actor who undergoes a breakthrough medical procedure to transform his facial appearance, but soon regrets his decision when he becomes obsessed with reclaiming what he has lost.

I sat down with Stan, Pearson and Schimberg to uncover the origin and the creative thought process that went into this new project, which is now playing in select theaters in New York and Los Angeles - nationwide come October 4. For filmmaker Schimberg, this purposefully uncomfortable narrative and the overall project hits rather close to home.

Schimberg said, “I mean, for me, it’s sort of a personal story. I have cleft palate and it’s just sort of me thinking about how it’s affected me in my life and others’ perception of me and my perception about myself. My previous film [Chained for Life] also dealt with the subject in some ways, so that’s sort of what I am always thinking about when I am starting to write a film. I was also thinking about Adam because I had worked with him previously and he played a shy character in Chained for Life, my last film, and he’s not shy at all - and yet, people I think sort of thought that he was playing himself in my movie because they sort of assumed that he must be shy. So, I was inspired to write something that was closer to who he is - taken to a comical extreme, maybe, and I wanted him to show off his range, but I also just wanted to work with him again, so these were some of the starting points.”

Pearson, a British actor with neurofibromatosis, which is a rare genetic disorder that typically causes benign tumors of the nerves and growths in other parts of the body, went on to share what it was about A Different Man and his Oswald character that most intrigued him to want to make this his next film.

“Well, I enjoyed working with Aaron the first time, so when he said, ‘Would you consider working with me again?’ Straight away, I was like, Ding Ding! Round two - let’s rock and roll. Then the script - all the words have weight. There’s very little wasted motion in the script. The end result of the film is quite challenging and holds up a mirror to an audience. I’ve never been a fan of hand-holding or sugar-coating. I think audiences can be a lot smarter than we often give them credit for. A good film will change what you think for a couple of days, but a great film will change how you think for the rest of your life. We’re certainly trying, at least, to be in the great film business.”

With Stan not only acting in A Different Man but also an executive producer, I wondered how he has perhaps noticed his interests and priorities towards the stories that matter most to him as a professional and human being evolving as time goes on.

Stan said, “Well, you get a little older and the questions get a little scarier. A few years ago, I just decided to kind of just be a little bit more aggressive about finding specific work that was interesting and different and kind of challenging for me than what I was getting to do. Eventually, you find yourself in conversations that are in the development of certain things and that might lead to a producing kind of aspect. I think in this [A Different Man] situation, I was involved before A24 came on, which never really happens for me. Not only because of obviously how I felt about the story and so on, I felt really brought in by Aaron and [producer] Vanessa [McDonnell] into their journey with this film and like what they were wanting to do. So, I felt a much bigger attachment than I usually do as an actor in a way.”

When it came time to film A Different Man, Stan recalls the production not having much time, which he actually found to be helpful within his producer role “because when you’re involved in some capacity beyond acting, sometimes you can kind of go, Hey, let’s continue shooting or something. You can help add more to the making of it in some capacity and that was big for us, given our time - that we didn’t have a lot of time.”

In fact, during one particular scene in the film, Stan remembers while everybody else was wrapping up the production trucks for the night, he decided to head out on the streets of New York City with his A Different Man director of photography Wyatt Garfield and Schimberg to grab additional footage. “I just kind of took one of his other little cameras and then we started going up and down Columbus Avenue. It was Friday night and we just got all these shots. Maybe you don’t always get to do that, so that was helpful.”

As I began to conclude my conversation with these three gentlemen, I wondered what Pearson and Stan would say to their A Different Man characters, Oswald and Edward, after seeing their stories play out on-screen and understanding their wants out of life.

Pearson said, “I’d be like to Oswald, Maybe turn it down a little bit. Be nicer to [Stan’s character Edward] because he might not say it, but he loves you and he needs you right now.”

As for the message Stan would tell Edward, he said, “Listen to me! I’m here - I’m telling you. I don’t know how I feel about this. Just hear me out.”

He then added: “It’s very interesting because we all have these moments in life, big or small, where you make a decision or you even say something because you’re with other people or you’re supposed to say something the right way, but you know your reaction in the moment or the decision you’re making is not what your gut is like really telling you. Then, you feel kind of like you’ve abandoned yourself, but then you just quickly deny that - that can kind of like spiral down. We’ve all kind of not owned certain things in the moment and that’s sort of what happens. He kind of drowns out that voice.”

[thatpersonwhosaidtheywouldnt]

Thinking about how the biggest reason I think the Young Justice show went with the origin they did for Wally and Barry (Wally doing the experiment Barry did, Barry doing the experiment Jay did) is because the creators of the show did not include the Speed Force. Greg Weisman does not like the idea, doesn't see the point of it (and in my opinion clearly misunderstands it) someone on Reddit did a write up on it if you wanna see all he's said here.

So what's this gotta do with the Flash origins in YJA vs comics? Well, first off, the Speed Force was something Mark Waid created to unify the Flash's powers and bring a bit of sense to them:

"It really was just a matter of trying to unify the powers. Barry and Wally's origins were identical, but Jay ostensibly got his speed by inhaling 'hard water,' a.k.a. 'ice.' I never really thought of it as 'mystical' in any real sense, just scientific --- or as scientific as you can get when you're talking about what happens on the other side of lightspeed (which was my original pitch, an idea that to this day I can remember its exact moment of birth)" (Waid from Ask Chris #317 here )

So without the Speed Force, YJA had to solve a problem Waid had solved with the Speed Force a different way. Waid chose not to or didn't have the option to change Wally's origin from being the exact same as Barry's so he made it make sense through the Speed Force, in essence, choosing Wally (and Barry and Jay and every other speedster). YJA had the option so they went a different way.

Barry was always inspired by Jay Garrick. In comics he was a lucky fanboy who got the powers of his favorite comic character and took his name. In YJA, he's not lucky, he, instead, performs the same experiment that gave Jay speed on himself (YJA Barry is simply more unhinged because what).

Wally, similarly, was also a lucky fanboy who got the powers of his favorite superhero (who happened to be the guy his aunt was dating... Very lucky). In YJA... Well it's the same as Barry again expect he's a literal child performing an experiment on himself which puts him in the hospital (comics Wally is notably fine, just wet from the chemicals).

I think it's a pretty significant change to make Barry and Wally want and grab for the superpowers of their heroes (and beg to be a hero before having those powers in Wally's case) instead of them being super fans that have powers thrust upon them. Powers they choose to use for good but not powers they chose.

And then we have Bart... See, with Bart, things are very different. They have to be. Bart's first appearance is in the exact same comic as the first appearance of the Speed Force. Getting rid of it... Basically gets rid of Bart.

Of course, he's in YJA, so that's not quite true. And, admittedly, I think there were ways to do Bart more accurately without the Speed Force... But it's hard. And YJA essentially avoided making a proper attempt at all and made a fully new character. Instead of him being raised in virtual reality while his body was speed aging due to his biological connection to the Speed Force, he is raised in a post-apocalyptic dystopia. He pretends to be chaotic, impulsive, and sorta dumb but is actually very calculating, a bit cynical, and jaded. He is an interesting character for sure... but he's definitely an original character in all but name, and you can see the character type they took inspiration from - the likes of Cable, Future Trunks (Dragon Ball), and Silver the Hedgehog, instead of his original characterization (a characterization I think is much more original and lacks a character that's similar). A final, more minor point, is that the lack of the Speed Force seems to be why he had to build his own time machine, unable to run through time as in comics.

Bart, in comics, is chaotic, whimsical, and impulsive. He was born in the far future because of some chaotic time travel-related reasons, and his father and aunt (the Tornado Twins) were killed soon after his birth. He was taken by the Earth government (in a roundabout way), run by his grandfather (who happens to be a descendant of the Thawne family... making Bart related to Professor Zoom), and instead of trying to stop his speed aging, merely observed him while raising him in a virtual reality. Iris breaks him out and they time travel to the past to get help from Wally. Through a series of events, Wally ends up handing Bart over to Max Mercury (basically the Speed Force expert) to raise cause Iris dipped and Wally is not capable of raising a teenager. Max, Bart's main parental figure, is not and cannot be in YJA because the Speed Force not existing or being known of, makes that impossible. It is the most intrinsic to his character out of all speedsters.

Much of Bart's character arc has him have to learn that life is not a video game and he does not get a do-over. There is a very powerful arc where Bart (who has this speed force power of essentially making clones of himself) loses one of his speed force clones and feels the death of his clone as if he died as well. It terrifies him. But without the Speed Force, without the powers that create that arc, this is not something that can be explored in the cartoon. YJA Bart is, in some ways, the opposite of his comic counterpart. He clearly understands death well; it's all he knows, a dying world. He likely expects to die himself traveling to the past like he does. Bart in the cartoon has to learn different lessons.

I think at the end of the day, this choice to ignore the Speed Force (and therefore the center of Flash lore since the mid 90's), is a bit disrespectful. I don't think Weisman saw it that way, of course. To him it seems he was adapting the Flash lore prior to that. Which does make some sense, seeing as Wally was Kid Flash and the Speed Force is very much tied to Wally's time as the Flash (something he never gets to be in YJA). And I am not saying I dislike Wally in this show, in fact that show is why he's one of my favorite characters. But I think it's all interesting to think about... And I do think the Flashes are much better handled in their comics, no matter the love I have for Wally in the show (except maybe the letting Barry be a dad part). But it's the nature of adaptations I suppose. Thanks for coming to my Ted Talk. 🫡

[poorly-drawn-mdzs]

Thanks for listening to my sad backstory. Anyway, here's Wonderwall.

[First] Prev <–-> Next

[tagerrkix]

[humming-fly]

the origin of meta-knight's self consciousness

[gunstellations]

boop! 💙🤍

[accirax]

a collection of DCAS memes so far

[unproduciblesmackdown]

Lackadaisy Enrichment

[draw-the-squad-like-this]

Draw your otp like this

[greykolla-art]

I heard that our dear @beansprean was sick, so I thought it would be nice to dedicate to them a smutty little vampire comic!

(My dude-gender neutral- your stamina for creating so much awesome art and comics is inspiring as hell! I hope you take care of yourself!🖤)