#the first chapter needs a major edit but i really needed to actually plot before i could do that

[sagemoderocklee]

not me plotting out 2 fics i can’t even update rn… truly got the gaalee/writing bug in a big way again 😭😭😭

[etrangeres]

The Curious Case of Kaitou Kid

(UPDATED 11/27 JST. Sections with significant new portions will be bracketed with a ☘️)

We love alliteration in this household.

To start with an anecdote, I went to the main Animate store in Ikebukuro some 2-3 weeks after M27 began showing in theaters. I had two reasons to be there: hopefully grab some copies of the Magic Kaito Treasured Editions, and grab what movie-related merch I could. The former I managed, but the latter was a lot harder. Despite them devoting nearly an entire wall on the right side of the first floor to Detective Conan merch, every single piece of non-blind box Kaitou Kid merch had been snatched up already. This trend of Kid’s merch being sold out seemed to continue for at least a couple weeks afterward, at least in and around Tokyo.

This demonstrates something I think we all already know: Kaitou Kid is a crazy popular Detective Conan character.

…Detective Conan character? Yes, but… No. But definitely yes. But… yes?

Kaitou Kid - real name Kaito Kuroba - is such a funny character if you think about him for more than a few seconds. So I chose to think about him for a few, uh. Days.

When I say he’s funny to think about, I don’t necessarily mean in terms of who he is as a character - which is admittedly also fun, because I think Gosho Aoyama is the king of gap moe - but more in terms of his placement in the greater DCMK canon. I mean, the fact that we have the “DCMK” acronym at all signifies the importance of tying these two series together. Even though they technically take place in different worlds. You know. Technically.

So I want to (mostly) chronologically go through Kid’s history in Detective Conan, how it relates to his origin as Kaito Kuroba in Magic Kaito, and amuse myself with the strange relationship he (and his source manga) has with the juggernaut that is Detective Conan.

Before we jump into this, some basic notes:

-I don’t mean for this to come across like some academic thesis. Nor did I actually think this would hit over 18k words. I’m just Like This.

-Any translations you see here are done by me, from the source Japanese.

-There will be concrete mentions of events from M27. They are comparatively trivial in terms of the mystery the film offers, but there will be spoilers for certain major parts of the plot as they relate to Magic Kaito elements. This will be clearly demarcated, should you wish to avoid those spoilers.

The MK to DC Pipeline

So I don’t know how many people actually need this information, but for completion’s sake:

Magic Kaito is Gosho Aoyama’s debut serialization (important distinction), and it began in June 1987. Though roughly the first two volumes’ worth of chapters were published at a fairly consistent monthly rate, it grew more and more irregular after that due to the popularity of both Yaiba and (more importantly for our discussion) Detective Conan. Due to it still technically being an ongoing series, it is currently Weekly Shonen Sunday’s longest running manga. This just so happens to be followed by Detective Conan, and they lead this particular ranking by a fairly wide margin.

The manga as it currently exists came out of the one-shot “Nonchalant Lupin,” which he submitted to Shonen Magazine’s manga contest after his editor told him to “draw the story you most want to draw” (Treasured Ed. V5). The one-shot won an honorable mention. His comment in Treasured Ed V1 also mentions that he “all but became a mangaka because I wanted to write about a high school kaitou,” so he’s clearly attached to the concept. He’s also clearly attached to Magic Kaito itself; a number of excerpts from the Gosho Aoyama 30th Anniversary Book, for example, talk about how a greedy part of him immediately thought of Kaitou Kid on the silver screen when he heard about the first movie being greenlit, or how he thinks Detective Conan will one day end but Magic Kaito may not because that’s what he really wants to be writing.

Back to our timeline: the Kindaichi Case Files were gaining steam in the early 1990s, and Weekly Shonen Sunday wanted its own version of the boom. Gosho himself was approached by the editorial team at Sunday to do a mystery series, and he accepted, not thinking it would last very long - not only because he wasn’t all that interested in the idea, but because he didn’t think there would be enough material to last more than three months.

It has lasted 30 years.

I say all this not to indulge in the depressing truth that Magic Kaito only has just shy of 40 chapters, but to specifically highlight the synergy Magic Kaito has with Detective Conan - despite the existence of magic in the former - due to their shared inspiration of Arsene Lupin. Things like Sherlock Holmes and Kogoro Akechi are pretty obvious inspirations for Detective Conan that I don’t need to go into in much depth, but the idea of a “high school kaitou” still very much bleeds into aspects of Conan’s character. Many of the things Kaito is either capable of naturally or has to deal with due to the inherent nature of his position are things that are also reflected in Shinichi.

Feats of physicality (Comes naturally to Kaito due to genetics and practice; enhanced for Conan via Agasa’s inventions)

Master of disguise (A practiced skill with makeup and voice changing for Kaito; use of a voice changer and aid from people in his life to deal with disguises)

Secret identity (a flipped perspective version: Kaito has a straightforward secret identity, while Shinichi has to keep his survival a secret)

The “bumbling police” (A good kaitou story will have a morally upstanding but kinda dumb detective that demonstrates the sheer skill of the kaitou in question while putting a contrast to their morals. Nakamori is this to Kaito; though not a one-to-one, characters like Megure or Kogoro serve similar roles to Shinichi to demonstrate his skills as a detective.)

“Why are you like this????” (Admittedly the most Vibes of the list, but there’s a level of gray morality. We root for the main character while knowing that what they’re doing is at times questionable. Kaito goes without saying, but Shinichi is more likely to engage in suspicious behavior like breaking into cars, bugging people’s houses, or even stealing evidence after becoming Conan.)

Motive (The most interesting - and sometimes the funniest - overlap is the fact that they’re both after a shifty organization. It’s a bit surface level at first, but there’s a suspicious level of overlap between not Shinichi and Kaito, but Shinichi and Toichi.)

All of this is to say that pushing DC and MK into DCMK is almost comically easy once you adjust for tone (and, uh. remove Akako, I guess) because Shinichi is BUILT from the kaitou framework and tweaked into a detective. So it’s no wonder Gosho decided to throw in a Kaitou Kid cameo that turned into the character asserting himself as a recurring sub character, as opposed to a quirky crossover character.

Even if he’s still both. And also a secret third thing.

The Last Wizard of the Black Star

So, there’s not much to mention about Magic Kaito’s early run. All chapters in the pre-DC era are stand-alone stories, with the plot starting and concluding within the span of a single chapter. It was a bit of an “anything goes” era, with the genre fluctuating all over the place and a lot of things we consider “standard” in any given Kaitou Kid story not yet being fully codified. Many of these weirder chapters have their own charm if you allow the gag manga energy to take you for a ride, but if gag manga isn’t your thing then it feels like these chapters are where Kaito himself is at his most…incongruous with the character that would eventually show up in Detective Conan. (Let it be known for the record that I personally find these early chapters SO silly and would kill for an animated adaptation of Clockwork Heart, the truly bonkers third chapter.)

The biggest “what do you MEAN that wasn’t there from the start?!” is by far Blue Birthday, which is the chapter of Magic Kaito that was published immediately before Detective Conan began serialization. It took about half of the currently released chapters to introduce Pandora, a now fundamental concept that is likely to be included in ANY one-paragraph summary of Magic Kaito’s plot. It isn’t the only thing, of course; though Kaito’s card gun debuts in the very first chapter, his hang glider doesn’t show up until Chapter 10.

The other major thing worth pointing out in the pre-Black Star era is the general pacing and fundamental makeup of the stories themselves. Very few case-only (or heist-only, as it were) characters show up in these chapters. When they do show up, they tend to be pretty flat, are often ridiculous, and are there to facilitate the hijinks of the day (the gun-crazy detective, the weird robot inventor, the irresponsible prime minister).

This changes with Green Dream, and it’s an immediate change. Detective Conan has been in serialization for over half a year by this point, and already its formula is bleeding into Magic Kaito. There are multiple new characters per heist, and multiple pages with two to three times more text than before are dedicated to setting up a fundamental conflict. Kaito is also more likely to take a stance in this fundamental conflict and use his talents and status as Kaitou Kid to lead it to a conclusion. Behind all of that, though, Kaito himself is still the cheeky little agent of chaos we all know and love throughout these chapters. (As an aside, the Kid mark used on his advanced notices debuted in this chapter!)

The big watershed moment is very obviously Black Star - the Detective Conan version, in this case. In both this and the Magic Lovers case (despite his very little screen time in the latter), readers of Detective Conan are introduced to a FAR more serious version of the Magic Kaito character. This is largely because what we’re seeing in Black Star specifically is a 100% outsider's perspective. Though we’ll very shortly find out this is not Shinichi’s first meeting with Kid chronologically, it is the first time he not only hears his name, but also has any real interactions with him. Kaito wears the mask of his father in his performance as Kid, and you could very much argue his guard is WAY up around probably the weirdest child he’s ever met. So in a story from Conan’s perspective, we have no way of seeing behind that mask.

Personally, I always put a bit of an asterisk next to DC’s Black Star. This is the case that feels the most like a “crossover” than any other Kid case after this, and of course it would. It’s the very first one! It’s the Kaito and Aoko cameos that really bring this vibe for me personally; great care is taken in Detective Conan not to pull much of anything from Kaito Kuroba’s personal life except in a few stand-out cases, and those  almost never involve anyone in our core cast directly. And I don’t even mean in the “he’s only ever shown in his Kid costume” way, because there are plenty of times where he shows up not wearing that. They key for me is that Kaito is always “at work” as a disguised Kaitou Kid as opposed to as Kaito Kuroba - the hat, the darker clothes, the low-effort disguises as police or staff. That kinda thing. But the appearance of Kaito and Aoko in their casual wear or school uniforms here really makes this case stand out in a way that later cases simply don’t joke about.

Detective Conan shows us Kaito at work. It’s why he comes across as so difficult to grasp and almost intimidating in these earliest of appearances. Those vibes obviously continue into The Last Wizard of the Century, the third theatrical release and Kaitou Kid’s very first movie appearance! His grand total screen time is only a fraction of the movie’s full run, but the vibes have a heavy overlap with that first conversation Conan has with Kid on the roof in Black Star. Though there are debates regarding the movie’s canonicity, this also marks the point in at LEAST movie continuity where Kaito figures out Conan’s identity, so there’s that precedent set. (Put a pin in that, by the way.) This also marks the first time Kid disguises himself as Shinichi.

What’s more amusing to me is that Magic Kaito’s Black Star seems to have been published to coincide with the movie’s release. Magic Kaito’s very first chapter after Kaitou Kid’s appearance in Detective Conan brings Shinichi Kudo to Magic Kaito. This is his only appearance in Magic Kaito to date, whether it be as Shinichi or as Conan. Gosho mentioned in his note on the Yaiba vs Kaito chapter that he really likes crossovers (same hat), so I have to think that the limited run of Magic Kaito is likely why we don’t see more DC characters in MK. Though in a Q&A he did toy with the idea of Conan showing up in Magic Kaito one day, so…

All that said, every time I think of MK’s Black Star my brain shoots off in two directions. The first and easier to articulate direction involves Akako’s presence, but we will get to that in the next section. The second direction is the very existence of this chapter at all.

As I mentioned above, this is the first new heist for MK after Kid showed up in DC. It is also the first multi-chapter heist, which indicates even more influence is bleeding over. It was also published alongside the movie, probably as part of a promotional stunt. Something about it feels like a doubling down of sorts on the stapling of these two series together. Kid showing up in Detective Conan is a fun reference; Shinichi showing up in Magic Kaito instead of the more recognizable Conan feels like a statement of shared worlds, largely because of how it makes you think about the timeline. The Akako issue aside, it really feels like he wanted these worlds to collide. If you have your own Lupin analogue AND your own Sherlock analogue, why wouldn’t you want to pit them against each other?

Add More Staples!

It’s at this point that updates to Magic Kaito get… particularly sparse. But there’s a LOT of stuff going on across the DCMK space as a whole in these few years that feels like it’s trying to tie the two series together.

We start off with the Twilight Mansion case, which introduces Hakuba into Detective Conan. Which would be fascinating by itself, but this was also Hakuba’s first appearance in EITHER DC or MK in TEN YEARS if you don’t count his one-panel cameo in MK’s Black Star. The framing of his introduction in Detective Conan is interesting, because the paneling and composition very clearly tell the reader that the character that’s about to be introduced is either 1) important, or 2) already known. In Hakuba’s case it’s clearly the latter, but this would make very little sense to someone that isn’t as aware of his place in Magic Kaito.

Enter The Gathering of the Great Detectives, the animated adaptation of the Twilight Mansion case that was turned into a two hour special and opened with MK’s Black Star. There are ways in which it’s an odd choice, given Hakuba barely appears in Black Star at all. But I think Hakuba’s status as yet another Magic Kaito character being introduced into the narrative provided an opportunity for them to adapt a Magic Kaito heist for TV broadcast, and the chapters featuring Shinichi were the easy choice. The Yaiba vs Kaitou Kid vs Conan OVA had come out shortly before this, so it’s technically not the first time a Magic Kaito chapter had been adapted. But that was more of an altered gaiden OVA compared to this, and this TV adaptation seemed to hit you over the head even harder that there was merit to delving into Magic Kaito if you were a fan of Detective Conan.

☘️Between these two was the first of many OVAs, and the first of a couple of attempts to shove Conan into Magic Kaito material: Conan vs Kid vs Yaiba. This is an adaptation of an August 1993 chapter of Magic Kaito, and is the chapter that broke a roughly three year break in publication (it was then followed a few months later by Blue Birthday). Much of the main plot of the chapter is largely kept intact, with one fairly major (and obvious) difference: Detective Conan’s involvement. Much of the core DC cast has been dragged into the plot, which is at first a little odd considering the explicitly battle shounen-style magical flavor of Yaiba.

This OVA handles that incongruity with the “fever dream” solution. In Conan’s side of the story, things get increasingly more and more ridiculous until the final reveal that Conan had fallen asleep reading Yaiba. Which is to say that, plot wise, the OVA ultimately amounts to nothing. But that’s fine, because what’s more interesting is how early they display Kaito’s carousel of emotions in this OVA as compared to the “mainline” media (manga or movies). What’s also worth noting is that this is the first appearance of Akako in DC media, right before she gets a more mainline debut in EP219. She’s a one-scene wonder, bursting in with an ominous fortune and leaving in a very magical disappearing act.☘️

But the OVA, in the aforementioned fever dream context, excuses her existence. In the manga, though? Oh, Akako. Bane of the DCMK world. Sole reason we must argue that they take place in parallel worlds despite how ridiculous that sounds.

In the manga, Akako gives Kaito her premonition about the Demon of Light coming after the White Sinner. This is also in the episode, if memory serves. But in the episode as aired on TV, Akako features very little after that… because they fully cut the scene of her attempting to use magic at the base of the clock tower. Magic does not exist in Detective Conan, after all. It was eventually put into the episode another ten years later on the bonus DVD that came with certain versions of the Treasured Edition of Magic Kaito Volume 4.

More broadly, Akako is clearly a sticking point for the combining of these two “worlds” into one. Gosho himself takes the easy way out by ignoring Akako’s existence entirely in the Detective Conan canon, just as the TMS adaptation of Black Star did. He’s often brought up the concept of the two taking place in parallel worlds where the only major difference is the presence of magic in one and its lack in the other, as in his comment on Akako’s intro in Treasured Ed. V1: “In truth, the biggest bottleneck when it came to introducing Kaitou Kid into Detective Conan was the inheritor of Red Magic herself! So please just accept the two series as parallel worlds (lol).” He’s much more straightforward in his comment for Sun Halo in Volume 5: “You really gotta have Akako use Red Magic! (Please just assume Akako does not exist in the Conan world…lol)”

Despite this insistence she doesn’t exist, Sky Walk features an almost blink and you’ll miss it reference to her. Nakamori brings up the idea of Kid’s assistant being in play, to which Conan shows surprise at him having an assistant at all. Nakamori replies that there are multiple reports, some of an “old man” and others mentioning a “young woman.” The old man is obviously Jii, but the young woman is very likely meant to be a reference to the stunt Akako pulls in Akako’s Delivery Service, a very early Magic Kaito chapter.

As you’ll notice, Akako is still very much a practitioner of sorcery as of something as recent as Sun Halo, so it’s not as though Gosho has simply opted to phase her or her magic out of Magic Kaito. But considering there are MULTIPLE DC cases that deal with debunking the supernatural, her presence would most certainly complicate things. That being said, Magic Kaito’s world and plot do not seem to hinge on magic in an intrinsic manner (unless Pandora is literally a magic gem, as opposed to the tale of the gem being a metaphor for something), so I personally don’t see too much of an issue with magic being very rare, even in Detective Conan’s setting.

To keep with Magic Kaito for a little while longer, Golden Eye was the single heist released during this period. As far as its significance is concerned, I actually think Gosho said it best in his comment in the Treasured Edition: “Magic Kaito may be a thief story, but it’s also a magic story, so it was incredible to finally be able to mention the actual legend Harry Houdini. Even so, there’s an awful lot of deduction going on, so in this story you can also really feel how it’s been corrupted by Conan (lol).” It was a thought I had about Golden Eye even before reading his comment, so I’m a bit amused to find he actually called it out to be honest.

The following Detective Conan cases - Sky Walk, Three Instruments, and Four Masterpieces - and the movie Magician of the Silver Sky are all more along the lines of Black Star in terms of Conan and Kid’s relationship, but with an extra added pinch of “coming together for a common cause” in the movie. Sky Walk specifically also introduced Jirokichi to the mix, and he becomes the only Detective Conan character whose purpose in the narrative is tied exclusively to Kid. It’s in this way we begin to create a Detective Conan-exclusive environment for Kaitou Kid, which in turn establishes him more and more as simply “a Detective Conan recurring character” as opposed to the main character of another story that’s here for crossover shenanigans.

There’s a Pandora’s Box reference in Three Instruments that makes me want to pull my hair out because don’t say Pandora that word is important, and Four Masterpieces is a lot more “murder mystery involving Kid.” They happen very rarely in Detective Conan, but they happen basically NEVER in Magic Kaito (Dark Knight doesn’t count), so this lowkey feels like another way we’re shoving Kaitou Kid into the rules of Detective Conan.

In Magician of the Silver Sky, Conan expresses a level of shock when “Shinichi” passes the pinch test. This then marks the first time (in movie continuity, at least) that Conan is aware that Kid naturally resembles him.

But the funniest thing about this series of cases (and the movie) for me is the cracks in Kid’s mask, whether that be for Conan himself or for the reader. The final confrontation in Sky Walk ends on an almost comical note with Kaito being blasted off again via gasoline fire, and there’s a stinger at the end of Four Masterpieces showing a pathetic Kaito after Conan has just shot a mecha-powered soccer ball directly at his stomach. And that’s not even getting into the movie, whose entire first act drops us into a tense confrontation with a very suave Kaitou Kid before rewinding back to when he put on the least convincing act ever as a disguised Shinichi Kudo.

Have I mentioned he contains multitudes yet? King of gap moe. 

But we aren’t truly there yet. He’s a little silly for sure, but there are still times where the mask is on about as tight as it can be in Conan’s presence.

☘️The last two OVAs from this era - Conan, Kid, and the Crystal Mother and Follow the Vanished Diamond - have varying levels of significance. The latter matters extremely little to this conversation on the whole except for Kid finally showing up toward the end. Heiji and Kid have only ever had cursory interaction in DC to this point, and this frankly continues that trend. It’s worth noting that its release right before Movie 10 is significant specifically in this regard, though.

No, what’s way more interesting is the extremely forced adaptation of Crystal Mother. The bare bones and much of the meat remains - it’s still very much recognizably Crystal Mother in every way that matters and then some - but we’ve once again stapled Detective Conan to an adaptation of a Magic Kaito chapter. To accomplish this, they find ways to make Magic Kaito fit the world view of Detective Conan, like with OVA 1… But this time, it requires many more changes that wind up feeling a little more forced.

These changes are largely focused on Pandora and MK’s organization. Though Kid still looks at the jewel through the moonlight, all mentions of Pandora are dropped. Snake being recognized by Conan under the code name “Jackal” as an international jewel thief also has some interesting implications. A more generous reading would be that he potentially had another, more general-use, code name before joining his organization and receiving the name Snake; a less generous reading would be that the OVA has recycled Snake into an otherwise original character for the OVA that has taken Snake’s place, thereby removing any implications of a Pandora plot existing at all. Regardless, Jackal seems to have had previous run-ins with Kid. Which of these readings you opt for greatly changes the implications of Kid’s own personal plot in DC. At this point, despite pulling a very real crossover this time around, they apparently aren’t ready to commit to Kid’s motives being the same across both series.

In addition to Jackal, an assassin by the name of Rose is introduced in this OVA. Though she’s working with Jackal, her purpose seems to be to give Conan someone to confront in a more tangible manner, since Conan and Kid’s paths can’t really cross without drastically changing the story. Otherwise, the last major note I have for this OVA is the final scene. Conan hearing Kid saying he’d come after the Jewel of Destiny next is a nod to the at-the-time upcoming movie, Movie 8.☘️

The last two stories mentioned here - Detective Koshien and the movie The Private Eyes’ Requiem - are actually a lot less about Kid and a lot more about Hakuba. So let’s talk about the cosplay detective for a little while.

Hakuba is interesting to me, for a couple different reasons. One is the cadence of his appearances in Magic Kaito. He is introduced late into the pre-Blue Birthday run and is in a total of three chapters. Those three chapters speedrun his discovery of Kid’s identity… and then he’s gone until his first Detective Conan appearance. Golden Eye is his return to Magic Kaito in a short but fairly significant scene that fills out the contours of his relationship with Kaito with regards to that identity, at which point he is in all but one case thereafter.

The other reason is that he seems to slip through the cracks of “significant Kaitou Kid relationships” unless you consider yourself a Magic Kaito fan. But I think this is largely due to the line in the sand we shall not cross: Kaito Kuroba’s personal life is off-limits in Detective Conan. As a result, Hakuba is framed far more often as a detective in his own right that just so happens to have some manner of connection to Kaitou Kid in his few Detective Conan appearances.

This connection is made fairly obvious in Twilight Mansion by both having him introduce Kid’s presence in the case, and having him and Conan highlighted as the two people that are after him at the end of that case. But his next appearance, Detective Koshien, only implies a connection in passing and chooses instead to focus on contrasting him with Heiji in preparation for the movie. In an interesting move, the plot developments of the case actually give Hakuba an excuse to avoid wearing a school uniform like the other students because he ultimately settles into the “foreign detective guest” role. There are, as a result, zero indications that he and Kaitou Kid’s civilian identity are actually classmates - or that he attends a Japanese school at all.

As for the movie itself, Hakuba was Kid in disguise the entire time, so there’s very little we can discuss when it comes to Hakuba himself. But after Kid’s frankly poor performance as Shinichi in M8, his performance as Hakuba in M10 is almost uncanny levels of spot-on (which admittedly turns into a very funny contrast with his Hakuba disguise in Green Dragon).

All in all, this selection of chapters, episodes, and movies pulled more of Magic Kaito into Detective Conan (when those details weren’t flying in the face of it), while Kid himself began to more closely resemble the Kid of Magic Kaito in the small moments. In Magic Kaito, meanwhile, we’re starting to see far more obvious influence from Detective Conan in the writing and pacing of its heists.

But the gates have not yet been thrown wide to truly allow the silly in.

Throw Wide The Gates That We May Sillie

The collection of chapters that start this portion of the list are, in a word, fascinating from a Magic Kaito perspective.

We start with Shinichi’s Childhood Adventure, which does a couple of notable things. First, it confirms that Toichi was the magician that taught Yukiko how to use disguise makeup for her acting career. It was implied to be him in a very “if you know, you know” fashion in the Golden Apple case over 200 chapters prior, but this makes it inarguably clear. The extension of this confirmation is that Toichi also taught Vermouth the art of disguise, which is a particularly interesting connection to think about. As obvious as it sounds to say, this chapter is also the start of confirming that many things we know of Magic Kaito’s plot and backstory remain consistent in Detective Conan as well. The case ensures you don’t need prior Magic Kaito knowledge to pick up on Toichi being the first Kaitou Kid. That he meets Yukiko with Kaito in tow also means (unless my memory is failing me) that this is the first and only time Kaito’s name is spoken within the Detective Conan manga. It also confirms that the author that named Kid was, in fact, Yusaku.

The big part of this case that people tend to bring up in the wake of the M27 reveal is the “I’m your younger brother” conversation from Toichi to a young Shinichi. Now, 2006 is earlier than what meager sources I’ve managed to find that seem to indicate he had the familial relationship in the back of his mind, so I’m personally not sure how much stock I place in this conversation as any form of foreshadowing. The other aspect people bring up with regards to the family terminology - the reversial of younger and older brother - is easily answered by the context the case is set in. Toichi is referring to the order in which Yusaku named them - Shinichi first, as Yusaku is his parent (親, oya), followed by the moniker "KID" for 1412 as Kid's name-giver (名付け親, nazuke oya, a term that can also mean "godparent" in certain contexts that more literally translates to "name-giving parent"). As such, Shinichi is the "older brother" between the two.

What the entire case does seem to indicate regardless, though, is that Toichi and Yusaku are aware of each other on more than a surface level. At the very least, we’re meant to take away a passing of the baton, from father to son, in their relationship as friendly rivals. It has, apparently, always run in the family.

All in all, this case is a far more intentional mixing of Magic Kaito with Detective Conan because it deals with past events. It says “these things were always here, intermingling” and concretely refutes the idea that the modern Kaitou Kid was the first point of contact, retroactively entrenching the character even more into the world of Detective Conan.

We switch back to Magic Kaito for a heist with Dark Knight, which Gosho acknowledges in his Treasured Edition comment is “another story with a strong mystery feel, and a dark conclusion that isn’t very Magic Kaito-esque.” This also happens to be the first Magic Kaito case to feature Superintendent Chaki, a Detective Conan character and Nakamori’s boss as introduced in Black Star.

The following series of four Detective Conan cases all look at slightly different aspects of Kid that haven’t really made themselves known in DC yet. First is Purple Nail, a personal favorite and the case that arguably leans the most into the idea of a magic show. The focus on having an audience and the employing (and challenging) of Thurston’s magic principles give it a slightly different vibe to other cases. In relation to Thurston, Kid actually opts to approach Conan ahead of the heist to personally challenge him. In the manga, it’s the first clear look at Jii in Detective Conan. But the thing that stands out to me is the sheer level of emotional expression on display from Kid. It’s not in a small moment at the end of a case anymore, but in various moments throughout. You see his panic when Conan shows up above the building, or his sense of satisfaction when running through the crowd in the middle of his trick. All of it combined makes it feel much more like, by this point, Conan and Kid are engaged in a game.

After that is Iron Tanuki, an amusing oddball of a case. That Jirokichi used a fake notice to send a secret message to Kid pleading for help is interesting enough, given it displays a level of begrudging trust the former has in the latter. But more amusing is Conan’s choice to facilitate this upon realizing the truth of the situation, as well as his choice to stay behind and ask Kid if there was anything he could do to help to open the titular safe. If Purple Nail was their first real game, then Iron Tanuki is the first time they really came together in anything resembling a cooperative stance.

Kirin’s Horn seems like an outlier at first - and it sort of is, since Kid thought a little shock and awe was in order - but the case also demonstrates a level of familiarity. Conan remains flat on the ground because he knows how Kid works, and knows figuring out why he’s chosen to knock him out this time is the key to the case. There’s also a level of gag to this case via Kid’s choice to disguise as Genta, and the stinger of Conan getting the last laugh via something as silly as a paper taped to his back.

The fourth case, Ryoma’s Gunbelt, is where the real fun starts. Despite the rather nonstandard premise of Kid opting to return stolen goods, the general flow of the case is fairly standard for a Kid case in Detective Conan. The standout of this case, in my opinion, is the final conversation between Conan and Kid. They speak of their respective mothers in a conversation that reveals key details about each other, and do so surprisingly candidly. There’s an argument to be made that Kid knew of Conan’s identity by this point; regardless of that argument, that Conan spoke of his mother with such identifying details once again indicates a level of trust. Kaito implying Phantom Lady is his mom, while not particularly identifying, returns that trust. And that’s not even getting into the fact that a Kid case in Detective Conan is introducing a pretty important fact about Kaito’s mom.

Skipping ahead a bit, what makes this case notable is not the case itself, but rather its pair: Phantom Lady, a Magic Kaito heist published a year later that serves as an immediate prequel to Ryoma’s Gunbelt. This is the first time since Black Star that Magic Kaito picks up on a Detective Conan case in any capacity, and arguably the first time at all it does so with such a direct connection. The mentions of the Black Star served as a vague framing story for the clock tower heist, but Phantom Lady ends with a shot of the three treasures that assumes you know exactly where things go from here.

All of these cases do much more to peel away the mysterious veneer from Kaitou Kid, and give him a more candid and open relationship with Conan.

But the big thing of this stretch, and a turning point as a whole for Kaitou Kid in the franchise in my opinion, is The Lost Ship in the Sky. Now this? THIS is a Sillie Movie. Kid is playing around with goats, smirking like a fool with Conan before jumping out of a helicopter, and making the most inappropriate sounds when Conan’s hand wanders a little too far. He and Conan are actively seeking each other’s help and indulging in silly banter, even as Kaito makes a fool of himself with Ran. Speaking of Ran, this is the movie where she first fully realizes that Kid naturally resembles Shinichi. And as a cherry on top, we also get a shot of Kaito Kuroba himself.

And the movie was far from the only thing happening in April 2010.

☘️First is the OVA that was released just a few days prior: Kid in Trap Island. What starts as a standard Kid heist gets utterly derailed when the Detective Boys shoot Kid out of the sky, and now he has to chaperone them back to safety. Despite Kaito not being named in any capacity, we get to see him out of (most of) his costume and even hear about his fear of fish for the first time in DC media. Heck, Jii is even mentioned by name as well!☘️

Then there’s what aired the very same day the movie came out: Secret Birth of Kaitou Kid, the first episode of TMS’s adaptation of Magic Kaito.  After years of teasing the door open on who Kaitou Kid is behind the mask, TMS adapted the first chapter of Magic Kaito and aired it in the Detective Conan TV time slot. It, too, is an incredibly silly episode of an incredibly silly first chapter of an incredibly silly gag manga. THIS IS KAITO KUROBA, Detective Conan said. OBSERVE HOW SILLIE HE IS.

Testing the Waters

TMS eventually made 12 of these episodes. Based on the air dates, I can only assume Secret Birth of Kaitou Kid was meant to be a one-off, or at the very least it was a testing of the waters. Whatever the case, the remaining episodes got greenlit and were aired over 2011-2012. The most interesting change to the second half of these episodes is the addition of new plot points related to Magic Kaito’s organization, chiefly the new member Spider. They were introduced alongside Hakuba, who I imagine they wished to give a larger role in the episodes he did show up in. Another major takeaway from the TMS adaptation is their decision to animate Akako’s Delivery Service in The Witch, The Detective, and The Phantom Thief, albeit edited and extended to deal with the new anime-only plot points. In terms of Akako’s feelings for Kaito and Hakuba’s discovery of his identity, it’s a fairly significant chapter. Despite that, this is the only animated adaptation. I have some… complicated feelings regarding this, but now is not the time. 

As for the manga, we have a major arc in Mystery Train. This is not, in all technicality, a Kid case. If anything, his presence is pure coincidence, given he was only there to stake out the train ahead of the actual heist. Though this is a purebred Detective Conan plot, with the Black Organization’s involvement, Kid winds up a key part of their plan to convince the Organization that Sherry is well and truly dead.

Though his appearance in this case would be referenced in the future, this would be the first and last time Kid was directly involved in a major Detective Conan plot beat. This chapter was released before I had an active interest in Detective Conan, so much of what I’ve seen are second- or third-hand accounts from Japanese fans who went through the arc’s release. In short, reception was very mixed to Kid being such a major part in the resolution of this conflict. While there are those who enjoy his inclusion, either because they’re fans of Kid or because they accept the manner in which he was dragged into the plot halfway through, there are also those who consider him a “cheat” character who taints the worldview of Detective Conan by his presence alone. Gosho himself has also mentioned that he won’t be involving Kid in Black Organization plots anymore, either, due to the backlash.

My personal view on Kid’s involvement in Mystery Train is that the arc felt very much like a capital-E Event, so I bought it. There was a clear amount of luck involved in his presence there, so I could see how some may think the entire thing contrived, but it’s that coincidence that sells it for me. It’s Conan needing to fly by the seat of his pants to ensure Haibara makes it out alive, and further impresses upon us that they were half a step away from potentially fatal consequences. Nevertheless, this seems to be a case of an attempt to integrate Kid into the greater Detective Conan narrative that ultimately failed, so he returns to being largely divorced from the overall plot.

Despite this, though, there appear to be multiple chapters after this that focus on systematically introducing Kid to members of the extended cast. This starts with Blush Mermaid, Sera’s first presence at a Kid heist. What’s also unique about this chapter is the small but significant scene at the end that actually does continue the overall main plot - in this case, Sera’s misgivings over the death of Akai. Though Kid will not be overly involved in the main plot from here on out, his chapters do start featuring B Plots that touch on said main narrative. It’s… a half victory, of sorts, in terms of integration.

The other major takeaway from this case is a continuation of Conan and Kid apparently keeping a score of sorts. Due to Kid’s assistance during Mystery Train and the lack of a real theft, Conan lets Kid go. We’re in real “friendly rival” hours now.

Twin Bets pits Kid against Kyogoku, a frankly long overdue confrontation considering he’s Sonoko’s boyfriend. There’s a half-argument to be had that this also involves Kid in a major B Plot for the series as a whole, since this is a romance plot with a major recurring character. There’s also a level of intrinsic amusement in a Kid vs Kyogoku confrontation, since it comes down to (to quote my girlfriend) “guy who is literally from another manga but feels like he belongs here vs guy who somehow belongs here but definitely should be in another manga.”

Twin Bets also serves as the very first time Kid looks at the gem of the day under the moonlight in a Detective Conan chapter. It's the first case post-TMS Magic Kaito where it's applicable for him to do so; he's a bit busy with other things in Mystery Train, and he calls out Blush Mermaid for being a fake. This trend would continue in every case afterward where the plot wasn't otherwise preventing him from doing so (like the murder in Azure Throne).

Normally, this particular stretch of chapters would include quite a few more due to how many of them follow this “Kid, meet [Character]” format. But some of you may have noticed that, despite all the ample opportunities I’ve had to speak of it, I’ve avoided mentioning a certain number…

1412

Thousands of words earlier in this retrospective, I mentioned that Detective Conan’s Black Star felt the most like a crossover chapter. What I didn’t mention at the time, however, was that it also feels like one of the most fundamentally necessary Kid cases in Detective Conan. Not because it’s Kid’s first appearance, but because it introduces a piece of information about Kaitou Kid that eventually becomes baked into his identity despite the fact that it was introduced outside of his source series.

1412, the Interpol criminal code assigned to the internationally renowned phantom thief that was subsequently transformed after an author misread a journalist’s hasty scrawl as “KID.”

It feels like no small coincidence that the A1 adaptation of Magic Kaito added “1412” to the end of its title not just to differentiate this adaptation from TMS’s Magic Kaito specials, but to also indicate that this version of Magic Kaito would be the marriage of its namesake manga and Detective Conan.

In this regard and more, Magic Kaito 1412 modernizes aspects of the original story.

Technology, for example, was updated to reflect what a high school student like Kaito would be doing. Instead of reading the news in the papers, he’s scrolling through news sites on his phone. This is the most common kind of update that you see across adaptations of all stripes, so it’s the less interesting change.

The anime also modernizes with regards to itself, looking inward to find out what people associate with Kid in the modern day and adjusting the story - and the order that story is told - to account for that. This is expressed in ways both large and small. Blue Birthday, for example, is pushed way up to episode 2 of 1412 to introduce Pandora to the audience as soon as possible. Given Blue Birthday is also an Aoko-centric episode, it’s equally fitting that she gets the second episode. Jii’s significance is heightened by reworking the scrapped chapter Hustler vs Magician, a chapter that also coincidentally focused on an aspect of Jii’s past, into episode 3. This focus on major characters continues into episodes 4-6, which introduce Hakuba (chapter 15), Akako (chapter 6), and Shinichi (chapter 23), in that order.

There are also minor changes, likely made for pacing or simply content reasons. One small but frankly fairly significant change involves Kaito’s card gun. He’s shown using it in the first chapter of the manga, which also means he’s using it in the first episode of TMS’s adaptation. Since it eventually comes to be a signature weapon for Kaitou Kid, 1412 prevents Kaito from using it while in his civilian identity (like when he’s panicking about the fish with Aoko). Due to moving Blue Birthday up to episode 2, heists that originally weren’t really bothered with holding the target up to the moon include scenes of Kaito doing just that. Jii is suspiciously absent for most chapters until Black Star, so 1412 inserts him into animated adaptations of older heists, such as helping Kaito prepare the fireworks for Blue Birthday or providing an anime-original explanation of magic vs sorcery. There are similar one-offs with other characters as well, like a short scene of Hakuba being inserted into Akako’s introductory episode.

As a proper series in its own right, as opposed to a series of animated specials, 1412 also had to decide on a unified tone. Though TMS’s adaptation fluctuates wildly, 1412’s tone is a bit more even across the board. It’s comedic and dips its toes in gag vibes without taking it to absurd levels. While TMS’s adaptation of the first episode includes an entire apparatus outside the classroom window in episode 1, Kaito simply jumps out the window and makes it to the ground after running around the classroom in 1412. Though it also pulls away from some of the more atmospheric moments of TMS’s adaptation, it pulls back far more from the gag energy.

As a result of the above two points, many chapters are shuffled around or cut entirely. Chapters like Clockwork Heart, Japan’s Most Irresponsible Prime Minister, or I Am The Master are a level of absurdity that doesn’t fit with modern Magic Kaito’s energy, so they were completely cut. The Police Are Everywhere (chapter 2) was pushed back and adapted as The Princess and the Thief’s Improv (episode 15), because the emotional core of Nakamori potentially getting removed from the police force simply doesn’t work that early in the story outside the gag context. Akako’s Delivery Service was also unfortunately cut… Whether it be because of Akako’s appearance as Kid and the subsequent punchline or because of the technology Hakuba used to ascertain Kid’s identity, they apparently determined it was either too outside the tone or too difficult to adapt. Hakuba’s call in Golden Eye truly comes out of nowhere as a result, though, and that’s one fewer episode for a character that already had a bit of a spotty appearance record early in the manga’s run.

When the anime was announced, there were 30 chapters out. Seven of these were ultimately not animated, and many of the two chapter cases could be easily adapted into a single episode. They needed more material to fill out the remaining episodes, so they did this in two main ways.

The first is by reaching into some key Detective Conan cases. Black Star is a bonafide Magic Kaito case, but shifting it and Shinichi’s appearance in this adaptation to episode six - right after a series of core cast introductions - is actually very telling. 1412 was not only concerned with adapting the manga for modern sensibilities, but also with adapting Detective Conan for a Magic Kaito audience and further strengthening the connection between the two. This “adaptation” resulted in anime-original retellings of Ryoma’s Gunbelt, Sky Walk, and Purple Nail from Kaito’s point of view. Personally, I wouldn’t be surprised if this was a decision early on in the anime’s development, and if it was their existence that necessitated the tone of 1412 be evened out via not adapting the more “out there” chapters of the source manga.

The second thing they did to fill the run time was for Gosho to write an entirely new heist to function as a finale for the anime. This was Midnight Crow, the first heist to really touch on the driving plot of Magic Kaito (outside of Snake showing up to be ineffective) since Blue Birthday. Gosho’s comment on this case in the Treasured Edition is… a lot.

After a standalone anime adaptation was greenlit, the topic of what we should do for the final episode came up at our first meeting, so I said “Why don’t I write the ‘Black Kaitou Kid’ story I have saved as a trump card in Sunday and use that in the final episode?” Thus I wrote Midnight Crow! I’ll never forget how surprised the members of staff looked when I bluntly told them that Toichi is actually still alive (lol). (…) Though Chikage made Kaito work as Kid in Phantom Lady, she tried to get him to quit in Midnight Crow because of everything that happened in Las Vegas… But that’s a story for another time (lol).

The story itself has plenty of hints that Kaitou Corbeau is a Toichi-Chikage tag-team, but actually seeing him spell it out so casually sure is something.

Speaking of spelling things out, though, I also want to take an aside to touch on the Magic Kaito 1412 novelizations. Six volumes were published roughly concurrently with the anime’s run, and though there isn’t anything drastically different from what we already know from either Magic Kaito or Detective Conan, sometimes the narration can be quite enlightening. For the purposes of this, though, I specifically want to touch on that pin from earlier.

In the movie continuity, there is very clearly a moment where Kaito figures out Conan’s identity in The Last Wizard of the Century. There is no concrete equivalent to this in either Detective Conan or Magic Kaito, and 1412 doesn’t really expand on this either. I mentioned the possibility that Ryoma’s Gunbelt would have given Kaito ammo to figure out who Conan might be, but it’s not the most compelling argument. I’ve heard tell that Gosho once implied Kaito may have simply come to this conclusion on his own outside of the movie continuity, and I’ve personally always taken this stance given he seems to recognize Conan as a “high school detective” in Fairy’s Lips - and simply DOES know, no arguments, by Azure Throne.

Taking novelizations like these as fully canon is always a bit of a risk, but there’s a very interesting expansion on this particular issue in Volume 3, during the Ryoma’s Gunbelt adaptation. After Kaito runs into Conan while under disguise at the museum, the novels go into a brief explanation of how Kaitou Kid came to be known as such (aka the 1412 thing), followed by a flashback to Kid and Conan’s first meeting in DC’s Black Star. The narration then turns to what happened after the fact. This is fairly long, but as far as I’m aware these novels aren’t available in English, legally or otherwise. As such…

***

Kaito investigated the child that was on the roof of the Beika hotel - the young boy who called himself a detective, and with whom Kaito fought during the Black Star incident.

His name was Conan Edogawa.

He was a distant relative of Hiroshi Agasa, inventor and scientist, and was currently freeloading at the house of Kogoro Mouri, the famous detective “The Sleeping Kogoro.”

…And that was all he really figured out about him.

Conan Edogawa was full of mysteries.

But there was one thing that bothered Kaito.

Kogoro Mouri had a high school daughter named Ran. And Ran Mouri was the childhood friend of Shinichi Kudo.

That Shinichi Kudo.

The very high school detective that cornered Kaito during the clock tower heist.

Before his run-in with Conan, Kaito had looked into the young man that had aided the Metropolitan Police Department.

At a certain point after that clock tower incident, he had apparently gone missing.

He was not officially registered as missing, nor did it become a massive incident. But he stopped attending Teitan High School and disappeared from his home. He was apparently gone because he was busy chasing after some case a client had requested of him, but…

The elementary schooler Conan Edogawa appeared before both Ran Mouri and Kaitou Kid as if taking his place.

Shinichi Kudo, and Conan Edogawa.

Due to their mysterious nature, the two detectives continued to fascinate Kaito.

By the way…

The certain young novelist who had given Kaitou Kid his name was currently a world-renowned mystery writer.

His name was Yusaku Kudo.

Shinichi Kudo’s father.

Then there’s his mother, Yukiko Kudo, who was an essayist. She was a former actress, and once studied under the magician Toichi Kuroba to prepare for a role. Kaito had even once met her alongside his father in his childhood.

A strange turn of fate connected the Kudo and Kuroba families across multiple generations.

Did Kaito realize…?

Did he know that Conan Edogawa was actually Shinichi Kudo, who turned into a child after being forced to take a strange medicine?!

-

Professor Agasa was aware that Conan Edogawa was actually Shinichi Kudo… and it was likely only a select few others knew this. Not even Ran Mouri, his childhood friend, knew.

If Shinichi Kudo was keeping his identity a secret… then the reason he became a child must be pretty dangerous. Something that involved crime and the underworld. Just knowing the truth could put your life in danger.

It was only obvious that Kaito kept his identity as Kaitou Kid hidden.

But Shinichi Kudo must be living an even more troublesome life.

***

The narration of these novels knocks on the fourth wall fairly often, explaining that middle bit of this particular excerpt. It never confirms for sure whether or not Kaito managed to connect the dots, but the aforementioned questionable canonicity of novelizations like this means that was probably the safe choice. That there’s extra information here at all about Kaito looking into both Shinichi AND Conan is a pleasant surprise, as far as I’m concerned. But it’s also a bit frustrating that we don’t yet have even a hint of how this occurred in the manga when we now have two potential sources of that knowledge in the movies and these novels.

Which you opt to take as the more likely canon is probably up to personal interpretation, but I think I’m personally a bit more willing to go with a version of the novel’s events. I prefer to include the movies as a level of canon unless they outright contradict the manga (like M10 does, tragically), but the novel’s versions of events is probably the safer option.

But it’s the inclusion of extra scenes like these that further connects Magic Kaito - especially this particular iteration - to Detective Conan. They are holding hands so tightly now.

This all eventually culminates in Sunflowers of Inferno. Though M14 is the more obvious turning point with regards to Kid’s general behavior and personality in Detective Conan movies, Sunflowers of Inferno is a slightly more interesting turning point: all three movies after 1412 airs involve aspects of Magic Kaito, whether it be in its story or in its theming.

For this movie, it’s a very obvious example of the former. I think the plot of M19 is… strictly okay, but Kid’s motivation throughout being related to Jii is something I really enjoyed about the film. You know, assuming you don’t think too hard about Jii’s age as it relates to the timing of the flashbacks. Outside of that, Kid’s behavior in the movie almost looks as though it’s walking back from M14, but that’s only because Kid is playing the villain for most of it. Once that facade is dealt with he’s fully cooperative with Conan, to the point that the latter trusts the former with Ran’s safety. The opening scene with Kaito in his dark heist garb is also a nice bonus.

All in all, I think 1412 airing actually has the biggest effect on the movies. I’m not sure if that was intentional - movies 23 and 27 have the same director, so it could just be that her artistic vision includes MK in it - but for Sunflowers of Inferno it was almost certainly intentional as a show of fireworks after the ending of the anime. As for the manga, 1412 airing actually seems to have had very little influence on the Detective Conan chapters featuring him. Though Kid is a lot more likely to resemble the version of the character from Magic Kaito now, the manga seems a bit more concerned with introducing him to the new guard.

Meet The Fam

The Detective Conan cases in this section continue the general trend from after Mystery Train of either 1) introducing Kid to a significant sub character, or 2) running parallel to a B Plot that is concerned with the main narrative.

Luna Memoria does a couple of interesting things. First, this is the first time Conan explicitly asks Kid about investigating the jewel of the heist, since he knows Kid is on the search for a “special jewel.” Kaito is very candid in his response, telling Conan he ran into the deceased owner as the readers get a small flashback to Kaito Kuroba reverse pickpocketing the necklace. It’s an interesting conversation to have in the first Kid case since 1412 aired, especially since this aspect of Kid’s MO hasn’t really been discussed in any concrete way in DC before this point.

The second thing it does is have a small but nonetheless amusing B Plot with Okiya. While taking pictures of potential targets for his disguise, Kaito inadvertently gets a picture of Okiya’s voice changer. So Okiya joins Conan in confronting Kid in the bathroom and Very Nicely requests they get that picture back. Kaito has an “oh shit” moment, gets the heck outta dodge, and the chapter ends on a comical note when Kid can’t escape because Nakamori refuses to stop looking for him.

The next DC chapter, Fairy’s Lips, does a little bit of 1 and a little bit of 2. Surprisingly enough, Heiji has not had a significant confrontation with Kid in the manga before, and now Kid is getting himself involved in his and Kazuha’s romance plot. This chapter is retroactively significant because it’s the key jumping-off point for Heiji and Kid’s relationship in M27. But it’s also surprisingly significant for the MAIN main plot of Detective Conan by bringing in Koumei as a secondary detective that’s working to capture Kid… because he’s in Tokyo to receive a mysterious envelope addressed to him. The truth of the envelope’s contents is an Extremely Big Deal, and though by this point in the manga I was fully aware that plot developments would often happen in otherwise standalone cases now, I was personally not ready for that in a Kid case. So there’s that.

Between these two cases is the Magic Kaito heist Sun Halo, which puts a focus on Aoko for the first time in a while. It’s also very minorly a Magic Kaito version of a suspicion arc - the first one since Kaitou Kid’s Busy Day Off - though it ends with a return to the status quo. This chapter, as mentioned way earlier, also features some magic shenanigans from Akako in a more concrete way than we’d seen in a while. There’s some stuff about these chapters that are more disturbing the longer you think about them (what do you Mean Kaito just carries some blood neutralizing spray around with him so people can’t figure out his identity based on his blood), and the general tone is a lot more somber because Kaito is suffering from both pain and blood loss. It feels like an extension of Midnight Crow’s tone, in that regard.

After these three chapters is our next Kid movie, Fist of Blue Sapphire. This movie features a romance subplot between Sonoko and Kyogoku, and thus brings Kid back into it via certain aspects of the movie plot. As a post-1412 movie, the major feature of this movie is not the plot, but the thematic underpinnings of said plot.

Many post-Blue Birthday Magic Kaito heists tend to overlap aspects of Kaito’s situation with that of the characters introduced in the heist. The feature character of Red Tear is a woman who has grown to hate magic after the untimely death of her parents. The titular Dark Knight lives a double life as a notorious criminal for his son’s sake, and Kaito works to make sure his son never finds out about that double life. The thief in Golden Eye is attempting to salvage her father’s legacy. If they aren’t straight parallels, then they present what-if scenarios or twists on what Kaito is going through.

Fist of Blue Sapphire pulls something similar with Rishi, one of the movie-original characters. He’s torn up enough by his father’s death that he chooses to dirty his hands in order to get his revenge. After Midnight Crow, where Toichi himself wants to ensure that revenge is not Kaito’s only driving force, this presents a what-if scenario - an alternate path that Kaito might have chosen, had his admiration for his father not won out over his grief at his death. It’s interesting to see this particular thematic through line in a Detective Conan movie because it’s never been shown in a Detective Conan manga case before, and it’s one of the reasons I’m particularly fond of Chika Nagaoka’s Kid movies.

Another major aspect of this movie is how the sheer amount of screen presence Kid has gives the movie ample time to show what more involved cooperation between Kid and Conan looks like. The second Kid is framed for the crime, he chooses to go to Conan; if Kid looks to be in genuine danger, Conan begrudgingly comes to his aid. They spend time talking over the aspects of the case, and work seamlessly together during the climax. It’s by far the most actively cooperative they’ve been before or since, but it doesn’t come out of nowhere (and the spirit doesn’t quite go away, either). The clearest indication of this change in relationship is the line spoken by Kaito after he’s dealt with his wounds on the roof: “A magician makes you believe he holds something within his clenched fist, and a detective guesses correctly what they hold before it’s ever revealed.” It’s a stark contrast to probably his most famous line from Black Star about phantom thieves being artists and detectives being no more than critics.

Fist of Blue Sapphire happens to be one of those movies that I personally have any concrete info about via things like guidebooks. I don’t want to bloat this more than it already is, so there’s only two things I read that I want to share. 

The first is Kappei Yamaguchi’s seeming reaction to the script during recording, specifically in regards to his laugh. Normally, Kid in Detective Conan has had a sort of booming, open laugh, but twice during the recording for Fist of Blue Sapphire he opted to go for a version of the laugh as written out in Magic Kaito - an “ahaha” vs a “kekeke” kinda difference. He talks about this in the Kaitou Kid Secret Archives, but an online article on the movie from Movie Walker expands on this from Nagaoka’s point of view:

This time, we have a lot of aspects from “Magic Kaito” and Kaitou Kid’s true face in this movie. The moment I thought “This is just Kaito” was during ADR, when Yamguchi Kappei-san laughed like ‘hihi!’ Kappei-san said to me “I did it even though I thought it’d be struck out.” (lol) I could tell in those words that he met this movie with his own interpretation. I was impressed. We have a very cool Kid as a result.

It’s also in the Secret Archives interview that we get the “His speed may be at 100, but he has zero combat ability at all” comment from Gosho to Nagaoka, which is… extremely funny.

The other major thing from the Secret Archives interview (and elsewhere) is an anecdote about a certain regret. Nagaoka herself seems to be a big fan of Magic Kaito, but after M23 was released to theaters, Gosho lamented that he should have had Kid allude to Aoko. This was brought up again in a more recent Animage article: “Actually, back during Fist of Blue Sapphire, Aoyama-sensei had told me something akin to ‘We should have had Kid say “I have a better sapphire (Aoko) already” when he returns the blue sapphire,’ and I responded ‘You’re going to tell me that now, Sensei?!”

This is all to say that, despite the lack of any obvious elements akin to Jii in M19, they were clearly thinking of Magic Kaito while making M23.

☘️The next case on our list isn’t really a Kid case at all, but I consider it significant in the way it illustrates Kid and Conan’s developing relationship. Yusaku Kudo’s TV Show Case’s big twist is that Vermouth had been in disguise as Yusaku the entire time, but what’s important is that instead of being suspicious of his dad’s double showing up, Conan immediately assumes and trusts the double as being Kaitou Kid. “Kid” claims he’s here to help after Yusaku stated on the news that Kid wasn’t the culprit, and the following events snowball into interesting events and implications.

The first and most obvious is Conan’s implicit trust and expectations for Kid. He is visibly disappointed when “Kid” doesn’t respond to his deductions the way he assumed he would or didn’t pick up on details he was convinced Kid would immediately notice. It’s actually a staggering amount of trust, despite everything.

Then we have the fact that Vermouth was able to use this tactic at all. Her visiting the Kudo residence was a failsafe to ensure Yusaku really was out of the picture, so she needed a way in. Personally, I think it’s safe to assume she didn’t adjust after Conan thought it was Kid - she knew this would work from the start. Yusaku absolving Kid in the news is a perfect in for someone who was already fully aware that Kid had teamed up with her Silver Bullet before in Mystery Train. And she was right. Conan’s immediate assumption and subsequent display of trust blinded him to the possibility of the other infamous master of disguise on his list.

(What this does - or doesn't - say about Vermouth's knowledge of Kid, aka Kaito Kuroba, to the point that she so successfully tricked Conan in the first place is another matter entirely.)

That this particular case works as a prologue of sorts to the minor Black Organization arc that follows is also interesting to consider. Kid didn’t appear in the arc at all, but he certainly was used as a tool for it.☘️

The subsequent DC chapters continue the “Kid, meet [Character]” trend with Amuro (and Kazami) in Queen’s Bang. He’s a fairly active part of the process, not the least of which because Kid belittled his card trick skills as they were lining up to enter the museum. Though this chapter doesn’t have a relevant B Plot, it is the first reference to Kid’s presence in Mystery Train since Blush Mermaid - and a pretty significant one at that, since Amuro was the one that actually had to deal with “Sherry.” It's also one of the first real references to Magic Kaito itself, albeit still somewhat vague: Kazami mentions Queen Selizabeth from Ingram, a fake country in a series that does not normally deal with fake countries. (Selizabeth was also the name of the ship from Black Star, as it turns out, but that's less a hard reference and more of a reference with a wink.)

Siren Splash’s main character introduction is actually Azusa, which feels a bit like a follow up on the minor role she had in Queen’s Bang. This case has a couple of fun things that sort of cover the entire spectrum of ways in which a Kid case could be fun for our purposes. The least significant of these is Kid’s skates, which (if memory serves) haven’t been seen since chapter 10 of Magic Kaito. Gosho mentions wanting to use them again in his Treasured Edition comment on that case, so it’s a lot of fun to finally see them show up again.

Going up to slightly more significant, there’s a Very Ominous Comment from Kanenori about his left eye, which serves as foreshadowing to information we find out about him about a volume later. And then we have the end of the case, which is a little difficult to talk about because we don’t have any elucidating information yet. Regardless, I’ve always been amused that, despite Conan being the talk of the various police departments, he’s largely avoided being in the news… except where Kid is involved. It seems that’s finally coming to a head with the older gentleman that is none too pleased about the news story covering Conan’s victory. We don’t know what role this man has yet, but if this has ties to the main plot, then this is a very amusing way in which Kid has affected the main plot.

There’s not much else of note to say about this series of chapters, because it’s largely continuing the trends of the era that led to 1412’s release and codifying a less mysterious Kid, and an (at times) more cooperative Conan. But it’s also a comparatively sparse number of chapters; in the over seven years since 1412, Kid had only featured in four chapters here. You probably wouldn’t expect any major developments from a precedent like that, right?

…Right?

Erasing the Line in the Sand

We have now entered the modern era - specifically, the immediate lead-up to M27. Recency means some of these things are going to be a little bit harder to extrapolate on, largely because we have no idea if this is the start of something new, or perhaps just an outlier in the general trend. Regardless, some of this stuff fully makes my brain spin. Never mind brainworms - I have brain bees, and they will not stop buzzing.

We start with the most-recent Kid case in Detective Conan as of this writing, Azure Throne. This particular case is significant for multiple reasons, besides just being a good time. First, it’s Hakuba’s first appearance in Detective Conan since Detective Koshien, which means it’s been a whole seventeen years. Help. It’s arguably also the closest it comes to a proper Hakuba vs Kid case in Detective Conan, since Twilight Mansion is a little too busy with other aspects of its plot to spend much (if any) time on Hakuba’s relationship with Kid. Hakuba is also just a little insane, given his plan was to airlift the entire observation deck and sink it into a pool to trap Kid… There’s some minor Magic Kaito gag energy in that idea, and Hakuba’s never done things by halves.

Next, we have yet another reference to Kid’s presence in Mystery Train. Queen’s bang was only a couple years ago, and in Conan Publishing Time that’s no time at all considering Mystery Train was back in 2012. It’s interesting to get two references to that particular case so close together. 

And speaking of references, my third point of interest for this case is that it straight up references Golden Eye. There’s even an illustration of Cartier, the security company manager that Nakamori is thinking about when he responds to Jirokichi’s comment. Magic Kaito has certainly referenced Detective Conan before, and 1412 itself pulls heists whole-sale from it to fill out its runtime. But this is the first time it’s gone the other way around in such a specific manner.

It’s also, somehow, the very first time Kid has assumed the Shinichi Kudo disguise in the manga. And even more surprisingly, it’s done so at Conan’s request. Sure, Kid was the one begging Conan to free him of suspicion for the murder that just happened, but “disguise yourself as me and make sure Ran doesn’t find out” was the condition Conan put forward for his cooperation.

This connects to the fifth and sixth points that I’m concerned with. The fifth point is Ran herself; she has a comment toward the end about how she can’t forgive Kid for “disguising as Shinichi every single time.” Which is, you know. Kinda weird, if all we’re considering is manga continuity. This is his very first time assuming this disguise in the manga! So in Gosho’s mind, at least, the movies aren’t not canon. Considering more recent movies are more likely to require “homework” to fully enjoy them, I wouldn’t be surprised if they were more carefully written to slot into canon more easily than early movies were.

The sixth and most hilarious point is a single aside in a conversation Kid and Conan have.

Actually, why do you look so similar to me?

Why would I know?! Maybe we have a shared ancestor or something. (To be honest… I’m not even changing my voice much, either…)

Now, the addition of that voice comment makes the whole thing sound like a gag - they do have the same seiyuu, after all - but their similarity has always been a bit of a gag… In the movies. Thinking back on it, I’m not sure it’s ever really been brought up in the manga, so this is a joke that feels almost necessary after Conan requested Kid to disguise himself as “Shinichi,” which Kid managed to do despite being not at all prepared for it.

And, you know. It’s also foreshadowing now. Not by much, considering the movie was only a few months out, but still.

tl;dr: There’s a lot going on in Azure Throne. It is probably the densest of the Kid cases in terms of its relationship to itself and its relationship to Magic Kaito. As a result of that, there’s something about this case that feels like the purest mix of Magic Kaito and Detective Conan. It also feels pretty clearly written with the movie in mind, considering it not only had the aforementioned foreshadowing, but also brought in ideas from previous movies into the manga to create synergy between them.

After that we have Green Dragon, a Magic Kaito heist that ran through M27’s theater release. Meeting Aoko’s mother is certainly a standout of this particular heist, but what I personally find more interesting is the tone. It eschews the steady creep of drama into the narrative by pulling back to something more comedic, and in some ways feels a little like a return to form. Kaito’s fear of fish is brought up again for the first time in ages, and Midoriko gets a whole host of muscle men to corner Kid.

The chapter also opens with a reference to the crimes (as Midoriko would prosecute them) Kid committed in Queen’s Bang. In terms of time, it’s been over ten years since the last MK heist referenced DC in any meaningful way. But in terms of heist count, Phantom Lady was only three heists ago.

It is at this point I must discuss the movie, The Million-dollar Pentagram. As the movie is not yet out on Blu-ray as of this writing and the international offerings were a bit spotty (especially outside of Asia), I want to give another spoiler warning for the information I’m about to go into. I mentioned earlier that later movies require a bit of “homework” for full enjoyment, and M27 is no exception. It has also turned into one of the more common complaints I see from casual DC movie enjoyers, at least on the Japanese side of things - because yes, there is a whole audience of people whose only exposure to the franchise is the yearly movie. While the most easily recognizable pieces of “homework” for this particular movie are clearly cases like Fairy’s Lips or even M21 for familiarity with Momiji and Heiji’s attempts to confess to Kazuha, it is also very much arguable that the second major pillar of this movie requires a working knowledge of Magic Kaito. Like, not just knowing who Kaitou Kid is, but knowing who Kaito Kuroba is.

Which means I’m going to be talking about a lot of this movie in concrete detail. The main thrust of the movie is, to put it very simply, a treasure hunt. What I discuss will give you very few clues as to how or why that mystery is solved, but it will end up touching on key events, motives, and emotional beats. If you’d rather keep yourself unspoiled so as to enjoy those aspects as well, please skip to my discussion on FILE.0. You can find that by scrolling to below the second horizontal line, or doing a Ctrl+F search on “FILE.0.” That being said, there will also be more concrete references to the post-credits scene everyone knows about by this point in the final section of this retrospective as well.

——

There’s a lot I want to discuss with regards to M27, but it’s frankly hard to conceive of how I’d go about it. Going through the movie chronologically would take far too long, so I think I largely just want to list up a few interesting elements and then dive into what significance I think those elements hold. For the curious, I saw this movie twice in theaters: once about a week after premier, and again when they were running English subtitles at certain locations.

Let’s start at the beginning, with the most amusing thing this movie did before it was even released: the lack of a pre-screening. Movies like these usually have a seiyuu event of some kind attached to an early screening of the movie that fans can attend via lottery a little while before the official release, but they used the framing device of Kid “stealing the pre-screening” to avoid holding one at all. This isn’t strictly related to anything I’ll discuss further, but it is amusing to think that they believed the information presented in this movie was important and significant enough that they didn’t want to risk people talking ahead of the official release. And, you know, it WAS, but we’re not getting into that just yet.

Also somewhat minorly was the cover of an-an being Shinichi and Kaito, as opposed to Conan and Kid or even Shinichi and Kid. There’s also been a handful of DC merch that includes both Kaito and Kid in the lineup, and I don’t think stuff like this has happened since 1412 aired. It’s clear in hindsight they were focusing on his civilian identity because of his motive in the film and the reveal in the stinger.

As for the movie itself, I want to start REALLY basic, and actually talk about the score of the movie. The Million-dollar Pentagram is the first Kid film since Yugo Kanno took over from Katsuo Ohno for the movie soundtracks. This normally wouldn’t matter too much, except for the fact that Kaitou Kid has utilized a variation on the same two themes since The Last Wizard of the Century. There was apparently quite a bit of back and forth as to how to handle this aspect of the soundtrack, but in the end they went with a completely new theme: The Grand Circus (華麗なるサーカス). If you’re reading this and somehow haven’t heard it before, I highly recommend you give it a listen. It serves as his calling card throughout the movie and is a much more playful tune. I can’t help thinking about Toichi’s conversation with Kaito in Hustler vs Magician about how the pierrot is the most important member of the circus (yet another reason I’m glad this chapter got salvaged in the 1412 adaptation). I definitely don’t dislike his old themes, but I do enjoy that the vibe of this one expresses a side of Kid in Detective Conan that has seen more screen time lately, but has until now had no musical motif to express it.

Another amusing part of this soundtrack is a certain melody, only a couple bars long, that repeats throughout the entire score. This melody just so happens to play during the final major reveal of the movie: that Toichi had been disguised as Yoshihisa Kawazoe the entire time. Kawazoe is a local detective that is in and out of the movie for almost its entire runtime. Toichi was, in essence, with us the entire time. Just like this melody was, weaved in and out of the soundtrack. It’s a nice touch. Kanno mentions in the Toho Cinemas guidebook that there’s very little impact to a melody introduced in the final moments, and that he wanted to inspire a sense of deja vu alongside surprise by accompanying that final reveal alongside a melody that had played the entire time. It’s kinda neat.

As for Kid’s behavior in this movie, it’s informed entirely by his desire to discover why his dad apparently went after this “potentially world-destroying” treasure, found it, and then left it alone. There’s an overlap between this and his motive in M19, considering both are more personal in nature, but M27’s motive is also far more fundamental to Magic Kaito. Kid is mentioned multiple times to have an assistant of some kind in Detective Conan chapters, but the only mention of his dad is that 1) he exists, and 2) he was the previous Kid. He’s not at all connected to Kid’s search for Pandora or his reason to be the second Kid in the first place, so bringing his dad into things as a motive feels more poignant if you know Kaito’s always been chasing him. Which is to say, it relies a bit more on knowing Kaito’s personal story from Magic Kaito.

The plot leans into this “if you know, you know” vibe by having Kaito only ever indirectly refer to his dad. When he explains why he’s searching for these swords to Conan and Heiji, he only refers to “a certain thief.” In a moment of respite, he only just barely gets to say the first sounds of “dad” before he’s interrupted by one of our culprits. It’s not said in any capacity until the very end of the movie, when the treasure is found alongside Toichi’s glove and a notice from Kid the first: “Wake not a sleeping lion.”

Going back to Heiji and Conan, he’s not openly cooperative with them until they save him from near death. It’s at that point they share info and Kid ropes them into solving this puzzle because it’s what they do best. The rest of their cooperation in the movie usually takes the shape of a “2+1” format. Conan and Heiji are obviously working together while Kid comes in and out via a number of disguises. There’s a comedy to his disguises in this film, since they’re almost too easy to see through. It’s likely in part so Heiji and Conan can be aware of his presence, since they’re technically working together. Minami Takayama also picks up on this in her movie pamphlet interview, adding that he “seems more open and honest this time, probably because that’s just how badly he wants to solve this mystery” and that it feels more like “Kaito Kuroba and Shinichi Kudo have taken a step closer” as opposed to it just being Kid and Conan this time around. Kappei Yamaguchi in the same set of interviews says he’s “basically Kaito” with Conan, even if he still mostly behaves as Kid with Heiji.

To summarize, Kid’s behavior in this movie is far more open due to the goal being tied to his dad, and with Conan specifically the mask is basically off. Add this to the comedic touch of his disguises throughout, and you’ve got some good Magic Kaito vibes despite his reduced screen time compared to M23.

But that only lays the foundation for those vibes. There are plenty of other reasons why it feels more Magic Kaito-y, given key aspects of this movie bring in more aspects of Kaito’s civilian life - and certain emotional beats rely on your knowledge of that.

To start with a more minor beat that wraps up things mentioned above: Toichi’s glove. Kaito takes it with him after discovering the treasure, and there’s a short scene while he’s flying through the sky (after a more significant moment we’ll discuss later) that sees him looking at the glove with a frankly mixed expression. The novelization of the movie mentions him smiling happily as he soars through the sky, but that is not the expression we actually see in the movie. He has Thoughts about finding his dad’s glove there, but the audience is left to guess what they may be. It’s a hole that’s nearly impossible to fill without knowing Kaito’s backstory (and, arguably, without knowing about Midnight Crow).

And we’ll get to Midnight Crow’s significance, just you wait.

The second beat I want to talk about is Nakamori. First (and more minorly) is his engagement in some true gag Magic Kaito energy. A short scene with a disguised Kaito at a hotel alongside Conan and Heiji ends with Nakamori up against the window, looking in with multiple police officers behind him, as he realizes he’s found Kid. Kid then runs, and Nakamori and his officers run across the screen as Conan and Heiji continue their conversation. Real goofy hours.

But the actual most important story beat with Nakamori is him getting shot by one of our antagonists. He’s shot while on duty and escorting another principle character, and the framing of the movie puts us in Kid’s shoes as he discovers a gun aimed at the both of them just a little too late. This decision carries with it a couple of interesting tidbits, whether they be for our purposes or for how it seemed to affect the people that worked on it.

I want to do the latter first, since the snowballing is less extreme. Yamaguchi has talked about this scene a number of times, whether it be in interviews or during seiyuu events. As a voice actor, he was surprised at his own performance as Kid yells out Nakamori’s name. It was desperate and loud in a way he’d never been before, but it still felt natural to him; he thought it was indicative of just how important Nakamori is to Kaito, and that this was less Detective Conan’s Kid and more Magic Kaito’s Kaito Kuroba.

Related to this is a comment he made at a stage event that in his heart, he’d wanted to say “ojisan” instead of “Inspector Nakamori.” But he felt that it would be too difficult to display their relationship that way, so he went with the latter. There’s a lot of character interpretation you can do with regards to what Kaito chose to say in the moment, but I also can’t deny the possibility that it simply comes down to the “Kaito and Nakamori” dynamic not appearing in Detective Conan at all. Well, at least in part.

The other major ramification of this narrative decision is actually Aoko’s appearance in the movie. Nagaoka recounts in multiple interviews, such as in Febri or Animage, that she originally felt the tension in the movie was a little too slow-going, so she suggested someone get shot. The original plan suggested shooting Nishimura, the Hokkaido police detective, but Gosho said Kid wouldn’t save him if that was the case. It was here Nagaoka suggested Nakamori, to which Gosho agreed. He then added, though, that if he was in the hospital, then Aoko would likely show up.

Thus we have Aoko’s first theatrical appearance, and her first appearance in Detective Conan at all since Black Star. Her appearance in this movie grounds Kid’s emotional narrative in Magic Kaito; it implies the existence of Kaito Kuroba in ways Hakuba or Nakamori never could, because her significance rests entirely in his civilian identity. There are scenes dedicated to Kaito watching over her in disguise as she waits for her father to wake up, only leaving once she seems to be okay. He’s on the phone with her in one of the last scenes in the movie, and his smile when he ends the call is the softest it’s ever been in Detective Conan.

That’s not all, though. In a cute example of the movie affecting the manga, Gosho told Nagaoka later on that a gesture Aoko performs - a two-handed clap to the face that helps her psych herself up - was brought back into Magic Kaito for his April serialization. We see Midoriko do the very same gesture when she wakes up after her quick nap, as it turns out.

There’s something else I want to mention about Aoko, but that fits better elsewhere. So before we talk about the elephant in the room, I want to mention the theme of the movie. Both Nagaoka and Takahiro Okura, the script writer, have described the movie as dealing with “parent-child relationships” and “inheritance.” All of the antagonists follow after their forefathers in some way, but it’s an idea most obviously expressed by Hijiri Fukushiro, the main movie-original character. The complicated feelings he has about following in his father’s footsteps, and the things he does as a result, can all too easily be compared to Kaito’s own struggles. As I mentioned earlier, Nagaoka does something similar with M23, but it’s even more powerful here because Kaito is just as determined to chase after his dad as the many other characters in the narrative are to deal with the legacies their forefathers left them.

So. 

Elephant in the room. 

The ship-breaking shot heard round the world.

Shinichi Kudo and Kaito Kuroba are cousins, and their fathers are twins.

I want to just trace this thread throughout the movie, in as brief a form as possible.

It starts with the very first confrontation between Kid and Heiji. When Heiji gets the upper hand and knocks Kid’s monocle off, cutting through the brim of his hat in the process, the moon peeks through the clouds and gives Heiji a clear view of Kid’s face. He’s immediately shocked to discover he resembles Shinichi.

Heiji has a couple of moments following that clearly illustrates he’s ruminating on this. When he first sees Conan, he crouches down and takes Conan’s face by the chin, examining him. When Kid and Conan banter on the train, Heiji sits behind them, a confused but thoughtful look on his face.

Shortly after the above, Heiji confronts Conan: “Do you have any siblings?” He brings up the physical and vocal resemblance Kid has to Shinichi, but Conan brushes it off. “It’s a coincidental resemblance. It happened by chance.” Heiji drops the subject, but there’s an argument to be had that the way Conan says that last line sure is suspicious.

The movie follows the main plot until Aoko’s introduction. In one scene with her, Heiji, and Conan, she watches the latter two talk with interest. She crouches to the ground and stares at Conan, telling him that she’s reminded of her childhood friend’s younger years when she sees him. This is the first time their resemblance has ever been phrased as “You look like Kid/Kaito,” as opposed to the more common reverse. Nagaoka remarks in an interview that Aoko’s presence in this movie presented the perfect chance to further thread the foreshadowing of their resemblance throughout the film, and personally I rather enjoy that one aspect of this foreshadowing comes from the Magic Kaito angle.

Post-credits. Yukiko is surprised to discover Yusaku has an older twin brother. Yusaku is a little…cagey, in my opinion. He expresses mild surprise he hasn’t mentioned it before, says they keep in regular contact despite not seeing each other in over 20 years, mentions he receives gifts every once in a while (including the extremely plot-relevant missing sword) and hints to Yukiko that she’s likely met him before. As she continues to guess who it might be, Yusaku attempts to change the subject to his new book; he wants her opinions on it. This is when he receives a text praising his most recent novel, signed by “TK,” and Yusaku smiles. The scene cuts to a skyline view and Kawasoe standing atop a tower of some kind. He looks at his phone: “Thank you, Nii-san! YK.” He laughs, and the disguise comes off, revealing a smiling Kaitou Corbeau.

Now, I mentioned Midnight Crow earlier, so I want to recover that pin now. Midnight Crow is a Magic Kaito case. It is the case that very strongly implies Toichi’s survival. Absolutely none of this is brought up in Detective Conan in any capacity whatsoever. Not even a REFERENCE to a “Kaitou Kid in black.” I’ve seen multiple stories, whether they be about themselves or about others they went with or saw in the theater, about people that were simply confused as to why THIS was the stinger in this film. I even have a personal anecdote myself, given I dragged my roommate with me to the movie and what surface knowledge she had did not do anything to help her understand what the heck was going on in the post-credits scene.

Within the film, in the vacuum of this one movie, the connection between Kawazoe and “the guy that wears a monocle like Kid who seems vaguely threatening” is actually really well foreshadowed! It’s even BETTER foreshadowed if you know Magic Kaito, because the relationship between Hijiri and his dad has parallels to Kaito and his dad. Because Kaito’s first disguise in the movie and Toichi’s disguise throughout used the exact same method: taking advantage of someone’s vacation, and thus their absence. Because you know this man is Kaito’s dad, the thief who found this treasure before and chose not to steal it, and is now taking advantage of Kawazoe’s klutzy nature to give Heiji and Conan information so they can find and protect it.

As far as Kaito and Shinichi’s resemblance is concerned, it was always used as a joke in previous films. Considering how long this running joke went, I imagine that made their blood relationship that much harder to accept. It was clear they were doing something different with it from the very start of this movie, though, when Heiji’s reaction to the resemblance isn’t played for laughs and it just kept coming up.

This also doesn’t necessarily come out of nowhere. The earliest piece of info that I can personally confirm is from a six-page interview with Gosho in a 2011 issue of Hayakawa Mystery Magazine celebrating the release of M15. After the interviewer implies that the similarity between Kid and Shinichi may be due to Kid being written first as a protagonist (further implying it’s a stylistic “protagonist” thing), Gosho replied, “Their resemblance is not just because of the order they were written in, but because there’s a secret backstory. There’s no way someone that looks so similar exists, you know? (lol) As for why, look forward to it, I suppose.” In the No. 22-23 2024 issue of Shonen Sunday, Gosho also has a little cheeky comment saying he’s relieved he was finally able to talk about Kid’s secret…

The other comment complicating the timing of when Gosho would have first considered this is a comment from Yamaguchi during a later screening of M27 alongside the seiyuu. According to fan reports, he mentioned being told that Kid had a “secret backstory” when he was given the offer to voice him. Combined with the fact that Gosho had apparently specifically chosen Yamaguchi despite the latter already being onboard as Shinichi, and Gosho choosing to go with a Kid cameo in DC in the first place because he wanted to introduce a regular rival… Maybe the idea of them being related existed well before that 2011 interview.

You might be able to tell, given how much I have written about M27 alone, that I think it’s a very interesting movie from a Magic Kaito perspective. It borrows from it the most by far, and I have to agree with the Febri interviewer when they said this movie has the biggest crossover between the worlds of Magic Kaito and Detective Conan by far. Because aspects of the theme, Kid’s motivations, and the entire post-credits scene are frankly lost on you if you’ve never bothered to read Magic Kaito. It’s a very funny thing for the “yearly event movie” to do, if I’m being honest, but this movie relies on the strengthening ties the two stories have made over the years. It sure did break box office records, though, so it seemingly worked out for them.

My only question at this point is whether further media, manga or movie, will pick up on the movie’s main revelation.

——

Since merch releases and promotion for M28 are ramping up, I wasn’t expecting much out of the Magic Kaito or Kaitou Kid mines for a while. Imagine my surprise, then, when FILE.0 was finally released as part of the special rerelease of Volume 1. At a mere four pages, one could barely call it an extra chapter; if it could be called anything at all, it’s more like an omake of sorts. Here we have Shinichi taking a trip to Tropical Land to plan out his date with Ran - and with Fate, of course.

It’s honestly pretty cute, the way he’s likely taking way too many notes on what he could do there. But what ends up happening is Shinichi stumbles upon a scene from Magic Kaito (Kaitou Kid’s Busy Day Off, to be exact), right as Kaito says his embarrassing line about ice cream being as sweet as it is cold. Shinichi is taken aback at how cringe this guy’s being, but he likes the idea of ending his date here by the fountain, so he takes notes regardless.

Did we really just put Shinichi in a scene from Magic Kaito for a rerelease of Detective Conan’s inaugural volume? With Kaito and Aoko, right there? It feels so small and so silly, but I still can’t get it out of my brain. The last time Kaito and Aoko showed up just as normal people in front of our main cast in any capacity was in Black Star, and I’ve already mentioned that this appearance makes the chapter feel even more like a crossover. But now, after everything that’s happened, they show up again. Maybe the line in the sand is still there, but I think it’s moved.

Final Thoughts & Hot Takes

The very nature of Kid originally being from another older series means I have no idea where we actually go from here with all of this. I have no major expectations at all for when or how or IF Shinichi and Kaito being related will be brought into the manga in any capacity, largely because there’s very little precedent for it. You have things like Ran already knowing Momiji in the manga even though they only ever had a “first meeting” in M21, or James Black knowing about Akai’s survival first being confirmed in M18, but stuff like that that’s a pretty rare occurrence. Even so, Takayama and Yamaguchi discuss the idea themselves in an Animage interview. She mentions that the movies seem more connected to the manga nowadays, while he muses at the idea of Fairy’s Lip leading into M27, which may very well then lead back into the manga.

Regardless, I don’t think anyone would argue if you said Magic Kaito felt more integrated into Detective Conan now than it did 20+ years ago, when Kid was first appearing in the manga and movies.

So to cap everything off, I think some Hot Takes are in order.

The cousin reveal isn’t actually all that bad. I’ve admittedly been on this particular train for a decade, so this was like every national holiday and then some rolled into one. I definitely have some questions about things like Shinichi’s Childhood Adventure or Yukiko’s relationship with Toichi, but for me personally none of them really snap this reveal in two. Nor do I think it dampens the way they were brought together as detective and thief, especially since I think you could reasonably argue that Toichi and Yusaku maintained their distance not only due to the divorce, but because of Toichi’s new profession. “Over 20 years ago” puts them at probably no more than a couple years before Toichi became Kid, when he was likely traveling for his magic show, as opposed to the young age they apparently were when their parents divorced. It’s also made fairly clear in DC that Yusaku knew who Kid’s civilian identity was… or at the very least, that’s how I read that interaction. If they intentionally kept their halves of the family from meeting, then it’s pretty incredible Shinichi and Kaito met at all. If the manga touches on them being related in any capacity - and again, I have no clue how likely that actually is - then it’s not going to suddenly supersede the relationship they have now. It’ll just add to it, assuming they chose to entertain it at all, and that complexity could be fun. This is all admittedly personal, of course; my shipping preference leans very heavily into “weird platonic relationships,” so that informs this particular take by quite a wide margin.

1412 is the ideal way to consume Magic Kaito. I don’t know how much I even like this hot take, but I can’t help thinking it’s true regardless. It more closely resembles Detective Conan in tone and vibes than it resembles its own source manga in a couple of key ways, so I do actually think this - over either the manga or the TMS adaptation - is the way they want people new to Magic Kaito to consume it, especially if they’re coming in from Detective Conan. That Gosho created a new finale for it, and did so by pulling out the “Toichi is actually alive” card, is also fairly telling. And if people like it enough and want more, the manga is still plenty available.

Magic Kaito has become a Detective Conan spin-off. I think I also hate this take, but I also believe it to be true in any way that functionally matters. We must respect that Magic Kaito came first - that Kaito and Aoko and Hakuba came first - but Kid’s modern popularity can be almost entirely attributed to Detective Conan. And honestly, I have to wonder if it’s still running, albeit irregularly, because of that. Phantom Lady jumps off of Ryoma’s Gunbelt, Green Dragon references Queen’s Bang and takes a quirk from the movie for both Aoko and Midoriko. The tone does a clear shift after DC begins serialization as well, and goes even further into mystery solving after Kid makes his first appearance in DC. If you didn’t know any better, you might think it was similar to something like Zero’s Tea Time: a spin-off for a crazy popular character. It’s not, and it never actually will be, because Magic Kaito came first. But I think it sort of has become one.

The line in the sand is not bad, until it is. I don’t actually mind the parallel worlds argument, largely because I can understand what kind of slippery slope Akako is for the logic-driven Detective Conan. There’s also a part of me that doesn’t really mind Kid plots being largely stand-alone, with little to no involvement with the main plot. I could even also buy the two shady organizations actually being different, if and when we ever get information about MK’s organization. But after coming this far, and developing Conan and Kid’s relationship to the level that you have, I think not delving into who Kid is when he takes off the costume becomes the more contrived option. Gosho’s said before that solving the DC plot will not simultaneously solve the MK plot due to those organizations being different; I don’t think that means Kid should be verboten from Black Organization plots entirely. I don’t think it means Kid shouldn’t maybe suffer a consequence or two for being so open and casual with Conan, or that we can’t have a running side plot involving him. But then you run into the problem of Magic Kaito being its own series, and if you erase the line in the sand - if you let Kaito Kuroba be in Detective Conan - what do you do with Magic Kaito? The two worlds have overlapped so heavily with M27 that I almost wonder if we’re at a breaking point. Maybe this is the real Pandora’s box.

Kaitou Kid is a Detective Conan character, but Kaito Kuroba might not be… yet. I think DC has claimed Kid for its own. Especially the performance of Kid as displayed by the man behind the mask. But that mask has been chipping away, and Kaito himself is usually the one speaking to Conan at this point in both the manga and the movies. Even so, to so many people, that’s still just Kaitou Kid. I’ve seen disappointment expressed at that suave gentleman thief from the Black Star and M3 era being nowhere in sight in modern times, and it’s because it was always an act. You can’t keep up that act when you choose to trust someone, and they trust you back. You just… start becoming yourself. But he’s not truly himself in DC yet, despite the few scant appearances of Kaito himself we’ve received. For some reason, Kaito Kuroba still feels like a crossover character, and his appearance some special event, compared to Kaitou Kid. FILE.0 was a surprise in this regard, but in relation to the above, I have to wonder: Should Kaito himself ever feel as entrenched in DC as Kid is?

Kaito Kuroba - who many and more know as Kaitou Kid - is such a funny character if you think about him for more than a few seconds. His popularity in the Detective Conan vacuum is more than warranted, given his back and forth with Conan, but I really do want to believe that it’s the duality of his appearances in Magic Kaito and Detective Conan that contributes to this popularity. If M27 and some of the recent trends in both DC and MK are anything to go by, maybe I’m not so far off the mark.

We’ll likely get more stuff to enjoy in the meantime, but I’m currently looking ahead to Magic Kaito’s 40th anniversary in 2027 and hoping we get another movie… Or maybe another major manga arc. If you’ve managed to read all of this, you have my deepest gratitude! I hope this adventure was as enlightening for you to read as it was for me to write.

[bebewrites]

I promise I searched your blog, but how do you (specifically) zero draft? The post that showed up in a search of your blog was like, bullet point writing whatever is in your head for the.wip, which I think is v cool and would help me finish lofm! So I'm curious how you do it!

Oh yes, okay! I don't think I've actually explained it anywhere, but I love talking about this.

what is a zero draft?

The great thing about a zero draft is that you can pretty much make it whatever you need it to be. For me, I was having a hard time with the middle of my story. I've started and stopped this wip so many times, always getting hung up at the same part as I approach the middle. I've always had a very clear picture of the beginning and the end, but never how to get all the way through from point A to point B. My original outline had things in brackets like [character growth] and [plot stuff], but what does that mean!?

My goal was to get all the way through. So I opened a blank document, started at the beginning, and literally rambled and talked my way through the entire story. I didn't write real prose. It was all stream of consciousness. It was me describing what happens in the story as if I was telling it to a friend. The zero draft was my rubber duck. This was my brainstorming document. I used common vernacular and slang and abbreviations. There are bullet points, numbered lists, sidebars where I rambled about a scene I completely forgot to mention in a previous section. Lots of comments about things I need to include in the next draft. Literally anything and everything I thought of went into the zero draft.

A zero draft can be as long or short as you need it to be. Mine ended up being around 40k words. But I've seen other people say a zero draft is 10k to 20k words. It's really up to you! And when you feel like you've covered enough of the story to move on to the next draft.

And you don't have to go about a zero draft the way I did! Recently, an author I love and follow on instagram (Casey McQuiston) shared in their stories that when they were writing their most recent book, they zero drafted each chapter before they wrote it out. Casey said that because of this, it was first time they didn't have major edits and rewrites afterwards. So if you find yourself needing a little more structure and sense of where you're going, I think a zero draft could be super helpful!

Of course you don't have to have a zero draft, and if you've got a good sense of the plot and character arcs, you might not need one. But it can be a great way to brainstorm and figure out those things if you need to!

[broodparasitism]

Everything I've Learned About Querying from Talking to Agents (And Traditionally Published Authors)

Disclaimer: I'm UK based, as was everyone I spoke to. I didn't include any country specific advice, just what I think is applicable regardless of where you live, put it might be useful to know this is from a UK lens.

As part of my course I was able to go to a lot of talks with literary agents (a mixture of literary, genre and nonfiction) and I picked up a lot of useful information - a lot of it not quite so bleak as I feared! - and thought it might be helpful to compile it for anyone looking to query agents in the future, so, here goes, under the readmore:

Querying

Remember that agents want to find and publish new authors. They're not at odds with/out to get aspiring authors. They want to work with us. This is someone you're working with, so don't pick an agent you won't get along with.

Manuscripts should be queried when they are as close to finished you are able to manage. There are a few agents that are open to incomplete manuscripts, yes, but many more that flat-out refuse unfinished work. Manuscripts generally go through about ~15 rounds of edits before landing an agent.

Send query letters in batches - around five or six at a time. There is no limit to how many agents you can contact, but you can't contact more than one agent from the same agency, so make sure you've selected the most suitable one from each.

In most cases you can't submit the same manuscript to the same agent twice - so having it be as finished as possible is all the more vital.

Some of them will take a long time to respond. Some never respond at all. If it's been three months of nothing, it's safe to assume that's a rejection.

One agent said she took on about two new authors a year, which likely isn't true for them all but is probably a reasonable average. For all of them, the amount of queries they get can be in the three digits a week. I can't emphasis enough just how many they get. I take a lot of authors to mean that means it's a 0.001% chance and despair, but that assumes each manuscript has an equal chance, and they don't. Correct spelling and grammar, writing in a genre that appeals to the agent, quality sample chapters and respecting the submission guidelines (more on this later) improve the odds by a significiant amount.

One agent said he rejected about half of his submissions from the first page due to spelling and grammar mistakes and cliches, for perspective.

You'll need to pitch your book. If your book cannot be pitched in three sentences, that's a sign it has too much going on and you'll need to do some pruning.

Please don't panic if you cannot come up with an accurate pitch for your book on the fly - you're not supposed to be able to do that. A pitch takes many edits and drafts just like a manuscript.

Send your first three chapters and a synopsis (this should be a page, or two pages double spaced. It should not include every single plot point though, again, if major things end up not there at all, question if they're necessary for the manuscript).

Three chapters is the standard - as in, if the agent web page doesn't specify how many, that's what to opt for. If they say anything else, for the love of God listen. If there was a single piece of advice that the agents emphasised above all else, it was to just follow each submission requirement to a T.

There needs to be a strong hook in these chapters. If your manuscript is a bit of a slow burn, that's fine, but you can cheat a bit with a 'prologue' that's actually a very hook-y scene from later on.

Read the agent's bio page throughly and make a note of what they like, who they represent, and what they're looking for, and highlight this in the query letter.

Your query letter has to say a little about you. It doesn't have to be really personal information (but say if you're under 40, because that's rare for authors and they like that), and keep it professional but not stiff, they say. If you have any writing credentials, such as awards won or creative writing degrees, include them, as with any real life experiences that pertains to the content of your book. But no one will be rejected on the basis of not having had an interesting enough life.

Apparently one of the biggest mistakes for debut authors tend to be too many filler scenes.

In terms of looking for comparative titles, think about where you want your book to 'sit'. Often literally - go into bookstores and visualise where on the displays you could see it. It's really helpful if you can identify a specific marketing niche. Though you want to choose comparisons that sell well, but going for really obvious choices looks lazy. A TV or film comparison is fine - as long as it genuinely can be compared.

Do not call yourself the next Donna Tartt. Or JK Rowling. They are sick of this.

Don't trust agents who request exclusive submission.

Or any with a fee. Agents take a percentage of your advance/royalties - you never pay them directly.

In terms of trends (crowd booing), there's been a boom in uplifting, optimistic fiction, but more recently dark fiction has been rising in popularity and looks to have its moment. Fantasy and Gothic are both huge right now. Publishers also love what's called upmarket/book club fiction - books that toe the line between genre and literary.

But publishers aren't clairvoyant and writing to trends is a futile effort, so don't let them shape what you want to write. Some writing advice I got that I loved was to not even THINK about marketability until draft three or four.

If any agent requests your full manuscript - this is crucial - email every other agent you're waiting to hear back from and let them know. This will take your manuscript from the slush pile to the top, and you are more likely to get more offers of representation.

The agent that flatters you the most isn't necessarily the best. Be sure to ask them what their plan for the book is, and what publishers they're planning to send it to - you want them to have a precise vision. It might be that their vision misses the mark on what kind of book you wanted to write, and if so, they aren't the right agent for you.

Research like hell! A good place to start is finding out who represents authors you love (the acknowledgements pages are really helpful here). if you can, getting access to The Writer's and Artist's Yearbook is very helpful, as is The Bookseller, the lattr for checking up on specific agents. (I was warned the website search engine is awful, so google "[name] the Bookseller" to see what they've sold. That said, only the huge deals get reported, so it's not indicative of everyone they take on.

I also want to add Juliet Mushen's article on what makes a good query. I owe a lot to it, and I feel like it's a useful template!

Once Agented

Agents send a manuscript to about 18-25 publishers, typically. Most books will end up having more than one publisher interested.

It can be hard to move genres after publishing a debut novel, especially for book two, not only because it means it takes longer for you to establish yourself, but the agent that may be perfect for dealing with manuscripts for book one might not have the skills for book two.

Ask the agency/publisher about their translation rights, their rights to the US market, and film and TV rights. Ask also what time of year the book is going to come out, if being published.

It's less the book agents are interested in than it is you as an author. You will be asked what you're going to write next, so have an answer. Just an answer - you don't need another manuscript ready to go. One author said she flat-out made up a book idea on the spot, and she got away with it - just have an answer. (This is also useful to put on the query letter.)

Caveat that this is, of course, not a foolproof guide to getting a book deal, nor is it in any way unconditional endorsement of how the industry works - I just thought it would be useful to know.

[shadowjinx2906]

Some Do’s and Don’ts of Writing

(From an inexperienced writer)

1. It’s okay to take breaks, even if it’s just one day or maybe a couple days. Sometimes you need to step away before you get consumed by negativity and completely give up. When you take care of you and your mental health it reflects in your writing. I’ve noticed that even just doing chores helps my mindset because I’m being productive. Happy mind, happy writing. I’m actually taking a little break myself right now because this has been a stressful week between Christmas and everything else going on, not to mention the screaming toddler. Anyway, I might try getting back into it tonight or tomorrow because I’m feeling much less stressed since letting myself pause.

2. Going off of that, don’t write when you’re stressed because that will also reflect in your writing. Unhappy mind, unhappy writing.

3. Now sort of contrasting what I just said, write everyday. I’ve seen a couple people say this and completely agree. Even if it’s just one little sentence or planning what will happen. Or, if you’re like me, organizing your notes and plans. Commit, practice, see results.

4. Take your time. As much as we want it to sometimes, and I am absolutely calling myself out here, books don’t just magically write themselves. And that’s okay.

5. Write what speaks to you, what you actually want to write. If you’re trying to write something and your hearts not in it, you won’t like what you write. You will find something wrong with it at every turn. If you don’t enjoy writing it, don’t. Now maybe it’s just a scene you don’t feel like writing in that moment, that is okay too. You can always come back to it. Just save it for later and move on. Which brings me to my next thing:

6. Your first draft doesn’t have to be complete. You can do something like this: [fight scene here] [spicy scene here] [so and so talk about…]. And that is perfectly fine. I use brackets in this way ALL the time, even if it’s just my plan for the chapter.

7. It’s okay to have goals, but don’t worry too much about the word count. It’s about the quality, not the quantity. Yes, many readers like a long read. But just because it’s longer doesn’t mean it’s better. I’ve talked about this a couple times since joining Tumblr. Always, always, always quality over quantity. This goes for readers as well, just because a book or fanfic is shorter doesn’t mean it isn’t as good as a long one. Wrapping it all up in a short fic is actually hard to do, so kudos to you if you can. (Kudos to every writer as well, you’re doing great.)

8. Pacing, another thing I’ve discussed a couple times now. One thing I’ve noticed about really long fics is that the pacing is often SO slow. No hate, I like a long read too. But sometimes there’s too much inner monologue or descriptions and I’m thinking “Where’s the plot? Can we get a move on?” I think it’s great when a writer is so good they can hash out huge amounts of inner monologue and describe things. But don’t over do it. Don’t over describe something. Let your readers use their imagination too. It’s okay to cut things down. Again, quality over quantity. Over doing it can also lead to your work becoming repetitive. I’m not going to call anyone out but I have noticed this a couple times.

9. It’s okay to write out of order. Many of us, including myself, prefer to write chronologically. Which is good, helps your flow/pacing, but sometimes there’s a particular idea stuck in your mind that you have to write before you forget or something. Do it. Get it out. Free up your writing flow. Sometimes this helps the chronological writing too. The first, and one of the only scenes I’ve written for my OG so far, was literally the last scene of book one. The next ff I plan to write is literally built around (maybe) the last scene of book 1 as well.

10. Don’t be discouraged when your first draft sucks and needs MAJOR editing. It’s supposed to. Let it be the mess it’s meant to be.

11. Going off of that, don’t edit as you write. There’s plenty of time to do that later.

12. A little advice from my beta reader, but said a bit differently because I don’t feel like going through my emails rn, who may have noticed a couple familiar things already, when you’re stuck staring at your screen with nothing coming to mind, WALK AWAY. Do not sit there wallowing in your frustration. Do something else and try again when you’re ready. Your book will still be there later.

13. If you’re writing fanfic, which I’m guessing many of you are because this post is a little more ao3 targeted, or publishing chapters in a schedule and not the whole thing at once then write ahead. Have prewritten chapters before you post. Saves you the pressure of uploading on time, which will eat at your writing. Gives you buffer time, and obviously chapters ready to update for your chosen schedule. However it is good to have a goal to motivate you, so maybe you want to stay a certain number of chapters ahead. The author of a book I’m reading has a goal of 20 chapters ahead, which they did slip on because a certain part was “being a bitch”. That is okay and a prime example of the importance of writing ahead.

14. Which, another thing from my beta reader. You can update more than once a week. You also don’t have to update once every week, whatever works for you. And many of us binge read so maybe you can do double/triple updates once a week or upload a new chapter twice a week.

15. A little quote from Bluey: “Run your own race”. Writing is not a competition. Don’t compare your work to someone else’s and get in your head thinking your writing isn’t good enough. 1, maybe your style and plot is JUST the thing someone was looking for. There is a reader for every author. Like, bookish soulmates if you get my drift. 2, you will get better as your practice. Everyone starts somewhere and we can’t all be Stephen King’s and pop a book out like it’s nothing and never be affected by writers block and that is perfectly fine. Run your own race. Which, just to be clear, it is in no way a race and never should be. Racing to finish your work could very well be the thing to kill it. And I say “kill” a bit loosely because again, “taking your time” will make your work better but just because you hurry to finish something doesn’t mean it’s not good.

16. Lastly, I’m going to talk about trigger warnings. The mental health of your readers is very important, honestly, THE most important thing. Yours as well, authors can be affected by their writing too, so, take care of yourself and your readers. Part of my goal in my WIP may be to break my reader’s hearts, with comfort after of course, but not their mind. So, I’ve decided to make a google doc with all of my TWs plus chapterly warnings for those who need it and also to prevent spoilers for those who don’t as I myself have accidentally spoiled a chapter for myself because I saw a trigger warning and this felt like the best of both worlds. Here’s the doc if you’re curious (I am still writing the beginning, so some/many things may be subject to change):

https://docs.google.com/document/d/1f8PoNmPYwEtSSH8-f0V1ql8xeDFtF4hymiffi9d_Hf8/edit

If you have anything to add, I’d love to hear your thoughts. As I said, I am inexperienced and in no way an expert. These are just some things that I learned, which for some reason I had the sudden urge to share, and I am still learning.

[call-me-b-please-and-thank-you]

I finished reading The Fellowship of the Ring this morning. It was a good ending, all in all, and one I explained in two long paragraphs in an earlier draft of this post. But I am sure you know how it goes, and I don't quite know what my point in saying it was, besides to simply point out that the ending seemed to have taken the first chapter of The Two Towers and tacked it onto the end of Fellowship instead.

I have nothing else interesting to say about that.

I also watched the extended edition of the movie again today, and I think on the whole, despite all the film's shortcomings, I had a lot more fun watching it than I ever had before I read the book. The first half may have made my head spin a bit, with all it's cuts and shortenings, but with the second I was all but fully satisfied, and I enjoyed a very fun mental game of "Hey they really said that line, but in a different scene (or occasionally in actually this scene)!"

It was a good time.

But I have a lot to say about the differences between the two.

Today I am tired and weary, so all I wish to comment on in full are Galadriel's parting gifts, and how they differ from those in the book, because that says a lot, I think, about the film, and it won't be very hard for me to think and write about for so long.

Frodo received the bottled starlight, and Legolas a bow and arrows for war, just as they did in the book. But everything else, in one way or another, was changed somewhat. Gimli's gift was changed the least, for on paper he received the very same thing. But in execution, the tone of the giving is not at all left the same.

Gimli is met with nothing but hatred and unkindness by the elves on the Fellowship's journey through Lothlórien. But upon meeting Galadriel, he is shown kindness and good-hearted grace, for the first time from an elf since entering the wood. So of course he is smitten by her goodness. Of course he is taken by her beauty. In the movie, however, this conflict is almost entirely skipped over, so Gimli seems smitten for just about no reason at all.

This can be chalked up to the film simply lacking the time for such a thing, but these intricate details are what make the story shine so much, and while the most major plot points are done very well in the movie, I do dearly wish they had the time to slow down for even a moment or two for these smaller workings of the story.

And it is reflected, too, in Sam's gift, to a degree. Changed from a box of gardening soil from Lothlórien to a length of elven rope. On the whole, with the story being as it was, I think this was a good change, though I wish it didn't need to be so. We do not spend at all enough time in The Shire to really learn that Sam's father was Bilbo's gardener, and so too was Sam to Frodo. And Sam was not summoned to the Mirror of Galadriel, so she would not have known herself that he feared for the welfare of his father and the great green things of The Shire.

But the length of rope, then, seems entirely less personal of a gift to Sam, especially considering that The Fellowship in the book is given three (unless it was two) ropes to each boat, of which there are three boats. That's nine ropes (unless it was six) (unless it was only three, with one to each boat)! And in the movie, Sam was given one. I do recall that it will be useful later on in the next movie, but had Sam been given the time in this film to know Galadriel, then her gift would be a much better one than a rope of which there was written in the novel to have been an ample supply of.

Now, Aragorn is a very interesting case, because in the book he was given, mainly, a sheath for Andúril, everyone's favorite sword-that-was-broken. In the movie, not only have they not yet re-forged that blade, but they have also given Aragorn a love interest in Arwen, and the necklace that she has gifted Aragorn makes Galadriel think it impossible to gift the man anything more precious.

Now, I don't know whether this necklace is simply a token keepsake of Arwen's devotion, or a Something-Something-Silmarillion bit of elven lore or magic that is somehow Arwen literally giving away her immortality, but I do know that no such thing happened at all in the book, at least on the pages we get to see. I suspect these details, both the absence of Andúril and the presence of Arwen's love are both products of Arkenstone-itis, a condition I have named where Peter Jackson takes things that were not so cinematic or narratively significant for the whole of the books and makes them cinematic and narratively significant for the whole of the movies. And for these changes I can absolutely appreciate Peter's work.

So these two changes in giving of gifts can, in my mind, define both the best and worst of these movies. The care given to make that which was relevant but not poignant the star of its own narrative, and the crushing limit and lack of time to tell the tale that Tolkien told in full. But what of the others? What do the remaining gifts say of the movie, and it's recipients?

Merry and Pippin receive elven daggers. I have no idea what to make of this, besides that they're probably surely more physically useful than the silver belts they were gifted in the book, but I'm not sure why or for what these two instead need these knives in the first place. Maybe it's specifically so they can try to fight the Orcs at the very end of the film (which, because the Orc Ambush is actually in the first chapter of The Two Towers and not at the end of Fellowship, I do not know whether they actually do), or maybe it's so they have the daggers already for a later plot point, and Jackson doesn't need to give them to the hobbits by whatever lengthy way they acquire them in the book itself, but altogether I am not sure at all.

And Boromir?

*checks notes*

Boromir got nothing.

Take that, you jerk! Just what you deserve.

Except, not so much in the movie as you deserved it in the book?

My feelings are conflicted.

I am tired right now, so I am leaving the website, but I do love complaining about Boromir, so don't think you've heard the last of this.

[elytrafemme]

hi it's nightmare_rivulets. the future of CS

hi all. first of all if you sent me the beautiful CS-related ask i will reply to it as soon as my day slows down, that didn't spark this post i just needed to type this before i got some shit done but i WILL answer that.

but i want to talk about CS and say that i have come to the decision that i am going to upload a final chapter or two which is an outline of what the piece was meant to be, where the plot was going to go. include as many excerpts as i can. so i can lay CS to rest without leaving it entirely unfinished.

this idea makes me miserable, i want to be transparent about that. i promised myself when i started CS at age 16 (a little younger, actually, but i uploaded it when i was 16 i think) that i was going to stick with it. and i had a year where i had very consistent biweekly updates! CS got me through so much in my personal life, and i met some of my best online friends through CS.

but, of course, there was that senior year hiatus that i never really recovered from. because i wrote CS in the aftermath of the first relationship i was ever in, which completely fucking ruined me. CS was written as i was experiencing psychosis, as i was stumbling from one traumatic sexual relationship into what would be another. CS came out of a person who had just been groomed, who was going to be manipulated for the next two years going forward. and i say all of this because i think it makes it excessively clear why i can't return to CS, considering the state of the DSMP creators.

there are other reasons. i am an adult now-- i mean, barely, i am nineteen. but CS was written by a 16 year old about 17 year olds, and that's not where i am anymore. so many of the themes of CS are still relevant to me-- i mean, as mentioned above, but also i am surrounded by people who have complex relationships with substances, for example, or with their families. cs!wilbur was based on my own brother and some of our issues, and that situation has developed over two years putting me in a... strange place. but i'm not in high school. i spent my senior year of high school, where cs!beeduo were dealing with shit and falling in queerplatonic love, trying to survive while my mind split alters and everything around me was falling apart. i don't even know how i survived. a lot of the people who i considered major parts of the CS community from day 1 have fallen out with me in some way. another massive part of the CS community i spent a year or two experiencing delusions about, and i am only now reconciling that what i believed wasn't real. sorry if you were a mutual of mine i ghosted. i'm trying to fix that.

i want CS to be a finished piece of work so badly, God do i want that. it meant EVERYTHING to me at age 16. it was the testament to my lived experience, it was my magnum opus, it was the best thing iwould ever create. but i can't create it anymore. and i despise how something so meaningful to me was totally fucking ruined, but i can only half fault the DSMP creators for that because everyone knew CS was stumbling towards a half complete end anyway.

i don't know when i will actually upload these final chapters. maybe in march, maybe in summer, maybe in between. but i can't continue acting like i will finish up a CS chapter at this rate. every ex-dsmp content creator, except fucking Jack Manifold and Niki so shout out to them (and Tommy and ConnorEatsPants i'll add in edit), makes me nauseous in some kind of way. some of them because they were genuine horrible people! and some, i don't know, the downfalls of parasocialism and the endless disappointment in XYZ areas. some of that will heal. some of that, obviously, will never heal. i can't stick around and wait for it.

i'm sorry for the long post. you all know i am verbose at this point. it makes me so sad that at age 16, ex-grooming victim who was about to go through so much worse, i was able to create something and was convinced i'd see it through. i don't think i am a coward but i do feel sorry for the ways i will never avenge my younger self. but i can't write a fic about cs!beeduo when i knew, back then, that i wanted their to be a sexual trauma plotline, which will never exist because half the fucking streamers were abusers. i can't write about cs!ranboo's psychosis when i was convinced my own mutuals were trying to kill me for about a year. i can't do any of this anymore. and that makes me so angry with myself. but it's just the truth.

i have to go get food with some friends. if people want i can elaborate but that's the bottom line. CS meant everything to me and i'm sorry to say it but, it's going to have a lackluster end. God knows i tried. God knows i fucking tried.

[sharpth1ng]

As someone who has TRIED to write longfic for a while, I find outlining and sticking to it so fucking hard?! Like I never know what I'm doing at all. And I wanted to ask how do you do it??? Like what's your process if you have one or just whatever tips you have, because I feel like the pacing and plot/character evolution in your fics is so good? Idek dude I'm desperate this is so hard 😭😭 but I really wanna do it so. Help please

Honestly this is the first long fic I’ve managed to write, it’s something I’ve struggled with a lot as well. I guess I have a couple tips, but it’s by no means expert advice. It’s also possible some of this is too basic, idk, but I’ll do my best to be helpful.

Outlining and thinking into the future is really important but I’d actually recommend you give yourself a little flexibility to change things as well. I like to have my end point set- that means I know how characters start out and how they change through the course of the fic. After that I basically just have to get from point A to point B by figuring out what events happen to change the characters over the course of the plot.

In Debaser the start point is a closeted, self-denying Billy and a Stu that’s not yet completely sure of his place in Billy’s orbit. At the end we have a Billy who is still closeted but admits his sexuality to himself and has fallen in love with Stu, and we have an equally but more openly in love Stu who is also significantly more confident (if also severely injured).

It helps to have a solid midpoint as well, this is basic plot structure stuff. You need the characters to face a challenge and overcome it, and for Debaser this is Maureen’s death. It’s their first murder but it also marks the beginning of a significant change in their relationship. Before Maureen their behaviour has been almost justifiably kinky to Billy. He can tell himself that he’s only getting off on causing Stu pain, but kissing him crosses a line, and then there’s everything that happens at Christmas and it just continues from there.

As I’m writing this stuff I try to be mindful that I’m creating a sense of escalation- the characters are making progress or regressing, but either of way the stakes are getting higher. Scream lends itself well to that, so I got lucky.

It also helps that I’m sort writing a book slasher, at least later in the fic. It means I can make use of those tropes, so I have something to lean on. I’d recommend figuring out some tropes that you like from the genre you’re working in, and put your own spin on them or find a way to subvert them.

I often work through this kind of planning with more of a visual map, then this eventually gets turned into bullet point summaries of each chapter. When I actually go to write the chapter a lot of the time I realize some of those planned plot points don’t quite work or don’t feel in character, and in those cases I often change those details. If it works better for the story I’m telling then it’s good to go off-script a little. There are usually some major events that I won’t change, but most things are fair game.

Finally, I’d recommend writing ahead. It’s really benefited me to know what’s happening in the next few chapters before I edit for publishing. That way I can add in or change any details that no longer work with what’s coming up in the future.

I hope some of this makes sense (and is helpful) but like you’re right, it is hard. It’s such a scary process honestly and that’s part of why Wave of Mutilation is taking me so much time. But yeah I think it’s normal for it to feel kind of awful to do this kind of thing. Truly the only thing i hate more than writing is not writing.

I wish you the fucking best with whatever you’re working on!

[circlejourney]

How I plan my writing, and then write it: Part 1 of 2

So, ignore the image for now (but not really). I thought it would be funny to start with this visualisation. This chart is specifically about 2 of my stories: Revolving Door and Of the Dragon of the Stars. Both of these novels are in the scale of 300k words or more, so naturally, the ideation and writing process are a bit of a Mess. But before actually going into detail about this "clusterfuck" genre of novel, let me talk at length about my process for shorter novels first.

A few things make Eagles and Swans (the one about an orphaned rebel and the unrest in her country as a banished goddess awakens) and Offshore (the one about two sailors making their last attempt at the most coveted offshore racing trophy in the world) much tamer than the earlier two. First, they follow the points-of-view of just 1-2 characters. Second, they each take place within the confines of a single country / polity, for the most part. Third, the plot events are conveyed in chronological order.

Each important POV character effectively adds an additional story that's being written in parallel. Juggling multiple characters arcs, ordering nonlinear timelines in a way that conveys info in an effective order, AND developing an expansive world, all balloon the story scope. So, thank goodness for stories that require none of the above.

Overall process

I write in three passes, as signified by the three shades of grey in the chart above:

a brief bullet-point outline of the whole story + character summaries

a detailed outline that fleshes out the first outline into a series of chapter hooks / summaries.

the actual novel, first draft.

editing - improving flow and coherence, fixing "telling not showing" etc.

Each stage takes what was in the previous stage and fleshes it out with more detail and more attention to the eventual audience.

Barebones outline

The first pass, for me, is a "thin" outline of major events and major characters' emotional states. It isn't subdivided into sections yet—what I'm really aiming to do is lay out the shape of the story and the rough order of events. A little sample:

Anqien and Jinai prepare for the race in a month's time, the Niro Helfi Race. We are introduced to it through a conversation between the two and/or maybe training or an event for invitees? This race is the biggest in the business! It's a 2000km route in 3 legs Establish that the two MCs are very (almost scarily) skilled, world-class sailors, and simply seem to be underperforming due to unaddressed issues. Internal conflicts established. General structure: ABAB with sailing/non-sailing content

For E&S I actually did this in calendar format, so that I could track the progress of the plot against their school calendar (as well as ensuring that enough time passed between plot events to make it feel like things were developing in the background).

Chapter outline

In the second pass, the outline above gets fleshed out into a backbone of distinct chapters. Not ALL the chapters, only the chapters that need to happen.

At this point I describe 1-2 important events per chapter (except the really important chapters, which get more detailed outlines). What's more important are the characters' takeaways at the end of each chapter - what they learn, or how their feelings evolve. Example (mild spoilers for Offshore):

A bad training day (idk they fall off the yacht from 5m in the air or damage some gear?), we get to see Jinai's stress and resignation and Anqien trying to be positive but visibly affected. The coach gives them an earful about recovery from mistakes They later discuss this and Jinai admits her biggest flaw is giving up too easily. Slice-of-life kind of scene where they go do something stupid/reckless to unwind, and maybe get in trouble

Idea bank

In parallel, I maintain a bank of loose plot points that I would LIKE to include, except I'm not sure where yet. In Offshore, I called them "filler episodes":

Episode: A bit of background about what they do between training Episode: A joyride in a boat. they hire a motorboat from the local boating club and are a nuisance in the rich people area and then head out maybe way too far into the open sea.

In E&S, I maintained a bank of "Chekhov's Guns" that I might bring back later in the plot to create a sense of setup/payoff.

Ruth’s key: unlocks anything, currently lives with Tante. Hyder’s power: to disguise anyone as anyone else. Tante’s knife skills: he’d win any knife duel. And he’s got lots of knives. Tanio’s inventory of inventions: there’s bound to be some stuff there that she can use. Tanio’s meat grinder: grinds meat. Hollia’s job and possessions: an aviary full of birds of all species, including eagles, swans and chickens.

When I come to a point in the novel where I think "something needs to happen here that ISN'T the next groundbreaking plot development," I can quickly whip out one of these concepts.

And now, the actual writing

So now I've got a backbone and a bank of modular content, I come to the moment I've been waiting for. It's worth noting that sometimes the outlining continues to happen even when I start to write, but I do really like to have a finished outline before I start writing the actual prose.

A lot of things happen during the course of writing that I absolutely did not plan for, simply because it's where the story takes me—what instinct tells me would work in the moment. The writing process always surprises me like that, and it's a constant reflexive loop of checking in with what sort of scene/chapter I think would make a good follow-up to the current one, how far to take a scene before closing it off, etc.

The outline is like a leash that keeps the story from flying off course and also a scaffold for when I don't know what to do next. I can check what plot point I need to build towards and then start steering the plot gently in that direction. Then the editing pass is when I'll revisit with a critical eye and link ideas together in a coherent flow, look for the most impactful stopping point for each chapter and prune it, etc.

And longer novels?

So my process for longer stories like RD and OTDOTS is really...an expanded version of the above. Except that the detailed outline can often have multiple levels of subdivision (by volume/story arc -> by location if there are events happening simultaneously in different places -> by chapter), and the planning tends to be more regimental since there's a greater need for the story to feel tight and economical, to maintain momentum.

But there's another post's worth of rambling in that topic, and that's exactly what I'm gonna do at this juncture: put that in its own post.

[thegrimreaperisanerd]

hi :) binge read your de fic that you have posted on ao3 last night and really enjoyed all of it! excited to see any updates. was wondering if you have any rec for other fic youve read and enjoyed-- i am not god's bravest soldier and do not enjoy trudging through tags and was wondering if you had read anything yourself that you really enjoyed lolol

Hey, thanks so much!!! Sorry it's taken a couple days to answer this, I'm poor as shit and have two jobs now wah... capitilism...

I'm working on the next 46' chapter, It's about 70% complete and I generally let it sit for an evening once it's done then re-read it the next day to catch the vast majority of mistakes (I edit everything myself) so I'd say expect that in the coming days.

I have some thoughts! I... Have never been asked for fic recs before so I'm gonna list a bunch in no particular order that I enjoyed, and reasons why. I will note that I tend to enjoy meaty plot-based works over fluff, so that's what I'll be recommending. Anyway!

Paddling Out (THE REPEATER CORPSE CONUNDRUM) - @transhitman - So this is the first DE fic I read and it set the bar pretty fucking high. YOU'VE GOT: a very cool and insular setting (don't get me wrong I like fics where they travel around Revachol too, but there's something to be said for building a set and living in it for a while) YOU'VE GOT: extremely harrowing tension and pale-fuckery YOU'VE GOT: some genuinely beautiful, heartfelt moments (I don't want to spoil anything but "people don't need your permission to care about you" kinda undid me) YOU'VE ALSO GOT: Amazing art?! Always a bonus, I wish I could draw people lol

Have You Heard The News That You're Dead? - Wizardlover - Time Loop shenanigans hell yeah! Basic premise: Kim is *unable* to save Harry's life after he's shot at the tribunal, each time he dies he Reawakens in Martinaise on the first day and desperately has to try and find a way to either prevent the Tribunal entirely, or survive it. I think the major draw to this one is how well it's characterised and how well that lends to the major source of tension: trying to convince THE WORLD'S BIGGEST SKEPTIC that you *a man he 'has only just met'* is actually stuck in a time loop. Juicy shit.

The Case Of The Man Who Two-Thirds Wasn't There - @glisteningceruleaneyes - We got another case fic here, gang. This is one of those "they travel around Revachol" numbers I previously mentioned. A lot to love about this fic; the minor OCs are all loveable (or at least well-written, looking at you Mr. Bigot-All-Rounder), the elements of writing in the game's style (particularly use of Harry's 'to do' list that you find in the ledger, you don't see that as often!) are all fantastic. Also without spoiling too much I'm a sucker for hurt/ comfort :) I like when bad things happen to our specialist guy :) ALSO! alternating chapters, Kim vs Harry's perspectives contrast REALLY well! Just a super enjoyable read. - On that note I also wanna include a special mention: there's a podfic for this one and since I mentioned my two jobs, I've been listening to audiobooks at work (I'm a cleaner. It's very boring) and that was a fun change of pace!

The Emergent Causeway - hal_incandenza - Now you KNOW this one is good because it's the only *unfinished* fic I'm recommending. Again, We've got art! We've got a brand new (non-Revachol!) setting that still feels excellently Elysium! We got that excellent balance of humour and misery from the get go! EXCELLENT murder mystery so far, I am intrigued AND also there's a fucking puppy. Hell yeah. This one's from Kim's perspective and does a really good job of it, nothing like a man being begrudgingly sent on holiday and being somewhat relieved to have a corpse to deal with.

A Spilled Kaleidoscope - @spilledkaleidoscope - I'm actually recommending a series here. Real definition of "came for the art, stayed for the writing" I mostly have a soft spot because I got to watch a few "haha, what if-?" musing text posts become a series of written chapters and INCREDIBLE DRAWINGS HOLY SHIT. Like, you really just draw hands for fun, huh? This person made a pact with some sort of devil beasts to draw hands very good, at the bare minimum we can read their fiction.

Nothing To Lose But Our Chains - Lepak - I almost forgot this one and I honestly can't believe it because this is one of these ones that you need a cigarette afterwards. Good fucking god. This is probably the best fic I've ever read in terms of not shying away from the heavy themes that make Disco Elysium such a beautiful, moving game. It tackles a racism in many forms, particularly how people like Kim (in working for the RCM) and immigration laws do their part in upholding racist systems, despite the way it hurts him too. Of course, it's also excellently written with tense scenes and some real funny moments. A real good'un here.

The Catacomb Killer - SupposedToBeWriting - Give Harry more memory loss. Make him convinced he killed a kid. Make *Kim* convinced he killed a kid... Then the plot thickens. I won't lie I can't remember fuck all about this one because I was mostly drunk when I read it, but if it was good enough that I kept reading instead of smoking a spliff or something then it must have been excellent... I will re-read it when I have the time, lmao.

MURDER ON THE AIRWAVES - @randomisedmongoose - I'm just a really big fan of murder mysteries and gore. You show me somebody with brain matter pouring from their earholes and I'm like "yum yum, more of that please." I am a sucker for curious methods of murder and this one's good for that. Lots of trekking back and forth like in the game again. More ACAB - always good.

I did not mean to include this many...........................

Oh well. Here's my list, there are plenty of others I've enjoyed but these are just the ones that came to mind! Thanks again for reading my fic! Always makes me happy when people let me know they enjoy my writing :3

[acourtofthought]

I'm sorry, but I have to disagree with you on your last ask.

"SJM did say she's excited to write Az's journey. But she's tricky with her words and just because she said "when you get to the end of SF I think you'll know who the next book is about and Az's journey is one I'm very excited to write about."

Because SJM is tricky with words, she could be telling us that Elain's book is next, she'll end up with Lucien and during their book she will continue laying crumbs for Az's journey as she's excited to begin the groundwork for his eventual book."

please... she is not THAT tricky. She also said multiple times Hunt and Bryce are mates, and that she wanted to change up her usual formula by making the first LI in CC to be the endgame, still many doubted her words and guess what? Hunt and Bryce are endgame, just as she said. Was she also tricky when she talked about Elucien being mates? Or is she not tricky with her words when it supports your narrative?...

And to be exact, this was the question from the interview you quoted:

"Will Azriel get his own book in the future?" to which Sarah answered: "I can't say anything officially right now... but when you get to the end of ACOSF I think you'll know who the next book is about... Azriel's journey is one I'm very excited to write about..." - mind you, the question wasn't about who's book is next, just if Azriel will get a book, ever. And her answer was this. She brought up the next book. How do you even interpret an answer like this as, "Elain's book is next"? Sorry, but it's not tricky at all, it's basic comprehension to assume Azriel's book is next based on her answer to the question. Also, even though the bonus takes place during solstice, bonus chapters are placed physically at the end of the book, no?? So...

Let's face it, Lucien and Elain had no major impact on the plot of acosf (they were barely present in the book actually), but Az was included heavily in the valkyrie training (along with a certain other redhead), and then now he's in CC3 too (in which Elucien were absent yet again). He's featured in two bonus chapters, one is from his own POV. Clearly, there is a lot of focus put on him right now, intentionally. From a marketing point of view, after all of this, another couple's book being next who are simply absent from the last two books makes no sense at all.

You really started to twisting everything to fit your own narrative, just as E/riels. :/

You're really quite aggressive over my thinking Elain is getting the next book.

Regardless of what your interpretation of that particular interview is, I've also got plenty of others that strongly suggest Elain was getting the book after Nesta.

"I've always wanted to write books about her sisters".

"I know who the first two spin-offs are about but I'm leaving the third open".

At one point the third was even possibly going to be a book set in the past and in a special edition of ACOFAS, she wrote about the research she had done for Elain's book. Not Az's.

"My initial plan for the spin-offs didn't change but the world expanded".

And you're silly to think that "from a marketing perspective Elain's absence in the crossover means she can't get the next book."

Was Chaol not absent in the book before TOD?

You're clearly only on the side of your narrative when you say Elain was absent in SF.

Did she and Nesta not have two big arguments?

Did Elain not volunteer to search for the Trove?

Did Feyre and Rhys not have a conversation about her getting her hands dirty in Feyre's bonus? How maybe she's only acted a certain way for fear of disappointing them?

Did Feyre not mention how she's got Az beat for secret keeping?

Did Amren not tell them not to underestimate her?

Did Nesta not take her wooden carving back to the HOW with her, staring at it after placing it near a figure of a Goddess, then end the series by placing it on her father's grave?

Nesta's arc could not have happened if Elain was by her side because Nesta needed to learn who she was outside of being Elain's protector but that doesn't mean Elain did not regularly come into her thoughts, with SJM using those moments to build her story (like Spring being made for her). That does not mean SJM didn't find ways of telling us exactly where her character is going and the fact that she's now ready for more or that she doesn't belong in the NC.

You are free to feel Az is next, I even admit I could be wrong about Elucien though I still feel strongly that they're a contender for the next book. But you claiming he's next as fact makes you no different than e/riels who claim their ship as fact.

And bonus chapters are placed at the end of the book because they don't want to interrupt the flow of the main characters pov..??

What is your point? It doesn't change where it falls on the timeline and the events that came after.

I'd be curious to know what major impact on the plot you feel Az had in SF outside of training the Valkyries because Cassian said Nesta wouldn't be ready for battle training for years. An ACOTAR book. Not a book from a different series that not every ACOTAR reader will read. Lucien was set up for more than Az what with him being stationed in Spring, commanding Cassian with a single word, the fact that his father now wants to ally with Koschei, that he was "setting his sights" across the continent.

Az...... sulked about not getting a bond? Played sidekick to Cassian? Yes he's training the Valkyries and will continue to do so but the main issues in the ACOTAR world at the end of SF were Koschei - Vassa's captor (Vassa, Lucien's roommate and the one Elain had visions of) , Beron - Lucien's "father", Spring - a Lucien plot and the treaty (I don't see Az treating for peace, do you?) and Elucien is more strongly connected to those things than Az. And yes, SJM admitted that Bryce and Hunt were mates because she wasn't keeping it a secret? And she openly spoke of Elucien as mates back before she signed on for the spin-offs and therefore was allowed to talk about the future of the characters? Those are not the same things as the announcment of the next book as the next book is supposed to be a surprise, otherwise it would have already been announced. She wouldn't have said, "and that's all I'm saying about that."

[asheepinthenight]

I have a question! What is your writing process? As in, do you have a set amount of words to reach a day or do you simply write when the feeling grabs you? Did you plan the entire story out first before you started writing or did it shape as you went? I’m curious!

Honestly, my process is a little chaotic! I'm neurodivergent, so most of my "process" is just working around what my brain can and cannot be persuaded to do on a given day. In general, most of the writing/coding work gets done in intense productivity bursts of a few days, weeks or months followed by periods of lower intensity. While the intense periods get the actual job done, the low-intensity ones are where the story actually takes shape. For every hour I spend writing and coding, I spend significantly longer on other background work, whether that's planning scenes, working on lore, or thinking super hard about why some particular thing isn't working.

As far as the writing itself, I did start out using weekly/monthly word count goals, but it didn't really work for me as a motivational tool. Since the vast majority of passages for TE contain at least some text variation based on variables, it's more confusing to write and code separately, so I do them both at once. I also commit the cardinal writer sin of writing and editing more or less simultaneously, so the actual word count of the project bounces around quite a lot. Sometimes, cutting several thousand words that aren't working feels like a big accomplishment on its own! So instead of using word count, I try to focus on making writing its own reward. Writing isn't always fun, but if I'm not compelled by the act of writing a scene, it usually means that I need to slow down and find a way to make it more vibrant—or it needs to be cut or rearranged.

On the planning side, I'm a planner when it comes to the big-picture stuff and more of a pantser on the scene level. TE started its life as a vague list of scenes (I work off scenes rather than chapters), then became a flowchart in Obsidian.

The flowchart's seen a lot of changes since its initial form, but the general structure is mostly the same. It hasn't been updated since the last demo update, but the demo scenes (green) are pretty orderly with connection arrows between them. The farther you go into future scenes (red), the less structured they get. Most of the red scenes don't even show the major branching they'll include. Usually, as a planned scene approaches, the way it connects to preceding scenes will present itself, whether it's through a time skip or some new scenes. Subplots and other elements that don't need to coincide with external plot beats get slotted in wherever makes sense without disturbing the flow of the story.

I can't say that I'd recommend my process to anyone, but if you want to try it, have at it! It's all about finding a method that works well for a given person and a given project.

[makethosenarratorsfight]

UNRELIABLE NARRATORS; SIDE A

The Biologist Propaganda:

She tells the reader that her first hand account of events is scientific and impartial before revealing wayyyy after the fact that she has omitted her huge personal bias from her retelling of the events because she is fully aware that she's an unreliable narrator and is using that awareness to retroactively edit the story in her favour. Truly she's unlike any other protagonist I've ever encountered, its insane. Here's a tumblr text post that sums up everything: https://www.tumblr.com/12thbiologist/713885306846347264/annihilation-is-soooo-good-because-the-biologist?source=share

Yukio Okumura Propaganda (note; this is one submission, tumblr just has a word limit for blocks of text):

content warning for self destructive topics, murder, guns, body possession, suicide, mental illness, religion (?) (never directly mentions christianity), self hatred, dysfunctional family(??), self hatred. just a heads up, if you want to skip this you can. nothing in here is described seriously, its generally needed to understand basic plot points for this manga, so i didnt just include it for no reason!!! dont read this if it could harm you mentally!! its also just really long and kind of devolves into a plot summary near the end. his character explores moral greyness and utilizes his subsequent depressive states in a way thats really interesting to me. its pretty relevant that hes an unreliable narrator even in the early chapters of the manga. something interesting to me is that he's *not* the main character of the manga, so its set up in a way where the reader knows he's an unreliable narrator, but because he sets up a lot of the major exposition, the reader doesnt have a reason to believe him. i know it sounds kind of stupid, but its executed a lot better in the manga!!! its less about him actually *being* an unreliable narrator, and more about what it means for such a major character who introduces part of the plot, to be an unreliable narrator! he's the biological son of satan, but isnt a demon— (this is gonna be hard to explain but the demons in ao no exorcist are only called demons, they're easily equated to demons from abrahamic religions, but they mainly exist as a concept, they first have to develop an ego, and choose a body to possess. higher level demons arent able to possess a body because their power corrupts it and it rots away. satan only called himself satan because his college gf was in a christian cult, which is kind of funny to me because his son, lucifer, already did the whole satan motif. in the ao no exorcist universe, there is no 'god', satan is the ultimate being.)— unlike his maternal twin, rin, who has a demonic heart and ego. yukio is visibly similar to his mother, and is generally puts up a front as being more mature than rin. rin is essentially the direct opposite; he's almost identical to satan in looks and personality.

this definitely hurts yukio alot during the early chapters, because satan brutally murdered their adoptive father, but yukio is partially jealous of rin. he wishes he was as 'strong' as him, as rin had never shown any self hatred or suicidal ideation to yukio earlier on in the series. this eventually drives yukio to seek out lucifer. he convinces himself that lucifer isnt working for satan. he's an unreliable narrator even to *himself*. there's generally a pretty obvious parallel to lucifer with yukio: in the series, lucifer is depicted as wanting to be as 'strong' as his brother, mephisto. lucifer corrupts all of his vessels almost instantly. he's essentially stuck in a miserable cycle, not unlike yukio. we, as the reader, gradually see yukio spiral more and more. we see him lie to the reader and the other characters, until there's a surprising moment of clarity. we see yukio talk about how he mainly hates himself. we see him say this in front of *rin*! he essentially asks rin to kill him, beliving its the only way to escape assiah (earth, also has real world religious meaning). yukio cannot, presumably, be killed. he is essentially immortal during the storyline, which is why none of his suicide attempts have ever worked. this directly parallels lucifer not being able to escape gehenna (hell. this is also just hell in judaism). rin doesnt comply for pretty obvious reasons (not wanting to murder yukio), so yukio shoots him (dont worry rin's body heals almost immediately. no demons were harmed during this story) and rin goes on the journey of self discovery and comes back less mentslly ill (he also dyes his hair black) and talks to yukio. and uhhhh rin defeats satan and everyone clapped . then rin smashed in hatsune miku's face with his sword. i fhink thats blasphemy ? im really tired right now goodnight. tldr: yukio has mental illness and lies i lobe jim. i spent over an hour on this 😭

[elizaditton]

TSTBA And Life Update

Hey everyone, I thought I'd give an update on what's going on with me and on my progress with Too Small To Be Afraid. TL;DR at the bottom for those who just want the quick deets.

I've been struggling to work on the story since the start of the summer, mainly because I got a "real" job (as part of the IT department at a local high school). Despite the fact that it's only 17.5 hours a week (3.5 hours every weekday), it was a lot more than what I was used to (which was literally doing nothing except for volunteering at various places maybe one to three times a week), and it took me a really, really long time to adjust to that mentally. I would come home dead tired and just... not feel like writing. Or doing anything at all. Sometimes I'd come home at 3:00 pm and proceed to take The World's Longest Nap™ only to wake up when it was time to go to bed anyway. Part of this, I realize, is probably the result of an undiagnosed sleeping disorder of some kind (my psychiatrist says maybe sleep apnea) mixed with ADHD telling my brain to Not Work™. But yeah, this has been a major contributing factor in my lack of writing time recently. And on top of that, I got another job working for my church on Sundays as a Production Assistant, which has so far been awesome, but it means I'm also exhausted on weekends. Not only am I working 7 hours on Sunday (setup + rehearsal + service + do all that again for the second service), but I'm also waking up at 4:30 am now at the very latest on Sundays depending on what campus I'm working at. And on top of all that, I'm still working occasionally for my old boss one Saturday out of every month until he wants me to start coming in more frequently. So all in all, I'm pretty much working every day but Saturday, except for when I'm also working on Saturday. And I do enjoy working all of these jobs, it's just that I've been struggling to adjust to working so much and how to balance that with my hobbies and my home and family life. So there's been little time for writing these past few months.

The writing club I was a part of also lowkey disbanded as we haven't been meeting for several months. (Hi if any of you are reading this, I miss you guys lol.) Before we stopped meeting, I was pumping out a new chapter at least every two weeks, and it was amazing! I was part of a group that encouraged each other to write and on top of that even edited/critiqued each other's writing. I really do miss it. The group always got me so motivated to write during the week and to write during our meetings, and I haven't felt that same joy about writing since we stopped meeting. I'm thinking I'll start another writing group, either online or at my church. Leaning towards at my church since I need in-person contact with people, but idk hit me up if you're interested in an online writer's group??? Or being a beta reader???

Lastly, something that's actually related to the story itself. The plot. Hoooooooo boy the plot. The plot is... a thing that exists. There's things I want to tie into the story that I want to be a big deal, but I'm not sure if I introduced enough elements beforehand for things to make sense if I go the route I want? Then there's the fact that I look back at the first few chapters and sort of cringe, thinking of all the things I'd change if I would let myself have at it before the first draft is done. But yeah. Things are... going. I've been very, VERY slowly but surely working on fixing up things in my outline so I know where I'm going, but yeah, all the aforementioned has kinda made it hard to actually write.

So that's where I've been. So where do we go from here?

For one thing, I'm at least somewhat confident that chapter 18 WILL come out in the next few weeks, before the end of the month. It's going to be a long one, and I hope it's worth the wait.

I previously had a goal of finishing my first draft by the end of the year, but if I'm honest, I'm thinking I won't get there until at least the spring of 2025. And then, of course, after that comes editing, revising, rewriting, and so on. I'll likely be writing at least a second draft before I even think about printing.

But can you expect me to update more regularly from now on? To be honest, I have no idea. All I know is that this book is still my dream, and I haven't given up on it yet. As long as this fire continues to burn within me, I'm going to continue to write. As long as it takes. Until it's done. But maybe starting another writing club would help hold me accountable for regular updates, ha ha.

Thank you all for your unwavering support as I've gone through this journey. Whenever I see someone's been enjoying this story, it fills me with so much joy, you don't understand. I hold every little comment close to my heart.

Thanks for reading, and I hope to see you soon with an update to the story!

TL;DR: I suddenly acquired three jobs and am very tired all the time. This combined with no accountability after my writing club lowkey disbanded has made writing difficult. I'm still writing, slowly but surely. Expect a new (and long) chapter this month for sure. Hmu if interested in starting a writing club/being a beta reader btw

[esta-elavaris]

Novel ranting ahead

I had to move a major plot point to a much later chapter, just for pacing, and obviously that means heavily rewriting a lot of what was ahead of that point because there have been passages where characters react to said major plot point etc etc that just needs to be altered now.

But like, this change comes like? Four chapters before the end of where I'm up to with this current draft, and at this point it's honestly just easier to go through, highlight can can still stay, and then just rewrite everything else from scratch.

And I've been trying so hard to avoid doing that because "it'll take so much tiiiime" but it's just the best way to go about it, and if I'd just done it when I first had the idea, it'd be done by now.

Still have soooo much like actual writing to do beyond this batch of edits, because I can't write the climax of the book until everything before it is really up to scratch (because every round of edits so far has changed things), but I'm really excited to get to that point and I'm finally in a place where I'm ABLE to get to that without worrying that I'll change something again, rendering it all pointless.

[glouchyouchy]

https://archiveofourown.org/works/51672316/chapters/131229571

I just uploaded ( and edited it, in the case of fanfiction.net :) ) Chapter II.5 ( on archiveofourown.org :) ), in case anyone is interested :) It's the LAST for II :)

Fair warning, though - this one is HEAVY, deals with mature ( even unpleasant, repulsive ) themes, and is guaranteed to make your skin crawl ( I know mine did when I wrote it * splashes alcohol generously on skin ( and eyes ) * ) - I really meant it when I said that the Archive Warnings are there for a reason O_O

Anyway, enjoy ( NOT )!

-

GOOD ( news? ) 1 : Currently laying out III... I feel so happy ( and honestly? RELIEVED ) that somehow, I managed to finish laying the groundwork, FINALLY, with II.

GOOD 2 : III will be the continuation of I, which I'm pumped to finally start! ( to @tarisilmarwen and @jedimandalorian, your help earlier today / yesterday will no doubt be invaluable! to @illuminatedquill, your insights have been TRULY illuminating! to @alphaofdarkness, I will finish this! :) )

NEUTRAL : III won't come out until 2024 :) Workload is ramping up ( both in my actual work, as well as my technical / academic writing ), and it now needs my full, undivided focus to not let the people under me down :) I'll still work on editing I and II ( that is, II.1, II.2, II.3, II.4, & the this latest one, II.5 ) in the interim as there are a TON of typos, passages to rephrase in order to make things clearer ( because this entire work has basically flown out of my mind these past two months; it needs some taming ), etc, over the holiday season ( nothing major will be changed, though; the story and plot will stay the same - if anything, I might actually add in snippets of details and dialogue, just like I did with I, II.1, and II.2 ). :)

GOOD 3 : I plan to try my hand at making artwork for my fanfic over the holidays. :) It may actually come BEFORE any part of III does. :)

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Thank you to all of you who have sent encouragements, comments, extra knowledge, read my work, etc.

To my fellow Sabine Wren x Ezra Bridger / Sabezra / Ezrabine shippers, THANK YOU for being such nice people ^_^ I feel stupid now for contenting myself with simply lurking here ( and not writing myself ) for such a long time. I haven't found a section of the internet so completely awash by such positivity, and it's SURREAL, to be perfectly frank. It's unbelievably nice to be here.

See you all soon ( with the first part of III, I hope )!