#the idea of working on original novels? forget about it.

[novelconcepts]

I don’t understand how a person can miss writing so much and yet be utterly paralyzed by the idea of going back to it.

[tea-cat-arts]

Ranking mxtx couples by whether or not I think they'd be good parents

(I'm 90% sure I'm forgetting someone)

Yep, next question (S)-

Wangxian: tried and tested good dads. I wish them luck with the whole “trying to get wwx pregnant” thing 

They have some shit to work through, but after that I think they'd be fine (A)-

Ling Wen/ Bai Jin: if we're just going off the original publication, I would put them in a much lower tier, but since the revised edition added that thing about them raising orphans together and said orphans turning out alright before unfortunate circumstances, I'm putting them up here. I think they'll be alright once they work through the miscommunication

Xiao Xingchen/ Song Lan: They obviously have a lot of trauma they're working through, but I'd like to think they and A-Qing will be a loving family in the long run 

One of them would be a good parent, the other wouldn't be a bad parent (B)-

Jiang Yanli/ Jin Zixuan: there's no canon reason for me putting them this low. Jin Zixuan just gives off a mediocre parent vibe to me (and we all know Jiang Yanli is the best)

Yushipei: Yushi Huang has good mom energy, and Pei Ming has been shown to be a not terrible mentor. I'd want the misogyny fully beaten out of him with a mace before I'd think he should have kids of his own though 

Lang Qianqiu/ Little Guy: at the very least, they're making sure Guzi is fed, clothed, washed, vaccinated, and has access to education. Neither of them know what they're doing, but I think Little Guy is good at faking it. I wish them luck in their upcoming custody battle  

You know what, surprise me/ I'll hear you out (C)-

Bingqiu: My first instinct is “no, do not bring kids into this,” but then I remembered tharnShen Qingqiu has a surprisingly decent track record? Like, Ning Yingying and Ming Fan both turned out a lot more health than they did in the original novel, and though I wouldn't call him in a good place, Binghe is doing a lot better than Bingge. The wild card for me here is Luo Binghe because I have no idea how he'd be with kids

Quanyin: Yin Yu had a decent track record until he was pushed into snapping. I think rn, he needs a couple centuries of being a babygirl before he's ready to parent again. No idea how Quan Yizhen would do though 

Born to “dual income, no kids, rich uncles/aunts” (D)-

Fengqing: Feng Xin is canonically a bad dad. I know he's working on it, but it is what it is. Mu Qing has been shown to be decent with kids, but I think he’d have a melt down if he had to deal with the mess constantly. 

Hualian: I mean, Xie Lian has raised three kids at this point and one of them became a god, another became state preceptor and then sorta complicit in a genocide, and one became god AND committed genocide + he babysat a ghost king for months and didn't even realize that's what he was because it was a miracle if he remembered to feed him… so, a mixed bag. Hua Cheng may be schrodinger’s child hater, but I'm intrigued by the idea of him raising kids just because I want to know how his own childhood would influence his parenting abilities. They should probably just stick to babysitting for now though 

Mingling: Liu Mingyan is too busy writing gay porn to be dealing with kids, and I just can't imagine Sha Hualing as a mom

Please don't bring a kid into this mess (F)-

Beefleaf: Do I need to explain this one?

Mobeishang: Shang Qinghua should not be put in any position where he has to teach someone about consent (Binghe’s early attempts at flirting being a prime example of why that's a bad idea). I also think Mobei Jun is still working on the whole “why hitting people is not cool” thing. 

QiJiu: I think the original timeline is a prime example of how they're just not in a place to be raising kids 

Jun Wu/ Mei Nianqing: Xie Lian would like a refund on his adopted father figures. They had one kid and he only made it to age 20 because he was cursed to not die

[senseandaccountability]

“It takes the wrong sort to put the world right.”

A huge problem for me with the tone of the narrative is that outside a very carefully curated playthrough experience with preconceived ideas of and love for Solas, Veilguard is probably the least compassionate game I’ve played in forever, while spouting out lines about how everyone can find a new path in life because our nature isn’t written in stone, our fates are our own, as well as plenty of HR department lines about working together as a team.

“It takes the wrong sort to put the world right.” The game says that, but it definitely doesn’t mean it. At least I don’t feel it. You are so very rarely challenged in your idea of who this wrong sort is and what they could bring to the table. Davrin speaks of the Wardens recruiting at the Gallows but you meet only adorable, righteous and charming ones. The Crows aren’t the wrong sort anymore, they’re just adorably Antivan upper class. And so on and so forth. Rook certainly isn’t the wrong sort either, they’re mentally around 19 years old and stumbling their way through the world like some romance novel protag. In one of the most thematically shallow plots, Rook gets thrown into a prison of regret fit to hold a god but unlike Solas, Rook doesn’t do regrets or guilt because Rook isn’t that complex. Rook hasn’t been allowed to feel any guilt for three acts, just how are they meant to be stuck in a regret prison?  

Compare with Origins where you yourself could be just that wrong sort that would put the world right. ALL of my Origins PCs would get stuck in Solas’s prison due to the weight of their own fuckups. If not during the game events where you could make shitty moves en masse, then because of their origin stories. Brosca and Tabris would get out of there through sheer fury alone - fuck you, I am a wreck because YOU MADE ME ONE, WORLD OF THEDAS - but the nobles would stew. Amell would loop in some guilt trip regarding blood magic and Jowan and whatnot.

Compare with Origins where Loghain is a piece of shit for most of the narrative. He actively wants to kill you and your Order, it’s nothing personal (okay, a little personal) but he just needs you gone. If you want to, you can hack and slash your way through some release there and just have him executed. BUT the game also challenges you on that idea. It presents a very pragmatic alternative that comes with a very plausible downside (you lose Alistair). It presents not excuses but explanations - do with them what you will. Loghain has people in his corner through the entire trilogy, arguing his case. Cauthrien FALLS TO HER KNEES before you, pleading to spare his life. Threnn in DAI will stan him for the rest of her life. Anora tells you stories about the man behind the name.  And Arl Eamon’s world view and idea of Loghain is shown to be more than a little self-serving when faced with the politics of the Landsmeet. Things around Loghain blur. In the Ostagar DLC they allow things to blur even further when Loghain’s pragmatism is countered by Wynne’s player character-moralism (ie “someone died, it’s always wrong if someone died even if that death prevented 9000000 deaths you KILLED someone!!!!!111”). Origins tells me - or hints at - why Loghain became the wrong sort, shows me ways in which he is also the right sort and leaves me wondering about him. Because the game is gritty and dark and weird but also yes, compassionate. If you execute him, Anora will mourn him because she loves him regardless. If you have him join the Wardens she will sit with him while he recovers because he is undeniably an asshole but he’s also her father who braided her hair and showed her the world. A good narrative never, ever forgets that.  Veilguard feels so different here, maybe it's just me. I'm pretty sure I'm almost done being salty now, I just... feel a lot about narratives.

[ultralightpoe]

Buy The Book - Bucky Barnes

Authors Note: I got inspired by that movie, idk what to say

Warnings: Kidnapped

Word Count: 2393

Requests:OPEN

[Thank you for the gif @bill-weasley ]

Enjoy!

Something was off about the day and no one believed you. 

Maybe it was the morose hotel room your agent had put you in for the week, or maybe it was just the gray foggy weather. Either way out you felt like something was wrong, you felt like you were being watched. 

“Honey, I needed you ready like 30 minutes ago.” Your agent, Santana, stresses the second she enters the hotel room with her own key copy. She attacks you quickly, pulling you from the bed and pulling you to where you had laid out your shoes the night before. “This is ridiculous and you know it.”

“I just have a bad feeling.” You mumble, letting her slip the heels on you as if you were a child. She pats your calf solemnly before standing to fix your hair and check your makeup one more time. 

“I know, you’ve told me all of this before. . You feel as though you are being watched, Michael Jackson style. You don’t feel good. You forgot to eat breakfast. You forgot to wash your laptop.” She rants, snatching both your ids for the event before grabbing both your bags and leading you out of the room. 

You turn at the least second, needing to see the door shut for your own sanity before you allow her to lead the way. 

“I think you are just stressed. You have always hated large crowds and you hate talking in front of people but this is a necessity. You have a terrific book out and you need to own it.” Terrific is definitely not how you would describe the book. Not in the slightest. But Santana had always admired your books far too much. 

It had started years ago, 8 books exactly, and you had been up on an all nighter the day the original project came to mind. 

You had been taking a publishing class and among 24 other aspiring authors you were sure the dream wasn’t worth it anymore. Especially after you had all received the project for the next month, write your own novel. 

There were hundreds of ideas that came to mind for you, heroes and villains alike, and you were sure that no matter what genre you picked from the suspense bucket your professor carried around you would have it down. Then you unrolled it you saw in the neatest handwriting you had ever seen….ROMANCE. 

And you knew you were screwed. 

Up all night, page after page of ideas you can do, all of which you hated. You hated the genre, the least romantic person alive and of course fate would have you be the one to choose the subject. You had always wanted to do fantasy, with epic battles or sci fi. 

Anything but romance. 

You were just about to give up, hyping yourself up to march to your professors class and demand a new one, but then on the way out of the library in an attempt to hide from the sun like a forgotten demon you ended up running into the campus crazy. 

Redmayne, an old man that swears his family was murdered one night by a man with a metal arm, that he had stolen something from his family. “THE WINTER SOLDIER! HE’S COMING FOR US ALL!”

And he had sketched the face onto the sign he carried around. 

You remember stopping short, nearly stumbling from the sudden stop as your bag swung around and you took in the sketch. You were a terrible person to say that the sketch was one of the most attractive men you had ever seen. 

Just a black and white coal sketch and your heart was beating through your chest. 

“Sir,” You called, already feeling like a fool. “I have 40 dollars in my pocket and I’ll give it all to you for that sign.”

And thus your new world was created. 

‘The Frost Warrior’ was born, weeks of pouring over your laptop as you created the story of a man named Jameson Boone, a man who once fought for his country and now served as a brainwashed assassin. And no one could forget the leading lady, the spy that met him on a mission and have continued to work together since, with tension and heat keeping them close. 

Your teacher had loved it so much she recommended it, and you received an agent. And the series became real. 

Soon enough the ‘Frost Warrior’ and his true love were being snatched from every bookshelf as people followed along with their journey. 

“I think it was the last book.” You mumble, watching the elevator doors close you both in as she whips her head to glare. 

“What? What do you mean?” She snaps out. “Jameson just got freed from their captors!” 

“So? Now what will he do?” You laugh bitterly, pulling at the awkward outfit you were wearing. “The Frost Soldier is out in the real world. There is no more story.”

“Bitch, revenge.” Your publicist snaps, hands out in the hair from shock. “I want him to get his revenge. To…… to find that person. The head of it all. I want Jameson to come back and prove himself. Last book? We have built an empire off these novels and you want it to be the last book?”

“I don’t know. It seems weird. With all the fighting on the news, did you see that captain america footage? It just feels like there are more serious things to-”

“We will talk about this later.” She snaps once the doors open, pulling you with her to meet your awaiting fans. 

Minutes go by and soon enough you're blinking to try and see through the amount of flash photography there was, smiling a tight smile as it all begins to die down and the questions start coming in. 

“What was your inspiration?” 

“A sign, years ago, with a drawing on it.” You smile. 

“Did you inspire Stephen off of Steve Rogers?” 

“No. I actually have no clue where he came from.”

“You mentioned on your last tour that the rare amulet the Frost Warrior had gone to find was inspired by the ‘Amulet of Ronav’ which was just recently given to a museum after being missing since your book. Were you excited about the news?”

“Yes.” You admit, nodding. “Though I am so curious as to who randomly decided to return that.” 

“Do you think the ‘Frost Warrior’ will try and find some of the weapons that ‘Baskilisk’ was making him hunt down? Maybe assassinate the monsters that hurt him?”

And you drew blank on that question because truth was you could see it, you could see the man of your imagination crawling through vents and tunnels to find the weapons before they could. You could see him growing his relationship with his old best friend and joining the new world with his leading lady. 

But you didn’t want to anymore. 

“If you’ll excuse me.” You rush out, standing quickly to walk out of the conference and rush to the bathrooms. Nauseated and tired. 

This was never what you had imagined. 

In your rush to run some cold water and pour it on your face you missed the man coming into the bathroom right behind you until you stood at full height to look in the mirror. Jumping quite a bit when you see him. 

“OH MY-” You whirl, kicking out and managing to hit his thigh before his own hand reaches out to grab your throat, pushing you into the wall beside the sink and cutting off your circulation as you scratch and claw at his hands. 

His eyes were red, not bloodshot but the pupils of them were red, like a demon and by the way he didn’t even flinch when you scratched across his face you were sure he was. 

“Easy now pet.” He mumbles, pushing you up by your throat until your feet were no longer on the floor. “I ain’t gonna kill ya. I just need you to…..”

And the words were missed by the way your vision blacked out, body going limp. 

- 

“Oh, can we get the bag off her head please?” A voice breaks out, sounding a bit slow as you blink in a pitch black nothing, until someone roughly pulls the bag over your head and you are forced into a new light. “Oh, she does not look well.”

“They drugged her in the car.” Someone behind you mumbles as your head sinks forward, trying to close your eyes again. 

You must have passed out for a couple more minutes before a bucket of freezing cold water is splashed over you, snapping you awake in a panic. You struggle to catch your breath as you fight against the restraints on your wrists and ankles. 

“WHAT THE FUCK?” You manage to scream out, your voice scratchy and dry as the bondages scratch and pull at the skin. But you can’t stop the panic, can’t stop the way your body struggles and your breaths shorten, can’t stop the tears from falling down until you can taste the salt of them. “What. The. Fuck.”

“I’m sorry, really, about all of this.” Someone sighs out, wearing an overly expensive tux and far too much gel in his hair. “I’m a big fan and it was never meant to get this far.”

“What the fuck.?” You gasp out, looking around you in attempt to process what was going on. Every wall was gray and metal, with what looked to be bolts sticking out, the floor concrete. Nothing to recognize. 

The men standing around you all stood with guns at their hips wearing black on black, all looking a bit bored at the moment which was a complete contrast to how you were feeling. 

“Am I in a warehouse?”

“GOOD EYE!” The gel hair laughs out, clapping his hands together. “You are just absolutely marvelous.Didn’t I tell you guys?”

“You’re going to kill me!” You cry out, fighting against the restraints a little more. “Please please please, don’t! I’ll give you anything!”

“We don’t want to kill you lovey.” He sighs out, coming to pull a bit of your hair between his fingertips. “We just need some information.” 

You stay silent in hopes that he will explain more, closing your eyes to try and even out your breathing, making your body go still to try and ease some of the burn you had given yourself from fighting against the zip tie. Only he doesn’t keep talking, instead he watches you as if you were stupid. 

“Information….on?” It felt silly, pulling an attitude while being tied up to the chair. 

“The Winter Soldier.” The man smiles, still looking confused that you didn’t already know, tilting his head as he awaited your answer. “Oh. right. I apologize, you probably prefer to call him that code name….. The Frost Warrior.”

It’s silent for a moment while you blink at him, finally coming to terms with what he was saying before you burst out into laughter so hard that your ribs started aching. You couldn’t stop laughing, the tears less of panic and more so of humor now as you tried to calm down. 

“Excuse me-” Gel hair tries to interrupt before you shake your head. 

“Okay, where are the damn cameras?” You blurt, laughing as you turn to look for them. “This is a prank, right?”

“I can assure you-”

“Honestly Santana did too much this time.” You laugh. “You want to know about the Frost Warrior, well hate to break it to you bud, that was my last book.”

“Last book?”

“Yes, Last one.” Your laugh dies down a bit. “No more Jameson Boone, no more searching for lost and ancient weapons. Or being an assassin.”

“Well….Jameson Boone has stolen something from me. And I think he needs to be handled. So I would disagree.” Gel hair bites out, taking a couple steps forward in anger, and you begin to realize that he was being completely serious. 

“You have been publishing stories that have actual information in them for years and now I;m currently being HUNTED by that fool and I know you know his next move so you NEED TO TELL ME!”

“Wait-” You gasp as you catch the glint of a knife right before his body slumps down quickly, everyone not tied to a chair moving forward to see what might have happened. You angle your body to look to see what happened and you notice the bullet hole the same time they do. 

A scream tears through your throat as the men around you all raise their guns in their own panic. 

More pops ring out and more bodies slump before a hooded figure marches into the room. Every move is one done in grace, when they smash their foot in someone's face they don’t miss a second before throwing someone over their shoulder and smashing a gun. 

You take this opportunity to try and escape, throwing your body in an attempt to get rid of the zip ties only for the chair to fall back, your body with it, both landing with a heavy thud as your head cracks into the concrete. 

“Oh…” You whine out in pain, wanting nothing more than to hold your head as the hooded figure comes to stand over you. “Wait, please I beg you-”

“Don’t.” The figure grunts out, reaching up to remove the hood, the face from the sign years ago. The same jaw and the same eyebrows pinched together in anger. “And maybe next time you’re kidnapped you shouldn’t offer to give them everything.”

“Oh my god.” You gasp out, blinking twice as much to erase the image. “This isn’t real. I’m dreaming.”

“Come on.” He grunts, lifting the chair to slice the zip ties with his knife easily, hauling you over his shoulder. 

“You’re not real.” You mumble, feeling something warm leak down your face. “Oh my god I hit my head and I’m bleeding out. I’m dying.”

“You’re not dying.” 

“I am. Because I’m talking to a fictional character right now.” You’re set down then, on your feet so the man before you can assess the damage with an angry glare. 

“We haven’t been formally introduced, I’m Bucky Barnes…. I think…. And you’ve been writing novels about me.”

-

Part 2?

[komsomolka]

In your esteemed opinion, is Mikhail Bulgakov actually a good writer or is he more in the Orwell end of the spectrum: popular for anti-soviet sentiment (despite clear disdain for women and working class) his works are heavy on?

Bulgakov was definitely a talented writer so much so that he was tolerated by Soviet power despite reactionary character of his works and even sometimes was (sort of) defended by such people as Gorky and Stalin (their pet liberal of sorts😅).

Gorky: Bulgakov is not my brother [...] I have not the slightest desire to defend him. But – he is a talented writer, and we don’t have many of those. There is no point in making “martyrs for an idea” out of them. The enemy must either be destroyed or re-educated. In this case, I am for re-education. (Further in the letter Gorky says Bulgakov wants to contact Stalin personally to ask for help with stable employment. Bulgakov later got a place in Moscow Art Theatre).

Stalin: Of course, it is very easy to "criticize" and demand a ban on non-proletarian literature. But the easiest thing cannot be considered the best. The point is not a ban, but step by step to force old and new non-proletarian trash off the stage in a competition, by creating real, interesting, artistic plays of a Soviet character that can replace it. And competition is a big and serious matter, because only in a competitive environment can we achieve the formation and crystallization of our proletarian fiction. As for the play itself, "The Days of the Turbins" (Bulgakov's play), it is not so bad, because it does more good than harm. Do not forget that the main impression left on the viewer by this play is an impression favorable to the Bolsheviks: "if even people like the Turbins are forced to lay down their arms and submit to the will of the people, admitting their cause is finally lost, it means that the Bolsheviks are invincible, nothing can be done with them, the Bolsheviks". "The Days of the Turbins" is a demonstration of the all-crushing power of Bolshevism. Of course, the author is in no way “guilty” of this demonstration. But what does that matter to us?

Bulgakov was heavily censored, called for questioning by authorities multiple times and struggled a lot financially due to his bourgeoise and White sympathies while living in proletarian state. But isn't it the same for communist intellectuals in capitalist countries? So i personally don't cry crocodile tears over his suffering artist lifestory. Bulgakov works were accused of valorizing the Whites by Soviet literary critics (he was universally hated by them) which is true but as Stalin mentioned idealogically it was still net positive for Bolsheviks bc Bulgakovs works were pretty defeatist when it came to Bourgeoise class.

Interesting analysis of Bulgakov in Soviet Literary Encyclopedia released in 1930s: Bulgakov entered literature with the awareness of the death of his class and the need to adapt to a new life. Bulgakov comes to the conclusion: "Everything that happens, always happens as it should and only for the better." This fatalism is an excuse for those who changed milestones. Their rejection of the past is not cowardice and betrayal. It is dictated by the inexorable lessons of history. Reconciliation with the revolution was a betrayal of the perishing class' past. Intelligensia's reconciliation with Bolshevism, which in the past was not only by origin, but also ideologically connected with the defeated classes, the statements of this intelligentsia not only about its loyalty, but also about its readiness to build together with the Bolsheviks - could be interpreted as sycophancy. With the novel "The White Guard" Bulgakov rejected this accusation of the White émigrés and declared: the change of milestones is not a capitulation to the physical winner, but a recognition of the moral superiority of the victors. The novel "The White Guard" for Bulgakov is not only a reconciliation with reality, but also self-justification. A forced reconciliation. Bulgakov came to it through the cruel defeat of his class. Therefore, there is no joy from the knowledge that the bastards have been defeated, no faith in the creativity of the victorious people. This determined his artistic perception of the winner (i.e. Proletariat/USSR/Bolsheviks).

[dalekofchaos]

Friendly reminder. Bruce Wayne hung up the suit and retired after THREATENING someone with a gun and this was his reaction.

And then his immediate reaction is to shut down and close the Batcave and his only words were. "Never again"

A truly tragic, but fitting way for Bruce’s career to end. Powerful stuff. Batman's career ended the same way it began: with a desperate man wielding a gun

Batman choosing not to be weak like Joe Chill >>>> Batman going on a killing spree because fighting crime is hard.

And by the way, since Zack Snyder says his inspiration was Dark Knight Returns, I got news for you, TDKR Batman doesn't kill either.

Zack Snyder is a complete blithering fucking idiot.

his statement on Batman just lines up with what I’ve seen from all of his work. He likes the idea of the comics he makes movies out of but he doesn’t actually understand their themes. A Batman that kills is pointless. An edgy Superman is not only the most boring way to write him, but doesn’t make any sense without the wholesome one. That’s why injustice Superman/brightburn/Plutonian/omniman/homelander kind of make sense in their own ways because the original exists to compare them to.(mostly also boring though) His take on watchmen was pretty much devoid of any of the actual commentary from the graphic novel, but instead was just a dark justice league that were pretty bad at their jobs. Rorschach was just framed as a kind of unhinged Batman, but still a badass that does good, which is wildly generous compared to the way he’s originally written. I can understand turning your brain off and coasting through an action movie, but his fans are delusional if they think he does any of these stories justice. I wouldn’t take any of his comments seriously if they would stop letting him make these mediocre movies.

Zack Snyder is all flash and no substance. His films are visually stunning but utterly lacking in compelling storytelling.

The point of Batman is he cannot 'stoop to their level'. He HAS to be better, he HAS to believe these criminals can be rehabilitated, because if he kills them, he becomes just like them. With his wit, his intellect, he could future proof the city against crime ever happening by just killing the criminals before they commit crimes based on probable statistics and similar themes. But a Batman who refuses to kill is a murderer by inaction. Every time he chooses not to put Joker in the ground, he's allowed him to slaughter dozens, hundreds more, just for a laugh. Batman is equally guilty for every one of those deaths, because he could simply kill the Joker, and stop him from ever killing again. But he doesn't. Snyder saying Batman can kill, Batman SHOULD kill, is to say that without batman doing so, or being able to, he is just as bad as the villians. Except dipshit doesn't even have his Batman kill The Joker. "Oopsie daisy, Joker got out and bombed a hospital full of people, sowwwwyyyy, I put him back in jail again dunt worry TeeHeee :3". And then next week we do it all over again. OR. You kill the Joker, and he never hurts another person again. Which is why Jason Todd works so well as a counter to batman, and SHOULD be what Snyder is looking into. The reason why Zod works so well as a villain is because Humans are flawed apes who cant be trusted to govern themselves and should be conquered, and Superman, a literal God, could fix all that, but doesn't, because of Hope. Its foolish, childish even, to consider that a solution. And when placed in the vacuum of a comic book it works because you have to suspend disbelief, and forget that Superman let a city full of people die while he punched Zod through skyscrapers.

If you want Batman to kill people, just go and read one of his 1784956th copies that kill people. Go read Midnighter. Go read Punisher. Go read Moon Knight. Go read Peacemaker. Go read Nighthawk. What is stopping you?

I'm sure all those characters have brought about the peace and prosperity and the crime-free society that a "killer Batman" was supposed to. "Punisher would clean Gotham in under a week", right, just like he cleaned Marvel's New York, didn't he?

It has to be Batman specifically the one doing the killing? The number of superheroes that kill is nowadays much higher than the number of heroes who don't. Remember how Hawkeye spent the better part of his existence being the most anti-killing Avenger? Nowadays he is known as a super-assassin that "never had a non-kill rule". Should heroes who don't kill go extinct?

I like that Batman doesn't kill people. I feel no need to turn him into something he isn't like it was done to Hawkeye. If I wanted a Batman that kills, I would go and read one of the thousand "Batman who kills" out there.

Batman should not kill and should never kill.

"Gotham would be better off if Batman just killed The Joker"

You. Miss. The. Entire. Point.

Bruce Wayne lost his parents to crime and Bruce Wayne is a child who died alongside his parents and was reborn as a creature dedicated to insuring it never happened to any other child. He made a vow never to reduce himself to the criminal scum’s level or to Joe Chill’s level. He never kills for a reason.

Batman not killing is what makes him so compelling, if he kills criminals, there is no moral conflict, he is no better than the Punisher, Wolverine or any other dark edgy hero. Hell, if he starts to take a life, Batman is no better than Ra’s Al Ghul.

In the Daredevil Netflix show, Frank Castle told Daredevil this “That’s not how this works. You cross over to my side of the line, you don’t get to come back from that. Not ever.” That alone is why Batman should not kill, not even The Joker. Bruce Wayne is not Frank Castle, stop trying to make him Frank Castle. I mean…Stan Lee was absolutely disgusted when someone called The Punisher a hero, Frank Castle is a murderer, not a hero. How is this so hard for people to understand?

I don’t want to hear that Batman killed in the old comics and I don’t want to hear Elseworld stories. It’s an established fact that Batman does not kill and it’s a big part of his character.

Guess what? We already got a Bruce who killed The Joker, it happened in the Burtonverse/Schumacherverse and he was disgusted with himself. “So, you're willing to take a life.” “Long as it's Two-Face.” “Then it will happen this way: You make the kill, but your pain doesn't die with Harvey, it grows. So you run out into the night to find another face, and another, and another, until one terrible morning you wake up and realize that revenge has become your whole life. And you won't know why.”

A huge part of Bruce’s character is that he doesn’t kill, no matter what. Same with Clark. But edgelord writers from the New 52, DCEU and the Injustice abominations think it’s cool to make heroes kill. Heroes should not kill. You can’t be a hero and a killer. IT DOESN’T WORK THAT WAY!

Guess what would happen if Batman kills The Joker? The Joker wins. The Joker and Batman are each trying to prove a point to society - and really to us, the readers. The Joker wants Batman to kill him because he perfectly embodies chaos and anarchy and wants to prove a point to everyone that people are basically more chaotic than orderly. This is why he is so scary: we are worried he may be right. If the Joker is right, then civilization is a ruse and we are all truly monsters inside. If the Joker can prove that Batman - the most orderly and logical and self-controlled of all of us - is a monster inside, then we are all monsters inside, and that is terrifying. The Joker is terrifying because we fear that we are like him deep down - that he is us. Batman is what we (any average person) could be at our absolute best, and the Joker is what we could be at our absolute worst. The Joker’s claim is that we are all terrible deep down, and it is only the law and our misplaced sense of justice that keeps us in line. Since Batman isn’t confined by the law, he is a perfect test case to try to get him to "break.” The Joker wants Batman to kill a person, any person, but knows that the only person Batman might ever even remotely consider killing would have to be a terrible monster, so is willing to do this himself and sacrifice himself to prove this macabre point. Batman needs to prove that it is not just laws that keep us in line, but basic human decency and our natural instinct NOT to kill. If Batman can prove this, then others will be inspired by his example (the citizens of Gotham, but again, also the readers), just as we are all inspired every day to keep civilization running smoothly and not descend into violence, anarchy, and chaos. This ability to be decent in the face of the horrors and temptations present all around us is humanity’s superpower, the superpower of each of us. The struggle of Batman and the Joker is the internal struggle of each of us. But we are inspired by Batman’s example, not the Joker’s, because Batman always wins the argument, because he has not killed the Joker.

Batman not killing matters. Batman stories to me are the ultimate tale of turning pain and suffering into something positive. That is a story that everyone can relate to because let's be honest here. The world can suck. I've experienced and probably will always experience feelings of fear of depression of anger of angst. It's in my nature as a human being to experience those things. It's in all our nature it is what we choose to do with that pain that we all feel that defines us. Batman chose to turn all those negative emotions, he feels into a symbol that can bring people. Hope that Batman will save us from pain but more importantly hope that we can all be Batman. Why do we fall? And Batman Begins explains this best “Why do we fall sir? So that we can learn to pick ourselves up.”

Yes, Bruce Wayne is a flawed crazy person. He is at times mean stubborn and even abusive but he is still good. He is still someone we can aspire to be. We can try our hardest to be Superman but no human being can fly, but we can still try to be Batman We can all try to turn our pain into something good when I see Batman killing people or fans saying he killed before and he should kill The Joker, It pains me. It actually hurts my soul. Batman is not about finding a way to kill evil. But try to redeem it. His mission is an impossible task. Maybe he should kill people. Maybe he should kill The Joker, but what makes him fascinating what makes him a hero Is the fact that he has that moral code and stopped himself from crossing that line That's why I always looked up to Batman even as a kid despite all the adult subtext or mature themes superheroes are for kids. And killing is not Batman and it is not Bruce Wayne. This is why I hated the portrayal in the DCEU and the Burtonverse and why I really hated the implication that Batman killed The Joker in Batwoman. A Batman who kills is certainly not Bruce Wayne, that is an interpretation of Bruce Wayne that completely misses the point of Batman. It's easy to kill. Batman does not make the easy choice… Batman does not kill.

[ohcorny]

hey corny. so i always see people recommending to outline their story before starting it, but could you talk a little bit more about what that means? what is an outline and how do you structure one? how long are the ones you write, depending on the project? do you focus on plot beats or feelings? how specific do you get? can u recommend any readings for learning more?

up front i don't have any resources for this, only experience. and outlines feel like one of those things where it's like... there are a million ways to do it and the way that works for me might not work for you. i have a friend who writes out all his ideas on index cards and that, for me, is insane. but he's also a better writer than me so who can say what is right or wrong.

anyway an outline is essentially a sketch but for a story. you go through the whole thing, start to finish, and figure out what goes where and what happens when. the idea is that this is the stage where you work out all the big picture stuff and make sure it all fits together, now, and not after you've drawn twenty pages and suddenly go "wait shit that doesn't work" and have to do it over. it is much easier to delete and rewrite a paragraph than to redraw several pages.

doing anything more, ie including dialogue or feelings, depends entirely on how useful that information is to you at that point in the process and whether the purpose of the outline is for your own guidance, or so somebody else can tell what you're trying to achieve.

this got really long with multiple examples

here is an excerpt from the original outline i used to pitch Hunger's Bite to publishers. this one had to be polished to a professional standard, because somebody else was going to read it and decide whether they wanted to give me thousands of dollars to tell this story. (also several of the details are no longer accurate. for instance it now takes place 9 years earlier lmao)

this paragraph represents the first eight pages of the book. the final book is 264 pages long, and the outline was 12 pages of paragraphs as dense as this one.

it establishes where we are, who's there, and what they're doing. i describe their conversation, but i don't commit to the dialogue. i will occasionally include snippets of literal dialogue, but usually only if it's Important Dialogue, or i just don't want to forget a good idea i had while outlining. it's not expected at this step.

an outline written as part of a pitch to a publisher should tell the whole story, with all the important details, and leave nothing ambiguous. they need to know the tone, shape, and the arcs. no secrets! all the spoilers. outlines for yourself should do this too, but outlines for others need to be as clear about your vision as possible. again, an outline like this exists for the purpose of getting you paid thousands of dollars. you should write it like that.

in comparison, here's an excerpt from the outline i wrote for revisions to my WIP prose novel, so i could show it to my agent (who already read the draft) to be like "do these changes sound good?" i'm not selling it to anyone yet, just making a guide so i can have a conversation about it. so it doesn't need to be neat, it just needs to be functional and clear. the first chapter was entirely new stuff. the second bit was just writing down what was already in the chapter that existed.

i have historically been very bad at outlining things when i don't think i "need" to, and only wrote this one after having written like 60k words of the book without any overall plan. i gave what i had to my agent for feedback and then sat down and figured out how i could apply it. it's made the whole revisions process significantly less daunting. now i have a checklist for things i need to do! this one was a paragraph or two for each chapter, with the ones that needed a lot of rewriting given a bit more detail.

lastly, here's a bit of the outline for the first roger crenshaw book. i was the only person who had to see this, and since the story was planned to be very short i didn't have to worry about a whole lot. as long as i knew what was supposed to go where, it would work. honestly it's not a whole lot different from the previous example.

this one was like five paragraphs and it did the job, and this story was like 15k words. you only need as much or as little as will actually help you on the page.

basically if you take nothing else from this, it's that there are multiple ways to write an outline, that it does not need to be perfect if you're doing it for yourself, and that it only needs what you think is important (unless it is for other people. then it should have everything). and also it's a good idea to do it earlier in the project than after you've written 60k words or drawn--jesus christ i got up to 12 chapters in never satisfied? it's amazing i didn't quit sooner

[kani-miso]

hngngngnggngn guyss what if the dude in the ending of the t2 summary, will influence es even further into their warden role (and maybe something really bad will happen)

we all know that the dude used "watashi" instead of jackalopes "ore-sama", this is really important. since we know in the novels, jackalope's aren't technically "jackalopes", they are technically "human", sort of. maybe, the dude who used watashi could be jackalope off of work, or the dude in the novel (the boss). the identity of that man isn't really important in this discussion, but i just want to find out ig.

what's important is, do you remember about the aviot collab? es' last test line is the main topic. (im to lazy to take the image). the line, "i(boku wa)... i(watashi.. wa..)...." iirc. the 1st "i", uses boku, their usual 1st person pronoun. boku is usually used by young boys, but in this case they're using it since boku is used by workers (boku is also gender neutral). the 2nd "i" uses watashi, they have NEVER used this 1st person. what if, the reason why they used watashi, is because of that dude in the ending of t2 summary using watashi. only we can hear that dude since he appeared when es is put to sleep, if they are taking reference off of that dude, how did they hear it? the viewers mind and es' mind is sorta connected (the reason why es can hear our thoughts).

before es is put to sleep, jackalope is awfully manipulative i will rip my guts out. "and anyway, whatever happens to them, none of it can be taken back. its not for the guard to worry about. that's right, you are the guard. don't doubt it. that is your job. as long as you dont forget that, it's fine. now that you understand, go to sleep, es."

its not for the guard to worry about : jackalope knows that es has their full trust on him, he's using that as a chance to take advantage of their own feelings, making them slowly lose empathy for the prisoners. also, maybe jackalope said this because he knows es feels guilty for what happened to the guiltied (…I'm sorry. I'm responsible for the fact that you've ended up like this.) ig he is supposed to be the representation of the all seeing eye in the panopticon.

that's right, you are the guard. don't doubt it : in some occasions, es doubted their role of being the warden (ex: "Guard-san"... Is that really... me?). since they're doubting their role, i think jackalope is trying to push the warden role onto them so they wont ever give up and become a vulnurable target of "manipulation" for the prisoners.

as long as you dont forget that, it's fine : yeah ig its self explanatory.

also, the last line, "oh yes, just as i predicted, you have all turned out to be...." its so smart. in the original milgram experiment, there are three results: 1. those who followed the rules but blamed themselves for what they did 2. those who followed the rules and felt great for what they did (because they thought they actually hurt the person) 3. those who rebelled and halted the experiment. in the back of the undercover cd, there's 3 es'

and i think they can be connected to each of the results. the one on the top could be the 1st result, the one on the middle could be the 2nd result, and the third one could be the 3rd result.

i love how they just cut it off before he says what we all turned out since there's three results that could happen. because we technically have the idea of what es could end up after t3, i wonder how much farther would they go to be the ideal warden (especially with how jackalope is persuading es to not worry about what happens to the prisoners).

(+edit: a jp person translated the ending part where it glitches, its "you have all turned out to be psychopaths who enjoy other people's misery", which is technically the result of the real milgram experiment, even stanley milgram himself was horrified of the results, "a very high proportion of subjects would fully obey the instructions, with every participant going up to 300 volts, and 65% going up to the full 450 volts.".

i might be reaching too far so take this with a grain of salt

tldr; the dude at the end of t2 summary will worsen es

[krizariel]

Oh don't tell me... you are f*cking my ex?!

(crack, not-fic, jaytim with past timsteph) Talking with friends about how a friend - who was into jaytim and was a tim fan before he was even registered in my radar - unintentionally got me into jaytim; but then he moved on pretty much as I came in and now he has to put up with me and my never-ending duck giggling butt emojis. Or how he eloquently put it: "I'm literally like a tragic dramatic irony mythical Greek MC, just a plaything of fate" Anyway, I remembered this vague idea and then this took shape:

No-capes AU in which Tim was never adopted by Bruce, but the rest (including Steph and Jason) were. Jason is very protective of his family, especially his sisters. And yes, Steph is a gremlin and gets in trouble more often than not, but damn it no one messes with his sister.

Tim and Steph started dating during mid-school; Tim tends to be asked out more often than not and he has trouble saying no. Often times he does not feel truly attracted to anyone; but he does not want to be seen as uptight or impolite or worse... questioned. He often accepts his dates until eventually they get bored of him. Steph was a change of pace of him and at some point he genuinely was feeling attraction to her; but maybe not to the extent she deserved. She asked him out and was always the one initiating anything, and he'd often go along with it. She was amazing, full of life, funny and so pretty; Tim didn't know what exactly she saw in him. However, she'd quickly notice his lack of enthusiasm/interest and often they'd fight. Why say yes when you aren't truly into it? They were on and off for a year until they broke things off for real. Jason of course hated Tim's guts; be that way whatever, but making his sister cry and mistreating her was a different story. After breaking up, Tim tried to reach out to Steph later, to try and explain himself better and be honest with her. She deserved that much. Except Jason found him before Tim could reach his sister; punched him hard enough to send him off-balance, grabbed him and pushed him against the wall to make it very clear he should not get near his sister again or else... (and Tim was scared to shit because danger danger but also creepily turned on when Jason grabbed him and raised him off the floor so easily. He needs to consult a therapist as to why Jason threatening turned him on and somehow that started his bi awakening) Eventually Steph and Tim moved on with their lives, continue dating other people, and given that they still have friends they reconnect, reminiscence of the past and talk it out. They also eventually come out and bond over both being bi. Fast forward years later, neither Tim or Jason had seen each other again; but Tim stays in touch with Steph. Tim is a well known editor at a big publisher and Jay is an aspiring book writer. Steph had given Tim her brother's original novel draft and he actually loved it. Steph: So, remember my brother Jason? Tim: Your hot brother who kicked my ass in front of half the school hates my guts? how could I forget. Steph: Yeah! He is the one who wrote this fabulous piece. Think you can help him? Tim *internally trying not to scream because what are the odds*: ...Sure. If he agrees to meet, I have time tomorrow. But you better be there, in case he remembers he told me not to get near you. I fear for my life. Steph: Don't be dramatic, he probably doesn't even remember you.

---- Steph: Sooo... I have a friend who is an editor at X publisher. He read your work and loved it. He actually thinks it has high chances to be published. Jason: Really? Steph: Yeah! Told him we could meet with him tomorrow for coffee and go over the details. Jason: Wait who is this friend? Do I know him? Steph: Well... remember this boyfriend I had back in mid-school... Jason, as he stops what he is doing, turns to Steph and glares: The one I hit and pushed against the wall and told to never get near you ever again? That one? Steph: Yes! Jason: Wait, he got actually near you again? *starts cracking knuckles* Steph: Yes, but not that way! I wouldn't take that human disaster for a ride and I'd pity anyone who'd date him. Plus I'm perfect with Cass, thank you very much. But we made peace long time ago and we've been good friends since. I'm sure he doesn't hold grudges, after all he knows the work is yours and had no trouble! It's been years, we have all grown up and moved on.

Jason: Fine. ---- The meeting was awkward at the beginning (especially due to Jason's perpetual scowl) but Tim is clearly very professional and jumps right into business. They exchange contact information. It's clear Tim genuinely likes Jason's work. He puts a lot of effort in navigating Jason through the process, giving detailed comments/notes and Jason is happy to see someone catching on the little details and talk excitedly about them. May not be much but internally he is preening. They start meeting often for coffee, at first they'd talk more about work rather than chitchat and then their meetings started evolving into less work and more random talk, getting to know each other. Sometimes they don't finish talking about the book because they got too distracted. Tim opens up about his teen years, how he was (and still is) too dumb for relationships. He didn't know better but as he matured he learned to accept himself. Jason realizes Tim wasn't that bad of a guy as he thought; just someone making mistakes, learning and growing.

Tim finds he hasn't enjoyed someone's company in a while. He has dated guys before and has matured enough to be better and accept what he wants. But as years went by he poured himself into work and has been so busy, he doesn't exactly have lasting relationships so he stopped altogether. This time around, he feels like he genuinely is giving his all. He decides that he will see that Jason's book becomes a reality because Jason is talented, he is amazing and deserves this. And then, he will gather the courage and ask him out. Jason is also troubled because he is developing a fat crush on his sister's ex and he did NOT see that coming.

The day Jason's book is finally out, they celebrate and Tim asks Jason out on a date. ----

Later: Steph: SMH I can't believe you! Jason: ... it's your fault

[vintagetvstars]

Andrew Robinson Vs. Brent Spiner

Propaganda

Andrew Robinson - (Star Trek: Deep Space Nine, Murder, She Wrote) - "literally who was doing it like him!! hired to appear in one ds9 episode (after failing to land the role of odo), he parlayed it into becoming the show's most beloved recurring character... @ all other actors: get on this man's level." Full text propaganda included below the cut

Brent Spiner - (Star Trek: The Next Generation) - Not only is he a terrific actor, having created one of Star Trek's most iconic and beloved characters, he's a great guy in real life - witty, personable, wonderful to his fans (source: some lovely chats I've had with him at conventions); he is also an author - his book Fan Fiction (hehe) is a fantastic dark comedy, a semi-fictionalized telling of an... incident in 1991 - and he's a hell of a singer! He released a CD of 1930s and 40s pop standards (also in 1991) titled Ol' Yellow Eyes Is Back - see video propaganda

- No Negative Propaganda Please -

Master Poll List | How to submit propaganda | What is vintage? (FAQ)

Additional propaganda below the cut

Andrew Robinson:

literally who was doing it like him!! hired to appear in one ds9 episode (after failing to land the role of odo), he parlayed it into becoming the show's most beloved recurring character.

he’ll happily tell everyone who asks, or even doesn't, how he was intentionally playing up garak's sexual tension with bashir from the get-go. he emoted like a king through all that makeup. he got so into his character he wrote an entire tie-in novel about him, based on in-character diary entries he'd been writing to flesh out his performance on the show. he and alexander siddig wrote an original play about their characters to perform at conventions (you can read it here!) and did live zoom readings of fanfiction about their characters including one where they're married, even collaborating with the author to edit it and add additional dialogue to make the character voices more authentic. @ all other actors: get on this man's level.

“When I walked on set to do the very first scene with Sid, I saw Sid. And he was one of the most beautiful young men I have ever seen in my life. And I thought, wait a second. Wait a second…I wanna fuck this guy. This is what this is about. Forget about the spy shit, I have no idea what that means. That's no action, I can't play that. But if I wanna fuck somebody, I know how to play that. And Sid, god bless him, the moment I put my hand on his shoulder…he felt it, and he picked it right up.” -Andrew Robinson on playing Garak for the first time

“The important thing about Garak is that he lives in the subtext. Again, with the iceberg analogy, the substance of Garak is what you don't hear. It's what he doesn't say. And in order to make that work, you have to have something real about the character.” -Andrew Robinson in an interview with The Great Link

Brent Spiner:

[foxglovegames]

Trouble Comes Twice - the Postmortem

We celebrated Trouble Comes Twice's anniversary around a month ago! We'd hoped to post this postmortem back then as well, but it's taken us a moment to find the right words haha.

Anyway, we hope that this postmortem can give our players and other visual novel devs some insight into what the development process looked like for us. It's also a great way for us to look back at what went well and what went less well.

We'll be taking about the ideation phase, our (lack of) marketing for the Kickstarter, and also sharing (what we can) on our earnings from the game!

Coming up with Trouble Comes Twice

The original tone of Trouble Comes Twice was a lot more comedic and packed to the brim with anime tropes we enjoy. Most didn't make it into the final game, but some stayed and evolved e.g. all of the love interests are based on popular visual novel archetypes - the childhood friend, the tomboy, the shy girl, and the bad boy. 

Some, like Cameron and Zoe, changed a lot from their concept while Adrian and Stephanie stayed quite loyal to our original ideas of them. Cameron's character actually underwent the most changes after the initial reception to the demo, where a lot of people felt like he was too much of an ass haha. (Fortunately, he became a fan favorite when we dropped the new demo!)

The premise with the bet was something we invented to create some drama and establish a common plot thread throughout each route. Honestly, looking back, we would probably have approached the bet differently if we wrote it today and a lot of our pre-planning was... clumsy, at best. Still, it was a labor of love and I'll never forget the fun and excitement we had everyday balling ideas for the characters and coming up with their designs.

As Melli and I are just writers with limited coding experience, we worked with a past game jam friend to code the GUI and set up the base for the game (though the actual scripting was done by us and Melli put everything together in the end). Our biggest expenses pre- and post-demo was the character art and CGs, meanwhile we relied on free music and BG packs to save money.

Why a bisexual romcom?

So, this was sort of a no-brainer to us. We had decided right from the start that both twins could date both the male and female love interests, and (at the time) we feel that a lot of similar games had playersexual MCs rather than established bisexual/pansexual MCs. While playersexual charas are also awesome, we wanted to write a romcom where the main cast are always queer regardless of who you end up romancing. 

At the same time, bi/pan people don't all approach romantic relationships the same way e.g. Cameron is confident and has experience dating people of all genders, while Adrian's demi and Jace still struggles a bit with his attraction towards men. We know that some of our players felt like that made certain routes less romantic than others and we hear you on that feedback and have 100% taken it into consideration for our future romance games. But anyway, that was our thought process behind Trouble Comes Twice's romance dynamics!

Preparing for Kickstarter & the actual Campaign

Our Kickstarter launched at the start of August and let me tell you, we were nowhere near as prepared as we should have been. 😭 We hadn't set up a Steam page yet, we were trailer-less, and we only had a couple of hundred followers across our socials at best. I feel that there's a lot more successful Kickstarter projects to refer to and even a lot of marketing guides and advice now, but mostly it's on us for not researching more. 

The Kickstarter campaign did surprisingly well despite the lack of promotion and only having a rough alpha demo - we were even able to double our goal! - but we  wouldn't recommend what we did for other devs.

You should invest time into making a good demo, spend time building an interested audience before launching your campaign, and research so you've got some kind of marketing plan. We were lucky with word-of-mouth and that other visual novel devs with larger followings helped share our game, but we should have made more effort reaching out to bloggers, streamers, and game sites. Some crowdfunding successes may seem like they came out of nowhere and were just pure luck, but there's usually a lot of grinding behind-the-scenes that you don't notice.

The post-Kickstarter era, at least for us, was the harder bit. We now had 353 loyal backers who had expectations based on promises we had made and we had to make sure we met those expectations while also staying true to our wants as the devs. It was a learning process for sure, but we're fairly proud that we always did our best to keep our backers in the loop. It's frustrating to write an update explaining that the game has been delayed again, but backers are more open to being understanding than you think as long as you communicate!

A tip we'd give to new devs considering Kickstarter: Don't overestimate what you can do, but overestimate what you need. There's always hidden costs, unexpected taxes/fees, and other unknown obstacles that might eat up your budget. In our case, we made enough to make the game as planned, but had to change CG artists around halfway through development which meant our original budget didn't cut it anymore. Fortunately, we had earned a decent amount from our Patreon and pre-orders that we were able to use to complete the CGs, but that isn't always going to be an option for everyone and that also meant we were unable to use that money ourselves. (We didn't take any money from the original Kickstarter campaign, so whatever was earned through patreon and pre-sales was our only "salary" at the time.) 

Writing the game

Writing is, for obvious reasons, one of the most important parts of a visual novel. Melli wrote Jace's routes and I wrote Hazel's routes, which removed some pressure off our shoulders compared to trying to write over 300,000 words all on our own. 

It's fun working with another writer, but there are also some unique issues and considerations that come up when you're writing a game with two protagonists split between two writers. Especially because at the time, there weren't many visual novels with a similar set up to refer to.

The main things we learned, were:

Consistency. We wanted each couple to have their own dynamic, but the characterization needs to remain consistent between routes. You don't want Adrian in Jace's route to feel like a totally different character in Hazel's route. Additionally, we had to be careful that the tone and writing style of the protagonists' POVs still felt like you were playing the same game. Some routes can be more comedic than others, but we've got a problem if Hazel's routes are all (unintentionally) more serious/angsty in tone than Jace's or vice versa.

Watch out for your word count! Longer does not always equal better and writing eight routes, we had to put some restrictions in place. Even when writing on your own, it can be tough to guess how long your story should be, and it was important to us that the routes were roughly the same length so that none felt more "canon" than the other. However, with two writers who have different writing styles and ways of planning, it was tricky to compare our outlines and we struggled at times when it came to matching each other's word counts. Moving forward, we're probably going to be more lenient when it comes to word counts - some routes have to be longer than others, it doesn't mean that route is automatically more "important". We're also doing more regular meetings and frequent check-ins to make sure we're on the same page. In the future, we hope that should save us a lot of trouble when it comes to pacing! 🙈

Balancing your own wants with the wants of your players. In theory, these overlap most of the time. But making a commercial game (that people had already "bought" through the Kickstarter), there is some pressure when it comes to meeting certain expectations. We can't always just write what we want and assume everyone else is going to love it, but we also don't want to neglect what we personally like. We had a survey for the beta where we were able to get regular feedback and a lot of helpful advice. We definitely want to continue with surveys in the future - they are a great way to gather opinions from different players and figure out what works versus what doesn't! 

We took on too many tasks outside writing that distracted us. This bit is sort of inevitable for indie devs like us. 😅 Working with a limited budget and limited resources, you just end up having to wear a lot of hats! We think we did quite well sharing these duties though, and moving forward (thanks to you guys) we can afford more hands on deck to help us out. 

Marketing

The bane of every indie game dev's existence... although secretly, I kind of enjoy marketing but don't tell anyone that!

Having learned a thing or two from promoting the Kickstarter, we spent more time researching games marketing but in the end, trial and error was the best teacher.

As we got closer to the release date, we were posting almost daily on social media and grew our Twitter to over eight thousand followers. We didn't have any viral posts, but we saw a consistent growing interest in our game and it was such a motivation boost to see comments from potential players being excited for the game. We know a lot of devs have said that Twitter didn't help their game much but according to our stats, a decent number of our players found us through the platform. 

We saw less success here on Tumblr. Perhaps we haven't cracked the code here yet or maybe we're just comparing our numbers from Twitter unfairly! We're not hung up about it though, we love it here because it feels easier to connect with our followers and other devs there, and it's nice because we're able to write longer posts like this one! 💓

Aside from posting on social media, we reached out to several streamers and some bloggers prior to release to send them free game keys. 

We also commissioned some art from other artists to share, as we obviously couldn't reveal ALL our CGs before the release lol and visual posts tend to do a lot better in our experience. It was so much fun to see the characters in other art styles and we hope we can afford to commission guest art pieces a lot more frequently in the future!

In hindsight, we definitely regret not releasing a trailer sooner! We underestimated how much interest a good trailer could garner and delayed setting up our Steam page because of it. Steam was the platform where we sold the most copies and most of our buyers found the game through Steam itself.

Also, posting your trailer on youtube adds another site where you're promoting your game so there's really no reason not to get that trailer done as soon as you can. 

Final Notes

After the initial stress, we were pretty happy with our release! Although there were some things we would go back and change if we could,  that's just the nature of these kind of things. For the most part, we're proud of what we achieved and happy that we have learnt so much from Trouble Comes Twice that we can take into consideration for future projects.

We can't share exact numbers, but we wanted to open up a bit about our earnings for the game to help other aspiring devs: As of writing this, Trouble Comes Twice has earned close to 85,000 euros. This counts our profits from 2020 to now (the Kickstarter, Patreon, pre-sales, and actual sales). Removing fees, taxes, the salaries of our talented artists and other freelancers, as well as the money invested into our next game, our personal pockets did not see anything close to those numbers. But we're super proud of how much our little game has made and so grateful that it's allowed us more creative freedom with our next title! 

So, what's next?

You might have heard but for the past year, we've slowly been working on the demo and upcoming announcement for our next visual novel:

A 17+ supernatural neon-noir romance game about monsters, love, and other horrors. 

Play as vampire detective Circe (female protagonist) or hellhound cop Dante (male protagonist) and delve into the mysteries of North Haven, where demons, vampires, and supernaturals hide in plain sight among humans.

The game features six routes, with three romance options available to each protagonist. Dante only has male romances and Circe has both male and female romances. 

The game tackles a darker, more angsty tone compared to Trouble Comes Twice. Still, we hope that those who decide to check it out will enjoy it! We plan to announce the game this coming Autumn. Follow our Twitter (we're still not calling it X sorry) or Tumblr to stay up to date.

[mostlysignssomeportents]

Mirion Malle’s “So Long Sad Love”

On July 14, I'm giving the closing keynote for the fifteenth HACKERS ON PLANET EARTH, in QUEENS, NY. Happy Bastille Day! On July 20, I'm appearing in CHICAGO at Exile in Bookville.

In Mirion Malle's So Long Sad Love, a graphic novel from Drawn and Quarterly, we get an all-too-real mystery story: when do you trust the whisper network that carries the fragmentary, elliptical word of shitty men?

https://drawnandquarterly.com/books/so-long-sad-love/

Cleo is a French comics creator who's moved to Montreal, in part to be with Charles, a Quebecois creator who helps her find a place in the city's tight-knit artistic scene. The relationship feels like a good one, with the normal ups and downs, but then Cleo travels to a festival, where she meets Farah, a vivacious and talented fellow artist. They're getting along great…until Farah discovers who Cleo's boyfriend is. Though Farah doesn't say anything, she is visibly flustered and makes her excuses before hurriedly departing.

This kicks off Cleo's hunt for the truth about her boyfriend, a hunt that is complicated by the fact that she's so far from home, that her friends are largely his friends, that he flies off the handle every time she raises the matter, and by her love for him.

There's a term for men like Charles: a "missing stair." "Missing stair" is a metaphor for someone in a social circle who presents some kind of persistent risk to the people around them, who is accommodated rather than confronted:

https://en.wikipedia.org/wiki/Missing_stair

The metaphor goes like this: you're at a party and every time someone asks where the bathroom is, another partygoer directs them to the upper floor and warns them that one of the stairs is missing, and if they don't avoid that tread, they will fall through and be gravely injured. In this metaphor, a whole community of people have tacitly decided to simply accept the risk that someone who is forgetful or new to the scene will fall through the stair – no one has come forward to just fix that stair.

The origins of this term are in BDSM circles, and the canonical "missing stair" is a sexual predator, but from the outset, it's referred to all kinds of people with failings that present some source of frustration or unhappiness to those around them, from shouters to bigots to just someone who won't help do the dishes after a dinner party:

https://pervocracy.blogspot.com/2012/06/missing-stair.html

We all know a few missing stairs, and anyone who's got even a little self-reflexivity must wonder from time to time if they're not also a missing stair, at least to some people in their lives. After all, friendship always entails some accommodation, and doubly so love – as Dan Savage is fond of saying, "There is no person who is 'The One' for you – the best you can hope for is the '0.6' that you can round up to 'The One,' with a lot of work."

And at least some missing stairs aren't born – they're made. Everyone screws up, everyone's got some bad habits, everyone's got some blind spots about what others expect of them and how others perceive us. When the people around us make bad calls about whether to let us skate on our faults and when to confront us, those faults fester and multiply and calcify. This is compounded in long-tenured relationships that begin in our youth, when we are still figuring out our boundaries – the people who we give a pass to when we're young and naive can become a fixture in our lives despite characteristics that, as adults, we wouldn't tolerate in someone who is new to our social scene.

To make all this even more complicated, there's the role that power plays in all this. Many missing stairs are keenly attuned to power dynamics and present a different face to people who have some authority – whether formal or tacit – to sanction them. This is why so many of the outings of #MeToo predators provoked mystified men to say, "Gosh, they never acted that way around me – I had no idea."

These men aren't necessarily clueless. There's a predator who once traveled in my circles, and when he was outed, it wasn't just men who were shocked. My professional and personal life includes a large cohort of socially and professionally powerful women to whom this "missing stair" presented an impeccable face on every occasion. None of the people this guy looked up to ever witnessed his behavior firsthand, and for complicated reasons, none of the lower status (younger, less experienced, and not exclusively female) people whom he preyed upon came to us.

Which brings me back to Cleo and Charles, and the mystery of what Charles did to Farah in art school, many years before. The people in Charles's circle have an explanation: Farah was Charles's first heavy crush, and he courted her in ways that crossed the line into harassment. But – according to Charles's friends – this was a temporary condition that Charles outgrew, and it was only later, when Charles was in a healthier relationship with someone who reciprocated his affections, that Farah retaliated by attacking him to their small art-school circle.

This is just plausible enough – Charles was young, still figuring stuff out, he made a misstep – that Cleo is able to console herself with it. But as Charles grows more irritable and belittling of her, and as Cleo's friends gently encourage her to dig further rather than burying her lingering doubts, a much uglier truth comes into view.

Malle handles this all so deftly, showing how Cleo and her friends all play archetypal roles in the recurrent missing stair dynamic. It's a beautifully told story, full of charm and character, but it's also a kind of forensic re-enactment of a disaster, told from an intermediate distance that's close enough to the action that we can see the looming crisis, but also understand why the people in its midst are steering straight into it.

This transitions into a third act where Cleo leaves Montreal and finds herself in the midst a very different social dynamic of people who have figured out a far healthier way to manage their interpersonal problems. This short conclusion is powerfully satisfying, showing how it's possible to live without missing stairs and without the immediate expulsion of anyone who has a "problematic" moment.

The missing stair phenomenon would be so much easier to deal with if every missing stair started out as an irredeemable monster. We could fix all those stairs and declare ourselves done. But – as Malle illustrates – there's a reason it's so hard to fix those missing stairs. Every good friendship has some give and take – but every missing stair takes too much. Knowing the difference is a skill you learn through hard experience, not one you're born with. Learning when to call someone out, and when to call them in, is a hard curriculum – and it's even harder to know when to keep trying to help the people in your life be better selves, and when to protect the other people in your life from their worst selves.

Malle's book is packed with subtlety and depth, romance and heartbreak, subtext that carries through the dialog (in marvelous translation from the original French by Aleshia Jensen) and the body language in Malle's striking artwork.

Support me this summer on the Clarion Write-A-Thon and help raise money for the Clarion Science Fiction and Fantasy Writers' Workshop!

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/06/25/missing-stair/#the-fog-of-love

[jccatstudios]

Hi! Im pretty sure someone already asked you this but I really want to know. When working on the comic, do you make a script for yourself or do you "just" work with the book as it is? I know that making a script adds another work to the already long list, but working with the book as it is seems really overwhelming (many words me not likey)

You know, I don't think I have answered this before! Not in-depth, at least. Here's how I do it.

This is my extra annotated copy of the book (my original copy remains untouched). Got it used and as-is from Powell's. I also have a digital copy of the book when I can't bring this copy with me. I underline certain things I don't want to forget in the artwork, and write little notes to myself here and there. It's not shown on this page, but sometimes I cross things out that I won't/can't adapt like worldbuilding info and smaller flashbacks. If dialogue needs to be changed for lettering purposes, I do that when I'm actually making pages, not at the annotating stage. In the digital copy, I highlight character and setting descriptions to keep track of. This process is actually how I made my second graphic novel, which was an adaptation of a short story I wrote.

The ratio up top is my book page to comic page estimate. Last chapter's ratio was 10:21, which is in the ballpark of 3:7. With it, I've figured out how long each chapter and section would be just for fun. I even have a rough estimate of how long the entire book would be in comic format with nothing cut from it (try plugging in the numbers yourself if you'd like a fun surprise).

If this were a real professional project, I would write out a script myself. I'd want to keep the whole book in mind instead of doing it chapter by chapter. Working directly from the book for how things are structured is just a way to make the comic faster. Even thinking about the last chapter, I have ideas already for what I would change to create a stronger comic adaptation. For now though, I just go off the individual chapter to create something more one-to-one. This project has always been a way to improve my art and comic skills before I graduate, so doing structural rewrites to the story, even though that would be necessary for an actual adaptation, is out of the scope of this personal project I do outside of my classes.

[magellanicclouds]

Halo - An Essay: regarding waste management systems and devices for MJOLNIR armoured Spartans It has been a hectic sort of few weeks. Between work and getting sick again (for the fourth time already this year thanks to my crewmates who can't remember it's their duty to stay home when they're ill) I've been on the outs. I haven't had the energy for much, but I'm usually a pretty active person, so this has kind of made me loopy? Which feels like as good a time as any to talk at length about the concept of catheterizing Spartans for waste management in MJOLNIR.

Let me explain.

This Silly Post crossed my dash recently and I fully understand it is meant as lighthearted fun - we have fun here. But it also dragged out some strong thoughts I've had haunting in the back of my mind about this for years because I'm super normal about Halo, and have time on my hands and the right amount of sleep deprivation and medication on board. So I wrote 3500 words about it. And about Karen Traviss, who is pretty knotted up in this conversation, since she's the one who decided to start it back in 2011.

To preface, I'm not an expert, but I have worked in emergency medicine for 25 years, and been a fan of Halo for almost as long. I've had more of a lukewarm relationship with it the last decade or so if I'm being honest, but it will always have a home in my heart; I just think letting it under my skin like that in the first place may have made me feral and prone to biting. Thankfully, I can always happily rotate Fred in my mind until the heat-death of the universe, so that's nice. Anyway, full disclosure: the essay below contains discussion about medical devices, physical trauma, and I am sharing quite a lot of personal negativity about the Kilo-5 trilogy and Karen Traviss. That said, if you'd like to sit in on the length of what I'm about to yell into the sky about all this, you can find it under the cut. I love you.

Welcome to my dissertation.

Section 1 - The Relevant Background:

Equipping Spartans with urinary catheters weeded itself into the Halo universe in the 2011 book Halo: Glasslands, during a conversation between Spartan II Naomi-010 and ODST Mal Geffen. Glasslands was the first in Karen Traviss's Kilo-5 trilogy, and she is both the originator of this, and the only official Halo author or source to have used catheters specifically since. Some context: I don't personally like these books, or their author, or even her reasoning for why she chose to add this. My personal preference doesn't make something 'bad', and I'm not out to hurt any feelings. Kilo-5 isn't a total wash for me, there are some characters and ideas that I'd of otherwise loved to have seen explored through the lens of a different author, but these books felt smothered under Traviss's habit of always injecting her very loud personal voice into the narrative fabric. I think this is something that's fine to do in an original series, but doesn't really belong in an established third party IP. She bangs on about so much of her own narrow worldview and self-assured prejudices across the trilogy that still discussing them today creates division in the fandom, and sadly did a lot of lasting damage to a couple characters. But for the topic here, the dialogue that started all this cath chat came from Naomi-010, having idle conversation with Mal who asks her about bathroom breaks. “I’m catheterized. Another reason why that machine has to be so precisely calibrated. This suit plugs into me in a lot of places.” 'The Machine' she's referring to is a Brokkr assembly, which was introduced to the lore as a large mechanical armature used to get Spartans in and out of MJOLNIR. You can see them in action in cinematics from Halo 4 (+Spartan Ops) and 5.

One single mention, and it was big news. Traviss was naturally interviewed about it because of course she was - people can't help themselves but forget an entire novel and tunnel vision on 'but how pee pee?', and her answer has always irritated me. It's not in what she says, so much as what 'what she says' means in her voice. Traviss didn't answer it directly, but instead talked about how she likes to get into character's heads by addressing the mundane necessity of things that often go overlooked to expand a sense of familiarity with the character and their world. Sounds super reasonable, I know, but don't give her too much credit - that's not a quote. It's just me paraphrasing and honestly I was pretty generous in my wording. Probably because I agree! What bugs me about it, is if you've ever read literally any interview with her, or her personal musings about her writing process, you know there's a bit of an 'honesty' issue there. She's somebody who feels perfectly comfortable ignoring established character voices, traits, or histories to satisfy whatever roles she's reinvented for them, and too many others wind up as mouthpieces. How much are you really challenging yourself in finding characters' voices when most of them are just yours? And the part about familiarity with their world? I giggled a little. She doesn't care about their world, or their aesthetics, or their technology, or their medicine. Because she didn't care about Halo while writing these, and she's not vague about admitting that. It's a matter of pride for her to purposefully refuse to research those things, in the same way she disregarded Star Wars and Gears of War - she doesn't consider the effort to be a valuable part of her process. So instead she'll skim the foundation, gather some recognizable names, pick her targets, and trusts that her personal experiences combined with an outsider perspective will generate better content to seamlessly overwrite what existed. Cool, Karen. Annoying, but why bring all that up? We're here to talk about catheters, right? Well, the fandom for the most part begin and end their assessment of the dialogue at urinary catheters, but the whole quote implies so much more than that - "This suit plugs into me in a lot of places." We're not just dealing with a cath, but apparently with multiple additional external-to-invasive connections. Reader, this dialogue is a plinth to Traviss's bizarre refusal to research not only the franchises she's contracted to write in, but also just into the basic function and hazards of existing concepts that she wants to introduce, and all because she's convinced herself she's done learning about the world. Choosing to ignore the creative freedom of limitless potential in a future of technology that would be basically magic to us today, and instead degrade 529 years of advancement is certainly a take, but it's even more ridiculous to do it with a subject (The Spartan Programme) that is considered to be the peak of advancement in that future's setting. That's clownery, just like her alleged commitment to adjusting her perspective to suit a universe's world.

I want to close out this section with a question: Why is it that writers in the Halo space - both fan and official - cling so tightly to current-day modern concepts as if they'd still be perfectly relevant in 500+ years? Music, for example, apparently suffered a multi-century stagnation in lots of published and fanmade Halo media. Though my partner made a strong counterpoint about this to be fair: we still listen to music composed by Mozart. So there's an argument to be made there. Medicine though. There is way less latitude to embrace the classics there. It's been shown across several games, novels, and films to be sufficiently advanced well beyond anything we're currently capable of or even understand, so why undermine that and choose to drag it centuries backward? For clarity, I am not talking about what might be standard in the public or private sectors, nor the enduring things that'd be used by the public and military alike, like sterile dressings, syringes, supplemental oxygen equipment. Those are the Basics and they will be relevant to us indefinitely. But I'm talking about the UNSC. I'm talking about ONI R&D. I'm talking about Section Three. Retrograding tech and failing to address a necessity that applies to every living person in the Super Soldier Wizardry department makes my mouth flatten into a tight little line.

Section Two - Caths, and why this whole thing got written:

Indwelling urinary catheters, both urethral and suprapubic. There's a laundry list of problems here, but I've distilled it down to the three biggest when suggesting they'd have any safe practical application in Spartans: Care. Activity. Damage. There is unreasonable expectations of care and maintenance for caths with regards to people who can be on operations isolated for months at a time with no support of any kind and are often limited to carrying only what can be kept on their person. The level of extreme physical activity Spartans engage in on any perfectly normal day whether deployed or not is unfit for the stability and safety of a cath. And damage; obvious enough, but with this one I'll be taking a huge emphasis on concussive forces - explosions. Something Spartans are subjected to a lot. I'll be using the height of modern-day catheter quality as a baseline for this, since that's what Traviss felt was sufficient. Regarding Urethral vs Suprapubic, Traviss doesn't specify by name, but Naomi's comment in full reads to me that she's only catheterized temporarily while armoured, hence the assembly needing to be so finely calibrated. Foley caths are temporary urethral caths that would only supplement the urinary process while a person was armoured. Suprapubic caths however are surgically placed devices. They do need routine tube replacement to keep them clean, but unlike the Foley that just serves as an aide measure for an otherwise fully functioning bladder, suprapubic caths are usually placed in people with congenital bladder disfunction, or who've suffered injury or disease that left the bladder in poor health or failure. This type of access will always require a tube in place and this would be the exclusive method of urination - in or out of armour. My Big Three Concerns fit both types similarly, though there is some additional risks associated with urethral caths that I'll cover.

Care: Caring for an invasive cath is a not insignificant effort. They're prone to blockage, kinking, and bacterial growth. They're so frequently responsible for UTIs and kidney stones that these complications are just considered the Standard Fair for having a cath. Their need to be frequently replaced because of their penchant for bacterial growth is the kicker here - whole floral colonies sprout up in caths and can eek their way out into the body through compromised tissue and wreck havoc. They have no self-cleaning mechanism, and steadily deteriorate. Changing and replacing an indwelling cath is a procedure that requires additional supplies that'd have to be carried, and needs to be done in a practiced and clean setting; preferably medical. Granted, there are people who manage the removal and insertion of their own caths at home, but they still need to ensure a clean and safe environment while they do this. A Spartan could never be guaranteed that, nor would it even be wise to consider the vulnerability of removing so much armour to handle it. Modern day caths are recommended to be replaced every 30 days or so, with some models able to be in place for a few months at a time, but that's with constant daily care and cleaning; something that'd be unreasonable for a Spartan to maintain while entrenched who knows where for who knows how long, and without access to replacement medical supplies. Those endurance times between replacements are geared for the average public person who leads an average public life and care for their cath as directed and don't get into fist fights with Sangheili. Needless to say, the endurance time for the same device in a Spartan who leads a wildly different lifestyle probably cuts those times down to a third.

Activity: Modern day caths are designed to offer people the most utility and versatility possible. Both models are available for people who are bed-bound or have extremely limited mobility, as well as for those who are mobile, independent, and live out average lives. With regards to the latter, suprapubics are somewhat more common, if for no other reason than to reduce the Foley's higher risks of induction injury, but modern urethral caths also allow for regular movement and activity with a more reduced chance of becoming dislodged or damaged than they would have had a couple decades ago. But when I say regular activity, I mean going on a walk. Shopping for groceries. Doing basic house chores. Even light exercise and sexual activity can be managed with physician advisement and the appropriate precautions taken. Anytime a Spartan was fielded they'd have to be all the more overly-cautious about Movements Outside of Their Control during confrontations, maneuvers, ambush, environmental or vehicular incidents. Even when things go well there'd be too much risk involved. That said, traumatic decatheterizations happen more frequently than anyone would like, and I'm talking about regular old Joe Everybody. I respond to no less than a dozen of these incidents a year. Both types of catheter are held in place by a bulb balloon that's inflated from a port with around 10-30ccs of saline after the tube enters the bladder (30ccs would be more appropriate for better security of the line). Before removing a cath, the saline is removed to deflate the balloon and the tube is guided out - with a Foley cath, that means being guided out of the urethra. When a Foley cath is traumatically removed, the saline filled balloon - which is like five times wider in diameter than the average 6mm urethra - does a pretty devastating amount of damage on it's way out, penis or vagina; though a penile urethra has significantly more length to damage, and the penile meatus very typically is torn. These incidents run high risk of bladder hematoma as well, which requires urgent surgical intervention. The very worst traumatic decatheterizations I've responded to were all penile and had trauma to external tissue. Ever microwaved a hotdog a little too long?

Damage: How often are Spartans subjected to explosive and other concussive forces? Silly question - answer: a lot and often and unavoidable. And we know they still feel the powerful feedback. Despite shields and dampeners and a self-moderating gel layer, strong inertial forces are still felt through the suits. Across multiple novels we're given details about near misses and blasts, accelerated or uncontrolled falls, rattling their teeth, hampering their vision, hearing, or balance; they've been rendered unconscious and suffered internal injuries. The fact that most of these events don't flat out kill them is a credit to their armour and augmentations. For reference - when a person experiences explosive or concussive force from a distance enough to avoid separation of limbs, bisection, etc, the totality of their injuries can't and won't be seen externally. How they present on the outside is just the tippy tip of the iceburg - it's what's happened to them internally that you need to be concerned about. Cracked or fractured bones, torn musculature, arterial shearing, hollow organ rupture, cardiac and brain tissue bleed, to name some common ones, and this kind of trauma extends to all implanted devices as well. For example, rods and nails and other structural aids or replacements are much more resilient than your organic tissues, and can dislodge when tissues tear or rupture, damaging anything in their way like shrapnel. The fragile little balloon of a catheter will shatter when subjected to even relatively minor explosive force, so to even consider for a moment that this would be a viable piece of equipment for people intended to routinely be involved in explosive environments is beyond willful negligence. That there wouldn't be a better solution to the question of waste management - a necessity for literally all human people who make up the entirety of the Spartan branch, with the infinite funding of ONI R&D seems so stupid to me that I… well, that I wrote this. Because, friends - participating in active warfare is not cath-safe. The kinds of physical demands and forces on Spartan bodies are not cath-safe. The risks will never outweigh the benefits to this. Even while sealed in powered armour and a skinsuit tech layer, the very thought of Section Three engineers or Halsey or anyone involved in the development of MJOLNIR dismissing the glaring obvious failure of Spartans having any kind of externalized invasive devices is so unreasonably negligent that it could only be the brainchild of an author who's convinced that these characters are all actually just psuedo-intelligent government boogiemen who aren't as capable as they claim to be. But No. They are that capable, and they are that intelligent and the fact that they have a bottomless budget and deeply flexible ethics is literally what makes them so dangerous.

So if we have to address this, how do we do it? Apparently there was always an official answer for this. Former Franchise Development Director, creator of the Master Chief**, and extremely racist asshole Frank O'Connor weighed in on this in the same interview, where he almost immediate rejected and denied Traviss's catheterization claim and says that 'this sort of stuff' was the kind of thing he and the other creative heads at Bungie/343i talked and planned about all the time. So how does this work then, because we're invested now. According to 'ol Frankie's elegant input: they just pee freely into the suit. That's it. For clarity, he's talking about the skinsuit and not the MJOLNIR interior proper. He goes on to say that connectivity between body and MJOLNIR at all levels is fully noninvasive, but precise, and that it doesn't matter what kind of body output a Spartan introduces into the suit interior, because a hygienic valve system (??) will scrub it continually and collect all matter for recycling and reintroduction via capillary action powered by movement. It's not clear in what layers or intermediaries these mechanisms occupy, he doesn't break it down more than that. But that's the answer, and it did exist back when Traviss was penning Kilo-5.

Is this answer better than haphazardly plugging extension cords from actual organ systems into MJOLNIR interior? Yes. Like, leagues better by comparison, but also I still think it sucks. To me anyway. It's flat out gross as hell, which definitely fits the personal brand of a man who proudly overfed his cat and called himself "Stinkles", but also it just doesn't strike me as the kind of design strategy ONI would pursue for any of their assets. Beside it just being 100% torn from Dune's stillsuits, it's also missing that special brand of proprietary Section Three je ne sais quoi. There's layers upon layers of too-specialized equipment installed into these people for everything else, why skip this? A body function that should have been Point 3 on a 50 point list of 'stuff to manage'. Also though? It's a lot of freedom. This is just another easy opportunity to add yet another layer of dependence. Spartans are expensive equipment. It doesn't do to give them any fewer reasons to think they can ever walk away.

So anyway, I figured I'd take a crack at it. I came up with this while editing the last two paragraphs: [Waste management] - a fully internalized collection and processing device - lets say a cybernetic implantation - that entirely replaces the bladder. It has bio-organic lumens that interconnect it to the GI and Hepatic organs. The implant assists in accelerating the processing of gathering and refining waste materials with the help of nanobots that identify and redirect waste along the lumens of each system, plus they keep the implant clean and free of bad flora. All twice-processed waste gets refined a lot quicker and any water by-product of the process is refined and redistributed back to the organs along the lumens. None of the refined water is removed from the body for drinking, because that's an unnecessary step; it's already inside. (Drinking water would be the responsibility of a suit system more likely - like, sweat leeching in the skinsuit; refine, filtrate, purify, collect into a reservoir, and jettison the excess sodium. ) There is no 'extraction of other viable nutrient' from the remainder, it's been twice identified as waste. It gets catabolized and consumed by the nanobots as a fuel source, and no externalized waste is created at all while the Spartan is geared up. The implant doesn't always run like this - it only engages this way when the Spartan is wearing MJOLNIR, and when they're not, it just works like an out-of-the-box bladder. The intermittence of usage lets the organic organs truck along as usual, preventing risk of atrophy, and the Spartan can just use a bathroom like everyone else. I'm not a bioengineer, but I do like sci fi and I think all that sounds like something that'd be possible in this sandbox. And that's the real fun of it, isn't it? There's no way anyone today can anticipate what sort of gadgetry might be available 500+ years from now, especially in a fictional universe that includes military tech hybridized with reverse engineered alien tech.

I think it's fascinating when writers and artists shake loose and really grab the reins, and I love seeing the fruit of that labour in this particular tumblr community so often. We're not a huge Halo circle, but we're a passionate one, and if this essay leaves you with nothing else, I hope it will at least remind you to Go For It when you're writing your next fic or drawing your next piece, or composing, or sewing, or printing, or anything!

In Conclusion: Rest easy, friends.

Despite Traviss's word and even books that went to print, the official canon is that Spartans are not catheterized. If that's a bummer for anyone, canon can't stop you from writing whatever you want, but I do hope maybe you'll remember my reasoning for why it might not be the best idea? At least not for armoured Spartans. A Spartan, but they're laid up in hospital? Any non-Spartan personnel? Maybe you're writing in the public sector, a colony world or vessel? Sure - I'll bet caths are still plenty widely used. Why not? They're a blissfully simple and useful effective piece of equipment. It's just all about adjusting and adapting for practicality. Medical science, like any technology, adapts and evolves infinitely as we learn and discover new things. Treatments or drug algorithms I'd of used just last year have already undergone changes, and protocols are amended constantly. It's why a person 'practices' medicine; why a scientist is always a student. If questions like this or similar really need answering in your next work, remember: Give yourself the credit you deserve, and embrace the spirit of invention. Let my Cyber Bladder, by Sparklets be the candle in the window for you!

You may all retrieve your keys from the bowl and unsilence your phones. Stay safe and please text me when you get home. Thank you. ' u ' **Addendum: Former Bungie Creative Art Director Marcus Lehto is in fact the person who is most associated with the creation of the Master Chief.**

[katerinaaqu]

I cant go to bed and i fear ill forget ths but wht is the difference in relationship between Odysseus x menelaus and odysseus x diomedes. i hve only read summaries of the illiad but i will read eventually. if ths seem a little random its cause i keep seeing fanart ships of the two ships (ikkkk guilty pleasure crucify me or whatever) and cant differentiate the difference. im sorry if ths does not make sense for my sleep deprived brain basically wht i am asking is what their difference in relationship (NOT IN FANON) like is menelaus more harsher to ody etccc

anyway sozz for the long ask i hve no idea how these work so plz tell me i did ths correctly

Hahahahaha I absolutely get this feeling! And boy that is a very very good question and a favorite of mine given how much I love Odysseus's relationships with his peers or men! And it is not random at all! I think it is a massively important question because the Iliad is not a pure war novel that talks about the anger of a demigod. It is also a story of war companionship, friendship and cooperation etc so the relationships between the heroes is great. And probably have noticed from this fanfiction of mine that I love exploring the two of them in regards to Odysseus and the other way round.

I am incredibly sorry if this gets long again for I have no self-control hahahaha!

So let's start with what they have in common. Both men, Diomedes and Menelaus, hold great respect for Odysseus at least as far as Homer is concerned (because dynamics are vastly different in post-homeric sources). Both kings seem to be speaking with the warmest words for Odysseus in the Odyssey as I have also slightly touched to my analysis about Achilles and Patroclus relationship. Basically Menelaus speaks on how Odysseus's fate makes him distressed so much that he cannot eat or sleep anymore. He also yells in exaspiration when Telemachus mentions how the suitors are eating away Odysseus's wealth and pry on his wife. During the Iliad Menelaus considered Odysseus nothing less than irreplacable and valuable. You can see my analysis here but here's the original passage and my own translation for it:

But let's go and help him, that's the best course! For I am afraid if anything bad happened to him as he is isolated by the Trojans, he will be incredibly missed by the Danaans!

So basically he says "if we lose him we're done for!". In Menelaus's mind Odysseus is an irreplacable valuable friend. He even leads him out of battle the best he can till his chariot comes to take him. Diomedes thinks similarly of him in the Iliad. In fact in 10th rhapsody of the Iliad when he chooses him as the partner for the counterspy mission to the Trojan side he says (again my translation);

If you ask from me to pick a partner to go with, how can I choose anyone else but godly Odysseus who has both fast wits and heroic heart and works hard for everyone, Pallas Athena loves him. If I follow him even through wild fire, we shall both return, this I know very well!

So yeah once again we have a complete flattery here. Diomedes thinks there is no better man than Odsseus to go with him on a mission because he believes in his skills and he knows both of them shall return from the battle which almost seems like he wants to redeem himself since two rhapsodies prior he lashes out to Odysseus calling him a coward for running lol! But I shall elaborate further below.

So both heroes have the most profound respect for Odysseus in battle and as a person. Now apart from that the differences between each person's appreciation or differences with each other seem to be very few and they seem to be ematating from the ages of the characters.

Menelaus is closer to Odysseus in age than Diomedes who is arguably the youngest among the kings so his relationship with him seems to be more direct in the level of experience in life and they speak in a more diplomatic or daresay "equal" manner in the essence of their age. Diomedes and Odysseus seem almost to have like a father and son relationship or mentor and protege even if of course both kings are tecnically equal. I am talking on age only. Diomedes seems to be sticking around Odysseus almost like a son figure and Odysseus seems to be trusting Diomedes with his plans and missions like no other because he knows his capabilities in battle and they both share the love of the same patron goddess, Athena

In one way I feel it is the other way round; that Menelaus is generally meeker with Odysseus while as I talked here Diomedes accuses Odysseus two rhapsodies before his praise in rhapsody 10 because Odysseus didn't run to assist him save Nestor (Diomedes seemed to be disobaying the gods at that moment and he was stopped by a lightning of Zeus) but that is probably because Diomedes's personality is generally harsher and more straightforward which makes sense given that not only is he younger but also because he was a soldier since he was a child (he was 14 at the war of Epigonoi)

But for sure it all depends on how you personally interpret the characters as well! I usually do not interpret them as lovers in fact we do not have much of evidence for that however if you also interpret their relationship as such it is up to your perception really.

I hope this helps! Sorry for the long message and please go to sleep my friend! Do not reprive yourself from sleep!

[team-avia]

There will be a question, but first, you will have to get through my rambling because I finally managed to get through my long-term social anxiety, so I had too much time to think)

Like many before me, I want to thank the whole team for making such a wonderful (and darkish) visual novel as RL. All the little details, this drawing😍 and this script🤩, ideas, and characters, both love interests (Bela and Donna are in my heart forever) and NPC (your avatars are just *chef's kiss*), it was a truly wonderful journey! I already was a huge fun of the original game, but now I'm even more hooked!

And now a new project🥳 And it looks like our new MC is going to have an even harder time than the previous one, which I absolutely approve!

The demo hasn't come out yet, but I am already on my knees for Cordelia (sorry, not sorry)) So I (and all your fans) will wait for this game as long as it takes, so take your time and take care of yourselves, please!

Now, finally, my question. You've given us a glimpse of ​​the personalities of our lovely vampire ladies, but can you tell anything about the main character's personality?

I'm probably projecting, but as a medical student who is used to write reports, I tend to forget about anything but my work, like, I remember having family and partner only when they text or call me😅 Do you think MC is more on a chill side or a workaholic freak when it comes to her research?

Oh, and are there any new mhd sketches?

Am I asking too much? Mayhapse, yes, definitely yes. But I will take anything you are willing/able to give)

thank u for ur kind words!!!

in the game, mc is very much into science- they love pretty much every area of it and tend to neglect everything around them, even their own health, when it comes to working on their theories or experiments.

they r currently in a phd program for physics (which will have some relevance in the story) but their first love was biology, and their second love was chemistry.

they get to go full researcher mode in this new world they're sucked into and what they study will be dependent on the route u choose to go down. there's even a journal for mc to take notes in and as the story unravels certain areas of the journal will fill up with information they've uncovered.

no new mhd sketches, but maybe in the future 👀

-bee