#the underland project
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With a heavy heart, The Underland Project needs to be let go.
I have learned a lot from this project and wouldn't even be able to take any kind of client works if I didn't push through it.
Unfortunately, the project has to stop.
It is a fan project that was done out of passion. I may have made some money while working on it, but they are not much and can't give me a secure life as content creator since I'm mostly doing it for free. I also can't monetize the products I make from it.
So now, I have to move on to other endeavors.
A HUGE THANK YOU TO THOSE WHO SUPPORTED THE PROJECT!
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Me: dang I need a canon ref sheet of Gregor so I can draw him.
Me, looking at @aldoodles blog: HUZZAH found it.
#Aldoodles is canon to me.#Best art of he TUC humans i've seen#such lovely character designs in a lovely animated style.#the exact vibe I'm trying to portray.#When I get rich and start kicking off on the animated project#I'm throwing money at you and sobbing on my knees.#One of my biggest inspirations when making TUC content.#the underland chronicles#gregor the overlander#tuc
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Danganronpa Wonderland: A Masterpost
The Danganronpa Wonderland franchise is a fanmade series by Yume based off of the Danganronpa video game series. However, the franchise has no relation to the canon series, and only takes on the loose story structure and plot elements of the Danganronpa franchise.
The story is themed around the popular fairytale Alice in Wonderland, with the constant idea of the story being the contrast between change vs. complacency. The story consists of three individual series: Danganronpa Wonderland, Danganronpa Underland, and Danganronpa: Wonder's End.
An important thing to note is that while Wonderland is technically the first in the series, Underland comes before it chronogically, and the two can be read in any order, although each story will contain major spoilers for the other.
1. DANGANRONPA WONDERLAND
Danganronpa Wonderland is the first installment of the series - although it comes second chronogically.
Synopsis:
Marmoreal Academy - a prestigious school famous around the world due to its unique criteria: accepting an extremely small amount of "Ultimate" students: the most talented students on the planet. The school strives to raise the "changes" of the future, and for as long as the world can remember, the school has always been a shining example of wonder, with a charming, almost magical aura and an unclear but intriguing past.
However, this all changed five years ago, after the recent announcement of the academy's monumental 100th class of Ultimates. Following a "mysterious incident" at the start of the year, the academy suddenly withdrew itself from the eyes of the world. The school started scouting out their Ultimates in secret, afraid to show their students or intentions due to said "incident". The why and how of this sudden change in the school has always been a mystery...but soon, all will be revealed.
When Mao Akizora gets accepted into Marmoreal Academy's new - and supposedly secret - 105th class, as the Ultimate Cheerleader, she expects to finally become more than just a "simple cheerleader on the sidelines". But when she's suddenly taken to a strange and fantastical "Wonderland", where two twin rabbits and horrific slaughter await her until only the best Ultimate remains, Mao realizes what exactly a “simple cheerleader” can become in a killing game.
Ao3 Link (Completed!): https://archiveofourown.org/works/32577394/chapters/80809636
2. DANGANRONPA UNDERLAND
Danganronpa Underland is the second installment of the series, although it comes first in the overall timeline of events. The series is currently being written on Ao3.
Synopsis:
Fumihito - "Fumi" - Misumi has been described as a "genius", being well-versed in everything that has to do with the phenomenon that is known as "death". Cold, intelligent, and sharp-tongued, Fumi is deeply fascinated by strange questions such as: why is death so feared? Why does death leave such a lasting and large impact on others?
When Fumi receives an invitation to the prestigious Marmoreal Academy, invited to join the school's 100th class as the "Ultimate Thanatologist", he thinks little of it. But when Fumi is swept up into a terrifying killing game known as the Killing Wonder, where horrific slaughter awaits until only the best Ultimate remains, his life takes a terrifying turn. As more of his classmates die, and as Fumi's heart inevitably softens, will he finally understand why so many people fear the very idea of death?
Ao3 Link (currently writing!): https://archiveofourown.org/works/45311281/chapters/113999560
3. DANGANRONPA: WONDER'S END
Danganronpa: Wonder's End is the third and final installment of the series, and takes place shortly after Wonderland. More information will come later.
#hi this is my project and life#PLEASE read wonderland#and underland (it's so much better)#fanganronpa#I hate the canon series btw
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welcome to spontaneous tuc side character appreciation
since it’s tuc’s anniversary extravaganza I’d thought I’d share the list I made on my latest reread. this time we’re talking about andromeda because she’s known for the first three books and then drops off the face of existence. so here’s everything she’s done ever!
(disclaimer I’m not infallible so apologies if I missed anything. I cut out a few times where the bats were mentioned as a unit. enjoy!)
GtO
Chapter 8 - Andromeda is part of the battle on the beach, though she's not mentioned by name. Shed holds onto her wing until Perdita saves her. She sprays blood from her wounded wing and loses control. She’s caught by Shed’s feet and slams into the wall. She shakily carries gregor.
Chapter 9 - Mareth helps carry her to the hospital despite being injured. From then on, Mareth has to ride a different bat on the quest while Andromeda recovers.
PoB
Chapter 10 - Mareth introduces her to Gregor and she seems to have forgiven him and is honored to meet him. She is a chosen member for the quest.
Chapter 11 - She and Pandora huddle together without Ares. She sleeps near Mareth.
Chapter 12 - She helps tear apart the squid with her claws. She ends up with a couple of sucker marks along with Twitchtip.
Chapter 14 - She pulls the front of the boat with Aurora.
Chapter 15 - She stands guard while Mareth steers. She likes the taste of bluebits.
Chapter 16 - She drags the boat through the water. She no longer shuns Ares and all three bats huddle together. Gregor suspects it might be because she knows Aurora would choose Ares over her. They all sleep fitfully.
Chapter 17 - She lifts the front of the boat and catches Mareth and Howard. At some point Mareth is bitten and they dive for Twitchtip to sever her tail from a serpent.
Chapter 18 - She hangs over Howard while he treats Mareth, folds her wings around him to warm him, and repeats “I must take him home” twice.
Chapter 19 - She ruffles her wings when Gregor is revealed as a rager. She doesn’t want to injure Gregor and tells Howard they both need to get Mareth to Regalia. She says she could make the journey with a raft light enough to carry. Mareth is layed on her back with a blanket and she and Howard take off.
Chapter 25 - She is bound and ragged. She already thinks she’s guilty. Gregor says she knew he’d fight her if she didn’t leave. She shakes her wings at his testimony.
Chapter 26 - She dines with the others. It’s revealed she and Howard weren’t allowed medical care. She was “astonishing” and made the trek in 12 hours. She huddles with Ares between Gregor and Howard.
Chapter 27 - She sees Gregor off.
CotW
Chapter 7 - She’s in quarantine with Howard, playing chess. She looks healthy. She hurries to the glass, says something to Howard, and is ordered back to bed. Mareth says he doesn’t need a leg when he has her, but looks upset when he remembers she has the plague.
Chapter 10 - It’s revealed she and Howard carried Ares from his cave to the hospital, so she is STACKED.
Chapter 26 - She’s asleep in bed and has the purple bumps, but is being given the plague cure.
then as far as i know she disappears from time and space or something (joke) because she's never mentioned again. i guess she's still recovering from the plague and is probably with mareth in books 4-5, but either gregor never mentions her or she's just not there. either way she's a fun addition to the team and i'm glad she decided to give ares a chance. her bond with mareth is cool and he is my favorite character so any friend of his is a friend of mine, so to speak. like most of the other bats, she doesn't say much, but I'd say she seems sensible and protective. hope you learned something in my andromeda exposé :)
#tuc20#the underland chronicles#tuc#andromeda the flier#in my hc she rejected ares at first because she couldn't imagine dropping mareth#not out of any malice for ares personally. she was just projecting#but she got over it and accepted him. so that's nice!#he desperately needs friends#also in my hc she and hamnet's bond were besties#tuc spoilers
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!To the TUC Fan Artists!
Genuine question.
In a world where you were paid to exclusively adapt the first book into a graphic novel/abridged comic like commissioned as a collective to do it.
Besides free time and the will to do so:
What would be the financial amount/or technical support needed– For you to complete that project?
And do you believe you can coordinate with the other TUC fan artists/ artists in general? To complete that? If a definitive style was selected, would other artists with desires to work on the project be willing to for lack of better term "follow suit" with supplementing and working in that art style when pitching panels etc?
Pretend me and Rei are sitting down like Shark Tank Sharks. We have the Capital and the desire to fund it.
We just want to know what you as artists would NEED, as far as resources and physical assistance/collaborative assistance like line artists and colorists, panelists etc. Please feel free to include a Dollar amount, hell even an Amazon Wishlist full of equipment.
At the risk of us sounding like douchebags, were just trying to gauge hyporealithetically what the artits and you all would need to dedicate like full energy into getting that done.
#gregor the overlander#the underland chronicles#tuc#hypothetical#fan comic#collective project#collaboration#paid art#shark tank#im mark Cuban and Breezy is Dame.
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Planning on doing Camp NaNo with my fiancé, working on a collaborative fanfic we’ve been simmering on for months! Our goal for the month is half of our full WC goal, so 15k each, since we’ve got a lot going on atm.
#no more details rn but I will say that the fandom is#the underland chronicles#hoping a rapid fire easy sort of project will get things flowing again for Saint of Kindred Spirits#orion should be writing
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A TENTH ANNIVERSARY INTERVIEW WITH SUZANNE COLLINS
On the occasion of the tenth anniversary of the publication of The Hunger Games, author Suzanne Collins and publisher David Levithan discussed the evolution of the story, the editorial process, and the first ten years of the life of the trilogy, encompassing both books and films. The following is their written conversation.
NOTE: The following interview contains a discussion of all three books in The Hunger Games Trilogy, so if you have yet to read Catching Fire and Mockingjay, you may want to read them before reading the full interview.
transcript below
DAVID LEVITHAN: Let’s start at the origin moment for The Hunger Games. You were flipping channels one night . . .
SUZANNE COLLINS: Yes, I was flipping through the channels one night between reality television programs and actual footage of the Iraq War, when the idea came to me. At the time, I was completing the fifth book in The Underland Chronicles and my brain was shifting to whatever the next project would be. I had been grappling with another story that just couldn’t get any air under its wings. I knew I wanted to continue to explore writing about just war theory for young audiences. In The Underland Chronicles, I’d examined the idea of an unjust war developing into a just war because of greed, xenophobia, and long-standing hatreds. For the next series, I wanted a completely new world and a different angle into the just war debate.
DL: Can you tell me what you mean by the “just war theory” and how that applies to the setup of the trilogy?
SC: Just war theory has evolved over thousands of years in an attempt to define what circumstances give you the moral right to wage war and what is acceptable behavior within that war and its aftermath. The why and the how. It helps differentiate between what’s considered a necessary and an unnecessary war. In The Hunger Games Trilogy, the districts rebel against their own government because of its corruption. The citizens of the districts have no basic human rights, are treated as slave labor, and are subjected to the Hunger Games annually. I believe the majority of today’s audience would define that as grounds for revolution. They have just cause but the nature of the conflict raises a lot of questions. Do the districts have the authority to wage war? What is their chance of success? How does the reemergence of District 13 alter the situation? When we enter the story, Panem is a powder keg and Katniss the spark.
DL: As with most novelists I know, once you have that origin moment — usually a connection of two elements (in this case, war and entertainment) — the number of connections quickly increases, as different elements of the story take their place. I know another connection you made early on was with mythology, particularly the myth of Theseus. How did that piece come to fit?
SC: I was such a huge Greek mythology geek as a kid, it’s impossible for it not to come into play in my storytelling. As a young prince of Athens, he participated in a lottery that required seven girls and seven boys to be taken to Crete and thrown into a labyrinth to be destroyed by the Minotaur. In one version of the myth, this excessively cruel punishment resulted from the Athenians opposing Crete in a war. Sometimes the labyrinth’s a maze; sometimes it’s an arena. In my teens I read Mary Renault’s The King Must Die, in which the tributes end up in the Bull Court. They’re trained to perform with a wild bull for an audience composed of the elite of Crete who bet on the entertainment. Theseus and his team dance and handspring over the bull in what’s called bull-leaping. You can see depictions of this in ancient sculpture and vase paintings. The show ended when they’d either exhausted the bull or one of the team had been killed. After I read that book, I could never go back to thinking of the labyrinth as simply a maze, except perhaps ethically. It will always be an arena to me.
DL: But in this case, you dispensed with the Minotaur, no? Instead, the arena harkens more to gladiator vs. gladiator than to gladiator vs. bull. What influenced this construction?
SC: A fascination with the gladiator movies of my childhood, particularly Spartacus. Whenever it ran, I’d be glued to the set. My dad would get outPlutarch’s Lives and read me passages from “Life of Crassus,” since Spartacus, being a slave, didn’t rate his own book. It’s about a person who’s forced to become a gladiator, breaks out of the gladiator school/arena to lead a rebellion, and becomes the face of a war. That’s the dramatic arc of both the real-life Third Servile War and the fictional Hunger Games Trilogy.
DL: Can you talk about how war stories influenced you as a young reader, and then later as a writer? How did this knowledge of war stories affect your approach to writing The Hunger Games?
SC: Now you can find many wonderful books written for young audiences that deal with war. That wasn’t the case when I was growing up. It was one of the reasons Greek mythology appealed to me: the characters battled, there was the Trojan War. My family had been heavily impacted by war the year my father, who was career Air Force, went to Vietnam, but except for my myths, I rarely encountered it in books. I liked Johnny Tremain but it ends as the Revolutionary War kicks off. The one really memorable book I had about war was Boris by Jaap ter Haar, which deals with the Siege of Leningrad in World War II.
My war stories came from my dad, a historian and a doctor of political science. The four years before he left for Vietnam, the Army borrowed him from the Air Force to teach at West Point. His final assignment would be at Air Command and Staff College. As his kids, we were never too young to learn, whether he was teaching us history or taking us on vacation to a battlefield or posing a philosophical dilemma. He approached history as a story, and fortunately he was a very engaging storyteller. As a result, in my own writing, war felt like a completely natural topic for children.
DL: Another key piece of The Hunger Games is the voice and perspective that Katniss brings to it. I know some novelists start with a character and then find a story through that character, but with The Hunger Games (and correct me if I’m wrong) I believe you had the idea for the story first, and then Katniss stepped into it. Where did she come from? I’d love for you to talk about the origin of her name, and also the origin of her very distinctive voice.
SC: Katniss appeared almost immediately after I had the idea, standing by the bed with that bow and arrow. I’d spent a lot of time during The Underland Chronicles weighing the attributes of different weapons. I used archers very sparingly because they required light and the Underland has little natural illumination. But a bow and arrow can be handmade, shot from a distance, and weaponized when the story transitions into warfare. She was a born archer.
Her name came later, while I was researching survival training and specifically edible plants. In one of my books, I found the arrowhead plant, and the more I read about it, the more it seemed to reflect her. Its Latin name has the same roots as Sagittarius, the archer. The edible tuber roots she could gather, the arrowhead-shaped leaves were her defense, and the little white blossoms kept it in the tradition of flower names, like Rue and Primrose. I looked at the list of alternative names for it. Swamp Potato. Duck Potato. Katniss easily won the day.
As to her voice, I hadn’t intended to write in first person. I thought the book would be in the third person like The Underland Chronicles. Then I sat down to work and the first page poured out in first person, like she was saying, “Step aside, this is my story to tell.” So I let her.
DL: I am now trying to summon an alternate universe where the Mockingjay is named Swamp Potato Everdeen. Seems like a PR challenge. But let’s stay for a second on the voice — because it’s not a straightforward, generic American voice. There’s a regionalism to it, isn’t there? Was that present from the start?
SC: It was. There’s a slight District 12 regionalism to it, and some of the other tributes use phrases unique to their regions as well. The way they speak, particularly the way in which they refuse to speak like citizens of the Capitol, is important to them. No one in District 12 wants to sound like Effie Trinket unless they’re mocking her. So they hold on to their regionalisms as a quiet form of rebellion. The closest thing they have to freedom of speech is their manner of speaking.
DL: I’m curious about Katniss’s family structure. Was it always as we see it, or did you ever consider giving her parents greater roles? How much do you think the Everdeen family’s story sets the stage for Katniss’s story within the trilogy?
SC: Her parents have their own histories in District 12 but I only included what’s pertinent to Katniss’s tale. Her father’s hunting skills, musicality, and death in the mines. Her mother’s healing talent and vulnerabilities. Her deep love for Prim. Those are the elements that seemed essential to me.
DL: This completely fascinates me because I, as an author, rarely know more (consciously) about the characters than what’s in the story. But this sounds like you know much more about the Everdeen parents than found their way to the page. What are some of the more interesting things about them that a reader wouldn’t necessarily know?
SC: Your way sounds a lot more efficient. I have a world of information about the characters that didn’t make it into the book. With some stories, revealing that could be illuminating, but in the case of The Hunger Games, I think it would only be a distraction unless it was part of a new tale within the world of Panem.
DL: I have to ask — did you know from the start how Prim’s story was going to end? (I can’t imagine writing the reaping scene while knowing — but at the same time I can’t imagine writing it without knowing.)
SC: You almost have to know it and not know it at the same time to write it convincingly, because the dramatic question, Can Katniss save Prim?, is introduced in the first chapter of the first book, and not answered until almost the end of the trilogy. At first there’s the relief that, yes, she can volunteer for Prim. Then Rue, who reminds her of Prim, joins her in the arena and she can’t save her. That tragedy refreshes the question. For most of the second book, Prim’s largely out of harm’s way, although there’s always the threat that the Capitol might hurt her to hurt Katniss. The jabberjays are a reminder of that. Once she’s in District 13 and the war has shifted to the Capitol, Katniss begins to hope Prim’s not only safe but has a bright future as a doctor. But it’s an illusion. The danger that made Prim vulnerable in the beginning, the threat of the arena, still exists. In the first book, it’s a venue for the Games; in the second, the platform for the revolution; in the third, it’s the battleground of Panem, coming to a head in the Capitol. The arena transforms but it’s never eradicated; in fact it’s expanded to include everyone in the country. Can Katniss save Prim? No. Because no one is safe while the arena exists.
DL: If Katniss was the first character to make herself known within story, when did Peeta and Gale come into the equation? Did you know from the beginning how their stories would play out vis-à-vis Katniss’s?
SC: Peeta and Gale appeared quickly, less as two points on a love triangle, more as two perspectives in the just war debate. Gale, because of his experiences and temperament, tends toward violent remedies. Peeta’s natural inclination is toward diplomacy. Katniss isn’t just deciding on a partner; she’s figuring out her worldview.
DL: And did you always know which worldview would win? It’s interesting to see it presented in such a clear-cut way, because when I think of Katniss, I certainly think of force over diplomacy.
SC: And yet Katniss isn’t someone eager to engage in violence and she takes no pleasure in it. Her circumstances repeatedly push her into making choices that include the use of force. But if you look carefully at what happens in the arena, her compassionate choices determine her survival. Taking on Rue as an ally results in Thresh sparing her life. Seeking out Peeta and caring for him when she discovers how badly wounded he is ultimately leads to her winning the Games. She uses force only in self-defense or defense of a third party, and I’m including Cato’s mercy killing in that. As the trilogy progresses, it becomes increasingly difficult to avoid the use of force because the overall violence is escalating with the war. The how and the why become harder to answer.
Yes, I knew which worldview would win, but in the interest of examining just war theory you need to make the arguments as strongly as possible on both sides. While Katniss ultimately chooses Peeta, remember that in order to end the Hunger Games her last act is to assassinate an unarmed woman. Conversely, in The Underland Chronicles, Gregor’s last act is to break his sword to interrupt the cycle of violence. The point of both stories is to take the reader through the journey, have them confront the issues with the protagonist, and then hopefully inspire them to think about it and discuss it. What would they do in Katniss’s or Gregor’s situation? How would they define a just or unjust war and what behavior is acceptable within warfare? What are the human costs of life, limb, and sanity? How does developing technology impact the debate? The hope is that better discussions might lead to more nonviolent forms of conflict resolution, so we evolve out of choosing war as an option.
DL: Where does Haymitch fit into this examination of war? What worldview does he bring?
SC: Haymitch was badly damaged in his own war, the second Quarter Quell, in which he witnessed and participated in terrible things in order to survive and then saw his loved ones killed for his strategy. He self-medicates with white liquor to combat severe PTSD. His chances of recovery are compromised because he’s forced to mentor the tributes every year. He’s a version of what Katniss might become, if the Hunger Games continues. Peeta comments on how similar they are, and it’s true. They both really struggle with their worldview. He manages to defuse the escalating violence at Gale’s whipping with words, but he participates in a plot to bring down the government that will entail a civil war.
The ray of light that penetrates that very dark cloud in his brain is the moment that Katniss volunteers for Prim. He sees, as do many people in Panem, the power of her sacrifice. And when that carries into her Games, with Rue and Peeta, he slowly begins to believe that with Katniss it might be possible to end the Hunger Games.
DL: I’m also curious about how you balanced the personal and political in drawing the relationship between Katniss and Gale. They have such a history together — and I think you powerfully show the conflict that arises when you love someone, but don’t love what they believe in. (I think that resonates particularly now, when so many families and relationships and friendships have been disrupted by politics.)
SC: Yes, I think it’s painful, especially because they feel so in tune in so many ways. Katniss’s and Gale’s differences of opinion are based in just war theory. Do we revolt? How do we conduct ourselves in the war? And the ethical and personal lines climax at the same moment — the double tap bombing that takes Prim’s life. But it’s rarely simple; there are a lot of gray areas. It’s complicated by Peeta often holding a conflicting view while being the rival for her heart, so the emotional pull and the ethical pull become so intertwined it’s impossible to separate them. What do you do when someone you love, someone you know to be a good person, has a view which completely opposes your own? You keep trying to understand what led to the difference and see if it can be bridged. Maybe, maybe not. I think many conflicts grow out of fear, and in an attempt to counter that fear, people reach for solutions that may be comforting in the short term, but only increase their vulnerability in the long run and cause a lot of destruction along the way.
DL: In drawing Gale’s and Peeta’s roles in the story, how conscious were you of the gender inversion from traditional narrative tropes? As you note above, both are important far beyond any romantic subplot, but I do think there’s something fascinating about the way they both reinscribe roles that would traditionally be that of the “girlfriend.” Gale in particular gets to be “the girl back home” from so many Westerns and adventure movies — but of course is so much more than that. And Peeta, while a very strong character in his own right, often has to take a backseat to Katniss and her strategy, both in and out of the arena. Did you think about them in terms of gender and tropes, or did that just come naturally as the characters did what they were going to do on the page?
SC: It came naturally because, while Gale and Peeta are very important characters, it’s Katniss’s story.
DL: For Peeta . . . why baking?
SC: Bread crops up a lot in The Hunger Games. It’s the main food source in the districts, as it was for many people historically. When Peeta throws a starving Katniss bread in the flashback, he’s keeping her alive long enough to work out a strategy for survival. It seemed in keeping with his character to be a baker, a life giver.
But there’s a dark side to bread, too. When Plutarch Heavensbee references it, he’s talking about Panem et Circenses, Bread and Circuses, where food and entertainment lull people into relinquishing their political power. Bread can contribute to life or death in the Hunger Games.
DL: Speaking of Plutarch — in a meta way, the two of you share a job (although when you do it, only fictional people die). When you were designing the arena for the first book, what influences came into play? Did you design the arena and then have the participants react to it, or did you design the arena with specific reactions and plot points in mind?
SC: Katniss has a lot going against her in the first arena — she’s inexperienced, smaller than a lot of her competitors, and hasn’t the training of the Careers — so the arena needed to be in her favor. The landscape closely resembles the woods around District 12, with similar flora and fauna. She can feed herself and recognize the nightlock as poisonous. Thematically, the Girl on Fire needed to encounter fire at some point, so I built that in. I didn’t want it too physically flashy, because the audience needs to focus on the human dynamic, the plight of the star-crossed lovers, the alliance with Rue, the twist that two tributes can survive from the same district. Also, the Gamemakers would want to leave room for a noticeable elevation in spectacle when the Games move to the Quarter Quell arena in Catching Fire with the more intricate clock design.
DL: So where does Plutarch fall into the just war spectrum? There are many layers to his involvement in what’s going on.
SC: Plutarch is the namesake of the biographer Plutarch, and he’s one of the few characters who has a sense of the arc of history. He’s never lived in a world without the Hunger Games; it was well established by the time he was born and then he rose through the ranks to become Head Gamemaker. At some point, he’s gone from accepting that the Games are necessary to deciding they’re unnecessary, and he sets about ending them. Plutarch has a personal agenda as well. He’s seen so many of his peers killed off, like Seneca Crane, that he wonders how long it will be before the mad king decides he’s a threat not an asset. It’s no way to live. And as a gamemaker among gamemakers, he likes the challenge of the revolution. But even after they succeed he questions how long the resulting peace will last. He has a fairly low opinion of human beings, but ultimately doesn’t rule out that they might be able to change.
DL: When it comes to larger world building, how much did you know about Panem before you started writing? If I had asked you, while you were writing the opening pages, “Suzanne, what’s the primary industry of District Five?” would you have known the answer, or did those details emerge to you when they emerged within the writing of the story?
SC: Before I started writing I knew there were thirteen districts — that’s a nod to the thirteen colonies — and that they’d each be known for a specific industry. I knew 12 would be coal and most of the others were set, but I had a few blanks that naturally filled in as the story evolved. When I was little we had that board game, Game of the States, where each state was identified by its exports. And even today we associate different locations in the country with a product, with seafood or wine or tech. Of course, it’s a very simplified take on Panem. No district exists entirely by its designated trade. But for purposes of the Hunger Games, it’s another way to divide and define the districts.
DL: How do you think being from District 12 defines Katniss, Peeta, and Gale? Could they have been from any other district, or is their residency in 12 formative for the parts of their personalities that drive the story?
SC: Very formative. District 12 is the joke district, small and poor, rarely producing a victor in the Hunger Games. As a result, the Capitol largely ignores it. The enforcement of the laws is lax, the relationship with the Peacekeepers less hostile. This allows the kids to grow up far less constrained than in other districts. Katniss and Gale become talented archers by slipping off in the woods to hunt. That possibility of training with a weapon is unthinkable in, say, District 11, with its oppressive military presence. Finnick’s trident and Johanna’s ax skills develop as part of their districts’ industries, but they would never be allowed access to those weapons outside of work. Also, Katniss, Peeta, and Gale view the Capitol in a different manner by virtue of knowing their Peacekeepers better. Darius, in the Hob, is considered a friend, and he proves himself to be so more than once. This makes the Capitol more approachable on a level, more possible to befriend, and more possible to defeat. More human.
DL: Let’s talk about the Capitol for a moment — particularly its most powerful resident. I know that every name you give a character is deliberate, so why President Snow?
SC: Snow because of its coldness and purity. That’s purity of thought, although most people would consider it pure evil. His methods are monstrous, but in his mind, he’s all that’s holding Panem together. His first name, Coriolanus, is a nod to the titular character in Shakespeare’s play who was based on material from Plutarch’s Lives. He was known for his anti-populist sentiments, and Snow is definitely not a man of the people.
DL: The bond between Katniss and Snow is one of the most interesting in the entire series. Because even when they are in opposition, there seems to be an understanding between them that few if any of the other characters in the trilogy share. What role do you feel Snow plays for Katniss — and how does this fit into your examination of war?
SC: On the surface, she’s the face of the rebels, he’s the face of the Capitol. Underneath, things are a lot more complicated. Snow’s quite old under all that plastic surgery. Without saying too much, he’s been waiting for Katniss for a long time. She’s the worthy opponent who will test the strength of his citadel, of his life’s work. He’s the embodiment of evil to her, with the power of life and death. They’re obsessed with each other to the point of being blinded to the larger picture. “I was watching you, Mockingjay. And you were watching me. I’m afraid we have both been played for fools.” By Coin, that is. And then their unholy alliance at the end brings her down.
DL: One of the things that both Snow and Katniss realize is the power of media and imagery on the population. Snow may appear heartless to some, but he is very attuned to the “hearts and minds” of his citizens . . . and he is also attuned to the danger of losing them to Katniss. What role do you see propaganda playing in the war they’re waging?
SC: Propaganda decides the outcome of the war. This is why Plutarch implements the airtime assault; he understands that whoever controls the airwaves controls the power. Like Snow, he’s been waiting for Katniss, because he needs a Spartacus to lead his campaign. There have been possible candidates, like Finnick, but no one else has captured the imagination of the country like she has.
DL: In terms of the revolution, appearance matters — and two of the characters who seem to understand this the most are Cinna and Caesar Flickerman, one in a principled way, one . . . not as principled. How did you draw these two characters into your themes?
SC: That’s exactly right. Cinna uses his artistic gifts to woo the crowd with spectacle and beauty. Even after his death, his Mockingjay costume designs are used in the revolution. Caesar, whose job is to maintain the myth of the glorious games, transitions into warfare with the prisoner of war interviews with Peeta. They are both helping to keep up appearances.
DL: As a writer, you studiously avoided the trope of harkening back to the “old” geography — i.e., there isn’t a character who says, “This was once a land known as . . . Delaware.” (And thank goodness for that.) Why did you decide to avoid pinning down Panem to our contemporary geography?
SC: The geography has changed because of natural and man-made disasters, so it’s not as simple as overlaying a current map on Panem. But more importantly, it’s not relevant to the story. Telling the reader the continent gives them the layout in general, but borders are very changeful. Look at how the map of North America has evolved in the past 300 years. It makes little difference to Katniss what we called Panem in the past.
DL: Let’s talk about the D word. When you sat down to write The Hunger Games, did you think of it as a dystopian novel?
SC: I thought of it as a war story. I love dystopia, but it will always be secondary to that. Setting the trilogy in a futuristic North America makes it familiar enough to relate to but just different enough to gain some perspective. When people ask me how far in the future it’s set, I say, “It depends on how optimistic you are.”
DL: What do you think it was about the world into which the book was published that made it viewed so prominently as a dystopia?
SC: In the same way most people would define The Underland Chronicles as a fantasy series, they would define The Hunger Games as a dystopian trilogy, and they’d be right. The elements of the genres are there in both cases. But they’re first and foremost war stories to me. The thing is, whether you came for the war, dystopia, action adventure, propaganda, coming of age, or romance, I’m happy you’re reading it. Everyone brings their own experiences to the book that will color how they interpret it. I imagine the number of people who immediately identify it as a just war theory story are in the minority, but most stories are more than one thing.
DL: What was the relationship between current events and the world you were drawing? I know that with many speculative writers, they see something in the news and find it filtering into their fictional world. Were you reacting to the world around you, or was your reaction more grounded in a more timeless and/or historical consideration of war?
SC: I would say the latter. Some authors — okay, you for instance — can digest events quickly and channel them into their writing, as you did so effectively with September 11 in Love Is the Higher Law. But I don’t process and integrate things rapidly, so history works better for me.
DL: There’s nothing I like more than talking to writers about writing — so I’d love to ask about your process (even though I’ve always found the word process to be far too orderly to describe how a writer’s mind works).
As I recall, when we at Scholastic first saw the proposal for The Hunger Games Trilogy, the summary of the first book was substantial, the summary for the second book was significantly shorter, and the summary of the third book was . . . remarkably brief. So, first question: Did you stick to that early outline?
SC: I had to go back and take a look. Yes, I stuck to it very closely, but as you point out, the third book summary is remarkably brief. I basically tell you there’s a war that the Capitol eventually loses. Just coming off The Underland Chronicles, which also ends with a war, I think I’d seen how much develops along the way and wanted that freedom for this series as well.
DL: Would you outline books two and three as you were writing book one? Or would you just take notes for later? Was this the same or different from what you did with The Underland Chronicles?
SC: Structure’s one of my favorite parts of writing. I always work a story out with Post-its, sometimes using different colors for different character arcs. I create a chapter grid, as well, and keep files for later books, so that whenever I have an idea that might be useful, I can make a note of it. I wrote scripts for many years before I tried books, so a lot of my writing habits developed through that experience.
DL: Would you deliberately plant things in book one to bloom in books two or three? Are there any seeds you planted in the first book that you ended up not growing?
SC: Oh, yes, I definitely planted things. For instance, Johanna Mason is mentioned in the third chapter of the first book although she won’t appear until Catching Fire. Plutarch is that unnamed gamemaker who falls into the punch bowl when she shoots the arrow. Peeta whispers “Always” in Catching Fire when Katniss is under the influence of sleep syrup but she doesn’t hear the word until after she’s been shot in Mockingjay. Sometimes you just don’t have time to let all the seeds grow, or you cut them out because they don’t really add to the story. Like those wild dogs that roam around District 12. One could potentially have been tamed, but Buttercup stole their thunder.
DL: Since much of your early experience as a writer was as a playwright, I’m curious: What did you learn as a playwright that helped you as a novelist?
SC: I studied theater for many years — first acting, then playwriting — and I have a particular love for classical theater. I formed my ideas about structure as a playwright, how crucial it is and how, when it’s done well, it’s really inseparable from character. It’s like a living thing to me. I also wrote for children’s television for seventeen years. I learned a lot writing for preschool. If a three-year-old doesn’t like something, they just get up and walk away from the set. I saw my own kids do that. How do you hold their attention? It’s hard and the internet has made it harder. So for the eight novels, I developed a three-act structure, with each act being composed of nine chapters, using elements from both play and screenplay structures — double layering it, so to speak.
DL: Where do you write? Are you a longhand writer or a laptop writer? Do you listen to music as you write, or go for the monastic, writerly silence?
SC: I write best at home in a recliner. I used to write longhand, but now it’s all laptop. Definitely not music; it demands to be listened to. I like quiet, but not silence.
DL: You talked earlier about researching survival training and edible plants for these books. What other research did you have to do? Are you a reading researcher, a hands-on researcher, or a mix of both? (I’m imagining an elaborate archery complex in your backyard, but I am guessing that’s not necessarily accurate.)
SC: You know, I’m just not very handy. I read a lot about how to build a bow from scratch, but I doubt I could ever make one. Being good with your hands is a gift. So I do a lot of book research. Sometimes I visit museums or historic sites for inspiration. I was trained in stage combat, particularly sword fighting in drama school; I have a nice collection of swords designed for that, but that was more helpful for The Underland Chronicles. The only time I got to do archery was in gym class in high school.
DL: While I wish I could say the editorial team (Kate Egan, Jennifer Rees, and myself ) were the first-ever readers of The Hunger Games, I know this isn’t true. When you’re writing a book, who reads it first?
SC: My husband, Cap, and my literary agent, Rosemary Stimola, have consistently been the books’ first readers. They both have excellent critique skills and give insightful notes. I like to keep the editorial team as much in the dark as possible, so that when they read the first draft it’s with completely fresh eyes.
DL: Looking back now at the editorial conversations we had about The Hunger Games — which were primarily with Kate, as Jen and I rode shotgun — can you recall any significant shifts or discussions?
SC: What I mostly recall is how relieved I was to know that I had such amazing people to work with on the book before it entered the world. I had eight novels come out in eight years with Scholastic, so that was fast for me and I needed feedback I could trust. You’re all so smart, intuitive, and communicative, and with the three of you, no stone went unturned. With The Hunger Games Trilogy, I really depended on your brains and hearts to catch what worked and what didn’t.
DL: And then there was the question of the title . . .
SC: Okay, this I remember clearly. The original title of the first book was The Tribute of District Twelve. You wanted to change it to The Hunger Games, which was my name for the series. I said, “Okay, but I’m not thinking of another name for the series!” To this day, more people ask me about “the Gregor series” than “The Underland Chronicles,” and I didn’t want a repeat of that because it’s confusing. But you were right, The Hunger Games was a much better name for the book. Catching Fire was originally called The Ripple Effect and I wanted to change that one, because it was too watery for a Girl on Fire, so we came up with Catching Fire. The third book I’d come up with a title so bad I can’t even remember it except it had the word ashes in it. We both hated it. One day, you said, “What if we just call it Mockingjay?” And that seemed perfect. The three parts of the book had been subtitled “The Mockingjay,” “The Assault,” and “The Assassin.” We changed the title to Mockingjay and the first part to “The Ashes” and got that lovely alliteration in the subtitles. Thank goodness you were there; you have far better taste in titles. I believe in the acknowledgments, I call you the Title Master.
DL: With The Hunger Games, the choice of Games is natural — but the choice of Hunger is much more odd and interesting. So I’ll ask: Why Hunger Games?
SC: Because food is a lethal weapon. Withholding food, that is. Just like it is in Boris when the Nazis starve out the people of Leningrad. It’s a weapon that targets everyone in a war, not just the soldiers in combat, but the civilians too. In the prologue of Henry V, the Chorus talks about Harry as Mars, the god of war. “And at his heels, Leash’d in like hounds, should famine, sword, and fire crouch for employment.” Famine, sword, and fire are his dogs of war, and famine leads the pack. With a rising global population and environmental issues, I think food could be a significant weapon in the future.
DL: The cover was another huge effort. We easily had over a hundred different covers comped up before we landed on the iconic one. There were some covers that pictured Katniss — something I can’t imagine doing now. And there were others that tried to picture scenes. Of course, the answer was in front of us the entire time — the Mockingjay symbol, which the art director Elizabeth Parisi deployed to such amazing effect. What do you think of the impact the cover and the symbol have had? What were your thoughts when you saw this cover?
SC: Oh, it’s a brilliant cover, which I should point out I had nothing to do with. I only saw a handful of the many you developed. The one that made it to print is absolutely fantastic; I loved it at first sight. It’s classy, powerful, and utterly unique to the story. It doesn’t limit the age of the audience and I think that really contributed to adults feeling comfortable reading it. And then, of course, you followed it up with the wonderful evolution of the mockingjay throughout the series. There’s something universal about the imagery, the captive bird gaining freedom, which I think is why so many of the foreign publishers chose to use it instead of designing their own. And it translated beautifully to the screen where it still holds as the central symbolic image for the franchise.
DL: Obviously, the four movies had an enormous impact on how widely the story spread across the globe. The whole movie process started with the producers coming on board. What made you know they were the right people to shepherd this story into another form?
SC: When I decided to sell the entertainment rights to the book, I had phone interviews with over a dozen producers. Nina Jacobson’s understanding of and passion for the piece along with her commitment to protecting it won me over. She’s so articulate, I knew she’d be an excellent person to usher it into the world. The team at Lionsgate’s enthusiasm and insight made a deep impression as well. I needed partners with the courage not to shy away from the difficult elements of the piece, ones who wouldn’t try to steer the story to an easier, more traditional ending. Prim can’t live. The victory can’t be joyous. The wounds have to leave lasting scars. It’s not an easy ending but it’s an intentional one.
DL: You cowrote the screenplay for the first Hunger Games movie. I know it’s an enormously tricky thing for an author to adapt their own work. How did you approach it? What was the hardest thing about translating a novel into a screenplay? What was the most rewarding?
SC: I wrote the initial treatments and first draft and then Billy Ray came on for several drafts and then our director, Gary Ross, developed it into his shooting script and we ultimately did a couple of passes together. I did the boil down of the book, which is a lot of cutting things while trying to retain the dramatic structure. I think the hardest thing for me, because I’m not a terribly visual person, was finding the way to translate many words into few images. Billy and Gary, both far more experienced screenwriters and gifted directors as well, really excelled at that. Throughout the franchise I had terrific screenwriters, and Francis Lawrence, who directed the last three films, is an incredible visual storyteller.
The most rewarding moment on the Hunger Games movie would have been the first time I saw it put together, still in rough form, and thinking it worked.
DL: One of the strange things for me about having a novel adapted is knowing that the actors involved will become, in many people’s minds, the faces and bodies of the characters who have heretofore lived as bodiless voices in my head. Which I suppose leads to a three-part question: Do you picture your characters as you’re writing them? If so, how close did Jennifer Lawrence come to the Katniss in your head? And now when you think about Katniss, do you see Jennifer or do you still see what you imagined before?
SC: I definitely do picture the characters when I’m writing them. The actress who looks exactly like my book Katniss doesn’t exist. Jennifer looked close enough and felt very right, which is more important. She gives an amazing performance. When I think of the books, I still think of my initial image of Katniss. When I think of the movies, I think of Jen. Those images aren’t at war any more than the books are with the films. Because they’re faithful adaptations, the story becomes the primary thing. Some people will never read a book, but they might see the same story in a movie. When it works well, the two entities support and enrich each other.
DL: All of the actors did such a fantastic job with your characters (truly). Are there any in particular that have stayed with you?
SC: A writer friend of mine once said, “Your cast — they’re like a basket of diamonds.” That’s how I think of them. I feel fortunate to have had such a talented team — directors, producers, screenwriters, performers, designers, editors, marketing, publicity, everybody — to make the journey with. And I’m so grateful for the readers and viewers who invested in The Hunger Games. Stories are made to be shared.
DL: We’re talking on the occasion of the tenth anniversary of The Hunger Games. Looking back at the past ten years, what have some of the highlights been?
SC: The response from the readers, especially the young audience for which it was written. Seeing beautiful and faithful adaptations reach the screen. Occasionally hearing it make its way into public discourse on politics or social issues.
DL: The Hunger Games Trilogy has been an international bestseller. Why do you think this series struck such an important chord throughout the world?
SC: Possibly because the themes are universal. War is a magnet for difficult issues. In The Hunger Games, you have vast inequality of wealth, destruction of the planet, political struggles, war as a media event, human rights abuses, propaganda, and a whole lot of other elements that affect human beings wherever they live. I think the story might tap into the anxiety a lot of people feel about the future right now.
DL: As we celebrate the past ten years and look forward to many decades to come for this trilogy, I’d love for us to end where we should — with the millions of readers who’ve embraced these books. What words would you like to leave them with?
SC: Thank you for joining Katniss on her journey. And may the odds be ever in your favor.
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sorry it's nearly 3am and i can't stop thinking about this. scattered thoughts below the cut
okay so gregor and lizzie would start a survival world together and it would be so incredibly epic. gregor is so serious and logical about it. ("okay liz, we've got a big mining trip ahead of us. you got torches? only two stacks? that's not nearly enough.") lizzie gets really into working with redstone and building cool contraptions and automated things. boots, when she's old enough to play, befriends every dog, cat, horse, etc. gregor grows all of his food on farms and refuses to kill any non-hostile mobs. lizzie goes overboard collecting resources but then gets too nervous to actually use any of them. ("no boots you can't have a diamond shovel, we only have 40 diamonds left!") boots constantly goes exploring all around the world and then gets lost and gregor has to go find her. um okay last thing. one time gregor is mining and has the universal minecraft experience of a bat flying in front of him while he's swinging his pickaxe and he kills it on accident and then he refuses to play again for like 2 weeks. (lizzie and boots convince him to come back when they start building a recreation of regalia underground, and that becomes their big group project for a significant amount of time to come.)
i think postcanon gregor would get really into minecraft
#please rb with your minecraft tuc headcanons#i can spew out so many more of these but i have to go to bed#i think IM gonna try building a recreation of regalia in minecraft tho#maybe all of the underland (as i envision it)#that can be MY silly little project#in creative tho not survival. survival has been giving me grief lately i need some casual fun building#the underland chronicles#tuc#gregor the overlander#gto#minecraft#headcanon
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Man, I really feel bad for the Dinotopia guys. They built this whole intricate, creative, enrapturing world, and it was going to be the next big thing. It was gonna be the next franchise. They got George Fucking LUCAS to make a screen adaptation of it. Yeah, the starwars guy. Then midway through production he realizes how much he loves making movies and decides to ditch your project and make the prequels instead. They say there's no bad blood but... man it would fucking kill me to go to the theater and see Naboo and think "Fuck, that coulda been waterfall city"
There still was a franchise. They did eventually make spinoff paperback novels and video games and there were even a couple screen adaptations, but they were done by Lifetime and Hallmark. The lifetime one is actually surprisingly good given its budget. It tells a story that mirrors the structure of the original picture book, two brothers get marooned on Dinotopia, one of them rides a pterosaur and then they have to stop a dude named Krab from stealing a crystal that he needs to make an ancient machine get him off the island... but it's not a reboot or anything, it's the same continuity as the books. I guess guys named Krab really do be stealing crystals every generation or so. It's not really that bad of a series but damn it could have been George Lucas!
I dunno, I just find myself thinking about it. It was a uniquely artistic and non-violent series for its time. All of the dinosaurs and people live in harmony. There used to be a steampunk cyber empire of capitalists who tried to replace dinosaurs with the coolest looking robots you could imagine, but then there was a revolution and they all live in communistic harmony with no real currency. Each according to their need, each to their own ability. All that Jazz.
I'm certainly more normal about it than I am say The Underland Chronicles but I still find myself thinking about those gorgeous communist dinosaur picture books. In another reality, Battleborn won over Overwatch, Galidor never got its budget cut and was actually a smash success, Warner bros actually did something with the TUC film rights, and Kids in the 00s grew up with Dinotopia instead of the Starwars prequels.
#And no hate to the starwars prequels. I actually unironically enjoy them a lot which probably surprises no one#Dinotopia#dinosaurs#Quohotos' unhinged rants that no one asked for#ooh that's a new tag. I guess this will be a series
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ahahahahaaaa suffer
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I really want to draw tarot card versions of underland chronicles characters, but it’s a very intimidating, work intensive project that doesn’t quite jive w my doodle-making style
#I’ve got them assigned and I have the designs in my head it’s just creating a consistent format and#actually getting the sketches down that has me hesitating#someone make me do it lol#tuc#al chatters#the underland chronicles
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Wrote a short lil Ares fic, only 741 words! And coincidentally the 250th work in the Underland Chronicles tag on AO3. Which is wild. Anyway. Hope y'all like it!
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"Ripred sleeps like a rock and he snores, he's such a deep sleeper."
Yeah well Gregor looked at them without moving while they were in rem for like point two seconds and
#the underland chronicles#gregor the overlander#ripred#ripred the rat#ripred the gnawer#tuc#ripred my beloved#I don't know what astral projection special ops bullshit he's doing but that rat. He scares me.
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would it be possible to join some kind of discord server related to the series? It's been way too long since I read TUC to contribute something meaningful/lore accurate .. but I still want to interact with this project
The project discord is going to be limited to the contributors as it will be the main source of communication between everyone involved in the project.
However, there are discord servers dedicated to TuC! This is one that a few of our mods are part of. We'd love to have you join in there :
If you change your mind about joining the zine, please apply. We'd love to get you caught up to speed and part of a team of contributors.
-The Mod Team
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Venture Bros Rewatch notes: Home Insecurity
Fucking hilarious that Underland is designed like a disney princess villain lair but actually with all the executions.
tiger balm....tiger....bomb.....makes me laugh EVERY time honestly all i can think of when i hear tiger balm
Knowing that there are many kids with amputations in Underland from the child mines, like that is crazy the child amputee rate must be one of the highest in the world. i get that its played for jokes and it was funny, but if we are gonna be serious about all of it this counts and is like. mind boggling
whoo! use of the r slur! the way ive had to fucking campaign in my family to get them to stop using it and then i turn on this show and theyre saying it like every other episode makes me want to hunt down hammer and publick
okay but thats a waste of tiger.....
ik we dont learn this till later but i have questions about underland apparently being located right next to michigan.....PLEASSSSE LET ME SEE THE WORLD MAP IK ITS SO FUCKED UP
Brock's blue shirt is so beautiful on him...wish I could unbutton it off him. Dean and his hover boots, honestly those boots should make a come back
Stupid ass racist costume!
I literally choked on my spit and coughed at the same time Doc coughed at Brock's fumes
Okay I think Rusty is just doing a bit with the whole "big man think you can take me on? i knew this day would come" like seriously, the twins are so fucking silly but rusty is so beyond sarcastic he really is just projecting his own issues onto his kids all the time.
HELPER!!!!!!!!! Him going to take care of Rusty and so comically seeing NEW ROBOT blueprints and packing up a knapsack including a pic of child Rusty and Helper, oh my god it is just the sweetest robot and makes me wonder if there is a similar situation like with the red Helper happening with the whole....human brain.
the henchmen fighting and getting distracted till doc wakes up an slides into the panic room LOL
also i do love the underland footmen look as someone who loved tmnt it looks very foot clan
hank and dean may be a little over the top but they did take care of the scorpion and tarantula pretty handily.
Dean and Hank in the panic room and not even knowing when it was built....like seriously how many memories are they missing, consider they repeated being 15/16 over 10 times
Hank choking out Rusty is SO FUNNY Hank is just trying to help!!!!!!! just send them both to a first aid class you will be better for it doc
Rusty lactating!!!!! Milky king!!!!!
The animation and storyboard in this episode flips between dynamic and very getty stock images which is pretty funny
Dr. Girlfriend getting insulted and telling the monarch to use the phone himself...him trying to get an outside line....god i feel so old.
bigfoot baby!
"GUARDO" you fucking idiot Rusty. "I fell asleep" Okay but have we considered the fact that you just don't have a head for mechanics and need to switch science majors
THE SNACKS FOR COMPANY. And Monarch apparently seeing the Baron for the first time since college and them trying to kill each other at first in a big dick measuring contest.
"how do you even mix it up! augh its like having my dad do the shopping!" ok i need more orphan jokes from the monarch stat seasons 1 he kills with this
its funny to see bigfoot and brock and steve summers meeting is so funny...considering that they all fuck when brock stays with them after he leaves the osi
"do you know how long 6 million bucks takes to pay back on a government salary!" fucking screammmmmmmmmmm
"lab partnership is a sacred trust" SSTILLLLLLLL want to know about how this happened
The Monarch fucking around struggling with his old ass computer makes me SOOOO nostalgic i remember we had a similar computer in the kitchen growing up.
Dean reading Helper perfectly and Doc going through a slumdog millionaire flashback before emotionally manipulating his mommy robot
One henchman became a hench after the plant closed and he only had a GED. one had a crack addiction and got off it. one (gary) got kidnapped) underland minions are drafted and then executed at 38.
"SASBURGER"!!! GOD "Sasquatch gave me a new life" Brock trying not be grossed out but like trying not to let it show (but only because he thinks Sasquatch is a woman at that point and he's bigoted but pro-str8 people always.
"Go team Helper!"
Jesus I really SSOOOOOOOOOOO would fucking fucking fucking kill for an expose episode on how henching works in the world as a job
all the army men are idiots very appropriate. brock getting SOOO weirded out. It is homophobic but also I choose to believe Brock has never seen a cock bigger than his own and got so horny and emasculated he got wigged out.
First mention of the Guild in this episode about filing paperwork on collaboration which i think is funny
Helper not letting Rusty out is SO funny me and my siblings would do that all the time. Truly, there is a lot to be said about Rusty and Helper's relationship. No other relationship has been as long for Rusty as Helper, who has been there sinvce he was a young boy and has always looked out for him.
Overall this episode is really fun and enjoyable, it does very well with having very silly concepts being treated seriously and then serious situations being treated clownishly. always love steve and sasquatch, altho the vbros design is so............he has a face only steve summers loves apparently. and the conversation on paying back the osi for the bionics was good worldbuilding/commentary on real world disability issues of how disability devices are often very expensive and only work at the behest of whoever made the device. my own cousin had a cochlear implant that worked very well but then he was told it was being recalled and he could get new one and now its works awfully for him
would rate this one like a 7/10. very solid but nothing too rib crackling funny or show pausing overly interesting
#home insecurity#the venture bros#brock samson#rusty venture#hank venture#dean venture#the monarch#sasquatch#episode analysis#latibulater
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HEADS-UP ON UPCOMING UPLOADS!
(I am not dead! Just hibernating and will be a lot more active now that my personal life has settled down. I have a lot of projects I am excited to share with all of you lovelies! Here is what is on the to-do list to come out relatively soon!)
Long Twst Fics - Personal Projects
Welcome to Ramshackle! - Meet the Ramshackle Residence for "A Tale of Two Yuu's"
Revised Prolouge and Chapter 1 of "A Tale of Two Yuu's" (Revision stage)
"The Little Cecelia" - Azul twisted Little Mermaid Fic (Outlined and first 3 chapters done)
"Riddle in Underland" - Riddle Roseheart twst Alice in Wonderland Fic (Outlined)
All request from January that i am finishing (I am working on them slowly) by the end of February
Finishing Glorious Masqurade with the rest of the Twst Cast (Part 1 of this request is almost done and part 2 is outlined)
NSFW part 2 for GLOMAS Series ft. Malleus, Sebek, Silver, and Idia
NSFW part 2 for Rollo in GLOMAS Series (half-way done)
Housewardens reacting to a Possessed Reader (Like in the Halloween Event)
I have been Slowly working on all these projects and I now have a better writing schedule so stay tuned for more stuff from CynWrites! If you are interested or would like to be tag, please let me know!!
#twisted wonderland#disney twisted wonderland#twst#disney twst#twst fanfic#twst oc#cynwrites#cynwritesocs
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