#the whole point of the original story was that there was nothing supernatural about the actual paintings themselves

[beaft]

it hurts me to say this but i am really not enjoying cabinet of curiosities as much as i hoped i would :-( sorry guillermo del toro. i still love your work but i can only look at so many cgi tentacle beasts before i get bored of them

[welcometothejianghu]

Welcome to another round of W2 Tells You What You Should See, where W2 (me) tries to sell you (you) on something you should be watching. Today's choice: 致命游戏 / The Spirealm.

The Spirealm is a 2024 drama about two young men who fall in love while basically playing a whole bunch of horror-themed escape rooms that can for-real kill you.

This show/book combo has gripped my entire ass. The second I knew I wanted to watch this, almost immediately after it started airing, I muted the tag. I was so right to do this, because this is worth not spoiling yourself about. If you are a Guardian fan in particular, you owe it to yourself to watch this for reasons I think will become clear as you go about watching it.

So! If all you need to know is that I think you need this show in your life, great! You don't even need to scroll down to the end of the post for the links; go to Viki and press play. In case you need more convincing than that, though, I'm going to give you here five reasons to watch it that are as spoilerless as I can make them.

Before we start, though, I'm going to take a moment to note that I had to torrent the video files so I could make screenshots of my own, and if I hadn't, this would have been a much uglier rec post than the others I've done. Not only were there not many promotional materials or official stills released, the show itself barely stayed up two hours on iQiyi, and that's because this drama is a...

1. (Barely) Censored Adaptation Of Same-sex Original Work

Ah, you know that MyDramaList tag well, don't you? Yeah, the original novel, Kaleidoscope of Death (which has a rec post of its own!), is supernatural story about grief and loss built on the love story between the two male leads. Now of course you know already that a mainstream Chinese television adaptation of something like that is going to straighten up everything and turn the horror romance into the sci-fi platonic love of besties.

...But damn, folks, it's still real gay.

Ling Jiushi, the sweet-faced newbie, is a canonical virgin and loving cat dad who plays the mysterious video game once, then finds himself suddenly able to enter the game worlds bodily -- and of course, if you die in the game, you die in real life. He's pretty much doomed, until he meets...

Ruan Lanzhu, the cool-as-a-cucumber veteran of the door worlds, who falls pretty much immediately for the completely oblivious Ling Jiushi, then has to spend the rest of the series consumed with lust while trying to keep him and a couple other dipshits alive.

The show preserves so many overtly gay beats and declarations of affection from the novel, to the point where it's just this side of suggesting that the romance is actually, textually happening just offscreen, every time the camera cuts away. I am forever grateful that working with Zhu Yilong on Reunion seems to have perfected sweet baby Junjie's ability to look at a man with nothing but love in his eyes.

I adore so much the dynamic they have, one where a man who has never told the truth a day in his life encounters a man so sincere and naive that you cannot seduce him with anything but absolute honesty or he's never going to get it.

There are three (3) separate door worlds where they share a bed, and in every one of them, they both sleep with their shoes on. Like the absolute freaks they both are.

2. It's puzzle solvin' time!

So if you've read some of my rec posts before, you know that I am critical of stories that center around cases that are unfollowable, uninteresting, or both (e.g., Mysterious Lotus Casebook and White Cat Legend). I am therefore thrilled to tell you that the door worlds are actually (largely) thoughtful mysteries with reasonable solutions, where you care about what's happening and why.

The way each door world is set up is that you have to solve the puzzle to find a key and unlock the door that will let you leave. One of the challenges is each world's door ghost, who has the key and does not want to give it up. The other challenge is the world-specific set of taboo conditions, where violating them means the door ghost can kill you -- and you are not always told what those taboo conditions are. That means that solving a door involves 1) figuring out what will insta-kill you, 2) not doing that, 3) finding where the hell the exit door is, 4) placating and/or scamming the door ghost long enough to snatch the key from them, and 5) running like hell to the exit door with that key before the door ghost fucks you up about it.

As the show goes on, you get introduced to the concept of door-passing shepherds, which are experienced door-finishers who take through lower-level players, building them up in the process. A lot of these shepherds work for organizations, such as the one Ruan Lanzhu runs. And a lot of them are ready to reach the exit by climbing over everyone else's corpses.

That's part of the fun of the setup: You're not just thrown in alone. You show up with a random number of other players, some with very different levels of experience. At least one of you will make it out; not everyone will. So you can add a step 6) to the list above, which is: surviving all the other players who will gleefully stab you in the back in order to be the first player out the door.

The door worlds are also lovely. They all feel like sets -- and I know that's a weird thing to say about places that are literal sets, but they manage it feel it even on film. In fact, even the show's uses of clunky-ass greenscreen feel appropriate, because of how unreal everything is supposed to be. Everything looks like a dream, which is only amplified by how beautifully everything's shot.

(What's that you say? You say the guy who directed this was the editor on Infernal Affairs? No kidding.)

From a fandom perspective, what's great here is that even though there are technically just twelve doors, there are canonically way more than twelve door worlds out there. That means that whatever worlds you want to create are valid. The best pieces of fanfic I've read are the ones that dream up their own door worlds, complete with taboo conditions, key puzzles, and world-specific perks that lead to gay sex, because come on.

3. A good middle ground of horror

So at this point you are perhaps wondering: How scary is it?

And the answer is, kind of as scary as you're willing to let your mind go with it. Everything has been science-fictioned real hard, including the video game premise that "explains" what's happening with these doors. It relies on dread way more than jumpscares. The blood/gore/gross content is extremely low, again on account of Chinese content censorship. Most icky things are done with offscreen sounds and shadows. I'm pretty squeamish about pain and injury, and I can't recall a time I had to look too long away from the screen.

However, that means the show works some real conceptual horror. That picture up there is of a man forcing three young girls to hold raw eggs unbroken in their mouths. There's nothing about that image that's not technically G-rated, and it's awful in context.

The best bits are when the monsters don't need a lick of CG to become horrors. They cast a contortionist in the Waverly Hills door world, and she absolutely earned her keep.

I have a lot of critiques about how the show handles things, especially in terms of defanging the horror elements (which it does), but one thing I think it absolutely gets right is that it understands that ghost stories are first and foremost tragedies. That's a thing I've always liked about Asian horror in particular, how often you wind up siding with the ghost. Yes, sure, she tried to strangle you with her hair, but have you ever considered she's the real victim here? There's always a bit of a calculus: Can you negotiate with the door ghost, or do you just need to stab them and run? The Spirealm prefers negotiation, and frankly, so do I.

So yeah, it's about as scary as you let it be. If your horror tolerance is low, watch it in a well-lit room and focus on the unreality of it, and you'll be okay. If you're looking for something genuinely spooky, spend some time thinking about the existential dread of the entire situation, and that'll be good for a couple good spine tingles.

4. The Obsidian Family (& Friends!)

In a show where death is always an option, you have to have characters where you actually care if they live or die. Fortunately, all your allies are charming and loveable enough that you are going to be real upset every time they get put in danger!

Obsidian is one of the organizations I mentioned earlier. It's run by Ruan Lanzhu, and it includes a cool and collected doctor, a mom friend who cooks for everybody, a guy who's maybe not having the best mental health day of his life, and two identical twins who could not be more different if they tried. They all live in the same amazing big fancy house, which is where Ling Jiushi too goes to live when he joins the group. They have big family meals, they look after one another, they hang out together -- I mean, if this is the kind of setup you love, then you will love this setup.

There are also plenty of allies who aren't technically part of Obsidian, but who are our friends nonetheless, and who come over to hang out in the Obsidian house from time to time. Some of them are rivals turned friends, some of them are clients turned friends, and some of them were just friends all along! Surely nothing bad will happen to any of them, and they'll all live happily ever after, right? ...Right?

5. Toast and Chestnut!

Of course, the true heroes of the show are Toast the Corgi and Chestnut the Kitty.

Animals are so good.

Truly, I love that one of Ling Jiushi's defining characteristics is that he is a Cat Dad. He is a simple man with simple needs, and one of those needs is to pet his kitty or he'll explode.

caveat: Some thoroughly bad adaptation choices

Yeah, so I keep talking about the novel (and talk even more about the novel in its own rec post), but I assure you, you don't need to have read the novel to feel the degree to which this is an adaptation -- and one that's had its rough, nasty, spooky, gay edges all sanded off in the desperate hope of ever seeing daylight.

Now, sometimes I consider batshit nonsense janky creative decisions to be a selling point for a show (see: Mysterious Lotus Casebook, Legend of Fei, Sand Sea)! In this case, however, I'm going to have to take points off for how incoherently bad they are here. We're talking Psych-Hunter levels of Why Would You Do That-- and the answer, as always, comes down to how you write around what censorship won't allow on television.

The novel says the doors are supernatural. The show says they're a virtual-reality computer game. Now, on the surface, this move sort of makes sense -- you can't have ghosts, but you can have computer games that make digital ghosts, which, sure, okay. But then the problem quickly becomes that the plot of the novel is not remotely built to support a sci-fi premise, so a lot of things have to be grafted awkwardly on. Like, say, a bad guy who stole his corporate logo from Even Worse Twitter. Or a game-designing bestie whose face is never seen. Or [late-stage spoilers about a major character].

The eventual explanation is that this whole setup is a righteous and good game that has somehow been corrupted by evil game-designing capitalists from the West, and that's why it can abduct you in broad daylight and kill you if you fail it. There are good people who want to purify (???) the game, and evil people who want to make money off the game. And I don't mind spoiling you for that part, because it's garbage nonsense. You will be deeply unsatisfied with the show's half-assed attempt at resolving it all. (You may, however, have that disappointment tempered with the amazing concurrent display of heterosexuality that is apologizing to your best bro by coding his perfect man for him. The Spirealm is a land of contrasts.)

Look, I consider myself a mild to moderate socialist, and even I was yawning and making jerk-off motions every time someone started to wax halfheartedly poetic about how evil American capitalism is. Like, yeah, but not because some college student made a vile and wretched video game that eats people! This show is a critique of capitalism like a five-year-old crying because he doesn't get ice cream before bed is a critique of authoritarianism.

And even this, I can't be too mad at it about, you know? I just assume that this was some absolute Hail Mary attempt at getting past censorship -- you know, maybe if we make all the right "grr, USA bad!" noises, they'll let our gay ghost story slip by? And it worked! I mean, just barely, but it did.

So yeah, fair warning that the Spirealm is a show that, if you love it (and I do), you will have to love despite some glaring flaws that haunt it all the way through and hit especially hard during what should otherwise have been an amazing endgame. But hey, we're c-drama fans! We're good at loving janky things, right?

Want to enter the World of Doors?

As I said at the start of the post, Viki's got it -- and only Viki. I'm not sure what circumstances got it up on Viki after iQiyi pulled it, but I'm glad. Watch it quick, before Viki changes its mind!

Hug him! Hug that boy!

[dollsanddandy]

Byler doubt has seeped into my mind and the thing about it is I see an argument for Mileven and Byler.

I will briefly mention that the fact we hardly see Will and Eleven interact onscreen kills me. These two understand the Upside Down and supernatural crap in a way the whole group does not and it kills me we don’t see them talk about it. Not only that, but they are among the most selfless of the group and they have received nothing in return.

Anyway, here’s my reasoning for both:

Originally I was like “Y’know what? Yeah, Will hasn’t got a single good thing going for him like the entire show, he deserves something good and Byler canon would be perfect.” But couldn’t the same be said for Eleven? She’s suffered just as much if not more. If anyone deserves someone romantically I’d argue it’s her over Will.

However, I am not saying Eleven needs a man. What Eleven has always needed most was a sense of belonging and an exploration into who she is. In support of Byler it would make the most sense that she needs to explore her autonomy and figure out who she is and what she wants. Her whole life has been for everyone but her. As much as Hawkins needs Eleven’s help, I hope we can spend some time for her to discover herself and gain control of her life in Season 5. Her best future would be without Mike romantically, it would be with Mike and the party platonically. She needs support and love from friends and family. She needs to know she has value beyond what she can do for others and beyond her powers. She needs to know she matters.

Eleven wants to feel like a normal teenage girl and doesn’t want to feel like she’s wrong or a mistake. Max gave her the chance to be a normal teenage girl and Eleven’s happiest memories are from time spent with Max. I’d also like to add that these moments with Max subvert the makeover trope because she wants Eleven to discover what she likes rather than Max choosing for her. Max has always wanted to give Eleven exactly what she wants: autonomy and normalcy.

Will needs romantic love. Eleven needs support and platonic love from those around her, and while Will needs support as well, him receiving romantic love would help him justify his existence. He feels like a mistake and that his love for Mike is wrong. Will gave up on Mike’s love in an attempt to save Eleven’s relationship. Will needs to feel like he matters, especially to his best friend and possible love interest Mike. Will receiving Mike’s love would complete his arc with him understanding he’s not a mistake, his love is normal and natural. He has been pushed aside for too long and the boy needs some serious love, care, affection and attention. At this point in the story Will must feel incredibly hopeless and without a future. His friends no longer have interest in his interests, he doesn’t appear to have any friends in California, he’s given up on his crush on Mike and the world is quite literally ending right before his eyes.

Mike’s love saving Will from Vecna and the end of the world and finally understanding what has really been going on between these two best friends would be a gorgeous choice narratively. “Yes we can play D&D and Nintendo in my basement for the rest of our lives, I love you.” This narrative would disprove his idea that he would never fall in love. It would be a beautiful message to all gay people, you’re not a mistake, you’re worthy of love. It would also explain to Will it was never about wanting to leave “childish” things behind, it was always about fear and internalized homophobia.

Now, let’s talk Michael Wheeler. Will and Mike have a falling out over Mike and Lucas not wanting to play D&D with him in ST3. Then Will leaves and suddenly in ST4 the remaining core four members are playing D&D again? My theory is that Mike playing D&D was his way of connecting with Will. D&D was their medium to be their true selves and when they stop playing D&D and Will leaves, Mike feels like he lost Will. I think Mike was the first to show interest in the Hellfire Club and by playing it with his friends he hoped to recreate the same feelings of happiness when he used to play D&D. However, it doesn’t work which is why Mike doesn’t appear happy in early ST4. When they beat Eddie’s campaign we don’t see him celebrating with his friends and that’s when he begins to realize what’s wrong: It doesn’t feel the same. He doesn’t miss playing D&D, he misses Will. It was never about the fantasy role playing game, it was always about how he was able to spend time playing with the boy he loves.

Anyway, here’s some honorable mentions and details I’d like to talk about:

Max and Eleven the duo you are 💗☹️ I really wish we had more moments for them as friends, I feel like Eleven would’ve really been there for Max while she was depressed following the events of ST3.

I feel like Eleven’s supernatural plot for ST5 should be focused on Max, it would make more sense that she and Lucas are trying to free someone who meant so much to them. Max was the most positive influence on Eleven next to Hopper. Beyond that, Eleven should have some time to discover her wants to some extent this season. She’s more than a weapon.

I think it’s so interesting how Will and Eleven are almost foils. In ST1-2 it’s almost like they cannot be on the same place at once (Will gets taken to the UD, Eleven has to save him, Will is saved, Eleven replaces his spot in the UD, Will is possessed, Eleven returns to help him, Will is freed and Eleven must return to hiding until the Snowball. It’s a very interesting choice), they need the opposite forms of love and Eleven is empowered to fight while Will is only able to flight.

There are a few parallels between the two, such as Mike’s “love” hurting both Will and Eleven and strangely enough the love they need from Mike is the opposite of the love they’re receiving from him. They also both feel like monsters or “othered” because of things that they aren’t in control of.

My recent obsession has been Mike Wheeler edits with “Like Him” as the song

I need Stranger Things 5 trailer now right now please please pleaseeee

This was written way better but I was outside the app too long so my progress was lost 😭🤚

[katrina37973]

Thoughts on WOTR Part 1/?

I had the joy of watching this in the cinemas with my friend and both of us deeply deeply enjoyed it.

TLDR: Good solid movie with compelling characters and story. Excellent homage to Tolkein. It's not pretending to be anything but an addition to the current Legendarium, an insight to a period of history which has very little actually written about (canonically at least).

Apologies for horrible grammar and spelling in advance. The following's just my thoughts on Helm, Hera, Wulf and Targg.

Spoilers for The War of the Rohirrim. It's a long one.

Helm Hammerhand

Really liked how they depicted his hot-headedness and his love for his children. I jsut adore parent and children bonds, and the weight of his love was so very clear. The whole thing was so very tragic, seeing two of your children killed and the third probably awaiting a worse fate? Tragic, absolutely tragic but so fun to watch. His temper is something that sort of parallels Wulf I think. There's a line there somewhere but I can't really voice it yet, maybe it just needs a little more time to stew.

It was a little unexpected for him to exile Wulf; it felt strange as while it was a rash decision, and while that fits his character, it didn't really make sense? From the brief sense of the culture of Rohan, it seemed family and strong relationships were extremely valued which made him purposefully exiling Wulf strange as a) it basically is an invitation to hate Helm with reason and b) he’s aged and, set up to be, wise in terms of battle and strategy which means surely, surely he would have realised the moment he said it that this would come to bite him back? This points a bit of a nitpick, but I can't help wonder if they went the way of self-exile for Wulf, what that would have changed in terms of storytelling. 

Another thing that sorta applies to other characters too is how they depicted the time passing. Originally when the narrator says ‘seasons past yet no sign of Wulf appeared’ thing, Helm looked exactly the same as he did in the beginning which was his hair. If they made him grey-haired, then it would be easier to show the time passing eg, give white streaks throughout hair; in addition to this, you could have had his entire hair white in Hornburg to emphasise the extent of his grief. Might even help play with the whole wraith arc. 

Speaking of which, the wraith-arc was excellent, I loved how they incorporated that view from ordinary people into it, it really sold the power and influence Helm had on his people and his enemies. The thing I really didn't like/felt negatively about but understood was how he immediately became this tough, muscled fit person especially so soon after being depicted as a gaunt, skeleton, shell of a man due to his grief. It doesn't make sense narratively too as it disrupts the whole thing about being trapped and supplies dwindling low in Hornburg. Unless he stole from Wulf’s army but still, the timeline is a little confusing and his sudden supernatural strength (despite being human) to go toe to toe with a troll broke the immersion a little. 

I'm just a sucker for those story-telling narrations okay? Those implications of this becoming a legend, a myth retold again and again, there's just something about a legacy well left behind that tickles my fancy.

Hera

Loved her whole character arc except, EXCEPT, her fucking hair. I don’t mind her clothes, though her rider outfit, the one that strongly reminds me of Black Widow/Natasha Romanoff, was a little too modern aesthetic. 

Starting off good/strong, I love the fact they didn’t change her thoughts on marriage. I was apprehensive for a long time throughout the movie because that’s usually how it goes, that there should be an arc, a start and an end which differs from that start belief but thank all that it didn’t go that through. She feels very ace-coded to me, the whole I'm married to nothing but death? Gorgeous. I might be a little biased here tho. 

I adore how they show her intelligence and strength. The way they subtly used her skill/knowledge with horses to set up Hama’s finale was gold. I would have loved to see more of her with her horse, and the bond they had, like short stories where she travels throughout the land before nad after the events of the movie. Just the whole movie had excellent writing and storytelling. The way they had side characters like Lief and Olwyn, build each other up is such a simple but effective way. It felt very grounded, that they had a lot of history and respect for each other. It didn't feel like any side characters were missing potential/felt out of place.

Her intelligence was not in your face, not arrogant and forced and random long tirades which I adored. As much as I loved BBC Sherlock, the way they depicted his intelligence was iffy and I’m glad they didn't go that route for Hera. I don't think I have any specific scenes in mind, just overall excellent storytelling with her. Minus that one scene where she was captured by General Targg and grunts, lass you had a sword in your belt and you’re beating your hands against the man’s back? I guess shock and adrenaline and all but it felt really weird and slightly out of character. (Unless I’m remembering wrong, I hope that’s the reason)

Now, I know this is done by a Japanese company and thus has strong ties to anime (and thus main character hair syndrome), but really? Really? I can’t get over her hair. Why would you make it red? Sure you can argue her mothers could be red-haired and that her brothers had a different mother, but what does that do but detract from the storytelling? Moments such as her brother's deaths could have been made more moving (not that it wasn't, I teared up during Hama’s scene so much, just the way the music is so mournful and muted compared to previous loud battle scenes and thundering hooves, the bond he has with his old mare, ah that scene was a masterpiece). It not only visually ties her to her family more strongly, but it signals visually the transfer of the line of kings to Frealaf. I just think it was such a missed opportunity. 

Actually, now that I thinking more, I really adore how she knows Wulf so well. Especially in that last battle, the way she purposefully pushes all his buttons, and fighting in a wedding dress? Any other movie I would be thinking distasteful thoughts but here? Beautiful shock but understandable. She’s been shown to fight before, she has access to armour (ill-fitting though they may be) but instead of acting sensible like Wulf probably expects, she trades defensive for psychological warfare and hell yeah, it rocks. The whole wedding dress was pointless and taunting and by Gods it was lovely.

A tiny nitpick but understandable why the producers did this; I like it when shows/movies show grime and tears on clothing to show the journey they went through but I understand animations long and time-consuming and really keeping track of all the rips and tears would be a such a pain.

Wulf

I love his design okay? He’s the typical bad/angsty lad and it's a stereotype that works for a reason. His character stays amazingly consistent, he’s so fixated on Hera and his vengeance and the lengths he goes for it, terrifying in the best way possible. While the inciting incident was his father's death, I think it came through quite strongly that that wasn’t the true reason why he continued on his attack. Someone else probably has already made a detailed explanation and breakdown so I‘ll leave this part be.

Other than that I don't have much strong feeling on him? Its a little strange, I appreciate him as a character but it doesn't really invoke in me anything strong. Good character set up with their childhood flashback where he gets the scar due to his loss of temper, good consistent decision made with reckless abandon.

General Targg

Okay, not gonna lie, this is my favourite character, besides Olwyn and Hera. Like dude’s doing his best and making so very sensible suggestions and he keeps getting ignored. He keeps getting ignored. He’s a strong, experienced veteran who served under Wulf’s father, probably knows Wulf since a young age and he’s doing his damn best to keep Wulf alive and satisfied (I would say happy but I think that’s not quite possible) despite the hilariously stupid decisions Wulf keeps making. I use the word hilarious because it is. Especially from Targg’s POV. This leads to the thing I’m most confused about; why did Targg stay? What is his motive here? In the end he’s killed by Wulf himself, despite him being a reasonable commander who had supported Wulf all this time. While it enforces Wulf’s character, it feels really strange to never see why Targg stays on the same side especially when Wulf makes a whole bunch of strategic blunders. It might be loyalty to father, loyalty to son thing but I dunno, I wish they had a scene or dialogue that just gives us a bit more info. Like, looking back the only reason Wulf is not as banged up as he should be with that personality and temper of his, is that Targg there’s to soothe things over and manage strategic decisions. I’m not saying Wulf’s stupid, he’s is smart and clever but you cannot convince me that Wulf would not antagonise (purposefully or accidentally) would be allies and Targg would have to play diplomat.

Honestly I think he and Olwyn would be those type who would meet in a bar/tavern and trade good stories with good (or shitty) drinks between them, and probably also complain about idiots who get themselves into trouble all the time. They're like the duo who could and absolutely would look at each other in a situation over their fighting charges, have their eyes meet and say get a load of this bullshit. Honestly, Targg didn’t get what he deserved, man really got betrayed while doing nothing but what he did for the entire movie, AKA making reasonable suggestions. 

Side notes, I really liked the depiction of horses in Rohan. Like the bond all Rohans had for horses. There were so many scenes where I was thinking, and getting annoyed, go on kill that horse and kill its rider, like the easiest way to kill a man, get their horse to kill them for you. But then I was like, but this is Rohan. Their crazy about horses (or at least what I know, the little I do of Rohan) so it absolutely would make sense for them to not treat their horses as meat shields. Their whole country/state is (probably) based on horses and travelling place to place so while it would make economic and practical sense to keep as many horses alive as possible, I think its just neat if it’s their culture that influences this decision.

[scarlet--wiccan]

Is there a stated (specific) reason why the high evolutionary kidnapped the maximoffs, experimented on them, then gave them back? Did he have a specific goal in mind or was it just general mad scientist stuff? Were they targeted for a specific reason (beyond the implied racism ofc), or would any babies have worked? Were there other babies experimented on? Was it Bova’s, Natalya’s, or someone else’s efforts to get them back to their original family? (because it seems kind of out of character for THE to make an effort to return the children he stole and then experimented on…)

Yes. Wyndham's motives are clearly stated in Scarlet Witch. The timeline of events after the children were taken is left somewhat more ambiguous, but we can piece it together from context.

In Scarlet Witch #11, the priest, Drobnjak, explains to Wanda that the Evolutionary had been sending his Knights out on raids to locate human subjects-- specifically children-- with latent powers or supernatural abilities for him to study and augment. Drobjnak was aware, at the time, of a witch's family living in the area and figured that the children would have inherited some of their mother's power, so he gave the Knights their location in the hopes that they would leave the area once they found what they were looking for.

In other words, he sold them out. There's a pretty clear undercurrent of racial and religious prejudice on Drobnjak's part, and Wanda explicitly points out that he was comfortable sacrificing her and Pietro to ensure the safety of his own community and parish. But for Wyndham, the twins were viable test subjects because they had latent powers.

A lot of people-- myself included-- forget this detail, but the twins were already living with Django and Marya when the Knights abducted them. Natalya had apparently left them with her brother and his wife while she was off doing, you know, dangerous superhero witch stuff. So, the twins were actually taken directly from Django and Marya, and later returned to them. This contradicts previous accounts of their adoption, but it's also a lot easier to believe that Wyndham basically put them back where he found them, rather than going out of his way to locate their family. It lines up with Wyndham's account in Uncanny Avengers (2015) #4, as well, which was probably important for Robinson since he was building directly on top of that retcon.

Here, he states that Django and Marya are their "true parents," but it's a discrepancy that's easy to forgive if the twins were already living with them before Natalya's death.

It's worth noting that in most older versions of the story, he actually shows a lot more concern for the babies' well-being, and he's the one who goes out of his way to find them a loving home with parents who'd recently lost their own children. Obviously, that's a very different character treatment from what we see in these mid-2010s stories, but my point is, it's not impossible for me to believe, based on what we already know about Wanda and Pietro's origins.

I think it's probably safe to assume that Bova did urge Wyndham to return the twins to their family when he was done with them. That's what happened in their previously established backstory, and there's nothing here to contradict it. But Robinson makes no effort to justify Bova's now-false accounts of the twins' birth or explain how and when Chthon got involved-- I don't think he's mentioned once in the whole series-- and Natalya's death is still a mystery. I suppose we don't even know if Wyndham was aware of Natalya's identity or knew that he she tried to get her kids back-- it just never comes up, and nobody's touched this storyline in nearly ten years.

[tadpw-au]

TADPW AU story

The game that Pomni White gets herself into was originally for kids to experience the story and adventures of the titular character, Snow White and the Seven Dwarves. However, since the game was still beta testing and the creators didn't have someone to play as the main female lead, they left the other players to be stuck as dwarf characters until their protagonist comes along.

An accountant for the game's company was given the chance to help out in testing the new game. Although she wasn't originally planning on doing a whole lot for the company, it was definitely an interesting idea to actually try and help out as best as she can. However, once she got into the game, her memory had been wiped clean with nothing but small fragments of her memory still remaining.

While in the game, she starts off being in the prescence of a woman named Queen Martha. Her husband, King Baron, had been known for hunting down ghosts instead of following his royal duties as king. She told Pomni that she created her from the snow since she always wanted a daughter of her own. Due to this, she named her Pomni White.

Although Pomni White was still panicked about being stuck in a video game for kids, she and this new mother figure got along fairly well. Pomni White with her supposed new father figure, however, was a different story. She didn't like how much he obsessed over the supernatural to the point of ignoring his own royal duties. When Martha died, however, Baron had married a new queen to be Pomni White's mother figure. This new queen was a well-crafted chess piece, but one who didn't like to be played against someone who could surpass her beauty.

The new queen often took to a mirror in her chamber, constantly asking, "Looking-glass upon the wall, who's the fairest of them all?" One day, instead of saying the queen's name, the mirror said, "Queenie, you are full fair, 'tis true. However, Pomni White is fairer than you." This infuriated Queenie to the point of having pure hatred towards her stepdaughter. She sent a gummy gang of huntsmen to kill her and take a piece of her as a token.

When the huntsmen came across Pomni White, she was confused and afraid of dying. Having found out from them that the Evil Queenie had sent them to kill her, she started to panic to the point of running away from home. As she ran, the huntsmen debated on what to give to Queenie as a means of showing that they "did the job". They settled on using a rock to pretend that it was her heart. When they gave Queenie the stone, she had decided to eat it as a way to show that Pomni White had officially died.

As for Pomni White herself, she ran into the woods filled with gloinks, many of them ripping her gown and jumping at her ankles. She was too scared to stop running, even though more and more gloinks tried to attack her the deeper she went. She even thought that she saw an exit door while running, but she couldn't stop as she knew that it would be too dangerous to stay in these woods. Farther and farther, she went and ran until she was passed out in the middle of an open field. Hopefully, she was free from the gloinks in the woods for now.

When she woke up, she noticed a small shed out in the open. The door had been locked, so she knocked to see if anyone was there. When she heard someone say, "Nobody's here! F*ck off!", Pomni White took it as someone wanting their privacy at first. However, she later came back and realized that there was a person in there! She asked who this person was and if they owned the shed themself. The person residing in the shed stated that they wanted to be left alone for awhile, opening the door to tell it to Pomni White's face. To both of their surprise, Pomni White was in the prescence of a little, toy-like dwarf while the dwarf was in the prescence of someone who resembled Snow White.

"Well, F*CKING FINALLY, YOU'RE HERE," exclaimed the dwarf, "By the way, the name is Zooble. The other people who live here will be home in about a couple of hours, so...make yourself at home, I guess. Or don't. I really don't care." Pomni White wasn't sure about how to react to this rude dwarf, but took the invitation regardless. The shed had a small table with seven plates, cups, and utensils for each resident living there. There were even seven beds that the others slept in, many that were side-by-side with each other. Each bed had a sign featuring a face of who owned which bed.

Pomni White tried to hold a conversation with Zooble, but they mainly just slept in their own bed, trying to avoid talking about anything. As such, she decided to try and clean the place up. Zooble wasn't certain about what she was doing exactly, but they didn't really care all that much about what she was doing as long as she didn't wake them up.

After calling for some NPC animals to help in cleaning the house, Pomni White was so tired that she drank all of the wine from each of the cups, ate some bread and porridge on the table (except for Zooble's after they told her not to touch their stuff), and sat in the biggest chair at the table. She then tried to find a good bed to sleep in, finding the one meant for a dwarf-sized king being the most comfortable. Zooble warned, "Just to let you know, that's Kinger's bed. He's the nutcase in our shed so, if you feel or see any bugs, don't be surprised about finding any in his bed." She jumped out in disgust and picked another one. Although it had the messiest sheets on it, she took the bed that was the second biggest.

A couple hours had passed and the other masters of the shed came home. Pomni White was still fast asleep, but the others didn't notice her until they commented on everything that she did. "Someone drank my f*cking wine," shouted the small, purple rabbit. "Someone ate my porridge," sighed a small ribbon with a tragedy mask on her face. "Someone's cleaned the whole f*cking place up because damn, this is a nice place now," exclaimed the talking, floating bubble. "Someone has slept in my bed," said the miniture clown. "Funny," asked the miniture chess piece, "who's this girl sleeping in Ragatha's bed?" All the dwarves walked up to the ragdoll's bed, seeing the most beautiful player that they've ever seen take on Snow White's avatar.

The purple rabbit asked, "Is she...our protagonist? She's sleeping in my bed, the little free-loader! I would have thought she'd take Kinger's instead!" The ragdoll exclaimed, "She's so beautiful!" The bubble chimed, "Let's wake her up!" "Yeah," exclaimed the rabbit, "i'll get a bug from Kinger's bed!" "JAX," the ragdoll yelled. Pomni woke up to the bickering dwarves debating on how to wake her up. The bubble was staring intently at her while the clown was trying to appease the situation with a joke. The ribbon dwarf covered her face with her mask as the two dwarves fought.

Pomni White asked, "Hello?" Everyone immediately froze, shut their mouths, and looked directly at the girl. The first person to talk to her was the rabbit, asking her, "What the f*ck are you doing in my bed? Get out of it!" Despite his tiny stature, he lifted the damsel up with both hands and threw her off of his bed. "Jax," the ragdoll yelled at the rabbit, "it's not nice to throw people!" "it's, also, not nice to have a stranger sleep in your own bed, Rags!" The ragdoll helped Pomni White up, explaining, "I'm terribly sorry about his behavior. We've just gotten back from an underground adventure looking for diamonds and we haven't had a player like you here before. Might I say, I love your dress!" Pomni White looked at her dress, saying, "Oh, why thank you! May I ask what all of your names' are?"

"Oh," the ragdoll chimed, "gladly! My name is Ragatha. The person who's bed you were sleeping in is Jax, and everyone else is Kaufmo, Gangle, Kinger, and Bubble. You've uh...probably already met Zooble, haven't you?" Pomni White nodded, saying, "They don't uh...do a whole lot now, don't they?" "Only when they feel like it," Ragatha answered, "but normally, not really." Zooble flipped them off as they stayed in their bed.

"So," Pomni White decided to mention, "you're probably wondering why i'm here." Everyone commented with various different forms of, "no." Jax, however, did mention, "To be completely honest with you, the only thing i'm curious about is why you were in my bed and not Kinger's?" Pomni White mentioned the idea of sleeping with bugs in his bed made her scared, thus looking for the second biggest bed.

Pomni White asked, "Is it okay if I stay with you guys? A crazy queen is trying to kill me and I don't want to go back into the dark woods with those...things again...whatever they were. Please, I need a place to take shelter in!" The dwarves all argued about whether they should or not. Even though it would be to proceed with the story, Jax was still angry at her sleeping in his bed. Ragatha suggested making her a new one that can fit for her. After the debate between them, they agreed to keep her there on the off chance that she stays off of Jax's bed. Jax even suggested working her like a slave, similar to Snow White in the story. Ragatha did not like that idea, stating that she should stay and feel at home in the shed instead. Whatever kept her alive and well was alright with Pomni White, so she took it.

[starcrossed591]

KDrama Year in Review 2023

While I watched more KDramas this year than CDramas, none of them consumed my heart and soul quite like this year's crop of CDramas did (CDrama review post here). And I dropped KDramas more readily than I have in years past, in part because there were so many more things to watch than I had time for (also I had to finish my dissertation and graduate, etc etc). Still, there were definitely some that I really, really enjoyed, so here's this year's KDrama round up:

16. My Lovely Liar: Started strong, got boring real quick. Dropped for homophobic murder plot. Still, glad to see that Hwang Min Hyn can actually act (although full disclosure, I did still enjoy him in Alchemy of Souls, wooden as that performance may be). Hoping Kim So Hyun can catch a break and get a role in a drama more worthy of her in the near future.

15. Crash Course in Romance: Excellent performances and chemistry by the ML and FL. Romance between two middle aged people instead of youths is also a treat. Dropped around ep 12 because of the unnecessary, homophobic murder plot. Pass.

14. A Good Day to Be a Dog: Surprisingly stronger than the goofy premise suggests, largely on the basis of Park Gyu-Young's performance as the FL who turns into a dog upon being kissed. Pacing problems in the third act around the origins of the whole dog curse thing. Can't say I recommend unless you're really in the mood for some shenanigans, but largely inoffensive if a little silly. (Also it turns out Cha Eun Woo *really* leveled up his kiss game for this one!)

13. Love to Hate You: Perfectly serviceable rom com. Nothing too special, but a nice weekend binge if you're in the mood for that. Also a good way to see Kim Ji-Hoon's v handsome face and that *hair* without having to deal with everything involved with his rather murderous run in Flower of Evil.

12. Joseon Attorney: A Morality: Perfectly serviceable law procedural/Joseon historical. If you don't like either of those genres your mileage may vary, but I had missed having Bona on my screen, so it worked well enough for me.

11. Welcome to Samdal-ri: I seem to like this one more than literally everyone else I know, and I fully admit that my enjoyment of this drama is more vibes-based than plot-based. I guess I have a soft spot for Shin Hye Sun yelling at people at Ji Chang Wook going a bit unhinged over a woman who ran away from him (see also: Lovestruck in the City).

10. My Demon: Very much enjoying Song Kang as a cranky demon falling in love with a human. Very tropey in the best way, and feels like a return to form for the supernatural romance genre. Remains to be seen if they'll land the ending as of this writing, but enjoying as it goes.

9. Doctor Cha: A contribution to the slate of divorce comedies I watched this year (see also: Strangers Again (KDrama) and Let's Get Divorced (JDrama)), a surprisingly touching story about growing older when you've devoted your life to someone who has not done the same for you.

8. Alchemy of Souls: Light and Shadow (Part 2): While Ko Joon-Yung never quite managed to replace Jung So-Min as the FL for me, I definitely still enjoyed the closer to this fun fantasy series. Special shout out to Shin Seung-Ho as Prince Go Won and his pet turtle

7. Strangers Again: I didn't see a ton about this one on tumblr as it was airing, but I found this rom com? melodrama? divorce procedural? makjang? story about relationships and why they end unexpectedly profound. I tuned in expecting mindless makjang hot mess, and instead got a thoughtful meditation on divorce. Left me feeling unexpectedly melancholy at the end, but glad I watched it.

6. The Secret Romantic Guesthouse: Very fun sageuk! Probably won't knock your socks off, but it does what it does very well. Bonus points for a B couple as compelling as the A couple. I've also been a big Kang Hoon fan since Little Women, and there are a couple of other actors in here that I'm always glad to see working.

5. Perfect Marriage Revenge: Tour de force makjang. Came out of nowhere and blew me away. Hits all the right beats, and unexpectedly fun (and was a nice break from the heaviness of My Dearest for me). This was a good year for jaded and slightly unhinged transmigrated FL's back for their #revenge (see also: Story of Kunning Palace in CDrama land), and I was here for it. Also features one of the spiciest make-out scenes of the year, 10/10 recommend

4. See You in My 19th Life: Absolutely loved this haunting, melancholy, and sometimes unexpectedly goofy reincarnation drama. I loved the webtoon and had high expectations, and this drama largely met them! The continuing relationship between sisters Ji-Eum (Shin Hye Sun) and Cho-Won (Ha Yoon Kyung) was a special highlight for me, and while Shin Hye Sun is already a never-miss for me, I'm especially looking forward to whatever Ha Yoon Kyung does next. I prefer the ending of the Webtoon to the KDrama, but I'm still delighted this drama exists and am glad I watched it.

3. The Interest of Love: Look, I loved this drama. Even though it seemed on the surface like nothing but *mess* in the interpersonal lives of these characters working at a bank on the border between a rich and poor neighborhood in Seoul, it nonetheless had some of the most searing class commentary of the year for me. I also love an FL who will (spoiler) pack up her things and disappear at the drop of a hat, even if no one else will understand her decision to do so, because she just cannot deal anymore (see also: the FL in Lovestruck in the City, whom I also love but everyone else hated). This drama kept me gleefully coming back every week in a year where not a lot of others did.

2. Call It Love: A revenge slice of life melodrama that I found unexpectedly touching in its deep melancholy. Loved not only the main couple, but the relationship between the siblings and their pharmacist bestie. A lovely character study. (Also I somehow ended up watching this at the same time as Till the End of the Moon and Li Susu as Ye Xiwu's hidden identity/revenge plot, which was unexpectedly stressful! Had a very "it's the same picture" moment despite two dramas in two genres that could not be further apart.) If you missed this one (and since it aired on Disney+, you might have--Disney+'s effects on the KDrama streaming ecosystem will be the death of me), it's worth seeking out!

1. My Dearest (Parts 1 and 2): Kind of feels like everyone has said everything there is to say about sageuk of truly epic proportions, but it blew me away as well. Epic romance? Check. Twisty political machinations? Check. Heartwarming friendships between women? Check. Strong ensemble cast? And my top FL of the year, Lady Gil-Chae, played to perfection by Ahn Eun-Jin. I've adored her since Hospital Playlist, and am delighted that she's getting the attention and the roles she deserves. Namkoong Min also a top contender for ML of the year as Lee Jang-Hyun. Part 2 dragged for me a bit in places after a nearly perfect Part 1, but such a great drama overall.

Favorite Drama of the Year: My Dearest. See above.

Favorite Female Character: I mean, it's gotta be Gil Chae from My Dearest, right? She starts out as such a spiteful, spoiled noblewoman, and then turns out to have a core of pure steel. Turns out all her conniving and strategizing, which went towards causing mischief in the village, really just needed a proper outlet. While I would never want to be in the circumstances in which she found herself, if I did, she's exactly who I would want on my side.

Favorite Male Character: Everything's coming up My Dearest this year, because this one is Lee Jang-Hyun in My Dearest as well. Checks the box for my competence kink, and has a knack for showing up just when Gil-Chae needs him, even at great personal cost. Also a smart-ass, which I probably like a bit too much in a man.

Favorite Secondary Female Character: Cho-Won from See You in My 19th Life. Her relationship with her reincarnated older sister was almost more compelling to me than the main romance sometimes, and really helped develop how the ties that bind us are not just romantic ones. Also she was just super cute

Favorite Secondary Male Character: Could have picked anyone from Team Himbo in Alchemy of Souls, but gonna have to give this one to Go Won, himbo prince of my heart

Favorite Ship: Again, it's gotta be Gil-Chae and Lee Jang-Hyun in My Dearest. Sometimes, there are drama couples that nearly cause me pain when they are apart, and these two quickly became one of them. Though their relationships is hardly functional for much of it, through all that push and pull, they ultimately learn how to show up for each other. Also, their *chemistry* is insane!

Favorite Secondary Ship: I loved Hye-Seong and Sung Joon, the B couple in Call it Love. Seeing the SFL grow more comfortable with herself after a truly shitty ending to her previous relationship was a nice respite from the hidden identity stress of the A couple in this one. I'm also a sucker for a good romance where you start to see someone you've long taken for granted differently. (Close Runner Up: Cho Won and Do-Yun in See You in My 19th Life)

Favorite Platonic Relationship: Gil-Chae, Eun-Ae, and their maids, Jong Jong and Bong Doo, in My Dearest. I loved loved loved the relationship between these women in this drama, and part of the reason the second half of the drama suffered a bit for me is because of how far it moved away from this core relationship. They were ride or die for each other more than the majority of the men in their lives, and I loved that for them.

Trope that Needs to Die: While I find murder plots in rom coms tedious at the best of times, homophobic murder plots are really not it. Quit it, y'all. It's not cute.

Dramas I Missed: Moon in the Day, The Story of Park's Marriage Contract, and Tell Me That You Love Me (grrr Disney+ on this one) are on the list for next year. I'm probably missing others.

Non-2023 Drama Spotlight: Finally went back and watched Do You Like Brahms? for a hit of Park Eun-Bin. A lovely, if also melancholy, slice of life romance that's just as much about what to do when a (career related) dream that you've worked really, really hard for just isn't going to come through as it is about the main romance. Also made me fall in love with Kim Min-Jae and his lovely deep voice, enough so that I also then went back and finally watched Dali and the Cocky Prince, which was also a treat. Recommend both.

Most Looking Forward To: I continue to yearn for a Yumi's Cells 3, and who's to say if that one will ever come through, but I'm putting it out into the universe anyway. More realistically, I'm looking forward to the surprisingly stacked line-up of sageuks coming up, including Captivating the King and Love Song for Illusion.

[thegeminisage]

oooh envesseled, please!!

HI wow thank you for asking, because i love talking about this, and i promise no one is obligated to read the whole answer lol. envesseled (partially, but only partially, up on ao3...) is part of cambionverse, which is a sort of spin-off about some EXTREMELY minor characters in s*pernatural that my buddy @callowyn and i have been chipping away at since 2011 or so.

for anyone with a passing familiarity with the show: we were so sure they were going to kill lisa braeden at the end of season 6 (can you blame us?), we whipped up a little scenario where her son ben was partially raised by sam, dean, and bobby instead...until sam and dean go mysteriously missing, a la john winchester, and now ben has to go and look for them the same way they once searched for their own dad.

but since supernatural has those big 3 characters (sam dean cas) and ben is our dean-character (he is sort of like a dean who broke the cycle of abuse and is also a huge lovable dork), we also needed a sam-character and a cas-character. for our sam we picked jesse (a one-episode wonder, the antichrist kid who turned cas into an action figure), and claire novak, the daughter of acstiel's vessel, who at that point was also a one-episode wonder and also had a collective total of less than 50 words of dialogue. we made her up on our own, essentially. jesse struggles with anxiety and controlling his demonic half and trusting hunters/himself after doing so has burned him in the past (or...gotten other people burned, i guess), and claire struggles with trusting anyone at all and the total emotional unavailability/other after-effects that come from being possessed by something with a thousand eyes at age 11.

in the first two "big" stories (one for jesse, one for ben, though there's a shit ton of additional content) they battle meg (my beloved, don't worry, she'll NEVER die), find the missing sam and dean, resolve various other personal traumas, be mentally ill together, and flirt ever closer to a three-person situationship that would make dean actively long for death if he ever found out about it. meanwhile cally and i kind of throw tomatoes at various things in the show proper that annoyed us, such as how much they hate women, how often they forget their own canon, or the double standard of sometimes letting monsters live when they're dangerous and sometimes killing them when they've done nothing wrong.

envesseled is the third "big" story, for claire, and it takes a significant turn because at the very beginning of it, while she and ben are in the middle of a huge argument, he dies (fridged a la MARY winchester), debatably because of something claire did, and the only way to resurrect him is to ask castiel for help. except he can't help because his various misadventures have left him broken into a thousand pieces and his current jimmy-vessel has no soul to put them back together. and so she's still dealing with this castiel trauma, and the grief/guilt over ben, and the grief /guilt over her dad she never processed, while going around collecting all the broken pieces of castiel in her own body so he can envessel HER (hence the title), bring ben back to life--except the catch is the more grace she takes into her body, the sicker she gets, so it's a question of whether or not she has enough time to finish collecting the pieces, and whether or not she can actually bear to be in castiel's presence and also say yes to him in order to allow him to do this.

as one might guess from the summary it is. an INCREDIBLY niche fanfic series with like a dozen fans worldwide, though i am proud to say pretty much everyone who's tried it has liked it, probably because it's diverged so heavily at this point it aaalmost reads like original fiction. like, i wish there were words to convey how deeply you do not need to have seen the show to read it. we are still writing "envesseled" which is why it's on the wip list (it is fighting with us SO MUCH) but we really really really hope we get it finished in time for "cambion day," which is march 29 (jesse's birthday). i tried very, very hard to find an excerpt from what we haven't posted that isn't full of giant spoilers, but i can't, so i'll post an excerpt from what we have on ao3 instead that i really like. this happens right after claire absorbs the first of many of castiel's broken pieces and is kind of a microcosm of the dynamic in general:

Castiel stands, not far enough away, watching her like a crow inspecting carrion. "How do you feel?" Claire takes a deep breath, assessing. There's no apparent difference between the new grace and the old—after all, both are pieces of the same angel—but she feels their presence more keenly, a stronger heat than the one she's been accustomed to for so many years. Apparently she's more sensitive to the powers of the Antichrist, too. "I've stopped feeling like there's a stab wound in my side, if that's what you mean." "Hm." Two fingers brush across her forehead. Claire's entire body thrums, and then she's grabbing Castiel's wrist, crushing it in her grip as she pulls his hand away. "Don't touch me." Her heartbeat is wild, squeezing the bones under her hand with all her strength, knowing she can't damage him but too angry to care. "Don't you ever touch me." Castiel holds motionless in a way no human could ever achieve, lights flickering over his head. "Let go of me, then." He could break free of her grasp with a fraction of effort, but it's still satisfying to throw his hand aside. Claire catches Jesse's eyes, and sees just a moment of ink-black there before he blinks and the light fixtures stop shaking. "Very well," says Castiel, after a long tense silence. He leaves the kitchen, giving Claire a wide berth, and moves to stand in the center of the dusty library. "Try this one."

let people send you an ask with the WIP title that most intrigues them, and then post a little snippet or tell them something about it!

[fishymom-art]

So I wanna talk about my experience with the game “8:11”

OBVIOUSLY SPOILERS!

TW: Panic Attack, Health Issues

I want to immediately say that I absolutely loved playing this game. The art style is an absolute delight, the sound design and the music are great, and the characters are very unique and beautiful, and I love all of them. All the designs of other characters are wonderful and never seen before. All in all I think this game is fantastic, especially considering that it’s an indi-game.

But there are two things I want to mention.

First of all, the reason why there’s a trigger warning. While playing this game, my heart went ballistic. First two times it was just a horrible pain in the chest, probably caused by stress. But yesterday I had a panic attack while playing it. I was visibly shaking for at least 5 minutes after that. Despite me being almost done (yes, I continued playing despite everything, because I didn’t know the pain was caused by the game), after yesterday, I decided not to finish the game. It was just not worth risking my own health.

Now, I want to say that this is just one instance. I’m known for having problems with stress. But I’ve never had a panic attack, heightened heart beat and visible shaking due to one game. On one hand, good job, you managed to make a very disturbing game. One the other, it is literally dangerous to one’s health.

I know that in the beginning they ask if you want to see a graphic depiction of Leon’s death, but there was nothing about depiction or mention of anything else later on in the game.

So that’s one thing. The other is that the game is very overwhelming (which could also be the reason for the panic attack).

The story follows a non-binary priest Ryker who goes to a cursed, abandoned Basilica to investigate the death of their friend/father figure Leon, and hoping to avenge him. Sounds simple enough, right? Well, I really hoped it was.

But sadly, the story was… well, too much. In the sense, that there were a lot of things that were slightly unnecessary, and made the plot confusing, because at some point the main story is lost behind all the additional things.

For example, there is a romantic line with another character by the name of Accardi and a few other romantic lines between other characters (f.e Accardi and Juliek). I found it slightly unnecessary because it deviated from the main plot soooo much. I would’ve understood if it was somehow connected, but that story was completely out of place. A nice change of pace in some places, but still out of place.

The other big thing was the complicated story behind the past of the Basilica. Basically, the priests acted as surgeons too, practicing some unorthodox methods on the deceased, forming their own ways to revive or pass them on to the afterlife. There is also a thing called Generations, connected to it. I assume it’s just what the people are called after they die? A new generation of their life begins? I dunno. Again, very confusing.

This is all started with the return of a character Gabriel who in the beginning of the game died by his head being blown up because he looked into a cursed book. Which I think was awesome. It was a great way to show what this book is capable of. But bringing him back in the middle of the game for him to die soon anyway and thus beginning a different part of lore (aka Basilica’s curse)? It was confusing. I think the whole thing with generations, surgeons, and Gabriel could’ve been taken out and maybe put into a sequel. Then the characters could’ve concentrated more on the original story about grief and loss. But because of that new supernatural cultist thing, the story gets lost by the end of the game and it becomes confusing.

There is also just a lot of moments that are, again, unnecessary. A lot of Ryker’s dream sequences made the story confusing. Some of the flashbacks with Leon were unnecessary (except the one where they met and the one in the tent, because it shows the reason why Ryker became a priest. I think those were very important and interesting).

Also, God, the Basilica itself is just so incredibly confusing. I know it has something to do with the curse, but I think if you wanted to make it giant, you could’ve executed it in a slightly different way. Maybe make it giant, but do a little nudge nudge wink wink to the reason (maybe through hidden books or Easter eggs) and the curse, but talk about it in the sequel more, so the player can concentrate on Leon.

The supernatural, the talking to the dead, and all of that is very cool. I think adding the thing that Ryker is special in some way is very cool and could be done in a fantastic way, but it’s confusing in the end, because you don’t exactly understand what makes them so special.

And then there’s Vittorino. I have mixed feelings about him. He does carry most of the story and most of the best scenes in the game, but god I wish there was a bit more to his character. If you want to make him a semi bad guy, then commit to it. When he just appeared, it was clear who he is and how, but then he gets lost in his madness and his motivation becomes unclear and repetitive. Also there are scenes of him being blind??? But then he’s not????? And there’s a semi-secret door where he is a literal monster?????????? Huh??????

Also all the dream sequences get mixed with reality and you just don’t understand what is what at some point.

ALSO ALSO. THE BEETLE??? What was his purpose??? God, I loved his character and to be honest, I think his design is my favourite, but like. He’s supposed to be Ryker’s guardian angel but then bashes their head against the sink just for the Hell if it??? Make up your mind, man, you confuse me.

And don’t even get me started on Dante’s story. I was okay with it completely the whole time, but by the end it all turns on its head and like. Huh? What? Was he a human or not??? Huh???

Yeah, anyway. The game is great, but the writing seems more like a draft. There are wonderful and great ideas that were executed poorly. It has great potential and it is legit scary and I hope to see more. The characters feel loved by the creator and this is what I adore about this game. It feels loved. But then again, this post exists. Thank you!

[wickedlysecret]

Something I’ve been lowkey obsessing over for the past few years has been The Muppet Christmas Carol (1992), which is quite possibly my favorite Christmas movie ever. It’s fun, it’s funny, it has cute moments, Michael Caine is absolutely the best Scrooge to ever Scrooge… I can’t sing this movie’s praises enough. I was so excited when it was included on Disney+, so I could watch it pretty much whenever the desire struck.

The thing is, there’s another Christmas Carol adaptation that I loved to watch as a child that’s also on Disney+: Mickey’s Christmas Carol (1983). It’s another retelling of the same story, and yet… it doesn’t really hit in the same way that the Muppet one does. And I can’t stop thinking about why that would be the case. What do the Muppets do in their adaptation that Mickey and his friends don’t do in theirs?

If you haven’t figured it out by now, I’m going to sit here and compare and contrast these adaptations, with pictures and quotes. This is gonna be one of those “In this essay I will” posts, except the essay actually follows under a cut. After all, I’m nothing if not a former English major with weird hyperfixations.

I broke down the places where the differences are strongest into four parts: The Spirits/Ghosts of Christmas Whatever; the inclusion of a comedic Narrator character; the simple fact that the Muppets are Actors in their own right; and the entire “Christmas Future” part of the story.

1. The Spirits. 

For the Muppets, new characters have been created for the roles. These characters were only ever used for these roles, and we never see them again in other Muppet productions, save for Jacob (and Robert) Marley, as played by Statler and Waldorf, whom I’ll talk about at another point.

These new characters make much of the dialogue work, as well, with much of their exchanges with Scrooge at least sounding, if not actually being exactly as written in the original Christmas Carol. The supernatural look of the little ghosty Spirit of Christmas Past helps to sell the whole picture when they say lines like, “A touch of my hand, and you shall fly.” The jolly, bumbly, ginger-haired-Santa lookalike Spirit of Christmas Present is personable and friendly, even able to make a mean and grumpy man like Scrooge joke and laugh with joy. And the Spirit of Christmas Yet to Come is faceless, imposing, and silent. They communicate through pointing, or a guiding hand, and they chill both Scrooge and the audience without saying a single word, merely showing Scrooge the future that awaits him.

Disney, perhaps understandably, made use of some of their existing Intellectual Properties (IPs) instead of creating new characters to serve as the Spirits. Jiminy Cricket is our Ghost of Christmas Past; The Giant (from Mickey and the Beanstalk) makes a surprising return to the screen as the Ghost of Christmas Present; and finally, in a jarring reveal which I could argue was made only for the purpose of having yet another IP make an appearance, Pete fills the role of the Ghost of Christmas Future. These are characters with personalities that the audience already presumably knows, and while they are able to fill their roles to a degree, they also come with baggage, for lack of a better term. They struggle to keep a balance of their original personalities, while also donning the personalities of their Christmas Carol roles.

Jiminy attempts to give sage advice to Ebenezer Scrooge (McDuck), in the same manner as he had with Pinnochio, but a stern little cricket lecturing an old man duck just doesn’t feel right. And the giant is also bumbling, sure, but more than that, he’s just… stupider than the Muppet Spirit. Caine’s Scrooge even remarks “You’re a little absentminded, spirit,” to which the Muppet Spirit of Christmas Present replies, “No, I’m a large absentminded spirit!” The giant’s version of the Spirit is just your run-of-the-mill comedic relief idiot. As for Pete’s ghost, he’s silent and somewhat imposing for almost the entire Christmas Future segment, until he removes his hood and scares Scrooge into his empty grave with some mean remark. And the mean remark is truly what ruins Pete as the Spirit of Christmas Future; this Spirit isn’t mean, but rather delivering harsh truths. The purpose of the Spirit of Christmas Future is to really drive home to Scrooge that, if he doesn’t change his ways, this is the unfortunate future that awaits him. It’s the future itself that’s supposed to scare Scrooge, not the Spirit delivering the message.

In essence, by not only using existing IPs for the Spirits in the story, but miscasting the Spirits with IPs that don’t work for their roles, Mickey’s Christmas Carol confuses the whole message that A Christmas Carol is supposed to convey.

Finally, as I mentioned, I want to talk about our Marleys. In The Muppet Christmas Carol, Marley is the only spirit for whom they’ve used an existing character–or, rather, characters. They’ve cast the grumpy old men, Statler and Waldorf, as Jacob and Robert Marley. They have a silly song they sing to Scrooge, which still manages to terrorize the man, and to be fair, the spirits of Scrooge’s old business partners are warning him of something terrible coming for him: more ghosts. We’re still early in the story at this point, so the Muppets wouldn’t be taking their big guns out yet, so imparting a scary warning in the form of a light and fun musical number is… well, it’s very on brand.

Meanwhile in Mickey’s, we have Goofy as Jacob Marley. I’ll talk more about this casting choice later, but the short of it is: why? Goofy’s not a mean OR selfish guy at all, and I can’t understand this role placement for him. He’s very stern with Scrooge, and it’s hard to take him seriously at all, and to top it all off he falls down the stairs at the end of his scene, with his trademark “Yaaaaah-hoo-hoo-hoo-eeeeeeee” shout and all. It doesn’t fit the character they’re trying to have him portray.

2. The comedic benefits of a Narrator Character. 

In the beginning of The Muppet Christmas Carol, the audience is introduced to Gonzo and Rizzo on the streets of the British Muppet City.

“Welcome to the Muppet Christmas Carol! I am here to tell the story!” “And I am here for the food!” “My name is Charles Dickens.” “And my name is Rizzo the Rat! Hey, wait a second…”

Gonzo and Rizzo, from this point forward, are the audience’s guide throughout the story of A Christmas Carol, there to explain, buffer, and offer comedic relief. They break the fourth wall, talking about and to the audience, and referring to any children who might be watching.

“Whoa, that’s scary stuff. Hey, should we be worried about the kids in the audience?” “Nah, that’s alright, this is culture.”

Gonzo and Rizzo carry a lot, and I mean a lot of the comedic moments within The Muppet Christmas Carol, leaving the story’s characters to portray the story, without strange interruptions from within. Well, for the most part. There are moments where comedy comes from within the story.

“If you please, Mr. Scrooge? It’s gotten colder… and the bookkeeping staff would like to have an extra shovelful of coal for the fire.” “We can’t do the bookkeeping.” “Yeah, all of our pens have turned to ink-cicles!” “Our assets are frozen!” “How would the bookkeepers like to be suddenly… UNEMPLOYED?!” “HEAT WAVE! This is my island in the sun!”

There are also moments where Gonzo Dickens and Rizzo interact with characters in the story, breaking the fourth wall further for more comedy.

“It is the American way!” “Sam! [Unintelligible whispering]” “Ah. It is the British way!” “Good.”

And of course there are moments where the characters’ existing personalities do come forward through their acting, such as when Miss Piggy, as Emily Crachit, calls Kermit (Bob Crachit) “Crachie”, in a play on her nickname for Kermit, “Kermie”.

The thing to note about all of these moments of comedy, is that none of them interrupt the story for the sake of a joke, or a catchphrase. The story continues without a hitch.

It also means that, when Gonzo Dickens and Rizzo leave at the beginning of Scrooge’s time with the Ghost of Christmas Future, they take just about every chance at joyful comedy with them. The audience knows their absence means things are about to get serious.

Without a similar character to bear some of the comedic weight, it all rests on the shoulders of the characters in Mickey’s Christmas Carol’s story. There’s plenty of jokes and humor, of course, but most of it is slapstick-ish, and typical of a cartoon; for example, Scrooge asking about Crachit’s daily pay, recalling it to be two shillings, only for Crachit to interrupt that it’s two shillings and a ha'penny–a raise that originated three years ago, when Crachit started doing Scrooge’s laundry. The jump into Christmas Future doesn’t have a smooth transition, leaving the audience rather jarred at the sudden change in tone; in particular, when Pete’s embodiment of the Spirit suddenly starts speaking, where previously he’d been silent.

3. The Muppets Are Actors. 

In every Muppet production, one of the things that makes the entire experience work is that nobody in the canon recognizes the Muppets as anything other than the characters they’re portraying. Nobody looks at Kermit and goes, ‘Why is there a talking frog made of felt here?’ That’s exactly the way someone should act with the Muppets, and, according to an interview with Brian Henson, that was Michael Caine’s intention from the very beginning when he was asked to play Scrooge.

"When I met Michael Caine to talk about playing Scrooge, one of the first things he said was: “I’m going to play this movie like I’m working with the Royal Shakespeare Company. I will never wink, I will never do anything Muppety. I am going to play Scrooge as if it is an utterly dramatic role and there are no puppets around me.”

The fact that the illustrious actor understood the assignment from the beginning, without even being told, works wonders for this movie. Caine said in an interview with GQ that, before The Muppet Christmas Carol, he’d never done a movie that a child, like his then-seven-year-old daughter, could see; this was his motivation in choosing the role. He then went on to discuss how one is meant to act with the Muppets.

Interviewer: When you’re talking to Kermit, where do you look? Do you look him in the eye? Caine: Yes. You look him straight in the eye. It’s like talking to a real actor. And the guy is just down below, buried in the floor.

This is a man with a great respect for and understanding of the Muppets, their work, and of course their puppeteers. When asked who is more famous, himself or Kermit, Caine replies that of course Kermit is the more famous, as he should be.

Caine: Oh Kermit is much more famous, because he’s known by children as well as all adults. And I’m known by many, many, many adults, but he’s known by all adults. And then I’m known by few children, but he’s known by every child.

(As a side note, this is a delightful interview with Michael Caine, and he’s just as pleased with and delighted by The Muppet Christmas Carol as the rest of us.)

In contrast with Mickey’s Christmas Carol, the casting for the Mickey Mouse & Friends characters into their Christmas Carol roles feels like it was done without much consideration or thought, beyond the logic of ‘Mickey Should Be Bob Crachit, Donald Should Be Scrooge’s Nephew, Of Course Scrooge McDuck Should Be Ebenezer Scrooge’, and so on.

For example, the part of Jacob Marley is played by Goofy. Marley’s character, or rather his ghost, is one that exists as Scrooge’s warning, both of his night to come and what awaits him if he doesn’t change his ways. Marley was just about as bad as Scrooge in life, hence all his chains weighing his spirit down, formed from his wicked deeds against his fellow man. He even warns Scrooge that he also wears such a chain.

The problem here is that Goofy Goof doesn’t have a single mean bone in his tall, lanky body. He’s a dogman that would never covet money like a miser, would never be cruel to others because he doesn’t deem them worth his time. So, why was he cast as Marley? It’s a confusing decision.

Another example lies with Mickey Mouse as Bob Crachit. Logically, I can understand the casting choice; Mickey is to Disney as Kermit is to the Muppets. Both made the same decision to cast their Big Name Character as the second lead in A Christmas Carol. However, the two portrayals go in very different directions, particularly in the Christmas Future segment. I’ll dig into this particular example in more detail in a bit, but in essence, it feels more like the Disney characters were plugged into their roles for the story, without much consideration for how their personalities would work with that of the characters they’d be portraying. The Muppets were matched with characters to portray, but it feels like careful thought was put into how each character would act and work as their Christmas Carol role.

4. The Entire “Ghost of Christmas Future” Chapter. 

I’ve referred to this part of the story, and the ways in which the Muppets and Disney handled it, several times so far, and this is because I believe that this is where the biggest differences lie, and where the Muppet adaptation truly outshines Disney’s.

First, the Spirit themselves. The Muppets created an entirely new, imposing, shadowy-cloaked Muppet specifically for this role, rather than casting a known Muppet as the Spirit. This Muppet never speaks, and has no face, and only communicates in gestures. It looms over the third act of the story, showing Ebenezer Scrooge what awaits him in this future, without words, instead letting the scenes speak for themselves. The Spirit is silent, but Scrooge understands what it’s telling him, asking questions and paraphrasing the messages he receives as the Spirit guides him through the scenes. And although the Spirit’s appearance is terrifying, that’s not the part that ultimately chills Scrooge to the core; instead, the future that awaits Scrooge (and Tiny Tim), should he continue down his path of cruelty and greed, is what prompts Scrooge to tearfully beg for forgiveness and a chance to prove that he can make things right.

Then, in Mickey’s Christmas Carol, the basic bones of the tale are there: an imposing, silent, hooded figure shows Scrooge glimpses of his possible future. But before this third act is over, the Spirit reveals its face and speaks: it’s not just a Spirit, but Pete. Nasty, mean, cigar-smoking Peg-Leg Pete. And he dumps Scrooge into his own grave to be consumed by flames until he awakens from his dream. Certainly, Scrooge has been shaken by the visions of an awful future, but he’s also been sent to hell by a mean, angry cat. Ultimately, this takes away from the big message of the Spirit of Christmas Yet to Come’s chapter: that we should change because we choose to, not because we’ve been scared into it.

Second, the sharing of Tiny Tim’s fate. In both the Muppet version and in Disney’s version, the audience and Scrooge have both been told that, if things don’t change, Tiny Tim’s going to die. Now that we’re being shown the future, Scrooge needs to go and check on the Crachit family, to see if this loss has come to pass.

In the Muppet Version, Scrooge approaches the home with relieved excitement, remembering the home of his employee as the warm and happy one he’d caught a glimpse of thanks to the Spirit of Christmas Present. However, Scrooge notices the silence of the house, and instantly knows something has changed. He peeks into the window and watches as Mrs. Crachit cries as she cooks Christmas dinner. Then, he learns that indeed, Tim has passed away. We watch the grieving family convene for dinner, and talk of loss; although they try to encourage each other, it’s clear that the loss of Tim has cut them so deep, they might never truly recover.

The fact that someone can watch this entire emotional scene performed by the Muppets and, somehow, not lose any suspension of disbelief, speaks of the incredible talent involved in the making of this scene; the puppeteers, the voice actors, the editors, the filmographers. 

In comparison, the scene we get in Disney’s version is short, and stiff. What we get is a panning view of a graveyard, and a closeup of Mickey Mouse crying while holding onto Tiny Tim’s crutch, before he sets it against the boy’s gravestone. The audience watches Mickey Mouse cry over his dead son before the movie continues.

It sounds sad when said aloud, but watching it happen doesn’t carry much emotion. It just feels awkward, almost forced. It feels like the people who decided that Mickey Mouse should be Bob Crachit finally had the consequences of their actions catch up to them, and they suddenly realized what they were going to have to put the company’s mascot through… and then they had no idea how to do it. The entire scene feels haphazard and strange; it’s upsetting to watch, but not in the way it should be. Instead of being sad about Tiny Tim, I’m just bummed they made me watch Mickey Mouse cry like that.

And here’s the thing: neither of these scenes have been performed by human actors. One has been played by puppets, the other has been animated. The fact that the Muppets, who, in order to show emotion have to move their head a certain way or have the felt of their faces scrunched, do a better job performing the scene than the one that is animated, in which people could make the characters make any face they wanted, speaks volumes.

Perhaps it’s because, while Kermit will always be Kermit, and Mickey will always be Mickey, it all draws back to the fact that the Muppets are actors. Kermit has played so many other roles in other Muppet movies. But Mickey Mouse? He’s almost always Mickey Mouse. Using him in a different role is difficult when he’s never been anything other than himself.

...

I’ve spent some time trying to think how to wrap up this ridiculous essay I chose to write for fun, because while this isn’t an assignment and doesn’t require a conclusion, it also feels wrong to just end it there. I suppose I can say again, that the Muppet Christmas Carol is my very favorite Christmas movie, and I love watching it over and over again. I love it so much that I’ve literally written an essay explaining why it’s good. And it’s not like I hate Mickey’s Christmas Carol; I grew up watching that movie just as much as the Muppet one. It’s just that… the Muppet version hits different, you feel me? The story moves in a different way, treats humor differently, and even treats the audience differently. I’m by no means an expert on film, and I certainly don’t expect everyone to agree with my opinions about this movie. In the end, these are just two child-targeted adaptations of a classic Christmas tale, and I’m just an ADHD girl who got way too invested in a passing thought. The different feelings evoked in me by the two different movies about the same story fascinated me, and I decided I’d try to analyze them and share my thoughts. If you made it this far, thanks for reading!

[sailormoonandme]

Mamoru is NOT useless in the Anime Part Deux: Manga Comparisons

In my previous post I talked about what Mamoru actually does in the anime and debunked the persistent narrative that he is useless.

Ah, but perhaps the narrative shouldn't be taken so literally.

Maybe it isn't that he literally does nothing, or that what he does truly useless.

Ya see, 'Mamoru is useless' is actually a super secret spy code phrase that is actually intended to express the following sentiment:

"Mamoru's power is of such a low level that he is unworthy of Usagi'. But in the MANGA he has the Golden Crystal and a uber kewl finishing move and actual magical powers and isn't just some guy. He has a power and a destiny WORTHY of being Sailor Moon's lover."

Let us be charitable and accept that a shitton of fans are indeed expressing a sentiment along those lines when they claim 'Mamoru is useless in the anime'.

The problem is...this is bullshit...on multiple levels.

Manga and Anime Power Levels

Now to be clear, I like Manga Mamoru a whole lot. My intention is not to critque him as a character, neither to hold him up as superior or inferior to anime Mamoru. I am just trying to deconstruct this line of thinking. With that being said...

As originally written, Mamoru in the manga IS just 'some guy' (read: a normal human with no supernatural powers to speak of) until he 'dies' and is possessed by Queen Metalia.

It is only then that he gains any kind of abilities but these are obviously just Metalia's powers working through him. He is her glorified meat puppet during this part of the story. The situation changes at the end of the Dark Kingdom arc, when Mamoru displays psychogeometry powers.

Later in the consequent arc, the Black Moon arc, he is shown to have minimal healing powers too.

In addition he displays psychometry powers and later in the arc, prompted by how he feels useless and unable to help, his future self (King Endymion) helps him to unlock his one and only offensive technique, Tuxedo La Smoking Bomber.

In the Infinity arc (the scans of which currently escape me) I believe he (like his anime counterpart) acts as a magical life support system for Chibi-Usa, but this is owed to his own magical abilities, which isn't the case for anime Mamoru.

In the Dream arc he learns he possesses the Golden Crystal, an artefact that is connected to the all powerful Silver Crystal and serves to boost its power. It is here that Sailor Moon creator Naoko Takeuchi retcons that it was this artefact that was boosting Sailor Moon's powers during past battles.

Bear in mind, the Dark Kingdom arc was originally intended as the sum total of the Sailor Moon story, meaning the Golden Crystal was not in Takeuchi's mind at the time.

Following the Dream arc, Mamoru consequently dies.

So...how are things over in the anime?

Well, whilst we do not initially know this, over the course of the first season we discover that Mamoru as Tuxedo Mask has the following abilities:

He can magically transform into Tuxedo Mask, whereas his manga counter part is literally just wearing clothes

He can sense whenever Usagi transforms and is in danger, triggering him to automatically transform and travel (possibly by teleportation?) to wherever she is

He can generate a seemingly infinite number of roses the stems of which are as sharp as darts, and can throw them from significant distances with pin point accuracy

He has a cane that can magially extend itself and might be magically empowered to be tougher and more resilient than a normal cane, since he often uses it like a sword

He clearly has beyond human durability, streangth, speed and agility as he leaps from rooftops and is able to survive hits that would cripple a normal human. The same is true of the Senshi, implying they all possess similar vague enhancements

In addition, in season 2/Sailor Moon R, he reveals that he can fire a whole barrage of roses that are apparently powerful enough to diffuse an attack from Rubeus, one of the high ranking generals of the Black Moon Clan.* And, of course, as I mentioned above, through his emotional connection with Usagi he was able to generate the Spiral Moon Heart Rod, though this doesn't seem to be an ability he developed in season 3 so much as simply another application of the 'love energy' he and Usagi seem to share.

Beyond that, his magical abilities do not evolve throughout the anime. Meaning that Manga Mamo starts out as weaker than his Anime counterpart and only later develops magical powers of his own, all of which are...well...not overly useful in a combat situation. Not until he gets Tuxedo La Smoking Bomber roughly halfway through the Black Moon Arc anyway. It is only then that he surpasses his anime counterpart's power level.

Sure, psychometry and psychogeometry can be useful when it comes to gathering intelligence, locating allies, etc. But when a Youma or Droid or Daimon is seconds away from stabbing you or someone you care about its not THAT useful to know where everyone is at the time or how they are feeling about it. His healing abilities are also kinda cool...but also redundant when Usagi's own abilities can literally bring the dead back to life.

And then you have the Golden Crystal. Let me be clear, I personally wish Mamoru DID have the Golden Crystal in the anime. But, him not having it...doesn't really matter in terms of how useful or useless he might be.

In the anime, Mamoru's love and emotional support BOOSTS Usagi's power levels. In the manga the Golden Crystal ultimate is just a literalisation of that same concept. It is a solid tangible object that functions the exact same way and its magic is clearly activated through Mamoru's emotional connection to Usagi anyway. So, on a practical level, what's the difference really? Especially when you consider:

a) In the anime and the manga, Usagi's power levels are boosted via the love and support of her friends anyway. Takeuchi in the manga simply literalises this also in the form of the Holy Grail, which in the manga is formed from the connection the Senshi share. It amounts to the same thing though.

b) In the manga, Mamoru is dead, his Golden Crystal has melted into the Galaxy Cauldron, and yet, without the power boost it provided, Sailor Moon was still able to go head to head with Galaxia, the Senshi of Destruction. So, clearly Sailor Moon was mindblowingly powerful no matter what.

So, the idea that manga Mamoru is worthier because he is more powerful than his anime counterpart is simply nonsense. Until he got Tuxedo la Smoking Bomber he was catagoriclly less powerful. And by that point in the story, the narrative had already repeatedly emphasised how in love the pair were, to the point of possibly implying they had had sex and already introduced their daughter from the future.

Are we to take it that Mamoru wasn't actually worthy of her affection until he could reduce monsters to dust with his Kamehameha-esque energy attack?

If not, then anime Mamoru must also have been 'worthy' of Usagi too.

There is a lot more to say about the statement at the top of this post but I will save that for next time.

*He also displays some other abilites in the final episode of season 3, but he is charged up on evil energy at that point so I don't think its fair to count it.

[mllemaenad]

The Magnus Protocol: Rolling with It

Well – the show is on the cusp of a mid-season break, so it is absolutely time for someone to do something rash and foolhardy. This will almost certainly lead to a frustrating cliffhanger next week, because that's how pacing works. I look forward to Sam, Alice and Gwen all screwing up royally on their respective excursions.

That said, I genuinely don't believe that sticking your head in the sand is an approach that works. It's all very well to say a person should stay clear of the supernatural, but there's nothing in that that guarantees that the supernatural will go along with that plan. Something quite clearly happened to Sam at The Magnus Institute. Providing he is cautious about it, working out what that was is probably a good idea. But Sam doesn't feel cautious.

It's interesting how traditional this one was, and yet how different – because it's in the differences that you can see how this world works.

This is a bona fide Magnus Institute statement read by, at least insofar as how it sounds, the Archivist himself. And, like others before him, the statement giver has turned up to get the Magnus Institute to deal with his weird supernatural problem.

But the thing is – in The Magnus Archives the statements were always about the people. Oh, there were plenty of weird artefacts in them, but the storyteller themselves was always the point of the whole thing. It was the terror of the individual that The Magnus Institute actively sought, and it was following the interconnecting threads of the various recurring characters that led John to his conclusions.

But The Magnus Institute: Manchester does not care about the people. It cares about the stuff.

There is a very distinct difference between this:

Archivist Statement of Nathan Watts, regarding an encounter on Old Fishmarket Close, Edinburgh. Original statement given April 22nd 2012. Audio recording by Jonathan Sims, Head Archivist of the Magnus Institute, London. – The Magnus Archives: Anglerfish

And this:

Chester Statement and Research assessment for artefact CD137 - Sam What the hell? Chester Magnus Institute – Manchester. Private and confidential. Viability as subject – none Viability as agent – low Viability as catalyst – medium. Recommend referral to Catalytics for Enrichment applicability assessment. – The Magnus Protocol: Rolling with It

The statement giver is nameless, you can only infer he's probably male from an offhand remark:

Chester/Unknown Statement Giver And that brings us about up to date. They're yours now, and I never want to see them again. Don't get me wrong, it’s a blow but I’m just not the right guy to carry them. – The Magnus Protocol: Roll with It

And that's hardly definitive. The Magnus Institute is interested in him only insofar as his experience illustrates what the dice can do. And it intends to take these dice, enhance them in some way, and then use them to cause something. Their use twists fate in some sense – so you can see the logic up to a point. If you're trying to make something particular happen, you might be able to use the dice to do that.

But what the hell were they doing? Specifically, what the hell were they doing to those children?

It's been a thread, all the way through, that distance from people in The Magnus Protocol. The way the cases are gathered, without the knowledge or consent of the people to whom these things happened, the barrier between the protagonists and the stories as Chester, Norris and Augustus are the ones who actually read them ... and now this. The Magnus Institute was looking for "supernaturally active items", not people who had had supernatural experiences.

RedCanary also found an object in The Magnus Institute:

Chester/RedCanary Re: Magnus Institute Ruins By RedCanary on Saturday April 23 2022 12:17pm The photos from the spelunk seem properly gone, but I did find an old wooden thing with a bunch of similar symbols on. Some kinda empty box, not really sure what for, though. Gonna see if I can get the light right for a decent pic. Edit: No dice, I’m afraid. Must be something up with my phone camera. Really not helping the whole paranoia thing either. Anyone know anything about photographic distortion? Gonna see if I can borrow my dad’s SLR tomorrow. – The Magnus Protocol: First Shift

That didn't feel especially noteworthy at the time: The Magnus Institute always did have some weird crap in Artefact Storage. But I keep thinking about Mary Keay:

Mary Keay Often, during my studies, my mother would talk to me of the amazing arcane relics at your Institute. I’m sure you can imagine my disappointment when I finally got a look at the collection of mediocrity that you call your “Artefact Storage.” – The Magnus Archives: First Edition

Mary was ... quite a piece of work, obviously, and there's no doubt that some of the things in Artefact Storage were very dangerous indeed. But it does seem that The Magnus Institute of that universe only collected supernatural objects incidentally: usually because a statement giver happened to bring one in.

But here – well, the artefacts are the point. And RedCanary took one away. And – heh – "no dice". I wonder if that box ever held dice. I wonder if they had still come up snake eyes.

The rest of the point of the piece seems to be about the nature of choice. That's always been a question, of course:

Archivist/Annabelle Cane Of course, that’s not the real crux of the free will question that’s bothering you at the moment, is it? I think that one probably comes down to whether or not you’re choosing to continue reading this statement out loud. You didn’t mean to, did you? No, I’m sure you told Basira and Melanie that you were going to glance over it and report back; perhaps they asked you if you were going to record, and you shook your head: maybe later. That sounds like the sort of thing you’d say. But think about it, John; when’s the last time you were able to read a statement quietly to yourself without instinctively hitting record and speaking it aloud? Is it just instinct, habit? Or is it a compulsion, a string pulled by the Ceaseless Watcher or the Mother of Puppets? – The Magnus Archives: Weaver

You can say the characters are making free choices, sure. But if an evil god (for want of a better term) is leaning on you, that constrains your choices. If your access to pertinent information is limited, that constrains your choices. If you're in the presence of a hypnotic artefact, that constrains your choices.

The statement giver is clearly compelled, at least up to a point. He knows, and Gary knew before him, that rolling the dice was likely a fatal idea. But they both did it anyway. So did all the random people he presented with the dice.

But at the same time, there are hints of a gambling habit that was present before he took ownership to the dice:

Chester/Unknown Statement Giver It’s been a while since I played the tables but I’ve used enough dice to know they were too heavy… And there was something else too. From that point on I own those dice. And I know it. – The Magnus Protocol: Rolling with it

And he clearly took to the damn things in a way that Gary did not. Gary clearly rolled the dice and had both very good luck and very bad. And at a certain point he decided to make them this arsehole's problem (and as badly as that ended for him, I can see why). But our anonymous statement-giver was committed to becoming a dark agent of fate.

Chester/Unknown Statement Giver I started to enjoy that more than the luck. I was rolling for myself less and less, focusing more on being some mysterious stranger. I even began dressing for the part: I got hold of this long dark coat, a wide-brimmed hat, grew a proper goatee, the works. – The Magnus Protocol: Rolling with it

It's funny that he didn't like D&D, given how quickly he took to LARP-ing.

But there are other questions about compulsion, too. Nobody but Gary was hurt? Not true. What about the truck driver, whose life was likely ruined by this event? Were they compelled by the dice to fall asleep, or to plough into that building, even though they'd never touched the dice?

Sam clearly gets a prod toward a Magnus Institute-related case when he's muttering about giving him – but he's also pretty clearly committed, whatever he says to Celia. And he is explicitly in the middle of the world's longest and weirdest application process as he's having this conversation. Maybe Sam's being leaned on, a little, but he's not resisting it.

And then there's Teddy. It's not that anything he says is impossible, of course. It's just an odd string of luck. He gets that job just long enough to be replaced by Sam and Celia, and then it's gone again. And then he's back in Alice's orbit. Teddy's not around the OIAR any more than that truck driver was around the dice. But does he still fall under its influence?

"Gerry Keay's" behaviour in the previous episode was definitely odd, but at the time it was a little difficult to tell whether he was overdoing an act … or if he was actually like that, for some reason. I'm more inclined to think the latter, now. I'm more inclined to think something's leaning on him.

And last, but not at all least, is Sam's questionnaire. Sure, "Why?" might be the weirdest part in the generic sense, but this:

Celia Please list your earliest four negative memories associated with school or an equivalent childhood educational institution, then rate each from zero to seven with zero being neutral and seven being traumatic. – The Magnus Protocol: Rolling with it

It's an odd bit of luck, right, that Sam's paperwork lands on a question to which he is bound to have an interesting answer?

And Gwen – it sounds as though she's been sent out to visit some kind of incredibly irritating 90s television star (I want to strangle the man from the name "Prank Tank" alone). She is to deliver him a name and address, just as Sam previously received a name and address. The coincidence, however, lies most in the children.

What was playing on TV when Sam, Gerry and the unknown others were in The Magnus Institute?

[coldflasher]

Answer the Questions and Tag 5 Fanfic Authors

Tagged by @kitkatt0430 and @softboydepot - Thank you both for the tag :D

1. How did you get into writing fanfiction?

So I was about 13 years old, I was scrolling through my brand new One Direction tumblr, username "its-a-1d-world", soon to become "curly-and-boobear-stylinson", a harrowing username that genuinely makes me shiver like someone just walked over my grave. Like I'm sure this means nothing to someone who wasn't in the fandom AND an extreme larrie but let me tell you. Imagine the most intensely cringe superwholock url you could have. It's on that level

And I remember seeing what we would soon come to very derisively refer to as a "harry het fic" on my dash. So like, in 1D fandom, you had your standard self-insert Y/N fics, you had the queer RPF where you were shipping the boys with each other, and then you had the "het fics", which is where someone would make up a female character for one of the boys (usually Harry bc that man had and still has an insane chokehold on teenage girls everywhere) to date. If anyone has had the misfortune to read and/or watch After by Anna Todd... that type of deal

ANYWAYS I was totally unaware of fanfic as a concept, which is quite funny because as a little baby writer I'd been writing extremely derivative pseudo-fanfic for quite a few years by that point, like stories inspired by Young Dracula or Narnia or whatever without really knowing what it was. But this Harry het fic floated across my dash and a little switch went in my brain because I was like WAIT. I COULD BE WRITING STORIES ABOUT THE BOYS?? Like this was so exciting to me because writing is like probably my biggest eternal special interest and One Direction was my like, most intense special interest at the time, so I was like WAIT. I CAN COMBINE THESE THINGS. And also PEOPLE WILL READ THEM AND COMMENT ON THEM and I was sooo convinced I was god's gift to writing at the time so I was like well OBVIOUSLY everyone will read MY fics and I'll get super fandom famous instantly.

So I wrote an incredibly terrible Harry het one shot with an original character and literally got crickets. Nobody read it. Very embarrassing. I think I wrote a handful of these and nobody wanted to know, which is fair enough because I'm sure they were very bad. But THEN I was like okay fine, well everyone is obsessed with Larry, including me (though I very much liked it in a "bromance" way at the time, so I'll write a Larry fic instead. This is Louis and Harry for the uninitiated. It was the biggest fandom ship. We shipped all and every configuration of the boys but Larry and Ziam were the hard hitters. I think I wrote a few different one shots for various pairings but then I did my first Larry multi-chapter

ANYHOO the Larry fic was a big hit, I got all the outpouring of compliments and attention that my enormous thirteen-year-old head was convinced I deserved and that was kind of it really lmao. I was hooked. When I tell you I'd update my fics MULTIPLE TIMES A DAY because I was writing so fast and so obsessively, like god idk what the fuck was going on in my head but it was the greatest high I have ever experienced in my life. I also got incredibly deeply involved in the conspiracy theory about Louis and Harry's secret gay relationship and spent the next five years of my life tinhatting obsessively but that's a whole other story

2. How many fandoms have you written in?

In terms of what I've posted to AO3, only a handful—as mentioned, I started off in the One Direction fandom, I've written for The Flash and Legends, and dabbled in Doctor Who. In terms of fandoms I've written little bits for but never shared... so many lmao, the list (as far as I can recall) includes the following:

Batwoman, Supergirl, The Bold Type, The Devil Wears Prada, Once Upon a Time, Supernatural, Torchwood, Twilight, X-Men, and bizarrely, The Witcher, apparently??? I have ZERO memory of that, but it's in my fanfic folder. No idea what that was about

3. How many years have you been writing fanfiction?

I think I started in 2011/early 2012, so upward of a decade at this point... eesh.

4. Do you read or write more fanfiction?

Definitely write. I do want to read more fic, but I have a hard time choosing what to read and I am very bad at using AO3's search functions to find what I want.

5. What is one way you’ve improved as a writer?

I've finally started finishing shit!! Big moment for me lmao

6. What’s the weirdest topic you researched for a writing project?

I read an entire book on public defenders for a fic where Barry becomes a public defender instead of a CSI. I own a copy of a book called Forensics for Dummies which I'm slowly working my way through for fic reasons... I feel like none of these are that weird lmao

7. What’s your favourite type of comment to receive on your work?

Who doesn't love the mega long comments pulling out random lines the reader liked to yell about them. I sometimes get so excited reading these comments that I lose sleep over it lmao i love them so much

8. What’s the most fringe trope/topic you write about?

Lmaoo this is a very odd one but I once wrote a Larry Stylinson fic where Harry was Slenderman and he was haunting Louis, and either Zayn or Liam was like a Van Helsing type who was trying to hunt Slenderman!Harry down and kill him. Or maybe it was Nick Grimshaw, the at the time host of the BBC1 radio breakfast show. He was the go-to fandom villain at the time

I never finished it but that was a cool time, someone in the fandom actually composed an instrumental piano piece inspired by Slenderman!Harry which is up there with the coolest things that have ever happened to me

In general I don't know if I necessarily go that fringe. I feel like it's somewhat obvious I have a bit of a thing for femdom, and also like. Coldwest/coldwestallen in general lmao, I guess that's fringe-ish

9. What is the hardest type of story for you to write?

Funnily enough probably pwp. I feel like smut is generally considered to be just an easy fun time but I feel like my line-editing process is not conducive to smut writing thing because I write the first draft in a haze of feral horny energy and then edit and revise it over and over to the point where I no longer find it sexy at all and am unable to tell whether it's even still hot or if I've totally killed the vibe in my quest to find the most poetic way of describing the way people fuck nasty. It's very frustrating ngl

10. What is the easiest type?

None of them. This is such a cop-out but everything I write is hard because I'm an insane perfectionist and everything HAS to be beautifully crafted so at this point everything is hard. But ngl I find multichapters easiest to draft in some ways just cos I can kinda cling to the high of "ooh a new idea" whilst also contributing to the same project because the "new ideas" are just new chapters, if that makes sense? It's fitting them all together that's the hard part lmao

11. Where do you do your writing? What platform? When?

I use a combination of Microsoft Word, Scrivener, and a notes app on my phone called Penzu, which is where I scribble down all the random snippets and ideas and bits and bobs that come to me during the day. The bulk of my drafting and editing is done in Word and I basically only use Scrivener for its notecard function where you can move scenes around really easily, and then I transfer everything back into Word because of Tracked Changes. Does Scrivener have that? Probably. Scrivener has everything

12. What is something you’ve been too nervous/intimidated to write, but would love to write one day?

Honestly it's never really a case of "too nervous/intimidated" because I genuinely have never encountered an idea where I was like "hmm idk if I can pull it off", I have extreme faith in my own capabilities to an almost delusional level lmao, it's always just "I do not have time". But I do have this extremely long Coldwestallen fic that's inspired by Hades and Persephone, with Barry as Persephone, Len as Hades, and Iris as a soooort of Demeter figure which i know is weird because Demeter is Persephone's mother, but whatever, she more embodies the familial connection of the whole team rather than being an actual blood relative if that makes sense

So the concept is basically Barry as Persephone spending half his time with Len and the Rogues in the criminal underworld (I thought I was so clever for that one lmao) and the rest with Team Flash, and then the lines blur and it becomes coldwestallen-y eventually, but it's soooo long and basically split into four novels that I have written between 25 and 50k for each. It's gonna take me literal YEARS to tackle this thing so I've kinda put it on hold for now but I miss it so much

13. What made you choose your username?

So I wrote a joke in a fic that I genuinely have no idea whether I even posted it or not, it might have been in Aftermath. But basically Barry's suit gets blown up and he gets photographed literally streaking through the city totally nude (you can't see anything bc he's moving too fast but you can tell he ain't wearing any clothes lmao) and there's a newspaper headline that's like "THE FLASHER???" Let me tell you I was very annoyed the other day when I learned they already made that joke on Supergirl

And then I just added "cold" for Len lmao

[multifandomfix]

November Movie Wrap Up

Beetlejuice: 6/10. It was not what I was expecting. I can’t say exactly what I was expecting, but it wasn’t what I got. Did I love Delia and Barbara? Hell yes I did. Did I love the plot? Eh, I didn’t hate it, but it felt a little rushed and a bit all over the place.

Beetlejuice, Beetlejuice: 8/10. I actually much preferred the sequel to the original, which is rare for me. There were a couple of parts that could have been explored more, but overall, it was one of the better movies I’ve seen in a while.

Dirty Movie: 3/10. If you want a plot, then you’re in the wrong place. It did have some good jokes…and some groaners…and some wildly offensive ones. Not sure it was worth the whole hour and a half, but again, it had some moments. I got to see Bianca Del Rio like three times, so win some lose some with this one.

Extremely Wicked, Shockingly Evil And Vile: 6/10. It wasn’t as awful as I was expecting it to be. It did a decent job with details of the case and occasionally had good representation of Ted’s character, but as a special interest of mine, it was no surprise that I was disappointed. If you’re new to the case, watch it, it gives a decent rundown of the major aspects without too much detail, but if you know it well, it’s completely skippable.

Grace: 5/10. Almost the entire plot was predictable by the trailer alone, so you don’t have to pay a lot of attention to follow it. There was a couple of good scenes and a wild ending, but nothing all that spectacular really.

Lovewrecked: 5/10. There was nothing wrong with this movie, it was just meh. It had potential, and there were some funny moments, but the end felt a little rushed.

Terrifier: 9/10. Some people say there’s no plot, and I guess that’s true enough, but I loved it. I was rooting for Tara, and the kills were super creative and gory and just flat out thrilling. Art is so disturbing in the best way. Solid movie. Would 100% watch again and recommend for horror lovers.

Terrifier 2: 2/10. Every time I think about this one, I want to give it a point lower than I have (I started at 6/10). Way too much back story for characters I did not end up caring about in the slightest. So many plot holes it is still pissing me off. And going from realistic, if senseless, killing spree to supernatural bullshit just soured this one for me so bad.

Terrifier 3: 4/10. Points are for the creative kills and Art being Art. Again, the (unnecessary) plot was boring, the supernatural/chosen one shit is really killing this franchise for me. I signed up for a slasher flick and I’m getting superhero in the making and I hate it. Take me back to the first one when it just felt right. 😫

The Fabulous Four: 8/10. You can’t go wrong with the ensemble of Bette Midler, Susan Sarandon, Sheryl Lee Ralph and Megan Mullally. It was sweet at times, funny enough that I actually laughed out loud a few times. The script wasn’t stellar tbh, but for a movie about four older women, I was just thankful that there was no surprise twist that one of them was dying.

The Wedding Video: 7/10. Solid movie, bit boring at times, but sweet and funny enough to keep my attention. Great cast. Lucy Punch, Harriet Walter, Michelle Gomez and Matt Berry were all great. Overall, definitely not a bad one but not one I’d probably rewatch.

6 Souls: 6/10. Part thriller, part supernatural horror, it was not really my genre. It also felt a little slow at times in the first half, but really, it wasn’t bad. Really fast paced, twisty turny ending. If this sort of movie is your jam, then you’d probably get like a 7 or 8 out of it. The acting was definitely good, it just wasn’t really my type of movie overall.

[evecolourshock]

For the Impression ask game (your choice, any/all of):

Ed

Flynn

Eos and/or Clarke (If you'll do OCs)

Mercury

Sark

Character of your choice from any media that is not Tron (not sure what other media you're into)

Oooo, many choices!!!

Hmm

I'll do Ed (both canon and your version), Flynn (Canon only), Sark... and Jake Kesey (from The Wraith - bonus non-Tron character). I haven't interacted with Mercury, your version of Flynn, or Eos and Clarke, enough to form opinions of them.

Now, I saw Legacy first, and then the original film, so my initial thoughts on the Tron characters are biased that way.

First impressions:

Ed (canon) : Sassy smug kid. Why's he there.

Ed (yours) : All The Therapy for this one. Someone hug him.

Flynn : Old man with good intentions in his past that have come back to bite him. Interesting but where's the substance?

Sark : I don't know if you're an actual threat, or comedic relief.

Jake : Huh. (Literally just huh. Was more focused on the cool car and ignored the people).

Impression now:

Ed (canon) : so many missed opportunities. Also wouldn't it be neat if there was a symmetry in him helping Sam, with his father not defining him, to save the Grid and Encom instead of... we had less than a minute of a throwaway Dillinger, and two hours of Sam making himself a damsel in distress by trying to be the hero and failing.

Ed (yours) : ...I will fistfight the universe if that's what it takes for him to experience happiness without a spectre hanging over him.

Flynn : WHAT DID THEY DO TO YOU going from the wildcard in the original film to... that. In Legacy. There's age and stupid decisions, and then there's somehow becoming the most oblivious bastard known to man and Program. I hate the Legacy version SO MUCH.

Sark : oh buddy you're in far too much over your head here. Still not an actual threat.

Jake : ....yesss gettem you funky undead gremlin.

Favourite moment:

Ed (canon) : the miniscule bit of screentime we're given, because that's all we have.

Ed (yours) : him and Sam doodling flowers on Eve and each other. So cute.

Flynn : "that's a really big door" (goofy dork). Also the part where he philosophises at Tron when Tron's figured out he's a User.

Sark : his "oh shit" face during one of the chats he has with the MCP. Blink and you'll miss it, but so funny.

Jake : blowing holes in cars with a supernaturally-powered shotgun while in a really cool full-body-leather suit and blank helmet (hey that's familiar...). I could not make this up if I tried.

Idea for a story:

Ed (canon) : what does he get up to outside of work. Literally anything.

Ed (yours) : Ed Finds Happiness And Nothing Goes Wrong. I don't care how this happens.

Flynn : exploration of why he ends up Like That in Legacy - as far as I know and remember, Uprising didn't give us any of this and neither did Betrayal, as they both focus more on the Program characters than the human ones.

Sark : what was he like when he was new? What would he be like without the MCP commanding him? (Wanting to explore both of these in Serendipity, but haven't got there yet.)

Jake : no story ideas as such, just wanting him to go to other places in the States and... dealing with... their gang problems because he died because of one psychopath ringleader and he's not about to let others suffer the same fate.

Unpopular Opinions:

Ed (canon) : none, mostly because we don't see enough of him to form an opinion.

Ed (yours) : I don't... know if I can have an unpopular opinion about him? I love him too much. Maybe... idk, he needs a "guard dog friend" who's stuck by him for incomprehensible reasons to all (including him). I know he has everyone in our RPs (and others in other RPs!) but... yeah. That's the only thing I can think of.

Flynn : I've seen it around a lot, so it's probably not an unpopular opinion, but his character in Legacy is a disservice to the one he played in the original. I have no idea how he got from point A to point B, and it annoys me.

Sark : probably the whole comedic relief thing. He's just... kind of a non-issue, typical evil-character's mostly incompetent SIC character.

Jake : Why, of all people, did Charlie Sheen have to be the actor for this guy. Also the whole romance subplot was very 80's, and unnecessary.

Favourite relationship:

Ed (canon) : we never see one. However, I like imagining he's head over heels for a tiny barista who looked a would-be mugger dead in the eye when he threatened her with a switchblade and pulled out a Bowie knife in retaliation.

Ed (yours) : all the sibling relationships he's accumulated. Buddy you have a family now.

Flynn : whatever he has with Alan. Also the bit we see of him and Ram.

Sark : he has none we can see aside from the whatever with the MCP. I like imagining he has an "admire from afar" kind of relationship with Yori, because she scares him.

Jake : he has a brother, and goes out of his way even as a vengeful undead to spend time with said brother. Very cute sibling bond.

Favourite headcanon:

Ed (canon) : see the relationships point above.

Ed (yours) : ooh, so many... probably the crochet. I like thinking of him making things.

Flynn : can't keep a shirt for 5 minutes without damaging it or spilling something on it. Ranges from "spilled my water" to "how the fuck is this thing rags now, I bought it yesterday and have worn it for ten minutes". Only affects shirts he's bought himself.

Sark : those horn-things double as handles, and it's possible to pick him up by them and carry him around like a disgruntled kitten.

Jake : can't sing. Loves to sing. The spooky car he was gifted when he came back for revenge has thrown him out more than once because it can't take any more of his yowling.

[antialiasis]

Groundhog Dave, the 16k-word Morphic time loop extra, is finally up on TCoD. If you've been following this blog for a while, you may have seen me intermittently talk about it. Long story short, Dave is trapped in a time loop on the day of chapter 13, and we explore how he responds and unravels.

Content warnings: This is a whump fic. It features some strong violence including gun violence, suicide and suicidal thoughts, brief vomiting, a deluge of strong and demeaning language, consumption of alcohol, heavy emotional distress, existential horror, and a whole lot of children dying.

Some rambling below the cut about how it came to be and my favorite bits in it.

The first inkling of this story was when I saw someone in the Groundhog Day tag on Tumblr writing a Newsies time loop fanfic titled Groundhog Dave. I have never seen Newsies and have no idea who that Dave is, but I think of Morphic Dave every time I see the name, so instantly I pictured Dave in a time loop on the day of chapter 13, and I could not stop intermittently thinking about it. Eventually, I started writing it.

I don't remember the process of beginning to write it super well, but I remember waiting for a coach at Port Authority with Negrek after seeing the actual Groundhog Day musical and typing up the bit in the third iteration where Dave rages at God on my phone, which was definitely one of the earliest bits I thought of. I know that for a while, what I had written up in the document was the first four iterations and a bit: the original, the one that more or less spawns the Dave and Mia Discuss Family AU, the one where he snaps and gets himself killed, the one where he wakes up after that and decides he can experiment and figure this out, and the summary of his next few goes. I know the document was stuck there for a while, with intermittent tinkering and vague ideas but nothing really in the way of writing progress. On August 12th 2021, I posted in the Thousand Roads Discord about how I'd just written an entire NaNo day's worth of Groundhog Dave, and I'm quite sure there I was referring to the scene where Dave is at the hospital, fails to shoot himself to end the loop, and talks with Cheryl. In 2023, I started doing regular sprints working on it (thanks, Negrek), which was what finally got me past the finish line; before that, the document stood at about 8500 words, while it ended up at about 16500 (though with some bits and notes at the bottom).

The actual ending went through a series of iterations as I was working on it. My first idea for an ending for it was just a cruel, "He does finally fix everything and all the kids live, and then he goes to bed and wakes up in the canon timeline, because he cannot have nice things." This wasn't a super satisfying idea, of course, by itself. I went back and forth through various possibilities from there over the story's development time. At one point or another I considered different variations on whether he does manage to stay in a Better Timeline or whether he ends up back in the canon one at the end, how exactly the loop ends up breaking (initially I was genuinely thinking the loop would break one way or another once nobody dies and the Character Development would have to be leading up towards that, but later I realized it was actually tastier if he does manage it and the loop just keeps going anyway; the precise nature of the Character Development involved was also a bit back and forth), and whether the whole thing would be completely unexplained in the vein of Groundhog Day itself or if I would make more ambiguous use of Lucy's recurring penchant for being involved with bizarre supernatural happenings in non-canon extras.

I'm pretty satisfied with what I did end up with, at any rate. My first inkling of the Lucy thing was just sort of ending with ambiguous Lucy, and I wasn't sure that would really work, but it felt a lot more appropriate to actually do that once Lucy tied more into his overall character development - the couple of early iterations where he takes things out on her specifically as if it's her fault or she should have intervened, his general guilt about actually using her to intervene, the repeated conversations in the car where she manages to confront him at the right moment with why he's so mean, him managing to choose to let go and not be an ass to her in the final scene. I'm also pleased with what I landed on with the several different things happening for the first time in the final iteration: him actually mustering the ability to articulate how much he needs the kids for his life to be worth anything, and affirming that he'll keep doing it even if he'll never get to live in the good timelines, and being forced to confront the ways in which he's been cruel and unpleasant to the kids despite how much they mean to him and choose not to, and finally being able to express an honest vulnerable emotion to Jean, accept her offer for emotional support and ask her to stay up with him because he needs that. Something just feels a lot stronger to me about it with a greater degree of ambiguity about the end of the loop, no one single obvious switch that's the thing like someone was dutifully waiting for him to just say this one magic word. (Similarly, what exactly Lucy did in fact have to do with this, if anything, had to be ambiguous. The loop cannot be a concrete phenomenon with a clear singular cause, or it would have just felt wrong. I have realized I have strong feelings on when fiction should be deliberately ambiguous, not because there is a concrete truth that the author is arbitrarily concealing to force you to guess, but because one way or another establishing any concrete truth would detract or distract from the story being told.)

Some little things I enjoy in this story:

Dave's increasingly frazzled awakenings in the first few loops just really tickle me.

Him knocking on the door, then realizing Cheryl heard his sky-rant and just immediately turning around to go on an ill-advised suicide mission to the church rather than have to try to explain that to her amuses me greatly. What a timeline.

My favorite bit of said suicide mission is actually the bit where he's lying there dying and manages to spend that time being restlessly, angrily impatient about how long it's taking and grasping hard for some sense of satisfaction in having killed this stranger, without ever managing it. The most pathetic possible suicidal rampage of revenge.

The hospital bathroom scene is still my favorite scene in the whole thing. It presses my particular whump buttons extremely hard, and it's just extremely representative of Dave and his problems, him mercilessly bullying himself and Cheryl trying very genuinely to reach out to him and let him know he's not alone while he compulsively rejects it, adamant that he doesn't need anyone or anything even though he's acutely suffering, resenting her for it and shooting back at her efforts with pointless, uncalled-for sarcasm. It also has some of my very favorite lines: "There was a knock on the door and he lowered the gun quickly, like a kid caught playing with something he shouldn't," "What the actual fuck did she think he was doing in here," "Still there?" answered irritably with, "There's only one door. Do the math," when he came so, so close to not in fact still being there. So fond of it.

The offhand unelaborated upon mention that Dave has at one point or another read enough to not bungle a suicide by gunshot is extremely some precise button that I have.

I'm also deeply fond of the iteration where Gabriel dies. Dave tries so hard to force himself to decide he can live with that and just decidedly does not succeed. I enjoy him sitting there irritably thinking maybe they should have just done this in the first place when the others attempt to safely reach the police, silently pretty much convinced that would have been a better idea and thinking all this could have been avoided (but without actually consciously admitting to having been wrong, of course), only to immediately go, "He'd always known this was a bad idea. Why'd he even fucking let them?" when the consequences come knocking. You fucking let them because you thought it was probably a good idea at the time, Dave.

I really enjoy how much Dave cares about the kids, can't not care about the kids, while most of the kids have a hard time grasping how much he cares because he's so persistently Like That. Loved to write the multiple times Jack viciously accuses him of not caring about Gabriel, and the way Dave's idea of disabusing him of the notion is just to be an asshole to him, because he's incapable of expressing sincere emotional sentiment. Lucy, similarly, keeps probing him about what he's going to do if the loop doesn't stop, and he just keeps answering in evasive, defensive irritation as if she's challenging him somehow, until he finally manages to realize that no, she was worried that if his efforts wouldn't end the loop he might just stop bothering. (Only then he's finally been driven far enough to actually manage a smidge of emotional honesty.)

Similar recurring horrible dramatic irony I enjoyed: Dave hates Jean's evolved form so, so horribly much when it's just a hypothetical manifestation of Something Horrible Happening To Her that he's trying to stop and not what his daughter really looks like. One of the things that only quite felt right when I'd finally landed back on him ending up in the canon timeline was that he then actually has to confront the cruelty of that with himself and affirm his unconditional love for her, instead of being 'rewarded' with the cuter, unevolved Jean.

I always get a kick out of how relatively easily Dave in nonsenscial situations just slides from adamant atheism into antitheism without a pause. He's perfectly genuine about thinking God doesn't exist, of course, but there is a level on which he kind of wants him to, just so he can face him and walk backwards into Hell, and as a result you get these situations where he sort of entertains the idea far more easily than he rationally should given his priors. The yelling at God about why he isn't curing malaria instead of whatever this is is pretty unique to the very particular mental state he's in on that iteration, but the multiple times he offhandedly thinks maybe this is literally Hell are total nonsense in his professed belief system but nonetheless a place where his mind is just inclined to go.

Meanwhile, I also enjoy the bit where Mia gets him to contemplate that he might be experiencing proof that souls exist - but he's less willing to entertain that in the same way because it doesn't have the same emotional valence for him, so it's not something that properly occurred to him before that, and then he just throws up his hands and moves on.

Thanks if you read it! I would love to hear any thoughts on it.