#though also is heavily implied to *also* be a history nerd

[aroaceleovaldez]

Jason, Reyna, and Nico have one billion in-jokes about Mediterranean history between the bronze age to the renaissance that they find absolutely hilarious and no one else understands in the slightest. i know this in my heart to be true.

[daradiostarzz]

Okay Hiii me back!! Time to talk about Book Enzo (Honestly the best iteration of Enzo) and an insight on him because I feel people look at book Enzo so one noted and it's very frustrating to watch so okay.

Context: The Book was where Nicky's friends were mostly introduced (This was during a time when SN wasn't considered part of the lore so no Finch, no Ivan and no Delroy and Leader, Brave and Detective were separate cause like Maritza and Enzo were hinted to be dark skinned mexicans) Enzo in the books was also very different in the two books.

Yes he IS a nerd he HAS nerd qualities but he was also had a very sharp tongue and will opp out of a conversation when Aaron is brought in as a topic. And book 2 is where Enzo stole alot of the show cause of his arc and turnaround and also his argument with Nick in chapter 7 and the iconic:

"Have fun alone." While Jackson 5 is blasting in the bg

He also did something somewhat of a prick move which was: ditching Nick & Maritza to instead hang with kids whom he had zero platonic compatibility with and allowing them to walk all over him (Like them giving him an embarrassing nickname) and though in the end of the book he does have a turn around and make up with Nick. Alot of people by that time see Enzo as a prick/mean girl/idk whatever u wanna call him. Ik 14 year old me did at the time till I reread it and started to be charmed and eventually now I usually tend to defend some of his actions of book 1-2 (3 I'll tab in a bit l8r)

Okay, let's start w the easy one which is Enzo telling Nick off in chapter 7 about staying away from Maritza & Trinny: In book 1 Enzo told Nick "Oh btw your neighbor cornered my sister and told her about her dead friend flying" and to which Nick then met up with Maritza irl by book 2 and the two shared a bond over them losing a close friend while amidst Nick falling out w Enzo. So let's go back to that first sentence in blue: imagine a friend of yours is friends with someone who the adult figure in their life said something pretty horrifying to a family member, to which you tell them about it & instead of that friend backing off that friend with the scummy adult figure they instead put your family member risking their life for investigating on that scummy adult figure behind your back cause they thought you simply just want to hide behind your tail and not confront the situation, and mind you. You and the friend are both 12.

Now let me say this: Yes it was somewhat scummy for Enzo to try and avoid it at all costs especially when Maritza was hurt he did not take into consideration her feelings BUT the situation could've been bad had Maritza been closed off to the topic about her two dear friends & being thrust into foregoing to investigate a man who said creepy shit to you by someone you kinda met through your brother. Yeah, Enzo HAD a reason for what he said about Nick staying away from Trinity and Maritza two people who he not only cares about but HAS HISTORY. I love Nick but it is stupidly dangerous how he set up 2 other kids to investigate with him and doesn't think of how DANGEROUS that is especially since in the books it is HEAVILY IMPLIED THEODORE ABUSES AARON.

This isn't a case of unreliable narration or the author forgot to add it in it's a case where the POV doesn't understand why the character feels like that way, it's Nick POV at the end of the day he doesn't have all the answers but it's hinted.

They're meant to be a parallel to their own fathers' how-to approach to an article on Theodore except switched on its heads. So yeah how do you expect a bunch of 12-year-olds to react to someone being kidnapped?

Aaron & Enzo: Okay in general this is something I always kept in mind about the books especially cause this was intended by the author:

Enzo and (the rest of the kids too not just him.) Are meant to be flawed so it's not a surprise personally he doesn't want to be affiliated with something as macabre as Lucy's death or the Petersons anymore and is again trying to cope (He's 12 his mind is at the end of the day still developing) but it just doesn't work. My only complaint was I wished we could've seen a scene where Enzo realizes Ruben and Seth didn't care for him. But with what we have I much rather have it be implied through Enzo not making it to the basketball team and finally Enzo and Nick making up and going to Miguel for help. Nick & Enzo CARE about the people they love they unfortunately butt heads over how to approach it with Enzo wanting Nick to do nothing while Nick wants Enzo to do something. They don't HATE each other I do not understand where that is coming from especially cause Nick was so quick to forgive Enzo even wanting to hug him like... They care for each other, they just clashed about how to approach a very heavy situation that will likely get police involved.

And as for Enzo falling out with Aaron, obviously, it's the Maritza situation I want to irritate though that yes Aaron isn't at fault Enzo probably with the influence of Miguel shaped his mindset that Aaron and Mya are people he should stay away from in order not to be sucked in by Theodore's toxicity (Cause that book they were all 10 and had brains that soak up like a sponge)

Okay time to talk generally about book 3: It's a very weak book that forces the characters to be written out of a plot for the final scene which was planned out. And though yes Enzo abandoned Nick (with like also Trinity and Maritza)

Oh right I totally forgot HNVR exist despite how book 3 seems to have written them not wanting to do with anything w Nick! let's all actively pretend book 3 never existed:

Okay, I'll try my only defense for him in book 3 is: Everyone was written stupidly for a forced conflict but I think cause as a reader I was desensitized to Enzo being mean it doesn't come off as left field for me as Trinity and Maritza also he was the last one to opp which again says alot. Also HNVR says otherwise let's pretend they realize how stupid they were and then wanted to apologize only for Nick to be missing let's say that (or pretend book 3 never exist)

So yes this is my gushing about the book Enzo and why I believe he's the most well-written character in the books and what I think alot of people tend to miss out... I wish Enzo was more studied on like this on the same levels as Ted tbh lol

I love these four... I will talk about these four... Please let me talk about their book versions of them so bad you have no idea how much I will go the 7 seas to defend them like a soccer mom.

[simp-city-sirens]

BatFam Reading Habits Headcanons

*I’ve been getting back into reading lately and it got me thinking about the bat families reading habits or tastes. These are just my headcanons - feel free to disagree or add on your own thoughts - I’d love to hear ‘em!*

Jason Todd reads the classics but not in a snobby way. I mean, we already know he reads Austen. He’s also into classic poetry in addition to the novels and he’s secretly really into annotating and analyzing such. On the flip side he is also a massive nerd who loves to read comics and manga as well (he’s more into shojou than shonen but he won’t tell anyone that)

Bruce Wayne on the other hand is into classics but in a decidedly much more snobby way (if it’s not a classic is it even worth his time). He has definitely read books such as Frankenstein, Crime and Punishment, the Iliad and the Odyssey, and The Divine Comedy. He’s into anything with really nihilistic tones and he almost certainly is one of those dads that reads history and political books. 

Dick Grayson reads whatever’s popular at the moment. He wants to stay current and it’s very “so this is what the kids are into these days?” energy. If the book is blowing up on tiktok you can be sure Dicky boy has or is reading it. He’s also a comics nerd and get’s into heated debates with Jason over them.

Barbara Gordon is a nonfiction girly for sure. As far as fiction goes, though, she’s giving me high-fantasy vibes. Don’t know why - but I’m convinced. She’s also definitely into true crime thriller’s, growing up as the police commissioner’s daughter and all and then later joining the bats and their detective vigilantism. It just came naturally.

Stephanie Brown is in it for the spice. She reads smutty books and nothing will convince me otherwise. Trashy romance is her thing - she’s in it for the drama - the twists - the turns. She definitely rants to the other bats about the books she’s reading a la “and then you wON’T BELIEVE what this bitch does next!!! She-”

Damian Wayne is into sci-fi and fantasy. He just is. After Jason has him read Austen, though, I think that he secretly really really enjoys romance novels way more than he thought. He would sooner die than admit this - but he definitely has a secret guilty pleasure stack of romance novels hidden away where no one can find them (spoiler alert: someone found them. Which bat family member was it though?)

Tim Drake is someone I struggled with a bit but I think he reads mostly true crime thrillers, though he gets bored with them easily as the plot twists are just SO predictable. If the book can blindsight him in a good way with it’s plot, though? That’s a winner. A truly god-tier book. Also manga. Definitely manga. Tim Drake is a fucking weeb.

Kate Kane gives off horror vibes. She definitely reads horror. She also is down to read anything sapphic. Is it outside her preferred genre but it’s sapphic? Give it to her. She is very critical - with good reasons - of the representation in said books, though, and she only keeps books of the highest gay quality.

Duke Thomas is one of the ones I struggled with the most (along with Cassandra) but I think that I’ve landed on the idea of him reading sci-fi. I couldn’t tell you why - but it feels right. He is also a MASSIVE nerd on the same scale as Jason and Tim who definitely reads comics and manga. He flips between being into the really mainstream popular shonen manga and really obscure shit no one (but Tim) has heard of.

Cassandra Cain I definitely struggled with the most out of anybody so feel free to jump in and add your headcanons. I feel like she would mostly read contemporary literature with very well written characters and social relationships and dynamics??? Why??? I’m not sure. I also like the idea that she likes to explore more of her culture - which correct me if I’m wrong but we don’t have any concrete canon information on but it’s heavily implied she’s Chinese - through reading Chinese literature.

[demonslayedher]

Ramble on the Limitations of Looking for KnY Interpretation based on Japanese Mythology

One thing I notice a lot in the Japanese side of KnY fandom theories is a lot of deep dives into religious and mythological reasons behind Gotouge's creative choices. It is super interesting stuff, and Gotouge borrows enough and does homage to enough that there is a clearly a solid knowledge base there. While I find historical details handy for interpreting the characters, ultimately, I find that the canon of demons and Breaths can be interpreted in a vacuum without relying too heavily on the uncanny coincidences lurking in deep dives. This isn't going to be a well-supported essay, this is going to be a ramble that may include a bunch of interesting nuggets. (And then she went on to ramble for 3249 unedited words...)

First things first: I'm a nerd. I like to say I broke the weeb scale a long time ago, but I'm not exactly a university professor or anything like that. That said, I do read a lot of stuff from experts who have jumped on the KnY trends to talk about how elements in KnY are taken from, say, the sword making traditions of the Okuizumo region that results in black swords or simply making comparisons to famous swords, or local legends of supernatural encounters that resulted in split rocks, or comparing specific oni with and the heroes who slayed them or at least comparing elements of specific characters to other famous oni legends, or that Hinokami Kagura is based on a specific Shinto legend and has 12 forms based on existing Kagura traditions, etc. And I love reading this stuff, because I wouldn't had learned about some of it without my interest in KnY leading me to those articles, or as I read it I cheer because they're making references to things I already (as a nerd) really enjoy and therefore it strokes my inner echo chamber bias, or I nod along and think, "oh, yes, why of course, that makes total sense, Hinokami Kagura must be based on the dance Amenouzume performed to enticed the Sun Goddess Amaterasu out of the cave, how silly to think it could be based on anything else" but I then also take a step back to think, "...but it also doesn't have to be." For as many similarities as there to existing legends, it feels to me that Gotouge made it a point not to make specific reference to any particular mythological or religious elements. As an example, Gotouge considered titles with reference to a Shinto fire god named "Kagutsuchi" but never made actual reference to any fire god (or sun god) by name in the finalized direction canon took. Granted, a lot of fan theorists have read into that, going so far as to say because Nezuko's fire powers she represents Kagutsuchi, Yoriichi represents Amaterasu, etc., but while I find the idea of borrowed elements makes for highly interested interpretation of canon, one-to-one comparisons really don't work for this series. By not invoking a name like Kagutsuchi in the title or otherwise, Gotouge succeeded in not being boxed in by the canon of any particular deity. (Granted, "canon" for mythology can vary significantly by whatever historical writings you're looking at, with standard interpretations going through many big changes throughout the centuries. It can be as loose as it is limiting, depending on what sort of historical/mythological/religious figure you're talking about.) I feel there's more evidence of this avoidance by never invoking Amaterasu as a deity, despite the emphasis on the power of the sun in slaying demons. Even looking back and trying to figure out who Akeno placed so much faith, it was only called a "god of sunlight" as opposed to a "sun god." It's as though KnY works with a generic approach to religion. Even if the use of Buddhist element, the Nenbutsu prayer is called such, and Himejima's repeated phrases are legit Buddhist practice, but there is a huge variety of Buddhist sects and practices and theologies, and throughout history, many of them didn't get along. Going back to Akeno and wondering if she might had been Buddhist, I went so far as to suspect she was influenced by Nichirin sect philosophy based on its emphasis on the "Nichi" (sun) representing Japan and incorporating Shinto gods into its philosophy, and for its likely influence in the Kanto area in Akeno's time period, and for its encouragement for the salvation of women and therefore popularity among women. I felt pretty satisfied that it was all lining up, but also, none of this is necessary for a quality interpretation of canon. If Gotouge wanted to say specifically what informed her religious conviction, then it would had been said. But that's not what was important, was it? What was important, and therefore focused on, was Akeno's feelings toward her son and wishes for his sake.

While KnY's worldbuilding feels richer with all the clear religious influence, the details are not actually important. If anything, I feel like Gotouge dove into the heart of the elements of, say, Shinto mythology, and played those core elements up. It's different, yet still familiar, to take sun-associated elements and used them in a way that serves the story without being boxed into existing traditions. The sun is clearly important, and once you start looking for it, you find subtle recurring references to it. Like, Akeno's name? The "Ake" is one way of writing "red," and there are all sorts of uses of other ways of writing "red" throughout the series, in everything from the sand used for making Nichirin blades to the way that Haganezuka calls Tanjiro an auspicious "red" child with a very rarely used kanji. Our commoner main characters, though, just use regular old ways of saying "red" when referencing Tanjiro's appearance without thinking deeply into it, like there's something special right in front of them but they don't recognize it. Similar to how something as special as Sun Breathing was hidden right in front of them in Hinokami Kagura, with a name so generic and simple that it's entirely unsurprising that the Taisho era Kamado family would interpret it as "fire god." The very lack of limiting real-life details is what allows Gotouge to sprinkle these deep touches around, cover them up with branches and leaves, and then sit back and wait for readers to stroll through and invitingly pleasant looking field and then trip and fall down a rabbit hole. This is also what I think gives Gotouge the freedom and malleability to work with the sun in a way that serves the story, especially in ways that tie it to fire. While I don't think there's strong ties for this is general Japanese culture, the way canon is written implies a close tie between fire and the sun as being a very closely related element, hence the influence on the Kamado family, Tanjiro's appearance, his suitability for Sun Breathing based on a history of tending fire for careful charcoal burning, and Tanjiro and Nezuko capability as demons to overcome the sun. Here is where I go into a bit of a tangent about the purification element. This, again, is not strictly tied to any particular Shinto canon (and Shinto does place heavy emphasis on purification), but instead is an example of Gotouge getting to the underlying heart of a lot of common religious elements. Fire is associated with spiritual purification in everything from Buddhism to Catholicism, it's very easy to apply Nezuko's fire abilities as something which burns away something evil (demon poison) so as to purify something good (human flesh, or even other physical substances). Maybe lesser known, but very deeply entrenched in Japanese culture, is the purification element of charcoal. While it may be known around the world for soaking up undesirable elements and therefore used in everything from fish tank filters to treating food poisoning, in Japan, there's a bit of a spiritual side to it as well. For something so closely tied to the way of life for citizens throughout hundreds of years of history for everything from cooking to heating the home, it's unsurprising that quality charcoal would receive as much emphasis as good water and rice. Japanese charcoal is especially known for not producing undesirable smoke or odor, making it appropriate for use in a lot of settings. Charcoal farmers have often not just been that; they've been caretakers of the forest. Keeping the right trees, at the right sizes (both for use as charcoal and for how you pack it together when making charcoal), and in the right numbers to ensure you have stock for coming years, requires management of the forest. (Other tangent side note: many of the other names in the Kamado family are references to plants. Sumire both has the "sumi" sound of charcoal and is the word for violet, Kie is in reference to hollyhock, Nezuko is in reference to red beans (and the asanoha pattern of her kimono is in reference to hemp leaf, an

auspicious symbol of strong and quick growth), Takeo is in reference to bamboo (ironically bamboo can be a problematic plant for charcoal farmers, because it may spread too fast and take resources from other trees--stop stealing all the takuan pickles, Takeo!), Hanako is in general reference to flowers, Shigeru is in general reference to (plants) flourishing, and maybe by the time they got to Rokuta they gave up and said "he's our sixth child, let's just call him 'Six-Boy', lolz." BUT I DIGRESS.) That means the Kamado family not only had careful management of fire in the actual days of charcoal production, but of a wide variety of natural resources to ensure the trees were healthy. Natural weather phenomena, clean water, pest control, minerals from rocks getting into the soil, hmm, so many elements to pay attention to. Hmm. These sure sound a lot like other Breaths. And Breaths all stem from Sun Breathing. That means there may be certain elements of Sun Breathing that have been emphasized in each of them, but none of them encompass so many qualities of the natural world. The natural world which Yoriichi saw with such clarity than nature accepted him with open arms, practically, in how well animals took to him. Sun Breathing, while especially using that all-important purification aspect of sunlight which burns evil demons, is like an all encompassing embrace of nature. While being closely tied with fire is hugely important, there's more to it than just flames. While Shinto is very much so closely tied with nature (the extent to which this is emphasized may vary from shrine to shrine, scholar to scholar), what I see in KnY is a clever use of emphasis on spirituality in nature as opposed to emphasis on Shinto mythology. And I think that was a smart move. While stories based more directly on various theologies, mythologies, and religious ideologies often use those building blocks often wind up having very creative takes on them (even and especially with the confines of them), ultimately, the story of KnY is whatever Gotouge wants to do with it, and it does not seem guided by the specific conventions of more specific religious elements. But again, those deeper elements are still everywhere. You know what color Japanese charcoal burns? It's a gorgeous jewel tone red, spanning many of those rare shades of red Gotouge make reference to. And, in wider Japanese culture, red is the color of the sun (as opposed to how other cultures may represent it as yellow or orange or white or so on). (Not as exactly a KnY tangent, just personal: Japanese charcoal is so freaking pretty, I had no idea until I saw it used in the tea ceremony at parts when guests crowd around to enjoy the sight of it as the host prepares it for boiling the water. I can stare and stare and stare, it is so so so so so pretty, but also this element of the ceremony has gotten rarer both as many places have made a more practical switch to electricity, and tea ceremony quality has gotten more rare both due to fewer producers and due to beetle-related damages to the trees used, and I will always state HOW DISAPPOINTED I am that Kanata and Sumihiko are not out there raising charcoal, because charcoal is precious and I'm always so terrified of wasting charcoal in my practices because its so precious, but seeing the amazingly beautiful burn of the charcoal is absolutely one of my favorite elements of the ceremony and this of course gives me an extra soft spot for Kamado Tanjiro BUT I DIGRESS AGAIN, I TOLD you this was going to be a ramble, but SERIOUSLY IT IS SUCH A GORGEOUS RED).

So anyway. My point is, as interesting as incorporating outside elements may be, I don't find them necessary in interpreting KnY's canon. Even if it takes tons of Taisho Secrets to do so, Gotouge presents the details necessary, and that's more than enough to work with. After all, despite all the care taken in historical details in building the setting, KnY takes place in a fictional universe, it can make its own rules when it comes to things that don't actually exist in our universe. Demons, for example, follow a chronology and power system with sources and limits that is unique to a this universe, as tempting as it is due to general cultural familiarity, it does not call for a one-to-one comparison with existing demon legends. Breath as well, as a power system, is very interesting. Again, this is because it has a lot of basis in core concepts of real life physical and spiritual training. It's presented as a method available to anyone who can pick it up, not drawing on a mystical outside power or summoning the actual superhuman elements of nature. Other stories that present their power systems like that are well and fine, but when it comes down to it, this is a story about mere humans doing everything in their limited power to wave swords around and defeat creatures that seem so likely to outpower them. This is a common, relatable basis of stories throughout history, and a lot of analysis I've heard of KnY's success says that it shows how classic this story structure is. Many Japanese demon stories have their origin in epidemics, and some people suggest that the world looks for hope in stories like KnY in times of seemingly insurmountable crises like coronavirus. I think that's an oversimplification of KnY's success, but again, because of Gotouge's use of core cultural elements, it can be applied easily. OKAY BUT ON THAT NOTE we can do some really interesting digging if we want. : D Gotouge does make some highly specific references, included religious ones (granted, not in ways that impact the plot). The example coming to mind is the Seventh Form of Thunder Breathing, the "Flaming Thunder God." In Japanese, this is "Honoikazuchi-no-Kami," the name of a lightning deity who had a very, very brief mention in the Kojiki and who appeared among a handful of other lightning deities named in reference to other aspects/phenomena of lightning, like the sound or the rumble through the ground. Honoikazuchi is not so much the lightning itself, but the fires started by lightning. Stick with me a bit longer, I'm building up to something here. You've probably heard of the twelve animals of the Chinese (poorly translated as) Zodiac, right? Well, the system is way more complex than that, and really, if you want complexity, skip Japan and go dive straight into ancient China. I laugh and cry at myself for having a graduate degree in Chinese studies, the extent of my knowledge is is pitifully small, I know nothing, nothing. Suffice to say, China has its own five element system of water/wood/metal/fire/earth, it's more a philosophical application than a more physicality-based four element system popular in the west (fire/water/air/earth, why hello there, Avatar), with attributes of these elements assigned to every about anything through Chinese culture, from medicine to, you guessed it, the Zodiac animals. Japan saw all this and said "cool, we'll do that too" albeit their sort of mixed and matched a bit and made their own take on it in Onmyodo. An Onmyoji, who keeps track of, like, really any other-worldly matter you might have on your hands as a Heian noble, is someone who is paid to know all this stuff (it was very likely an Onmyoji who told the Ubuyashiki clan, "yeah, you got an evil family member to blame for your curse, squash him"). Yours Truly is not an Onmyoji and therefore will not attempt to go into more detail, save the one that a handful of Japanese theorists in the KnY fandom love to bring up: The Boar is a water sign. This means that, especially in Shinto practice, boars are considered an animal that protects against

fire, hence, a lot of practices to protect against fires were done on days of the Boar, in the month of the Boar, etc. So? So-o-o-o-o-o? You see it? You see it??? Boar = Water, Honoikazuchi = Fire, Inosuke and Zenitsu are basically foils to Tanjiro? Yes, yes, see it, yessss??? Deep dive Kamaboko theory, yes?????? Hahahaha. Naw. It's just a fun coincidence. ^_^ Again, I find these details completely unnecessary, for we are already given so many details in canon to work with on its own, and I think Inosuke and Zenitsu as foils to Tanjiro works entirely well simply based on their personalities, not because of any supernatural elements that require a high level of nerdery to have any hope of appreciating. Besides, once you start reaching too hard for cultural details Gotouge might have used and clinging too tightly to those ideas, there's likely something in canon to make it doubtful. For instance, Inosuke more widely presented as a king of the forest who wears deer and bear hide as well, and the fanbook state that Beast Breath is considered a likely offshoot of Wind Breathing. Even if we rely more strictly on historical detail, there's still the question of, say, what one of the basic Breaths, Thunder Breathing, even was when it was but a thunder inspired sword form not necessarily powered by Breath, you know, back when swords were longer and it would have been harder to make the fast draws katana would later be better suited for. Maybe they called it Thunder because it was practiced by swordsmen who stomped around really hard, and then when they added Breath technique, they figured out "oh dude, we can use our strong legs to go fast"??

Those are the kinds of things I find more fun to play around with in interpreting canon by bringing in little outside details, because as a work of fiction, there are already so many fun details to work with already even when treating it in a vacuum. But, giving Gotouge extensive and subtle use of cultural elements, especially core elements, it sure makes a lot of outside details applicable. Which is all to say, it's all super interesting, and I think the more people realize these things, the deeper they read into it, to an extent more than canon calls for. As much as I like it, and as much as I've enjoyed pulling outside elements in to fanfiction (like Kagutsuchi and lightning god tidbits), ultimately, if Gotouge thought these things were necessary, they'd have been included. Since they are not, I try to stick to canon details and Word of God-touge in answering Asks (lolz, I didn't plan on becoming a meta blog, it just kinda happened). BUT ALSO, JEEZ, I AM SO EXCITED IF PEOPLE TAKE A DEEPER INTEREST IN JAPANESE CULTURE BECAUSE THEY LIKE KIMETSU NO YAIBA, YOU CAN HAVE SO-O-O-O-O-O MUCH FUN PLANNING A TRIP TO JAPAN AROUND KNY THEMES, DO IT DO IT DO IT, GO TO YAGYU AND POSE IN A TANJIRO HAORI AND STICK YOUR SWORD IN A SPLIT ROCK, THE LOCALS THERE LOVE IT, DO IT but also like maybe learn about the tea ceremony and appreciate how beautiful the charcoal is with me k thx bye

[whatifxwereyou]

Ashes Chapter 15: Same Old Story

Fandom: Mortal Kombat 2021

Pairing: Liu Kang x Reader

Summary: Some history for Y/N and some brotherly love from Cole.

A/N: when you so busy writing smut that you forget to update the story so you can get to the smut lmao. enjoy, fellow nerds.

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You were uncomfortable talking about personal things, particularly your history, but Cole deserved answers and he was a patient listener. Being a father, you weren’t really surprised by that. “When I was a kid, like… nine I want to say? Honestly my childhood is pretty blurry. Feels like another life.” You cleared your throat. “Anyway, yeah, around then I fell ill. I had these… fits, for lack of a better word. I didn’t understand what they meant at the time because I was well, nine. No one else understood them either. As an adult I know that I was experiencing prophetic visions. Honestly, they weren’t really prophetic then, I guess. That’s a word Raiden uses a lot for them. Back then they were rarely of future events. It was more like gaining deep insight into the lives of others. I could touch someone or something that someone else had touched and I would disappear. I’d see a glimpse of their history or their present. I was too young to interpret it.”

“Like touch telepathy? I’ve seen television shows about that concept. This stuff is hard for me to wrap my mind around. Too much like fiction.”

“I suppose that’s a good thing to call it. When I saw things, I would also black out. And have a fit. Like a seizure, I suppose. And when that was happening, I would often say things about what I was seeing or hurt myself. It frightened people. My parents took me out of town and I stayed with my grandmother. I was homeschooled after that. My parents saw it as an embarrassment if I recall.” You laughed at the idea of that now. That life was so far behind you that it didn’t matter how stressful it had been. Back then it had felt like the end of the world but as an adult, it was a distant memory. Those experiences had made you different and strange but they had also made you unique and special. You had embraced the things that had separated you from normality since then.

“Well, that’s awful.”

“Oh, no, no pity. It’s fine, really. That was world’s ago.” You waved off his disapproval of a parent being embarrassed by their child for things they couldn’t control. Cole really was a good guy. “I stopped having the visions at around twelve and while I was weak from being so sick, I fought to be normal afterward. My dad ran a dojo and so I grew strong again. I focused on martial arts. It was something that helped me find strength and determination back then.” You smiled at the memory. You’d always had a fondness for it in your heart. That was one of the first things you and Kung Lao had bonded over. Your father had taught Wing Chun and that was what Kung Lao specialized in. “With time my father could no longer teach at the dojo so he moved in with my older sister. I took over the dojo and then opened a shop in the old storage space to make extra money. I had every intention of moving away. I would never be more than a weirdo or a witch there. It was too small a town.”

“Did you ever get to?”

“I mean, I’m here now. That’s a long story though. I’m trying to keep this brief.” You chuckled. “We can talk about that stuff another day.” That was a more casual and personal conversation. This was personal but definitely not casual. If you didn’t have to share these parts of your life then you never would have. Much of it was still too raw. But Cole Young was curious about your past and you were curious about his. It was nice having another friend who wasn’t Liu Kang. You really did get along with him and his family.

“Fair enough.”

“About five years ago I was still doing the same. There had been a robbery across the street and the thugs came into my shop afterward. And, well, I’m not the type to roll over and be robbed.”

“I’d say not.”

“It escalated. There was a man who came in to pick up herbs I had imported for him every month who came in after. He ended up helping me out. Unfortunately, or fortunately depending on how you look at it, I killed one of those would-be robbers. He’d been trying to kill me so… I have come to terms with that. That’s how I got the dragon mark.” You pointed to your back. Yours was on your lower back on your left side. “The man who helped me was Liu Kang. I knew him then and he was kind enough to help me deal with the fallout at the time. It took ages for him to convince me to that there was any truth to any of this… Mortal Kombat and arcana nonsense. It’s kind of embarrassing looking back at it.” And the story was far more complicated too. You’d been attracted to Liu Kang from very early on. “I guess that’s why I’m so patient with Johnny. It’s easy for us to know what’s the truth but when you spend your whole life believing that fairytales are made with computers and science? It’s difficult to believe anything else.”

“Yeah, I get that. Not everyone had Sub Zero rushing them into the truth.” He joked. That was true enough. But Johnny Cage had had his come-to-jesus moment that afternoon you were pretty sure. You hadn’t had a moment like that in the beginning. Just Liu Kang’s word and his arcana.

“Liu showed me his arcana but I thought it was a trick. He was very persistent at the time. Tried to talk me into leaving everything I had ever known for what I thought was a trick. I was scared, I’m not too proud to admit that. The part of me that wanted to leave home and never look back had grown smaller over the years. I’d become complacent. I’d grown comfortable being known as a witch and honestly, the next generation of people in town hadn’t treated me so terribly. The kids even thought it was funny that everyone thought I was a witch. But then… I found my arcana.”

“The ink?”

“Yeah, it’s pretty and under control now but in the beginning, it was a nightmare. The first time I used it had been on accident. I nearly destroyed my store. Then I fell and had a fit and I was suddenly seeing things again. Those things I saw didn’t make any sense. None of it. I saw flashes of people and places I didn’t recognize. The best way that I can describe it is… nonsense. It didn’t mean anything.” You sighed heavily. Those moments had been terrifying. “The second time had been even worse. If Liu hadn’t been basically stalking me then someone would have gotten seriously hurt. I’d hurt him but he’d been tough enough to handle it. I felt terrible about it. By then I’d more than grown fond of him.” You didn’t want to get into the details but it hadn’t exactly been difficult to fall into Liu Kang’s arms and it hadn’t taken very long either.

“There’s a lot of history there, huh?”

“Yes. Focus.” You wanted to get this story over as quickly as you could. “After that I decided to go with him. It wasn’t worth the risk of hurting people in town with something I didn’t understand. I didn’t want to leave but I was glad that I did afterward. Raiden’s Temple was where I had needed to be for what came next. It was awful at first. The ink and the visions made me sick. I had little to no control over any of it. Raiden helped me. He could unravel what I saw even if it was just spaghetti to me. My visions helped him. At least he said that they did. Liu helped me get control over my arcana. There I met Kung Lao and I was happy. About a year later the visions stopped altogether and I was stronger than I’d ever been.”

“And now you’re having them again? Out of nowhere?” Cole didn’t sound terribly concerned. He had handled all of this very well. It was nice not to be taken too seriously or looked at like you were about to fracture. You didn’t think the visions were out of nowhere. In fact, you thought that the visions were likely triggered by Kung Lao’s death. Trauma did funny things to people. The things that happened to you were a little funnier than most.

“I confess that I didn’t realize I was having them at first.” You shrugged. It was difficult to explain but it seemed as though, at some point, Cole had abandoned his disbelief and had embraced chaos. “They were more like nightmares. It was difficult to decipher what was guilt and grief and what wasn’t. It wasn’t until the other night on the roof that I even considered they were visions. Well, that and I feel terrible. I haven’t felt this terrible since the last time I had them.” You were a little embarrassed to admit that. If you’d been honest about what you were feeling from the beginning then maybe you could have done things differently. You just hated being weak. It was a hot button for you.

“And that was when you saw what happened this afternoon?”

“Kind of? I saw the beach and a wave of corpses coming for us. Does that count?” You tried to joke. Cole tilted his head as if to consider if it counted or not.

“It does at least explain why you were extra creepy this morning.”

“Implying that I’m always a little creepy.”

“The ink is a little creepy, I decided.”

“I guess that’s fair.”

“But you’re okay? This morning was wild.”

Did you not seem okay? You supposed that you were feeling out of it after seeing Kung Lao’s death. You definitely weren’t feeling yourself but you thought that you’d hidden it pretty well. “Yeah, I’m fine.”

“You sound a little morose.” Cole looked to the door like he had somewhere else to be. He probably did. He had a family and all that. “I can’t say we know each other very well but whatever happened back there must have hit hard… and I mean… you were so different at the end of it.”

“I’m fine, Cole.” You reassured him with a forced smile. You were a little morose. That was a good word for what you were feeling. You wanted to sleep for the rest of the week until you had to go back to China.

“Ally, Emily, and I are going to go grab dinner. You’re welcome to join us. You could probably use some food.”

“No, no. Thank you but I think that I have encroached upon your family time enough this week.”

“We really don’t mind. You’re good company. Allison asked if you were joining us, even.”

“Really, Cole. I appreciate the offer but I’m not up to it. My social battery is completely drained.” You offered a weary smile. It was nice to be wanted. “I’m going to rest.”

“You’re just… so off. I feel bad leaving you alone.” Cole pulled his phone from his coat pocket. “I’m considering asking if Ally wants to grab food and then bring Emily here to watch a movie with you.”

“It’s okay, Cole. I need the time alone, I think. Besides, I’m allowed to be a little under the weather after that.” You smiled even so. You didn’t want him to pity you. You didn’t need that. You really would be okay. That morning had been difficult but you weren’t prepared to say the real reasons why. You were a mixture of angry and hurt but you’d trudge through it.

“Yeah…”

“Hey, look, you don’t need to feel responsible for me just because of what happened with Kung Lao.” You would happily absolve him of any guilt he felt in that regards. He was guilty of nothing but being a good man.

“What?” Cole was genuinely surprised and you internally winced at how you’d miscalculated. You’d read the whole situation wrong and instantly regretted your words.

“I thought you might be feeling some misplaced guilt about it. I don’t want that for you.”

“Oh. Maybe that was why I approached you on the street that day but I think we’re past that. We’re friends now. Am I wrong about that?”

“Not at all. It’s been lovely getting to know you and your family. I really mean that, I’m not just saying it. You’ve managed to get me a little out of my head which is nice. And you like my jokes which I appreciate. I’m sorry about the way that came off. I wasn’t trying to diminish our friendship. I just didn’t want you to carry around that guilt, either.”

“That goes for you too.”

“It’s been a hard day. I’m not coming across the way that I mean to. Let’s say lost in translation.”

“It’s okay, Y/N. Your English is pretty good so I’m not sure that excuse works, but I’ll let it slide.”

“I know, I know… I’m being cold without meaning to. Like you said, I’m a little morose right now. I do this thing when my feelings are difficult to process where I kind of shut off and… I can come off as cruel without meaning to. Honestly, even in Chinese it doesn’t sound much better.” You couldn’t help but laugh at yourself. “I’m sorry.”

“No need. Today was a reality check. It scared me too. And you’re clearly going through something. I wanted to help, is all. Sometimes when I get too far into my head things snowball and become an avalanche.”

“I appreciate that.” You kicked your shoes off next to the bed and laughed. You had no plans of going anywhere else for the rest of the day. “I used to have Kung Lao to keep that from happening. I appreciate you trying to help but you can go get food with your family and enjoy your afternoon. I’m exhausted. I’ll probably nap or meditate on what happened today.” What you really meant was that you would do whatever it took to get it out of your head. You were going to try and forget the awful things you’d seen today. You weren’t sure you could forget it. His death was burned into your mind’s eye. It would haunt you for the rest of your life.

“I will but before I go, I wanted to talk to you quickly about Liu.”

“I would very much prefer if you didn’t.” You scrunched up your face in distaste.

“I know that I’ve been teasing you about it.” He laughed and you rolled your eyes. “But is everything okay with that? I know, I know… it’s not my business, you’ve said it a dozen times now. It’s clearly complicated. You don’t owe me any details but if you need help with it then say the word. I’m happy to help.” Was Cole Young offering to be your wingman? Or was he offering to beat up Liu Kang? Either scenario was kind of hilarious.

“I’m obviously defensive about it. I’m sure that it’s hilarious from the outside looking in but Liu and I have more history than I care to explain. I’m not ready to get into it with anyone. Not you and definitely not with Liu, either.”

“But that’s okay?”

“Yeah, it will be. I’m a pretty tough lady.”

“On a scale of one to ten just how supportive do you need me to be?”

“No scale. Just be yourself, Cole. You’re doing fine.”

“Even teasing you?”

“I’ve had worse teasing, trust me. I dated Kung Lao for years. Besides, it kind of lessens the frustration of it. Sometimes I get too serious and scary in my head. The joking grounds me a little.”

“Good to know.” Cole patted you on the back. It was nice having a friend to talk to. A friend that wasn’t Liu Kang. Not that you didn’t enjoy Liu Kang, things were just too complex between you right now. There was so much hurt and grief that you weren’t sure how things would pan out or if they would ever be fixable. And Cole was a good man. You enjoyed talking to Allison too and Emily had taken a shine to you. You hadn’t had the opportunity to be around kids in years and you were good with them at most ages. That was part of why you’d enjoyed running the dojo.

There was a knock at your door. You made to get up to answer it.

“I’ll get it. I’m on my way out anyway.” Cole stood and so you sat back down. You wouldn’t argue with him. Cole opened the door and there was Liu Kang, which was no surprise to you. You’d been expecting him to show up at some point. Who else would it have been, anyway? You were pretty sure that you’d rubbed Sonya and Jax the wrong way with all your talk of kidnapping. Cole stared Liu Kang down instead of greeting him and you tried not to laugh.

“Hello Cole.” Liu bowed his head politely in greeting. “I was hoping that I could speak with Y/N for a few minutes. Is she here? Did I come to the wrong room?” Liu peered around him and made eye contact with you. You offered him a curt wave.

“That’s up to her.”

You tried very hard not to laugh at the look of confusion on Liu’s face. He was bewildered.

“Of course it is.”

“You can come in, Liu.” You stopped that conversation before it got any weirder. Cole meant well, but wow.

“I was just leaving.” Cole clasped Liu on the shoulder as if to wish him good luck and then left, closing the door behind him after Liu had stepped past him. Liu watched the door close and then turned back to you. His expression was priceless. You’d have to thank Cole for that later.

Next Chapter >>

[bellatrixobsessed1]

Icy Is The Avatar Of High School; The Essay

I would like to begin this essay with a song. While reading this essay keep in mind that Icy has the exact same energy as this song which (imo) embodies prep & jock with a touch of nerd. No goth tho, press f in the chat.

Wow I put way too much into this. I hope y’all love it.

Okay so lets get into this! We will begin with the obvious one, goth:

*Gestures to all of the snow*

Edit: that was supposed to say show but snow works too.

Next we will talk about Jock.

So think of your typical jock. A stereotypical jock has a few qualities; reckless bravery and determination, large ego, usually at least kind of an asshole, doesn’t know when to quit, craves them gainz, and makes impulse decisions. 

Icy is definitely a very brazen person. It takes balls (and a large ego) to get banned from your campus and then very boldly strut back onto said campus in the middle of dinner while the whole school is assembled. She looked at Lord Darkar, shadow phoenix of the underworld and was straight up like, “yeah, whatever dude.”  Dude is such a jock word. 

So onto determination! Okay look, we have like 7 whole seasons of her trying to take over the world. She was arrested, what? 5 times? She literally doesn’t know when to stop. Give up??? Who’s that??? 

I feel like the large ego thing also speaks for itself she is constantly talking about how she deserves to be Darkar & Valtor’s main witch. She is well aware that her plans are usually fantastic. She just exudes an I’m better than you energy. It’s in her posture, her gestures, her tone of voice. Icy is absolutely certain that she is the shit and in the 4kids version one of her demands to the professors was to stand before the student body and say, “Icy rules, Icy’s the greatest.” *Spoiler alert* she is. I promise that she is not holding me hostage. 

Which brings me to the next point, getting dem gainz! Your average jock is at the gym, drinking protine shakes, and building muscle! While Icy is not in a gym trying to get 6 pack abs, she 100% chases them magical gainz! The dragon fire is just a really hot protine shake.  

In the 4kids version, upon overrunning Cloud Tower, she addressed the student body by welcoming them to her pep assembly. Ya know who else likes pep assemblies? Football jocks. 

Also that whole scene in episode nine (Spelled) where she rallies up the witches and they all chase Musa. That’s like the goth equivalent of getting the entire football team to chase after the nerd (or a member of the rivaling team).

And let’s not forget the ‘nerd run’ from season two where she rode this dinosaur thing and chased Timmy, the stereotypical nerd type. (It’s funny because she doesn’t know that she’s a nerd too). 

Okay so now that we dug deep into jock, it is time to discuss Prep!

I tend to use prep & always wears pink, blonde, mean girl interchangeably. But wiki says; Characteristics of preps in the past include a particular subcultural speech, vocabulary, dress, mannerisms and etiquette, reflective of an upper-class upbringing. Both definitions hold up in my book. 

So we’ll start with wiki’s. Icy (depending on whether or not we’re going with the season 8 retcon) is from an upper-class upbringing. Tbh she’s like Stella but a witch.  Icy is Stella’s goth phase and that’s why Stella fears Icy because she knows that that’s what she could be. I feel like Icy also has the most preppy dress style of her sisters.  Also pretty sure preps are known for being over-achieving perfectionists. Icy was actually pretty good with her academics. 

As for the Regina Gorge type prep; Icy is totally your classic mean girl bully, but make it witchy. I really think that this speaks for itself. It sings for itself too in 4kids OST. One of the lyrics in the Mean Girls song is that they will steal your boyfriend and trash your makeup. If that doesn’t scream prep, Idk what does. 

She reads them magazines. I don’t remember which one but I do remember her mentioning that there was a question posed in said magazine about ‘what would you do if you took over the world’ and apparently she wrote, ‘you’ll find out soon enough, loser’ and sent it in. 

Loser, pixies, nerds, dweebs. Icy has a whole list of mean and petty insults to put in her burn book. Like bye girl. 

Literally all of the Miss Magix contest. That is peak mean girl shit. The Trix literally went to a beauty pageant for the sole sake of making everyone look stupid and to trash on everyone’s fashion and makeup. On top of all of that she did that just because Lucy agreed to do their homework for ???? amount of time. Let’s be real, it was a life sentence.  

Now, the moment you’ve been waiting for! Nerd!

Literally every time she calls anyone a nerd or a loser I wheeze because, girl, check yourself! Prior to getting kicked out (for being a dumb jock), it is heavily implied that Icy, Darcy, and Stormy were at the top of their classes. Like these three were Griffin’s best students. And I am inclined to believe that Icy was thee top student. This woman was an overachiever whether she wants to admit it or not. 

Icy is the plan person. She’s the one who keeps the Trix on task. Though Darcy exudes ‘group mom’ energy, Icy is usually the one to snap at them to stay focused. She’s the organized one  and the one who seems to do most of the scheming. That takes some deep thinking and brain power. She knows how to summon monitors, banish trolls into oblivion, astral project into virtual reality using voodoo dolls, summon nightmare monsters, and summon an army of rot. Like how does she know all of this?  Studying. I almost said that I have no proof except in the Winx comics (this one) she is seen venturing to the library to research dark magic and spells. 90% she has done some extensive research and reading into all of these things because I highly doubt that Cloud Tower teaches things like summoning the army of decay. That was all down time research because this nerd enjoys learning about dark magic. Ya know who else enjoys reading and learning? Nerds. I know, I’m a nerd who loves reading and learning. Just because she likes learning about ~cool~ thinks like dark armies, doesn’t mean it’s not a nerdy quest to know everything about the subject she knows. 

Speaking of which (lol get it, witch), Icy also knows about history. She was the one who told Bloom all about what happened to Sparks and all about the coven. Why? Because that knowledge is floating around in her brain and she chose to retain it. I have a feeling her knowledge of history goes beyond the coven and Sparks too because she also knew that the Ring Of Solaria had fragments of the dragon fire.  She knows too much about this shit. 

I think that her nerdiest moment though, had to be when she solved that riddle at Red Fountain to get the codex. Like you have to have brain power to solve a riddle with the added pressure of being surrounded by your foes on enemy territory. In general her nerdiness just bled through in that season because she was snatching those codexes left and right. 

Also lets get into the fact that she (especially in the comics) has a tendency to humiliate herself, whoops. She managed to get her own (and Darcy & Stormy’s) memories erased, she got them trapped in an avalanche (and then dated a fellow nerd for two seconds and pretended like she didn’t hate it), and she is constantly pulling ‘we’ll be back’ speeches every time she gets defeated. Like seriously this is the evil equivalent of ‘lol I meant to do that’ or ‘haha, that didn’t happen, you didn’t see anything.’ And then she will make her next attempt as if she had never gotten defeated at all. Because losing is for losers and Icy ‘totally isn’t’ a loser. 

And honestly what’s more nerdy then prattling off your entire evil plan? Like this is her trying to flex her intelligence. 

Let’s not forget how she had her nerdy fangirl moment. She simped for Darko for like two or three whole comics. Like full on simping over here. If she could have bought a T-shirt with Darko’s face on it, she would have. Bonus, he was her childhood crush.

And finally, I am also very  inclined to believe that Icy is the fake it until you make is sort. With her it’s all about presentation. The only thing that saves her from being an obvious nerd is confidence. I touched on this with the whole ‘you didn’t see anything’ bit. But legit, pretty much everything she does would be kinda nerdy if she didn’t make it look good. 

Please feel free to add if you think that you have more examples of Icy being a nerd. 

[searchingforthestage]

So I watched all of Hollywood (2020)

I really liked it! I’ve been in a vintage hollywood mood for a while now so it came out at exactly the right time for me, and even though I’m usually a nerd about historical accuracy it didn’t bother me this time because everything that the show did historically wrong felt like they were changed on purpose. It’s like an alternate history show - all the progressive elements in it that would not fly at all in the time period are supposed to be very noticable, and it feels very refreshing while being entertaining (while it also does feel like a rewrite of the parts of hollywood that it might be irresonsible to change right now, but that’s a debate).

It hasn’t yet been approved for a second season but if it does, I hope it picks up on what was hinted at in the finale (no spoilers). Some people are saying that it could be treated as an athology show and I wouldn’t be satisfied since it heavily implied what storyline they would go with in the finale. 

[krixwell-liveblogs]

Worm asks

Have you tried to give D&D alignments to The Travelers yet, and if not how would you classify them?

Hmm.

Trickster: True neutral

Sundancer: Neutral good

Ballistic: Chaotic neutral

Genesis: ???

Noelle: Lawful? good

Oliver: Chaotic nerd

Gurer’f abguvat vaqvfchgnoyl njshy tbvat guebhtu, ohg V’q qrsvavgryl yvxr gb frr yrff uvagvat znxr vg guebhtu gur fperravat gb Xevk

Sharks: Fher guvat. V’ir orra ehaavat bss gur vqrn gung vs vg’f va gur sbezng bs na ubarfg dhrfgvba, va beqre gb nibvq nabgure Fpragyrff Zna vapvqrag, ohg V pna svarghar vg vs crbcyr jnag?

As usual, translate here.

While you’re checking out all the Simurgh fanart, you should listen to this theme someone made for her: (google Simurgh Husr, first result. Hopefully sharks can just replace this with the actual link) Same person who made that Leviathan theme linked way back.

https://soundcloud.com/user-371879520/simurgh

This was really nice. I like how it does sound like a good melody while at the same time exhibiting some of the pattern-defying nature of the tune. 🙂

I think you miiiight have jumped to conclusions from an ask that simply asked you if you could list the Traveler’s cape and civilian names. Miiight have. Also, I’m pretty sure most of them where refered to by their civilian names in previous arcs.

It’s certainly possible.

It’s not so much that I jumped to the conclusion as that the ask opened my eyes to the possibility of it, which I hadn’t considered before. From there, I had to reevaluate things and consider how things would change if it turned out I had gotten the two mixed up. Ultimately I think I’d prefer for Cody to be Ballistic, but I’m still not sure either way (even with this ask heavily implying it’s Luke).

As for names, most of their names did show up (all the more reason for an ask about matching names to capes being kind of odd if it wasn’t trying to set me thinking of something), but I can’t recall Ballistic’s being one of them. But you know how my memory can be.

That smurf song you posted definitely says “dab dab dab” several times, despite the video being uploaded to YouTube in 2009, and the song supposedly being from 1978. So that’s suspicious as hell.

I… think that has to be the bits where it actually says “tramp, tramp, tramp på en smurf” (“stomp, stomp, stomp on a smurf”).

Either way, now we’re all forced to consider the concept of the Smurfs dabbing, so thanks for that. ����

“Dragonberry” was Scarfgirl’s old character on City of Heroes, a MMORPG with a superhero theme that no longer exists. I know you’re not reading the chapter comments, but if you ever go back to read the early ones, you’ll see that quite a lot of the early readers were City of Heroes players who had an interest in superhero fiction. That’s why Scarfgirl’s art is signed “Dragonberry”, because it’s how people knew her back then.

Ah, interesting. Fun to hear a little about the fandom’s early history. 🙂

I’ve had many names, myself. Once upon a time I used to make a different name, if not more, for just about every site I was on. One of the names that stuck with me the most was Elementarion, which I used in the game Godville and a few other places (not every Elementarion that comes up on Google now is me, though), because I found long-time friends while using that name.

Though for some reason I wonder why 😛, nobody seemed to want to type it out every time they wanted to mention me. I’ve been called almost every short form of Elementarion there is. El was the most common (made watching Stranger Things kinda odd the first time around, even though I’d long abandoned the name), but I’ve been called Ele, Elem, Eleme, Elemen, Element…

A couple other highlights I remember were Hiatus (in a browser game I don’t remember the name of), OldHeavens (NewGrounds) and Barbute (ArmorGames).

It wasn’t until I came up with Krix Jace, later Krixwell Jace, that I started stabilizing my name.

1. Do you think people ever submit misleading questions just to fuck with you?

Some, probably. And that might be a good thing — if there are some asks that deliberately imply things that are wrong, it makes it harder to trust accidental implications of things that are right.

2. Have you ever noticed that Danny and Eidolon have never been in a scene together?

Hmmmmmm 🤔

Still no Travelers interlude… do you still think you’ll get one, or has this dashed your hopes?

Ahaha

Yeah, no, I’m counting this as everything I asked for and more. 😛

Sharks:

http://www.nospoiler.com/y/WenCYI_Bn7I

Sent in by “ewerwqer”. “Simurgh Scream” by person257 Don’t… Open it with headphones on. Trust me. Don’t.

I’m scared.

*disconnects his headphones*

…not as bad as the description sounded, but yeah, probably a good idea to not use headphones. It’s a well put-together bit of mind noise, nice work. 🙂

Worm fanart

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By Winkle92

Oooh, there are more of these? Awesome! They’re all going in my backgrounds folder.

I love how Behemoth just kinda peeks around the corner of the image border. It’s okay, don’t be shy!

(Also I just discovered I can do slideshows. Neat.)

K6BD ask

My favorite part is the Master of Aesthetic saying “she is an idiot, and a loathsome schemer!” and YISUN is all “YEP, YOU GOT THAT ONE RIGHT 😀 😀 :D”. With Aesma standing right there.

YISUN is the type of person who has “precious trash babies” in every fandom they’re in. 😛

I feel like you all need to know, even if you don’t care about MLP:FiM, that the final episode of the show proved us all wrong.

The show’s resident Skitter is not Queen Chrysalis, the villainous, scheming ruler of a hive full of insect ponies.

Nor is it Twilight Sparkle, the mainest character and socially awkward brainiac who leads a team of five other main characters and always does her research if she can.

No, because of this one episode, it becomes clear:

It’s Rarity.

…

Okay, that’s just a joke, Twilight is still the best fit among the Mane Six, but Rarity using spiders for her fashion did immediately make me think of Taylor.

Twilight – Taylor

Applejack – Brian

Rainbow Dash – Rachel

Rarity – Lisa

Fluttershy – Alec??

Pinkie Pie – Aisha??

(Spike – Shatterbird??????)

K6BD patron comments

1. “What happened to Hansa” is addressed in the Prim story so that’s still out there if you want to know.

Ahh. That would explain why it was left unexplained in Aesma, aside from acting as a noodle incident if you haven’t read Prim.

2. As you observed, the word “demon” has appeared very rarely in the comic, outside of epic title drops & an instance where drunk Allison used it in place of “devil”. It’s used in some of the bonus texts but without a clear definition. Can you speculate further on what it might mean?

The priests seem to call Aesma a demon in the sense of a being of evil, but I don’t think that’s necessarily a definition that’s relevant to the comic’s title (and what appears to be Allison’s “name” in some sense, though the Demiurges do seem to have misinterpreted other parts of the prophecy and Zoss didn’t unambiguously use it as a name). It may be more about inner demons, Allison killing her fears, doubts and insecurities as she grows into the role of a king/queen of the cosmos. Six billion might be hyperbole, in that case, but still.

Alternatively, the prophecy and name might actually refer to Zaid, who could easily end up being the final villain of this thing even if he’s not actually Zoss’ intended successor. In that case, “six billion demons” might refer to humans, if Zaid gets really nasty with his own species. We know very little about Zaid’s base personality beyond “kinda sleazy boyfriend”, so a lot of developments are plausible on that front.

Though there are other parts of the prophecy, as well as illustrations, that do fairly clearly indicate Kill Six Billion Demons is Allison and will be flanked by White Chain and Ciocie, so it referring to Zaid is unlikely.

3. I think the author once said that there are still Aesma-worshippers active in Throne. What do you think they’re like and what would she think of them?

(Somehow the flesh sellars come to mind.)

Well, clearly they’d be Slytherins, if they understand her teachings. Aesma might treat them as ants, if she were still around, but bask in their adoration.

4. Kalpa — a Hindu / Buddhist concept meaning a really fucking long time. Besides in the story you just read, the term has also appeared in the comic at least once so far.

Good to know. I think I kind of just assumed it was Throne’s equivalent of a year, however long it might be.

5. Panopticon — a prison design envisioned by philospopher Jeremy Bentham, allowing all prisoners to be observed from a central point.

Makes sense. When I read it in Aesma’s story, the word’s construction was clear enough that I figured out what it was immediately, before I finished reading the sentence. It very clearly means a place from which to see everything.

6. Root — penis.

Yeah, I figured that one out. 😛

7. To offset the unfortunate scarcity of Cio in your life lately, here’s some of the old concept art:

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(The quantity of arms was somewhat uncertain.)

Oooh.

Her arms and legs look so spidery here. I suppose that might be why she was introduced with the Coat of Arms.

Can Skitter control her?

8. Not related to K6BD but Abaddon has also been working on a tabletop mecha RPG and here’s the very nice cover art:

Ooh, you’re right, this looks very nice. It kind of gives me a K6BD x Steven Universe x Star Wars vibe. And a little bit of RWBY with that one guy that reminds me of Tyrian. I can definitely see the resemblance between this an K6BD in terms of character design style, despite the genre shift.

I particularly like the blonde in the lower left.

In the interest of transparency, I should also mention that the patron has said he probably won’t sponsor full liveblogs of any of the other bonus texts, but has sent me a few recommendations and links to some of the ones I’ve passed (besides Prim). I might read some of those on my own time, though, especially the second Aesma story. If I do, I will of course let you know and discuss any particularly notable observations.

Between: PB7

[vaguely-concerned]

Overwatch cookbook lore thoughts

b/c I’m not proud, I’ll be excited beyond reason for any scraps of lore and these are actually really fun

- let me open by saying that “A longtime resident of the Southwest, where cultures collide and outlaw justice prevails, Jesse McCree built his own personal brand of right and wrong. Also born out of a complex history, these cookies have a decidedly old-world flavour with a twist” are the greatest lines ever conceived in the English language, and I am tempted to put my pen down for good in the face of it. Nothing I write will ever be as good. ‘also born out of a complex history, these cookies’ what more could I even add

on a further personal note: I can’t fucking believe I actually hit on the emotional implications of the cookies thing like two years ago! between that and the was-temporarily-a-farmboy vindication I can keep warm on cold nights for approximately fifty years, thank you, my AU is at least canon adjacent in ways I didn’t expect lol

also the idea of him starting the day by downing a drink that handily combines alcohol and caffeine makes me feel honor bound to reiterate that young jesse living off of coffee, alcohol, cigarettes and adrenaline must have been a wild-eyed, wildfire clever, awesome-in-the-original-sense sight to behold. I am laughing and crying simultaneously, which is the mood he habitually inspires in me god bless him  

- for some actual new info and not just my rambling internal monologue: Torbjörn’s wife Ingrid is a genius chemical engineer! One gets the feeling the Lindholm household is very warm and loving but exhausting to anyone without the genes for constant curious tinkering and experimentation

- There are very clear, very intentional mentions of both Vincent and Emily, which has me so sad all over again that this development team is housed in a company that actively sides with tyranny and human rights abuses (as opposed to the more tacit complicity of the rest of the industry, which remains shitty but at least most of them don’t cheerfully double down on it in public. ah ain’t capitalism grand fuck blizzard as a company, sympathy to the good people working for blizzard it must be a uncomfortable place to be) 

- winston dipping bananas in peanut butter pudding to get them down fhdskjafhsakf now I don’t know how aging actually works for borderline-my-god-what-has-your-science-wrought biological experiment gorillas, but he! is! such! a! teenage! boy!!!!! the sweetest hairiest teenage boy! give him his family back! dr. winston sr used to make them cookies ;o;

- Reinhardt remains indecently wonderful and delightful. ‘Beneath Reinhardt’s armor is a jovial man with an insatiable zest for life’. poetry. 

- ‘Though she had little time to cook, Ana could put together a comforting lentil soup even on nights when Fareeha insisted she needed nothing. A mother always knows best’ 😭😭😭😭 I am practically allergic to mother figures but you know what for all her faults ana amari is the actual best and I love her so much, they somehow managed to convey through fareeha’s recipes how much she misses her mom,  h e l p  

- D.Va’s entries are just. harrowing. I like that they don’t look away from the horrible inhuman weight on her shoulders every hour of every day even in this lighthearted cooking book, that was real nice of them 

- jack morrison is an absolute sweetie pie and it hurts me. seems like he’s one of the few heroes who actually does some cooking, along with reyes! also that little tidbit about him and ana eating breakfast together back in the day (and him absolutely doing the cooking in that duo)... BrOTP 4ever, between that and the mention of reyes, amari & morrison eating churros together after missions I am emotionally compromised

- I’ve seen Genji’s before actually but for some comments: a) the fact that across the lore one of his most consistent Things is that on some level he just... really wants his big brother back? even after everything?? is an eternally bleeding wound in my heart that never heals, b) the shimadas had a dedicated family chef! and it sounds like they had a slightly closer relationship with the boys than what’s implied to be the case in the ogundimu family, for example, and c) genji is one of the characters who’s mentioned the most in other characters’ recipes, predictably! I like that he learned to like the healthy muesli... eventually lol (also I feel like the canon has vacillated on whether he actually eats and drinks stuff still, but all this seems very settled that he does and has the whole way, even under Mercy’s care)

- can u believe... that hanzo’s idea of a simpler, happier time involves him overachieving enough to let him have a few minutes to himself and a meal alone. how does he do that. how does he break my heart at every turn. why is ‘diligently completing the tasks his father had set out before him’ so crushingly achingly sad. he just wants to eat nice simple foods in peace everyone leave him alone I will fight talon I will fight the shimada clan pls just let something nice happen to him Y______________Y

- GLØGG GLØGG GLØGG GLØGG! secondhand scandinavian joy (the book neglects to mention that it’s a drink heavily associated with christmas/at the very least wintertime, it would feel super weird to drink it during the summer lol) also ‘saft’ seems to be called ‘squash’ in a lot of places in English, I had never thought to translate it before it’s just such an iconic childhood staple lol 

- I love that sombra’s show how much of a fucking nerd she actually is. being an elite amoral-ish hacker is 2% cool parkour and glowing implants and 98% sitting in the dark in front of a screen with snack food for days at a time 

- I don’t like Ashe very much, but BOB making comfort food for her unasked and her parents having ruined most desserts for her through emotional neglect and general shittiness are both undeniably heartbreaking

- *mercy, dead eyed, pouring brandy into her chamomile tea* self medicating (I CAN’T BELIEVE THIS IS ACTUALLY CANON IT IS SO FUNNY)

- Roadhog conscientiously writing down Junkrat’s -- let’s generously call them ‘recipes’ -- just in case he’ll want them later is the most weirdly heartwarming thing I have ever heard 

- “They’re a great dessert to share anywhere, including at clandestine meetings for plotting the next world crisis” allow me to just... savour this mental image of talon members eating sweets under doomfist’s watchful eye for a bit (also... beneath the tough man act he is  s u c h  a rich fuckboy. he prefers gin because he thinks it’s more sophisticated oh my GOD)

[myfriendpokey]

Morality Play

What does it mean to have a videogame tell you you're a good person? It doesn't know me, can't see me. I don't know if you can be *immoral* in a single player game outside of some very inventive custom controls. Why should I care what a game says? Any inner moral life that a videogame or a painting might possess would be more alien to me than that of a bug or a starfish. Of course videogames and paintings are made by humans, and shaped by the moral opinion of humans.. but we might make a distinction between what the human says and the object says, we might still feel the latter is more important, somehow. 

The moral authority of an artwork or object comes from the fact that it's not quite human, that it comes to us from outside humanity to an extent, is distinguished from the unreliable back and forth of human consciousness in motion. But this distance is exactly why you might expect those moral verdicts to be unintelligible to us, or at the very best, to be untrustworthy, an imitation. So what's the appeal – that of having a human voice which speaks with the gravitas of an immortal object? The pleasant conceit that the general shape of our minds is universal, like all those Star Trek aliens that are just regular guys with slightly weirder ears or foreheads? The void speaks, and turns out to sound like a computer engineer.

But maybe not necessarily, maybe in fact it's sometimes not universal authority and moral support that we seek from the object: maybe a certain jankiness of verdict around the way these things communicate in human terms is itself part of the appeal. I think of paper fortune tellers, magic eight-balls, "love tester" machines that return a romantic prognosis based on palm temperature. The entrancing bathos of the chance-driven or mechanistic judgement that still speaks with a human voice: I’m sorry, I cannot answer right now. Please shake me, so I may try again. How different is that to the widely beloved and magnificently broken romance system in Dragon's Dogma, where, spoilers: your "soulmate" is not a matter of direct moral choice, but of variables being tracked over the course of the game including who you talked to and what sidequests you completed - which means it could arbitrarily turn out to be the weapons merchant, or a grandpa npc you found a potion for. Which is goofy, but only in a slightly more blatant way than "accidentally unlocking the romantic option in a dialogue tree from just clicking around" or "having your morality score drop 5 points because you pressed the wrong button and accidentally hurled a rock at someone's head while trying to equip shoes". 

I think something I appreciate about videogames is the kind of insectlike moral life that they tend to portray, the sense of value systems which are in some way recognisable but which have mutated in conversion to something alien and horrifying. Lara Croft shooting a wild eagle is unfortunate, Lara Croft shooting a thousand wild eagles is bizarre – but really those thousand eagles are just the one eagle, the one self-contained pulp encounter fantasy, which has been extended, extrapolated, systemised as result of being placed in this machine. The latter may be more egregious but it’s still composed of repeated incidents of the original encounter - and part of the strangeness in these games is just the uncomprehending machine effort to systemise the half-formed gunk substance of our terrible fantasy lives, which only bear a vague and halfhearted relation to any notion of ethics in any case.. We can contemplate with envy and excitement the possibilities of running more realistic, recognisable emotional and moral situations through the meatgrinderof the format in this way. How about a solemn middlebrow videogame about divorcing 50 different wives, each one larger and more powerful than the last (excluding sprite recolours)? 

All this is not to say that the casual political and moral stupidity already in videogames should simply be excused or exist outside of critique. But in addition to the body of discourse  around "moral commodities" - commodities invested with moral  or political meaning independent of any brutal labour practices they might entail or monopolistic accumulation of private  wealth they might support – I think it's also worth considering the purpose of the "moral object" itself. The alienation intrinsic to the object form can be a way to think, and also a way to avoid thinking. To project moral beliefs away from the specific context of a creaturely human existence can be a way of expanding that existence, but also of denying it. The paltriness of the human can itself be problematic next to the splendour of the object, and the reflected moral superiority of those with the means of producing such objects.

*****

There's a famous line in the Spiderman comics that with great power comes great responsibility. But it's also kind of a weird line because, while obviously applicable to Spiderman, the person it's actually delivered to is Peter Parker - who is, for all his uncle knows, still a physically awkward and friendless nerd with no immediately visible "great power" to speak of. He does like nuclear physics, though - maybe the advice was intended as a friendly intervention to keep him from turning into the next Edward Teller? Or possibly it's just a kind of unconscious, pulp-writer-trance-appropriation of the muscular liberal rhetoric of the then-current Kennedy administration. Or maybe, and stretching a bit, it's a line that relates more to the conditions of pulp culture manufacturing itself, to the awareness that the stuff you make will be printed thousands of times and sold to kids around the country, poured raw into the national subconsicous. With great sales figures comes great responsiblity.

I mention it because I think it connects to an issue with the kind of cultural criticism that emerged, like it or not, from the specific context of an age of mass media. With great power comes great responsibility - but conversely, to execute your great responsibility you also need great power. And what are you meant to do if you don't have it? Does no power mean having no responsibility? It's possible, but i feel like most people would be dubious about this as a moral lesson - and the inescapability of heavily-financed blockbusters in the culture means that an assumption of already "having great power" sometimes becomes a critical starting point. If you don't have power you should get it, so that you can then have great responsibility and contribute to the discourse. The effect can sometimes be like climbing a mountain of corpses to get a better platform for your speech about world peace.

A good essay on jrpgsaredead.fyi points out the way that certain industry conversations on "accessibility" revolve specifically around access to whatever mainstream AAA action games are currently dominating the news cycle. And the related effect where both problems and proposed solutions are particular to these games, the audience they have, and the resources they can bring bear: More consultants! More characters! More romance options! Better character creators! If you're speaking to an (essentially captive, given the marketing monies involved) audience of five million people you'd better be sure your ideas are, at least, not actively harmful, and in fact should ideally be improving - - fine. How about an audience of 50 people? Or an audience of 0? Does that mean this work is less moral than what speaks to a larger crowd - in effect, that it's worse? And what about the relationship to audience that this kind of teaching implies? i can think of several occasions where people from different subcultures or minority groups were reprimanded because something in their own experience might read differently, or problematically, when presented to a presumably white/cis/affluent etc audience - which is of course the audience that matters, because what's the value of presenting work from an alternative perspective to an audience already familiar with that perspective, to whom it has no automatic moral significance (might, in fact, merely be 'aesthetic')? Compare the complexity of a specific local audience which can think for itself to the easy win of the alternative:  a phantasm audience of moral blanks to whom rote lessons in hypothetical empathy can be tastefully and profitably imparted over and over, forever.

****

If the ethical act is that which we'd be willing to posit as universal law, perhaps we could say: the ethical artwork is that which we'd be willing to mass produce. Small or hobbyist developers are encouraged to work from the perspective of a mass-productive capacity they do not in fact possess; their successes and inevitable failures are hoovered up alike by the industry proper for later deployment in the form of cute dating sim or inspirational narrative with similar but sanitized tone or aesthetic. In essence a kind of moral QA testing, with all the job security and recompense that this implies. 

The hobbyist is, by definition, not universal: they are enclosed within the local and the material. What time do you get off work? What materials do you have to hand? Are those materials always legal? The entire western RPG Maker community exists as result of widespread bootlegging; the entirety of videogame history and preservation essentially depends on stolen copies; we find out about it through ROMs, videos and screenshots which mostly depend for their continued existence on copyright holders either not finding out or choosing not to pursue these debateable violations.  It's a complicated discussion whether this stuff can be justified on a general, universal level - but also I'm not sure we can do without it. When Fortnite uses dances from TV and music videos of living memory they're considered to be in the public domain; but Fortnite itself is not in the public domain, even though it's so inescapable that even I have a pretty good idea of what it looks and plays like despite having made a pretty determined effort to not find out anything about it. It's "public culture" in that sense, and it includes public culture within it, but both game and imagery are privately owned and aggressively policed (suing teenage hackers, etc). What does it mean for art to emerge from an ever more privatized sense of public life?

In 2007 the RPG Maker game Super Columbine Massacre RPG was added to, then removed from, the Slamdance festival following complaints; it was a minor cause celebre at the time following concerns about censorship and the lack of protections for expression in the videogame format specifically following the Jack Thompson media crusade in the United States. In 2019 the same festival retrospectively changed their reasoning: now the game had no longer been removed on the basis of questionable taste, but on the basis of questionable compliance with copyright law, since it included music from the likes of Smashing Pumpkins without paying for licensing fees (and also because the author generally "hadn’t created several of its elements" - asset flips!!!). There's some humour in the fact that a benign-sounding concern with "artist's rights" could just be swapped in as a more respectable-sounding surrogate for general prudery with exactly the same result. But also, in this instance, what does it mean about the game? As facile as SCMR is, the bootleg use of graphics and music was its most interesting element: the game was a bricolage of American pop culture at a specific point in time, as were the killers, as are we. The nearness and recognisability of that culture, the sense of not being able to get enough distance from it to properly fictionalise or think about what happened, is what stands out. An "ethical" version of the same game which used original music - Nirvanalikes, some tastefully copyright-adjacent Marilyn Manson clones - would not just be diminished, it would be actively insulting in the false distance it implied.

I don't mean this at all as a request for more edgelord-ism. But it's worth remembering that videogames themselves are not ethical; are, in fact, colonized materials assembled with exploitative labour and dumped aimlessly into public life by electronics corporations looking to make a buck. The bizarre and haphazard ways this long dump of poor decisions has manifested, warped, been adjusted into culture is part of what's worth attending to about the format – I think it's worth looking closer into all these pools of murkiness, before ethical  landlords can come drape a tarp over them as part of the process of divvying up the property.

(image credits: youkai douchuuki, quiz nanairo dreams, trauma center: under the knife, espial)

[bywandandsword]

Yeah, so anyway fuck that one English professor who taught the class on the Hobbit and the Silm a few semesters ago. What a dick

This guy was clearly the type who’s fandom community experience was very insular and who still labored under the belief that ‘nerd stuff’ is for dudes and always has been. Like, that was a conversation we had. This is a man teaching a class of nearly twenty, all but two of which were afab, had the gall to say to me that he didn’t know why women were suddenly into it, implying heavily that it was because the actors who played the characters were hot. Like, really? Naw man, people who ain’t dudes have been in nerdy shit since the fucking beginning, it just hasn’t really been socially acceptable until recently, and I told him as much. Unfortunately, I didn’t know quite as much about afab nerd history as I do know, but I used Mary Shelly, goth mom extraordinaire of both the scifi and horror genre as an example. He was still skeptical.

Also, there was this one time he had us read some obscure part of the library that is Tolkien’s work and when he asked a question about the reading and no one could immediately give him an answer, he went off, actually yelling, telling us not to waste his time, then left. Even though like, we’d all done the readings, we just didn’t have encyclopedic knowledge of it yet. 

And! If your interpretation/analysis of the text was different from his, you were wrong. I once argued that the Battle of the Five Armies was a clusterfuck (cause it was) and that Thrandy marching on Erebor’s gate with an army was unnecessarily aggressive (cause it was) and that the dwarves in the Company and the Iron Hills were justified in raising a defensive army (cause they were). And this fucker right here accused me of “making a case for the dwarves” because I think Richard Armitage is hot and I liked the movies (BotFA hadn’t come out yet). Like, how fucking insulting. Armitage’s beardy goodness aside, I am perfectly capable of analyzing a text separate from any subsequent renderings of said text. 

And did we do any even remotely interesting analysis? Nope! We didn’t talk about, like themes of war in Tolkien’s books and how that was influenced by his time as a soldier and his witnessing industrialization. We didn’t discuss the antisemetic tropes Tolkien used in the Hobbit and how his depictions of dwarves changed in later works when he became aware he’s done a shitty thing. Or like, anything relating to Tolkien’s treatment of women, how he either excludes them or puts them on pedestals. Or depictions of Tolkien’s work excluding actors of color except as villains. We didn’t talk at all about how his religion impacted his writing, or his love for history and language being the reason he wrote to begin with. Maybe compare some old Anglo-Saxon, Norse, and Brythonic tales to Tolkien’s? But no, were were given lectures about how “there are no hot dwarves” and how the animated Hobbit’s Smaug that was voiced by Richard Boone was clearly superior to the one in the movies. 

He’s lucky I’m not taking this class now, now that I have a better understanding of all this, the vocabulary to articulate why he was acting like a douche canoe, and now that my deference towards professors has cooled considerably. I’d be calling him out every freaking class more than I did. I’m still salty cause he took a class that could have been one of the coolest I ever took as an undergrad and made it a less than mediocre experience, to reflect his own self

[tyrantisterror]

Thoughts on Song For Spider-Man

Remember that Song of Spider-Man book I bought a while back?  The tell-all book by the co-writer of Spider-Man: Turn Off the Dark?  The one that I hoped would be what I’ve wanted since news of that play’s disastrous production started - i.e. an in depth explanation and analysis of the production, detailing every creative decision and disastrous misstep?

Well, it’s not quite that, unfortunately.  It’s more of a new piece of the Turn Off the Dark puzzle, rather than completed puzzle that I’ve been looking for.  The world has yet to produce the exhaustive documentary on that musical that I crave.  But as puzzle pieces go, it is a fairly large and enlightening one, albeit one that’s also deeply biased.  It’s the story of a disaster from the perspective of one of the key players in that disaster, and, as you’d expect, is full of “this wasn’t my fault!” explanations and pleas of ignorance.  I don’t know how much you can trust the narrative, even though (and honestly, because) it’s an enthralling and emotionally gripping read.

The biggest disappointment about the book for me is that it doesn’t go very deep into the creative journey of the musical, which is the aspect I’m most interested in.  Instead it focuses more on the managerial aspects of it, which is admittedly where the drama is.  There’s money woes, conflicts of personality, miscommunication, backstabbing, and negligence that leads to a lot of good people getting hurt - the juicy gossipy shit that drew most people in.  As trainwrecks go it’s pretty compelling stuff, and the author uses the benefit of hindsight to foreshadow eventual dooms well in advance.

It’s a fun read and sheds some light on how that infamously troubled production became “a machine that teaches humility,” but it’s not the whole story, and as such my lust for the ultimate Turn off the Dark autopsy remains unsated.

Some scattered notes:

Julie Taymor was really only in this to tell the story of Arachne, and in fact was only sold on the idea when one of the producers showed her a page of a Spider-Man comic that mentioned the myth.  The Arachne character and plotline was what ultimately got Julie fired, because not only did it shift focus from Spider-Man to an obscure Greek mythological character, but it also was built upon the musical’s worst songs AND required the most complicated set piece that no one could figure out how to accomplish, and yet Julie refused to let it go.

Incidentally, I’m nerdy enough to recognize from the brief description given in this book which Spider-Man comic the Arachne reference came from.  It was Ultimate Spider-Man #1, and is made by Norman Osborn, who in the context of that comic is presented as a pretentious ass who uses bullshit philosophy to cover up his delusions of grandeur.  There’s a bit of irony here is what I’m saying.

Another “oh god I AM a nerd” moment the book made me have: the writer claims that Green Goblin has used his goblin glider since his first appearance, but, um, ACTUALLY Green Goblin used a flying broomstick in his first few outings, and didn’t get the goblin glider until later.  I remember this fact because it was in the Complete Guide to Spider-Man book I got when I was thirteen, and because the picture of the Green Goblin riding a mechanical jet-powered broomstick was delightfully stupid.

The above two facts are why I desperately want to know more about the creative process of this play - on the one hand, it has some obscure elements of the Spider-Man comics in it, like Swarm, the nazi-made-out-of-bees supervillain.  On the other, it fucks up key aspects of the story, like having Uncle Ben get killed in a car crash that has nothing to do with Peter Parker whatsoever.

One of the things I gleaned was that most of the people involved - Julie Taymor, Bono, and the Edge specifically - seemed far more familiar withe the Sam Raimi movies than the comics, and also seemed more interested in their vague notion of what a superhero means rather than any actual pre-existing superhero story.  There’s an air of condescension towards the source material, but I’m not sure how much of that is my own biased assumptions at work, the author’s definite bias, or an actually true analysis of the creative team.  Again, I want a deeper look at what they were thinking!

One part of the creative process that was explained in an illuminating way regarded the music.  Apparently, part of Bono’s process in songwriting involves him writing lyrics in “Bonoglese,” where the lyrics are just random words and Seussian things that sound vaguely like words but are actually nonsense, all mixed together in a way that does make a coherent thought at all.  This explains why the lyrics in Turn Off the Dark’s songs are either instantly forgettable (and by that I mean you forget what the words were literally one second after they are sung) or, when memorable, are just... really bad, forced attempts at rhymes.

At one point Julie, Bono, the Edge, and the other writer agreed that they weren’t trying to make a musical so much as a “rock and roll circus experience,” which, y’know, is accurate.

The guy they got to replace Julie as director was actually FROM a circus.  That’s not a joke, he literally directed a bunch of different circus shows, including ones with live animals and shit.  So in some way an aspect of the original artistic vision remained.

As much as I love to make fun of this horrible show, reading the book did inspire some compassion in me.  These people were all passionately dedicated to a very grand artistic vision, and they accomplished a lot of stuff that has never been tried in theater before.  While a lot of horrible failures occurred, the amount of stuff they got right is still pretty notable, and a part of me wished they could find a way to make it work.

I felt especially bad when the book gets to the initial fan-reaction early in the musical’s production process, where I realized that the fan’s initial criticisms of the musical’s concepts did look kind of shallow and petty.  I felt like a bit of a jerk for a moment.

Then another part of me remembered that the one song Julie Taymor refused to cut, comparing the demand for its excision to having a mastectomy, was the song where Arachne tells her minions to go buy her hundreds of shoes so she can seduce Peter Parker, because lol women love shoe shopping and if they had eight legs they’d love it even more AMIRITE?  So, y’know, guilt rescinded, we were right to be skeptical.

That said, I am legitimately pissed that the producers adamantly refused to tape a single recording of the first version of Turn Off the Dark, aka Spider-Man 1.0, aka Julie Taymor’s (approximate) vision.  Julie herself begged them to do so before and after she was fired and they didn’t listen and that sucks.  I mean, it sounds like a trainwreck of a show, but it’s a trainwreck that’s BROADWAY HISTORY.  It should be preserved!  It belongs in a museum!

The tell-all book draws an obvious parallel between the relationship of Arachne (the brilliant and misunderstood but also megalomaniacal and controlling artist) and Spider-Man (the geeky young man who suddenly has great power and responsibility thrust onto him by the aforementioned older female artist, who he also has the hots for) and the relationship of Julie Taymor and himself.  It’s pretty clever but also, like, a huge dick move since it implies Julie Taymor is a tragic villain that the author was forced to destroy just like Spider-Man is forced to destroy Arachne.  Good writing, sure, but fucked up man.

“Spider-Man was not a musical, but rather a machine built to teach humility.”  A fuckin’ excellent description, even if the account of that machine’s creation is pretty heavily biased.

[leogichidaa]

I had this Idea about a muggleborn who didn't want to stay in the wizarding society and then I had this idea of a crossover with Star Trek, soon after Hogwart she went to Starfleet Academy and became an Ensign on a ship. But Then I wanted to throw Regulus Black, so I decided to change HP timeline and to throw them in Star Trek. It's the same story with Voldemort but in Star Trek timeline. Regulus survive and somehow has to go with the muggleborn on the ship. How will he react to Aliens?

Oo, interesting. I don't actually know anything about Star Trek, other than what I see on my dash here and there. I've been told several times that I'd enjoy it, and I'm sure I would, but I just never got around to watching it. So I'm going to have to answer this ask in very general terms, as I have no substantial knowledge of the Star Trek universe.

How would Regulus react to aliens? I think it's safe to assume he would treat them the way he treats anyone who isn't a pureblood magical human: like they're beneath him. Like house elves, goblins, etc., aliens are humanoid but not human, and for someone like Regulus that translates very naturally to subhuman. But while the house elves and goblins have been beaten into submission by wizardkind on Earth, aliens have no such history and thus, I think, Regulus would find them more actively threatening. I think he'd be suspicious and scared of them.

What's also interesting to me with putting fantasy characters into a sci-fi story is: how does Regulus react to the science and technology of muggles and aliens when he has no baseline of scientific knowledge? I imagine the kinds of tech described in Star Trek (and really, just the basic tech of the modern world) would seem like magic to someone from a society that has largely been out of touch with the muggle world since the middle ages. It would blow Regulus' mind the things that non-magical beings are capable of. Which, of course, would only compound his fear.

Aside from all the bigotry, though, I think he'd be a huge nerd about it. It's pretty heavily implied in the books that wizards haven't been to space. I think he'd be fascinated by space exploration.

[samalusia]

So you want to be a conlanger?

A new way to learn a language: create one!

You’d be forgiven for reacting with confusion and bemusement upon reading the title of this post. To clear things up, a conlanger is somebody who builds a language from scratch (a constructed language, or conlang) for the purposes of use in a work of fiction. Arguably the most famous conlanger in history is J. R. R. Tolkien, who was singlehandedly responsible for the creation of all the languages we see (or rather hear) in his famous Legendarium. His works include the Elven languages such as Sindarin, Quenya, and Noldorin, as well as the menacing Black Speech of Mordor. Of course, Tolkien’s name can be attributed to numerous more conlangs, but detailing them all here would be too mountainous a task. I’ll revisit them another day.

The reach of conlangs in the modern world is vast and often flies under many peoples’ radars. World famous films and TV shows often prominently feature conlangs, such as Parceltongue in Harry Potter, Klingon in Star Trek, or Dothraki and the Valyrian languages in Game of Thrones. All of these conlangs have a common trait in respect to their genesis – all of them were created and nuanced by linguists. Tolkien himself, before working on his Legendarium, was a Philologist (a branch of linguistics concerning written texts and etymologies). As a linguist myself, perhaps I am rather biased in the ways I appreciate these conlangs and their creators; nevertheless, the sheer task undertaken in creating them cannot be understated. Producing a conlang has been an integral part in a worldbuilding project I have been working on for some months. It has undoubtedly taken up the bulk of the time spent on the project and is certainly far from finished. Regularly frequenting online conlanging communities provided me with a wealth of inspiration and taught me something valuable: there are plenty of aspiring conlangers out there, most of whom are extremely talented and are capable of creating languages that could stand toe-to-toe with the aforementioned established giants, and some which, well…won’t. The discrepancy between those that captivate the imagination and those that do not can be summarised in one word: realism. It’s forgivable to think that in order to create a language that’s believably fictitious (and in some cases, inherently alien), it has to differ as much as possible from any natural language on Earth. This train of thought often leads to conlangers designing their lexical inventory (the words of the language) to include long and incredibly unpronounceable words that essentially seem like their cat has just walked over their keyboard. In my experiences, the opposite tends to be the case. The linguistic brilliance of Dothraki, High Valyrian, Quenya, etc., stems from the fact that they simply sound real. This is because they were all heavily based on, and influenced by, real world languages, and abide by the same linguistic rules that natural languages are bound to.

So, with this information, potential conlangers are faced with a dilemma: how do you make a language sound ‘real’, but also different enough that it passes as a true fictional language? Unfortunately, there’s no clear way to tackle this. However, from my personal conlanging experiences, the best solution is to find a relatively obscure real language (which won’t be a hard task – there are over 6,500 spoken languages in the world), familiarise yourself with the linguistic properties of that language, e.g. its phonological system and rules, its syntactic structures, etc., and stay close to this source language when developing the conlang. Some people might be put off by needing to have such a focus on stereotypically ‘boring’ elements such as grammar, but there is definitely more to it than that. Some of the most fun I’ve had so far with my conlang has been developing and evolving its phonology (the system of sounds that make up the words of the language). In this arena, your creativity is absolute, and with so many possible phonemic combinations, you can produce something beautiful time and time again.

I’ll talk more about my conlang in an upcoming post – but be warned, it’s still very much a WIP. One thing to remember, though, is to embrace inconsistencies in language. No single language on Earth (that I’m aware of at least) has grammatical or structural rules that have no exceptions to them. English is particularly famous for its inconsistencies (anybody want to say “i before e”??), and traits such as this are inherent and important for making a language sound properly real. It adds an extra dimension to it that implies a history of linguistic change. For linguist nerds such as myself, it makes me think in detail about that history: what culture or country invaded which in order to instigate linguistic change or assimilation that’s ultimately led to these weird structural systems? What social or technological development drove the change? The potential answers to these are vast, but the important point here is that nearly every component to a conlang is admissible, no matter how strange it becomes, so long as the feel of the language is properly embraced.

[threadsketchier]

sorry, but i don't really stay up to date with media or anything. I'm a star wars fan and i'm pretty excited for the new movie! in that meme you reblogged with the same reaction for fans/non-fans... i don't quite get it. Did the company do something bad? do other people just think it's not gonna be good? sorry for all the questions but i just wanted to stay informed xoxo

It’s a reference to the fact that a significant number of fans are dreading TLJ based upon their disappointment in the wake of TFA - and honestly, it’s not just limited to the major, outstanding offense of the OT characters’ arcs and achievements being backpedaled and undone.  There have been other strange and upsetting things concerning Disney’s marketing and stewardship of the franchise, rumored plot choices, etc. that have marginalized characters like Finn and Rose in favor of Emo Band-Aid, or excluded Lando despite the longest running film time in the saga’s history and a plot that could have easily accommodated him, etc. etc.

I’m no cranky old gatekeeper looking to ruin everyone else’s genuine good time, and many of my dash peeps have explained this in much better fashion; I also prefer not to air my personal opinions too often to minimize Drama™ but given that we’re literally on the threshold of the film’s release, I’m a human being with feelings and I’m going to voice some of them if I feel like it.

I sincerely started out enjoying TFA and I do love the new characters.  Just given where the new trilogy has gone, though, I would have preferred a different storyline or total separation between the old and new gang.  As my fellow dash peeps have said countless times, there was absolutely no necessity - other than to follow today’s current depressing “everything must be awful to be interesting” trend - to craft a tale completely obliterating the happy ending of the original trilogy and the sensible character arcs of Han, Leia, and Luke:

Han Solo: selfish nerd with a deeply buried heart of gold who’d obviously seen and been through a lot of shit who needed the right people and encouragement to listen to his conscience again and stop being afraid to commit himself to both a good cause and a wider set of friends.  Goes from “Better her than me!” to “[The temperature’s dropping too rapidly.] Yeah, and my friend’s out in it - I’ll see you in hell!” to “I’m sorry” to “When he comes back, I won’t get in the way.”  His arc is about finding companionship, belonging, and emotional openness.  He’s found a home and a family with these beautiful ragtag misfits.

Leia Organa: a fervently duty-bound young woman forged by trauma and pressed upon by staggering responsibilities into an icy diamond; she is hard and unyielding and unstoppable, and very emotionally repressed.  She has lost so much and can’t afford to lose more.  Yet a fluffy farmboy and a scruffy nerf herder worm their way into her heart.  Goes from “We have no time for our sorrows,” and “[Well, Your Highness, I guess this is it.] That’s right.” to “I love you” to “…Hold me.”  Her arc is also about emotional openness and embracing the hope and then reality that she can find love and gain a new family in spite of the destruction of her homeworld and the seemingly impossible war she helped lead.

Luke Skywalker: idealistic (yet pragmatic, in some ways) softboy who infectiously inspires everybody he comes in contact with to find the good within themselves, and has both a normal, down-to-earth bedrock upbringing and the strong personal moral compass to keep doing what he feels is right.  Goes from “I guess I’m going nowhere” to “Take care of yourself, Han; I guess that’s what you’re best at” to “[I feel like I can take on the whole Empire myself!] I know what you mean.” to “I’m looking for a great warrior” to “You want the impossible” to “They’re my friends, I’ve gotta help them” to “You’ll find I’m full of surprises” to “Ben…why didn’t you tell me” to “I warn you not to underestimate my powers” to “I can’t kill my own father” to “I’ve accepted that you were once Anakin Skywalker, my father…Come with me” to “Soon I’ll be dead, and you with me” to “I feel the good in you, the conflict” to “NEVER!!!” to “You’ve failed, Your Highness - I am a Jedi, like my father before me.”  He needed his dreams shattered to get a proper grasp on how to prevail in his circumstances - and the important part here is that he was already shattered in this trilogy, and put himself back together - but despite this, he kept on believing.  He chose to see the humanity in his father and defy the Emperor, the ultimate representation of the Dark Side, by a moral rather than physical victory.  He transcended the intentions of his teachers and became a Jedi in the truest sense by disputing his mentors and refusing to relinquish his devotion to his friends and an undeserving father.  Although he lost said father, he had the satisfaction of saving and freeing his soul and finding reconciliation with him, along with gaining a twin sister and a whole lot of new friends in comparison to his former, lonelier moisture farming life, and was equipped to carry on the knowledge of the Jedi with his own experiences to renew their doctrines.

In the new trilogy:

Han is implied to be a restless ne’er-do-well who could never escape the impulse to take off and not be around for his family, rather than being grateful and satisfied to finally have a stable life and a loving wife and friends who deeply cared for him.  He’s also painted as much more of an outright idiot and useless as a smuggler rather than a clever guy who just often finds himself in shitty situations

Leia is not allowed to hold on to anything in her life.  She must not only bear witness to even more planets being ruthlessly and callously destroyed, her own child grows up to commit patricide and it’s heavily implied that his genocidal tantrums are her and Han’s fault for being neglectful parents, as though being a woman with a demanding career automatically makes it impossible for her to raise a child properly, and never mind the fact that less-than-perfect-parenting from two people who still clearly loved their son is the flimsiest excuse for anyone to commit any level of murder

Luke is also not allowed to pass on his knowledge and bear any fruit for his hard-won labors.  His efforts to restore the Jedi go up in a flaming ruin, pointlessly bringing about a second shattering into his life for the express purpose of turning him into a grieving and bitter shadow of his former hopeful self who now abandons his found family rather than cleaving to them for support and encouragement as he always did before

The new films transform the OT into an ultimately hollow story in where there is no happy ending and nothing is learned and taken to heart.  The characters are doomed to suffer forever and not grow logically from their experiences.  This happens while we’re meant to get accustomed to the new team and watch them struggle to clean up the mess that apparently the older characters couldn’t fix after all.  It fosters a sense of nihilism - no one will ever get it right, and each new generation will just keep wading through another war and another war while making the same mistakes their elders did.

It sounds a liiiiiiiiiitle too much like reality for a story that’s supposed to be a space fairy tale.  If I want to be depressed, I’ll read the news.  If I want to be happy, I’ll go watch a star war.  Except oops, now I really can’t.

I’m well aware that plenty of folks don’t see it this way at all, and yes, duh, my response is biased.  Like I said, if you love the new movies, more power to you; it’s still a (mostly) free world.  But you asked, so I answered.

[vintagegeekculture]

Dead Fandoms, Part 3

Read Part One of Dead Fandoms here. 

Read Part Two of Dead Fandoms here. 

Before we continue, I want to add the usual caveat that I actually don’t want to be right about these fandoms being dead. I like enthusiasm and energy and it’s a shame to see it vanish.

Mists of Avalon

Remember that period of time of about 15 years, where absolutely everybody read this book and was obsessed with it? It could not have been bigger, and the fandom was Anne Rice huge, overlapping for several years with USENET and the early World Wide Web…but it’s since petered out. 

Mists of Avalon’s popularity may be due to the most excellent case of hitting a demographic sweet spot ever. The book was a feminist retelling of the Arthurian Mythos where Morgan Le Fay is the main character, a pagan from matriarchal goddess religions who is fighting against encroaching Christianity and patriarchal forms of society coming in with it. Also, it made Lancelot bisexual and his conflict is how torn he is about his attraction to both Arthur and Guinevere.

Remember, this novel came out in 1983 – talk about being ahead of your time! If it came out today, the reaction from a certain corner would be something like “it is with a heavy heart that I inform you that tumblr is at it again.”

Man, demographically speaking, that’s called “nailing it.” It used to be one of the favorite books of the kind of person who’s bookshelf is dominated by fantasy novels about outspoken, fiery-tongued redheaded women, who dream of someday moving to Scotland, who love Enya music and Kate Bush, who sell homemade needlepoint stuff on etsy, who consider their religious beliefs neo-pagan or wicca, and who have like 15 cats, three of which are named Isis, Hypatia, and Morrigan.

This type of person is still with us, so why did this novel fade in popularity? There’s actually a single hideous reason: after her death around 2001, facts came out that Marion Zimmer Bradley abused her daughters sexually. Even when she was alive, she was known for defending and enabling a known child abuser, her husband, Walter Breen. To say people see your work differently after something like this is an understatement – especially if your identity is built around being a progressive and feminist author.

Robotech

I try to break up my sections on dead fandoms into three parts: first, I explain the property, then explain why it found a devoted audience, and finally, I explain why that fan devotion and community went away. Well, in the case of Robotech, I can do all three with a single sentence: it was the first boy pilot/giant robot Japanimation series that shot for an older, teenage audience to be widely released in the West. Robotech found an audience when it was the only true anime to be widely available, and lost it when became just another import anime show. In the days of Crunchyroll, it’s really hard to explain what made Robotech so special, because it means describing a different world.

Try to imagine what it was like in 1986 for Japanime fans: there were barely any video imports, and if you wanted a series, you usually had to trade tapes at your local basement club (they were so precious they couldn’t even be sold, only traded). If you were lucky, you were given a script to translate what you were watching. Robotech though, was on every day, usually after school. You want an action figure? Well, you could buy a Robotech Valkyrie or a Minmei figure at your local corner FAO Schwartz. 

However, the very strategy that led to it getting syndicated is the very reason it was later vilified by the purists who emerged when anime became a widespread cultural force: strictly speaking, there actually is no show called “Robotech.” Since Japanese shows tend to be short run, say, 50-60 episodes, it fell well under the 80-100 episode mark needed for syndication in the US. The producer of Harmony Gold, Carl Macek, had a solution: he’d cut three unrelated but similar looking series together into one, called “Robotech.” The shows looked very similar, had similar love triangles, used similar tropes, and even had little references to each other, so the fit was natural. It led to Robotech becoming a weekday afternoon staple with a strong fandom who called themselves “Protoculture Addicts.” There were conventions entirely devoted to Robotech. The supposed shower scene where Minmei was bare-breasted was the barely whispered stuff of pervert legend in pre-internet days. And the tie in novels, written with the entirely western/Harmony Gold conception of the series and which continued the story, were actually surprisingly readable.

The final nail in the coffin of Robotech fandom was the rise of Sailor Moon, Toonami, Dragonball, and yes, Pokemon (like MC Hammer’s role in popularizing hip hop, Pokemon is often written out of its role in creating an audience for the next wave of cartoon imports out of insecurity). Anime popularity in the West can be defined as not a continuing unbroken chain like scifi book fandom is, but as an unrelated series of waves, like multiple ancient ruins buried on top of each other (Robotech was the vanguard of the third wave, as Anime historians reckon); Robotech’s wave was subsumed by the next, which had different priorities and different “core texts.” Pikachu did what the Zentraedi and Invid couldn’t do: they destroyed the SDF-1.

Legion of Super-Heroes

Legion of Superheroes was comic set in the distant future that combined superheroes with space opera, with a visual aesthetic that can best be described as “Star Trek: the Motion Picture, if it was set in a disco.” 

I’ve heard wrestling described as “a soap opera for men.” If that’s the case, then Legion of Super-Heroes was a soap opera for nerds. The book is about attractive 20-somethings who seem to hook up all the time. As a result, it had a large female fanbase, which, I cannot stress enough, is incredibly unusual for this era in comics history. And if you have female fans, you get a lot of shipping and slashfic, and lots of speculation over which of the boy characters in the series is gay. The fanon answer is Element Lad, because he wore magenta-pink and never had a girlfriend. (Can’t argue with bulletproof logic like that.) In other words, it was a 1970s-80s fandom that felt much more “modern” than the more right-brained, bloodless, often anal scifi fandoms that existed around the same time, where letters pages were just nitpicking science errors by model train and elevator enthusiasts.

Legion Headquarters seemed to be a rabbit fuck den built around a supercomputer and Danger Room. Cosmic Boy dressed like Tim Curry in Rocky Horror. There’s one member, Duo Damsel, who can turn into two people, a power that, in the words of Legion writer Jim Shooter, was “useful for weird sex...and not much else.”

LSH was popular because the fans were insanely horny. This is, beyond the shadow of a doubt, the thirstiest fandom of all time.  You might think I’m overselling this, but I really think that’s an under-analyzed part of how some kinds of fiction build a devoted fanbase.  

For example, a big reason for the success of Mass Effect is that everyone has a favorite girl or boy, and you have the option to romance them. Likewise, everyone who was a fan of Legion remembers having a crush. Sardonic Ultra Boy for some reason was a favorite among gay male nerds (aka the Robert Conrad Effect). Tall, blonde, amazonian telepath Saturn Girl, maybe the first female team leader in comics history, is for the guys with backbone who prefer Veronica over Betty. Shrinking Violet was a cute Audrey Hepburn type. And don’t forget Shadow Lass, who was a blue skinned alien babe with pointed ears and is heavily implied to have an accent (she was Aayla Secura before Aayla Secura was Aayla Secura). Light Lass was commonly believed to be “coded lesbian” because of a short haircut and her relationships with men didn’t work out. The point is, it’s one thing to read about the adventures of a superteam, and it implies a totally different level of mental and emotional involvement to read the adventures of your imaginary girlfriend/boyfriend.  

Now, I should point out that of all the fandoms I’ve examined here, LSH was maybe the smallest. Legion was never a top seller, but it was a favorite of the most devoted of fans who kept it alive all through the seventies and eighties with an energy and intensity disproportionate to their actual numbers. My gosh, were LSH fans devoted! Interlac and Legion Outpost were two Legion fanzines that are some of the most famous fanzines in comics history.

If nerd culture fandoms were drugs, Star Wars would be alcohol, Doctor Who would be weed, but Legion of Super-Heroes would be injecting heroin directly into your eyeballs. Maybe it is because the Legionnaires were nerdy, too: they played Dungeons and Dragons in their off time (an escape, no doubt, from their humdrum, mundane lives as galaxy-rescuing superheroes). There were sometimes call outs to Monty Python. Basically, the whole thing had a feel like the dorkily earnest skits or filk-singing at a con. Legion felt like it’s own fan series, guest starring Patton Oswalt and Felicia Day.

It helped that the boundary between fandom and professional was incredibly porous. For instance, pro-artist Dave Cockrum did covers for Legion fanzines. Former Legion APA members Todd and Mary Biernbaum got a chance to actually write Legion, where, with the gusto of former slashfic writers given the keys to canon, their major contribution was a subplot that explicitly made Element Lad gay. Mike Grell, a professional artist who got paid to work on the series, did vaguely porno-ish fan art. Again, it’s hard to tell where the pros started and the fandom ended; the inmates were running the asylum.

Mostly, Legion earned this devotion because it could reward it in a way no other comic could. Because Legion was not a wide market comic but was bought by a core audience, after a point, there were no self-contained one-and-done Legion stories. In fact, there weren’t even really arcs as we know it, which is why Legion always has problems getting reprinted in trade form. Legion was plotted like a daytime soap opera: there were always five different stories going on in every issue, and a comic involved cutting between them. Sure, like daytime soap operas, there’s never a beginning, just endless middles, so it was totally impossible for a newbie to jump on board...but soap operas know what they are doing: long term storytelling rewards a long term reader.

This brings me to today, where Legion is no longer being published by DC. There is no discussion about a movie or TV revival. This is amazing. Comics are a world where the tiniest nerd groups get pandered to: Micronauts, Weirdworld, Seeker 3000, and Rom have had revival series, for pete’s sake. It’s incredible there’s no discussion of a film or TV treatment, either; friggin Cyborg from New Teen Titans is getting a solo movie. 

Why did Legion stop being such a big deal? Where did the fandom that supported it dissolve to? One word: X-Men. Legion was incredibly ahead of its time. In the 60s and 70s, there were barely any “fan” comics, since superhero comics were like animation is today: mostly aimed at kids, with a minority of discerning adult/teen fans, and it was success among kids, not fans, that led to something being a top seller (hence, “fan favorites” in the 1970s, as surprising as it is to us today, often did not get a lot of work, like Don MacGregor or Barry Smith). But as newsstands started to push comics out, the fan audience started to get bigger and more important…everyone else started to catch up to the things that made Legion unique: most comics started to have attractive people who paired up into couples and/or love triangles, and featured extremely byzantine long term storytelling. If Legion of Super-Heroes is going to be remembered for anything, it’s for being the smaller scale “John the Baptist” to the phenomenon of X-Men, the ultimate “fan” comic.

The other thing that killed Legion, apart from Marvel’s Merry Mutants, that is, was the r-word: reboots. A reboot only works for some properties, but not others. You reboot something when you want to find something for a mass audience to respond to, like with Zorro, Batman, or Godzilla.

Legion, though, was not a comic for everybody, it was a fanboy/girl comic beloved by a niche who read it for continuing stories and minutiae (and to jack off, and in some cases, jill off). Rebooting a comic like that is a bad idea. You do not reboot something where the main way you engage with the property, the greatest strength, is the accumulated lore and history. Rebooting a property like that means losing the reason people like it, and unless it’s something with a wide audience, you only lose fans and won’t get anything in return for it. So for something like Legion (small fandom obsessed with long form plots and details, but unlike Trek, no name recognition) a reboot is the ultimate Achilles heel that shatters everything, a self-destruct button they kept hitting over and over and over until there was nothing at all left.

E. E. Smith’s Lensman Novels

The Lensman series is like Gil Evans’s jazz: it’s your grandparents’ favorite thing that you’ve never heard of. 

I mean, have you ever wondered exactly what scifi fandom talked about before the rise of the major core texts and cultural objects (Star Trek, Asimov, etc)? Well, it was this. Lensmen was the subject of fanfiction mailed in manilla envelopes during the 30s, 40s, and 50s (some of which are still around). If you’re from Boston, you might recognize that the two biggest and oldest scifi cons there going back to the 1940s, Boskone (Boscon, get it?) and Arisia, are references to the Lensman series. This series not only created space opera as we know it, but contributed two of the biggest visuals in scifi, the interstellar police drawn from different alien species, and space marines in power armor.

My favorite sign of how big this series was and how fans responded to it, was a great wedding held at Worldcon that duplicated Kimball Kinnison and Clarissa’s wedding on Klovia. This is adorable:

The basic story is pure good vs. evil: galactic civilization faces a crime and piracy wave of unprecedented proportions from technologically advanced pirates (the memory of Prohibition, where criminals had superior firearms and faster cars than the cops, was strong by the mid-1930s). A young officer, Kimball Kinnison (who speaks in a Stan Lee esque style of dialogue known as “mid-century American wiseass”), graduates the academy and is granted a Lens, an object from an ancient mystery civilization, who’s true purpose is unknown.

Lensman Kinnison discovers that the “crime wave” is actually a hostile invasion and assault by a totally alien culture that is based on hierarchy, intolerant of failure, and at the highest level, is ruled by horrifying nightmare things that breathe freezing poison gases. Along the way, he picks up allies, like van Buskirk, a variant human space marine from a heavy gravity planet who can do a standing jump of 20 feet in full space armor, Worsel, a telepathic dragon warrior scientist with the technical improvisation skills of MacGyver (who reads like the most sadistically minmaxed munchkinized RPG character of all time), and Nandreck, a psychologist from a Pluto-like planet of selfish cowards.

The scale of the conflict starts small, just skirmishes with pirates, but explodes to near apocalyptic dimensions. This series has space battles with millions of starships emerging from hyperspacial tubes to attack the ultragood Arisians, homeworld of the first intelligent race in the cosmos. By the end of the fourth book, there are mind battles where the reflected and parried mental beams leave hundreds of innocent bystanders dead. In the meantime we get evil Black Lensmen, the Hell Hole in Space, and superweapons like the Negasphere and the Sunbeam, where an entire solar system was turned into a vacuum tube.

It’s not hard to understand why Lensmen faded in importance. While the alien Lensmen had lively psychologies, Lensman Kimball Kinnison was not an interesting person, and that’s a problem when scifi starts to become more about characterization. The Lensman books, with their love of police and their sexism (it is an explicit plot point that the Lens is incompatible with female minds – in canon there are no female Lensmen) led to it being judged harshly by the New Wave writers of the 1960s, who viewed it all as borderline fascist military-scifi establishment hokum, and the reputation of the series never recovered from the spirit of that decade.

Prisoner of Zenda

Prisoner of Zenda is a novel about a roguish con-man who visits a postage-stamp, charmingly picturesque Central European kingdom with storybook castles, where he finds he looks just like the local king and is forced to pose as him in palace intrigues. It’s a swashbuckling story about mistaken identity, swordfighting, and intrigue, one part swashbuckler and one part dark political thriller.

The popularity of this book predates organized fandom as we know it, so I wonder if “fandom” is even the right word to use. All the same, it inspired fanatical dedication from readers. There was such a popular hunger for it that an entire library could be filled with nothing but rip-offs of Prisoner of Zenda. If you have a favorite writer who was active between 1900-1950, I guarantee he probably wrote at least one Prisoner of Zenda rip-off (which is nearly always the least-read book in his oeuvre). The only novel in the 20th Century that inspired more imitators was Sherlock Holmes. Robert Heinlein and Edmond “Planet Smasher” Hamilton wrote scifi updates of Prisoner of Zenda. Doctor Who lifted the plot wholesale for the Tom Baker era episode, “Androids of Tara,” Futurama did this exact plot too, and even Marvel Comics has its own copy of Ruritania, Doctor Doom’s Kingdom of Latveria. Even as late as the 1980s, every kids’ cartoon did a “Prisoner of Zenda” episode, one of the stock plots alongside “everyone gets hit by a shrink ray” and the Christmas Carol episode.

Prisoner of Zenda imitators were so numerous, that they even have their own Library of Congress sub-heading, of “Ruritanian Romance.” 

One major reason that Prisoner of Zenda fandom died off is that, between World War I and World War II, there was a brutal lack of sympathy for anything that seemed slightly German, and it seems the incredibly Central European Prisoner of Zenda was a casualty of this. Far and away, the largest immigrant group in the United States through the entire 19th Century were Germans, who were more numerous than Irish or Italians. There were entire cities in the Midwest that were two-thirds German-born or German-descent, who met in Biergartens and German community centers that now no longer exist.

Kurt Vonnegut wrote a lot about how the German-American world he grew up in vanished because of the prejudice of the World Wars, and that disappearance was so extensive that it was retroactive, like someone did a DC comic-style continuity reboot where it all never happened: Germans, despite being the largest immigrant group in US history, are left out of the immigrant story. The “Little Bohemias” and “Little Berlins” that were once everywhere no longer exist. There is no holiday dedicated to people of German ancestry in the US, the way the Irish have St. Patrick’s Day or Italians have Columbus Day (there is Von Steuben’s Day, dedicated to a general who fought with George Washington, but it’s a strictly Midwest thing most people outside the region have never heard of, like Sweetest Day). If you’re reading this and you’re an academic, and you’re not sure what to do your dissertation on, try writing about the German-American immigrant world of the 19th and 20th Centuries, because it’s a criminally under-researched topic.

A. Merritt

Pop quiz: who was the most popular and influential fantasy author during the 1930s and 40s? 

If you answered Tolkien or Robert E. Howard, you’re wrong - it was actually Abraham Merritt. He was the most popular writer of his age of the kind of fiction he did, and he’s since been mostly forgotten. Gary Gygax, creator of Dungeons and Dragons, has said that A. Merritt was his favorite fantasy and horror novelist.

Why did A. Merritt and his fandom go away, when at one point, he was THE fantasy author? Well, obviously one big answer was the 1960s counterculture, which brought different writers like Tolkien and Lovecraft to the forefront (by modern standards Lovecraft isn’t a fantasy author, but he was produced by the same early century genre-fluid effluvium that produced Merritt and the rest). The other answer is that A. Merritt was so totally a product of the weird occult speculation of his age that it’s hard to even imagine him clicking with audiences in other eras. His work is based on fringe weirdness that appealed to early 20th Century spiritualism and made sense at the time: reincarnation, racial memory, an obsession with lost race stories and the stone age, and weirdness like the 1920s belief that the Polar Arctic is the ancestral home of the Caucasian race. In other words, it’s impossible to explain Merritt without a ton of sentences that start with “well, people in the 1920s thought that...” That’s not a good sign when it comes to his universality. 

That’s it for now. Do you have any suggestions on a dead fandom, or do you keep one of these “dead” fandoms alive in your heart?