#writing for a novel and writing for comics are two very different beasts

[andersam5]

i know this comic most likely isn’t on your mind at the moment but will don’t look down ever be coming back?

Oh trust me, I'm very aware of how unfinished Don't Look Down is. I did have the entire script written out (I'll have to try and track it down in my files) and when I was writing it I was experimenting with a different workflow. It obviously didn't completely work out lol

I think I also got too far bogged down with the mechanics of the story and trying to find that balance of "Make things threatening but the status quo is to stay more or less unchanged by the end" If that makes sense. I'm still very much learning by ear how to write stories for comics. I feel like I'm much better writing straight up stories/fics and I've been having trouble translating those skills into writing for comics,

I'm definitely keeping all the notes and scripts I wrote and would love to return to it someday once I can break out of the perfectionist nature I seem to have gotten locked into while I was making it

[positivelybeastly]

I'm new to comics and love beast. Is there any comics with beast that you'd recommend? There's so many xmen comics and idk where to start.

Hello there, friend! Getting into comic books is damned hard, but, thankfully, resources like Reddit, Tumblr, and Marvel Unlimited (or your pirating site of choice) all make it a lot easier to get into them these days without having to worry about being confused.

Well. You'll still be a little confused. Comic books are convoluted. But at least you'll be able to engage with them on your own terms. :) And, it's worth it. Mostly.

I'll tell you straight out that if you want some good entry points, like, this is my first X-Men comic, what do I read, I'd recommend the following:

X-Men: First Class (2006)

X-Men vol. 2 (1991)

New X-Men vol. 1 (2001)

Astonishing X-Men vol. 3 (2004)

X-Men vol. 6 (2024)

As for Beast specific recommendations? I have a ton!

For Beast as a character, being examined in his own right, I would recommend the following:

X-Men Origins: Beast - a retelling of his origin, updated with modern art and writing. Written by Mike Carey, whose work you should generally look into if you like X-Men - he focuses a lot on characters like Rogue and Xavier, but also on Beast, which is handy for our purposes!

X-Men: Unlimited vol. 1 #10 and vol. 2 #10 - so, this may be somewhat confusing to a new comic reader, but comics have volumes. This is when a comic of a certain title ends, and it's then relaunched with a new creative team, usually with a very different story.

So, X-Men: Unlimited is an anthology series that tells unconnected stories that fit in other places, between other comics, and there were two different volumes of it, one in the 90s, and one in the 00s. Both volumes have an issue #10 that focuses on Beast, and I'd recommend them both! Vol. 1 #10 especially would be, in my opinion, required reading if you really want to get into Beast.

Amazing Adventures vol. 2 #11 through #17 - the first stab at giving Hank his own solo series, from back in the 70s! Don't let the age get you down, I find this series to be actually fairly modern and easy to get into, and it's a nice sort of superhero/horror blend of tones that I find really effective.

X-Men: Endangered Species - this is a Beast solo story dealing with the aftermath of the Decimation, the event where Scarlet Witch removed the powers of 99% of the world's mutants. It's quite dark, but I think it's probably one of the best examinations of the character in the medium, and it works as an excellent sequel to Unlimited vol. 1 #10. Most of the context you need is given to you in the comic, which is handy. :)

X-Men: S.W.O.R.D vol. 1 - this is kind of a team-up comic, kind of not? The context for this is reliant on reading another run that I'll be recommending, but trust me, it's worth it. This is an outrageously funny book with a good emotional core, and it really captures Beast's essence, as a dual sided goofball jokester with a heart of gold and the intellectual moralistic do-gooder who can't leave well enough alone. One of my favourite comics of all time.

For Beast as part of a team, I would recommend the following:

X-Men: First Class - a prequel book set during the days of the Original X-Men, this series bounces between Cyclops, Angel, Iceman, Marvel Girl and Beast a fair bit, but even in issues that don't focus on Beast, he's still a part of the story and quite well written. Very slice-of-lifey, with a lot of charm to it.

X-Men: Season One - a retelling of certain stories from the original 60s run of X-Men, this is a pretty good one-and-done graphic novel that does change a few things, but keeps the spirit intact and tells you a lot about these characters and how they relate to one another. Just watch out for Iceman's Bieber hair.

Avengers vol. 1 #137-211 - this is a pretty long run of comics that features Hank's initial tenure on the Avengers, and will occasionally require a bit of reading around to make sure that you're reading the Annuals in the right place - usually, the comic will tell you to go read Annual #6 or whatever, but if you find a lot of stuff has happened and the story jumped ahead without you, chances are, it's in an Annual. Very variable in quality, but if you want to see classic Beast in all his glory, there's some really good stuff here, especially the foundation of his lifelong friendship with Wonder Man.

The Defenders/New Defenders vol. 1 #96-152 - probably one of my actual favourite run of comics ever. Beast joins the team a little later than #96, but if you jump in when Hank does, you'll be just a little confused, so it's best to start at #96 and go from there. Especially once Hank reforms the team to the New Defenders in #125, he basically becomes one of the very main characters and gets a lot of focus. Absolutely love this comic.

X-Factor vol. 1 #1-70 - the first six or seven issues of this are pretty bad, but it really comes into its own once it starts being written by Louise Simonson, who makes it much more soap opera, more character driven, gives all the characters a lot to do. There's a lot of crossover with other books, but usually it'll just tell you what to read if you want to know more about a part of a story in little editor's notes!

X-Men vol. 2 #1-95 - the classic 90s run; not my personal favourite, because it's pretty confusingly plotted, but if you want something that hews extremely close to the 90s cartoon, this is that to a tee, to the point where a lot of stories and characters were adapted to and from the comics directly!

New X-Men vol. 1 #114-156 - a landmark run on X-Men by Grant Morrison, this evolves Beast into a new form and changes up his character in a new, tragic manner that, personally, is my favourite iteration of the character. Very high concept sci-fi, occasionally quite confusing and problematic, but extremely good stuff, imo, and essential for getting into modern X-Men.

Astonishing X-Men vol. 3 #1-35 - a sort of sequel to New X-Men, this is again an extremely good entry point into modern X-Men, and it's very, very classic while still progressing the story. Just a note - when you read issue #24, do NOT go to issue #25, you need to go and read Giant Size Astonishing X-Men instead, THEN go to #25. I know, it's confusing, I'm so, so, so sorry, comics are just like this. This is the comic that leads straight into S.W.O.R.D pretty much.

Wolverine and the X-Men vol. 1 #1-42 - a more zany, school focused book, Hank is part of the wider cast here, but he does get some spotlight issues, and I do enjoy him here, especially his relationship with Broo. There are crossovers with Avengers vs. X-Men and other events in here, but those events are kinda sort skippable because they're bad. If you feel confused, you can read them, but I don't necessarily recommend them.

X-Men vol. 6 #1-ongoing - the current run of X-Men, written by Jed MacKay! To put it very bluntly, Beast went through about a decade of being quite badly written and slowly turned into a scummy villain through the recent Krakoa era, which I was not a fan of. There are individual issues between 2013 and 2024 that I can recommend, but if you like Beast, I would not recommend reading them, because I think that they are pretty bad and not fun to read. This is me being kind. But the new series picks up after that's all fixed, and Beast is getting a lot to do in this series, so I'd recommend it!

X-Men: From the Ashes Infinity Comics #15-18 - a supplementary comic that focuses on Beast, best read alongside the above X-Men run I recommended; it can give you all the context you need for where Beast is at, and why he's feeling the way that he is. A very, very good read, way exceeded my expectations, and I'm really pleased I can actually recommend modern comics for Beast again!

These are the main runs I would recommend! There's a lot more, if we want to get esoteric, and I'm sure I'm missing out on a lot of material - Beast has been around for 60 years, he's been in a LOT of stories - but if you want to get stuck into X-Men comics and really immerse yourself into the world and the stories, there's a lot of really good material here!

Welcome to the X-Men comics, friend! Hope you survive the experience!

[nicklloydnow]

Walker Percy statue in Bogue Falaya Park, Covington, Louisiana

“A Talk with Walker Percy

Zoltán Abádi-Nagy

The Southern Literary Journal, 6 (Fall 1973)

Q: You maintain that perhaps the best way of writing about America in general is to write with authenticity about one particular part of America. By extension this means that, likewise, your attitude and reaction toward philosophical questions of universal human importance— toward the question of the human predicament, to use the term of your philosophy—will be that of an American. Is that correct?

A: I think that is true. My novels have more a European origin than American. They are so-called philosophical novels which is probably a bad word. But you know that the first half of your question is quite true. The greatest exponent of this was Faulkner who concentrated on a small village in Mississippi. It is true that I am interested in philosophical, religious issues and in my novels I use the particular in order to get at the general issues. For example, The Moviegoer is about New Orleans, one part in New Orleans, a young man in New Orleans. The conflict is a hidden ideological conflict involving, on the one hand, what I call Southern stoicism. I have an uncle whose hero was Marcus Aurelius. The other ideology is Christian Catholic. The third: the protagonist is in an existentialist predicament, alienated from both cultures.

Q: What in your view is it in America that makes an existentialist today? What facets of the American intellectual climate, of the American existence in general, are favorable to existentialist thinking?

A: I think in America the revolt is less overtly philosophical. It is a feeling of alienation from American suburban life, the suburb, the country-club, the business community. There is a difference between my protagonists and the so-called counter culture. Many young people revolt in a purely negative way, oppose their parents' culture; whereas the leading characters in my books are much more consciously embarked on some sort of search. I am telling you that because I would not want you to confuse the characters of the counter culture with my characters. One of their beliefs is that the American scene is phony, and their revolt is to seek authenticity in drugs, sex, or in a different kind of communal existence. The characters in my books are embarked on a much more serious search for meaning.

(…)

Q: Your view of life in your literary works is very close to the absurdist view, but the term 'absurd' and the whole Camus terminology hardly ever appears in your philosophical essays. Does this coincide with your preference for Marcel's Catholic version of existentialism as opposed to the post-Christian character of the meaninglessness of Sisyphus' situation?

A: Yes, that is correct. I identity philosophically with people like Gabriel Marcel. And if you want to call me a philosophical Catholic existentialist, I would not object, although the term existentialist is being so abused now that it means very little. But stylistically mainly two French novels affected me: Sartre's La Nausée and Camus' L'etranger. I agree with their novelistic technique but not with their absurdist view.

Q: Is not your third novel, Love in the Ruins, with its Layer I and Layer II—the social self and the inner, individual self—a comic attempt to solve Marcel's dilemma about this separation?

A: You are right. This is a comic device to get at what, ever since Kierkegaard, has been called the modern sickness: the disease of abstraction. I think in the novel Dr. More calls the illness angelism-bestialism. There is nothing new about this. It had been mentioned by many writers in various ways. Pascal said that man is both not quite as high as an angel and not quite as low as a beast. So Dr. More is aware of this schism in consciousness. He talks about the modem mind which, as he sees it, abstracts from the world, from itself, and manages to lose touch with reality.

(…)

Q: Much of it, especially in Love in the Ruins, seems to be a social problem viewed from an existentialist viewpoint of the human predicament. Actually, this is a kind of movement I notice in your works: an increasing awareness of how much the social predicament has to do with the human predicament. If Binx in The Moviegoer was suffocating in an adverse climate of malaise which was a social phenomenon, he was not much aware of its having to do with society; he was not concentrating on things like the social self as later Dr. More is in Love in the Ruins. Was this an intentional change on your part or was the movement towards the concept of malaise as a social product spontaneously developing through the inner logics of these relations?

A: It was a conscious change. Love in the Ruins was intended to take a certain point of view of Dr. More's and from it to see the social and political situation in America. Unlike Binx, whose difficulties were more personal, Dr. More finds himself involved in contemporary issues: the black-white conflict and the problem of science, scientific technology which is treated as a sociological reality today. Both the good and bad of it. I really use this to say what I wanted to say about contemporary issues. About polarization; there are half a dozen of them: black-white, North-South, young-old, affluent-poor, etc. And do not forget that at the end of Love in the Ruins there is a suggestion of a new community, new reconciliation. It has been called a pessimistic novel but I do not think it is. A renewed community is suggested. The suggestion is in the last scene which takes place in a midnight mass between a Christmas Saturday and Sunday. The Catholics, the Jews come to the midnight mass, also the unbelievers in the same community. The great difference between Dr. More and the other heroes is that Dr. More has no philosophical problems. He knows what he believes.

Q: Is it a religious reconciliation then?

A: Yes, that is the case. This was meant for Southerners in particular and for Americans in general.

Q: Binx in The Moviegoer and Barrett in The Last Gentleman do not seem to have the set of positive values needed for absurd creation as conceived by Camus to create their own meaning in meaninglessness. Is this connected with your idea of the aesthetic reversion of alienation, i.e. by communicating their alienation they get rid of it?

A: Yes, there is something there. In the case of Binx it is left open. The ending is ambiguous. It is not made clear whether he returns to his mother's religion or takes on his aunt's stoic values. But he does manage to make a life by going into medicine, helping Kate by marrying her. I suppose Sartre and Camus would look on this as a bourgeois retreat he had made.

Q: How do you look on it?

A: Well, I think he probably . . . as a matter of fact the last two pages of The Moviegoer were meant as a conscious salute to Dostoevski, in particular to the last few pages of The Brothers Karamazov. Very few people notice this.

Q: To me the most striking difference between the European and the American absurdist view is the ability of the American to couple the grim seriousness with hilarious humor, to turn apocalypse into farce. In comparison, Beckett, for all the grim comedy which is there, is a sheer tragic affair. Can you think of some explanation for this?

A: That is a good question and I can only quote Kierkegaard, who said something that astounded me and that I did not understand for a long time. He spoke of the three stages of existence: the aesthetic, the ethical, the religious. When you pass the first two you find yourself in an existentialist predicament which can be open to the religious or the absurd. He equated religion with the absurdity. He called it the leap into the absurd. But what he said and was puzzling to me was that, after the first two, the closest thing to the third stage is humor. I thought about that for a long time. I cannot explain it except I know it is true.

There is another explanation, too, of course. Hemingway once said: all good American novels come from one novel written by a man named Mark Twain. With Huckleberry Finn Mark Twain established the tradition of this very broad and satirical humor. I think the American writer finds it natural to use humor both in his satire and in describing even the worst predicament of his main character. In this country we call it black humor: disproportion between the gravity of the character's predicament and the hilarity of the humor with which it is treated. Vonnegut uses this a good deal.

Q: Richard B. Hauck in A Cheerful Nihilism points out how Franklin, Melville, Twain, Faulkner have shown that the response to the absurd sense can be laughter. At one point Binx becomes aware of the similarity of his predicament to that of the Jews. "I accept my exile," he says. Whether we accept this as his affirmation of life in its absurdity or not, what follows is comedy. Could you agree that this comedy as well as Franklin's, Melville's and the others' could be regarded as the absurd creation of the American Sisyphus as opposed to the serious defiance of Camus' king?

A: I do not know if I would go that far. It may be much simpler. There is an old American saying that the one way to stop crying is to laugh. Binx says, "I feel more homeless than the Jews." Between him and the Camus and Sartrean heroes of the absurd there is a difference. Camus would probably say the hero has to create his own values whether absurd or not, whereas Binx does not accept that the world is absurd; so he embarks on a search. So to him the Jews are a sign. I think he said, "Lately when I see a Jew on a street I am amazed nobody finds it remarkable. But I find it remarkable. But to me it is like seeing Friday's footprint in the beach. " Of course, he is not sure what it is the sign of. Sartre's Roquentin in La Nausée or Camus' Meursault in L'etranger would not find anything remarkable about a Jew, they would not be interested in him.

Q: In your philosophical essay, "The Man on the Train," you stress the speakability of the commuter's alienation and the fact that the commuter rejoices in this speakability. We can probably add: laughability. Incidentally, you do mention in the same article how Kafka and his friends were roaring with laughter when Kafka read his work aloud to them. Again if we had the answer to how alienation can become a laughing-matter, we would have the key to much of what is recently called black humor.

A: I think you are right. In "The Man on the Train" I was talking about the aesthetic reversal: the alienated commuter feeling totally alienated when reading a book about alienation feels better because there is a communication between himself and the writer.

Q: The forms of alienation you are concerned with in your fiction are all results of the objectification, mechanization of the subjective. Does not this view meet somewhere at a point with Bergson's view of the comic as the mechanical manifested in a living human being?

A: It sounds reasonable but I cannot enlarge on that. I am not familiar enough with Bergson. But to your previous question. Let me finish. It is the first time it occurs to me. You brought it up. Maybe, a person like Sartre spent a lot of time writing in a café about alienated people, the lack of communication, etc., and yet, in doing so, he became the least alienated person in France. By writing he performs a superb act of communication for which he has many readers. So you have a complete reversal. He writes about one thing and reverses it through communication. Here we have the American writer locked in his alienation. But I can envision the American writer getting onto it; by seeing the possibility of communication, exhilaration, his alienation becomes speakable. There can be a tremendous release from that. I have never thought of this before. Nobody knows what is going on when you communicate the unspeakable. This all-important step from unspeakability to speakability is such a triumph that in his own exhilaration the American writer finds it natural to use the Mark Twain tradition of the funny, the humorous.

(…)

Q: Religion reminds me of another tendency I notice in your novels from Binx through Dr. Sutter to Dr. More: the scientist Dr. Percy showing in the novels much more than the Catholic. How would you comment on your religious presence in the philosophical essays the—whole idea of the islander opening all those bottles hoping for 'the message'—and on the absence of practical religion from the novels. I know that religion is there as a theme but with no commitment of the writer in any direction.

A: Well, that is very simple. James Joyce said that an artist must be above all things cunning and guileful and must use every trick in the bag to achieve his purpose. In my view the language of religion, the very words themselves, are almost bankrupt. If you are writing a technical article on philosophy you can use the correct word for the correct meaning. But writing a novel is something different. In my view you have to be wary of using words like 'religion,' 'God,' 'sin,' 'salvation,' ‘baptism' because the words are almost worn out. The themes have to be implicit rather than explicit. I think I am conscious of the danger of the novelist trying to draw a moral. What Kierkegaard called 'edifying' would be a fatal step for a novelist. But the novelist cannot help but be informed by his own anthropology, the nature of man. In this respect I use 'anthropology' in the European philosophical sense. Camus, Sartre, Marcel in this sense can all be called anthropologists. In America people think of somebody going out and measuring skulls, digging up ruins when you mention 'an-thropology.' I call mine philosophical anthropology. I am not talking about God. I am not a theologian.

Q: What I meant was not the question of style and technique explicit or implicit but the religious commitment which is there in your philosophical writings but absent from the novels or always left open at best.

A: As it should be left open in the novel.

(…)

Q: None of the main characters in your three books have problems in making a living. Binx is a successful broker, Barrett inherited from his father, Dr. More from his wife. Do you do this to contrast seeming affluence with emptiness under it?

A: I had not thought about it. Maybe so, maybe also to use it as a device to reinforce the rootlessness. After all if these fellows had been day-laborers working very hard they would have had no time for various speculations.

Q: Does that mean that existentialism has no comment on those who are without these economic means and consequently perhaps in a much more serious predicament—because they have no time for speculations?

A: To that Marx would have an answer, Henry Ford would have an answer, Chaplin would have another, etc. Marx invented the term alienation. . .

Q: He reinterpreted an older concept, he discovered a new explanation for alienation.

A: But it is now transferred to a different class of society in Sartre, Camus. These desperately alienated people are members of a rootless bourgeoisie, not the exploited proletariat.

Q: Your novels demonstrate that to many questions affluence is no answer. Danger of life and the saving of lives often figure in your work as in many other black humorists', too. One can think of Barth's The Floating Opera, The End of the Road, Giles Goat-Boy, Vonnegut's The Sirens of Titan, Mother Night, Cat's Cradle and others, Kesey's two novels, Pynchon's V., Heller's Catch-22 and We Bombed in New Haven, etc. Do you think that this or a similar event of great moment in one's life is necessary to awaken the existentialist hero to his absurd situation and that this somehow is needed to shock him into the feeling of necessity for 'intersubjectivity' and shared consciousness as an escape from 'everydayness'?

A: I think that touches on a subject I have been interested in for a long time—a theme I use in all my novels: the recovery of the real through ordeal. It is some traumatic experience—war, Dr. More's attempted suicide—in each case. You have the paradox here that near death you can become aware of what is real. I did not invent this. Prince Andrey lying at the Battle of Borodino and looking at the clouds, makes a discovery: he sees the clouds for the first time in his life. So Binx is the opposite of Prince Andrey: he watches the dung-beetle crawling three inches from his nose.

Q: Correct me if I overinterpret the difference but now that you make this comparison it occurs to me that perhaps there is some irony here in the way it is an opening up of vision for Andrey towards the clouds, the sky, some magnificence suggested by these, and in the way Binx zooms down on an ugly little dung-beetle.

A: Maybe there is a little twist there. But the point is that a little creature as the dung-beetle is just as valuable as a cloud.

(…)

Q: Ordeal is one existentialist solution to escape from the malaise. How effective do you think the others, rotation and repetition, can be? Is it possible that their effect can be more than temporary?

A: To use Kierkegaard's term, they are simply aesthetic relief, therefore temporary.

Q: Friedman says that distortion can be found on the front page of any newspaper in America today. It is not the black humorist who distorts; life is distorted. Does everyday American reality stir you to write with similar directness? I ask this because once in an interview you appreciated the way Dostoevski was stirred to writing by a news item in a daily paper and because once in connection with Faulkner and Eudora Welty you referred to the social involvement of the writer as useful because social likes and dislikes, you said, can be the passion and energy you write from.

A: I see what Friedman means. Right. The danger with newspapers and TV is that it is all trivial. You remember in Camus' The Fall: we spend our lifetime "fornicating and reading the newspapers.” I think the danger is that you can spend your life reading the New York Times and never get below the surface of current events; whereas in Dostoevski's case—The Possessed—the whole was inspired by a news story in a Russian newspaper. I would contrast the inveterate newspaper reader and TV watcher who watches and watches and nothing happens—he is formed by the media. Dostoevski reads one news story, gets angry and this triggers a creative process.

Q: Intersubjectivity is an escape for Binx from everydayness and the other forms of the malaise, he is certainly not formed by the media. But are his aunt's values cars, a nice home, university degree—somehow recreated through intersubjectivity so that he can go back to these formerly rejected values?

A: Yes, sure. The question is, how much? And whether he did not go a good deal beyond intersubjectivity when he regained his mother's religion. Binx says at the end that what he believes is not the reader's business, he cuts the reader loose, refuses to be edifying. This is Kierkegaard going back to Socrates, "I want no disciples."

Q: But in the next paragraph he says, "Further: I am a member of my mother's family after all and so naturally shy away from the subject of religion (a peculiar word this in the first place, religion; it is something to be suspicious of)." This means, it seems to me, that Binx definitely objects to being edifying, especially in a religious way.

A: Yes, if you like.

(…)

Q: I wonder why it is necessary to bring the mental sickness of these characters into such a sharp focus? Is it to perplex the world with the old enigma: are these sick people in a normal world or normal people in a sick world? Or is it the interest of the medical doctor? Or both?

A: It is partly therapeutic, medical interest but also goes deeper than that. The view of Pascal and some others who were interested in the human condition was that there is something wrong with mankind. So it is always undecided in my novels. This is the main question of the novels. Here is a hero who is afflicted, shows malaise, dislocation, and he is surrounded by apparently happy and sane people, particularly Dr. More, who lives in Paradise Estates. So who is crazy, the people apparently happy or those radically dislocated characters?

(…)

Q: Although I know you have been frequently asked about the position of the writer in the South, I would like to ask you to summarize your view on this question for the Hungarian reader for whom this talk is primarily intended and for whom your view of the writer in the South will be a novelty.

A: The position of the Southern writer now, as opposed to thirty years ago when Faulkner was writing, is more and more on a level with other writers' in other parts of the country. In other words the United States is becoming more and more homogenized. America is becoming more alike. Towns in the South lose their distinctive character. And yet, I think, in spite of this, there remains and probably there will remain a unique community in the South between black and white, so that there is much more communication, strangely enough, between middle-class white and black people in the South than there is between intellectual black and white in the North. In the South they have lived in physically intimate terms for 300 years. And whatever might have been the evils of this system, there still exists a strong historical basis of communication. I think it will continue to exist.

Q: Speaking about America, it occurs to me to ask you at this point if you have ever thought of rotation in historical aspect? Of America as a historical experience in rotation? What the settlers did coming from Europe, or the pioneers did going west was, it seems to me, as exactly zone-crossing as anything in the existentialist meaning of the term—even though the term came much later. If I may go one step further, how can you comment on the effectiveness of this rotation in the light of what you say on the first pages of Love in the Ruins: "our beloved old U.S.A. is in a bad way." And later, "now the blessing or the luck is over, the machinery clanks, the chain catches hold . . .”?

A: I did not think of rotation in an historical aspect. But if rotation is temporary it should run out. That makes it tough. There are more suicides in San Francisco today than in other cities; that is why the rotation has run out, which may or may not be significant. That is what Kierkegaard calls aesthetic damnation—living by rotation.”

[nightwingcouldyounot]

Teen Titans Robin

Do you want to read the next part of the Titans Graphic Novels series? Read this.

As much as this is called Teen Titans Robin and the relationship between the two Robin's is the main driving relationship in it I wouldn't call it about them. It's more just a continuation of the main story happening in the verse. Which as it continues more and more down the plot it's developed these books feel less and less standalone and more and more like they should be numbered.

Honestly my comments on it are very similar to my comments on the previous one (Beast Boy love Raven). I think the only thing that's different is that they're starting to write Damian more like comic-Damian instead of generic-teenage-boy. Which is nice just because it makes him feel different to Beast Boy and Dick. Other than that though - go read previous review.

Should you read it? Similar to the last one I'd probably give it a miss as an adult reader if you aren't invested in this series already but if you have a 13 year old in your life who is even slightly interested in comics this series really is something I think they would enjoy.

[kolbisneat]

MONTHLY MEDIA: August 2023

Ugh where did the summer go?

……….FILM……….

Teenage Mutant Ninja Turtles: Mutant Mayhem (2023) Artwork, story, and the turtles' characterization were all 10/10 for me. Big turtle fan so that's already enough for me to like this. But for me, the writing was real weak. The supporting mutants didn't really have much personality and the comedy really only relied on pop references. Was Mondo Gecko a surprise favourite? Probably because he had a lot of personality and his funny moments were from that characterization and not from a name drop. I love the ninja turtles so maybe I'm too close to this. All I'm saying is that this was fun and good and I hope a sequel gets made so that the other mutants can be given a little more depth.

Nimona (2023) Really great! Some of the earlier scenes felt...visually empty...but that third act more than makes up for it. A different beast than the comic but a great example of adapting for the medium. Really beautiful on all levels.

The Report (2019) I came into this a little late (apparently missing all the torture scenes so no complaints) but it all made sense to me! It really committed to the chronology of events but did a good job of showing the consequences/contradictions between sides. But I mean was it a good movie? It felt like a full story and the acting was great so I guess so. I dunno I always find based-on-real-life movies to be tricky.

……….TELEVISION……….

Poker Face (Episode 1.01 to 1.06) I love everything about this show. Its structure (Columbo-style where you see the murder first and then watch it get solved), its cast (mystery-of-the-week means rotating characters with Natasha Lyonne as the excellent anchor), and its style (from the fashion to the title credits)...everything is a swing and it nearly all lands for me.

Jury Duty (Episode 1.05 to 1.08) The premise never got tired and the ending is such a great cap to the season. Really recommend and the show really did luck out in getting Ronald Gladden as the lead.

……….YOUTUBE……….

toy movies for adults forever by Caleb Gamman and Feeling Cynical About Barbie by Broey Deschanel Hey I loved the Barbie movie and I think it's okay to be critical of the media we love. Neither of these felt like they were simply taking on the big fun successful movie for the sake of being contrarian and raised a lot of thoughtful points. VIDEO (Caleb Gamman) VIDEO (Broey Deschanel)

No Way Home Was Kind of Sexist by CJ The X Without spoiling the main thesis of this video, I really appreciate how they encapsulated the third movie. It truly does stand apart from the other two movies and it's a shame business got in the way of this trilogy sticking the landing. VIDEO

When a DEEP Character Pretends to be SHALLOW… (Hobie Brown) by schnee Ha really digging into Spider-Man vids this month and I really enjoyed the character breakdown. Schnee has a lot of great writing-based videos and I recommend checking them out.

……….READING……….

Jingo by Terry Pratchett (Complete) Always enjoy Discoworld novels centred around the Watch but I wasn't sure if the main thrust of the book was going to be...you know...a little racist? Turns out I had very little to worry about as it sends up most tropes and perspectives in a lighthearted-yet-sensitive way. Gosh I love this series.

Batman: White Knight by Sean Murphy & Matt Hollingsworth (Complete) Started this as single issues years ago but never finished...until now! Rereading, I realized I fell off because the politics were a little wonky at the beginning and reading "gatekeepers" over and over again kinda lost me. But having now finished it, it mostly worked, but I'm just a sucker for a story that can bring in a big cast of villains to fight at the climactic finale. Lots of cool ideas so I'll likely check out more from this world.

Lure by Lane Milburn (Complete) Slice of life with some light sci-fi elements and a lot of commentary. It's beautiful and it stuck with me but I think I was expecting something more psychedelic or surreal so it didn't quite land with me. But that's okay it was still an engaging read.

Ultimate Spider-Man Volume 9 (Hardcover) by Brian Michael Bendis, Mark Bagley, Stuart Immonen, and more (Complete) Big Spider-Man month. I always liked this take on the clone saga and while it means there's only a small amount of Ultimate Scorpion, it's memorable. This stretch really does a great job of blending the big drama with the personal stakes (dating MJ & Kitty Pryde! Aunt May finding out Peter is Spider-Man!). Also very excited to get into Immonen's run as his work is just...so good.

……….AUDIO……….

Self Titled by Dead Man's Bones (2009) After seeing BARBIE I was reminded that Ryan Gosling's spooky rock album and it's not fair how good this is. Like it doesn't have any right to have this much personality and charm.

……….GAMING……….

Oz: A Fantasy Role-Playing Setting (Andrews McMeel Publishing) The Tuesday Crew is busy in the mines fighting back the dangerous Dragonettes (full recap here) while the Mof1 Crew is dealing with the aftermath of taking out a Gingerbread mob boss!

Snakes of Wrath (Weast Coast) Finally got my kickstarter copy of the game and can't recommend it enough! It took a few plays to get into the groove of what you can and can't do, along with sorting out the strategy, but it's a nice breezy game with beautiful art and good quality tiles. Big fan.

And that's it! See you in September!

[modem-33]

Spoiler alert!!!

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The book; BLACK SHEEP by Brynne Weaver and Alexa Harlowe.

Independently published

412 pages

Published 27th of June, 2022

Best seller rank: #50,493 in books

#3,910 in romantic suspense

#4,138 in new adult and college

romance

#13,591 in contemporary romance

Language: English

Genre: Dark romance.

Female Main Character (FMC): serial killer.

Main Male Character (MMC): hot college professor.

Characters with morally grey areas,

Plot twists and turns,

Spicy scenes,

Enemies to lovers story,

Toy play,

He falls first,

She falls harder.

I was captured and made a believer from the first paragraph of this book. From the first page, you are thrown into a murder scene unlike anything you've ever read about. BLACK SHEEP is a gripping novel that follows the tumultuous life of Sombria Brooks.

SUMMARY

Bria Brooks has one agenda and that is destroying anything and everything that connects to her past. Born and raised in a religious cult, Bria has a first hand knowledge of how far humans can sink when drunk on power.

An angelic look, coupled with a brilliant mind, Bria is anything but an angel. In fact, she views herself as the devil. Bria is not just a black sheep, but a big bad wolf in disguise set on finding a phantom. Caron Berger. But the big bad wolf is not the only one out to hunt.

Meet perfect professor Kaplan.

Dr Elijah Kaplan is also on the hunt for Caron Berger, the leader of the Agni cult. Although he is a phantom, Eli is set on catching the ghost. Eli has more to him than meets the eye. A beast in his own right and fierce hunter. The hunt brings the two hunters in close proximity and at first, Bria sees Eli as a stumbling block in her pursuit, but she soon realizes that they are playing the same field and that their demons may not be so different after all.

Eli, a rule follower, and Bria who is more than happy to break his composure and dance with the beast on the inside. They make an unlikely pair but Eli is not scared of Bria's darkness. Together they hunt their prey and in the midst of that, feelings arouse. Secrets are rearing up, strong enough to break them apart. In the midst of this dance, their biggest prey awaits but will they be able to capture their own hearts as well?

MY REVIEW.....

BLACK SHEEP started off my dark romance journey. If there was a way I could give this book more than five stars, I would have. This book gave off everything a dark romance novel should. Murders? Check. Hot MMC that is totally obsessed with the FMC? Check. Traumatic past? Check. Plot twists? Check. Hot steamy scenes? Check, check and Check.

Although, I would have loved more background story on some of the characters, it didn't affect the story line. The tension build up in this book had me sitting on the edge of my chair. I couldn't drop it. This is one novel that had me from it's very first paragraph, I tell you. Amazing plot development. The writing style made the book very easy to comprehend and follow the story line. Every scene was well written and perfectly put together. And the steamy scenes were really steamy. The end of the novel though? Totally unexpected and I was all for it.

The character relationships contributed perfectly to the plot.

The relationship between Bria and Samuel Miyagi was very important to the development of plot. Samuel was the one who saved Bria after she was abandoned and left for dead by the cult at age 14. He taught her everything she knows. How to channel her rage into becoming a lethal weapon and taking revenge on her enemies. He is not just her mentor, but he is the father figure she needs.

The relationship between Eli and Kathryn Fletcher is one of my favourites. Fletcher who is also a professor, is Eli's best friend. Her sense of humor brought the comic relief in the otherwise dark plot. I especially love how she plays the sense of reasoning with Eli and their almost sibling banter.

Quotes I liked:

"I won't hide you away because you're my dirty little secret. I'll hide you away because I'm the only one who gets to see you on your knees"

"I can't love anyone. But if I could, I would love you. I would have loved you forever"

"He kisses me on the nose as though my murderous glare is adorable "

"If Bria Brooks is the devil, I'll gladly burn in hell"

"Haven't you figured it out yet, Kaplan? You may think you have a demon in you, but I'm the devil he worships in the night"

What I didn't like about this book?

Absolutely nothing. Nothing at all.

I have to say, Brynne Weaver and Alexa Harlowe outdid themselves with this book. This is one book I totally recommend to readers that are thinking to explore the dark romance genre (although the book comes with a trigger warning but if you don't mind it, I suggest you dive right in), and to those who are already exploring the dark romance world, this is a must have in your collection if you haven't read it.

[meggettes]

Bridgerton spoilers I am live-blogging below LEGIT SPOILERS

—Spoiler Break—

Episode 2 (blazed thru e1)

Eloise is a stand up comic that’s why she sucks so much lol at least now she’s found an audience maybe she might calm down (no im not thinking of my sister why would you say that)

Will Colin finally woo Penelope with writing? With his pen even??? 👀

i am feeling Francesca so hard the quiet observant pianist is so strong

Benedict is my FAVORITE would he third for the mondriches I could believe it

Was totally unprepared for Cressida character development but am surprisingly fully here for it

Also what the fuck even pen’s own mother believed she isn’t lovable that is so messed

Colin is the only one who is like of course you’re lovable (i know because it me, he doesn’t yet think to himself)

STAHPPPPPPPPPP “kiss me it’ll mean nothing just pls” IS NUTS AAAAAAAHHHHHHHHHHHHHH

This is only episode 2!!!!!!!!! Way too early in this trope!!!!!! Unless…

Unless it’s a turned table!!!!!!! Aaahhhh!

Episode 3

THIS ROMANCE NOVEL ASS OPENING 💀💀💀

STOP ITS HIS DREAM I AM DECEASED

THE TURNS HAVE TABLED

he dreams in bodice-ripper 💀

Better than I could have anticipated he is so down bad what a puppydog babygirl

Oh my god who is danbury’s guest is it Sophie’s stepmother??? Is that how Sophie is going to bewitch Benny boy at the final ball of the season??? (I am Benedict centric in case you couldn’t tell) (so much so that I actually read his book) (they’re gonna change it a bunch but I can’t wait to see how that season goes. and then the Francesca and Gregory seasons)

Alone under the willow tree scandal-scandal-scandalous (if anyone saw)

They are so— I am so on board now the mutual pining I had no idea this was what we were in for thank god legit better than I expected

Wow literally what the fuck is wrong with people saying this fucked up shit to this girls face

if Ben wouldn’t third for them I would 🥵

GALLANT that’s the word! He is being very gallant! Not enough gallantry about I’m afraid

I am here for this Debling guy and our shiny Penny! The banter is superb :)

Also is he a Shakespearean actor is that why he knows what to do with his arms (nothing, properly)

Also I fucking love Eloise’s embroidered surcoats they are glorious

Is Cressida more likeable now because there’s a persistent sadness in her eyes instead of the meanness of previous szns

Is Colin really looking so different this season because his tailoring is different than everyone else’s? And they claim it to be “French”??

Speaking of tailoring, Penelope looks like a leading lady now instead of previous szns because her new wardrobe finally gets her waistline correct. It was much too high previously, making her look uncomfortable and juvenile. This proper underbust empire waistline is so gorgeous makes such a difference

Omg Cressida’s spark of interest in lord naturalist is so sweet!

camel thru eye of needle ✨Jesus Reference✨

ok Cressida and rugged bird man endgame

has anyone else noticed each of the Bridgertons has a prevailing one of the five senses? Daphne touch, Antony smell, (Benedict I would say is sight,) and Colin seems to be taste. Or maybe it’s just a mouth kissing thing. But I guess we shall see. Oh and Francesca sound.

HANNAH NEW HERE SHE IS AHHHHH

And as a potential interest for Benny okay!! Two faves sharing the screen let’s watch em cook

Francesca is so pretty wtf who is this actor she looks like belle from the animated beauty and the beast disney like fr right off the cel n her big baby browns

This balloon hullabaloo! Dashing strong menfolk! Let the swooning and fluttering commence

The innovations ball!

Oh? OH?? Violet suitor???????

Put this dress of Cressida’s on the Met Gala carpet!

OH DANBURY’S GUEST IS HER BROTHER IS VIOLET LOVE INTERESTEST

OH FRAN HAS A LOVE INTEREST I AM ALL ABOUT THIS

TILLY DO LESS (love her all about her)

Violet mom of all time aww she loves her kiddos

Stop he is not

Don’t

Please COLIN

oh thank god

THIS TENSION AHH

Debling is a great guy

randomly this cellist looks like Daniel Brühl kinda

Aw Violet sad for her boy

Ditzy sister preggers??

this episode y’alllllllll

Episode 4

Iike this red hair pale blue dresses combo on my girl Nicola is STUNNIN make those Irish eyes SPARKLE

This Francesca suitor is so WONDERFUL

they are CUTE

John Sterling!!!

CUTE!!!!!

her tweed over-jacket is taking me out of it a bit

BACK IN THEY ARE CUTE

Sitting in companionable silence!! Sparks flying among introverts!! Dare I say

Ok Mondrich, keep the club just don’t work in it! easy solutions

GIRL HE PROPOSED THE PROPOSAL OF MARRIAGE AND YOU HAVE UR HEAD FULL OF COLIN THOUGHTS

AND HES DOUBLED DOWN WITH PROSTITUTES AND GOT HIS HEAD FULL OF PENELOPE THOUGHTS AAAAAHHHGG

sweet Fran is such a quiet lil cutie pie aww

oh shit Colin realtalk wow cook king the lads were not ready for it not on his level

Violet, mom among moms

Can there finally be a season with no broken proposals pls it upsets me how much that happens on this show like it’s a casual thing to do

widower slow burn with widow ready for it here for it golden bachelor

is this……. ship inklings bw Eloise n Cressida rn

Omg Danbury isn’t one bit a fan of her brother

OH MY GOD

Lord Kilmartin WROTE her SHEET MUSIC

She’s Not Drinking The Lemonade

Lol Colin gonna get a front row seat to Pen’s proposal ughhhhhhh tensionnnnnn

AHH MAY HE CUT IN

JK about the ship-inklings actually but that was a nice moment

Oh Debling is iq-eq smart and I like him he is a sharp cookie he can’t propose to her now he likes her too much to get in the way of all that

OH COLIN FUMBLED

Oh no his feelings are hurt :( no proposal

He’s a straight shooter girl he’s straight shooting you oops

pennnnnnnnnn

RUN WHITE BOY RUN

HATE when diagetic music is off key with the score it is a PEEVE

Frannie is so happy awwww

POLIN are they going to KISS in the CARRIAGE

ON HIS KNEES???????

TORTURE????????

momentary 💔 but immediate 💓

SMOOCH CITY

Carriage hookup!! Titanic who!! Steamy!!!!!

AAAAAAHHHHHHHHHHH

way to go girl speedrun from never been kissed to finger blasted in the back of the family limo

FOR GODS SAKE PENELOPE ARE YOU OR ARE YOU NOT

END OF FIRST HALF (!!!)

Epilogue

this part 2 teaser what drama what will he do when he finds outttt

[elfelt-valentine]

beelze.. as someone who recently got into transformers.. where should i start? im thinking about picking up mtmte

Hi Omen!!!

That's a really good question, because TF is such a behemoth when it comes to it's content, there are so many continuities that you really can pick any of them up and go with it! If you're interested in the comics, picking up MTMTE i think is a good way to get acquainted with the idw1 continuity - it takes place after the events of many other comics and goes in parallel with Robots in Disguise, so i think it's good to read them hand in hand, personally. From what I remember, any plot relevant information they provide as well from the word of other characters, so you don't have to worry too much about the fact that you don't know stuff that happened before, if anything it might spark you interest to check it out later!

If I had to personally tell where to start with the comics, talking about idw1, there are three massive phases of their comics before the 2019 reboot - war, post-war, and the third one I don't remember and i havent gotten to it yet, so cant say for sure. All these phase collections are available on readcomiconline.li, that's where i read em! MTMTE and RID are parts of phase two, subsequently.

When it comes to shows, Transformers Animated is also it's own continuity and is very good and fun! It has three seasons 13 episodes each.

Earthspark from what i know is also a standalone show, so far there's one season, but from what i've seen it's very charming and nice (may be a little cheesy for me personally but i dont mind it)

The original G1 cartoon is also a very good way to start if you're into old silly animation and writing, it will give you a ground to stand on i think when you look into other continuities, cuz ultimately all of them take their root from this show, even if a lot of things have changed and aren't aligned with the G1 cartoon anymore. When you watch it and then look into other things like comics you'll have a moment of "i fucking know what you are" whenever a certain writing choice is made, but its just me FGBSFBV It also comes with a movie!

Aligned continuity wraps a huge mass of different mediums as they've been trying to tell this one solid Transformers story, but as far as I'm aware it didn't work and they stopped trying to do it. It includes the Cybertron trilogy games (can pirate them - if you need a link to where i got the games let me know!), a novel (i think) and then Transformers Prime tv show and its sequel Robots in Disguise 2015. I might be missing something cuz i haven't look into it yet, but personally i don't think it's my favorite continuity so far.

There are many other shows that comics and other things take pieces of inspiration from (Beast wars, unicron trilogy, cyberverse i think? and more) but i haven't looked into those yet and can't vouch for them in any way.

So yea! If you want to start, just pick whatever catches your interest the most and you can go from there! You really don't have to read, watch, or play every piece of tf to get in the groove.

[blazehedgehog]

Are you of the opinion that giving a character voice acting essentially robs the reader/viewer of their agency on how they imagine a character sounded like? So to put it in another way, would no voice acting be better than any? A Sonic-related example would be Classic Sonic, who isn't voiced in Generations, but the main inspiration for this question is Bill Watterson's hesitancy in giving his characters voices.

I mean this is just a different version of the argument people sometimes make where, like... there were people who were against making movies based on the Harry Potter books, right. Because some kids might imagine themselves in Harry's shoes, or retroactively J.K. Rowling said she imagined different characters in different nationalities when she was writing them (famously I believe some people interpret Hermione as african-american).

The idea that movies might damper the imagination inspired by books isn't entirely incorrect. However, in my experience, it's also just different mediums and reaching different audiences, right.

I don't read a lot of fiction. I know I should, I've made more efforts to in the past, and it just never works out. Maybe it's my ADHD brain or whatever, but I'll start a book and never finish it. Even audio books are like this for me a lot of the time.

But there are two books I've finished in my life: Michael Crichton's Jurassic Park, and its sequel, The Lost World. They are pretty much the only fiction books I've ever read purely for fun, and also, more importantly, finished reading.

I would have never tried reading those books on my own terms if I did not see the Jurassic Park movie first. The movie is what sparked my interest in the books.

And the books, for what it's worth, are VERY different experiences! By their very nature, books are longer, more detailed stories than most movies. If you translated the Jurassic Park book into a movie, as an exact replica of the novel, it would be something like 6 hours long. Maybe closer to 8 or even 10 hours. To get a watchable movie, you have to cut a lot of scenes out and streamline things to a huge degree.

The Jurassic Park book opens with this long vignette that's practically a whole short film itself -- it starts with recapping the history of the "designer genetics gold rush" of its world, and focuses on a hospital at the edge of Costa Rica that continually receives patients with strange, poisonous bite marks from unidentifiable animals. The head nurse there suspects a conspiracy, because the patients are all InGen construction workers flown in from a nearby island and they refuse tell the doctors how they were injured. Clearly something else is going on. It weaves together with Costa Rican folklore about demons that visit cursed villages in the night and steal their children, only for one of the nurses to witness a creature in the newborn ward doing just that before seeing it skitter back in to the jungle. (The implication being that it was a dinosaur, of course)

If translated to film, that entire sequence would be 10-20 minutes long, if not more. Instead, it was condensed down in to the far more action-heavy "SHOOT HER!" opening scene. It gets some similar ideas across, but it is nothing like the book. It only lasts two minutes.

And not only is there a lot of stuff like that, but characterization is often dramatically different, too. John Hammond is much less sympathetic in the book, and much more of a villain. Alan Grant is more of an Indiana-Jones-type cowboy who is deeply ignorant of even the most simplistic modern technology. It goes on and on. There's one particularly great chapter where Grant is piloting a pontoon boat down a river while being stalked by a T-Rex that swims like a crocodile. They painted concept art for it for the movie, but it never even made it to storyboarding.

There's even a level for it in the Genesis game!

And if we're talking about The Lost World, well... 80% of that book is a completely different story from what ended up in the movie. The book has dinosaurs that camouflage like chameleons! It's terrifying!

For me, at least, it means that they don't even really compare. I find it much like how comic books feature multiverses and showcase many alternate versions of a character, where Ultimate Spider-man's Peter Parker is a different guy from the original "616" Spider-man. The book interpretations of Alan Grant, or Hermione Granger, or whoever are usually entirely different people from how they are portrayed in movies, or cartoons, or whoever. Ergo, it's hard to visualize Sam Neil as the book's version of Grant in Jurassic Park.

Even in comic books. A couple years ago I went through and read all of the original Dragon Ball. I cut my teeth watching the Saban dub of Dragon Ball back in 1995 and 1996, so I knew in my head what I thought these characters sounded like, but after reading deep enough in to the manga, that all kind of faded away and it just became it's own thing. Every now and then my mind would drift back to reading the dialog in the voices from the Saban dub (or the voices from Funimation's re-dub of Dragon Ball from 2005), but for the most part it stood on its own as its own thing. I mean, that's one of those things that lead to Dragon Ball Kai, right? Because the anime ended up just that different, and they wanted to re-edit it to be more faithful to the original books.

Not everyone has a good imagination. Reading can help facilitate and exercise a dormant imagination, I guess, but representing these things in other media formats can also aid those who struggle with the original text. Again, I'd never have read Jurassic Park if it wasn't for the movies. I'd never have read Dragon Ball if I wasn't feeling nostalgic for the anime. An important bridge was formed by adapting these properties so that other types of people could also enjoy them. It all contributes to a richer overall experience for all involved.

The only thing I'd say is that giving Classic Sonic a voice is a different kind of stylistic choice, because as Sonic Mania Adventures has shown, you can still use those characters to tell stories without necessarily having dialog. The difference there is that characters like Calvin or Hermione or Alan Grant are written with dialog in mind, and you change who they are by translating them across media types. How Classic Sonic is depicted is a bit more of a strange beast because he's been left mute. I suppose it's not that different, but it's still a little different regardless.

[spectrumed]

8. book

I decided to start writing a book. A novel, it’s going to be fiction. It’s a big project. I dread big projects. I don’t feel as if I am ever able to complete them. It’s going to be left unfinished, why do I even bother? So many projects that I’ve started and never finished. I get an idea, then I can’t make myself do the actual work to make it a reality. Why do I think I can write a book when I can barely read books without becoming distracted and doing something else instead? I give up too easily. But, then again, do I really have it in me to produce something that is good? That people would want to read? Insecurity creeps in, telling me that I will fail. I fear failure. Of course I do, who doesn’t? Whenever people say that their greatest fear is failure, all I wonder is who out there is not afraid of failure? Is there someone out there with so much confidence that they absolutely do not in any way fear failure? Even narcissists technically fear failure, it is what leads them to such ridiculous overcompensation, putting on the facade of bravado to mask their actual dire sense of insecurity. Do not fall for the scams, no person is truly without self-doubt. (Well, I guess maybe psychopaths, but there’s a whole lot of things amiss with them.)

Ever since I was a kid, I’ve entertained myself by coming up with stories, fictional universes that I would populate with characters of my own invention. When I was a kid, what I really wanted was to become a comic book writer and artist. Well, in between other gigs I imagined would suit me, including at one point wanting to be a “singing farmer,” as I put it. Still, I’ve always returned to fiction and storytelling. There’s something about creating a world that lets you so fully distract yourself from all the stressful daily hullabaloo that goes on around you. Escapism, it’s fun, it’s therapeutic, I think. There’s a reason why humans have been telling each other stories for millennia, since even before we lived in houses. Back when we were all huddled around the fire, wearing our best comfortable animal furs, sharing tales of the hunt. Your uncle who once took part in killing a mammoth, the impressive beast nearly gorging him with its big tusks. How clever he was when he noticed that the mammoth had one leg weaker than the others, and used that to his advantage. How the entire hunting party banded together to bring the behemoth down, getting all that meat to feed their families with for months! Stories make you feel good. Like as if you have something to celebrate, even when you might be starving due to the more recent hunts not having gone as well. Damn that saber-tooth tiger that killed your uncle…

Storytelling is linked to acting. Both with acting and with storytelling you have to commit. Whatever you are doing, whatever role you are performing, you have to sell it. You may be on stage talking about that time you went scuba diving with your future wife, and how you encountered an oyster with the most magnificent pearl inside, and how you made a ring for the pearl and used it when you proposed to her. You have to sell it. You have to get the audience laughing, gasping, crying, going “aww,” feeling as if they were there with you that day. Of course, they don’t know it is all just lies. You made it up. It’s all fiction. But you committed, so they won’t ever know. Storytelling is a gift to others, people will appreciate you if you tell good stories, but you’re also kinda deviant. Even if it’s technically based on a true story, you’ve certainly added your embellishments. You’re a trickster, a devious individual. No wonder actors have historically been seen as dubious folks. They come into town, romances all the young women and men, telling them big tales of their lives on the road, and they can’t possibly know if you are telling the truth or not. You may just be lying. You probably are lying. Let’s be honest, you’ve probably not told a single true thing in your life.

I am bad at the hustle. No, I can talk quite well, and I can keep people’s attention for a long while. But I can’t be a huckster. Going out there, putting myself on the line hoping people will swallow my bullshit. I can’t really avoid speaking from my heart when I do speak. Or when I write, as I happen to be doing now. This blog has so far been thoroughly candid in places, in such a way I may come across like I’m at a confessional. Not that I have much evil to confess, but I can’t help but be transparent. I can’t flip into different kinds of personalities, each with its own schemes and plots, being some master manipulator, someone who you can never figure out what they're truly up to, or what they truly want. No, what I am is clearly written on my face. I’ve got one self, and it is the one before you. He’s hairy, and tall, and a bit of a dork. I am happy to talk to you, to engage with you, but I won’t be anyone but myself. I am me. I hope that’ll do.

Of course you are familiar with all those pick-up artists that plagues the internet. Or well, not just the internet. Go into any old-fashioned bookstore (where they store books on paper, not in digital code,) and you are bound to find some sleazy book written by a sleazy guy about how to sleazily seduce women. Those books don’t want you acting like me. According to them, seduction is all about manipulation. To figure out the very right thing to say to get women to fawn all over you. They don’t want you to be sincere, telling the truth as you see it. Nah, you gotta keep that stuff bottled up, deep down inside your soul, because most likely, your true self is ugly. It’s interesting how you can get little details from these pick-up artists depending on the sort of things they say, the tips they provide. The fact that all of them seem to harbour this festering misogyny is no big surprise, but every so often, you get these little glimpses of these people’s true worldview, one where power is everything, true love is a fallacy, and happiness is a lie manufactured by Hollywood to make us all into docile consumers. No wonder the “red-pill” so often leads to people taking the “black-pill.” First hucksters will lure you in, telling you that they’ve got the secret as to how to be a success, then when they’ve got you isolated, they reveal to you how truly misanthropic and bleak their actual beliefs are.

I am fascinated with cults, for much of the same reason why I am fascinated with storytelling. What is a cult leader if not just a great storyteller? They’re something like the modern day shaman, capable of spellbinding people with their weird idiosyncratic way of speaking. High-functioning people with autism are often said to have an idiosyncratic way of speaking. No, I am not suggesting that cult leaders are all somewhere on the spectrum, though it wouldn’t surprise me if some famous cult leaders did turn out to have been on the spectrum. However, for an autistic person to become a cult leader, I think they would have to be a true believer, and not some fraud just looking to scam others. Ultimately, no autistic person would want to surround themselves with people unless they truly do believe it is essential, to like, save mankind from damnation or something. It’s the difference between sincerity and insincerity. It is difficult for autistic people to be insincere, as insincerity requires a lot of social skills that autistic people struggle with. Having to juggle all these balls in the air, making sure you keep the big lie going, that you remember to change your behaviour depending on who you are speaking to in order to keep them from figuring out that you’re a bullshitter. Hollow people are great at being insincere. People like L. Ron Hubbard, the founder of the highly profitable cult that is Scientology, was at his core a hollow individual. He had no problems twisting the minds of the people around him, because he never felt a need to be sincere. If an autistic person were to become a cult leader, I can guarantee you that it wouldn’t be a profitable cult. Nah, autistic people aren’t in it for the money, we’re all about keeping it real.

Being a sincere person, surely I should be able to write a novel and make it feel earnest. Like it was delivered with passion, because I wouldn’t be able to write anything that wasn’t true to myself. Well, I do hope so. Having something I’ve made be referred to as genuine is something I see as a great compliment. I’m a student of art history, I’ve made some “serious” art before, I know how terrible art can be when it is not delivered with good faith. Sure, some art is cynical, or ironic, but even then, it tends to come from a real place. Good artists, even when they’re fully armed with the dada mindset, must believe in what they are doing. Whether they are doing it for a laugh or not, that’s irrelevant. Even if all you wish is to be silly and make something that is comical, you have to believe in what you are creating. Or else people won’t bother engaging with it. Why look at a painting by someone who is just interested in making money? Insincere artists do exist, and they can end up becoming quite successful, but ultimately, history won’t be kind to them. Damien Hirst comes to mind, heard he's into NFTs now.

Sure, I don’t like insincere people. Does that make me a bigot? Like, it’s not as if they can help themselves. It’s just who they are, spineless maggots with no soul. It doesn’t mean we have to hate them. No, no, no... I am just generalising. Don’t go thinking there’s just two kinds of people in the world, the sincere and the insincere. It’s not a binary. Most people are both, just like with introverts and extroverts, humans are complex. But there are definitely those that decide to feed into their insincere side, realising that it is often the key to success. Through insincerity, you learn to let go of self-doubt, you stop worrying so much about what others think of you, because you are never truly yourself. If they hate you, then so what? They don’t actually hate you, they just hate a role that you are playing. So what if you seduced that woman, made her feel as if you were the perfect match, then you ghosted her and completely forgot about her? It’s her fault for falling for your tricks. You were clearly just playing the game, being a super-seducer, she should have known better. By embracing insincerity, it’s like gaining a superpower. No longer do you have to care about the impact you have on others, no longer do you have to worry about what it means to be a social human being making choices that affect the others around you. Because you’re not the person they think you are. Actually, you’re not quite sure you’re the person you think you are… Who are you?

I’ve got the plot all laid out in my head for the novel. It’s going to be based in the fantasy world that I’ve been working on for the last few years. I’ve been working on this world for almost half a decade now, come to think of it. Why do I keep feeling as if I am never able to keep to a project, when I’ve clearly been working on a massive project all this time? Sure, it’s all just in my head, but it’s not as if most people have the kind of patience to keep going back to a single big project, even if it is just in their head. Not once, while thinking about my fantasy world have I been distracted and started thinking about cute puppies, instead. And you know how difficult that is. Maybe I am too hard on myself. Maybe I will finish this book, and maybe people will want to read it. Maybe it will even get a minimal number of angry reviews, like, I may get a book published without some folks trying to harass me into committing suicide for daring to think I can write. Some people may even be enthusiastic, blowing up my ego with great praise. Maybe someone will come along and tell me that they want to buy the rights to make my book into a movie or a television series. Maybe I will get rich? Maybe I will get famous! Woo! Success here I come!

Well, no, here I go being insincere. That’s not what it’s about. I should be writing this book because I want to write it. Because I want to prove to myself that I am able to write it. Sure, it’s not as if there’s not a little brain goblin inside my mind whispering sweet nothings about how one day I might turn out a real respected author. One with real fans that gets to do big book tours talking about how brilliant I am, how brilliant my work is, and how brilliant things are going for me. I am not going to pretend I don’t have the same aspirations for success that others have. Inside of me you will find the same greedy piglet of an ego hungry for more adoration and more validation that you will find in any person. Humans don’t know when to quit, we always want more. But I am at least safe knowing that I will never debase myself, descending to the same depths as those inhabited by soulless grifters who go through life abusing the trust of others in order to get by. I’m sincere, in the end. I always turn out sincere, in the end. I am a good boy.

And I am also really sexy. I don’t think I’ve mentioned this before on this blog, but I am really, REALLY, sexy. Like, you wouldn’t believe it. Oh, I am so hot. And if you follow and subscribe and hit that bell, I will teach you how you can be just as sexy as I am! And buy my book! And my merch! And my new single! And of course, my new cryptocurrency, by the name of “autism-coin.” It’s going to be a real success on 4chan, let me tell ya!

[kihaku-gato]

Random Webcomic Reccomendations

This post is dedicated to bringing to the spotlight several webcomics

(some would be considered webmanga but I’m counting them too since they are primarily presented on webcomic websites) which I’ve been enjoying that I hope can get more traction/fandom with this post. Due to my personal tastes I can say many/most have a sci fi or fantasy theming as well as some (definitely not all) have wlw as well.

Since this post will be quite extensive, I’ll first start with a “table of contents” for those who don’t want synopsises or ramblings, but instead just want titles and want to just check them out themselves.

Bybloemen

My Dragon Girlfriend

Sanguine

Straylight Tiger

Cariciphona

Amongst Us

Kiss It Goodbye

Mokepon

Seven Miles Down

UnDivine

Bybloemen

Hosted on its own website under hiveworkscomics

This is a historical semi-fantasy set during the infamous Tulip Mania period of Dutch/European history when people would pay an arm and a leg for even a single potentially valuable tulip bulb.

In this setting we follow two devils Basil and Ludwig and their avian familiars strut into the action, pretending to be foreign investors getting in on the tulip hype, probably to ensnare some desperate souls, all the while keeping man and beast alike from catching sus that they are not as human as they claim to be.

As of writing this the story is just starting up but is already making quite the unique statement. The distinct black and white artstyle is clearly holding homage to the historical “Woodcut” printmaking style in how it’s drawn, lined, and textured, which is a refreshing way to artistically state that the comic is “set in the past” w/o doing just grayscale or sepia tone that one is used to seeing for media set in historical times.

The interactions between the devils as well as the animals they can communicate with so far have been quite amusing.

If you don’t directly use hiveworkscomics for your usual webcomic browsing (so don’t get notified by it) they do have both a tumblr and twitter which frequently announce/link its updates. Bonus following their twitter/tumblr being you get to see occasionally “sketches” (I say that term very loosely) of the characters outside of the webcomic series if you’re into that.

 My Dragon Girlfriend

Available on Webtoons and Twitter

Fantasy alongside modern era setting. It is primarily a wlw webcomic series about a human girl named Christy who is swept off her feet by a dragon girl named Dani, semi-magical/mythical wlw hijinks ensue. It’s hard for me to pin its identity entirely, cause while I wanna say it’s a “Slice of Life” the webcomic is at the point where Dani is fighting a werewolf tooth and nail so it’s hard to pin. It’s clearly romance genre, as even if Dani and Chirsty end up together lickity split (a blink of the eye compared to the slow-burn of most romance stories) there are other wlw subplots going on with secondary primary characters which you’ll be routing for.

It has its steamy moments and implies sex but not so far as to show full-on nudity of the main characters characters. Though there is some nudity of some of the monstergirls such as the fawn girls on the other hand it does not beat around the bush with, but luckily takes the nudity in a natural non-sexual way Correction as of writing this; only the Twitter version shows nudity, they had to censor with bras on Webtoons cause it got flagged.

If you want it hotter/steamier, sign up to the artist’s patreon. It’s definitely a nice softish wlw webomic if you’re craving a lil monstergirl flavour.

 Sanguine

Available on Tapas and Webtoons

Full-on adventure fantasy setting set in a world where magic and mages have been persecuted to the point of going into secrecy.

It stars a cute red-riding-hood-like implied secret-royal (that was too much a mouthful) lady named Red, and a tall gorgeous beefy secretly mage lady named Morgan which Red has dragged into her shenanigans with.

It’s early to call this a wlw gem as of the current updates, but it is tagged as lgbt+ so take that with potential further wisdom.

This webcomic uses colour a fair bit to set its tone/mood, but otherwise has a very comfy/warm feeling about it somehow, like some of those old comics/webcomics/novels you would welcome to read while snuggled under blankets. Also the outfits are REALLY nicely designed, and I could definitely see some peeps having fun cosplaying many of these characters.

As the story slowly progresses I am holding with baited breath to how Red and Morgan’s interactions/relationship may or may not evolve, as I am totally an absolute sucker for “friendly/bubbly naïveish character dragging along the cool/grumpy don’t-get-involved character that has a hidden soft heart” trope.

  Straylight Tiger

Available on Webtoons and Tapas

WARNING- while infrequent this one has some blood/gore that will shake you up, though it puts it where it would be most sensible to. Lucky for you most blood in this series is not the usual human-red blood which tones the edge down.

It may have lots of fantasy elements but this one definitely holds its identity as Sci Fi. Set in a futuristic cyberesque city full of both good and bad superhumans (one group being animal shapeshifters and the other being elemental casters), there is an extremist cult out to wreck havoc in the city, so a company responds by recruiting a handful of individuals from all 3 races to make a secret task force to eliminate the threat.

The main character in this story is a secretly-a-tiger shapeshifter named Angeline.

This is probably the most visually colourful of the webcomics in my list and is really using it to charge up its stylistic sci fi setting. Best way I could compare it to; you know those glow-in-the-dark cyber avatars you occasionally see in VRchat? Straylight Tiger matches that visual energy. Of listed so far this is also the most action-packed webcomic on the list. I could almost call it a Trigger-like comic but luckily unlike Studio Trigger it’s not into going nuts on fanservice.

If you’re craving your superhuman sci fi action, this one should at least be checked out. I want to say there’ll be wlw at some point, but it’s too early to call, and if it does I would not expect it to be a major arc when it has larger fish for plot points to deal with.

If you’re craving wlw of at least mc and her weapons-savvy human friend, I highly recommend you checking out the artist Flying Frappe’s twitter to get some sating for you wlw cravings for the two.

 Caricophona

Available on webtoons as well as its own webcomic site

Tragic fantasy setting starring a supermagical woman named Veloice as she is hunted by an Assassin. I tag it as there is an undertone of death in some of the arcs, which give this colourfully magical world a more sombre tone. Among the webcomics on the list this one may be steepest when it comes to catching to speed of the world’s setting/rules/hierarchies but once you do you’ll hunger for this more.

I can’t entirely make a perfect comparison for it (Full Metal Alchemist is as close as I could compare and they are still as different to each other as apples and oranges) but it really has that rich nostalgic old manga style/world/tone to it, and its most welcome to as well.

The world building is rich, and Veloice is a mental/magical powerhouse even if at times she has a fragility about her. The fact she’s a Caricophona; magical beings which tend to either get persecuted or expire early at age from their own condition, definitely helps with giving her a almost “glass canon” energy about her.

While those points have definitely helped hook me in, the thing that tends to excite me the most in this webcomic is Veloice’s interactions with the assassin who’s been send to kill her, named Blackbird. The tension between them, the fact Blackbird both wants to toy with her, Blackbird’s somewhat flirtatious nature towards Veloice OMFG I EAT IT UP!!!! They have such a enemies to lovers feeling to them (though no, they are not lovers- we can dream though) which just gets you so excited.

I should also mention there are two other “primary characters” in the group. Two rich naïve kids ready to help Veloice however they can. You grow to like them (even if they hit tropes that may strike a nerve if you’re tired to their character type), but the mvp of this webcomic for character and interaction has to be Veloice and Blackbird.

 Amongst Us

Available on webtoons and its own website

Say you like Veloice and Blackbird from the previous webcomic, but find the hefty fantasy setting a bit too much, and you’re more for the romance? What if I told you the artist was galaxy brained enough to make a chiller AU? That is what Amongst Us is; a music college-set slice of life with a slow burn romance between Veloice and Blackbird. They’re dorky, their cute, and seeing some of the characters you’re familiar with in Caricophona in a different setting is nice to see.

In some ways Veloice is less proactive in Amongst Us but still feels very in-character of her. The webcomic would end pretty quick if Veloice were to get-to-the-point with Blackbird after all (granted with how we see them in the future together at the start of the webcomic it’s not like they have to be in a hurry anyways).

Seeing a wlw / slice of life set in a college setting rather than a high school setting is extremely welcome. Please, more of this.

 Kiss it Goodbye

Available on Webtoons

Slice of Life high-school beginnings of wlw romance. The artstyle is good, the characters are lovely. We know canonically that they end up together (as the webcomic starts with them in the future where they are a couple, as they begin to weave the story to their curious friends wanting to know how their romance came to be).

It’s not an unwelcome Slice of Life.

 BONUS / HONORABLE MENTIONS

 Mokepon

Available on h0lyhandgrenade’s website

I have honestly not read this one in a while and dropped it like, several years ago, but it was interesting and is still ongoing, so I had to mention it. Set in the Pokemon universe, it stars the main character who has been thrown into the pokemon trainer career while absolutely wanting nothing to do with it. Ends up becoming a rocket grunt which is an interesting change of perspective from many pokemon fancomics. It has old-nuzelocke energy though it is not a Nuzelocke. Be prepared for the brutality as you cry for the pokemon (especially his pikachu). The undying loyalty of his Charmander as he himself struggles with his position as a trainer/grunt is interesting. He is definitely not the usual pokemon trainer protag you’re used to.

 Seven Miles Down

Available on Webtoons

A completed oneshot psychological horror where a girl takes her submarine to the deepest unventured oceanic trench in the world. Tragic end, but horrors can be like that. The psychological nature of the horror is an interesting angle. The rounded cute style may throw you off but it works.

 UnDivine

Availabe on its own website via hiveworkscomics

This comic has since been cancelled from continuation, but is the webcomic to set me off in making this list, so it will still be mentioned in memory/tribute, and is the grand example of why you should interact with the webcomics you read as well as share them; there is a good chance they will not hold on their own without fan interaction and traction. Excuse me as I just use two full-on pages cause I’m wearing out on this list and browsing through tons and tons of pages for highlights wears a peep out.

Modern-set religious fantasy on an island where local their religion may be more than it seems. Stars a boy named Daniel, and Esther the Demon girl. From what can be gleaned the Demongirl knew the “god” of the island’s religion and was double crossed, so has a bone to pick with them and their “angelic” entourage now that she’s free when she got accidentally summoned by Daniel.

This webcomic loves its use of blood, but your grow used to it after a point. The setting is interesting, and its also cool to see how the “angels” are far from the usual “pretty human-like” in their true form and are instead more monstrous than you could say even the Demon Esther is.

A lot of what makes this comic interesting, outside of the “revenge against a god” main plot going on, is how messy the characters can be.

Daniel, Esther, and the one angel named Manual are all pretty interesting in how they interact with their roles that they’ve been put in and how they react to others, and are all very morally grey complex characters.

Daniel is an angst machine who tends to really wear himself out (though how he’s positioned/pressured by the world doesn’t help) and shoot himself in the foot a lot, and that’s even before Esther “turns” him into her lil monstrous pawn, not something you commonly see in main characters from the get-go.

Esther (the tall blondie) while being a Demon ready to get her vengeance on is in many ways naïve/childlike despite her powerful nature, and despite using Daniel as her pawn is shown to grow to have feelings/care for Daniel which is very interesting for “The Contracted Devil” position.

Manual…. We haven’t gotten to see a lot but it’s clear he’s meant to be the angelic hero position but its clear he does not like the position, and he also has a thing for a human woman named Rosamaria but we have not gotten to see why that’s the case.

This webcomic didn’t get the traction it needed to keep going, so was recently cancelled by the artist.

[unexpectedreylo]

Congratulations, You Played Yourself?  Why We Didn’t See TROS Coming

I read a great meta by @ariainstars​ and it inspired me to finally address something I’d been meaning to write about since TROS came out.  How were so many smart Reylo fans and Bendemptionists convinced things were going to turn out with a happy ending, Rey and Ben riding off into the sunset, when JJerio as well as fired writer Colin Trevorrow clearly had other ideas?  

This isn’t a defense of TROS or its spin-out-and-crash ending.  I still think Ben’s fate was totally mishandled and it leaves DLF with the choice of a) never addressing the post-ST galaxy or b) resurrecting Ben from the dead in one form or another.  (When that will happen is of course a mystery.  My guess is not for at least not another decade.)  Returning to Rey Whateverherlastnameis without Ben is to dig their hole deeper, especially since I think the pop culture gods will determine that Ben’s departure was premature and unlike the deaths of Boba Fett or Darth Maul, materially damaging to the overall story.

This is an object lesson though in how fans and creators can end up on different pages and also how creators underestimate the power of their own work. 

I thought that death was always on the table for Ben but TLJ’s compassionate treatment of the character and his relationship with Rey as well as piles of well thought-out metas convinced me he was going to survive.  I was sure they were going for an unabashedly happy ending because it was the last film (not simply because it was Disney) and they would want to go out on an up note.  I didn’t think a Dead Ben would end things happily (and really I was right...the air gets sucked out of the movie the second he abruptly dies).  I also didn’t think they would solve the Skywalker problem by tacking the name onto Rey at the very end of the movie (sigh).

I think the fundamental problem was highlighted in @ariainstars​‘s meta:  many thought we were getting Pride And Prejudice or 50 Shades Of Grey while they were riffing off of Phantom Of The Opera.  All of those stories are variations of La Belle Et La Bete, Beauty And The Beast.  POTO though ends tragically because Erik is too much of an outcast and his crimes are too terrible.  @ariainstars​ states that Kylo/Ben was always doomed because he’d killed his father.  A happily ever after was never going to be possible for him.

Why did so many of us reject the idea that killing Han meant Ben had to die in TROS?  Because a lot of sequel fans grew up with Asian and Asian-influenced media, namely anime, manga, and shows like Avatar:  The Last Airbender or Dragon Ball Z.  Serious crimes weren’t necessarily bars to redemption or a happily-ever-after.  There were and still are lots of comparisons between Kylo/Ben and Prince Zuko, who was redeemed, survived, and marries (though not Katara).  Dragon Ball Z’s former villain Vegeta sacrifices himself but is allowed to return to his body and he gets to be in love with Bulma.

JJerio and Trevorrow though didn’t grow up with that stuff.  They grew up with Star Wars and everything else Hollywood produced in the ‘60s-’90s.  While I’m pretty sure Rian Johnson would’ve sold it better if he’d directed and wrote IX, I am not sure if Johnson would’ve let Ben get a happily ever after either.  While Star Wars always had an Eastern influence, it still is very much a product of the West and all it entails.  

Maybe the trouble with Ben’s arc is Abrams and Kasdan deciding he had to kill Han Solo.  When I saw TFA, my first thought was Kylo would redeem himself in the last movie but he was toast.  Which is too bad, because you doom your character in the very first movie and that’s not fun.  TLJ then only offered false hope that this would not be the case.  I get that Johnson was making redemption credible but either he was too optimistic that whoever followed him would consider letting Ben live or he unwittingly oversold Ben to the point where you not only wanted him redeemed, you wanted him to survive so he’d have a chance to be happy and free.  (And of course that Rey would have lasting companionship with an equal.)

Another reason why we thought we’d get a happily-ever-after is because Kylo/Ben was the son of Han and Leia and the only Skywalker scion, this meant he was somehow bulletproof and his importance in the story was only going to grow.  Adding to this assumption is Rian Johnson referring to Ben and Rey as co-protagonists.  But to Abrams and company, these movies weren’t about Ben.  This was Rey’s story and in case you don’t understand that, she appears in nearly every scene in TROS.  While Kylo/Ben leaves a big impression, if you pay attention you’ll notice he gets less screen time in the movies than guys like Poe or Finn.  To those who made TROS, Kylo/Ben was little more than a foil, a catalyst for their heroine.  He was supposed to be Darth Vader to Rey’s Luke Skywalker.  (If you want to understand why some fans who clearly aren’t TFM types don’t like these movies, there’s your answer...the Skywalker family got sidelined in the last third of their own saga.)

Perhaps though there’s another simple answer and that is fans are great at being in denial.  If we want a certain outcome, we’re going to bet the farm on it.  Soon among a subset of fans, it’s practically a tenet of being a part of that subset.  This led to what I call following “signs and wonders,” fans believing there are secret codes they were putting out to reassure us we were going to get what we wanted.  I”m seeing a lot of that now with regard to Ben returning, though I don’t buy they are really giving it much thought right now.

Reylos correctly predicted that Ben would turn and there would be some acknowledgement of the attraction between Rey and Ben.  We actually got most of it right.  But Ben’s death wasn’t an outcome most Reylos entertained to any extent.  There were fans who predicted Ben’s demise but they didn’t talk about it very much and those metas weren’t as enthusiastically shared.   Why?  We didn’t want it to happen and we didn’t want to think about its possibility.

Whatever JJerrio’s and Lucasfilm’s intentions, Ben Solo was a character who had escaped.  I guess everyone knew Kylo Ren was going to be popular and iconic but those guys severely underestimated his power.  It’s due to the mystique built up in TFA, the revelation of his humanity in TLJ, being the last Skywalker, and his relationship with Rey over the course of the films, all expertly performed by someone who always brings his A game and had plenty of charisma to spare.  Some sympathetic story groupers added further pathos to his back story in various comics and novels.  He, like the cinnamon roll The Onion made famous, was too pure for this world.

Moreover, they severely underestimated the power of Reylo.  They unwittingly tapped into something primal and mythic with those two.  Nobody could’ve foreseen their incredible chemistry and they didn’t fully understand or appreciate  how epic the pairing truly was.  Or at least those not named “Rian Johnson.”  But many in the audience could see it.  There was a lot in the media about Reylo.  The two times I saw TROS in the theater people applauded when Rey and Ben kissed. It was the gas in the ST’s tank.

That’s why we bought it.  It’s amazing to me how often studios, filmmakers, and show runners miss this stuff while fans keep expecting a different outcome.

[thatwritergirlsblog]

Books You Should Read to Improve Your Writing (Fantasy Edition)

1. The Language of Thorns by Leigh Bardugo

Travel to a world of dark bargains struck by moonlight, of haunted towns and hungry woods, of talking beasts and gingerbread golems, where a young mermaid's voice can summon deadly storms and where a river might do a lovestruck boy's bidding but only for a terrible price. Inspired by myth, fairy tale, and folklore, #1 New York Times–bestselling author Leigh Bardugo has crafted a deliciously atmospheric collection of short stories filled with betrayals, revenge, sacrifice, and love. Perfect for new readers and dedicated fans, these tales will transport you to lands both familiar and strange—to a fully realized world of dangerous magic that millions have visited through the novels of the Grishaverse. This collection of six stories includes three brand-new tales, all of them lavishly illustrated with art that changes with each turn of the page, culminating in six stunning full-spread illustrations as rich in detail as the stories themselves. (Goodreads summary)

Aspects of writing this book will teach you: Mythology, Fairy Tales & Short stories

This is one of the few books to receive a 5/5 star review from me. It was so stunning that I just couldn’t put it down. Each story is rich with original myths, interesting lessons and gorgeous story lines.

If you want to write fairy tales, short stories or mythology - this is the book for you.

2. His Dark Materials series by Philip Pullman

The Golden Compass, The Subtle Knife, and The Amber Spyglass are available together in one volume perfect for any fan or newcomer to this modern fantasy classic series. These thrilling adventures tell the story of Lyra and Will—two ordinary children on a perilous journey through shimmering haunted otherworlds. They will meet witches and armored bears, fallen angels and soul-eating specters. And in the end, the fate of both the living—and the dead—will rely on them. Phillip Pullman’s spellbinding His Dark Materials trilogy has captivated readers for over twenty years and won acclaim at every turn. It will have you questioning everything you know about your world and wondering what really lies just out of reach. (Goodreads summary)

Aspects of writing these books will teach you: Creating a magic system and fantasy world

Anyone who has read these books (or even watched the movie) will agree that Pullman’s magic system is unlike any other. The world is so intricately woven and the fantasy so original that it has become one of the most popular series of all time.

So, do yourself a favour and learn from the best.

3. Keeper by Kim Chance

When a 200-year-old witch attacks her, sixteen-year-old bookworm Lainey Styles is determined to find a logical explanation. Even with the impossible staring her in the face, Lainey refuses to believe it—until she finds a photograph linking the witch to her dead mother. After consulting a psychic, Lainey discovers that she, like her mother, is a Keeper: a witch with the exclusive ability to unlock and wield the Grimoire, a dangerous but powerful spell book. But there’s a problem. The Grimoire has been stolen by a malevolent warlock who is desperate for a spell locked inside it—a spell that would allow him to siphon away the world’s magic. With the help of her comic-book-loving best friend and an enigmatic but admittedly handsome street fighter, Lainey must leave her life of college prep and studying behind to prepare for the biggest test of all: stealing back the book. (Goodreads summary)

Aspects of writing this book will teach you: Pop-culture references

Most of the time, pop culture references in books feel forced and inauthentic. But not in this one. Kim sprinkles in references that are actually relevant, contribute to the scene and that readers will actually get.

4. Strange the Dreamer by Laini Taylor

The dream chooses the dreamer, not the other way around—and Lazlo Strange, war orphan and junior librarian, has always feared that his dream chose poorly. Since he was five years old he’s been obsessed with the mythic lost city of Weep, but it would take someone bolder than he to cross half the world in search of it. Then a stunning opportunity presents itself, in the person of a hero called the Godslayer and a band of legendary warriors, and he has to seize his chance or lose his dream forever. What happened in Weep two hundred years ago to cut it off from the rest of the world? What exactly did the Godslayer slay that went by the name of god? And what is the mysterious problem he now seeks help in solving? The answers await in Weep, but so do more mysteries—including the blue-skinned goddess who appears in Lazlo’s dreams. How did he dream her before he knew she existed? And if all the gods are dead, why does she seem so real? (Goodreads summary)

Aspects of writing this book will teach you: Creating absolutely original stories and worlds

I don’t know where Laini Taylor gets her ideas, but that woman’s mind is amazing. You will never read anything else quite like this book.

5. An Ember in the Ashes by Sabaa Tahir

Laia is a slave. Elias is a soldier. Neither is free. Under the Martial Empire, defiance is met with death. Those who do not vow their blood and bodies to the Emperor risk the execution of their loved ones and the destruction of all they hold dear. It is in this brutal world, inspired by ancient Rome, that Laia lives with her grandparents and older brother. The family ekes out an existence in the Empire’s impoverished backstreets. They do not challenge the Empire. They’ve seen what happens to those who do. But when Laia’s brother is arrested for treason, Laia is forced to make a decision. In exchange for help from rebels who promise to rescue her brother, she will risk her life to spy for them from within the Empire’s greatest military academy. There, Laia meets Elias, the school’s finest soldier—and secretly, its most unwilling. Elias wants only to be free of the tyranny he’s being trained to enforce. He and Laia will soon realize that their destinies are intertwined—and that their choices will change the fate of the Empire itself. (Goodreads summary)

Aspects of writing this book will teach you: Morally grey characters and political intrigue

The characters in this book have various different motivations and beliefs, and they intersect in very interesting ways. If you want to write a story that weaves together fantasy and politics, this is a must-read. 

Plus, if you want to move away from the black-and-white of old-school fantasy characters, this book will show you how to do it.

That’s all I have for you for now :)

Reblog if you found this post useful. Comment with the fantasy books you think all writers should read. Follow me for similar content.

[nullset2]

Mother 3 - An In-depth Critique and Review

Ah, Mother 3, how I love you so!

The game which with which I forwent all possible aspirations to healthily integate into normal High School society: imagine walking into a party, people are drinking and being cool, and you ask them if they have ever played a very underground, very deep RPG only released in Japan called "Mother".

Yeah! I know! It's like you're asking to be bullied, and I realized it too late.

But anyway!

Mother 3 is one of the most important games you could ever play --alas, if only it wasn't near impossible to obtain it.

Yet, perhaps this adds to its allure and to the power of its narrative --a narrative which, by the way, I'm convinced is the very actual reason why it will never release formally in the United States.

As time has passed, I've actually become more and more impressed about how relevant the game is to the socioeconomic reality that we are in nowadays. I'm impressed that Shigesato Itoi had all of this in his mind's eye as early as 1996, and that the story was already written down in 1999!

Right now it's been 14 years since it's release on the GBA, but I think that the game is a timeless classic and warrants a playthrough now more than ever. Wanna know why?

Wanna find out?

Part 1. "A Japanese Copywriter's Americana"

The year is 1989 and a Japanese Copywriter --somebody who writes "Catch Copies", which are a sort of a long-form slogan that is very common in Japanese pop culture to advertise)-- by the name of Shigesato Itoi became a fan of the Dragon Quest series of RPGs, which are massively popular in Japan, even to this day. He also loved video games: he's asthmatic, so he recalls only being able to sleep sitting up as a child, and having to occupy his lonely time through asthma attacks playing video games, since he had to sit up and had nothing else to do at night.

His love of RPGs would linger in his mind until 1989 when he had an opportunity to meet with Hiroshi Yamauchi and Shigeru Miyamoto and was offered the opportunity to develop a video game with Nintendo. Harkening back to the endless hours he poured into Dragon Quest, his concept eventually took form by deriving from it. He called the story "MOTHER", as a reference to John Lennon's "Mother", since he is a very hardcore fan of The Beatles. The games have tons of obvious influence by old American films and comics, like ET and Peanuts, which he also loved very much.

For MOTHER, he wanted to explicitly go against the grain, by designing an RPG without "Swords and Magic", which stereotypically most RPGs follow, even from things as minor as to design a protagonist who was weak and vulnerable, asthmatic and without a Father Figure, yet, still heroic through much toil --which reflects Ninten from the original MOTHER for the famicom.

Miyamoto, in his usual taskmaster persona, arranged a team to work with Itoi for the creation of the RPG, by bringing in people from HAL laboratory and APE Inc, and thus MOTHER was born to great Japanese Acclaim. A game which took many risks in its genre, such as eschewing the idea of a separate overworld from navigation in the towns, the subject matter, the movement system and many other things which made it quite Unique. It was so popular that soon after the first project was released, MOTHER 2 started development, involving people from what's currently known as Game Freak and HAL Labs.

MOTHER 2 is a very unique game because it was the very first time that the series attempted to make an incursion in the Americas. Releasing in a big flamboyant flashy box, with a strategy guide and a bunch of goodies included, MOTHER 2 released as Earthbound in the states, a bigger and better version of the vision of the first game. Better graphics, Beatles references, sampled audio, pop culture cornucopia, it's all here and then some!

Famous for its role in technically driving the game, Satoru Iwata, ex-CEO and software developer for Nintendo,7 of Wii acclaim, helped the game meet its 1996 release date. It is known that the original version of the game ran into deep technical issues which the original dev team was not able to overcome. Once Satoru Iwata got involved, the game was reworked to a viable version and released to much critical acclaim. In his own words, he proposed to rewrite the tech that powered the main game. It was a matter of either continuing with the current code and be done in two years, or redoing everything and being done in six months under his vision, he said.

No matter its strong promotion from Nintendo, the marketing got botched, and the game paled compared to the flashy and bombastic magical RPGs of its era, like Final Fantasy VI, Super Mario RPG and Chrono Trigger of all things. So, Earthbound faced a very bad destiny in the states, by releasing to low acclaim, bad review scores and terrible sales numbers --even though it eventually reached Cult Classic status, due to its pure hearted nature, its hallucinogenic themes and characters, and its fantastic spirit over all.

And this game is worthy of discussion by itself a whole bunch because of the ripple effects it had in video game culture in the Western world. Enter starmen dot net. To this date, the epicenter of discussion for everything related to the MOTHER series. There you had me as early as 2002, browsing a half-rendered version of starmen dot net in a dingy computer in some dingy internet cafe in some shitty neighborhood in Mexico, trying to be a part of the discussion and the hype.

To this date, I consider starmen dot net as the non-plus-ultra case for how passionate Internet fan cultures can become.

Flat out, no other fandom has ever came close to the level of dedication, attention to detail and passion to tribute the original creation around which its fans congregate. A massive amount of fan paraphernalia has come out of starmen dot net --yes, even Undertale, 2015 indie darling RPG thing, originally got started on the Starmen dot net forums. People married and even started large, commercially viable enterprises, such as Fangamer.net, the firm which publishes Undertale, from starmen dot net.

...and then... silence...

After Earthbound's 1995 release, we enter a ten year hiatus for the series.

Even though both MOTHER games were incredibly popular in Japan, HAL Laboratory and APE Inc. weren't able to successfully make a jump onto the third dimension for the series come the Nintendo 64 era. They had a demo come the infamous Spaceworld 96, where a bunch of pre-release games for the then called "Ultra 64", which was the codename for the Nintendo 64, were showcased. And lo and behold, we have a sequel to Mother coming out, called Mother 3, the ROM for which has never been found by the way.

I'd love to get a look at the materials in that ROM.

The scarce footage we have available from it exhibits some of the elements we ended up seeing in the final released version of the game, like some of the original music like the Mozart ghost theme, and the DCMC section, albeit in a more primitive low poly way. It is known that both studios weren't very proficient at 3d Game development yet, which was still nascent. This together with other factors, such as the fact that at some point development was moved onto the unreleased-in-America, unpopular 64DD addon, undisclosed factors dropped the game into development hell, which ultimately led to its cancellation in the year 2000.

Plenty of mystery surrounded the now defunct project, to the dismay of a bunch of passionate fans in Starmen.net and elsewhere online. However, it turned out that the valiant effort of the fans, who made a huge amount of effort to campaign for the revival of the series, even mailing fanmail, fanart and other materials to the Itoi Shinbun offices in Japan (a titanical task in the world of the early 2000s).

Fast forward to 2003, and the Game Boy Advance, the little portable console that could, was in its Apex. Due to Satoru Iwata's campaining, it was announced that development on MOTHER 3 would be restarted, this time in 2D, for the gameboy advance. Much anticipation in Starmen.net followed this announcement, since it finally validated its efforts...

Come 2006, once the console was well into its end-of-life, with small nudges to play the game on a Gameboy player if possible, perhaps to try to follow suit with its predecessors, the sequel finally released to much acclaim. But what did Shigesato Itoi have in store for everyone all along? What kind of beast had just been unleashed onto the World?

Part 2. "Of Monkeys and Men"

Mother 3 follows the story of a young boy, Lucas, in a multi-chapter structure, which is novel for the series but not unheard of in the RPG genre. Besides this, the RPG plays very similar to your usual JRPG fare, and basically uses the Ultimately polished version of the MOTHER series' mechanics, groovy backgrounds and all.

The first three chapters of the game follow the perspective of different characters residing in Tazmilly Village as the plot of the game unfolds. The plot is centered around the residents of a peaceful town in an Island in an unspecified location, Nowhere Islands, which in my opinion is an allegory both of Japan and America, moreover with the fact that the game of the logo very clearly has a rising sun covered in metal, in a logo that's an amalgam of two different things which don't match, a subtle reference to the game's undertones to come.

From these residents we come to know the daily lives of a particular family: Flint, a farmer; Hinawa, his wife (a name in reference to Sunflowers, Himawari, her favorite flower), and their twin children, Lucas and Claus.

The game begins in the midst of their idyllic life in the mountains visiting Lucas' grandfather Alec, and playing around with meek dinosaurs which inhabit Nowhere Islands. See, in the world of Mother 3, no violence truly exists, and people have come to live peacefully with each other and nature. There's no such thing as the concept of money, Instead relying on an economy that's mostly based around bartering and hospitality.

However, everyone's lives veer into turmoil once strange alien beings invade, the Pigmask army, an army of big, fat and slovenly creatures dressed in pig-like attire, who seem to have a vast amount of technology and resources at their disposal yet aim for Nowhere Islands for colonization.

The Pigmasks have an as-of-yet unnamed leader, who is demanding them to make everything in the World "bigger, cooler, stronger and faster", and thus they seize Nowhere Islands by force of bombings and a forest fire to use its flora and fauna. And thus, while escaping from the forest fires returning from Alec's home, Hinawa tragically gets killed by a Drago which has been modified to be aggressive against its nature through robotics implanted in it by the Pigmask army.

There's an unused cutscene in the game's ROM data where Hinawa, instead, dies by bomb explosion...

...yeah, I'm just... gonna let you process that one by yourself ;)

The Drago left a fang in the middle of her heart, which is recovered by one of the Tazmillians and provided back to Flint along with a fragment of her crimson dress. Besmirched and angry, Claus, the festier one of the twin children, sets out to try to hunt the drago and achieve revenge, but he goes missing... Flint embarks in search of Claus and to kill the drago, and thus the first chapter of the game concludes, with the implication that Claus has gone missing...

With Lucas' family torn to shreds and The Pigmasks invading Tazmilly, it seems that we're in a situation ripe for disaster.

Chapter 2 follows Duster's adventure, which runs in parallel (as every other chapter will) to other chapters' stories. Duster is the last heir in a bloodline of Cat Burglars whose abilities are not in use anymore given that Tazmilly has no more commerce or crime. However it turns out that the Pigmask invasion puts his skills back in demand to infiltrate Oshoe Castle and retrieve an artifact which the Pigmasks are after and which Duster's family is the guardian of. The nature of the artifact in Oshoe Castle is as of yet unknown, however it is implied that it is important to the fabric of Tazmilly village.

At Castle Oshoe, Duster meets a mysterious princess, Kuma-tora (which translates literally to "beartiger", in allusion to the dichotomy of her existence, since she is very... masculine in attitude and refers to herself with, yes, male pronouns, perhaps anticipating identity politics by 14 years at least), who is also after the artifact in the Castle, the Hummingbird egg. The chapter ends with the Hummingbird Egg going missing, and a mysterious peddler of goods arriving into town, while Kumatora and Duster's father realize he has gone missing...

Chapter 3 follows the adventure of a little Monkey, Salsa, which gets flown into Nowhere Islands to perform a job. This is a novelty in a town where the concept of a job doesn't exist as of yet, however, the peddler of goods is going to need a lot of hands if he wants to fullfill his vision. The peddler, Fassad (which is a tongue in cheek way to say "facade", right?) promises to all residents in Nowhere Island eternal happiness if they buy his newest product, the "Happy Box", a television-like contraption which glows with a warm light and which people are attracted to and engrossed by. For this, he introduces the concept of money and swindles people his way, convincing them that this is the way to go and promising them excitement and benefit if they listen to him.

Salsa delivers Happy boxes throughout the whole chapter, and gets shocked, even in the middle of the night, if something goes wrong with his job or tries to escape due to a shock collar implanted by Fassad. However, he runs into Kumatora and Wess, Duster's father, and they ploy together to free up Salsa and mess up Fassad's forceful takeover of Oshoe Castle, when Lucas shows up with several dragos in tow and fights against the Tank invasion of Oshoe Castle.

(A foreign animal being introduced into a new society with the express intent of exploiting it to propel forward a commercial enterprise by toil... geez, I dunno, where have I heard that one?)

From Chapter 4 Onwards the game adopts a more conventional JRPG scheme, through a timeskip which happens literally two years in the future. In this future version of Tazmilly, money (Dragon Points) and ATMs are now existent, similar to other Mother games. The game follows Lucas' adventure through a now-modernized and industrialized technologically advanced Tazmilly, trying to retrieve the "seven needles" from the island, which are soon enough shown to be a source of great power that the pigmask army is also after and to which Lucas must try to get to first due to a calling by mysterious beings which inhabit Nowhere Islands, the Magypsies. With a lot of emotional moments, such as Lucas having visions of his Mother in the middle of a field of Sunflowers, we follow the adventures of the party as they infiltrate the pigmask ranks and gather information about its nature and intentions.

It is then discovered that the pigmasks are commanded by a Masked leader, who dominates the power of thunder through a tower which was built in the middle of the town and which strikes anybody down with thunder if they overstep the Law and Order that the pigmasks have implemented. The party fights this masked leader in bouts while exploring the world and reuniting with a now missing Kumatora and Duster, who are found to have settled as employees in a Nightclub called "Club Titiboo".

Eventually, through his travels, Lucas gains an artifact from Mr. Saturn, the inhabitants of a special region in Nowhere called Saturn Valley and which has been passed down through all three Mother games, called the "Franklin Badge". When equipped, this item allows the bearer to become immune to lighting attacks and reflecting them back.

The party soon discovers that the world is inhabited by an special elder race, existant from before the creation of Tazmilly village and who know more about everything going on with the invasion, called the "Magypsies", a race of transexual, magical creatures who help Lucas discover the fact that he has Psychic abilities, also known as "PSI" within the MOTHER canon. He uses these to proceed further in his adventure to pull the seven Golden Needles, the first of which Fassad was attempting to get to, in the Courtyard of Oshoe Castle.

Lucas moves into a city called "New Pork City" in the conclusion of the game, which is a town built by the pigmasks completely in the honor of Porky, full of all sorts of Pigmask paraphernalia and amusement. It is found that the seventh and final needle is inside humongous tower in the middle of the city, the Porky tower.

Moreover, it is also revealed that the Pigmask army is led by Porky, known as "Pokey" in the American localization of Mother 2, Earthbound. Pokey is shown to have developed into a tyrant as an adult, with unlimited lust for blood and power, who used Doctor Andonuts' Phase Distorter after the events of Earthbound to mess around with the unlimited realities and dimensions it gave him access too, as a petulant child does with a video game. Once he got kicked out of every other possible reality due to the chaos he created, he found the Nowhere islands and decided to mess with it.

The climax of the game comes around Chapter 7, when the now fully-developed party runs into Leder, one of the original Tazmillian villagers, a lanky and really tall person who never spoke, not a single word, in the game until now. Leder is revealed to be the only person who knows what is the true nature of it all: tazmilly village is the remanider of civilization once the world of Mother 2 collapsed by cataclysm. A flood wiped away everything and the very last remainder of people who survived fled to nowhere islands in a big white ship and settled there, willingly forfeiting all technological advances and knowledge of the world into the Hummingbird egg, the artifact that Duster's family protected in Oshoe, a device which wiped everyone's memories, with the intent of undoing civilization and living back in a peaceful village-like state again.

It is revealed that when all seven needles are pulled, a supernatural power on which the island is built will be awakened. This supernatural power is revealed to be a Dragon by Leder, who had to be subdued by the ancestors of the Magypsies so people could live in Nowhere islands as their last resort. Whoever pulls out the needles which keep it in slumber will pass the intentions and nature of their heart onto the dragon. Thus, Lucas must be the one who pulls out the last needle instead of Porky or the masked man, in hopes that a second cataclysm like the first doesn't happen again.

After making their way through all the pigmask defenses, Lucas and Co. face off with Porky, who is now a bedridden, pathetic man. Doctor Andonuts from Mother 2, appears here, and is revealed to have developed a solution to contain Porky, the Absolutely Safe Capsule, which is a capsule which once it's sealed, it can never be opened again, trapping whoever is inside forever in a parallel universe where only them exist. The party is successful in locking Porky in the absolutely safe capsule, so, porky is not hurt by the end of mother 3, instead, he just has been locked away forever in a place far away from everyone else --perhaps, providing the ultimate form of comfort that a personality like his would seek after.

At the end of the game, Lucas and Co. face against the masked man, who is revealed to have been Claus all along, who, brainwashed with Pigmask ideologies, is hellbent on drawing out the final needle to awaken the dragon. Lucas and Claus face off in an emotive fight, where they suddenly remember each other and how friendly they used to be with each other... and moreover, their Mother. Claus strikes Lucas with thunder in a final murderous attempt before snapping out of the Pigmask brainwashing. But since he had the Franklin badge on, the attack is reflected and mortally strikes Claus, who, in his final moments, finally remembers Lucas...

The ending of the game is open ended, without showing much of what happened once the seventh dragon needle was released, so the ending of the game is subject to interpretation. However, it is heavily implied that, since Lucas was the one who released the needle, the dragon, once awakened, did not destroy Nowhere islands and instead led to a regeneration of existence.

Part 3. "A Musical-Adventure"

One of the pre-release materials for the game called it a "Musical" adventure, and I think this is completely warranted: the musical beautifulness of Hip Tanaka, famed Nintendo composer and long-time MOTHER music autheur, is joined by the expertise of Shogo Sakai, who gave the soundtrack a more mature, sample-based vibe, compared to the early two more "chiptuney" soundtracks in the series. The songs are all-time favorites of mine, and I still the soundtrack every so often given all of its mystique, its eclectiness and curiosness.

But the musical aspect to the game doesn't stop here: as an addition to the mother series, the battle system has now been changed to become rhythm-game based instead of simply turn based. If the player attacks an enemy during a battle, it is possible to strike additional damage as long as the player continues to press the attack button in rhythm to the background music in upwards of 16 hits. A full combo is incredibly effective and plays a nice fanfare if executed correctly.

As an enthusiast of rhythm games, this premise captivated me from the get-go and it works wonders, functioning as a breath of fresh air to the way overplayed mechanic of turn-based combat, which has existed since the 80s. It also provides a certain nice feeling to combat, given how every character has their personal musical instrument, with lucas being a guitar, Kumatora being an electric guitar, Duster being a bass, and Boney, Lucas' pet, being... barks.

Besides this the mechanics from Mother 2 are translated almost completely: every character has a rolling HP and PP counter, which rolls down over time as an airport display instead of immediately as in other RPGs. This may seem minor, but it adds an amazing element of strategy to the game, since it is possible to recover an ally from mortal damage if a healing PSI is executed against the clock before the counter hits 0.

Besides this you got almost completely conventional standard JRPG fare, with the character being able to move in eight directions in the overworld, with the addition of a run button, preemptive attacks and overpowered kills. Once you start facing enemies in the overworld, the first one to attack can be decided depending on the angle that the enemy was approached with: sneak up on an enemy from behind and a green swirl will display, which means that you get to attack first; if an enemy sneaks behind you, you'll see a red swirl and they will attack first instead. Otherwise, a gray swirl will display, which follows conventional order according to your stats.

Part 4. "WE WANT MOTHER 3, REGGIE!"

...Mother 3 will never be released in America.

This may be too dramatic of an opinion to have but I see no other alternative. For the most of fourteen years, Nintendo of America's head honcho Reggie Fils-Aime was requested to release and distribute the game in the americas, and for twenty years the request fell on deaf ears, citing commercial inviability, potential copyright infringment and many other reasons.

But I think the main reason that the game will never be localized is because Mother 3 was a passion project, pushed for by people with personal involvement in the series and very special sensitivities about it. Shigesato Itoi and Iwata were personal friends. The game appeals to japanese tastes and touches on issues and subjects that the American population is very politically sensitive to.

For example, in chapter 6 Lucas and the party experience a bad trip because they eat hallucinogenic mushrooms in a swamp. This leads to Lucas having visions of his family in a very bad light, with implications of violence and abuse, to try to get at the players' deepest sensitivities. Even the name of the real player is used here.

I think that it's impossible that nintendo will release a game which openly involves Hallucinogenics no matter its innocent exterior. This is the kind of subject in media that Japanese audiences usually handle better than American audiences.

Besides this, the game has very clear allusions to accelerated capitalism, anti-capitalism, colonization, slavery, transexuality and the changes and chaos they have brought onto the world, which is a tough subject to tackle in the Americas, which is still part of an ongoing, vicious culture war.

Particularly, I adore how the game even tries to convey its points through the Sound Test, of all places. Mother 3 has a collection of music pieces, which are available on demand within the game itself. Of those, there's a music piece which is a remix of Pollyanna, the Mother 1 theme, which is present throughout the series, in an nod to the previous games in the series. The hallway where this plays is full with mother references and it expects the player to sit down and watch passively all the references in order.

But this is meta, amazingly enough. The hallway is located in the final section of the game, before facing Porky, who is presented as the effigy of vicious capitalism in the game. As if he left them in his palace just as collectibles, things to be purchased or acquired.

The name of the song which plays during this sequence? "His Majesty's Memories". Subtle.

Nintendo is a company which tries to keep its image clean and sterile, so it can be used broadly for a variety of projects, usually with family friendly intent behind --and even more so in the US.

However, Nintendo has a history of risky bets with Mature content, which has become even more glaring lately: you got Eternal Darkness, Astral Chain, Bayonetta, No More Heroes, the disappointing Metroid Other M... this together with the fact that most of their target audience is of age now, could, at least remotely, mean that, perhaps, Mother 3 releasing in some manner in the future, localized in English, could happen: however, this is not happening at least the way I see it.

Once the game was released, there were several different campaigns online to try to gather Nintendo's attention: a 10k signature strong petition was completed among several other things, and if this hasn't lead to results... I don't know what will.

Part 5. "No Crying Until the End"

Mother 3 is a beautiful, engrossing and captivating game which is hidden away under a cutesy exterior. Its complex themes and characters are evoking of deep human truths which call out to us and ask us to reflect on things and the way we're living. Of strong pedigree in its series and with a superb musical production behind it and a mastermind of writing, MOTHER 3 excels at what it sets out to do.

When the game released, the game had a "Catch Copy" written for it by itoi himself, which called the game "Strange, Funny and Heartrending", and I think this is a beautiful way to bring everything full circle. Itoi wrote on the Advertisement that if you wanted to cry because of Mother 3, you should save it until the end. And those three words are a fantastic way to close off this review: if you want a game that will provide you with bizarre and laugh out loud moments one second and tear-jerkers the next, Mother 3 is the game for you.

And the game is just so poignant... to this date not only do I think it's one of the most expressive and well done pixel-art based game, I still find myself impresse at how much I can connect with the characters through small, cutesy sprites and pastel color pallettes, lack of Unreal engine and RTX graphics card be damned. Themes of grief, missing a loved one who's gone, the feeling of loss of identity due to accelerating social and economical change, how tyrannical political figures establish themselves and change communities, sexual and identity politics and how the modern world was to have shaky and voraginous sexual identities become commonplace... it's all there, and masterfully, tastefully expressed, without that icky feeling of "agenda"ism that you can get sometimes from Hollywood productions when they try to hamfist tropes and "messages" down people's throats. You know that feeling? I hate it when it happens in movies or shows I'm watching just to have a good time, and then I get some succint propaganda.

But MOTHER 3 is a kind beast, trying to reach to your heart and directly speak to the mind of the player. It tries to show us what it thinks of modernity and to make us seriously ponder what the frick is up with all of this shit, and thinking it has kept me for the last 14 years, and I anticipate another 20 ahead of me. And you can join me in reflecting about this...

Or maybe you can just go back to your happy box. Whichever way you choose.

[thelittlehansy]

Discussing ( again) if A Frozen Heart is canon.

To talk about it i m gonna talk about the many fair issues point out by fans in the book to doubt the book is canon.

No chris buck and lee approval.

I think the most likely scenario here is that a frozen heart belongs to all that stuff disney makes and planned when a disney movie come out it most likely they plan it since 2013 and since that book is the movie. It just retell it with Hans and Anna thought disney didnt think that book needed jeenifer lee and chris buck approval. It retell the movie but Without changing thing just putting stuff. Like for example i dont think they wait for Linda woolverton approval. When they publish novelization of maleficent (2014) same for pirate of the careebean.  As for the backstory what is mainly new mabe disney give directive to Elizabeth rudnick it was establish that Hans had a not good life in his Homeland and luckyly it fit with jennifer lee words later. I just dont think disney makes a big deal about Hans bacsktory. On the contrary of the fans who analyze everything and are supiscious of Hans life in his homeland. Disney seems to not makes a big deal about that. For them its clear their character got a shit life.since they publish the short comic with little Hans having scraps of his brothers food in disney storied place. that seems to be canon for them. 

inconsistency

Visual inacuracy

I tried to makes research in how many times time a book get publish. And its around 2 years. Traditional publishing take around 24 month. So october 2015 ? Thats move us to october 2013. So thats is most likely this book was wrote in 2013 when the movie didnt even come out. It will be faithful to elizabeth rudnick interview who said in it disney send her script and didnt even have the visual to work it. Thats is one of the issues she adress in her interview talking about fans who had issues with thing that are not right. So i think thats give us a solid explication as why hans eyes turn blue and sitron turn white.

"One of the hardest thing of novelization of a film script is that it changes no matter what the script i get it never gonna be the script that goes that you see on the film and There is a lot of time i Will get review and poeple will be there thats different from the movie and well i didnt have acess to the final script. So i get i mean they tried to give me the shooting script they tried and its very rare for me to get images or visual and i have To thought about whats going on in the script when there is an action scene i have To be hoping that what i m describing will reflect what is on the film. When i try to describe character outfit and expression i dont necesserarly know" ( 2019 interview can be find on youtube)

2- age

The age of hans 23 years old was talk in november 2013 in a jennifer lee tweet where she said she think Hans is 23. This is possible that Elizabeth rudnick has maybe finished writing the manuscript after fixed stuff like sitron name who was confirm in september 2013 by lee but didnt fixed the age maybe didnt knew jeenifer lee has give an age on her Twitter. In the encyclopedia of disney i found one day hans information said he had 12 older brothers and that his horse name is sitron so the horse name of hans seems to be very official stuff nothing at disney nothing is said about his age

Scene that were added.

While going thought the Elizabeth rudnick tag on twitter Someone said about maleficent a cut scene was in the book and the person was glad it was supress on the movie. It is possible that scene who was added where part of the script disney give to Elizabeth rudnick was not part of the movie at the end. (I think thats when Hans talk to the diplomat before talking To the duke) it is also faithful to what Elizabeth rudnick said she dont have the final script.so in the end the inconstitencies are more here because of elizabeth rudnick actually works for disney that here because she didnt do her research

4- Arendelle southern isles/Frozen Fever 

arendelle being away from the southern isles in the book. but close in frozen fever. so following what i say i think therefore this is possible the manuscript was wrote in 2013. and frozen fever i think began to be created around 2014 ? So thats could explain also this. And they miss that part.🤷‍♀️

The book is a fanfiction or its another universe.

I can understand this point about fanfiction but while doing research Elizabeth rudnick is someone that has been hire several times by disney to wrote their movies. Mulan (2020)lion king ( 2019)Aladdin (2019)A Frozen Heart (2015)Maleficent (2014)The Curse of Maleficent: The Tale of a Sleeping Beauty (2014)Mistress of Evil (2019)Thor (2011)captain america Pirates of the CaribbeanDead Men Tell No Tales (2017)Cinderella (2015)Beauty and the Beast (2017)

About the alternate The book is the movie. It change nothing but added the thought of Anna and Hans. Thats the same universe. And thats is not an anormal stuff to wrote a book from a character point of view. Divergent did it. we get to be in four head. same for the new twilight book where we are in the point of view of edward. Even from a different auhtor it will still be the same universe. so i can understand how the book can seem not canon because the woman who wrote it didnt work on the development of the character on the movie. so the argument will be more “ i dont consider this book canon because the development of the character was not wrote by the original screnwritor” and not “ i dont consider this book canon because that’s another universe”. adding thought about a character point of view doesnt make it another universe.also jennifer lee and chris buck are busy they cant wrote all the books of the franchise of frozen who has developp into a huge stuff because they are the original writor. (I read One day a team was created for that stuff.)

The book seems to be link to official information.

What makes me think that is the name of Agnarr. I read fans back in 2015 saying the book got agnarr wrong   and how they hope they are gonna fix the book mistakes in how this is not agnarr but agdar. and in the end ...well the names is actually wrote Agnarr. So the book has information the fans didnt have...weird that’s a offcial book publish by disney press and officially therefore approved by the walt disney compagny is right in how to spell the king name  and not the fans who translate it.. 🙃

.we are not sure if the book is canon

 yeah i agree ! We are not sure if that book is canon to the movies. Its publish by disney press and a several people work on it. Thats a still a big stuff. I think Disney is aware About whats they publish

It is pretty solid.

"Disney Publishing Worldwide (DPW), formerly known as The Disney Publishing Group and Buena Vista Publishing Group, is the publishing subsidiary of Disney Parks, Experiences and Products, a subsidiary of The Walt Disney Company.[2] Its imprints include Disney Editions, Disney Press,[3] Kingswell,[4] Freeform, and Hyperion Books for Children.[5] It has creative centers in Glendale, California, and in Milan, Italy.[3]"

they are also the productor editor of the book also , the one that makes the cover. so i think the one in charge of the frozen franchise are actually aware about the existence of A Frozen Heart just like all of their book anyway. The one who said yes or no this is disney itself and they planned their stuff very carefully there are organized. So now imagine we are in some far far away hypotethical future where Hans go back in the franchise ? i just dont think Disney will suddenly let Hans have twins brothers names goerges and lucas. the oldest is alphonse and he got 5 nice brothers and his mom is actually the bitch and his father the loving one. i mean they seems to want to makes thing consistent in this franchise and how they are actually names of kingdoms that are the same in several stuff in the frozen franchise it seems they want to keep stuff faiftful in the franchise at the difference of other franchise like lion king.

The only detail i have see change is Anna horse kjekk who was also name kjekk in one or two others stuff and turn into havski in others material. After checking in october 2013 disney publish a book not wrote by Elizabeth rudnick a junior book where the horse name is kjekk so possible thats why they went for kjekk and thought the times they forgot they had give a name for the horse. But here Thats Anna horse not a whole new character. So that’s why i beleive ( maybe i m wrong ?) that if in some far far faaaaar away future disney want to used Hans family ( the main thing new in a frozen heart because you know the rest...is the movie) they are gonna kept  Caleb , Lars , Rudi , Runo. the name who were used. I think that’s this is most likely that what was for Agnarr would also be for Lars caleb rudi runo if we may to see them one day.🤷‍♀️

I just found that book has its credibility. it is not a independant stuff wrote by.a stranger who told a very different thing that the movie. But thats ok to just dont consider it canon because of disliking stuff in it. I personally didnt like how all the prince of the southern isles were bully to Hans.

[thanksjro]

Eugenesis, an Overview: Let Me Get Weirdly Serious About This Book For A Sec

HOLY SHIT WHAT A RIDE.

So, let’s recap what we’ve learned over the last 282 pages.

In 2001, James Roberts published nearly 300 pages of fictional prose, based in the established franchise of Transformers, specifically the Marvel UK comic continuity. This novel tells the story of the Transformers, in their dwindling numbers, being attacked, not by their opposing factions, but by an outside force hellbent on revenge. Those who are captured by this force- the Quintessons- are stripped of their very individuality, forced into servitude until the moment they die of exhaustion. Everyone is pushed to- and in some cases beyond- their limits, the horrors of a literal genocide beating down on them like a tidal wave. Only by casting aside their differences and banding together can they hope to survive the nightmare that is the Eugenesis Wars.

But people don’t really talk about all that, even though it’s a majority of what the book’s about. No, people only talk about what happens after the Quintessons are defeated. People only talk about the robots getting pregnant, because honestly it is the most bizarre thing.

Not because the idea itself is terribly odd- I mean, at least it’s in line with the lore the comics set up. It’s bizarre in how we get to that point. All the torture, all the suicide and death and depression and destruction of entire belief systems, leads up to these robots getting pregnant. Almost like that was the whole point. And considering that this story is presenting to us a bridge for the gap between the classic Transformers and the Beast-Era ones, it could have very well been.

I won’t say fetish, because that doesn’t feel quite right, but our dear author seems to have a sort of… obscene fascination with the concept of mechpreg. A fascination that will carry on well into his career as a professional comic scriptwriter, setting readers on edge for the duration of his run with IDW.

Comparing Eugenesis to More Than Meets The Eye and Lost Light, you get an interesting view of Roberts’ growth, as both a writer and a human being. Eugenesis is the work of what Billy Joel might call an "angry young man”, focusing on the despair of wartime and the futility of one’s struggle against the flow of time and mortality. The theme of time only being perceived as linear, and being in actuality an unending plane where all moments are equal and eternal might seem oddly specific, but it’s reflected upon by multiple characters within the story of Eugenesis. Perhaps this is why he has Brainstorm and Perceptor collectively and completely jack up time itself in the Elegant Chaos storyline.

Character moments sprinkled throughout the narrative give us a glimpse of the relationships that would be written later on- some of the most compelling scene writing happens between Quark and Rev-Tone, two original characters who have such a delightful dynamic between them, they very quickly became some of my favorites. You truly believe that they care so strongly for one another, they would do just about anything to keep the other safe. And they do, in a couple cases.

Then there’s all the death. There’s a lot of death in Eugenesis, and none of it is by way of natural causes- you’ve either got suicide, murder, or suicide-by-way-of-murder. You really see Roberts shine in these death scenes, both then and now, as he captures the utter, raw tranquility as one stares down their own demise, and on the other side of the coin, the complete annihilation of one’s very heart as someone they love is destroyed. It’s downright poetic how he handles these scenes.

Still, there is a difference in how the aftermath is handled. When someone dies in the MTMTE/LL run, there’s always meaning and purpose to it- nobody dies just to die, and those who are left behind are left at least something to comfort them.

A message of love.

The return of a friend.

A chance to keep living.

A chance to be a better person.

You don’t get that in Eugenesis. In most cases, there’s no salve for the wound, only more hurting. There’s no time to even mourn, as the fight rages on and on and on. Any happiness pulled from the narrative for the characters is laced with a bittersweet understanding that these folks probably aren’t going to make it, and they’re just as aware of that fact as the reader is.

And yet there’s something kind of beautiful about that, in a twisted sort of way.

Eugenesis is a sort of love letter to those dark thoughts hiding in our heads, those deeply scary intrusive visions of everything we care about being ripped away from us. It’s a book make up of catharsis, of hurting that begs for some sort of outlet. The characters in this story are lost, and scared, and hollowed out before the mass extinction even arrives, and are put through wringer after wringer, like some sort of distanced facsimile of self-harm.

Perhaps I’m reading a bit too into this, but with how intense things get, with self-insert characters no less, I can’t help but wonder if the James Roberts who was writing Eugenesis truly needed this outlet in more than just a creative sense.

Which isn’t to say that there aren’t issues with this novel just because it was a vessel for catharsis. Pacing can end up going so rapidly it feels as if you’re being pushed towards the edge of a cliff, then stutter to a halt to the point where continuing on feels like an absolute slog. But it always seems just as you’re about to put the thing down and give up, something completely thrilling, completely insane and powerful and profoundly attention-grabbing happens, pulling you right back in. If nothing else, this book demands one’s attention.

There are also some other, more interesting issues with Eugenesis. Issues I wasn’t really expecting to run into. To highlight one such issue, we’re going to play a game.

The game is called Guess That Character Design!

Hey Transformers fandom, got a new quandary for y’all to fight over. Forget the Frenzy/Rumble color debate, forget the Bombshell/Skywarp is Cyclonus debate, it’s time for the What The Actual Everloving Fuck Is Quark Supposed To Look Like debate! Do we follow the comic and its script, which show him as being either about on par with Rev-Tone and Mirage or taller, but fails to note any sort of color because it’s in black-and-white? Or do we follow the novel, which states he’s short exactly once, and crimson? And if he’s red, where did the blue paint chips come from in Part Five? They sure didn’t come from Rev-Tone, who I know is mostly red- not because the novel told me, but because I’ve seen art of him outside of this. Honestly, other than him having big honkin’ shoulders and a bust to match, nothing about Quark’s visual aesthetic is concrete.

Now, I could tell you all about his quirks and mannerisms, how he holds himself, how he talks, how he interacts with others, all sorts of stuff. Nothing wrong with the writing there, characterization’s great! I just couldn’t tell you for the life of me how his body is supposed to look. Rev-Tone’s in the same boat, except it’d be even worse without the helpful input of some friends. Did you know he has a visor? Because I sure as shit didn’t until someone showed me. It’s never mentioned in the book. You can barely see it in the prequel comic art if you’re looking for it, and the script is less than helpful to me because I’m not Matt friggin’ Dallas, nor have I had the pleasure of reading Transtrip. All the information presented in the novel about his looks involves his mouth.

Hell, some of the writing in Eugenesis seems to imply that he actually just has normal eyeballs.

What I’m getting at here is that Roberts leans a bit too much on the reader knowing exactly as much as he does about the characters, the plot points, the lore. And he knows A LOT about Transformers.

This book essentially requires the reader to have the wiki open with multiple tabs at all times. Roberts put his heart and soul into the prose, but the world-building had his nerdy little brains smeared all over it, because there are some obscure references in here, not to mention the sci-fi jargon. You basically NEED an internet connection to get through this- I’ve never read a novel that pretty much forbid an acoustic reading, but here it is, in all its glory.

Eugenesis is a dark, morbid, conflicted story with the oddest little bright spots in it. Within five pages, you’ll go from some of the most horridly bleak death scenes to someone accidentally burning a hole in their hand like a cartoon character. But never once, in nearly 300 pages, does it ever stop trying. It may not succeed in what it’s attempting 100% of the time, but goddamn does it go as hard as it can. This isn’t something that was done for money, or fame, or anything like that. Eugenesis is a passion project in the purest sense, and you can really feel it in the way it’s been crafted. For all the frustration it put me through, never once did I think “man, this guy just doesn’t care.” The ambition Roberts shows in the prose, in the world-building, in all the funny little moments that show just so much personality within the story, truly were harbingers for what was to come just a decade later.

Ambitious. Bleak. Brutal. Weird. Ultimately unforgettable. That’s James Roberts’ Eugenesis.

But let’s get to the heart of the matter, shall we? The one question that truly matters for any novel: is it worth reading?

Well, that depends.

If you had a hard time with the darker parts of MTMTE/LL, I really couldn’t recommend that you read Eugenesis. You will have an awful time, because most of it is Grindcore x100 levels of depressing and brutal. There were a couple points where I had to take a break because things got so intense- and I’m not exactly squeamish. Maybe stick to a breakdown- like this one!- or try a group read-along. Friends make everything better, after all.

If you like Roberts work and want to see where he came from, like I did, I highly recommend you find a copy- digital of course, there are only a few hundred physical copies in existence. I recommend you find the 2nd edition, which includes Telefunken and fixes some of the more glaring continuity mistakes and typos.

It’s a good read. Just... it’s a lot at times.

Like, a lot.

Up next-

Oh, what? You didn’t think that was it, did you? This url is way too sweet to just be done with so soon.

Next, I’ll be taking a gander at Children of a Lesser Matrix, which is something that was never finished by Roberts, but is still floating around the internet because hey! It’s the internet.

If anyone has any other somewhat obscure writings from JRo, feel free to send them my way. Especially if you have any of the TMUK zines from back in the day. I wish to consume all the works.