#zero learns writing should be fun: a three part series

[mediocreanomaly]

Hello my loves, here's an update no one asked for lmao

So I did a little reflection on this account, a lot changed since when I started it, my work schedule, a lot of stuff with family, local issues I was helping out with, etc etc. (Aka... The fanfic writers curse)

But! I want to write but I've been procrastinating it because I realized it was really hard for me to keep it up since I had sort of turned it into a job instead of a hobby. I started writing the way I thought other people wanted me to and stressing myself out over deadlines when... I literally didn't have to take request if I needed a break?

Wack. I literally was putting invisible rules on myself and my own blog haha.

That being said... I'm back! Or- okay not back back but I'll be slowly posting writings. Inbox will stay closed for now, I plan to work through a few request rotting in my box but it'll be in between my own personal writings.

It'll be a little slower because my work load is crazy right now and I only have like... An hour at most to work between some classes and my job but I do actually want to write and I finally have some motivation.

I just went back and cleaned up some of my previous writings (apologies for everyone who reblogged the chucks of dialogue and typos I used to rush them at work :') )

But I hope everyone will appreciate the stuff that comes out until I'm ready to take request again 🥰

[comicaurora]

A bit of a strange question, but if there were any of your videos you were to "remake" today for any reason (ex: you feel like you misrepresented the original text or spread misinformation), which would it be and why? None of them is a perfectly valid answer

Again: bit of a strange question, but I've been thinking about my own creations and how I could have done so much better with some of them, but I also know that is a sign of my growth and constantly chasing "what if I did this instead" isn't always healthy for nurturing a creative mindset, and I was wondering what your opinion might be as a Creator of Things with a bit more experience than I

There's been a few trope talks where I've thought later of other angles I could've explored that might warrant sequels or part 2s, but I don't dislike any of the summaries enough to justify a rework.

I always find "I could've done this better if I made it now" to be a bit of a fallacy. I'm only better at making things now because I made all those earlier things. If I knew everything I'd learn from making a project before I started the project, it wouldn't come out the same.

I think when it comes to the "rework remake perfect" instinct, it helps to zero in on what the impulse is really grounded in. In my experience, more often than not, it's not actually about making the art better, except incidentally. It's usually about showing that you are better. It's demonstrating your competence and your higher standards and your skills, and more importantly it's overwriting the proof that you were once less than perfect. If people look at your old work and think that's all you're capable of, they'll be judging you poorly!

If that's the motivator, it's a very unhelpful one. You can't control for being harshly or incorrectly judged. It's a fruitless effort to stave off potentially upsetting outdated criticism, and it's not even going to work. Fear of critique is an unreliable and untrustworthy motivator.

If it really is about making the art itself better, perfecting your magnum opus with your newly leveled-up skills, that's a little more solid. But from where I'm standing, it's always better to use those skills to make something new instead of polishing something old. The older, unpolished work has already acquired its audience that finds it appealing for reasons that might never occur to you. Trying to bury or overwrite it just deprives that audience of the thing they like, and maybe makes them feel bad for having liked it in the first place. Also, usually when you look back on the older work, you'll conclude that the problem is everything and it'll need to be torn down and started from scratch. I know when I revisited the first three chapters of the comic, when I let my critic brain spin up, it wasn't shading or lineart I wanted to fix - it was panel composition, overall pacing, the entire structure of the chapters as a whole. I would've had to make them all over again to be happy with them, and they wouldn't be the same story by the end.

I've been thinking a lot about the Discworld through this lens lately. It ended up over 40 books long, but everyone agrees that the first two are not what you should start with, because they're the worst ones. They're entirely parodic, purely referential of at-the-time major fantasy series, and borderline mean-spirited in places. If you haven't read Fafhrd and the Gray Mouser and Dragonriders of Pern, you're not gonna understand like a full 50% of The Colour Of Magic.

It's clear that when he started in on them, Pratchett was entirely focused on taking the piss out of a genre he found mostly shallow and unimpressive. But the Discworld wouldn't leave his head, and everything he made fun of he clearly eventually found himself overthinking. He'd make little one-off jokes in the early books about Dwarves having no women and a hundred words for gold, and then twenty books later he'd have a Dwarf gender revolution make waves across the Disc, and then he'd write Thud!, a book that delves deeper into the nuances of Dwarf societal structure than Tolkien ever did.

If you look for them, there are continuity errors everywhere in Discworld. In his introductory book, Carrot defused a dwarf bar full of rowdy brawlers by guilting them all into writing to their poor lonely mothers back home. Shortly thereafter, Carrot will be outraged at the mere concept of an openly female dwarf. Pratchett even eventually wrote Thief of Time, a book that loosely explains that the Disc makes no sense because history has been broken and put back together incorrectly twice, and therefore any continuity errors are because of that.

He's the writer. He could've gone back and fixed it, edited the reprints to be less disruptively discontinuous with the later books. Instead he continuously moved forward and allowed the world he made to grow without cutting it off from its roots. And because he didn't bury his older, far worse work, we have the privilege of following the Disc's evolution from the very start, and seeing how this shallow, stock fantasy world parody became something incredibly rich and complex without ever pretending like its early installments never happened.

Anyway, that's why I think it's better to move forward. You make more good stuff that way.

[fuckyeahisawthat]

Got tagged by @chaotic-neutral-knitter to share my favorite fics I've written and I feel a little bad not putting any of my 3 OFMD fics on the list. But in my defense it was very hard to choose between my 116 slutty slutty children, and while I like my OFMD fics a lot (especially Learning and Remembering) I decided to limit myself to five fics across all the fandoms I have written for over the past nine (!!) years, and there are some that stand above the rest.

Maybe I'll Show You the Way (Dune, Paul/Chani). Maybe my recency bias is showing but I really think this is one of the best things I've written. Paul and Chani's whole "falling in love while fighting side by side in an anti-colonial armed resistance movement" romance in Dune Part Two felt like it was designed in a lab to appeal to me specifically, and I just wanted more of it! What started with a simple "5 times they fucked in between fighting the Harkonnens" premise has become a novella-length character study about war, politics, solidarity and resistance to oppression in all its forms, interlaced with a very sweet, youthful first-love romance that always has a bittersweet edge because we the audience know these characters are living in a tragedy. This fic is one chapter from completion and I've been stalling because I really wanna stick the landing on this one, but it will get finished!

a narrow door, swiftly closing (Dune, Paul/Duncan) Different ship, different era (post-Dune Part One) and a very different vibe. The fun of this ship is the multiple power imbalances running in different directions (younger/older, student/teacher, lord/vassal, end product of a 90-generation eugenics program with a mind that can bridge time and space/Just Some Guy). It's also got that chewy age gap thing where the older character has watched the younger character grow from a child to an adult and has to wrestle with the realization that they find them sexually attractive now. Peak forbidden romance and mutual pining in this one and not just one but two of my favorite finally-crossing-the-line kisses I have ever written.

Three Times Is a Habit (Trust, Primo/The Other Paul) Ah yes, my "which doomed curly-haired teenage twink heir to a powerful dynasty named Paul are we talking about?" era. For a hot second (most of 2021) I was really into this hidden gem FX limited series Trust, based (with many creative liberties taken) on the real kidnapping of John Paul Getty III in Italy in the 1970s. The fun of this fandom is that every ship is an absolute garbage fire of bad decisions, and writing the trainwreck emotional logic that leads to a traumatized teenager repeatedly hooking up with his kidnapper was an adventure. There's also a fun meta layer at play in the relationship between our reality, the fictionalized "true" version of the kidnapping that happens in the show, the lies the characters tell about the fictionalized version of the kidnapping in the show, and the version of the characters I'm writing, some of whom are based on real people and some of whom are made up. (Is this RPF? You decide.) This fic will make zero sense if you haven't watched the show. But you should! It's a wild ride with a great cast (Donald Sutherland presente!)

Salvage & Scrap (Mad Max: Fury Road, Gen) Two minor characters who have a combined total of maybe five minutes of screen time produced what was until recently my longest fic on AO3. This fic was based on a fantastic prompt: what if Ace (the older war boy who seems to be Furiosa's second in command on the War Rig) and Valkyrie (Furiosa's Green Place gal pal) both survived their violent vehicular encounters and met each other? The idea was immediately appealing to me because they both care about Furiosa but have known such different versions of her, and the way their worldviews would clash seemed like great story fodder. I still love the imagery of them meeting at the place where their worlds have literally collided--the wreck of the War Rig in the Rock Riders' canyon. Also I recently reread this and I forgot how devastating the tiny glimpse we get of Furiosa is in this fic.

Fightplay (Mad Max: Fury Road, Max/Furiosa) You know this list wouldn't be complete without a smutty Maxiosa fic. It was really hard to pick one piece of the 127k smut novel I wrote about them in non-chronological order over the course of about 3 years (2015-2018). But Fightplay was definitely the start of writing uhhh a certain kind of dynamic for them. The prose is very spare and exacting in a way that I still find hot 9 years later.

Tagging @thebyrchentwigges, @thetardigrape, @nandamai, @bethagain, @demolitionwoman-blog and anyone else who wants to do this!

[alpinelogy]

Started following you after reading your Ferrari chalex fic

Any kinda lore/director’s cut about the chalex time travel Ferrari fic

tell me why u follow me on/off anon (& backstory on my fics)

[rises from the dead two months later] HELLO, now entering a world my beloved. Ferrari chalex you will forever be famous

Rambling under the cut o7, heads up for spoilers

God where do I begin

First of all, this was posted post-chapter 4 but it is still a wonderful silly little rant on the story and my thoughts into it. By then I had the rest of the fic figured out and I was really just setting up the future plot points 🙂‍↕️

However, heres is some random rambling on the fic because I have so many thoughts:

I started working on the fic last January, and initially I was hesitant if I even wanted to go on with this, I had just finished writing we found wonderland (you and i got lost in it) few months earlier and in that one the ghost of Max Verstappen too somewhat haunts the narrative and I hate repetition. Then Kiro my beloved asked me to do some writing sprints with her one afternoon and I wrote about 5k of mildly disconnected scenes and I was dedicated to the bit since then

Also initally, this was meant to be either a three or four chapters long fic, clocking in at some odd 24k - 40k. Already a massive range (3 - 4 chapters, each 8k - 10k), but nowehere near the final 51k I ended up at

Please perceive my spreadsheet of plans. Obviously that ended up deviating and I discarded the three chapter option before I even outlined this but some extra things I wanna note:

All options open with the second loop/first time he goes back. I tried to start with the first loop but I could never get it to work. At the end of the day, we all know how roughly the race week works, what is the point in me writing a series of shite but otherwise average race weeks

Yes the first Charles is acting weird loop is in spirit loop 16. I like my number symbolisms even if they have zero mention of the actual fic. Tho also perceive that no plan the idea was for chapter 3 to be loops 5 - 16. Chapter 2 really ran away from me

Congrats to chapter 4 for sticking to the plan. Loops 17 through 22, exactly as it should be 🙂‍↕️

Now as for chapter 5... yeah, that chapters loop was supposed to be the final one. It was actually the plan until like... a week before I posted that chapter, and then I decided to go back and fix my pacing. Therefore while it is not relevant, Alex gets sent back to Bahrain a grand total of 23 times/goes through the first three races 24 times

With each loop being 24 days with a handful of exceptions, if we round down to 21 days that means Alex spent ~500 days in the timeloop. Thats more than a year. Fun!!

Hey what caused the loop? Well thats for me to know and for you to find out in wolves standing (towards the enemies) coming... well I wanted to post the first part on Dec 1st but I fear that is not happening. Burnout is a bitch

Ngl took me a while to figure out what exactly is the way out of the loop. Never let anyone tell you you cannot treat your silly little fanfiction with the same importance as original fiction, I wanted to have a point to the loop, a meaning and I eventually got it; letting people in and trusting that they will not betray you

Charles and Max are significantly more important to the narrative than it may seem. At the end of the day the fic in a way is about the treatment of teammates, and how Alex had to learn that his RBR experience is not universal. Did I have to put him into a timeloop? Yes. Yes I did

Hey why did Charles know about the timeloops? Did he know about the timeloops? What is going on with Charles? That's for me to know and for you to find out in wolves standing. That one is Charles' POV, you get to figure out everything with him there. That being said, subconsciously, Madoka Magica had a lot of impact on the plot and minutia of the timeloop possibly. Make of that what you will

Funnily enough however, initially Charles played a minor role at best. He was meant to haunt the narrative like Max does, not be fully involved and pulling the strings in the background like he actually ends up doing

Last one little silly fact; the fic was almost named wolves standing (towards the enemies). Ended up gong with now entering a world (from which you will never return) but as obvious that original name got stuck and I am using it for the (unplanned) sequel

Anyway I am definitely forgetting something but this is all that I could think of, sorry that it took me so long anon, hopefully you are still here <3

Finally, I will leave you with my favorite line from the fic, coincidentally one of the lines that solidified it for me that i want to write the entire fic

"It is not a declaration of love. It is the closest Alex will ever be to declaring just how much he cares about Charles as long as he is repeating the same three weeks. It is an admittance that he has lost the battle long before it even started. But maybe that was the point, maybe he has to lose the battle, position his troops wrong so that Charles’ cavalry can trample them, to win the war. To be forced to have Charles as his ally rather than his enemy." now entering a world (from which you will never return) chapter 6

One of my favourite things I've ever written, period. I regularly think of this line

As well as the links to the song that gave the fic its name, a remix of it that I listened to a lot when I was writing it, and the song that gave the sequel its name

[nines82]

𝑲𝒂𝒎𝒆𝒏 𝑹𝒊𝒅𝒆𝒓 𝑨𝒈𝒊𝒕𝒐 (2001-2002) - 𝑯𝒐𝒘 𝑰𝒏𝒐𝒖𝒆 𝑾𝒓𝒐𝒕𝒆 𝒕𝒉𝒆 𝑩𝒆𝒔𝒕 𝑹𝒊𝒅𝒆𝒓

Kamen Rider Agito has been a show that I have held in such high regards since I first watched it during lockdown in 2019 when Zero One, Taiga, and Ryusoulger (later Kiramager) graced our eyes with their Reiwa era almost "more of the same" feels but with sprinkles of new ideas and concepts that could write in the stones of what future entries could entail henceforth for the IPs. Kamen Rider Agito struck me hard when I was diving into the world of Rider, un-linking itself from the Kamen Rider formulas (while in the sense making the formula of future entries) and being Toshiki Inoue's take on the meaning of what Kamen Rider is and how the toll of such a heroic can be on the protagonist and the cast's entire livelihoods when confronted with the mysteries of their world and within themselves. When tasked with having the first three (later four) way storytellings of Agito, the viewer has to watch as they intersect or even clash at times. The most interesting one obviously is Shouichi Tsugami's story, which Inoue writes with considerable grace and is probably the best Rider arc where Tsugami learns to not give up either sides of himself for the sake of the other and balance his life as a person saving others and as the man who has to learn who he is as a person. On the other front we have Hikawa Makoto, a failwife who pilots a mecha suit based on Kuuga that tackles the government politics of the dealings of the Unknown and the mysteries of the verse. Hikawa is not the best detective, in fact he is terrible, but he is adorable and his co-workers/friends are so fun to watch plus his dynamic with Tsugami is cute. However, it would seem that corporate still wanted a stock standard Rider protagonist in some form so we get our traditional Rider writing compensation in Ryo Ashihara, he's a bit of a wandering hobo who gets the brunt of rather underwhelming plotlines that are weaker for the greater chunk of the show leading up to his first death. However, after that initial death he becomes a way better character so who is to complain? The Rider and Unknown designs are great, probably some of the best of the franchise. I love Agito and his forms, Gills Exceed, G-3X, and the second half's Unknowns. They fit snuggly alongside Kuuga's designs, and ultimately feels so naturally like continuations of those sensibilities. The one major fumble of Agito is the final five episodes, which feel like tacked on parts of what may have been plans of an epilogue movie of sorts stuck in five episodes of epilogue. This is my pick of the best Rider series ever, period, and I definitely think it should be worth checking out.

[billsfangearring]

I've really enjoyed reading these posts today—thanks for kicking things off and making this lovely banner, @efkgirldetective! I thought it would be fun to do one myself even though I'm not a fic writer. (Yet? See Goal 1. 😬)

Goal 1: Publish my first fic.

I will almost certainly regret stating this publicly, but I've got about 1,200 words written of my first fic. It's a First War Remus/Sirius fic that probably won't be most people's cup of tea, but it's the story that started bouncing around in my head this fall that eventually drove me to give this whole fic-writing thing a shot. (Lessons learned so far: Plotting is hard! Atmosphere is easy! I use too many similes!) Since I'm in it now, feel free to ask me how I'm doing with this and hold me accountable—@consistentsquash and @the-dream-team have already been doing a good job at occasionally prodding me about my snail-like progress.

Goal 2: Publish four more of my Wolfstar Yearbook rec lists.

For those who don't know, I've been putting together rec lists of my favorite five or so Wolfstar fics completed in each year, starting with 2003 (the publication year of the oldest fic I'd ever read). I cranked out five of these in less than three months over the summer and kind of burned myself out on the pairing and those posts for a few months. I think aiming to post one every three months is a sustainable goal given other things I want/need to do next year.

Goal 3: Publish at least one non-Wolfstar rec list.

I'd really like to do some sort of Jily rec list, maybe sticking with my M.O. of reviewing older fics that aren't as well-known now. I can also think of a few other pairings/themes that I conceivably could do a list for. I already have a multi-pairing time travel rec list that was well-received on Reddit, but I haven't posted it here because it doesn't really fit my tumblr "brand," to the extent that I have one. I may post that over here too at some point, but it won't count toward this goal.

Goal 4: Publish another deep-dive single fic rec.

My excessively long review of The Last Enemy series by @chdarling was an interesting challenge this fall. I'd never written an in-depth review like that before, and the fact that TLE is a WIP series with a pretty intricate plot added another layer of difficulty. I had a lot of fun analyzing it in more depth though, so I'd like to set a goal for myself to do another one of these if something else speaks to me in 2022.

Goal 5: Consistently leave comments on works I enjoy.

It took me 15 years of silently reading fic before I mustered up the courage and effort to leave my first comment. I've tried really hard these past six months to make commenting more of a habit, and I'm happy to say I've managed to build some momentum! Part of this process for me personally has been giving myself permission to not do the absolute most with every comment—they don't have to be beautifully articulate and insightful to mean something to the author and make me feel happy about leaving one. Lowering that self-imposed barrier to entry has been really helpful for me to get better at commenting. I want to keep working on this in 2022.

I think most of the authors I follow on here have already been tagged. As a reccer/reviewer myself, I'm going to tag some fic rec blogs I've appreciated this year instead. Zero pressure to do this, of course, but I'd love to hear your 2022 goals for your reviews if you have any you'd like to share! @consistentsquash @wolfstarwarehouse @wolfstarlibrarian @wolfstarhaven Anyone else who wants to participate should consider this an open invitation too!

[makeste]

if there is a timeskip, how far ahead do you think horikoshi will move along the story?

okay, so... I sat here for a while trying to work out how to phrase this less harshly lol, but I think I’m just gonna be blunt: I really, really hope that Horikoshi does not give us any kind of timeskip. there are precious few things that could potentially push me to quit this series, but a timeskip is one of them. I’m not saying that to be dramatic, I’m saying it just as a fact, because it’s happened to me multiple times before. in my experience, nothing else out there ruins a story as easily or effectively as a timeskip.

but let me try to break down and explain my loathing of them a bit more in depth.

1.) they make it so the audience misses out on character development. this is probably the thing I hate the most about timeskips. so here’s the thing; there are two different kinds of shounen timeskips. the type where the characters (mostly) stay together throughout the timeskip (think Naruto), and the type where the characters split apart during the timeskip (think One Piece). and I hate both of them equally, and let me explain.

I am reading the series because I am invested in the characters and their relationships. I want to see these relationships grow and evolve. timeskips make that impossible, because the whole point of a timeskip is that it skips right over everything so the audience doesn’t get to see it. and so, if the characters stay together during the timeskip, that’s a huge chunk of time during which their relationships are continuing to evolve, and the audience is missing out on all of that. that’s like starting a book and then finding that the entire middle section of it is blank. like, sorry about that, we decided this part wasn’t important enough to write down. if you’re lucky we might show you little bits and pieces of what happened during flashbacks, but otherwise you’ll just have to deal with it. boooo.

on the other hand, if the characters all go their separate ways to train on their own during the timeskip, then in a way that’s even worse. like yes, we’re technically not missing out on any relationship development, because no relationship development is even happening. those relationships are just put on hold for the duration of the timeskip. like, to use One Piece as an example, that means that the crew was together for like six months or however long, and then they all split apart for two whole years. they were apart for four times longer than they were ever together as a crew! like, you brought this found family together and bonded them so strongly only to rip them apart again?? for two years?? and for what! so that they could become boringly overpowered?? well, speaking of --

2.) they make fights predictable and/or disappointing. now for me, this one isn’t quite as bad as the character development one, but that’s mostly because I don’t care about fights as much. that said, post-timeskip fights are usually a dime a dozen, and I hate it. because here’s the thing: the whole purpose of the timeskip was to power up the character offscreen, so that they come back ready to kick more ass. which is great in theory, but in practice, post-timeskip fights tend to feature one of two brands of disappointment. either the protagonist character powered up so much that they easily win the fight, or else they still struggle even after all of that training and effort. the latter is just frustrating, because it’s like, so then what even was the point? but meanwhile, the former is also disappointing in its own way, because there’s no challenge anymore. yes it’s cool for like two seconds, but then what? if all I wanted was to watch someone reliably and effortlessly kick ass all day, I’d go become a fan of a bandwagon sports team. for me, the appeal of shounen is that the characters are learning and growing and struggling. if you make it easy for them then where’s the fun in that? if your character no longer faces any real obstacles then it stops being an interesting story.

and last but not least, 3.) they change the tone of the series (usually for the worse). so this one is interesting because this is one of the main reasons why a lot of people advocate for timeskips in the first place. ‘they help to make the series more mature’, or something along those lines. people are interested in seeing what kinds of storylines would open up with an older, more experienced cast of characters.

except that when people say more mature, what they usually mean is one of two things. either more romance, or else darker/grittier story content (read: more character deaths). which, just speaking personally, I have approximately zero interest in either of those things. if I wanted a grimdarker shounen series I’d be reading Attack on Titan instead. if I wanted more romance, I would read... well actually don’t really know what I’d read lol, because that’s kind of the point I’m trying to make here -- I don’t read romance, because I’m not interested in it (insert aromantic disclosure here). as an element of a more complex story, sure, that’s fine. but as a focus, I’d just as soon not. nine times out of ten I will lose interest in it. that’s 100% a personal preference there of course, but yeah.

anyways, but the point is, I started reading this coming of age story about teenagers at a superhero academy because I like coming of age stories! I like reading about younger characters and their adventures, learning about themselves and the world around them, making mistakes and getting stronger and the like. this is a specific genre that has a specific appeal to me. there’s an idealism and an optimism inherent in it, and I really don’t want the series to go changing that up. especially if there’s no need to change it up. which imo there really isn’t. as it stands, BnHA is already an unexpectedly mature story in a lot of ways, and it’s already exploring a lot of darker and more complex themes as it is, and doing an excellent job of it imo. basically, if it ain’t broke, don’t fix it. most of the time you’ll just end up ruining what was so appealing about the series to begin with.

so yeah! thus concludes my impromptu rant post about timeskips lol, and I’ll just belatedly add in a disclaimer as well that this is just my own opinion of course, and ymmv. but for me personally, I think that shounen series in particular rarely come out better after a timeskip (in fact I can’t think of any off the top of my head to tell the truth). also in BnHA’s case I really don’t think there’s any need for one at all. maybe if we get another short one, like the three-month timeskip that took place just before the start of this arc. but even then, there is just so much going on currently in the manga that it would feel weird to just fast-forward through it. TomurAFO is still on the loose. Dabi just blew up hero society as we know it. All Might is prophesized to die in the near future. the entire Billboard Top Ten was pretty much wiped out. and so on and so forth, and that’s not even getting into all of the character development that recently took place.

it just feels like things are too chaotic right now to skip ahead very far. I want to see what’s going to happen in the immediate aftermath of all this. and I don’t feel like the villains will leave the heroes alone to recover for very long. like, I can’t really figure out where someone would even put a timeskip, I guess is what I’m saying? there’s nowhere that feels natural. I could see them skipping a few weeks ahead maybe, but no more than that. anything more, and one has to assume that Tomura simply comes back to wipe out the rest of the heroes and/or the world lol. unless they shove him into another cryotube or something, I suppose.

so yeah, I think we’ll either get a very short timeskip or none at all. at least I am keeping my fingers crossed for as much. I don’t think it needs to happen or should happen. again, ymmv, but at any rate that’s my answer.

[dizzydennis]

My ideas for Sonic Riders 4!

Title:

Sonic Riders: Drift Dimension

I have a lot of ideas for a potential Sonic Riders sequel and I hope you can enjoy what I have to say. I am very passionate about the Sonic series and would love to see the Babylon Rogues again. I wrote a lot, but any comments or feedback would be wonderful! Check it out under this cut!

Story:

I would like the story mode to continue to split between Team Sonic and the Babylon Rogues. For the sake of making this cohesive, I will write out the narrative linearly.

Set a few years after King Doc’s tournament, Wave has convinced Jet to allow her to continue to investigate Babylon Garden even more under the promise that it would improve their Extreme Gears. The 3 Babylon Rogues go deep within the ruins of Babylon Garden by using their gravity modules (from Zero Gravity.) Wave is still worried about the black hole that could occur, but her calculations assure her that it won’t be a problem. However, while in the heart of this floating island, the gravity modules float into the rocky ruins and activate a bright light as Babylon Garden powers up.

Tails pilots the Tornado with Sonic, Knuckles, and Amy in tow. He detected the massive energy surge that cause Babylon Garden to light up. It seems like the garden is warping reality around it, but with their courage, they enter into the void.

It seems that Babylon Garden has teleported to another world. With their airship being grounded due to the warp, the Babylon Rogues hop onto their Extreme Gears to explore. Before long, they encounter a massive airship that completely dwarfs their own. Upon being captured, they learn that Jet’s father, Kaze, is the leader of this group known as the Babylon Legion. The Rogues have been reunited with their ancestors and family. Naturally, they’re overjoyed! Especially Jet who has been longing for his father for years.

Shortly after, Sonic and his friends encounter the airship and are reunited with the Babylon Rogues. Their fun meeting soon turns dire as the Babylon Legion surround and arrest Knuckles.

Later, Jet inquires about why they apprehended Knuckles. Kaze explains that years ago when they crash landed on Sonic’s planet, they had encountered a terrible Echidna Clan who were power hungry to conquer others. When the Babylon Legion refused to give their advance technology to the Echidna Clan, they were seen as enemies. When there were murmurs that the Echidna Clan had awakened a god of destruction, the Babylon Legion tried to get reactivate Babylon Garden to allow them to leave the planet.

Instead, Babylon Garden was stricken deep into the planet and the Babylon Legion was warped to parts unknown. Jet was baffled by what he heard, but he trusted his father. Upon meeting with Sonic and the others, they discuss what happened and that there were plenty of holes in Kaze’s story. Jet, upset that others would accuse his father, argues with them. However, there was one point that Storm brings up that cannot be ignored. How were Jet, Wave, and Storm on Sonic’s planet if the Babylon Legion were teleported to this planet?

They learn that when they were younger, Kaze had volunteered the three for an experiment to see if they could return, but in doing so, the 3 Babylon Rogues were stranded on their own with no real memory of what had happened.

The Babylon Rogues have to choose between siding with Team Sonic or the Babylon Legion, but they soon find out that Kaze intends to use his technology to convert Babylon Garden into Mecha Babylon. Having learned from the Echidna Clan, power needs to be met with power. Therefore, Kaze wants to teleport back to Sonic’s planet with Mecha Babylon being the ultimate weapon; a fortified island with weapons and a metal shell.

All the heroes band together to stop Kaze from reaching the inner ruins of Babylon Garden to allow it to teleport back to Sonic’s planet. During the climax, Kaze activates the portal only for Sonic and Jet to work together to knock him off of it. Torn between going with Sonic or staying with Kaze and the Babylon Legion, Jet ultimately decides that he must go back with Sonic. He claims that “The Babylon Legion had their chance,” as Sonic grabs his hand and the two dive into the portal.

Cut back to Sonic’s planet, Babylon Garden continues to float around the planet, perfectly reflecting Angel Island. Here, Knuckles and Storm reflect that the Echidna Clan and the Babylon Legion were a lot more similar than they were different. Wave notes that it isn’t one’s lineage that defines who they are, but what they do to better that lineage for future generations. Jet and Sonic use that as a means to claim that they’re the fastest as they race across Babylon Garden. Kaze’s words echo through Jet’s mind as he overtakes Sonic and the two ride off into the distance.

Stages:

Tundra Peaks / Frigid Avalanche – A snowbound stage high in the mountains that mixes canyons, rocky hillsides, and snow. The former stage features nice, mountain villages while the latter stage takes place with massive avalanches falling around the player.

Future Mall / Shopping Calamity – A futuristic city that leads into a massive shopping mall. Players would weave in and out of stores while making their way to a large building outside. The latter stage would be at night where a certain band of robots might be trying to get away with a robbery and chase.

Tubular Coastline / Hurricane Seaboard – A gorgeous beach that runs along side an advance city. You can choose to ride along the sand or take to the waves to get some boosts by performing tricks on the water. Be careful of the storm coming in the latter stage that alters the stage in a crazy way!

Thrill Park / Cursed Midway – A theme park with roller coasters, log flumes, and plenty of other rides. Be warned though, the haunted house gets a bit intense at night and changes the entire park!

Neon Woodland / Forest Illumination – A forest hidden within a valley that glows with luminous mushrooms and vines that glow as they are touched. This place really comes alive late at night when a rave party is going on!

Babylon Garden / Mecha Babylon – While not a remake of the original Sonic Riders track, this version would start on the outside of Babylon Garden as you go deep within the floating island. The mechanized version of this stage is far more dangerous with lasers and robots about; players would fire themselves across the island via giant turrets. Mecha Babylon would be the final boss fight against Kaze.

Dimension Hops / Nostalgia Trip – This is a bonus track where you hop between dimensional pockets of Metal City, Aquatic Capital, and Dolphin Resort. It’s a celebration of the Sonic Riders series. Nostalgia Trip sends players through Green Hill Zone (of course it’s here), Final Rush, and Sunset Heights. This one celebrates the Sonic series. These two tracks would not share music.

SEGA Heroics / SEGA Darkness – Much like the other SEGA fan service stages in the series, this one instead separates the two stages between the heroes of SEGA’s rich history and the villains. Lots of fun to be had here!

Playable Characters:

Sonic the Hedgehog, Miles Tails Prower, Knuckles the Echidna, Jet the Hawk, Wave the Swallow, Storm the Albatross, Amy Rose, Kaze the Hawk, Shadow the Hedgehog, Rouge the Bat, Cream the Rabbit, Blaze the Cat, Silver the Hedgehog, Vector the Crocodile, Dr. Eggman, NiGHTS, Kazuma Kiryu, Arle Nadja

Gameplay:

The gameplay would avoid the failings of Sonic Free Riders. Motion controls have been pushed since Sonic Riders: Zero Gravity and they’d be mostly dropped here. The game would implement the AIR system, but with the multiple routes with the gravity modules. Due to plot reasons, the gravity modules themselves can’t be used, so this mechanic would just be a movement of the Extreme Gears. Speed, Fly, and Power routes would still be available based on the characters and not the gears... and would hopefully be better balanced. The springs would be taken out as they were so painfully contextual in previous games. One thing from Sonic Free Riders would be certain items to change the course of the races including missiles, ink traps, and a few others. The grab mechanic to reach out to the left or right can be brought over too as it holds a lot of potential. Also, the vibrant visuals from Free Riders should be carried over! Moreover, the boost from the original game would be present. Lastly, the game would feel faster. Drifting, much like Team Sonic Racing would be emphasized more in this game.

Typical features would include the Story, Grand Prix, Battle Mode, Time Trials, Character Profiles, Gear Shop, Gear Gallery, Online Multiplayer, and Options. Let’s have alternate costumes for the characters too! Also, the Grand Prix mode would have character specific endings that would be simplistic, but still a treat and motivation to play through it with each character!

That’s basically it for my ideas. I know it’s just a pipe dream, but I would love for a Sonic Riders game to really get into the old stories and characterizations of the original two games, while adding some heart for the Babylon Rogues. It doesn’t need to reinvent the wheel, but rather just create a fun racing game that focuses on these amazing characters.

[rachelbethhines]

Tangled Salt Marathon - Rapunzel’s Return Part 2

Continuing on from part 1 - 

https://rachelbethhines.tumblr.com/post/635068926214258688/tangled-salt-marathon-rapunzels-return-part-1

Summary: When Rapunzel tries to defeat the Saporians by herself she gets captured; but once Varian realizes that the Separatists plan on using one of his potions' destructive properties to destroy Corona, he and Rapunzel work together to stop it.

Let’s Talk About What a Let Down the Sapiorans Are

Throughout seasons one and two the Sapiorans were built up to be this intriguing race of people with a complex past and real problems that are sadly relatable to this day. They had a history, goal, motives, and special abilities like magic.  

Yet all we got was a really bad hipster parody. 

Heck, the crew can’t even keep it’s stereotypes right because they mostly slide into hippy territory instead. Hipsters, Yuppies, and Hippies are three distinctive counter culture movements for three different generations with completely different social concerns and fads. 

Basically Chris tried to “stick it to the kids” again and just wound up insulting his parents' generation instead because he’s that oblivious of other human beings.

And that’s not even taking into account that previously the Sapiorans were living on the run as nomads in caravans not dissimilar to common Romani stereotypes, so the show is once again making negative racial connotations due to thoughtlessness.

Why Do You Have a Secret Underground Room Hidden Behind Your Workshop Xavier?

Like that not a thing normal people happen to have lying around there workspace. We still are given zero explanation for why Xavier has all this plot convenient knowledge and rare unordinary plot useful stuff. 

Given his previous connection to Saporia and Zhan Tiri wouldn’t it not have made more sense to reveal that he is an actual plot important character in season three rather than keep him as just the exposition fairy? 

So Was This Before or After the Saporian Take Over? Cause Either Answer Makes This a Dumb Plan.

Why would the guards, especially Cap, just give up? Did they even bother fighting and then lost to Varian’s weapons or were they told to stand down by a brainwashed Frederic? If they knew something was wrong then why not stay and help? What makes them think they even could find Rapunzel given how no one knew where she was heading and her letters were infrequent? What difference would they think finding Rapunzel would do? 

Basically, just like with the “former cellmate” line, we needed to actually set up and establish this conflict rather than relying solely on exposition dumps. Because what we get here doesn’t make a whole lot of sense. It goes against established character and leaves a lot of unanswered plot holes. 

More Promotion of Authoritarianism From the Show

Remember that these are the same people who formed a lynch mob to hunt down a fourteen year old all because the king told them to. The same king who had been lying to them for years and placed their lives and homes in danger for months. The same king who persecuted the poor and orphans for years. Him suddenly sending townsfolk to the mines isn’t anything new, so what are these people’s breaking points? Anyone else would have revolted by now.  

But noooo, they need Rapunzel to do it for them. Cause Rapunzel is royalty and they can’t do anything without royal permission because they’re sheep. Sheep that’s been subjugated for years and conditioned to be afraid of their “beloved ruler”. 

I understand from a meta point of view why you would want your main character to take charge but...

Like this isn’t inspiring.

It’s disturbing. 

Why are we promoting blind loyalty to a person who’s not earned it just because they were born special? In a freakin’ kids show no less! 

Oh and still no one bothers to call out King Frederic’s abuses here, FYI. 

Take Note That Quirineon is Activated By Heat

This will be important later on in the review. 

He’s Already Built Grenades For You. Wouldn’t Those Be Better Because They’re Easier to Control?

He’s already built explosive chemicals for you. You just used them in part one of the episode. And it came in an easy to use form rather than an unstable, and untested, mess that could literally blow up in your faces since no one, not even Varian himself, knows how to control it yet. 

You Don’t Hammer Out a Cast Iron Pan

It’s literally in the word. To make a cast iron pan you pour the metal into a casted mold. You don't hammer it out like you would with a sword or something. And you can’t even go with the “rule of cool” here cause Rapunzel surrounded by molten metal and fire would have been far more impressive looking.  

Yes I’m being picky cause I’m stalling. I don’t care. This is just yet another instance of the crew not paying attention to details like they should. 

Behold The Final Time Eugene Will Ever Call Out Rapunzel’s BS

This is the last time Eugene will hold an honest discussion with Rapunzel like an equal to her. By the end of this episode he will have transitioned into full on doormat mode. 

Also burying negative feelings and not addressing issues is who Rapunzel is. She’s been pulling this shit since day one. It’s what causes 90% of the conflicts in the show. Have you not noticed Eugene?  

So This Episode Has Contradictory “Lessons” 

The episode presents this idea that Rapunzel needs to open up to others and trust again after Cassandra’s betrayal. The problem is that the episode doesn’t follow through on that. It makes a knee-jerk decision to go with a “responsibility” lesson that wasn’t built up to instead at the last minute. 

More on this later.    

Varian Doesn’t Actually Interact With the Saporians at Any Point.

The only person Varian interacts with is Andrew. We have no concept of how he fits in with the rest of the group and what his dynamics are with them. What do they think of Varian? What does Varian think of them? The consequence to this is to further divorce Varian from narrative, even though this is supposed to be his redemption episode. 

As I said in the last part, you can easily write Varian out of this episode and nothing really changes plot wise. That’s bad writing. 

Also I was robbed of Khary Payton and Jeremy Jordan exchanging lines. I was this close to having audio material for my BH6 crossover, dang it! 

Behold The One Time the Black Lady Gets a Line!

I think her name is Juniper? 

You can tell it’s her because of the shadow on the wall.

Anyways they casted this part and only bothered to give the character a single line? What a waste! 

But this just goes back to the series' poor representation. The only WOC in the show are presented as “shifty” and untrustworthy, even when they are ultimately “good guys”. The majority of them are straight up villains tho, and even as antagonists they’re not afforded any real screen time. 

And the only other outright black women on the show is the inventor lady who was given zero respect and the ghost of a barbarian. 

Once again, I don’t think the crew are intentionally racist. I think they’re just sloppy. They wanted to be more inclusive but they failed to actually give voice to minorities behind the scenes and so failed in representing them well. This is a problem with the industry as a whole, not just this one show, and must be talked about as such if we wish to change things for the better. 

None of this “Stuff” Holds Any Real Meaning

We get several callbacks to season one through Cassandra’s personal things that she left behind, but none of this stuff holds any real personal meaning. It’s just there. They wind up triggering these big emotional reactions from both Rapunzel and Cassandra but the audience is just left confused because what they’re crying over are things that have little significance to these characters. Even this line from season one is just dripping with sarcasm and not some pleasant past memory that either Cass or Raps holds dear to their hearts. 

Way To Go, Dumbass

It’s not that she went alone, or that she broke down when it finally hit her that Cass left, that I’m making fun off. The episode already addresses those two points. 

No, what ticks me off is that Rapunzel has taken down killer robots, ghosts, and monsters before now with her magical hair but a handful of regular dudes can just bring her down? I don’t care how much alchemy they got. Depowering your main character for no stated reason just for narrative convenience is poor writing. 

Because If He Didn’t He Would Have DIED, Rapunzel!!!

He literally would have freakin died had he not done something! He was left inside a jail cell to rot away! Before that he was threatened with hangman’s noose! Before that violence from an angry crowd! Before that he was left alone to starve and/or die from exposure! There was no way out for him except to fight! 

And here you are inside the very prison that you kept him in and you still don't have the fucking self awareness to put two and two together! 

This Right Here the Assassination of Rapunzel’s Character and the Killing Blow to the Series

Yeah, and what about after the storm? Hun, bitch!?

We’ve spent two damn seasons watching Rapunzel stepping on people and making excuses for herself and the one time when she should realize her actions are wrong and finally own up to her behavior and she still does not fucking change.

This is supposed to be a coming of age story! That means the main character is supposed to grow and learn shit! But when it matters most, Rapunzel only digs in her heels and refuses to change! 

Why should I care about this character anymore if she’s just going to keep on being selfish no matter what? Why should I bother watching the show if it fails to deliver on its premise? How is this in any way shape or form an appropriate message for children!? 

If you’re watching the series for the first time, then it’ll take awhile to register just how awful this scene is and how it really is the beginning of the end, because they did have time to turn things around after this. But they didn’t, and here we are. 

This Isn’t a Real Apology

It’s not a real apology if all you do is make excuses for yourself. Rapunzel doesn’t address what she actually did wrong here and it has nothing to do with her stupid promise. 

She neglected and enabled the abuse of a child for a year and three months, and she’s not even sorry for it! 

You Were Never a “Friend” Rapunzel

Friends, actually do shit together. They enjoy each other’s company. They care when the other is hurt or in trouble. 

Rapunzel only came to see Varian when she needed him for something. Even now, after this confrontation, that’s all she’ll ever do. She does not actually care about Varian, because the creators will not let her care. 

And Here Comes the Death of Varian’s Characterization

In order to make this stupid, forced, “redemption” work the writers had to do a complete 180 with Varian’s character and his motivations. Instead of freeing his father, seeking revenge, or just, you know, surviving, he now suddenly cares about “being friends” and “being accepted by people”, only he has no reason to want any of that! 

Rapunzel is a shit friend. Heck all the mains are crap friends to him. They ruined his life and the townspeople tried to kill him. Why would he want anything to do with any of these a-holes!? 

Varian doesn’t get assassinated in the same sense as Rapunzel and Cassandra do. He doesn’t suddenly become a hateable dumb douchebag or anything, but he nevertheless has his character retroactively sabotaged by the writing.  

Uh, Were You Not There When Your Dad Rounded Up a Lynch Mob Against Him, Raps?

I believe you were. Also Varian literally told you to your face that he had to go into hiding cause the townspeople were willing to attack him just because those rumors that you failed to stop and pretended not to know anything about. 

Just because the characters shout something repeatedly does not make it true. The audience isn’t dumb. They can remember what happened only two seasons ago. 

Where Was the Inciting Incident For This Change of Heart?

Why should he even want their forgiveness? Why has he given up on freeing his father? Why is he having second doubts about overthrowing the kingdom that persecuted him? 

If you’re going to drastically change a character’s motivations, goals, and moral alignment then you need to present an in story reason for that change. We don’t get that. There’s no inciting incident on screen for us to see the shift in his character development. 

The audience is left to only infer, and that’s poor writing. The audience shouldn’t have to do the work of the writers for them.  Characters’ motivations and goals  should not be guess work. 

The only thing we can glean from this is that he had a change of heart while in prison and that’s a horrifying thing for the show to suggest. That’s basically justifying Frederic’s abuse. It also recontextualizes Varian’s arc into one of submission to his abusers and not one of learning to do the right thing simply because it’s right. 

Once Again, Were You Not There For Season One Rapunzel?

They had a year and three damn months of chances. These people actively tried to do him harm just for simply seeking help. He has no reason to trust them nor you. 

Why Are We Shoulding All of the Blame Onto the Abused Child?

Yes, he did do all of those things, technically, but they’re being presented here without context.

The Queen enabled his abuser who was threatening his life and destroyed his home. He kidnapped her as a last restore when all other methods to get out of his desperate situation failed. 

The princess he threatened neglected him for three months and repeatedly refused to help him, even throwing him out into a deadly snow storm. Despite him being her responsibility, thereby making her neglect a flat out abuse of power.  

He would have died a slow and painful death in prison had he not helped to overthrow the kingdom that persecuted him. 

I’m not going to pretend that what Varian did was right or that he shouldn’t feel sorry for what he did, but this is a highly skewed version of events that are being recounted here just to create bias in the viewers. It’s manipulative writing intended to gaslight the audience. 

Also, why does he even want a second chance!?   

Doesn’t This Undermine The Saporian’s Goals?

The Saporians wanted to reclaim their ancestral homeland so that they would no longer be a displaced people. How does blowing up that homeland help them? 

Season three just throws all logic out the window. There’s barely a single villain who doesn’t undermine their own goals at some point with their stupid actions. 

So Why Varian and Andrew Not Some Other Team Up?

Out of all of the various recurring baddies in the show Varian and Andrew have the least in common. I’m not saying that they couldn’t work together, but doing so required more set up than this. Because as is, this is a very contrived teamup. 

They have diametrically opposed goals and moral alignments. Varian doesn’t bring anything to the table that the Saporaions couldn’t have supplied themselves. Meanwhile the Saporians have failed to offer Varian anything that he could want. 

At best it’s a marriage of convenience for them to both break out of prison together, but even that is contrived because we don't know why neither of them were sent away on the prison barge with the rest of the season one villians.  

Better combinations would have been 

Varian & Lady Caine

Andrew & Lady Caine 

Varian & Cass

Andrew & Cass 

Varian & Zhan Tiri

Andrew & Zhan Tiri

Varian & Hector

The Baron & Varian

Andrew & Staylan 

King Trevor & Varian 

Like there were tons of options here that the writers just ignored, even though any of them would have made more sense than the one they went with.  

The Andrew and Varian Dynamic Can Be Seen as an Allegory for Grooming; Unfortunately the Writers Didn’t Consider That Implication.

Yeah... That’s pretty much what Andrew has done here. He’s groomed this desperate and lonely teen to become a child soldier for him. And one only can only pray that’s all he tried to groom him to do since they were trapped inside a confined and enclosed space together for several months. 

Listen, I don’t mind children’s shows touching upon darker subjects. Often fantasy is a good way for people to process complex themes and uncomfortable real world situations through the safety of fiction. It can even be helpful for those who have had the misfortune to experience certain traumas. 

I’m not complaining that TTS is too dark. 

I’m complaining about it being shit. 

All of the crap Varian goes through is just thrown in there for shock value. It’s not here to commentate on the real world nor provide a complex story. The situations are brought only to then be outright ignored. This isn’t thoughtful nor deep. It’s not meaningful nor heartfelt. It’s just hollow drama done in bad taste. 

You’re Not In a Position to Judge Rapunzel 

You got captured first because you decided to throw yourself a pity party. 

Would He Though?

I’m pretty sure Quirin is very well aware of how shitty Frederic is. If anything I would think he’d be pissed that his son, that he tried so hard to protect, was mistreated in such a hordenous way. 

This isn’t some satisfying ending to Varian’s arc. It’s a heartbreaking revelation that he’s been beaten down by his abusers.  

Varian’s Arc Isn’t Actually About Validation, and Rapunzel Giving It Here Doesn’t Really Change Anything 

I spoke about this before on its own, but Tangled the Series places far too much stock in validation. Yes, it’s an aspect of his character arc, but it’s not the end all and be all of his motivation. It’s not the force that drives him to do what he does. 

His primary goal is survival, both for himself and for his father. His secondary goal is gaining his father’s approval, but that’s not because he’s seeking generic praise, it’s because his father is emotionally distant. The “validation” is a mask for the real issues which are to fix his relationship with his dad and avoid the guilt of having possibly killed him in an accident. 

Rapunzel has fuck all to do with that. 

He doesn’t need to hear approval from her. He needs her to get her shit together and help him! 

Rapunzel’s and Varian’s Situations Are Nothing Alike and Rapunzel Doesn’t Know Jackshit

Rapunzel you were dumped by your bestie because you’re a shitty friend. 

Varian was neglected and abused by those who were supposed to take care of him. 

Unless you’re drawing parallels to how Frederic and Gothel treated you, and even then neither of them denied you basic fucking needs! 

This should be an “Oh Shit! I’ve become just like Mother Gothel” moment for Rapunzel, not an “Oh yay! Someone to share in my personal misery” moment. 

Man, Rapunzel suuuuuucks! 

Also This Still Isn’t An Actual Apology

Once again, Rapunzel is not admitting what she did wrong here. She’s not actually acknowledging Varian’s pain, nor what she needs to do to make admins with him. 

What she’s doing is making things all about herself again. She’s talking about her feelings. About what she is facing. Rapunzel is an incredibly selfish and egotistical person and the show is trying to present this as a positive thing by rewarding her for such behavior. 

Varian’s Redemption Should Have Nothing to Do with “Friendship”

Varian has no reason to want to become friends again with the woman who ruined his life and abused him. 

But more than that, redemption shouldn’t be dependent upon Rapunzel’s friendship, nor even her ‘forgiveness”. Varian should be able to do the right thing just because it’s the right thing, Rapunzel be damned. 

This cheepens not only his character development but also Rapunzel’s development as well. Rapunzel is not allowed to grow as a person and accept that not everyone wants to be her friend, and that people may have valid reasons to hate her even, and that doesn’t make them evil. 

It also rushes through Varian’s arc undermining what the audience had to get through to get to this point.  

OK, Let’s Talk About The Goatee

I wouldn’t have minded the beard had it just not looked like a fucking barcode. There’s production art where it looks fine. But just wiping it away ties back to what I was talking about in part one. It’s denying Varian the chance to grow up. This is supposed to be his coming of age story as well but the crew won't let him do that because “rule of funny” apparently overrides what the characters actually need in order to develop.  

Once again, the show isn’t a sitcom. You can have comedic moments but the comedy doesn’t need to outright undermine the drama. 

Once Again, Shouldn’t Eugene Be the First Person to Jump to Varian’s Defence?

You mean the orphan on the streets who stole stuff and fought to survive when the adults failed to take care of him? Is that what you’re talking about Eugene? Cause if I remember correctly that was you not just three years ago. 

You Mean Rapunzel Needs Him To Make Her Feel Better About Herself

Spoiler alert, but Varian doesn’t actually do anything after this point in the episode. His entire “redemption” is just about making Rapunzel feel better about herself after Cass has rejected her. He’s literally become the rebound. 

How Come Varian Suddenly Became Shorter Just for This Shot?

I know the meta reason is to reflect that scene back in Queen for a Day when Rapunzel promised him that she'd help him before everything went tits up. Where he was also drawn shorter in that episode to make him seem more verunable, but here he’s just suddenly shorter for only two shots and then suddenly back to his usual height. 

Crap like this is why I insist that Varian didn’t actually get any taller in season three. The show just has always been inconsistent with his height and most of the “evidence” for his growth are cherry picked instances where the show drew him smaller than usual for reasons, like here.   

So Where Did They Get That Much of the Explosives and How Did They Get Them So Fast?

Only Varian knows how to manufacture that stuff. Why would he make that much of it if he was still in the experimental phase with it? He’s even surprised that they have so much, so where did they get it? If they made it then, how did they make it so fast? 

So This Plan Goes Nowhere

Spoiler alert: Varian doesn’t actually get to do any of that. In fact he’s kind of pointless for the rest of the episode. 

Why Would the King and Queen Care About a City That They Can’t Remember?

Like this revenge doesn’t make sense. It’s just a contrived way to get Eugene and Lance out of the way.

If the Quirineon Explodes From Being Exposed to Heat Then What Good Does Just Dropping It Do?

Yeah, remember? The stuff explodes when heated. Simply dropping it shouldn’t do anything other than make a mess on the ground maybe. 

All That Build Up and Varian Still Doesn’t Get to Do Anything Useful

Up till this point, Varian was shown to be the most competent threat in the show. Yet here they have him be a screw up twice in a row just for comedy antics and to glorify Rapunzel again. 

If you got to nerf other characters just to make your main look good then you’ve failed to establish your main character as being capable in their own right. 

Remember That This Boy Was Trapped in a Jail Cell With This Guy for a Year!

No, I’ll never be over this.

Andrew is the most directly violent and scummy out of all of the villians in the show. 

If he’s willing to do this now, if he was willing to do this to his ex-girlfriend, then what the heck was he willing to do when he and Varian were trapped alone together? 

So Andrew Just Willingly Sacrifices His Own People Here....Even Though His Goal Was to Give His People a New Home....

People need to use this gif more often when concerning this show and the villains’ ass-backwards plans.

And yes they survive because of Varian alchemy. But that was on accident. Andrew had no way of knowing that would happen. He’s willing to destroy his own people just to blow up his ancestral homeland and for what!? What does he gain from this action?  

The Mind Wipe Kills Frederic’s and Arianna’s Characters; Littraly

Frederic and Arianna are effectively dead at this point. Anything that made them, well them, has been wiped away. Their personalities, hopes, dreams, their on going stories and development, just gone. And we never get them back, even when their memories supposedly return. 

Varian’s Not Even Allowed to Get the Idea On How to Save Corona...In His Own Redemption Episode No Less

This is his episode! We’ve spent two years building up to this point and you can’t even let him help? He’s denied the chance to make up for his own mistakes! Just so Rapunzel can play hero and be a very shallow representation of what a bunch of men think a “strong” woman should be! 

It’s fucking insulting. That’s what it is. 

Making a female character the center of the universe to the point where other people are just props for her is not empowering! 

No It’s Not!!

Uh you wouldn’t even be here had you just fucking helped Varian to being with you dumb bitch! This is very much you and your father’s mess! 

Even now, while pretending to be responsible, Rapunzel can’t actually be responsible and own up to what she did! 

She’s fucking 20 and the 16 year old shows more maturity than her! 

Also Your Hair Can Protect Two People at Once Rapunzel; Remember?

There’s no excuse for leaving Varian out of the action. We’ve been shown multiple times now that Rapunzel’s magic hair can protect her and other people at the same time. 

Having Rapunzel Save the Day By Herself Undermines Everything the Episode Was Trying to Establish

What happened to needing to “trust again” and letting other people help you? Having Rapunzel save the day alone just tosses out the lesson that the show was trying to build up to. 

The show tries to frame this as Rapunzel learning “responsibility” but that also does not work. For one it was never established that she needed to learn that within the episode itself and secondly, she doesn’t actually do anything different from what she usually does. 

Being an action hero isn’t the same thing as being responsible. Being responsible is being considerate of others, doing the borning shit or mundane crap that you hate, and being mature enough to recognize your own failings and admitting when you were wrong. 

So in the end Rapunzel is neither responsible nor more open to others. 

And There’s the Death of Eugene’s Character

Lance, who has maybe exchanged all of three sentences with Raps, is more distrught than the guy that supposedly wants to marry her. This isn’t heartwarming, nor it is growth. It’s just lobotomizing a character right in front of our eyes. 

In this very episode he was worried about Raps going to face the Saporians by herself and was, guess what, fucking right to do so. But he doesn’t give two shits if she gets blown up!? 

Ooookaaaay.....

This is the completion of turning Eugene into a doormat. From now own he shan’t be allowed to have any thoughts or feelings of his own that disagrees with Rapunzel. 

The Eugene we knew is now dead. 

But Of Course the Show Rewards Everyone for Behaving In the Dumbest Way Possible Anyways

Don’t expect any of these grossly out of character moments and oxygen deprived logic to be addressed nor fixed within the show. The series will keep on shoving unearned endings into our facing while insisting that this is positive development. 

How Did Y’all Get Here Before Varian?

Yes, he was left on a roof, but he can climb and y’all were outside of the city. 

Yeah... A Year and Half Fucking Later!

Ok, a year and three months, but that’s still not any better. Worse, all this implies is that Rapunzel would not have ever concerned herself with trying to free Quirin had Varian not broken out of prison. She would have literally left them both for dead and we’re supposed to find her suddenly doing the bare fucking minimum heartwarming and inspiring?

Where Was the Inciting Incident to Use the Decay Incantation for This? 

How did Rapunzel come up with this plan? When did she come up with it? 

When the hurt incantation was first found no one mentioned how it could be used to save Quirin. No one even gave Quirin a thought. Since then the incarnation hasn’t been brought back up, ever. This is a pretty big leap in logic for Rapunzel to suddenly think of this. 

All it highlights how Varian was originally meant to be there to translate the scrolls and incantations in order to establish all this but of course it got cut so now it just comes the fuck out of nowhere. 

Not Letting Varian Have Anything to Do With Saving His Father Is Even Worse Than Not Letting Him Save the Day

This has been his motivation since the beginning. It’s been the driving plot for a season, and now that the time has finally come what does get to do? 

Hold a dang bucket. 

Part of coming up with satisfying endings is following through on what you’ve established. The audience needs closure. Simply freeing Quirin isn’t enough, we need the carthartis of Varian specifically fulfilling his goal. 

I don’t know how to break this to you Chris, but this isn’t Rapunzel’s story. Not this segment of it anyways. It’s Varian’s and it just so happens to connect to Rapunzel’s. She shouldn’t have been center stage for this. 

The Series Blows It’s Load Too Early with the Incantations

This is the last time we’ll hear any of the incantations sung on screen, cause someone in budgeting didn’t know what was important to throw the money at and what was not. 

It’s not bad here, but if we could only hear one incantation only once this season it needed to be in the finale with the final heal incantation. 

Varian Was Right All Along

Also, all this does is justify Varian’s actions in season one. Rapunzel was indeed the only one who could free his dad according to this. For a series that desperately wants to shove all of the blame onto an abused child’s shoulders they sure go out their way to prove him right. 

So How Is the Hurt Incantation Suppose to Work?

There were so many fan theories after this scene because Varian and Quirin don’t respond to the hurt incantation the same way previous characters had. 

No one is gasping for breath, Varian can touch Raps without burning his hands, and Rapunzel can control the direction of her power. ect. 

Turns out there was nothing there, the writers just didn’t know what the fuck they were doing and made the hurt incantation very inconsistent just like all of the magic in this show. 

BULLSHIT!!!

You literally turn into a villain because she gave up on you!!!!

She also didn’t give two shits about you throughout the entirety of season two. 

Why are we just pretending like season one didn’t exist!? 

Why!?

The Note!!!

No It Fucking Didn’t!

Does That Look Like “I’m Proud of You Son” To You?

Chris went on to confirm that, yes, the note did hold more information that then got cut. Pretty much confirming all that we suspected. That Varian was cut from season two and his story hastily shoved back into season three at the last minute. 

Below is the link to the tumblr post he made.

https://cnotes.tumblr.com/post/190534585146/apparently-one-of-the-writers-said-a-while-back

What’s worse is that his defense is such bullshit. The below exchange pretty much sums it all up.

This Doesn’t Actually Resolve Anything and Is Therefore Unsatisfying to Watch

Part of the reason why this conclusion doesn’t work is because it doesn’t actually address any of the problems that they have in their relationship. Quirin never owns up to what he did wrong. There’s no discussion of what Varian was up to while he was entrapped, no conversation about what secrets Quirin hid from his son, and zero admission of wrongdoing on either side.   

Also Varian has done nothing significant to earn those particular words. Saying I love makes sense, but in context saying “I’m proud of you” does not. It doesn’t even work on a meta level cause the episode prevented Varioan from accomplishing anything. 

It’s empty. 

There Could Have Been More Screen Time to Fix This If Not for Season Two Mucking About

https://discord.com/channels/427940661589704715/569296212218347522/777635115978457098

Above is the link to the original storyboards. It doesn’t fix everything but there’s a lot more satisfying emotional beats including adding Ruddiger back in who is suspiciously absent for the entire episode for no stated reason. 

This version was cut due to time. Which, like with the Crossing the Line song, didn’t need to be had they been more effective with their usage of time in season two. 

They also could have had a better conclusion to Varian’s arc in general had he not been cut from season two altogether. 

So What Does Freeing Quirin Add to the Series?

I’m serious. What does freeing Quirin at this point and time do for the story?

It doesn’t add any character development, Quirin just wanders around aimlessly in the background until the finale and even then his part in that is a pointless dead end. Varian doesn’t gain his emotional closure, just empty, hollow “praise”. Nor is he allowed to accomplish any of his established goals. No new lore or history is exposed. No mystery uncovered. 

There’s no reason why this couldn’t have been done later in the season. Provide more tension and keep up the consequences of the characters actions. Give the mains something to do and work on until Cass and Zhan Tiri show up again.  

The only reason why this is here is to wrap Varian’s story up as soon as possible so he won’t “steal Cassandra’s spotlight”. That’s it. He’s rewarded for conforming to Rapunzel’s will and all the fans should shut up and be grateful, at least according to Chris.

I Like This Song But It Wasn’t Needed

It doesn’t add anything to the story. It’s just a generic celebration song. Which would be fine if it wasn’t for the fact that we have a limited number of songs, even less than in previous seasons, and the story isn’t over yet. This is the wrong place to put a victory song at. 

Especially when we could have had a song that furthered Varian’s redemption instead.  Yeah, that was cut too. 

So Is Varian the New “Lance” This Season?

He’s right there! This is his dang focus episode! 

Why hire Broadway singers and not let them sing!? Why waste talent and money like that? 

Also These Lyrics!

Did Glenn Slater just not read the scripts before writing the songs? That’s all season three ever does! Give the mains what they want without earning it. Even in this very episode!

So Is This Rapunzel’s 20th Birthday or Not?

Ok I have gotten into many a heated debate about how long season three is supposed to be. And that’s because what the crew says doesn’t match what the series shows us. 

By all accounts this should be Rapunzel’s birthday. According to season two she’s been gone for one year, and there’s the lanterns that they fly specifically on her birthday. 

But no one verbally says it’s her birthday and I’ve heard conflicting accounts from different members of the crew. Some stating that it is her 20th birthday and some disagreeing that it is. 

Well I’ll take what evidence that the show actually presents to its audience on screen over what the cast and crew says after the fact any day of the week, so I’ll be gathering up this evidence and proving by the end that season three is two years not one. 

But the fact that I must comb through series to prove this, the fact that we can even have this debate, and the fact that the crew have to state basic info after the series is over is just proof of the bad writing. 

Fun Fact: Cupcakes Weren’t Invented Until the 20th Century

Yeah, that’s the fault of the OG film, and yeah it doesn’t really mean much, but still it’s one more thing to add to the pile of stuff that doesn’t fit. 

Plus I’m just a hardcore nerd for historical cooking and I like to share my knowledge.  

Yeah But How Can He Trust All of You Again?

You’re the ones who let him down first; repeatedly. And you only started to make things up to him once he became useful to you. What assurance does he have that you won’t mistreat him again next time he’s in trouble or is no longer of any use to y’all? 

Yes, Let NOT Show What the Main Character Is Actually Going Through

Yup, this is “Rapunzel’s show” but we’re not going to let Rapunzel have any focus on her feelings or give any insight into her thought process about what is the main conflict of the series now.

Conclusion

Ducktales was robbed! 

I can’t believe this shit won an Emmy for “best writing.” It utterly fails on every possible level. It fails to be a continuation of the ongoing story and it fails to be a stand alone episode. Even the very structure of the story is fundamentally flawed. The only reason why it’s not the worst episode of the entire series because the finale and the penultimate episodes exist. 

Anyways...I finally made it through. It literally took my entire weekend but I’m finally caught up. Next week I’ll be going back to the usual one episode a week schedule. 

[tyrantisterror]

I did a four part series of trivia posts when ATOM Volume 1: Tyrantis Walks Among Us! came out, and that was pretty fun!  You can see that set of trivia posts here if you’d like.  I thought it’d be fun to do another now that ATOM Volume 2: Tyrantis Roams the Earth! is out - just one this time, because a lot of the trivia I talked about with Volume 1 still applies.

I’m gonna divide this into two sections: non-spoiler trivia, for things that really don’t give a lot of plot points away, and spoiler trivia, for things that DO give away major plot points.  I recommend not reading the spoiler trivia until after you’ve read Tyrantis Roams the Earth!, for obvious reasons, and will put the spoiler trivia under a cut.

Ok, let’s go!

- So if you read ATOM Volume 1, you probably noticed that the book is split not only into chapters, but “episodes,” which consist of four chapters a piece.  It’s kind of a nod to how the series owes a great deal of its DNA to various monster of the week shows, with Godzilla: the Series and The Godzilla Power Hour being obvious influences.  It also allowed me to pepper in some illustrations and cheesy b-movie style titles into each volume.

- The first “episode” of Volume 2, Tyrantis in Tokyo, pays explicit homage to the giant monster movies of Japan, perhaps even moreso than the chapters that came before it.  Given how much Japanese media influenced ATOM - from tokusatsu like the Godzilla, Gamera, and Ultraman franchises to anime like Digimon and Evangelion (hell, the title of this episode itself is a tip of the hat to Tenchi Muyo by way of one of its spinoffs) - it kind of felt obligatory that Tyrantis visit Japan and pay his respects.

- Tyrantis in Tokyo also fits in a tribute to another staple of Atomic Age pop culture: Rock and Roll.

- Kutulusca, the giant cephalopod that appears in Tyrantis in Tokyo, is one of the oldest kaiju in this series, dating back to the first iteration of Tyrantis’s story that I put to paper back in 2001 or so.  It’s changed a lot since then, but its fight with Tyrantis goes more or less the way it originally did.

- Old Meg, the giant placoderm/shark, and Nastadyne, the bipedal beetle, both owe their existence directly to Deviantart’s Godzilla fandom.  Old Meg originated as a dunkleosteus monster I submitted to a “create a Godzilla kaiju” contest held by Matt Frank, while Nastadyne is based on a Megalon redesign I made during the “redesign all the Godzilla kaiju” phase of DA’s kaiju fandom.

- The second episode, Tyrantis vs. the Red Menace, gets dark as we visit the USSR, which had enough REAL horror with atomic power in its history to make creature features seem a bit defanged by comparison.  It’s probably the episode with the strongest horror elements - ATOM’s always been influenced by Resident Evil, and this is probably where that influence shows the most strongly.

- It also features the first fully robotic mecha in the series, the mighty Herakoschei!  Its name is a combination of “Heracles” and “Koschei the Deathless,” with the former part being added by its Russian creators to make it seem a bit more international as they offer it to the U.N. in hopes of gaining aid for a very extreme kaiju problem they’ve developed.

- Most of Tyrantis vs. the Red Menace takes place in the Siberian Monster Zone.  Its name is a reference to the Lawless Monster Zone in Ultraman, which is such a cool fucking name I wish that I wish I could go back in time and steal it.

- The next episode, Tyrantis’s Revenge, is... full of spoilers, so we’ll move on for now.

- The penultimate episode, Tyrantis vs. the Martian Monsters, is a love letter to MANY different sci-fi stories that involve life on Mars, though the most prominent of them is of course The War of The Worlds (one of my top 3 favorite books) and its various adaptations.  From its tentacles sapient martians, the tripodal leader of the titular monsters whose name includes the word “ulla” which is uttered by said sapient martians, the plant monster made of red vines, the cylinder-shaped spacecraft the Martian monsters are sent to earth on, the copper-skinned stingray-esque flying martian who shoots lasers from its tail, and the fact that every chapter title in this episode is a quote from the book, the H.G. Wells influence is STRONG.

- The final episode, Invasion from Beyond!, is shamelessly inspired by Destroy All Monsters, although there’s a dash of “To Serve Men,” Godzilla vs. Monster Zero, and The Day the Earth Stood Still mixed in as well.  It’s also sort of a tribute to my first “published” bit of a kaiju fiction - a rewrite of Destroy All Monsters that included EVERY Godzilla monster that had appeared at the time, which my middle school self wrote back in 2002 or so for Kaiju Headquarters, a kaiju fansite I’m not sure exists anymore.  Invasion from Beyond! is just as ambitious (but hopefully better executed) as my DAM Remake, with dozens upon dozens of different kaiju duking it out, earthlings vs. aliens.

- There were three different documents I made to outline the final battle of Invasion from Beyond!  It’s the largest episode of the series so far and more than half of it is that fucking fight.  My inner child is pleased, though, so hopefully you will be too.

Ok, that’s all I can share without spoilers.  READER BEWARE WHAT FOLLOWS BELOW THE CUT!

JUST MAKING SURE you know that SPOILERS will follow from here on out.  Read at your own peril!  YOU WERE WARNED!

(I’m gonna start with lighter ones just in case you scrolled too far and want to turn back)

- There’s a number of explicit Spielberg homages in ATOM Volume 2, from a “we need a bigger boat” joke during a chase with a giant shark to the fact that Invasion from Beyond! opens with a group of people flying to an island of monsters to review whether or not it should get more funding.

- When Tyrantis appears in the first chapter, I snuck in modified lyrics of The Godzilla Power Hour’s theme song.  “Up from the depths”... “several stories high”... “breathing fire”... “its head in the sky”... Tyrantis!  Tyrantis!  Tyrantis!

- The two rock bands in Tyrantis in Tokyo have real life inspirations ala Gwen Valentine, albeit a bit more muddled than hers.  The Cashews are inspired by The Peanuts (see what I did there), while The Thunder Lizards are a mix of The Rolling Stones, the Beatles, Buddy Holly, and the Big Bopper.  I wanted The Thunder Lizards to be more akin to the myth of a famous rock and roll band than the reality - less the real Beatles and more the Yellow Submarine cartoon version of them.

- The song The Thunder Lizards write for Tyrantis was written to fit the tune of “The Godzilla March” from Godzilla vs. Gigan, though ideally if someone made an actual song of it it would be its own song.  I got the idea from Over the Garden Wall, which used the Christmas song “O Holy Night” as a a starting point for “Come Wayward Souls.”

- Perry Martin, UNNO reporter and peer of Henry Robertson, is a nod to Raymond Burr, with his name being a combination of two of Burr’s most famous roles: Perry Mason, and Steve Martin from Godzilla King of the Monsters (1956).

- Dr. Rinko Tsuburaya is a few homages in one.  Her name comes from Rinko Kikuchi (who played Mako Mori in Pacific Rim), while her last name is obviously in homage of Eiji Tsuburaya.  Her being the daughter of an esteemed scientist is inspired by Emiko Yamane from the original Gojira.

- Nastadyne’s Burning Justice mode is named after a similar super mode from various Transformers cartoons, though it’s more directly inspired by the Shining/Burning Finger super move from G Gundam.

- Martians sending kaiju to different planets via shooting them out of cannons (with or without cylinder spaceships around them) is another War of the Worlds shoutout.  So is martians living on Venus after their homeworld was made uninhabitable, actually.

- Kurokame’s vocalizations are described as wails in explicit homage to Gamera.  His name can be translated as either “black tortoise” (a reference to the mythical guardian beast Genbu, which can also be construed as a Gamera reference thanks to Gamera: Advent of Irys implying Gamera and Genbu are one and the same) or a portmanteau of the Japanese words for crocodile and turtle - “crocturtle.”

- Burodon’s name is just a mangling of “burrow down.”  It also sounds vaguely like Baragon, who Burodon is loosely inspired by.  AND, since Burodon is sort of a knockoff/modified Baragon, that kinda makes him a reference to various monsters in Ultraman!

- The final battle of Tyrantis in Tokyo is sort of a hybrid of the finales of Ghidorah the 3 Headed Monster and Destroy All Monsters.  

- The Japanese kaiju teaching Tyrantis the art of throwing rocks at your enemies is both a joke on the prominence of rock throwing in Japanese kaiju fights AND the tired trope of an American hero learning secret martial arts from a Japanese mentor ala Batman, Iron Fist, etc.  In this case, the secret martial art is throwing rocks at people.

- When introduced to Herakoschei and its pilot, we are told that the strain of piloting this early mecha is so intense that many pilots have died in the process, with the current one passing out on more than few occasions.  This is of course a Pacific Rim homage - sadly, no one invents drifting.

- Herakoschei’s design is a loose homage to Robby the Robot and Cherno Alpha, because big boxy robots are cool.

- The Writhing Flesh and ESPECIALLY Pathogen are both hugely influenced by Resident Evil and The Thing.  Giant body horror piles of raw flesh, tendrils, mismatched mouths and limbs may be a bit outside the main era of monster design ATOM homages, but they fit the themes and bring a nice contrast.

- I came up with Pathogen long before Corona but MAN it definitely feels different in 2021 to have a giant monster whose name is a synonym for disease driving other creatures crazy in a quarantine zone than it did when I plotted out the story in 2016.

- The chapter title “Hello, Old Foes” is a riff on “Goodbye, Old Friend”

- Minerva, the kaiju-fied clone of Dr. Lerna, is meant to be an homage to Attack of the 50 Foot Woman, which is a genuinely good giant monster flick.  I am sure many of you will also believe I included her because I’m a pervert whose into tall women, but you’d be wrong!  I included the seven foot tall Russian mecha pilot Ludmilla Portnova because I’m a pervert whose into tall women.  Minerva’s inclusion was just coincidental, I swear!

- Since Promythigor is a play on the archetypal ape kaiju to contrast Tyrantis as a play on the archetypal fire-breathing reptile kaiju, their fight has a lot of nods to King Kong movies.  Promythigor attempts the famous jaw-snap maneuver of Kong (with less success), J.C. Clark paraphrases the “brute force vs. a thinking animal” line from the King Kong vs. Godzilla American cut, and Tyrantis slides down a mountain to knock Promythigor off his feet in a reversal of Kong doing the same in King Kong vs. Godzilla.

- Tyrantis sliding down a mountain on his tail doubles as a Godzilla vs. Megalon homage.

- Though Promythigor is the archetypal Ape and Tyrantis the archetypal Fire-Breathing Reptile, I think it’s fun to note that in some ways, Promythigor is the Godzilla equivalent in their matchup, and Tyrantis the Kong.  Promythigor has a slight size advantage, was scarred by humans performing unethical weapons technology, and is associated with violent explosions.  Tyrantis is a good-at-heart prehistoric beast who humanized in part by his unlikely friendship with a human woman.

- Of course, in the context of the famous quote from the American cut of King Kong vs. Godzilla, they remain in their archetypal lanes.  Promythigor is the more intelligent of the two (though not necessarily wiser), and Tyrantis is in many ways a brute reptile.  Their battle is a rebuttal of sorts to the assertion that Kong is the “better” animal because he is closer to human.  Promythigor’s near human creativity and emotions don’t make him the kinder/more benevolent monster, but instead fuel a very self-centered and destructive attitude that makes him the far more dangerous threat.  On the other hand, Tyrantis, who is less intelligent, limited in communication with others by his reptilian mindset and instincts, and simple in his thoughts and desires, is nonetheless a sweet creature that is easily dealt with when others consider his animal needs and mindset.  There’s a quote from Hellboy I love that probably sums up all of my writing thus far: “To be other than human does not mean the same as being less,” and that’s what the matchup between these two in particular tries to illustrate: the “less” human Tyrantis is nonetheless more benign than the “more” human Promythigor.

- Kraydi the psychic lizard began life as a soft sculpture I made of the Canyon Krayt Dragon from The Wildlife of Star Wars.  The sculpture didn’t look much like the illustration, but I liked how it came out, and so I made it an original monster named Kraydi (see what I did there).  Figuring out an explanation for that name in ATOM’s world was possibly the most difficult kaiju naming task in the series, but it worked out in the end.

- Kraydi and Promythigor having psychic powers is a result of my time on Godzilla fan forums in my middle school years.  Most of the forums had OC kaiju battle tournaments, and SO many of those kaiju had a wide array of beam weapons and psychic powers just to win the tournaments by beam-spamming and mind controlling their foes into oblivion.  There’s a special kind of rage you get when your original creation is beaten by “Fire Godzilla” because he has a genius level intellect and the power of unstoppable telekinesis.  Kraydi began as (and still is I suppose) my attempt to do a psychic kaiju well, while Promythigor’s villainy being tied to psychic powers being forced on him is sort of my passive aggressive commentary on people foisting powers on a monster without any real thematic reason for them.

- Henry Robertson and Dr. Praetorius chewing out the laziness of people giving kaiju completely unaltered names of mythic beasts will probably be seen as a jab at the Monsterverse and/or the numerous writers in the kaiju OC scene who do the same, but it’s ACTUALLY a jab at my past self, who had DOZENS of kaiju whose names were just Greek mythological figures verbatim.  There are dozens of kaiju named Hydra, Scylla, Charybdis, Chimera, etc., past me, try to make the names stand out!  Oh wait you did.  I mean, don’t pat yourself on the back too much, you still went with “Mothmanud” as a canon name and never came up with something better, but, like, good on ya for trying I guess.

- Dr. Praetorius takes his name from the evil mad scientis in Bride of Frankenstein, who basically has all the wicked traits that Universal’s Frankenstein downplayed in their take on Dr. Frankenstein.  Ironically, ATOM’s Dr. Praetorius is a bit less evil than his fellow mad scientists in ATOM.  I really like how his character turned out, he surprised me.

- Isaac Rossum, the pilot of the USA mecha Atomoton, is named for Isaac Aasimov, whose robot stories are to robot fiction what Lord of the Rings is to high fantasy.  His last name is a reference to Rossum’s Universal Robots, which is where the word “robot” came from.

- The unfortunate pilots of MechaTyrantis in ATOM Volumes 1 and 2 are all nods to Jurassic Park.  John Ludlow = John Hammond and Peter Ludlow, Ian Grant = Ian Malcolm and Alan Grant, Dennis Dodgson = Dennis Nedry and Lewis Dodgson.

- A good way to pitch Invasion from Beyond! would be “what if the staff and monsters were able to fight back when the Kilaaks tried to take over Monsterland?”

- Ok, here’s a fun joke that no one will get but me because it requires a very specific chain of logic based on some obscure and loosely connected nerd bullshit.  There’s a rocker in ATOM’s universe named Sebastian Haff, right?  One of his songs, “Darling Let’s Shimmy,” is referenced right before a mothmanud larva emerges from the ground in both ATOM Vol. 1 and 2.  Ok, so, in the Bubba Hotep, an aging Elvis impersonator named Sebastian Haff claims he is actually the real Elvis Presley, having changed places with the real Sebastian Haff as a sort of Prince and the Pauper deal that went wrong.  Got that?  Ok, so, in UFO folklore, a common joke is the theory that Elvis didn’t die, but was rather abducted by aliens (or he actually WAS an alien the whole time - the whole “Elvis didn’t die, he just went home” joke in Men in Black is a good example of this).  Ok?  Ok.  So, in ATOM’s universe, we can surmise that their equivalent of Elvis, whose name is Sebastian Haff, WAS abducted by aliens, and that his song “Darling Let’s Shimmy” is subconsciously influenced by his repressed memories from his time aboard the Beyonder spaceships, which is why it accidentally awoke a Mothmanud larva in Volume 1.  There’s a lot of bullshit jokes I put into ATOM, but this is perhaps the bullshittiest of them all.

- One of the most common bits of feedback on ATOM Volume 1 I got was “I kept waiting for something to eat Brick Rockwell, he’s such an asshole.”  And I had to smile and go, “Oh, yeah, guess he never got his, huh?” the whole time without letting on that he was going to die here all along!

- Dr. Lerna and Brick Rockwell’s nature as foils to each other is probably most apparent in Invasion from Beyond!, where both are given fairly similar situations - a nonhuman approaches them with a solution to a global crisis - and react to it very differently.  I worry that some people may think they both made the same choice and got different results, and that that’s hypocrisy on my part, but I hope I wrote it so you can see how their choices and situations actually differ in key ways, and why their decisions, while similar on the surface, are ultimately very different, and thus result in almost opposite outcomes.

- So, when I planned out this book in 2016, I swear I didn’t know about the Orca from 2019′s Godzilla King of the Monsters.  Having the plot hang around Dr. Lerna deciding whether or not to use a sonic device to rouse all the kaiju to save the earth was not INTENDED to be a Monsterverse reference - it came about from me looking at Pathfinder’s take on kaiju, who are all explicitly influenceable by music, and thinking, “Oh, wow, music and songs DO have a major connection with kaiju in a lot of media, I should do something with that.”  Whem KOTM came out a few days after Volume 1 came out I realized I was kinda fucked here, because the comparison was definitely going to be made, but I’d also set this all up already and you can’t just change suddenly to avoid looking like a copy cat and make a good story, so... I dunno, I leaned into it a bit, but it is what it is.

- While most people will probably think they’re a reference to the Reptoids of UFO folklore, the Reptodites are more inspired by the Dinosapien of speculative evolution fame and, even morso, by the Reptites from Chrono Trigger.  Me wanting to avoid the “lizard people control the government” conspiracy theory trope is one of the main reasons why Reptodites have this non-interference clause with humanity.

- Lieutenant Gray is a bunch of different humanoid aliens rolled into one - a little Hopskinville goblin, a little classic gray, a little this one weird alien with five-fingered zygodactyl hands, etc.

- There’s some Beyonder Mecha in this volume that are basically kaiju-fied versions of the Flatwoods Monster.  The species that built them ALSO engineered the Mothmanuds, because connecting Mothman and the Flatwoods Monster is fun!

- Pleprah is, obviously, a one-eyed one-horned flying purple people eater.

- Tyrantis’s brush with death, in addition to being so very anime, was inspired by my dad outlining how mythic heroes often have to travel to the underworld/land of the dead before they can finish their journey.  It’s one of the plot points that I’ve had planned for this series since middle school.

- I’m sure some will view it as hackneyed and corny, but as a person who’s battled with depression for decades, having Tyrantis’s choice to live be the big heroic turn of the finale was very important to me.  Tyrantis incorporates elements of a lot of imaginary friends I made as a kid, and in many ways he’s kind of the face of my more positive side in my head.  He’s been telling me to choose to live for a while, and while maybe to an outsider it may seem hackneyed, it’s just... very Tyrantis.  He chooses life and kindness in the face of pain and struggle.  That’s Tyrantis.

- Tyrantis’s powered up form is called “Hyper Mode,” which is another Gundam reference.  Originally it was a lot gaudier and involved him turning gold like a fuckin’ Super Saiyan.  I opted for something a little more toned down here.  

- Also, speaking of KOTM references, I decided to make Hyper Mode Tyrantis’s final duel with Pathogen be a sort of foil to Burning Godzilla’s final bout with Ghidorah in KOTM.  Instead of ravaging the city, Hyper Tyrantis’s pulse of energy rejuvenates his fallen allies, and as a result he is “crowned” not out of fear for his supremacy in the wake of killing a powerful enemy, but in gratitude for his kindness.  See?  Leaning into it!

- And now I can finally reveal that Yamaneon is ATOM’s equivalent of The Monolith Monsters - that is, a kaiju that is also a mineral.  I took the “strange continuously growing rock” thing in a very different direction, though, as unlike The Monolith Monsters, Yamaneon is actually alive.

- At various points in the pre-writing process, either Promythigor, MechaTyrantis, or both were going to die fighting Pathogen.  I ultimately decided to let them both live, with MechaTyrantis even getting his flesh and blood body back, because I think it’s more interesting and thematically consistent that way.  They get a chance to heal their wounds by changing their ways.

- The Great Beyonder and Dorazor both almost didn’t make the cut, as I felt they didn’t have the same pull as villains that Pathogen, Promythigor, and MechaTyrantis did.  But then I thought that could actually be the gag - build them up as the final boss, only to have Pathogen take their crown.  I want to explore post-face turn Dorazor a bit more, though.  We’ll have to see about that in a later volume.

- Volumes 1 and 2 make up what I call “The Ballad of Tyrantis Arc” for ATOM.  I call it that because Tyrantis’s storyline in these two volumes was patterend after Chivalric ballads like Yvain the Knight of the Lion.  Tyrantis, a heroic warrior who is kind but dumb of ass, learns of strange goings on outside his home and investigates.  During his journey into the unknown he falls in love with a powerful woman, whose favor he tries to win.  Through happenstance he is separated from his love and, distraught, wanders around fighting various foes to prove his worth, before finally returning to his love a better hero.  Invasion from Beyond! could even be seen as a sort of Morte d’Artur, with Tyrantis and a bunch of other kaiju heroes (including Nastadyne and Kemlasulla, who are built up as Hero Kaiju of Another Story) take part in a huge battle that threatens their idealic kingdom (of monsters).

- Volume 2 isn’t the end of ATOM, but it’s designed to work as an ending if you want to tap out here.  As a reader I feel a definitive ending is important, but as a writer I’m always tempted to revisit my beloved characters, so I feel giving closure while leaving a few doors open for possible future adventures is a good compromise between these positions.  There will be more ATOM stories, some (but not all!) following Tyrantis and Dr. Lerna, but if you want to know that Tyrantis and Dr. Lerna get an ending and the resolution to their arcs such a thing promises, here you go.  An ending, if not THE END.

[ren-c-leyn]

Hello! My name is Zac, I've been trying to be more active in the writeblr community as of late and I came across your blog through my "interact if you're a writeblr" post! It's nice to meet you 😊

I read your intro post and all of your WIPs sound so cool, but the one that really got my attention was The Plight of a Sparrow. I was wondering where you got the idea and what made you start writing it?

Hey, Zac! I'm happy you decided to stop by. I'm Ren, it's nice to meet you! I hope you're having fun getting in touch with the rest of the writeblr community so far. ^^ And thank you <3 I'm really quite proud of The Plight of a Sparrow series so far. The funny thing of it is, it wasn't supposed to be a full blown WIP. It was originally just a test to work out the problem with my writing method and try to figure out why I couldn't complete any of the projects I started.

You see, I had several projects just completely and flat out collapse before I started it, so I went through what went wrong with each of them, and realized I did little plotting and zero world building for any of them. So, with The Plight of a Sparrow, I tried something different. I honestly did not expect to finish book one, since I didn't really think it'd work, little alone rewrite it in a different POV, write book 2 four times, and then be brainstorming book three, but here we are.

At the time, I was watching several isekai animes, it's a genre where the protagonist somehow ends up in another world and usually goes on a hero's quest of some kind. I also has recently finished watching sword art online and started Log Horizon. So, they were pretty fresh on my mind, and I've always been a high fantasy and rpg fan, so that's always on my brain. They kinda stewed together until I had this idea of 'wouldn't it be interesting if someone got stuck in their favorite video game... but wasn't the main character of that game?'

From there, I started with world building this rpg video game kinda world. It's still not a completed world, a lot of things about it are being made up as I write, but I made sure I had the peoples of the world figure out, what the major conflict/premise of this world was, are gods real, how much do they interfere with people, some interesting places, a little lore, and the best part of it is is as I figured out what the plot was, I realized how important all of those locations and little cultural quirks I made up were. And it's a lesson I've taken with me to the other projects on my list.

If you'd like to learn more about it, or any of the other WIPs on my list, they're all tagged under their working titles. A search of them on my blog, and you should be able to pull them all up. The Plight of a Sparrow has the most content, including some character introductions, as it's both my oldest WIP and the most popular. And if you have questions about any of them, the characters, my writing process in general, ect. the ask box is always open and I love talking about writing, but never know where to start.

Thank you for stopping in, I hope you have a lovely day/evening!

[carriagelamp]

September Book Roundup, back-to-school edition aka The Season Of Red apparently?

Here is a selection of the books I’ve read this month. Summer is over, so the little bit of brain power I had managed to scrape together is quickly disintegrating, so enjoying the hodge podge of stories.

Binti

This was probably my favourite book that I read this month. It’s a novella I first heard about hear on tumblr and went to find a copy in my library. I have since bought the collected trilogy so I can read book two and three at my leisure because it was honestly just that friggin cool. This is exactly my flavour of scifi and I tend to be very very picky about the scifi I consume. It’s about a girl named Binti, a member of the Himba people (a real group of indigenous people from Namibia). They are a people well known for their mathematical and technical prowess, but due to their strong connection to their homeland and the earth they choose not to travel through space like so many other humans do. However, when Binti secures a position at Oomza University, the greatest university in the galaxy, she chooses to go against her family’s wishes and traditions in order to set out into space to attend. Everything is ruined though when her spaceship is attacked by a hostile alien race and everyone is killed but Binti, who must rely on all her intellect and abilities if she wants any chance at survival.

A seriously cool book with great world building – it really successfully introduces readers not only to the fictional scifi world and races of the novel but also to the culture and traditions of the Himba people. It’s a quick read, and feels like a cross between Dead Space and Tamora Pierce. Would totally recommend a read.

Fake Blood

A Canadian graphic novel. It was a goofy cute read. It’s about an awkward group of friends in middle school, and one boy with a crush on one of the girls in his class. Knowing her love for vampire stories, AJ decides, like any self-respecting middle schooler, to try to pretend he’s a vampire. Naturally nothing goes right and some things go wrong in unexpected ways. It’s funny and cute. Nothing amazing but it was a cozy evening read.

The Last Book On The Left

I’ve been listening to this podcast a lot since my friend recommended it to me and finally decided to read their book. For those that don’t know, The Last Podcast On The Left is a immaculately researched comedy podcast that’s hosted by Ben Kissel, Marcus Parks, and Henry Zebrowski, and explores the darker realms of human nature. Ghosts, paranormal, aliens, cults, and of course serial killers. In this book they collected several of their biggest name serial killer series, did some renewed research, and put together a book that is both informative, irreverent, gross, and very funny, complete with some really amazing illustrations by Tom Neely. A very cool read (and listen, if you decide to check out the podcast instead), I really love how they tell these stories without idolizing or romanticizing the people they talk about. Their humour always makes sure you know exactly how much of a pathetic loser these people are. Fantastic true crime, from someone who has never really felt the need to read about true crime before.

Midnight Sun

I won’t harp on this one, everyone is already going to firmly have their opinions here. I grew up on Twilight, I was reading them as they came out, and I still love them. Were they dumb? Oh my god yes. Did they have problems? Sure, they came out in 2005 it was part and parcel. Were they also a really fun for a thirteen year old to read? Absolutely, I don’t regret it. Sometimes teenage girls should just to get like things without being mocked.

Anyway, I am off my soapbox now (can you tell this is still a raw spot for me?) I unironically loved this book! Getting to see Edward’s perspective was really cool, and since he can read minds it essentially let you get the perspective of everyone else around him too. The Cullens family is a great set of characters so it was really cool to see more of them, and I was very impressed by how Stephenie Meyers took a YA romance she wrote in 2005 and was able to make it feel updated and more appropriate for a 2020 audience even though she couldn’t actually change any of the events themselves. So fans of Twilight, don’t be ashamed, go read Midnight Sun and have the shameless fun you deserve. Is there anymore appropriate book for the bizarre ass year that was 2020 than a return to this goofy nonsense?

The Paperbag Princess

(and Up, Up, Down, and Robert Munsch in general)

I’m back in schools so I’m back to reading children’s book! And honestly, and of you that don’t occasionally sit down and read a kids book out loud don’t know what you’re missing. Anyway, Robert Munsch is a Canadian author, and one of my all-time favourite children’s authors. It surprised me to learn he isn’t as well known in the States apparently? I don’t know if that’s changed or not, but he is a Canadian staple for a good reason, his books have ridiculous premises, are specifically written to be fun to read out loud, and have beautiful, involved, and hilarious illustrations. The Paperbag Princess is one of my absolute favourites, and as a kid it was one of the first stories I had ever read where a princess is the one saving the prince… and then telling the prince to piss off when it turns out he’s a jerk. Up, Up, Down is another favourite I reread this month, because it’s just hilarious funny and makes a fantastic read aloud with kids. Some other Robert Munsch I reread this month include: Mmm, Cookies, More Pies, Ribbon Rescue, Just One Goal, and Andrew’s Loose Tooth. You just cannot go wrong, for kids or adults.

Pit Pony

Another Canadian staple while I was growing up. If you’re a young adult know who went through the Canadian elementary school system, you probably had your entire heart ripped out and stepped on by this chapter book. It’s a historical fiction that looks at the economic hardship, debt slavery, child labour, and animal abuse that was tied to coal mining in the Maritimes. Finding a copy was harder than I would have expected give how pervasive it was a decade or so back, but reading it again was a pure shot of nostalgia.

Seeking Refuge

A graphic novel written by a German-born Canadian about a Jewish girl who flees Nazi-occupied Austria by way of Kindertransport to become a child refuge in England. It follows her as she is moved from host family to host family as the war continues to pick up and gradually makes it’s way to the United Kingdom as well. It’s very poignant and the pencil-sketch illustrations are an interesting change to a lot of the graphic novels that are out right now. This story is still aimed at a younger audience, so it never gets too brutal but it still is a hard hitting story, especially with everything else going on right now.

Silver Spoon #9/10

I know I’ve talked about these books before, but my library got some more since I last read them, so I’m continuing my way through the series. It’s about a teenaged boy who, after having a breakdown from the pressure he was feeling to study and succeeded, decided not to attend an academic, urban high school, but rather to apply for an agricultural high school so he could live in the dorms, far away from his parents. The series just gets more and more heartwarming as it continues. It’s all about failure and overcoming and how worth can be measured in different ways, and about family and understanding each other and coming together… but also about the realities of farming which aren’t always very nice, especially when it comes to finances and survival. It’s written by the mangaka behind Fullmetal Alchemist but I’ll be honest… I think I like this series more. It is honestly one of my all time favourite manga series, it just has so much heart.

Ruby Finds A Worry

aka Ruby’s Worry apparently? I can’t figure out why this has more than one title. I actually read it in French not English, so for me it was Le Souci de Calie. Regardless, this was a nice little picture book for talking about worries and anxieties with children… especially with the amount of Covid stress a lot of kids are dealing with. It explains in a really nice way how talking about anxieties are often the best way to make them more manageable, and how pretending nothing is wrong can just let it grow bigger and bigger. A good explanation for kids and possible a good reminder for adults.

War of the Realms: Journey Into Mystery

I read this because the Mcelroy family wrote it so I figured Hey! Why not give it a go! And I’m glad I did. Their brand of humour was all over it, and it made the story a delight to read. I don’t follow all of Marvel’s weirdness, so I didn’t actually know most of the characters (Miles and Kate were actually the only two I was familiar with) but they do a great job of introducing the characters and making them all feel distinct and interesting. I absolutely adore the Dog of Gods (God of Dogs) who is a very very good boy. And Miles is absolutely always a delight so you can’t really lose. It’s a single book that I think is a part of a larger plotline that I have zero interest in. This book is a fine one to read though if you don’t mind jumping into the middle of the action and just getting swept along for the ride. Also Mcelroys!

Witcher Omnibus

Bleh. Absolutely not worth it. All the misogyny and Dumb Bullshit that I hate in the original books and from video games in general. Honestly, Witcher III did way better by its characters than most of these short stories. The only one worth reading in it is Curse Of Crows – that one was actually really enjoyable, probably because it was about Ciri and had an actual fucking woman on the writing team. (Seriously guys what were you thinking with Fox Children that’s literally just a story from Season of Storms but done worse. Fuck off.) If you like The Witcher, go read Curse of Crows and skip every other story in this book.

Billy Stuart: Les Zintrépides #1

Another French (Quebecois) book I read, though I believe you can get it in English as well (Billy Stuart and the Zintrepids). It’s a chapter book / graphic novel hybrid, and was honestly a fairly fun little read. It’s in a similar vein to Geronimo Stilton but done much better in my opinion. The humour was funnier, the characters felt less like caricatures, and while it still used stylized fonts it was also less intrusive and eye-strainy than the Stilton books. Also when the story suddenly pivots into the main adventure and mystery of the series? Fantastic. Was not expecting a hell-beast to appear part way through the story. Very interested in reading more.

Over all, it was cute and funny, and I can see it being a good next step when children have read their fill of the Stilton series and want something similar but possibly a bit more involved and coherent.

[makeste]

What are your favorite hero names?

oh man there are so many. I had to limit myself to a top twenty, and even that was rough. anyway so first off, a few runner ups because I couldn’t go without mentioning these:

Vlad King - to be clear, this isn’t actually one of my top hero names. but I’m mentioning it here because back when I was first reading the series, one of the fan scanlations -- either Fallen Angels or Mangastream, I forget which -- had originally translated his hero name as Brad King. which, to be frank, would have been one of the greatest hero names of ALL TIME. you can’t imagine my disappointment when I finally learned the truth. it still haunts me to this day.

Jack Mantis - this is Kamakiri (a.k.a. the guy from class 1-B who can grow knives out of his body)’s hero name. my question is, why the Jack. the mantis part, I get! that’s fairly obvious! but the “Jack” is forever a mystery to me. it just adds this little layer of intrigue.

Mr. Brave - this guy is one of the few good things to come from the Basement arc. don’t get me wrong, he is completely useless. but his name? absolutely legendary. this guy, with his power of ripping his own hair out and turning it into a sword (yes that’s his quirk), an ability that could be easily duplicated or bested by literally any jackass who just went out and bought their own damn sword, really thought to himself, “I am going to be the BEST MCFUCKING HERO THE WORLD HAS EVER SEEN. I AM GOING TO NAME MYSELF... MISTER BRAVE.” and they let him, you guys. they let him.

anyway so now for the top twenty!

20. Can’t Stop Twinkling - this isn’t a name so much as it is poetry in three words. I still cannot believe that Aoyama went up to Midnight with a hero name that sounds more like the world’s greatest Dear Abby letter, and she actually let him keep it. I’m not 100% clear on how this all works, but I like to think this means that Aoyama’s fellow heroes have an actual legal obligation to call him this in battle. I don’t think we as a fandom and as a people really take enough time out of our lives to stop and be grateful for Aoyama’s existence.

19. Uravity - it’s a pun!! it’s so cute and I love it!! and it’s such a perfect name in that it just instantly sums up and defines her whole brand, bringing to mind both Ochako the person and Zero Gravity the quirk. honestly she is one of only a few kids whose hero name I never space out on. with a lot of the others I usually have to pause for a sec and be like “wait, what was their name again?” but never Ochako.

18. Present Mic - this would make a really great band name honestly. I just like it. I’m pretty sure Horikoshi was going for “present” as in the verb meaning “to perform”, like in “presentation”, but to tell the truth I always pronounce it like “present” as in “gift” or “the present time”, which doesn’t make any sense at all, but IT’S JUST WHAT MY BRAIN DECIDED TO DO. anyway.

17. Tsukuyomi - I know this name has its origins in Japanese mythology, but to be completely honest I’ve always just associated it with Itachi’s infamous genjutsu attack from Naruto. I just think it’s the gothest thing ever and absolutely perfect for Tokoyami lol.

16. All Might - there’s just something about this name that kind of makes me just want to pump my fists and go “YEAH!!” I really like the use of “might” as a noun rather than “mighty” as an adjective like you see in so many classic superhero names. it’s just so much cooler somehow. this name really does conjure up the image of the strongest guy in the universe.

15. Midnight - honestly I’m almost mad that this wound up being a hero name, because it would have made a perfect villain name. it’s dark and mysterious and sexy. it’s no wonder why Midnight chose it lol. anyway so my girl is a bit kinky, nothing wrong with that, and it’s also a perfect name for someone whose quirk puts other people to sleep. it’s just such spot-on branding, I love it.

14. Ingenium - fun fact, I had no idea what this meant when I first came across it because I don’t speak Latin! apparently it means “genius” or “talent.” which is a very good meaning for a hero name! but honestly the real reason I love it so much is because it’s Iida’s tribute to his brother, and I am just such a sucker for that kind of shit. damn you Iida siblings. quit giving me all these feels.

13. Shouto – yes, seriously. I know a lot of people hate this name, and it’s always getting flak for being bland and uncreative. but I honestly think it’s a perfect name for Shouto. firstly because Shouto himself is very much the opposite of flashy in a lot of ways. he’s not particularly animated or attention-seeking; he is a very calm, sort of still-waters-run-deep person, and I think the lack of a snappy brand name fits that personality. I’m even more delighted that it hasn’t remotely curbed his popularity at all (at this point I think the only kid hero with more in-universe fans out there is Momo, and even then it’s probably a close thing), and I think a big part of that is that people are drawn to his unpretentious nature, especially in comparison to a lot of the other heroes out there. but most of all, I like the name because of the simple yet powerful way it serves as a declaration that he is his own person. he’s not his father, and he’s more than just a Todoroki. he is himself; he is Shouto. anyway so yeah, to me this is a fantastic name with so much depth and meaning.

12. Battle Fist - this is Kendou’s hero name AND IT’S PERFECT. like, holy shit. what should we call the girl who goes around punching bad guys around all day with her giant hands. how about BATTLE FIST. there really isn’t much more to say about this one, honestly. its greatness speaks for itself.

11. Vantablack - imagine being such an enormous douchebag that word of your douchey exploits made it all the way over to some guy in Japan who spends 95% of his waking hours writing a manga and has almost no free time. fun fact, although Anish Kapoor is the only one licensed to use the color Vantablack, the name Vantablack is still owned by Surrey NanoSystems (a.k.a. the guys who actually invented it), and so I’m pretty sure they’re the ones who decide whether or not someone else gets to use it. I wonder if Kapoor is pissed about his color being referenced in a popular shounen manga. anyways, all of that speculation aside, it really is the perfect name for someone with Kuroiro’s quirk.

10. Endeavor - look, say what you will about Endeavor the person (although I’m personally a big fan of the way his redemption arc is being done and think he’s a fascinating character, albeit a very flawed one), but there’s no denying that Endeavor is a badass name. but what’s really great about it is how it so perfectly captures the admirable part of Endeavor, the one thing about him that’s actually worth praising. he never gives up. he’s always pushing, striving, struggling forward no matter how hopeless it seems. and that’s a worthy trait, and it says something about him that this is what he chose for his hero name. a name that has nothing to do with fire, nothing to do with his quirk, nothing even to do with his goal of becoming #1. it’s simply a name that means to make an effort; to try and achieve something. and I like that.

9. Sugarman - this IMO is easily the most overlooked and severely underrated hero name in the series. it’s a hidden gem. everyone always forgets about Satou just because his power of being a Strong Punching Guy doesn’t particularly stand out in a manga chock full of strong punching guys. but he is a badass and a great character, and honestly “eating candy makes me super strong” is possibly the single greatest quirk in the history of time and I am jealous. anyway, so this is a really straightforward name, but it’s really smooth and catchy somehow and so it’s one of my favorites.

8. Gale Force - this is Inasa’s hero name! it’s another one which is criminally underrated, much like Inasa himself. airbender powers are just so badass you guys. wind is so badass. this name is all hurricaney and tempesty and super cool and powerful-sounding. this is one of those names that I’m honestly surprised wasn’t already a mainstream superhero name. Marvel was all “nah, we’ll just go with ‘Storm’”, like come on you guys where is the creativity.

7. Red Riot - this name is a fucking grand slam. it’s alliterative! it’s catchy! it’s got the word “riot” in it! it’s an absolutely perfect name for a passionate guy whose quirk lends itself towards good old fashioned brawlin’ and head bashing. the fact that it’s got additional meaning as a tribute towards Kiri’s own personal hero is just the icing on the cake. this is another name that Marvel probably legit wishes they had thought of first. it’s easily the best hero name out of everyone in class 1-A imo.

6. Sir Nighteye - hilariously for the longest time it was not confirmed whether or not Nighteye actually had a real name (he does! but I’ve forgotten it lol), and so there was this lingering question, absurd as it was, of whether or not Nighteye’s parents, whoever they are, were descendants of some proud Nighteye clan, and whether they had really, actually named their child “Sir.” anyways though, I love this name. it’s super cool and mysterious and perfect for someone with future-seeing powers, and the “Sir” just makes even awesomer because it implies that the Queen really liked him or something.

5. Mt. Lady - this name is a stroke of genius. supersize-me powers are a dime a dozen, but the characters always have names like Giant Man or Giganta or Goliath. as far as I know, no other superhero characters have ever thought to name themselves after mountains, let alone to name themselves as if they WERE a mountain. like, she isn’t “mountain lady”; she’s “MOUNT Lady”, as if she were an actual tectonic peak. it really bothers me that I can’t adequately describe in words why I love this so much. I just do!! I think she should get an award.

4. Suneater - Tamaki is out here proving to everyone that your hero name doesn’t need to have jack shit fuckall to do with your actual quirk in order to be completely badass and iconic. sometimes I wonder what Tamaki does when people ask him “out of curiosity, why did you pick that name?”, which someone surely must have done at some point. he probably turns beet red and tries to dissolve into the background. but anyway, the general public does not need to know the meaning of his hero name in order for it to have meaning; we know what the meaning is, and that it’s his way of saying “I believe in myself because my friend believes in me”, and honestly that’s all that matters. I am still of the opinion that certain other people whose childhood friends held a lot of unwavering belief in and admiration towards them could do worse than going down this same hero name route, but we will see! anyways Suneater deserves all your respect.

3. Best Jeanist - I had so much love for this name from the start, and then I found out it was a real, actual award. for people who make good jeans, or are good at wearing jeans, or something. it’s run by the Japan Jeans Council, which is also a real and actual thing. but anyway, despite it not being as wholly original of a name as I thought, it’s still iconic, and I love that he went with something that was recognizable while still fitting his quirk, and which has the added implication that he is the motherfucking best, because he is. also, given that he probably chose this name while he was still in school, and that only public figures generally seem to be eligible for the award, this implies that he chose the name Best Jeanist first, and then went on to win the actual award eight years running. presumably because the JJC got very flustered and were all, “IT’S LITERALLY HIS NAME... WE HAVE TO GIVE IT TO HIM... WE HAVE TO”, and so they did. anyway so that was a goddamn power move on his part.

2. Gang Orca - first of all, if you are an orca man, then naming yourself after orcas is a pretty apt thing to do and I have to respect that. but then along comes the “gang” part, out of absolutely NOWHERE, and it absolutely SMASHES. like, this name comes up to you and it slaps you in the face. GANG ORCA. HE’S A BIG AGGRESSIVE DOLPHIN MAN AND HE’S NOT HERE TO FUCK AROUND. IS HE ACTUALLY IN A GANG?? WE DON’T KNOW. BUT HERE HE IS, READY TO YEET YOUR DELINQUENTS AND HUNT YOUR MOTHERFUCKING SEALS. this name fucks so hard it came within inches of the number one spot. he is a ruffian and a champ.

1. Eraserhead - last but not least, the guy who DIDN’T EVEN PICK HIS OWN NAME. his best friend had to do it for him, and out of love, came up with the SINGLE BEST HERO ALIAS IN THE HISTORY OF MANKIND. first of all, this name sounds like a very funky and electronicy Thom Yorke song. second, it conjures up the image of a man with a big no. 2 pencil head, which could not possibly be further from the truth. it’s just so whiplashy in the best way possible. third, the very existence of this name is seriously a goddamn miracle. he could have been “Power-Stopping Man.” or “Sleeping Bag Man.” or “Scruffy Hero: Tired Man.” or just “Shouta”, but unlike Shouto there wouldn’t have been any actual meaning to it; it would have simply been a case of him not giving the slightest of fucks about coming up with a real name. but rather than any of these, thanks to the power of friendship we were blessed with the greatest hero name in recorded memory. this is one of the few kindnesses fate has ever bestowed upon Aizawa Shouta in his tragic, exhausting life, and I for one am eternally grateful.

anyway so that’s my list! sorry if I left out anyone’s favorites! but I think all of these are deserving of love. also if you want to see the single best thing Japan has ever come up with, please go visit best-jeans.com. they even have an instagram lulz.

[memoriesoffear]

Dear Memories of Fear staff: What were some of your favorite games to translate?

We have written down our favorite games to translate underneath a cut.

===============================================

KulaRose:

Of the games we worked on, I can easily pick out my top three that I adored as a translator:

Toilet in Wonderland: - This one was a challenge due to the memey quality of it, but I loved the utter crack nature of the game, and translating scenes like that of the Soccer Kid and his Doctor Dad was a load of fun. Even the non-translation aspects, like Mira herself and the overall world made it a treat to work on and made me excited to translate it.

Peret em Heru: For the Prisoners: - Honestly, this was very likely my favorite title to work on, both for its setting and because I had way too much fun translating Tsuchida and Kuroe's interactions. I can’t think of any other duo where the dialog just came to life right in front of my eyes as much as those two’s speech that was just dripping with underlying aggression. The rest of the cast’s little quirks were a lot of fun to translate as well and it just left me wanting more Peret em Heru. It’s a game that I was really sad to see come to an end, both as a game and as a translation project.

The Mystery Files of Detective Inaba No. 2: - Characters, characters, characters. That’s the name of the game here. Just like with Peret em Heru, I loved translating the characters and, again, just like Peret em Heru, I LOVED translating the aggression between Tsubaki and Natsume. I think I just have a thing for barely contained rivalries/rage. But yes, once again, I love translating characterizations and this game had it completely in spades. So much is going on beneath the surface of this case which gave many chances for the characters to shine. Naturally, Inaba and Arimura’s natural ability to play off of each other was amazing in this game and highly enjoyable. You should notice a trend at this point that I really enjoy translating a ragtag group of misfits a lot.

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enigmaopoeia:

Here are the games I have personally loved working on: Ghost School: - This game stood out to me because of the graphic work I had to put into it. There were a couple of disembodied voiced lines in this game which had no subtitles provided because it was meant for an audience who would understand the language. Thinking on how to handle this, I was inspired by XSEED Games’ work on Corpse Party (PSP) where they provided subtitles on the upper corner of the screen whenever this happens. So taking that inspiration, I was able to insert subtitles into the game to help the many players who do not understand spoken Japanese, that way they can obtain the same full experience as those who do understand the language. Because I feel it is important to make sure all dialogue is understandable, any time I am faced with a game with spoken dialogue and no subtitles, I will do my best to provide them every time.

Peret em Heru: For the Prisoners: - It was my first time working with the RPG Tkool Dante 98 II engine and I really enjoyed learning it, especially when there were no English written tutorials out for it. There is still a lot I would like to learn about the engine, but I am happy with what I have accomplished thus far. While it's probably not possible, it makes me wish that I could port CORPSE-PARTY (PC-98) to that same engine, since it's a much easier engine to work with.

The Mystery Files of Detective Inaba series: - I am a big fan of murder mystery stories, so it was a lot of fun for me to work on these games. So much so that I even wrote out timelines for No. 2 and No. 3 that way when I worked on it, I could make sure there are as few plotholes as possible. I also loved helping out with the bug fixes and I would send my reports back to Inui, the game developer, of Suika Bar. If I had to choose one game that in the series I loved working on most, it would be The Mystery Files of Detective Inaba No. 2 due to the amount of characters and interactions.

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Ajogamer:

CORPSE-PARTY ZERO: - This one was my second playtesting project ever, so because of that, it made it enjoyable simply due to my mindset, where playtesting still felt fresh and new me, but I was also a bit more confident due to having a prior project under my belt. In addition, CORPSE-PARTY ZERO was a project where I wound up finding a lot of issues to report, but they were usually simple enough that re-testing them and making sure they were fixed didn't wind up becoming frustrating. As a result, the project was one that felt fairly satisfying to work on. I also liked that the game had a lot of variations with its events, which made it feel like there was a good amount to explore and consider while testing.

Toilet in Wonderland: - This one was rather enjoyable for a couple reasons. For one, I was rather happy to simply have the chance to work on it at all, since it was a game that seemed relatively obscure and with little info on it even among the Japanese RPG Maker fandom, so when I first discovered it and played it for the first time, it almost felt like I was uncovering something lost. As a result, helping Toilet in Wonderland get localized in English was exciting, since it was an opportunity to give this little-known game another chance at some exposure. The game itself was also fairly fun to work on, since with how odd and surreal it was, its plot and dialogue were more of an unknown than usual, going into it. As a result, I was initially a bit unsure how much the dialogue would add, but I wound up being really pleased by its dialogue, since it was just as goofy and humorous as the game's its surrealistic visuals and events, and it felt like it made me appreciate Toilet in Wonderland anew. Between its surreal areas and that consistently silly dialogue, it was also fun to work on. It made polishing up its dialogue feel a bit different than with our previous, projects (which were generally a bit more serious in tone), and I even found replaying the game (as is always necessary as a part of the QA Process) a lot of fun, since its silliness never failed to make me smile.

The Mystery Files of Detective Inaba No. 2: - While The Mystery Files of Detective Inaba series was fairly enjoyable to work on in general, The Mystery Files of Detective Inaba No. 2 was my favorite to work on of the bunch, since it was a game that really emphasized its writing, along with having a large cast of characters, most of which had plenty of dialogue. As a result, I felt like there was more of a need than usual to consider each character's unique way of speaking, and there was a bit more time spent tweaking dialogue to make sure that was consistent all throughout. In addition, it was interesting making sure all the story details and character accounts were properly conveyed and matched up in our translation. The game also had some nice jazz music, which was pretty catchy and pleasant to listen to even on my 2nd and 3rd times running through the game to playtest it. Peret em Heru: For the Prisoners: - This one was exciting to me for a few reasons. For one, Peret em Heru was another where the character voices were a bit more of a consideration, since its characters are pretty distinct and with some stronger personalities in the mix, so it was fun seeing their unique voices shape up in English, and then helping tweak and polish up their dialogue (especially so for the characters that were a bit more cheeky or blunt, which is quite a bit of the cast, heh). In addition, Peret em Heru was a game with a good deal to see and test, between the different characters to make use of in combat, their variable fates, and the entire command-based system for dealing with obstacles and solving puzzles, all of which made the playtesting process interesting and fun. Being a PC-98 game, it also felt like a more unique project to work on, since it makes it feels a bit different than your usual RPG Maker game, and well... I also just really love the PC-98 aesthetic. Speaking of, I really loved this game's aesthetics and atmosphere in general, and they never failed to suck me in each time I replayed the game to playtest. Lastly, Peret em Heru is also a game that especially impressed me, so I was also just excited to get a chance to work on it and bring it to an English audience!

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[itsclydebitches]

RWBY Recaps: “Gravity”

Good lord, folks. Buckle your seat-belts because we’ve got a lot to get through this episode. I think this is my longest recap to date, so settle in.

Episode Eleven’s “Gravity” starts out simple enough, focusing on the two fights we’d set up during “Out in the Open.” First up, Ironwood vs. Watts. Overall this fight does a really excellent job of showcasing their different fighting styles. Right from the start Watts is pointing his gun forward to take a clear shot at Ironwood, whereas Ironwood points his backwards to use as a surge of momentum.

He’s going to do this frequently throughout the battle, constantly using his gun to maneuver in the air, slow falls, regain his balance, and change directions, a much more complicated series of choices than the one-off shots we see Ruby use with her sniper rifle. This is partly because Ironwood seems to have a much larger supply of bullets---some sort of energy/dust ammo---than Watts does. His steampunk-esque gun holds only nineteen bullets, requiring him to keep track throughout the fight. Which is always a fun trope but sorry, Watts, you can’t compare to the king.

Thus, with limited weaponry available to him, Watts is forced to get creative with the arena itself. We see him manipulating gravity, shooting up columns of water and fire, and making use of his own pathways between platforms, all in an effort to throw Ironwood off and catch up unawares. However, Ironwood is, frankly, the much better fighter. He was right last week to assume he could handle Watts even though he sent three off to tackle Tyrian. He’s able to recover much more quickly and learns from any mistakes, as evidenced by his ability to hit Watts dead on while in the air the second time he takes out the gravity. When they come together in hand-to-hand Ironwood easily dominates, no doubt thanks not just to his military training and huntsmen lifestyle, but also in large part to his prosthetics which I would assume grant him more speed and power. Throughout the course of the fight we see Watts consistently take more damage to his aura and he’s unable to sense when Ironwood is sneaking up on him. After that little maneuver, Watts (presumably) grows reckless and lets off his last three or four shots in a random barrage. All of them miss.

This emphasis on emotion continues when they land back onto the main stage with Watts shouting, “You never appreciated my genius, James! You just stood atop it and called yourself a giant.” Oh, did Ironwood actually do something horrendous in the past? Is there something juicy that would explain---though not excuse---Watts’ turn towards villainy? Nah. He quickly follows that up with, “You chose that fat imbecile over me!” referring to Pietro. So... nice one, Watts. Crazy arrogance, willful ignorance of Pietro’s own, clear genius (anyone who can create Penny is no slouch), as well as a bit of fat-shamming on top of it all. No sympathy from me.

This moment emphasizes how unhinged Watts is becoming though as the fight turns against him. Even when he manages to setup a head shot Ironwood reveals, “You’re smart, but you’re not the only one who can count,” referencing that Watt’s emotions got the better of him, leading to him wasting his last bullet before it could be of real use.

...except not. I’ve got to admit, I was very pleased when all of this---or at least this particular moment---was merely a plan to get Ironwood to let his guard down. Watts is way too smart a character to be done in by the “You got too emotional and that made you sloppy” trope. So kudos there (even if it remains to be seen whether that Pietro comment was really his motivation, or just another part of the plan). Instead, he uses Ironwood’s confidence in his victory to trap him with the rings that control the arena, essentially pinning Ironwood’s non-prosthetic arm through the energy shields he’s been using. We can immediately see that the parts that have touched Ironwood already have horribly burned the skin.

And that ends up being Watt’s downfall. Not stupidity on his own part, but his lack of understanding of Ironwood himself. He assumes that this truly is a trap for him, rather than another sacrifice. After all, what fool would ruin their one remaining arm to stop him? Watts himself wouldn’t. Don’t pull, he cautions Ironwood, not “unless you’re hoping to add more metal to that body of yours.” Watts goes so far as to turn his back on Ironwood who then makes the sacrifice we all knew he would. One burned, useless arm later and he’s free.

I would like everyone to keep this moment in mind. Namely the utter devastation of it. I’d go so far as to say it’s as bad at Yang losing her arm in Volume 3. Despite seeing it bandaged later, Watts at least thinks it will be a complete loss if Ironwood sacrifices it. He’ll need to “add more metal,” AKA replace his arm, so though he obviously still has it in the following scenes, we don’t know if it will ever be functional again. Just as important, Ironwood had to choose to do that to himself. That wasn’t a horrific, but ultimately clean cut done in a moment of surprise. That was a conscious decision, a slow pull through all that pain, and then having to finish your fight immediately afterward. It’s a very different kind of psychological trauma, no better or worse than having someone take your arm from you by force. Throughout this volume I’ve seen a lot of fans being critical not only of Ironwood’s main decisions, but just his overall attitude as well. Too strict, too stern, doesn’t smile enough, yells sometimes, etc. basically associating someone who isn’t all sunshine and smiles with someone who is “bad.” Ignoring for the moment that we can say the same thing about many of our group---notably Yang---I have little doubt that I’ll see similar posts after this episode. Writings in the vein of, “Ironwood is unhinged! I can’t believe he yelled and hit his desk like that!” So everyone just keep this moment in mind and ask yourself how calm you’d be if you’d sacrificed your arm like that all of half an hour ago. And then found Salem’s calling card on your desk. And then came to the realization that the allies you trusted have been lying to you from the start. And then Salem herself appears to mock you. And then your city is about to be overrun. Basic summary of the rest of the episode: holy shit. So yeah. If Yang is allowed to be angry and upset after losing her arm, or just angry in general like she is in the later half of “Gravity,” I think we owe it to Ironwood to let him be angry too. I have a lot of feelings about the utter insanity he’s been forced through with little to no support and if he wants to take all that out by hitting his desk once, by god I’d say that’s a good coping strategy given the circumstances. Both the writing and the fans tend to erase trauma once you’ve passed age 25. The girls have every right to be upset, to break, to not trust people because they’ve been through a few months of hardship, but Ozpin isn’t allowed the same after a couple thousand years of that. We’re going to see the same hypocrisy later in this episode---the group can be upset about lies but Ironwood is not---and I’m hoping (against hope) that the fandom doesn’t make that worse by sweeping this injury under the rug. It’s horrific and absolutely has a bearing on his inability to keep his cool with the group immediately afterwards. We’ve long passed Ironwood owing them endless reassurances and calm responses. 

Anyway, Ironwood still manages to finish the fight because his remaining arm is his robotic one, giving him the strength to easily drag and raise Watts into the air one-handed. He dangles him over the edge of the arena, announcing that he will “sacrifice whatever it takes to stop [Salem].” A clear bit of foreshadowing for his decision at the end of the episode. Watts responds that he hopes he does.

We then move to the Tyrian fight which, on the whole, I don’t think was done quite as well. Granted, there are a lot of enjoyable and badass moments. I like that Clover’s first act is to announce that Tyrian is under arrest, maintaining the law that Atlas (and Ironwood) works to uphold. It doesn’t matter that Tyrian is a crazy serial killer in league with an immortal sorceress hell-bent on destroying the world. Even crazy serial killers have rights and are given the option of surrendering, even when everyone present knows there’s exactly zero chance of that happening. It’s the principal of the thing and the ability to say, “We gave him a chance.” In a world overrun with inequality, this is a small but important attempt to level the field. If you do something wrong you face legal action and those rights are announced to you. Same for Tyrian. Same for Team RWBY. But we’ll get to that.

For now, we see Qrow attack first and like back in Volume Four he and Tyrian are pretty evenly matched. The tide doesn’t turn until Robyn and Clover come into play. Throughout this exchange we see a lot of cool combos among the three of them. Tyrian will block an incoming arrow with his tail only for Clover to snag it with his hook. Robyn can get another arrow to perfectly bounce off the walls and then Qrow’s scythe, hitting Tyrian dead on. Clover can dive between Tyrian’s legs, giving Qrow the opening he needs to attack. It is, as said, pretty badass... almost a little too badass. Personally, I would have appreciated them messing up once or twice. They’re all professionals, yes, but Qrow and Clover have only had one fight together. Robyn, meanwhile, wasn’t even allied with them until an hour ago. This is a situation where skills shouldn’t really trump, “We’re three very distinct people who don’t know each other’s fighting styles well, trying to attack one guy in very close quarters.” There should have been some screw-ups. Especially when we take semblances into account. What, are we supposed to assume here that Clover’s semblance just conveniently overrides Qrow’s? That no mistakes---let alone anything bad---will happen in this fight despite the fact that it’s an extreme parallel to Volume Four? That whole battle emphasized, “Don’t come closer!” because when people fight near Qrow bad shit happens. Now, he fights with two other people in a narrow alleyway and there’s not a single repercussion. Based on their travels looking for the geist, I don’t buy that Qrow’s semblance is just conveniently inactive while near Clover. Even if I did... that’s not a very good writing decision. To me, it’s just more evidence that Rooster Teeth doesn’t understand its own rules/doesn’t know what to do with an ability like Qrow’s. It causes problems only when they explicitly want it to. Then, miraculously, it’s no longer in effect.

Still, we’ll acknowledge that RWBY had a lot else it wanted to accomplish in this episode, so the need to power through this fight is somewhat justified. I personally would have had the entirety of this episode be the two battles---I was shocked when both ended just eight minutes in---but I’m obviously not the one writing the show. Thus, instead of an episode devoted to both the action and the emotion of confronting our two main villains this volume, Tyrian loses his cool after getting punched in the gut, manages to catch Robyn’s arrow in his teeth... 

But it’s a bomb. 

Down he goes. Fight’s done.

Which leads us into the second half of the episode. I want to preface this with a short acknowledgment before we go any further.

Did these last ten minutes give me what I’ve been looking for since the beginning of Volume Six? No. It’s easy to assume it did because all the pieces are there. Ironwood is finally angry about the secret keeping. The Ace Ops are criticizing the group left and right. Surely this is the “The group is capable of making mistakes and they should be called out for it!” that I wanted, right? Not really. For the simple reason that there is a massive difference between:

A story that acknowledges mistakes as mistakes. The characters either grow from this lesson or dig in their heels and are painted as being in the wrong for that decision.

and

A story that takes what the audience (me) perceives as mistakes and frames them as justified choices. The characters do not grow because they’re 100% sure they’re in the right and those who would criticize them are painted as in the wrong. 

“Gravity” is so far into that second option I don’t think the series can come back from it. Does the group face criticism? Yes, but every single time the writing insists that it’s undeserved criticism. It paints the group as the underdogs facing unfair odds, rather than equals---with all the responsibility that comes with that---facing criticism that they need to own up to. Absolutely nothing in this second half implies that the group is going to learn from their mistakes because they, and the writing, still insists that they weren’t mistakes. Which is precisely what we’ve gotten before. Cordovin might criticism them, but Cordovin is in the wrong. Winter might criticism them, but Winter is in the wrong. Every time a character goes, “Hey, you shouldn’t have done this” the group responds with, “Yes we should have!” and the story backs them up. Yes, you should have attacked Argus. Yes, you should have stolen an airship. Yes, you should have lied to Ironwood and spilled the secret to Robyn. Yes, yes, yes. That’s the takeaway every single time. The group is never in the wrong. Others just think they are and those others are painted as cruel, militaristic, unhinged characters.

It’s not at all what I was looking for. Just more of the same.

So that’s the preface. In terms of what we actually get, Ironwood returns to his office with his arm bandaged and in a sling, carrying Watts’ bag, only to drop it when he sees the queen piece on his desk. He calls Winter asking, “Was anyone caught entering the school grounds while I was away?” and when she says no Ironwood has her race off to the Winter Maiden, unknowingly leading Cinder there in the process. “Now show me where you’ve been hiding her.”

We then cut to the group where the trouble begins. They’re not just curious about why Ironwood is recalling them with Mantle still in need of evacuation, they’re actively questioning it. This is the attitude I simply don’t understand. The group acts as if Ironwood is deliberately screwing everyone over when they know better. This is no longer the beginning of the volume where they thought he was some horrific dictator hell bent on destroying his own Kingdom. This is just an hour or so after, “We should tell Ironwood!” and the happy-go-lucky ‘We trust him now’ moment. Even less time after Ruby stared up at him in awe with, “He’s doing it.” They had reason to trust him before they even made it to Atlas. They were given even more reasons in the form of Ironwood sharing his secrets, early licenses, and being allowed to work on the tower. They then still waited until Ironwood was doing everything they wanted before giving him some of that trust back... but the moment he stops doing precisely what they want---we want to keep evacuating Mantle---he’s deemed suspicious again. 

I mean seriously, is the group that dense? Are they incapable of thinking to themselves, “Wow, something must have happened if Ironwood is recalling us before evacuations are complete,” which is precisely the case. The scene tries to frame it as “Group Good” and “Ace Ops Blinding Obeying Orders Bad” but that aspect doesn’t even come into play. There’s nothing blind about it. It simply takes two seconds of critical thinking skills to realize that something really awful must have happened back at the Academy that trumps what you’re doing in Mantle. This is what I mean by the writing being biased. Before we even reach the fight in Ironwood’s office it’s trying to paint him as potentially cruel, potentially suspicious, potentially abandoning his people, look how worried our heroes are about this secret decision he’s made... when all that requires ignoring some really basic deduction in order to reach those assumptions. Remember that intelligence is a plot device in RWBY. If they want Ironwood forced to spill his secrets, he’ll randomly start talking about them in front of his enemies. If they want Ironwood painted as the villain, the group will randomly be incapable of realizing that maybe, just maybe, something went wrong on the home front and you’re needed there.

Things just get so much worse from then on. The group splits with JNR going off to find Oscar and, admittedly, I was shocked we got that at all. I mean yeah, it’s setup for the final reveal at the end of the episode, but the fact that anyone remembered Oscar was missing---let alone happily went off to find him---was still a surprise. So only Team RWBY heads back to Ironwood’s office where they find him (rightfully) panicking over the queen on his desk. Weiss tries to baby him, acting like he’s freaking out over nothing, when all these characters should recall precisely what Ironwood himself points out: the last time we saw this symbol it was a message that Beacon had fallen. He’s not paranoid here. He’s entirely justified in his panic. Ironwood likewise points out that they may have been duped into bringing thousands of people into Atlas as easy targets and Vine agrees, setting up that the Ace Ops are on Team Ironwood throughout the course of this conversation. Not out of blind loyalty, but because he’s right. That is a concern. That may be the plan. We do need to try and do something about that. Team RWBY, however, isn’t convinced.

That is, until Ruby realizes that the chess piece is made of black glass. Which means Cinder left it. Normally I’d congratulate her on that deduction---it is the one smart move we see Ruby pull this whole episode---but I just hate what follows. Namely that Ruby and Ruby alone controls her team’s opinions on a situation. Again. We saw it back in the snow, then again when Blake announced in the elevator that they’d do whatever she wanted. Team RWBY is the one who blindly follows their leader, not the Ace Ops, the only exception being Blake and Yang going rogue in regards to Robyn, but we see that hive-mind mindset here again. Ironwood brings up a good point? Nothing. Ace Ops support that point with more logic? Nothing. Ruby supports it? Oh, suddenly Weiss and Blake are taking this seriously. Suddenly Yang is fired up and ready to do whatever is necessary. Ruby controls the room. It’s only when she’s on board that her teammates decide this is worth getting riled up about.

Which, as I’ve said before, is a horrible way to write a diverse group. Especially when the writing is trying to paint the Ace Ops as mindless soldiers. For all their claims that they just have to follow orders, they’re the only ones parsing through this situation and coming to their own conclusions. It’s just that their conclusions do end up aligning with Ironwood’s which is the “bad” take in this scene. Team RWBY, however, waits until their leader makes a decision and then simply rides her cloak tails. The day that Blake, Yang, or Weiss legitimately disagree with Ruby---not a token “Are you sure we should keep secrets from Ironwood? We’re not actually challenging this. Just checking in”---is the day the writing will disagree with her. AKA, no time soon.

Blake tries to give some bland reassurance about them all being with Ironwood to which he responds, “Are you with me? How did Robyn know about the global communications tower?” Thank you! Thank you for giving us Ironwood’s characterization back and acknowledging that he has no reason to buy their generic ‘Got your back’ statements when everything they’ve done this volume has proven otherwise. They don’t support Ironwood, only themselves and their own teams. The minute he does something they don’t like he’s chucked under the bus. Too bad the writing doesn’t acknowledge any of this and instead continually paints the group as being justified in their decisions. It’s that hypocrisy again. When the group yells at Ozpin for keeping secrets we’re supposed to be on their side. When the Ace Ops yell at the group for keeping secrets we’re... still supposed to be on their side.

Weiss tries to diffuse the situation with “None of this matters right now!” which is real rich when they were just complaining about Ironwood not telling them why they were called back. They get to worry over that, but Ironwood isn’t allowed to worry about them outright betraying him? “Loyalty always matters!” he shouts back and he’s right. Why should Ironwood trust them to have his back in this crucial moment when they’ve never had it before? I’m already seeing more of this hypocrisy among the fandom. When Ozpin kept secrets and told lies the group was given a whole volume to be pissed about that and fans still, to this very day, insist that it hasn’t been enough time for them to get over it, to regain even a portion of that trust. But now that Ironwood has been lied to and betrayed in the same manner? People are annoyed that he’s not just shrugging it off. How dare you not get over in thirty seconds what our heroes got weeks to work through. His inability to just suck it up, as it were, is used to make him seem irrational here. I don’t see anyone, characters or fans alike, acknowledging that his anger is as righteous as the group’s was out in the snow. That there is the disconnect.

Of course, something has to break the tension. Drawn by all the fury and fear, a grimm pops out of Watts’ bag. A fail-safe for if he was defeated and captured. Salem immediately takes control of the grimm and kills it, using its form to appear before them. She reveals that it doesn’t matter that her men were captured. They were just there to “set the stage,” which they’ve done. Still doesn’t explain the random Penny side plot to my mind (seriously, why did the story bother to resurrect her when she has done nothing plot-wise or emotionally?), but whatever. Much more importantly, the stage is set for Salem herself. She’s approaching with the grimm army we saw her amassing which is... iffy.

First off, why? Why after a thousand years has she suddenly changed her MO from keeping to the sidelines to a full-on attack? Again, what’s the catalyst for that massive change? We don’t know. Meanwhile, from a writing perspective, I’m hesitant about having our Big Bad thrown into the mix before the finale. We know there are plenty of volumes left in this series, which automatically undermines any battle they might have with Salem. Will they win?? Of course not! Because RWBY isn’t over yet. Granted, this could all just be a ruse of some sort. Maybe Salem just wants them to think she’s approaching with an army, which would be much more up her alley in terms of long-distance manipulation. But if not... seriously, what’s the point of that?

Here’s hoping it’s a bluff.

Speaking of manipulation, we get a fantastically creepy moment where Salem tells Ironwood to “simply accept the futility of your situation” while smiling like a kind mother. That’s the Salem who is truly dangerous. Ironwood reaffirms that he won’t give up the relics and Ruby pips up with, “We don’t have to kill you to stop you.”

Hey wait. I’m gonna give you all another graphic.

This is Ozpin’s stance! This is his plan! His version of hope! We spent all of Volume Six having the cast beat on him for, “Omg Salem is immortal?!” and with the exception of Nora’s comment, no discussion of this in Volume Seven... but now suddenly Ruby is making this announcement? The group came to this revelation sometime off screen which we a) don’t get to see and b) once again created no scenario in the form of, “Wow! Ozpin was right all along! Maybe we should go talk to him...”

I’m just... wow. The number of times the writing takes what the group and the adults do, the exact same perspectives and decisions, and twists it so that the group comes out looking like heroes and the adults look like misguided, unhinged fools who need to be put in their place... I’m really over it at this point. And by extension the group themselves. Their characterizations have been so badly mangled at this point I legitimately don’t like them as people. I don’t care if they say they want to protect Mantle, or if they say they’ll support Ironwood, or if they say they’re unsure about their choices. All their actions claim otherwise.

Rather than grappling with the huge revelation that the group is apparently no longer obsessed with Salem’s immortality (or rather that Ruby isn’t. The rest of the group doesn’t actually matter. As established, they sync up with her beliefs the second she announces them), we return to Summer Rose. Salem goes, “Your mother said those words to me” and Ruby... loses it? What? I would have been 100% on board with this if we’d gotten it last Volume because then we saw Ruby losing her cool periodically. The smashed alcohol bottles. Chucking her scroll. Screaming at Qrow. That was all building to something. But then we had a year and roughly twelve episodes of normality. Ruby jumps into her fight with Cordovin and has been fine ever since. Hell, she’s been bubbly and confident, goofing off with Penny in one episode, then giving strong orders to her team in another. The one time we see her falter was in her conversation with Qrow and he reassured her completely that she was both doing the right thing and in no way comparable to Ozpin. Now, suddenly, one line from Salem and Ruby collapses? Full on incapacitated? I could buy the crying while still standing strong, I could buy a collapse if we’d kept her characterization going from Volume Six, but this kind of reaction in this context just felt so extreme. Doesn’t help that I really wasn’t sold on the voice acting here. Those cries sound less like devastated sobs and more like weird hiccups. Not to rag on Lindsay. On the whole I think she does a really excellent job as Ruby, it’s just this particular moment didn’t read right to me. I didn’t feel Ruby’s supposed grief here.

So that was... a lot for one line from Salem in a volume of otherwise confident and cool-headed Ruby. We also don’t see it amounting to anything, as per usual with RWBY’s writing. Ruby isn’t out of commission for the rest of the conversation or anything. She pops right back up after a second in Yang’s lap, just as confident and go-getting as before. There was no lead up to this and there are no consequences for the breakdown. Rooster Teeth honestly seems to think they can just chuck random things into the story---Ruby needs to show emotion at some point!---and then just leave it at that, entirely disconnected from everything else around it. Would we have known that Ruby just had her first breakdown of the series a minute later while once again betraying Ironwood? Nope.

Finally, this scene shows us again that the Argus battle was a bunch of nonsense. Ruby’s eyes nearly activate when she’s grieving for her mother, imagining---or perhaps seeing via Salem?---a sad Summer, not a smiling one. Just like her eyes activated while seeing Pyrrha die. Just like they activated when Blake was nearly killed by the Apathy. They activate now while thinking about her mother’s death. The montage of happy moments in lieu of the sad ones not working last volume was entirely out of place.

Salem finally leaves. Now everyone is panicking about this army. Elm points out that they’ll know if anything approaches. Vine checks and realizes that Watts took out their perimeter. Either that or Salem has already destroyed everyone and everything out there. It’s impossible to know. During all this Blake asks if the Amity tower is actually finished and we get more nonsense about how Ironwood is evil for telling a lie, but the group is always justified in telling theirs. The writing really tried to compare Ironwood telling Mantle---who I guarantee 100% does not care about whether a communications tower is finished while they’re getting attacked by grimm---a lie to lure out one of their biggest threats to Blake and Yang going behind Ironwood’s back to tell a potentially non-trustworthy outlaw about said tower, risking that the information would fall into the wrong hands and doom the project before it could be completed either way. Those are not in any way comparable situations, yet the writing really has Weiss going, “General Ironwood?” in a ‘How could you betray us like that?’ tone while Yang continues to look pissed.

And as if they didn’t know! How is this a personal betrayal? They were all helping to build that tower. Surely they’d know it it was that close to being done. Again, critical thinking skills, people. Anyone with two brain cells and their insider information should have looked at Ironwood’s announcement and gone, “Oh, that must be a bluff. Just a few days ago we were arguing about whether to continue taking resources from Mantle. No way is Amity ready. He’s going after Watts. Who is indeed the much bigger threat. Considering that he has control over the entirety of our technology and there’s literally no downside to telling Mantle about a finished tower when they’re getting devoured by grimm.” This is another, “But lying is wrong!” in the face of “But lying kept us alive...?” 

Does everyone get what I’m saying here? How RWBY takes these situations and tries to paint them in an absolutely ridiculous light, expecting the audience to blindly accept this perspective despite everything else they’ve seen for themselves? Like, two episodes ago? I swear I’ve never encountered writing that treats its audience this badly. Scene after scene relies heavily on the viewer having no ability to think for themselves. Just accept that Ironwood is a horrible person for lying about the tower even though there are no repercussions for that and we JUST watched him defeating Watts as a result. Like, five minutes ago. That just happened. In this episode. 

Ironwood then drops the bomb that Winter has gone off to claim the Maiden power. Interesting development. I wonder what that means exactly. Is she just going to lock herself away until the Maiden dies naturally? Do they have her on some sort of life support and is there an agreement to pull the plug if necessary? Are they going to use a machine similar to the one Pyrrha was in and try to force the change early? Or is this just a misleading comment and Winter is merely off to protect the Maiden, no intention of taking the power now? Who knows. We’ll have to wait until next episode to find out.

Ironwood likewise announces that the staff and the lamp need to be locked away now that they’re compromised, even though they’ve been compromised since they first saw Tyrian in Mantle. Insert another [this scenario is so stupid and contrived] explanation here. It’s made worse by Ruby’s childish “You said we could keep it.” Excuse me? What, did you think the lamp was your personal property now forever and always? Is Ruby really sitting there arguing that something Ironwood told her weeks ago trumps the obvious logic of putting the relic where it’s somewhere safe? That’s the characterization we’re going for, a leader who cares more about, ‘But you said we could have it!’ over the fate of the world? What even is this? The fact that Ironwood has to explain to them that the situation has changed just reinforces the group’s overall attitude. That is, one of arrogance and importance. They literally need to be told why putting the relic in a nearly impenetrable vault is better than letting them have it just because they want it. Plus, you know, they lied about the lamp from the start. So there’s that too.

Finally, Ironwood reveals that Amity was originally a plan of Ozpin’s but he didn’t push it far enough. Instead, he intends to use the staff to lift all of Atlas instead, hopefully taking two relics and a Maiden far out of Salem’s reach. Ruby wants to use the tower for its designed purpose instead, which is only a valid option in her mind because the writing was stupid last week. If there had actually been any logic there---if people had been allowed to react naturally and in a variety of ways to the Salem announcement, rather than a super convenient “Yeah! Let’s all work together!” across an entire, panicking city---she wouldn’t be quite so eager to tell the whole world. But we all know at this point that logic bends to the protagonists’ whims, so Ruby wants that same perfect ending across all of Remnant. She stands her ground, as does her team. Obviously.

Meanwhile, the Ace Ops aren’t just following Ironwood’s orders like the writing wants us to think via Harriet’s earlier comment. Rather, they’re each thinking through the situation for themselves and making very good points. If Salem has taken out our perimeter than we know our tech and people don’t stand a chance against this army. We just finished up the fight in Mantle and none of us are in a position to start another. Notably, Harriet brings this up, the one whose aura took a massive hit while nearly getting crushed underfoot. Vine points out that sometimes you have to lose a battle to win the war, but Team RWBY, to be blunt, simply doesn’t care.

I’ll be blunt myself here too: I don’t have an easy solution to this particular scenario. I don’t know what the “right” or the “wrong” choice is. Weighing starting a fight with VERY high stakes you’ll lose against abandoning the people of Mantle is just a straight up horrific decision. Like so much of what Ozpin faced, there is no clear-cut, good answer here. Do you stand by the people and risk the world, or work to save the world and doom the people? I don’t know and I do commend Rooster Teeth for writing a difficult choice... just not in giving each side the weight it deserves. Because as said, we’re meant to root for Team RWBY, always. Theirs is presented as the “right” choice every time, despite the fact that, as established, this is far from a black and white decision.

What frustrates me the most is when faced with all of these logical and very important considerations (we might not have backup, we’re in no position to fight, if Salem gets the relics and another Maiden the world is screwed) the group won’t even acknowledge these things. They’re so set in their own perspective they won’t even give these HUGE concerns the time of day. Rather, Yang shoots back, “You can’t just back down from a fight!”

That’s it. That’s the group’s problem in a single line.

This is what got Pyrrha killed.

It’s something the group should remember. She also insisted on fighting when she should have retreated and, since this was back during the days when characters actually faced consequences for their actions, it cost Pyrrha her life. Granted, going after Cinder was a truly useless endeavor. Pyrrha achieved nothing with her sacrifice. Here, Team RWBY hopes to save the people of Mantle, adding a clear justification for their insistence on fighting... but this is nevertheless indicative of that larger “punch it until it stops moving” mindset. It’s not that they decide to fight instead of retreating that’s the problem, it’s that to their mind fighting is the only option. Ever. This is what led to them attacking Cordovin and destroying Argus’ mech, drawing a massive grimm in the process. When faced with the option of backing down, Team RWBY doesn’t consider that an option at all. Which is heroic when up against an actual enemy, far less so when you’re facing an ally and the choice to fight has serious repercussions attached to it. Hell, the group doesn’t even consider compromises. They could have easily acknowledged that collecting the relics, the Maiden, and getting the staff to work on Atlas will take time. You do that while we focus on evacuating the rest of Mantle to the city. But no, even the concept of a compromise simply isn’t possible. You just always fight. Straight up. Anyone who suggests anything less isn’t a true huntsmen. “We’re loyal to the people!” Ruby shouts, as if “the people” doesn’t also include the rest of the world that Ironwood is trying to save and that they’re endangering by keeping the relics and Maiden within Salem’s reach. 

That is one messed up perspective to tout in a story infused with the complex and the morally gray.

The real kicker though? Ruby’s ‘My way or the highway’ attitude obliterates a solution that fell straight into her lap. Jaune calls and says straight out that they have another situation. If Ruby had listened to her teammate for just three seconds they all would have learned about Oscar, thereby undermining Ironwood’s plan. He can’t keep the lamp safe if he doesn’t know where it is. You look for it while, again, we evacuate Mantle. Then we take everything out of Salem’s reach. Win-win. Instead, Ruby blasts her way through the situation. Literally, dodging Ironwood and hiding behind his desk shouting a highly bias version of his plan in the hopes of getting everyone on her side. And it works. 

Because those like Clover don’t get to hear any of that context. Like how the perimeter is gone, there’s an army potentially coming, no one is in a position to fight, we’ve already lost a relic... they just here a Ruby’s version of events that paints Ironwood as the callous man Robyn thought he was---oh my god he’s abandoning Mantle for no good reason!---and people will react accordingly. Ruby likewise doesn’t care that shouting such information over all channels does things like, say, clue Tyrian into their plan. She just wants to do things her way, right now. Pausing to think (because thinking isn’t fighting) simply doesn’t happen.

I used to adore Ruby as a hero. Someone who was intrinsically good, hopeful, and wickedly clever in her ability to come out on top. Now she’s stubborn, arrogant, at times cruel, and charges in headfirst like her sister, refusing to consider any perspective other than her own. And her team endlessly supports that. The writing endlessly supports that. This isn’t our hero working through her flaws, but rather a flawed character that the writing refuses to acknowledge is flawed. When Ruby flies behind Ironwood’s desk the music rises triumphantly, just like it did when she attacked Cordovin’s mech. When Ironwood announces that they’re under arrest, Ruby spits back, “We won’t just let you take us” and we’re supposed to cheer.

Which brings us back to the question of whether the group really faced consequences here. Let me give you all a random, non-RWBY example of two scenes. Scenario One:

Parent: You punched her?

Teen: She insulted me!

Parent: I understand that, but that doesn’t mean you were justified in attacking her.

Teen: Oh, I was.

Parent: Maybe you were, maybe you weren’t, but you can’t solve all your problems that way.

Teen: I... I know that, okay. Back off. I just get so angry...

Parent: I know. We’re going to work on that. You’re grounded this weekend. We can discuss this more then.

Teen: [sighs] Fine.

vs. Scenario Two:

Parent: You punched her?

Teen: She insulted me!

Parent: I understand that, but that doesn’t mean you were justified in attacking her.

Teen: Oh, I was.

Parent: Maybe you were, maybe you weren’t, but you can’t solve all your problems that way.

Teen: Screw you! It worked didn’t it? I think a good punch goes a long way.

Parent: That’s not... okay look. You’re grounded this weekend so---

Teen: Like hell I am. [Proceeds to run off]

Teen: [Later to friend] ---and then she tried to ground me? Can you believe that?

Friend: Holy shit what an asshole.

If we put aside my own iffy dialogue for the moment, Scenario One acknowledges the complexity of the situation while likewise pointing out that the teen didn’t handle herself well. RWBY has achieved that here: the ethics of this scenario are acknowledged as complicated, but the group did things they shouldn’t have, as evidence by Ironwood’s anger and the Ace Ops’ criticism. However, Scenario One goes on to let the teen acknowledge that mistake, thereby validating it in the first place. A consequence is set, grounding, and they accept that, thereby further validating that their behavior needs work. They accept the consequence because both they and the writing acknowledge that the consequence is deserved. It takes what was previously two subjective stances---they say I’m wrong, I say I’m right---and encourages the audience to find the middle ground. Neither was totally wrong or right. The teen might be justified in some respects, but still made mistakes in others. She needs to improve. 

RWBY, however, steers firmly into Scenario Two wherein the teen (Team RWBY) insists points blank that they never made mistakes in the first place, thereby encouraging the audience to question whether Ironwood and the Ace Ops (the parent) is right to be calling them out at all. We see no humility or guilt, only confidence. Ruby shouting “No!” at Cordovin when she’s told to surrender. Yang keeping silent after admitting that she and Blake told Robyn, not bothering to apologize or admit that this might have been a breech of trust. They challenge the validity of the claim that mistakes were made and by virtue of being protagonists encourage the audience to challenge it too. Finally, we see them reject the consequence because they will not admit that it’s deserved. The teen will not accept a grounding. Ruby: “We won’t just let you take us.” We’re then told by others that this rejection was warranted. The friend reinforces the view that the teen was right to run because that punishment is undeserved. The message is, “You never did anything wrong in the first place.” The plot of RWBY likewise reinforces the view that resisting Cordovin’s arrest was right by having her randomly let the group go. The consequence is replaced with a reward and, presumably, we’ll have a similar situation wherein the group either defeats the Ace Ops or is released by them. The consequences never take hold because the writing doesn’t think there should be consequences in the first place. Team RWBY isn’t going to be arrested here. They’re certainly not acknowledging that on some level they deserve to be. We didn’t see that humility while they were cuffed on the airship---that most basic acknowledgement of, “Did we make some mistakes? Could we have done something better? Is Ironwood right to be this mad?”---and there’s none of it now here, either. The tone is pure, “How dare you try and arrest us? We’re the good guys here!” 

This remains as pro-protagonist as it has been the last two volumes. There are no consequences, only another hurdle for the group to overcome, painted as heroes for doing so. It’s Team RWBY vs. The Ace Ops and there’s no confusion about who we’re supposed to be rooting for. The Ace Ops because the group should rightly be stopped from hindering Ironwood’s attempts to keep the relics and a Maiden out of Salem’s hands, for their own lies and secret keeping that endangered them all this volume? Nope. It’s Team RWBY as the presumed heroes, facing off against soldiers who (supposedly) prioritize orders over what’s “right.” 

And yeah, Oscar is gone. There are a number of dismantled robots and blaster fire in the room where Neo presumably took him. So unless they do a flashback we don’t get to see if/how Ozpin reacted to this initial attack. I hope they do provide a flashback because otherwise that’s another crucial scene of Oscar’s that happened off screen...

Can’t wait to see what else we’ll end up with next week! Until then, 💜

[gumnut-logic]

Fanfic Asks 2

This one is for @hedwigstalons who asked for A F L Q along with @fictivekaleidoscope , @willow-salix , @coffee-and-lenna and @janetm74 who all asked for Q. You guys are so kind to me ::hugs you lots::

-o-o-o-

A. What was the first fandom you wrote for?

Star Trek: TOS…I’m a Trekkie from way back. Discovered it in 1986 through books in my school library (it wasn’t on TV and hadn’t been since 1975 of which I had the vaguest of memories…and yes, I’m old :P ). I wrote my first fanfic as a teenager, by hand in a notebook. It was submitted to the local club printed fanzine (which I still have lying around here somewhere along with a stack of classic printed zines). Looking back, it had a strong concept behind it, but it was horribly written. I do not have an electronic copy, though sometime ago I thought to re-write it, but never got around to it. You can find my second ever fanfic, written when I was eighteen on FF.net – Goodbye, Spock – it was a movie tag, written in early 1991.

F. How long have you been writing fanfic?

Hmm, I think I’ve given that massive number away in the last question :D Yeah, since I was about eighteen, possibly a little earlier. ::does the math:: Okay, that number is scary. Next year it will be thirty years since my first fanfic ::headdesk:: but having said that, I didn’t really start writing until the internet arrived with my first computer and maturity gave me the ability to finish things (sometimes). I really jumped in with Stargate SG-1 fandom in 2003. From that point on I wrote continuously until I had children in 2008. Then I stopped and didn’t really start up again until July 2018 when TAG hit me like a ton of bricks. The last two years have been amazing and I have learnt so much.

Oh, and if anyone ever says writing fanfic is wasting time or will never get you anywhere, writing fanfic and participating in fandom has done wonders for introvert little me:

Led to me getting my job – writing is a skill that can get you many places

Taught me how to blog and how to manage a blog – valuable skills in or out of business

Teaches you multiple online tools – chat, publishing and other multimedia applications – you’d be surprised how many people are not comfortable using many online tools. I use my experience every day on the library floor.

Allowed an introvert to reach out and learn how to converse and gain confidence in conversation – online interactions has many advantages

Is excellent for mental health…and equally unhealthy if you’re not careful – which leads to learning about yourself and managing conflict (unfortunately…which is why I have zero tolerance for fandom wank and will not participate in or create nastiness – I’m here for fun and to hopefully make things more fun, not miserable)

I’ve learnt to type. My first novel length fic was 75,000 words long and hand written before being typed into the computer – let’s just say that that three months back in 2003 finally enabled me to break the touch type barrier :D Which is a skill that I use every day.

If some one does say you’re wasting your time, they obviously have no idea what they are talking about – ignore them. As long as you’re balancing your fic writing with life in general, things are okay (I got addicted at one point and things were not okay, so don’t do that).

In summary, apparently I’m old, been writing forever and have found it a very valuable exercise which will no doubt lead me even further into interesting places.

 L. What is your favorite fic idea that you don’t think you’ll ever write?

I tend to write most things or forget them. There was that random fanfic idea I posted a few days back. It’s a cool idea, but I don’t have time at the moment. ::opens ups fic planning book::

Ideas sitting, not yet started, but might be:

Eos gets hacked by the Hood and injures two brothers before John realises it and saves her.

Episode tag to 3.21 that explores the Mechanic

Alan’s Vlog: I have a note for the next story that I haven’t yet written.

The Kermadec sequel

A fic idea I had the other day inspired by a news article – that one might actually get written at some point.

A sequel to V. T. Green (which apparently is my most popular fic) – which I had a concept for, but haven’t written down, by the looks of it. Oops.

A sequel to Bo where Virg gets buried in an avalanche – this one was started.

Eh, I have lots of ideas, most get lost in the mess that exists in my head. Sometimes I write a note down, but then I forget what the note means. I usually have to grab the inspiration when it strikes.

 Q. If you could pick one fic of yours to rewrite, which would it be?

Love and Sacrifice – I wrote that fic out of order and smushed it together and it shows. It is also full of technical holes. The plotline sucks because I wanted a certain scene and forced it. But it is such an integral piece of the series that I can’t alter it much. The whole of Warm Rain was written in bits. I usually write in order and that experiment shows that I’m not great at writing out of sequence. Most of the fics work okay, but Love and Sacrifice, while having some good scenes in it, is poorly constructed.

A Little Distraction and a Little Too Much Attention suffers from self-indulgence. Virgil wasn’t supposed to get hurt – I should have stopped at A Little Distraction, but apparently, I can’t help myself and the results weren’t great.

Two fics instead of one…there are more, but I’m not supposed to publicly criticise my fics – I do enough of that in my own head :D

-o-o-o-

EDIT: @weirdburketeer reminded me of something I meant to list but forgot regarding the above reasons why writing fanfic is not a waste of time.

The friendships! My goodness, how did I miss that? I flew to Sydney to meet a good fanfic writing friend in both 2004 and 2005, another friend flew all the way from Chicago (as part of a business trip) to Australia and made a special trip to Adelaide, just to meet up with me. It was frickin’ amazing!

And this fandom....I have met some absolutely amazing people here. You guys have influenced me like you wouldn’t believe. As I have said on many occasions, this fandom is just amazing ::drags you all into a massive group hug:: And yes, I have some fantastic friendships forming here ::loves you guys to bits::