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artisticbunny · 2 years ago

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Hello Bun! I have magically manifested within your inbox to ask you about…

Your OCs!

One of my anon subordinates (totally not me telling my friends about you no way) previously asked about your number of them, but I want to know who they are!! >:3c Any like, story or interaction or certain universe or specific aesthetics? Feel free to infodump Bun I’m all ears!!

(Sorry if this seems a little too pushy I just saw your reblog and was like ‘why don’t I be a good lad and prance on over eh?’ So here we are! :3 I hope you don’t mind!)

AAAAA HI MOOG!!! THANK YOU FOR GIVING ME THIS EXCUSE ILY DJDBDHE

IM SO EXCITED TO INFODUMP ABOUT MY CHARACTERS I LOVE THEM SO MUCH!!!!

I ACTUALLY HAVE THE FIRST CHAPTER OF THEIR STORY UPLOADED TO AO3 AND IM WORKING ON THE SECOND!!!

Buckle in cuz this is gonna be a long post lol

I’m not gonna reveal everything cuz there have to be some tricks up my sleeves, but I’m gonna be talking about major plot stuff that isn’t in the first chapter so, uh, spoiler warning also X3

OK!!!! SO MY MAIN CHARACTER BROOK IS BABEY AND I LOVE HER!!!! ABUSE TW THO CUZ BOY HOWDY THIS BABY TRAUMATIZED.

Basically the start of the story happens as she’s running away and escaping from her abusive household, this story takes place in a fantasy world so it’s more of a tower than a house but yk.

Her “mother” is this kind of just,,, awful person that basically just was using Brook as free labor. Like, she found Brook as a toddler literally abandoned by this little brook river thing and called her “Brook Child” because she couldn’t be assed to give her a proper name. There isn’t any actual physical hitting or anything to the abuse but god, if there isn’t just a buttload of neglect and verbal/psychological abuse going on. It’s not uncommon for Brook to have been locked in the basement for days on end without food because she did something wrong.

Brook physically is super scrawny because of this, like you can easily see her bones. She has CONSTANT, DEEP dark circles under her eyes that will probably never go away, and is often fatigued. She has a long scar going down one side of her face (her left, our right), caused by an incident with setting up chicken wire. Between her not knowing how to really deal with that kind of wound at the time and the fact that she’s constantly malnourished, it left a pretty noticeable scar

ALSO FUN FACT BROOK IS AROACE CUZ YIPPEE REPRESENTATION!!!!

After she runs away her plan is to get a few supplies so she can go live on her own because the only real experience she has with other people is her “mother” and just really wants to not be around people who she thinks are going to hurt her… uuunfortunately for her she ends up being peer pressured by a merchant into buying an enchanted dagger that uses up basically ALL OF HER MONEY SHE SAVED UP.

Said dagger comes with a prophecy and is, surprise! Sentient! Yeah so now basically she’s forced to go on this quest now! No living alone in the woods in peace for her! She ends up naming the dagger Willow because of a beautiful willow tree engraving at its base and for the fact that it’s handle is modeled after a winding tree trunk (with THOUSANDS of engraved TINY little symbols and glyphs and spells and the like that looks a lot like tree bark!)

Willow uses she/it pronouns because yes! The engravings that are so tiny you can barely see and make them out is what makes Willow sentient! It’s VERY complex spellwork and may have taken even over a lifetime to create! She is very well crafted :)

She is also VERY blunt. Willow doesn’t understand the complexities of like… softening the blow of its words, so it doesn’t even really try lol. Basically it’s like “ah yeah, you are my wielder so you ARE the one from the prophecy, there’s not any getting out of it, let’s go!”

Willow’s one purpose is to complete the prophecy and is ultimately loyal to Brook till the end because of this. Unfortunately, Willow will sometimes bend the rules Brook set for the greater good of completing the quest. (During their first meeting Brook set the ground rules of no killing, and no hurting people unless absolutely necessary.)

During like, the first few hours after she leaves the trade town she fled to to go get this quest over with she gets jumped by this like 7 foot dude in black armor. This is Quincy.

I love him because there are… a lot of complexities with him lol

Without getting into huge spoiler territories, basically, where he comes from, the prophecy is told differently to the point of where Brook is made out to be the villain of the story. He is trying to protect his family and his home. When scouting her out, he is surprised to see that she’s basically just a kid, but decides to go through with the attack anyways as an attempt to stop the prophecy from being fulfilled.

Brook doesn’t know about this rendition of the prophecy.

So basically he attacks Brook, and Brook tries to reason with him to the absolute best of her ability. Quincy, however, is not open to conversation at that point. With willow’s guidance, she ends up killing him.

She is stunned by this. She watches as he bleeds out on the ground and turns to Willow.

She’s like “we agreed on no killing, this guy looks pretty dead to me!!!” (She’s obviously more panicked than this in the actual story lol)

Willow is like “ok ok fine hold me near him give me a second.”

A fun fact about Willow is that she can act as a channel for magic, and use her wielder’s supply. So when Willow uses a spell, the spell treats Brook as the caster even though Willow is effectively the one to have cast the spell.

This is important because, well, Willow uses NECROMANCY. A FORBIDDEN SPELL. ONE THAT IS FORBIDDEN FOR A GOOD REASON.

In this world, when someone is brought back through the use of necromancy they get revived, yes. BUT THEY ALSO BECOME TRAPPED INSIDE THEIR OWN BODIES AS THEYRE PUPPETED AROUND BY THE CASTER. This tactic was used a LOT in wars before it was outlawed btw, just some world building dont mind me :)

Yeah so basically when under the effects of Necromancy you just have to watch as your body has to follow whatever orders the caster gives you, whether you like it or not. Because it’s the spellcaster’s life force that’s inside of you.

(I have a WHOLE magic system thought out btw, magic is part of living being’s life force. Without it you basically starve. It’s like air and food and water, you NEED it to live, which is why Brook going on a quest to save it is such a big deal)

Obviously Willow is like “here, he should fight with us now :)” and brooks just there like “…” =n= because she knows something is off but she can’t put her finger on it yet but this guy is acting REALLY weird now.

Even being cooped up her hole life as she was, KNOWS THIS SPELL IS FORBIDDEN. So when she finds out it was used, she is rightly upset. She doesn’t know the FULL extent of the spell, she doesn’t know if he’s still THERE or if it’s just his corpse or WHAT, but she feels horrible about the situation and tries to give him as much kindness and freedom as she possibly can. Quincy cannot speak, but is later able to communicate better as he’s given more and more agency. (Given the right circumstances, he MAY be able to regain speech in the future ;) )

Over the course of this situation he kinda goes from absolutely despising Brook, to like “ok… this really is just a kid, I kinda feel really bad now” to “oh my god wait this kid is actually really sweet” to “this is my kid now”

He basically adopts Brook towards the end lol

Brook doesn’t really realize this is happening until about mid-way through the story when she goes to get firewood and says if anyone else in the group wants to they can come with her and he goes with her and she realizes she was addressing the whole group and that they can come if they WANT to. And then she just looks up at him and is like… “did you WANT to come with me?” And he just nods at her and she almost cries lol

I just love them, your honor. Quincy = dad of the year (iiif you get past the bit where he tried to kill Brook but yk lol)

OK NEXT WE HAVE SAM AND JOE!!! MY BOYS!!! THEY ARE BOYFRIENDS!!!!! THEY LOVE EACHOTHER!!!! RELATIONSHIP GOALS!!!

Sam is a wizard and Joe is a werewolf, they’re trying to find Joe’s tether (what will let him stay sane when transformed) they met with Joe in a dumpster and Sam trying to throw out that week’s trash from his apprenticeship <3

Joe comes from a loving family of werewolves and was born as one, his biggest fear is hurting his loved ones, which is why he was so desperate to find his tether. It’s also why he was rooting through wizard’s trashcans when Sam found him lol

They made a deal that Joe would stay out of trashcans (because of the dangerous chemicals and broken glass and stuff) if Sam would help him find his tether.

Sam didn’t actually like his apprenticeship. He was forced into it by his parents because he was “talented” and showed signs of developing into a talented wizard. He once loved performing magic, but being an apprentice stripped it of all of its fun. He neglected his work, causing him to fall behind, he is now self conscious and does not like it when people watch him cast spells.

Sam and Joe bonded over researching to find Joe’s tether and eventually fell in love. They both ran away not long after on a search for any more information they didn’t already have.

Also Joe is afraid of sheep :)

(“I don’t like it when they stare at you with those beady little eyes-“)

Kat is a ghost. She doesn’t remember her past, but she does remember waking up in the middle of the woods one day and never being able to find a way out. She had been alone for god knows how long before someone passed through (that being Brook, Willow, Quincy, Sam, And Joe) so obviously, she had to play a prank on them. GOLDEN opportunity for some entertainment.

Kat has claustrophobia (and because it’s never being revealed in the book I’ll reveal it here: she was buried alive. Framed for a crime she didn’t commit by someone in her adventuring group. The group’s agreed on punishment was for her to be buried alive and abandoned.) often getting flashbacks of suffocating, of cool dirt sticking to her face, muffling her screams and pleas for help.

Kat is very laid back and likes to make light of heavier situations with humor. She is a LOT smarter than she lets on, and has a very strong sense of moral justice. She also has a talent of apperating knives from her ghostly fog. She is very skilled at knife throwing.

Terra (Full name Terra Delah Etang) is a siren originating from Ckorplek, an underwater city found in the mesa reefs. She was a mighty warrior (arguably the strongest and most skilled with her voice) tasked with protecting her people’s most prized possession during an invasion. She dragged herself across the red sand, lake hopping for days before settling in a far off small pond-sized salt water body of water with a small island in the center. She would stay there for years protecting the item with her life. Unfortunately, Brook needs that item for her quest and Terra isn’t exactly willing to give it up.

Yeah they basically kidnap and gag her so she can’t make them kill themselves with her voice lol

They’re not just gonna leave her to die but they’re ALSO not gonna risk their lives letting her go free.

She is a reluctant party member, but as long as she’s with her people’s treasure and she’s able to make sure it’s safe, she isn’t super like… against it? Also they’re her only ticket back to her pond since they are basically wheeling her around in a red wagon full of water lol she still kinda hates them tho

Terra is super hotheaded and isn’t that forgiving of a person so it takes a while before she opens up lol

(She’s kind of like the boblin the goblin of the group in a way if you think about it lol)

Corey is half dead.

During his life, he took care of his mother and younger sister by going on quests and bringing back money. He would often ally with other adventurers to do this, and had a habit of only taking what his family needed of the rewards.

One day, on a quest to Dread Caverns- a cave system known for making your worst fears come to life- as they neared the center, where their prize was, he was betrayed.

Busted up in the fight, and with his head cracked open, he fell to the ground, left for dead, as the team he allied with ran off without him.

Fortunately for him, he landed on a healing potion he kept strapped to himself. Just in case. In the moments just after his heart stopped beating but just before his brain activity died, the glass pierced his skin, and the potion flowed into his body.

Because of this one in a billion timing, Corey was able to survive, subsisting mostly off of the world’s magic. He no longer has a heartbeat, and his left arm and leg no longer work, but he was alive, and stuck in dread caverns for about three years before Brook found him.

Corey has killed before in self defense. During his time In Dread Caverns many would come with the goal of killing him in mind, as rumors would spread of him being the reason the caverns were so dangerous.

Next is a reoccurring antagonist: Zeki.

They use She/They pronouns ;)

Zeki first appears after Dread Caverns in the story and is a well known infamous robber. She is known for kidnapping a member of her target group, and hypnotizing them to give her information and or infiltrate the group in order to easily incapacitate them. She smells of metal and is always followed by the sound of ticking clocks. She has multiple pocket watches hidden on her person at all times.

Zeki was originally the daughter of a prestigious family. They were expected to be perfect every second of every day, and were forced to learn parlor tricks to entertain guests. She would often sneak off into the middle of the night in order to destress and indulge in their true passion, whittling wood into beautiful sculptures. This went on for a long time before they were found out. All of her work was burned and destroyed, and she was cast out of the family with just the clothes on her back, and her grandfather’s pocket watch.

She almost starved before out of pure desperation they attempted one of the parlor tricks they learned. Light hypnosis. She managed to convince a passer by to give her some of their bread, and that was the beginning of their new life. Zeki would get more and more powerful every time they practiced.

Hypnosis only ever lasts from 3-5 days, but varies between that from person to person. Even after recovery, a person may relapse.

FINALLY!!! MY BOI!!!! CORVUS!!!

My lil plague doctor guy!!! I love him!!!

He never takes off his mask, he just doesn’t feel comfortable with it. The only reason he would take it off ever would be to clean it (even then, he makes sure nobody is around) or during a medical emergency.

Corvus is an actual, trained doctor! Which is part of the reason that Zeki decided to keep him as a part of their hypnotized entourage.

He is a sweet and caring guy, and just wants what’s best for everyone! No dark backstory for him other than being a part of Zeki’s crew for a bit, he’s just a lil guy! :3

I’m so sorry this is so long and I’m also sorry about the decrease in writing quality as it goes on lol this took me hours to type out XD

THANK YOU FOR THIS OPPORTUNITY TO INFODUMP IF YOU HAVE ANY SPECIFIC QUESTIONS ABOUT ANYTHING LET ME KNOW ID BE HAPPY TO ANSWER!!!!

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multi-lefaiye · 3 years ago

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hello!!!!!!!!!!!!!!!!!!! may i hear about some of those Bad Guys Of The Week and also the overarching plot if you have any ideas yet!!!!!!!!!!!!!!!!! in case you couldnt tell, i like stories with a self-contained vibe that actually slowly build up into metaplots!!!!!!!!!!!!!!!!!!! not that ive ever expressed that before ever of course!!!!!!!!!!!!!

yes yes hello!!! :D i do in fact have some ideas for both!!!! because now that i've started talking about these old OCs i am remembering more about them and also getting New Fresh Ideas to add to the pile!!

so i'm thinking the format of the whole thing would be a very monster of the week type story, with the monsters slowly amping up in both intensity and how much they relate to the characters themselves. in general, i think the idea of superheroes in this world is that they're considered public servants whose job it is to protect people from the absurdly common monsters running around, but also it's kind of a celebrity thing as well.

i don't have a lot of specific ideas for monsters yet b/c i think that's going to depend more on the tone i would want to go with than anything. if i lean more into the one punch man inspiration then it'd be a lot more comedic and the monsters would be a bit more ridiculous, but if i want to play it more serious then the opposite would be true, if that makes sense.

however. i do have some Plot Thoughts. i don't think there'd be like... some big reveal of ooooooghghgh the monsters were all created by One Person, but some of the overarching plot would involve a bit of a deep dive into the setting and where the monsters are coming from. and also, a lot of the politics relating to being a superhero and the way the monsters' existence has shaped the world at large.

and here's where my hesitance comes in b/c i feel like there's tons of superhero media out there that addresses similar ideas and i don't think i have anything unique to add to the conversation. however i also want to write about little gay people with funky powers.

anyway lightning round plot concepts swirling in my head:

a building mystery surrounding where characters like patrick and lark's powers come from in the first place, because even in-universe their powers are considered very unusual

a building discussion about the necessity of superheroes in this universe in the first place, and the consequences of their existence being so casual and normalized

i remember a vague concept with a villain who's like the inverse of patrick and acts as a huge narrative foil, so he can hang out.

also just in general the monsters of the week getting more and more intense up until i have something similar to the finale of season one of opm, in which everyone comes together during an alien invasion.

i also, while typing this, had the idea occur to me that it'd be very fun to maybe combine this with an unnamed modern fantasy story i've had rotating in my mind for a while, so HM much to consider

#talk to the bunnykitty #nciko #many thoughts....#unhinged superhero wip #temporary tag

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joy1579 · 4 years ago

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self indulgent

I've been sad. so i wrote a thing to make me less sad. maybe it'll make someone else less sad too or at the very least they can laugh at my “cringe” but either way it did make me less sad so goal accomplished.

Mc and jumin organize a bookshelf jumin asks what neko girls are and MC short circuits his brain for a couple of seconds. no smut just fluff

Moving hadn’t taken long. You had opted to donate your furniture to the local homeless shelter since Jumin’s penthouse was furnished with the highest quality furniture you could dream of. Honestly most of your things paled in comparison to the lavish goods Jumin considered tawdry. Still there were a quite a few boxes you had decided to save, filled mostly with sentimental keepsakes and the few odds and ends that catered to your specific tastes. You were practically finished by noon save the three or four boxes that sat in the main room next to the larger than life bookshelves. Certainly there was plenty of room on them. You never where a fan of negative space on bookshelves but if you were being completely honest that had more to do with how many books you needed to fit in such a finite space. Jumins bookshelves had plenty of room with just enough negative space to look perfectly balanced and while you knew Jumin had told you to do whatever you wished this felt intimate. Bookshelves where holy spaces after all, housing books that change hearts and minds alike that shape the soul and … okay so maybe you just really liked books and that made them seem important to you either way this was definitely something you wanted to do with Jumin. When you heard the door rattle with Jumin homecoming you bolt towards it excited to greet him after work.

“Jumin! Welcome home!” you cried bouncing in place as he made his way inside. You smiled as you saw the creases in his brown flatten and the stress slip from shoulders when he saw you. You waited all of 5 seconds for him to close the door giving you both some privacy from the bodyguards stationed outside before you pounced, leaping upon the business man wrapping your arms around his neck. You delighted in the deep honey of his laughter as he caught your waist in kind and kissed the top of your head gently.

“darling. I’m so glad to be home. How was your day? did you get settled?” Jumin asked as you pulled yourself back slightly giving him room to loosen his tie and set aside his coat.

“everything is in its place except um Jumin there is one thing I need if you don’t mind”

“name it and its yours”

“I wanted to share your bookshelves and I was hoping that maybe you could organize the books with me?” you admitted shyly. It had seemed like such a good idea in the beginning he could show you his favorite books, walk you through his favorite plots and tell you his favorite quotes and you could do the same with him. Yet now as you presented the idea to him you worried. What if he was to tired he had worked all day after all, what if he thought you too needy, or your books to childish. what if he didn’t want your books displayed in the living room because they weren’t very pretty, all of his books where gorgeous leather bound tomes or mint condition hardcovers, yours where second hand at best many where decommissioned library books or garage sale rescues, broken in battered and bruised by years of use. It would make sense to have them put away in a back room where they couldn’t tarnish the pristine collection Jumin had on display. Perhaps you where spiraling, working yourself into a nervous frenzy in the span of a few seconds.

“nothing would make me happier love. We can call the chef to start dinner and begin emptying the shelves for rearranging while he works.” You couldn’t help the smile that spread across your face or the giggle that escaped your lips. The surprise on Jumins face was evident if only for a second before it gave way to a warm sort of fondness. “had I known simple redecorating would make you this happy I would have stayed home and done it all with you” he said affectionately running his fingers through your hair.

“it’s not that I just,” you paused face flushing a bit “books are a big deal, ya know? My dad used to tell me that every book you read becomes a part of you and that you can learn more about someone by the books they love than by the words they say so I wanted to share that with you” jumins eyes where so soft and gentle in that moment you felt your breath hitch “I want to know everything about you and, and I want you to know everything about me” suddenly his lips where on yours fervent and full of passion the hand that had been in your hair now on your chin guiding you too him. The kiss was short and when you parted from him he stayed close, just a hairs breath from your face.

Jumin voice was little more than a whisper as he asked “how is it that every day I manage to fall more in love with you?” you couldn’t help but lean forward and kiss him again an all too familiar giddiness bubbling its way through your soul. You loved this man more than life itself and you knew that would never change.

“so your ‘Encyclopedia of Fairies’ should go next to the Catherynne M Valente series so we can reference it while reading agreed?” you giggled thrilled that his collection of mythological reference books slotted together with your fae fiction so perfectly. Puzzle pieces connecting to create a masterpiece.

“yes I think that’s perfect. I can’t wait to read her interpretation of such ancient mythos. I also have ‘The World Guide to Gnomes, Fairies, Elves and Other Little People’ if you’d like to add it to that shelf” he said grinning like a child at show and tell.

“oh my goodness yes! That’s perfect and your book on Romanian vampires should be near my ‘Dracula’ and ‘vittorio’ that way that shelf over there can be dedicated to the occult, hauntings, and psychic reference books”

“that sound wonderful and takes care of all the written word but we still haven’t found a place for your comics” Jumin informed glancing toward the woefully large stack of manga you had brought.

“not comic Jumin manga and yeah I think we’re out of space though. I um I didn’t think I had that many books. Sorry” you admitted not meeting his eyes. He tilted your head up to look at him.

“there’s no need to apologize it simply means that tomorrow we can go shopping for another shelf and the next day we can organize those. I’m quite curious about ‘la petite cossette’ you said these where Japanese but that is most certainly a French title.”

“oh I actually think you’d like that one a lot it’s about a man who falls in love with a woman in a cursed portrait its actually pretty tragic in the end.”

“How interesting” he mused retrieving it from the pile of books and skimming through it “the art is truly enchanting and you said that manga has its own subculture?”

“yeah from neko girls to shonen action tropes it has its own vocabulary, history and groups of people its really fun”

“neko girls?” Jumin repeated and your eyes widened at his confusion. This was definitely something he of all people should know about! You jumped up and sprinted to the closet you had filled earlier that day with the few cosplay supplies you had. At the time it had taken nearly half your pay check but if Jumin liked them right now the purchase then would be completely justified. You put on your surprise as quickly as possible before rushing back out to greet Jumin who had just made it to the edge of the living room to come find where you had gone. He froze for a second processing what you were now wearing. White cat ears that moved and twitched fairly believably and just as he was able to cope with that your made paws with your hands and tried your best “nya”. For a moment you feared you may have broken him. He didn’t move his face blank, eyes fixed on you. You tried again hoping to spur some sort of reaction from him “nya?” you said turning to the side slightly to show off the other half of your surprise a white tail complete with pink bow and bell at the base where it attached to your skirt. You tilted your head to look up at him through your lashes trying every trick in your arsenal to look as cute as possible but nothing. He was completely frozen. “Jumin? Hello?” now you were getting worried “darling are you okay?” you asked placing the back of your hand on his forehead to feel for a temperature. The second your hand touched him however his face flushed.

“neko girl.” He muttered “that’s neko as in cat” you could see him trying to calm himself. Fiddling with his shirt sleeves and attempting to stay in control. You smiled standing on your tip toes to kiss his cheek and whisper in his ear.

“am I a good little kitten at least?” you couldn’t contain your giggle as you heard him choke slightly before scooping you up bridal style.

“certainly not, in fact I think you’ve been a very bad little kitten.” He said his voice deeper than normal as he carried you back towards the bedroom.

#Jumin #jumin x mc #jumin han #mm jumin #jumin fluff

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itsclydebitches · 4 years ago

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RWBY Roman Holiday: A Review

Hello, everyone, and welcome to my review of RWBY: Roman Holiday by E.C. Myers! Given my tendency to discuss this franchise at great length, I thought I'd start with a tl;dr section for those who might just want my general takeaway, not a deep dive into some of the novel's specific flaws and strengths. So with that in mind...

Did you like the book?

I did! Let me put it like this. I'm incredibly critical of any RWBY material nowadays, I haven't had the energy to read #realbooks for a while, and I still managed to finish this in five days, even while stopping every few pages to take notes. So it was entertaining enough to hold my attention, unlike Before the Dawn. Is it a perfect novel worthy of nothing but endless praise? No and I'll delve into the many problems below. But is it also one of the better RWBY installments I've engaged with lately, including recent Volumes of the webseries? Yeah. If you're still emotionally attached to the show or these characters, I recommend giving it a try for the sake of nostalgia.

But isn't there a bunch of creepy stuff in it? Didn't Myers turn Roman into a pedophile?

No, he didn't. As I suspected, the rumors that we've been hearing lately probably came about from taking certain moments out of context, or by blowing up some pretty minor implications, or by straight up reading interactions between an adult and a minor in very bad faith. Purity culture and a desire to drag RWBY combining to create an argument that, frankly, isn't supported by the text. Are there jokes and interactions that some readers might find uncomfortable? Yes, but it’s no worse than what RWBY has already established as a canonical part of their world and writing style. See: Yang's interactions with Junior in her Yellow Trailer. If you're a fan of Roman and have held off only because you're convinced the novel ruined his character, I personally don't think that's the case. Breathe easy.

I'm still worried about how the novel treats disability though. Specifically Neo's muteness.

I was too, but I'm happy to report it's a pretty tame portrayal. If anything, I have more to say about the intersection between Neo's semblance and her sense of identity. Suffice to say though, Neo never speaks in the novel, there's no ridiculous reason why she can't speak (no reason is given at all, it’s simply a part of her), and only the bad guys pressure her into talking. Meaning, the bad guys from her and Roman’s perspective. Obviously she and Roman are both villains in the RWBY world, but when it comes to respecting each other's needs they're definitely, comparatively better than the rest of the cast.

So there were no problems?

Oh no, there are definitely problems lol. Let's just say they're not offensive enough to bother the average RWBY fan. At least, most of them (probably) aren't. If you're not neck deep in the franchise's struggles and actively thinking about how this novel does (or does not) fit into the larger RWBY-mythos, there's a very good chance you'll like the book, passing over everything I’m about to mention without a backwards glance. Hell, even if you're looking for problems there's a good chance you'll enjoy a lot of other aspects, just like I did. So I recommend taking a chance on the book far more than I recommend steering clear on principal alone.

Okay, with that out of the way it's time to dive into the nitty-gritty!

FYI I'm pulling my quotations from the paperback edition and, as is probably already obvious, this is not a spoiler free review. So tread carefully!

Part One: An Imbalance of Protagonists

Would you like RWBY: Roman Holiday? Well, that might depend largely on which of its main characters you're most interested in. If it's Roman, you may be disappointed, despite the fact that the book is evenly divided between his and Neo's perspectives. This is, fundamentally, a book about Neo. She is the one undergoing all the character development. She is the one who is driving the plot. Roman just sort of exists within a criminal status quo until he bumps into her — almost exactly halfway through the novel's 308 pages — and then becomes caught up in her training, her desire to concoct new schemes, and eventually her family's problems. I don't want to make it sound like Roman is unimportant to the book, he's obviously there and he does things, but we're not given the same level of insight into him like we are Neo. Frankly, I can think of only two significant revelations, both of which we might have easily guessed based on Roman's established characteristics: his mother abandoned him when he was a kid and he once worked for one of the main crime bosses in Mistrial, specifically Lil' Miss Malachite. Otherwise, everything Roman does and experiences is precisely the sort of stuff we saw him do and experience in the webseries. He commits petty crimes, fights people with his cane, and does it all with a dramatic flare which, notably, Myers writes quite well.

This lack of impact on the story seems to stem from two decisions. First, Myers never jumps forward or backwards in time (with the exception of two small scenes that explain how characters got to a point we saw in the last scene/chapter). Though this definitely helps to keep things from getting confusing, it means that we never go farther back than Neo at 8 years of age and we're always looking at what both characters are up to at the same point in time. Given that Roman is a decade older than Neo, this means that, unlike her, we never get peek into his childhood. When she's 8 he's 18, already an adult and committing crimes in Mistral. A lot of Neo's development is inevitable, just by virtue of starting her story so young. She has to mature, develop her semblance, go to school, try various ways of being independent for the first time... Roman gets none of that. He's an adult when we meet him, his character fully formed and, since we already know that character from the webseries, we're given no new insight into him or how he developed that identity, just a reconfirmation that it exists.

More of an issue though is that Roman isn't allowed an arc over the course of the novel. The man we meet on page 9 is precisely the same man we end with on page 308 — with the minor exception that he now has a partner in Neo and that, sadly, is a lesson he learns instantaneously. For the first half of the book, Myers sets up the expectation that learning to trust and, specifically, learning to trust someone like Neo is the great conflict that Roman will have to work though. He's very cynical in his own head, as we might expect: “On the streets, on your own. You only watched out for yourself. Anything else was a weakness. Anyone else was a liability” (14). No sooner is this perspective established than Roman is meeting people who challenge it. While babysitting the Malachite girls, they provide advice on how to improve his chances of pulling off heists:

Melanie and Miltia, simultaneously: “You just need the right partner.”

Roman: “Maybe. I just don’t believe anyone is going to watch out for me as much as I will” (41).

After betraying Lil' Miss and fending off his peer Chameleon, she sadly announces that "you might have gotten what you wanted after all if you hadn’t been in it only for yourself. If you had allowed yourself to trust someone” (87). Myers isn't subtle about the theme here.

Yet when Roman meets Neo, that trust is immediate, despite spending his entire life rejecting the idea of a partner, despite the viewer having just read about numerous other people who Roman spent years fighting beside and still didn't come to trust, Neo forms an instant, powerful connection with him — one that can't be explained by her saving his life when they first meet. Even Roman himself acknowledges that it's just another debt to repay. They simply click, with no explanation as to how that occurred, or even a serious acknowledgement that this is out of character for them both (what with Neo never having had a friend). Neo gives him the name "Neopolitan," knowing it's her true name now and, thus, a more personal offering than her birth name "Trivia." Roman gives her his entire life story during their first meal together. Roman also spends all of his money on Neo's modified parasol and at the novel's end continually offers to sacrifice himself so that Neo can escape. Neo thinks a lot about how Roman is the only one who can understand her through body language alone which, kudos to Myers again, he does describe her movements with enough clarity to sell that understanding (even if Roman does sometimes make leaps in logic that feel a little unlikely). “She really missed Roman. Most of the time she didn’t need to say anything and he knew exactly what she was thinking” (249). It's heartwarming. As someone who enjoyed their relationship in the webseires, this is likewise a joy to read. It's just that it... kinda came out of nowhere.

Far from this just being an issue of Roman trusting when he's never trusted before, Myers sets up a conflict of loyalties in Neo that is then immediately dropped. She finds herself surprised by Lady Beat — the headmistress of the academy Neo attends — unexpectedly liking her insights and, in exchange for privacy and a more in-depth curriculum, agrees to help her capture Roman. Prior to this agreement, Neo considers helping the Malachite twins take Roman out when they corner him because then they might be Neo's friends instead of her bullies. That motivation makes perfect sense to me. Of course Neo would be more interested in assisting the two girls who attend school with her and improving her daily life over helping the random guy on the street, even if Roman's vulnerability (that's what Neo latches onto: a moment where his mask slips and he shows true fear) sways her towards helping him in the end. When she reunites with Roman later, he requests that she help him spy on Lady Beat... and Neo turns him down. So there's a very clear precedent here of Neo being out for herself, looking to improve her relationship with the other high society ladies she's spending most of her time with. The road to favoring Roman over them will be a long one. What will convince Neo to switch sides?

Nothing. Soon after Neo thinks about how she's duping both Lady Beat and Roman (the reasoning there is never really explained) and from then on her focus is entirely on Roman, with likewise no explanation as to why she chose him in the end. “Roman clearly had some trust issues to work out, but Neo was going to prove to him that he could count on her” (219). Why this sudden desire to prove herself to Roman? No idea. The novel skips over the majority of their bonding. Yes, there are a few key scenes — Neo saving him, Roman giving her the parasol, etc. — but a single sentence reveals that Neo has been training with him for months now, bypassing the slow development of trust and Neo's changing thought process about what side she should choose.

Or rather, there are explanations for Neo's decision, but they all occur after Neo has already chosen Roman. There are two major revelations that we're only told about much later in the novel: that Neo is suddenly dissatisfied with her life at school — “Neopolitan was having second thoughts. As much as life at the school had improved, more and more it felt like it wasn’t giving her what she needed” — and that Lady Beat is the head of a major spying conspiracy across all of Remnant (more on that later). Either one of these could have been the catalyst for Neo giving more attention to Roman and, eventually, growing quite close to him. A general dissatisfaction with her life, the revelation that Lady Beat isn't the kind of criminal Neo wants to support...either would work. As it is, her devotion to Roman seems to immerge randomly, fully formed and unshakable, with these ‘I guess the school and Lady Beat weren't that great after all’ justifications tacked on much later and, thus, presented as incidental to Neo's devotion. “[Roman] was basically the only thing that mattered to her in the world right now" is the conclusion Neo comes to without a lot of work put in to explain how he reached that point in her life (248).

And I can see how this happened. We already know that Neo and Roman are a tight-knit duo from the webseries — Neo's love in particular has been emphasized since Volume Six — and so Myers banked on the reader applying that knowledge to the novel. He wrote the story of what Neo and Roman did prior to meeting, he wrote the story of their friendship prior to the webseries... but he didn't really write how that friendship came about. It's treated as a given, despite the huge number of reasons why that friendship should be rocky (or even non-existent) at the start, to say nothing of many fans' interest in getting an answer to the question, "How does an established villain who trusts no one wind up partnering with a girl a decade his junior?" The novel tells us that this unexpected outcome does, in fact, occur, rather than taking us through the journey of how such an outcome is possible. This is by no means a new problem in RWBY and, admittedly, Myers' depiction of the relationship isn't as noticeably a problem as some others in the webseries, simply by virtue of Neo and Roman being the focus of the novel and the reader knowing that they do, in fact, end up as partners. It's a lot easier to buy a shaky journey when you already know the inevitable conclusion, but that doesn't mean we couldn't have done a better job of showing it.

Which, to get back to the original point of this section, means that Roman never has that arc about learning to trust someone. He just does trust, the moment Neo comes on the scene. Personally, I think this rapid-fire growth is particularly egregious given everything else we learn about Neo and Roman’s histories. Meaning, just like Roman's cynicism about trust is introduced early on, so is his hatred for the rich elite. In fact, Roman's poverty and the disdain that has bred are arguably the most prominent aspects that Myers added to his characterization. As seen in the novel's excerpt release, Roman's introduction is robbing a rich man coming out of a club where he shows more interest in humiliating and harming the man than just getting his stuff and running. Which, to be fair, isn't solely due to the man's status as a member of the elite. The novel develops both characters' sadist tendencies — “He’s vicious. He brutally beat a man just for his coat. He was having fun” (21) — but the man’s status isn't a non-factor either. Roman's internal thoughts say a lot about how stupid, rude, gullible, pathetic, and inept he thinks the rich are. At the start he's not just taking the man's coat because he likes it, but because he’ll need it to survive the Mistral winter, what with living in a shelter under a bridge and all. We learn that his obsession with survival is born of poverty — “Ma’am, when you don’t have anything, surviving is more. You’ve gotta start somewhere” (20) — and that Roman will go to any lengths just to meet his basic needs, potentially with a side of some comfort. For example, he knowingly risks his life by pissing off Lil' Miss just to get two days of food, baths, and a bed. As Roman puts it, those two days are worth it, even if it means the rest of his life is potentially forfeit.

So this is a man driven by a desire to live in comfort, manifesting in a hatred of the rich that is so powerful Roman breaks the man's knee just for the hell of it. He's touchy about any comment on his upbringing too: "Roman froze. 'So that’s it. You think you’re better than me. Because you went to school? Learned a trade?'" (80). And, to be clear, this is a hatred of the high society rich. The kind of wealth that's never earned. Roman has a healthy respect for the well-fed crime bosses who have pushed their way to the top, just as he plans to. Not those living cushy lives at the expense of him and others.

And wouldn't you know it, his partner to-be is a pampered little rich girl.

"There's the conflict," I thought. "Roman doesn't just need to learn to trust, he's got to trust someone born into extreme luxury. How is that going to happen?" Well, again, it didn't. Neo and Roman's class difference is ignored for 99% of the novel, with the other 1% used for casual banter between them. It's not that Roman isn't aware of Neo's pedigree, so to speak. He finds her through the uniform she wears, the symbol of an academy that rich girls attend. When they share their first tea together, he notes how daintily she eats the sandwiches, more evidence that Neo has had manners drilled into her at a young age. When he finally gets confirmation that she's not just rich, but really rich — flying to her parents' mansion — Roman is just kinda moderately surprised, throwing in a comment about how someday that money will be hers and isn't that nice. Roman's hatred of the elite disappeared for Neo's sake, just like his trust issues did. There's no working through these differences, just an erasure of them so the novel can jump straight to them being the perfectly in synch duo we know from the webseries.

As a side detail that I think demonstrates this imbalance rather well, hair is used as a marker of identity throughout the novel. Neo moves from being jealous that other girls are allowed to style their hair how they please, to making her hair entirely pink with her semblance, changing that to half brown instead, buying pink dye so she no longer needs to waste energy on something she wants to be permanent, and ending with her getting some white streaks even as she chooses to leave the name Vanille behind. Each change coincides with an aspect of her development and it works quite well. In contrast though, Roman has only setup, no follow through. Unlike the short cut we're used to in the series, Roman starts the novel with a long ponytail that characters frequently comment on. The twins steal his hat and beg to braid his hair when they're bored. Neo seems iffy about the style choice. A couple other side characters make vague references to imply that he should get rid of it — something, something it doesn't actually suit him. So surely we'll see Roman cut his hair sometime before the novel's end, visually representing his growth, just like Neo's changing color has represented hers (ending with a color mix that reflects neapolitan ice cream)? Nope. Not unless I missed it. The foundation for that change is there, but Myers never capitalizes on it, despite obviously knowing what he's doing with Neo.

So if you want more Roman content, the kind of content we saw in the webseries, great. You'll love the novel. If you want to read about Roman undergoing any significant change, including a dive into how he came to trust Neo of all people, large chunks of that story are missing. In true RWBY fashion, there are plenty of details that allow readers to fill in the blanks for themselves, but the canon itself is, sadly, lacking.

Part Two: Neo's Magical Identity

We've established then that Neo gets the lion's share of the development and, frankly, most of it is good. Knowing she's set to become a villain, I loved reading the gradual move from understandably lashing out — Neo throws an umbrella at her father's face when he's being an emotionally abusive dick — to becoming just as stoically cruel as Roman — she launches a woman out of the back of a plane. Did she have a parachute? Who cares. There's a lot here to like about Neo's characterization, with Myers finding a nice balance between keeping her playful and not making her feel like a caricature (helped immensely by spending so much time in Neo's head). However, the one part that arguably fails is the development of Neo's semblance and, consequentially, her identity.

To be clear, I absolutely get what Myers was going for and it's basically what I assumed was going on when I read the excerpt: Trivia (Neo's birth name) has an imaginary friend she calls Neopolitan and, over time, she realizes she is Neopolitan. The imaginary friend is who she wanted to be all along, not just the person she wanted to spend time with. I like it! Who among us hasn't imagined a badass, smooth-talking, beloved version of ourselves that impresses everyone with a Mary Sue-esque ease? (Or, if you haven't, guess I'm outing myself here lol.) It's a pretty relatable idea. Trivia imagines a girl with the power to dress how she wants, style her hair how she wants, with amazing acrobatic skills, a take-no-shit attitude, fun ideas to implement... but she also has Trivia's heterochromia and muteness. It's the perfect combination of Trivia's unique traits and the confidence/freedom she longs to have. Of course when given the chance she grows up to be Neo, even going so far as to take that name. It's what she always wanted.

The only problem here is that in the RWBY world, Neo can't just be an imaginary friend. She's a manifestation of Trivia's semblance. As we learn later, the things Trivia creates are as real as real can be, provided she keeps up their existence. You can touch the wall. You can count the money. You can wear the clothes. They're less illusions than short-term creations — as Team RWBY realizes whenever they wind up attacking a Neo duplicate instead of the "real" thing — and that puts an odd spin on just how imaginary Neopolitan actually is. She's not imaginary at all. She's a real person that exists in the real world, it's just that this existence is temporary and dependent on Trivia's aura.

The novel supports this by constantly writing Neopolitan as a distinct personality from Trivia. Not just the polished version of who she is slowly becoming, but an individual in her own right. Neo makes decisions that are fully her own, contrary to or even entirely unknown to Trivia. To highlight just a few examples:

Trivia is unsure about sneaking out of the house so Neo "shoved her into the hall" (25).

Neo "looked on jealously” as Trivia drinks a milkshake, implying a desire to have one and the knowledge that her current physicality doesn't allow for that. If she is Trivia, shouldn't she likewise be enjoying the shake?

“She shot Neo a questioning look... before she realized what Neo had in mind” (92). Their thoughts are presented as separate and there's no instant mind-reading.

Neo catches Trivia when she leaps out of a window, surprising her with the save. Trivia never planned for Neo to do that, Neo did it entirely on her own.

There are lots of other instances like this, details that establish Neo has a person separate from Trivia (this confusion regarding their names should make that clear enough), no matter the fact that she's made out of aura. I mean, we've got Ozpin existing only as a soul in other's bodies. RWBY isn't exactly in a position to get nit-picky about personhood. More specifically though, Neo is presented as a bad influence on Trivia, an outside force enacting on her in harmful ways. Neo's introduction establishes her as the troublemaker to Trivia's more obedient personality: “But those were her parents’ rules, and Neopolitan never cared about those.... She bounced up and down on the cushions the way she wasn’t supposed to” with a “taunting smile” (2). Her father comments on this multiple times, saying that Trivia can't hide behind an imaginary friend. She's responsible for her decisions. And while yes, that's true, that level of responsibility changes when Trivia summons Neo into the world. During a fight with some other teens, they can suddenly see Neo and Neo, independent of Trivia, punches one in the face, making her nose bleed. That seems like a real person making her own, real decisions to me. So it was never Trivia doing things and then trying to foster responsibility off on an imagined cohort, it's a child bringing another, magically-based person into existence and being influenced by her since before the age of 8 (considering that Trivia and Neo have clearly been playing with each other for a long time when the novel starts). There's even a moment where Trivia seems to realize all this, acknowledging that sneaking out, breaking up her parents' party, causing a scene... all of it was Neo's idea. “That had to be Neo’s influence again. Trivia had to stay in control."

But the idea of control is never actually explored. Despite establishing Neo's individuality and having Trivia comment on her influence, the second half of the novel abandons that for the expected, 'Trivia was Neo all along' reveal. There's a very strange moment where Trivia's mom slaps Neo, causing her to shatter and... that's it. “Neo had been so much more to Trivia. Now she was gone” (98). Neo is, apparently, gone for good, despite the fact that she should return the moment Trivia's aura does. Neo has been with Trivia since she was a small child, nearly her entire life and at least 7 years by this point in the novel, so why did a single slap send her away? That's not explained and, much like the ‘Why has Neo chosen Roman?’ question, the fact that Trivia did try to bring her back several times and failed is mentioned chapters after Neo's absence is presented as an inevitability. The order of events needs some reshuffling.

Despite this confusion regarding why this change happened now, the explanation seems to be that Neo isn't really gone, Trivia has just realized for the first time that she is Neo. No need to summon up a separate person when you are that person and the novel, from then on, is peppered with constant reminders of this.

“Trivia was on the verge of exhaustion, but she kept burning the last of her Aura to hold Neo together. To hold herself together” (96).

Realizing she is Neo: “Trivia smiled. She took in a deep breath. She felt complete for the first time. She felt like herself” (99).

“You must be Trivia,” the tall woman said. If I must, I must, Trivia thought (126).

“She wrinkled her nose. Her name still felt like a coat that didn’t fit right. She would need to tailor that, too” (153).

“Losing her friend was Trivia’s first step towards putting herself back together and embracing her true, best self” (152).

“Wearing this [outfit], she almost, not quite, knew (or remembered?) who she was—not as a student or a daughter, but as Trivia Vanille," except the clothes are “the kind of thing Neopolitan would wear” (152-3).

On not being able to summon Neo anymore: “She had realized that Neo was really just another aspect of herself” (175).

Though there’s also the occasional implication that she's not actually Neo, just someone highly influenced by her: “No, [fully pink hair was] too much of the other girl [Neopolitan]," so she settles on that half pink (Neo), half brown (Trivia) combo (153).

As said at the start, it's a "twist" that works perfectly well... provided you ignore the magical elements and the amount of work done to establish Neopolitan as her own person, not just Trivia in a shiny, future glamour. Far from the empowering victory I expected to feel in watching Neo become who she always wanted to be, I found the whole situation to be somewhat tragic. Magic created a fully realized person who egged Trivia towards bad behavior since she was a young child, until Trivia comes to the decision that she should just embrace their personality 24/7. It felt less like the growth of a character into who they were meant to be and more like a manipulated kid taking the place of the person who used to exist alongside her — the only friend she ever had before Roman. Given that Neo is a villain, that's a pretty interesting idea for how the good girl goes bad... but it doesn't feel like Myers meant it that way. Rather, we're supposed to accept the simplest reading, that Neo was just a projection of Trivia's internal self, never-mind her individuality, her pressuring influence, her existence as something real in the world provided Trivia has aura. It's a much messier depiction of Neo's identity than that ‘She had an imaginary friend who she admired and eventually took her name’ setup. When magic is involved and a character's mind is creating fully realized people to stave off loneliness... that's a whole other kettle of fish. I don't actually want to delve into a psychological reading here — I simply don't have the expertise for that — but suffice to say, Neo's muteness might have been handled well, but there's a lot more to interrogate regarding her mental state and how much leeway we give to, ‘It's a fantasy series, just run with it.’

Part Three: You're Dodging Those Rumors, Clyde

I admittedly am. Let's take a break from deep dives into characterization to instead tackle Roman Holiday's — undeserved — reputation. I get it. At this point the RWBY franchise is, frankly, a poster child for offensive content and workplace problems. In the last two years alone we've dealt with horrific crunch culture, sexual harassment allegations, an arguably glorified assisted suicide, bad comparisons to real life politics and dictatorships, a huge reversal on the show's disability stance, one subreddit banning another over criticism, a collective YouTube response to the fandom's behavior, iffy choices regarding Mother's Day merch, accusations of queerbaiting, a resurgence of using Monty's death to forward or dismiss arguments, continued worry over whether the bees will be made canonical next Volume... and honestly, that's just some of the big ticket subjects. RWBY's story, workplace, and fandom have a lot going on, much of it bad, so it's no surprise to me that people are primed to see the worst at every turn. Why wouldn't we be? At this point it's a pretty justified response.

However, in this case it's unwarranted. Let's tackle Neo and Roman first. Yes, they're a decade apart in age and yes, there are some details that could, potentially, imply romantic interest on both sides. But they really are tiny and the novel confirms nothing. Indeed, the back of the book's summary says, "Just like every story, every friendship has a beginning..." So that's the focus here and all the ambiguous hints, importantly, happen after Neo is confirmed to be 18 years old. Roman takes her to a fancy tea shop only because he owes her. “It certainly wasn’t because he wanted to impress her or anything” (189). Neo blushes when he compliments her semblance. Twice Roman jokes “Don’t worry, it isn’t flowers” when Neo is opening up her parasol present (212). Neo also acknowledges Roman's looks at one point: “With his tousled orange hair, dressed like a street punk, he didn’t look much older than her. In fact, he was kind of cute” (184). The most intimate they get though is at the novel's end: “She leaned over and kissed Roman on the cheek. His face went red," though this is immediately followed by "It was fun to mess with him sometimes” (307). Honestly, the most overt "hint" towards a relationship is probably the title itself, a play on the 1953 romantic comedy Roman Holiday. But upon reading the novel, I think it's clear Myers chose that title only because Roman's name is, you know, Roman and the plot somewhat mirrors the idea of a reporter getting involved with a princess. Only in this case it's a criminal getting involved with a high society girl and "involved" just means a crime spree, not a romance.

So is there something there? Maybe the start of something, if you're willing to read into it, but to me it comes across more like the two of them poking fun at social expectations — he's the guy so he "must" be getting the girl flowers; she's the girl so she "has" to kiss him on the cheek — rather than anything serious. Even if Myers had developed a relationship, Neo is both an adult and at least Ruby's current age, if not a year older, so if some fans want her to start a relationship with the 14-year-old farm boy housing her ancient headmaster, is a ten year age gap really where we're going to draw the line? I know that makes a lot of people uncomfortable — frankly it makes me a bit uncomfortable too, more-so because of the difference in their life experiences (Neo is still a student, Roman a long-established criminal) than the actual gap itself — but we should be wary about when personal squicks turn into unfounded, "This is a sin!" purity culture. And for the purposes of this conversation, the point is that there is no relationship. If anything, Roman is just as aware of Neo's age as the reader is. He initially thinks he's looking at a “little girl” only to quickly realize “She was also older than her diminutive height suggested, maybe about the same age as the Malachite twins” (168). But, as we'll get to in just a sec, Roman very much treats the twins as the kids they are too. Roman even refers to Neo as a "kid" until she makes it known she dislikes it (183-4). He drops the term, but that doesn't mean the mindset disappeared.

As for the twins, they're the only other minors that Roman spends time with. Lil' Miss instructs him to act as their body guard while in hiding, which means he spends over a week living with them. Frankly? I think it's a really wholesome part of the novel — or as wholesome as the villains can ever get. That's when the girls get bored enough to steal Roman's hat, toss it around a bit, and beg to braid his hair. Myers does a good job of balancing Roman's bad boy attitude with a clear indulgence for them. He doesn't actively like the twins (who does Roman like besides Neo?) and ends up orchestrating a ridiculous plot to get out of "babysitting" them (another indication that he's well aware that they're kids), but he doesn't wish them any real harm. He even cares about them in his own twisted, villainous way. We get to see a moment where Roman tries to convince the girls to escape from a grimm, leaving him behind. We might have been able to write that off as Roman just saving his own skin in the long run — Lil' Miss would kill him if any harm comes to her girls — but there's no need to fake comfort: “Roman squeezed Melanie’s hand reassuringly. He needed her and her sister to remain calm” (52). As one of the other goons observes, “You’re bluffing. It’s obvious that you care about [Miltia], which means you’re up to something” (51). Much later, Roman's thoughts confirm this when the girls are older, more powerful, and trying to kill him: “He’d had to endure their dance recitals when they were little. He’d clapped for them at gymnastic competitions. Now they were trying to do a number on him... He didn’t want to hurt the lil' brats, despite everything, but he couldn’t let them take him down” (166-7). Really, I like everything about this. I enjoy how this humanizes and complicates Roman without undermining his status as a villain. I like the loyalty to their mother it shows in the twins that they'd turn on a man who was so involved in their childhoods. It's just fun to read about a badass bad guy trying to manage bored pre-teens with superpowers and a crime boss mom. Their relationship isn't something I expected from the novel, but I'm glad we got it. There's nothing here to imply the twins are uncomfortable with Roman, or that Roman is inappropriate with them. Anyone who balks merely at the idea of a grown man, quote, "babysitting" two young girls is working from bias and bias alone.

There is, however, one inappropriate comment made by a goon and an assumption made by Miltia, both of which Roman refutes. First, the goon asks if Melanie is Torchwick’s “new girlfriend” to which Roman responds, “You know who it is... She’s just a kid, big man” (47-48). Later on, we get

“Cute,” [Roman] said.

“Flattery’s not going to work on me anymore,” Miltia said.

“I was referring to your moves, not you” (158).

Now, we could drag Myers for including such "jokes" and misunderstandings to begin with, but that's why I mentioned the Yellow Trailer at the start of this review. It doesn't feel right to single Myers out for something Rooster Teeth has already embraced, especially when he's the one working to mirror their original product. Yang deliberately toys with Junior and Junior willingly goes in for the kiss. Jaune blushes at older moms eyeing him up at the crosswalk. Nora tells Ren not to look up her skirt in the middle of a deadly fight. Neo and Cinder both go to Atlas in scantily clad outfits because it's more important for the women to look sexy than it is for the show to stay consistent about the dangers of the tundra. Much of RWBY has that frat boy energy about it. I'd be shocked if nothing snuck its way into Myers' work too. But Roman the pedophile who ogles the twins and manipulates a kid Neo? That just doesn't exist.

Part Four: Déjà Vu, Anyone?

I dithered about whether to include this section, simply because I don't want anyone to misunderstand what I'm trying to say... yet at the same time, I'm not entirely sure how to articulate the problem I have here. Or if I'd even consider it a problem at all. In the end, "déjà vu" is the best term I can come up with. I'm not saying that Myers is lazy in regards to plot and choreography. I'm definitely not saying he's plagiarized. What I am saying — the only thing I'm saying — is that there were a lot of times during the novel where I went, "Okay, we've seen this before." Whether or not that's bad I'm... not sure.

Let's start broad. When the excerpt dropped I mentioned that Neo's situation sounded pretty very to Weiss' and I stand by that claim. Actually, having read the novel now, I'd say it's a LOT like Weiss' story. Neo is the daughter of an incredibly wealthy family, suffering from an abusive father, a more loving but absent mother, whose only freedom stems from her semblance and combat abilities. Alright, let's dig deeper. Like Jacques, Jimmy's abuse is on full display for the viewer/reader. I could give you a laundry list of examples, but here are just a few:

Jimmy is frequently described as barely controlling his anger around Neo, “there was rage behind his shadowed eyes,” etc. (4)

There are times when she is "suddenly afraid" of what her Papa will do to her (35).

When Neo is taken home by the cops, they reveal that they didn't even know that Jimmy Vanille had a daughter. That's how sequestered she's been.

He and his wife lock Neo in her room when they go out, which means that when she starts a fire she had no way to escape, no one to open the door for her, no way to call for help (her scroll is engulfed in the flames). Neo ends up chancing a fall from the window.

He comes very near to hitting Neo at one point before backing down.

Later he drugs her and, again, locks her in her room.

As said, I could go on. There are a few inconstancies across the novel that, frankly, I've come to expect of Myers' work and RWBY in general, which I bring up now because it messes with the abuse plotline a bit. There's supposed to be a shocking moment when Jimmy grabs Neo tightly by the arms: "Trivia stepped back, appalled. Papa had yelled at her, punished her, even ignored her over the years, but he had never hurt her before” (97). Except she’s forgetting that, at the very start of the novel, Jimmy grabs her by the ankles, pulls her out from under the couch, and proceeds to shake her upside down while her hand bleeds. I'd say that's a pretty intense, physical interaction, making squeezing Neo's arms fail to have the impact Myers was looking for. Similarly, when Neo finally snaps and throws her parasol at her father's face, it's because “The things she had claimed for herself were just more stuff her parents had paid for," meaning, everything she stole on a shopping spree her father made sure to pay for twice over. It's not the ableism, abuse, isolation, and the like that Neo reacts to, even though she clearly struggles with those throughout the novel as a whole. So there are disconnects at times, but the point is this man is an abusive asshole to his daughter until she learns to literally fight back. Sound familiar?

What particularly struck me was that both men have built their abuse around how the family is perceived. Both are obsessed with their image and how their daughter does or does not serve it. Jacques yelling at Weiss for speaking out about Beacon could be swapped with Jimmy yelling at Neo for not speaking at all. Jacques has maintained his wealth by exploiting the faunus in dust mines and getting in deep with criminals like Watts. Jimmy maintains his wealth by getting involved in illegal dust trades and getting in deep with criminals like the Xiongs. Both try to justify their actions in the name of perpetuating both that image and that wealth: “the things I have to do for that money” (5). Both lock their daughters in their room when they can't control them anymore. Both keep portraits in the hall that “showed her and her parents posing together as if they were a happy family,” a symbol of this familial deception (271).* Both have more compassionate, terrified, but ultimately enabling wives that, the story reveals, have secretly been spying on their husbands this whole time. Just as Willow set up all those cameras and gave the footage to Weiss, Carmel is using the camera in her pin to acquire information on Jimmy, with plans to use it to help Neo. By the time Neo's solution to the "What now?" question was to fly Roman back to her mansion and drink tea for a while Volume 8 style, complete with a Sun-Blake style shock that this is her house — sure you don't mean the tiny one behind it? — I was honestly wondering just how far we were going to stretch these parallels. I don't want to make it sound like these characters are identical (Carmel isn't an alcoholic for one thing)... but they share enough characteristics and distinct details to feel, well, a little weird. It also feeds the fandom's question, "Doesn't RWBY know any villain backstories except abuse?"

*(As a side note, I initially thought the book's cover, showing a young Neo with two brown eyes, was a mistake. Turns out her parents had the painter get rid of her pink eye because they were ashamed of it, so kudos to the cover artist for keeping that consistent!)

The similarities between Neo's backstory and Weiss' are absolutely the most obvious example here, but there were two other, smaller déjà vu moments I wanted to toss out, both involving combat. Myers has, at times, repeated fights almost exactly in order to cover two character's perspectives. I get the need to rehash plot in that manner, but he tends to focus on the exact same details back to back, making for a boring read. That incredibly nit-picky criticism aside, it means that I was already aware of combat moments that I'd seen before, not just in Roman Holiday, but RWBY in general. Does this description sound familiar to anyone?

Neo hopped up lightly onto the broad blade. Rin tried to shake her off. Neo vaulted away just as the Huntress activated the flames, somersaulting over the Huntress. She planned to land behind her and whack her with her sword, but Rin turned and kicked high while Neo was still in the air. The Huntress’s foot connected with Neo’s stomach, knocking the wind out of her and knocking her clear across the room (199).

If it's not familiar don't beat yourself up because it really is a minor similarity (and, in fairness, there's only so many ways you can write combat...). But take away the swords, replace them with a parasol and scythe, and you've basically got Ruby and Neo's interaction in Volume 8. Ruby tries to land a hit on Neo, she turns, kicks high while Ruby is still in the air, and she flies across the platform, knocking the wind out of her. We've also seen the 'Landing on a broadsword to get close to an enemy' bit with Tyrian and Qrow. But again: minor. What's a far less minor repeat of combat techniques is seen between Roman and Chameleon. Basically, Chameleon is Ilia, minus being a faunus and thus framing her abilities as a difference she's shunned for. Her semblance allows her to camouflage at will, giving her a major stealth advantage in a fight. Which means that when she goes after Roman, things get exponentially harder when the lights go out. But then it's better for Roman when a fire starts. He beats Chameleon and she helps him in the end because she's always been in love with him, even though Roman didn't love her back. If you're going, "Hey, that's the basic plot of Blake and Ilia's fight!" then yeah, me too.

It's not the whole novel. I don't want to make it sound like Roman Holiday is just a stitched together version of previous RWBY content because it's absolutely not. At the same time though, there were enough major similarities — and enough smaller ones that started standing out as a result — for me to raise an eyebrow. As said, I'm not entirely sure what to make of this eyebrow raising, or even if I want to label it a criticism at all. You all can decide what you think.

Part Five: Wait, Now There's Not Enough RWBY?

Yes, I contain multitudes and contradictions. As does this book. Even while Roman Holiday repeated some pretty familiar RWBY elements, there were times when the novel didn't feel very RWBY-ish at all. Part of the problem is that it lacks what's arguably the most crucial part of RWBY’s world building: battling grimm. Safe behind the walls of Mistral and Vale, we only see one grimm in the whole story, a captured Capivara that one of the crime lords uses to dispose of people who have displeased him. Roman and the twins barely get more than a few hits in before it escapes upstairs, leaving the kill to happen off screen (and why the grimm ran is another problem entirely. Again: we'll get to that). So although there are plenty of battles between people throughout the story, it doesn't feel quite like RWBY to me without the show's first and most significant antagonist.

More than that though, Myers goes back and forth between emphasizing RWBY's unique, cultural elements and putting them aside entirely. When he's including them, it's great. We learn that there's an old saying “You can’t put the moon back together” which yeah, of course idioms would develop around the shattered moon (151). Honey Wine, a night club singer, paints her face with red dust as a symbol of both wealth and her dare-devil nature — one stray spark and the dust would ignite, blowing her and potentially the club up too. Yeah, of course people would come up with foolish, ridiculous ways to use this resource if they had it. During one of Neo's lessons, a passage for diction practice goes like this:

The gruesome Grimm grew greedy. Get that greedy gruesome Grimm, Gregory. Go, Gregory, go. The greedy gruesome Grimme gorged Gregory. Good-bye, Gregory, Good-bye. The gory, greedy Grimm gave a gruesome grin (175).

Yeah, of course the elite would develop silly lessons using grimm as examples! We've got math problems about Johnny and his dish soap (yes, I'm quoting the Vine), so why wouldn't this world use grimm in the same way? Especially those who are rich and privileged enough to never encounter one.

When it's good, it's good. When it's not... I don't want to take Myers to task for this because, in his defense, much of what makes the book feel generically modern has been seen in the show. Like computers. Or video games. Still, when these things are mentioned frequently it undermines the fantasy/sci-fi core, especially when Myers keeps the standard terminology. Why is a phone called a scroll, but a TV is still called a TV? Why are cops patrolling normal sounding malls with normal sounding guns? Neo sneaks out at one point and it struck me that, up until she uses her semblance against a bunch of bullies, there's nothing to distinguish this outing from a realistic portrayal of an average girl getting a milkshake. None of this is helped by the times when Myers slips on the terminology that is unique. Roman describes what he steals as "cash" rather than "lien" (105). One moment we're getting phrases like “She wasn’t the brightest crayon in the box," the next it's "or rob a convenience store for a six-pack of Dr. Piper” (44, 239). So is RWBY a world that has all the same products we do — crayons and TVs — a world that's different, but only because the author is making it different in a humorous way — Dr. Piper — or a place with a unique culture and history — scrolls, lien, shattered moon idioms? It's a challenge every fantasy writer has to face. Can you have a French braid in a world without France? Some will say no, others will bank on the reader's understanding that you can't change up every aspect of our language. You'll drive yourself nuts if you try. So I'm sympathetic, but it's nevertheless noticeable when Myers seems to remember that he's writing a fantasy world, tossing in "bullhead," "oh my Gods," and "thank the brothers" in a single scene, as if he’s making up for the whole chapters where that work is missing. Take out the grimm, take out semblances for a good chunk of the plot (since Roman doesn't have one), get iffy about the details... and you're left with a story that sometimes feels more generic Young Adult than it does RWBY. Enjoyable Young Adult, but a little lackluster in the world building all the same. This isn't a book where girls turn into rose pedals, lamps grant wishes, and teenagers fight giant mechs. This is a story where a guy uses a cane to beat people up, a girl uses illusions to shoplift, and the final confrontation is basically a shoot-out. Not bad by any means, just not the level of insane "The gun is also a gun!" nonsense that has become RWBY's brand.

Part Six: Stupid Plots (and Strange Details)

If Roman Holiday lacks a lot of that RWBY insanity, then that means nothing stupid and ridiculous happened, right? Lol of course not. The novel suffers from what I think of as the, "Well that's convenient" problem. In its immense defense though, it's nowhere near the level of, say, Amity suddenly being ready to go. The world's rules do not bend for Neo and Roman... they just wind up experiencing things that can test the reader's sense of disbelief at times. For example, how likely is it that two huntsmen will waltz into a bank in the middle of Roman robbing it? Very likely, apparently. Why not just have them respond to a silent alarm? Well, because of reasons we'll tackle in Part Seven, so we're left with the iffy coincidence of two trained professionals being at the right place at the right time to show the reader a fight. It's a fun fight though — love the use of dust in it — so we'll let that pass. After all, if coincidence serves the reader's entertainment, aren't they ultimately a good thing?

Far more frustrating in my opinion is when disaster is illogically postponed and characters are written as incredibly stupid in order for a protagonist to get by. In this case, Neo. One of the major reveals of the novel is that her father has been stealing dust from the Xiongs and hiding it beneath Neo's bed. We're supposed to believe that a moment of Lil' Miss shooting into her room sets this volatile dust off, resulting in an explosion that kills both of Neo's parents (side note: she intended this), but the dust didn't blow up when Neo started a fire in said bedroom, a fire that then proceeded to consume the entire top floor? ...right.

When Neo isn't conveniently surviving non-explosions, she's duping people left and right with her semblance, despite the fact that she, of course, can't speak. This trick becomes less and less convincing as the novel goes on. First, Neo drugs her tutor (that poor woman) and pretends to be her to escape the house, holding a one-sided conversation with her father as he walks her to the door. He finds nothing strange in this. Later, Neo sneaks back in by pretending to be her mother and though this time her father catches her, it's because “If you want to know whether someone is lying to you, it’s all in their eyes” (70). Not because, you know, his "wife" inexplicably won't respond to him verbally. Finally, Neo takes the place of Xiong, traveling with his assistant for over thirty minutes, and never once do any of the goons question what's going on with their suddenly mute boss. This includes interactions like Neo holding out her scroll and just staring until the assistant gets that she should follow the GPS, and the need to ignore the fact that Xiong, characterized as quite talkative throughout the novel, is suddenly quiet as a mouse. Neo's muteness should have been a severe limitation on her ability to masquerade as others, not something the story outright ignores in an effort to move the plot along.

The novel is peppered with such coincidences, small inconsistencies, and just downright strange details. Roman notes that the police haven't arrived to his robbery yet, only for the next sentence to say they were swarming in. Later he "pulled on his bonds, testing whether he could slide one of his hands free, but he’d been tied up real good” but then again, a few sentences later, “He craned his neck to try to look out the front window. He managed to unbuckle his seat and hop to the front” (259). Like forgetting how rough her father has been in the past, Trivia bemoans the fact that she can't wear anything that Neo would, something in pink and white, for example, forgetting that her former "adventuring outfit" consisted of a white tank-top and white sneakers with pink hearts (26).* She also claims that the Roman illusion she sends running from the twins is her first long-distance use of her semblance, even though she just got done recalling the time she created a butterfly and watched it fly until it was "out of sight" (170). The novel writes out Neo's texting as dialogue even when someone else isn't speaking it aloud — something I initially made a note to praise it for. This is her version of "talking" after all — only for the texts to suddenly become bolded halfway through the book. As for strange details, Myers seems to like giving his antagonists a lumpy food to indulge in — Lil' Miss forces Roman to eat her cottage cheese, Xiong oatmeal with the consistency of cement — and Roman, quite oddly, decides to cover his spider tattoo with a grinning pumpkin. (Were they a thing in A Clockwork Orange? It's been years since I read it...) Neo learns to fly a plan by watching Xiong's assistant start it up and then, I kid you not, pulling up a How To article. Perhaps my favorite bit though is when Roman reveals his master plan to gain a monopoly on Vale's coffee industry and successfully does so by attacking one (1) warehouse. This is treated with the utmost seriousness.

*(Second side note: the color brown is tied closely to Neo's backstory; to the person her parents wanted Trivia to be. She has her brown hair, only one brown eye, is introduced in a brown dress, wears a brown blazer and pants that her parents bought, and attends Lady Browning’s Preparatory Academy for Girls, the school meant to turn her into a 'real' lady.)

That last bit though, the coffee heist, feeds into my biggest problem with the book's plot. @superzerokarasu and I have been talking about this the last two days, acknowledging it as one of the book's bigger flaws. (And, Superzerokarasu, if tumblr actually tags you, feel free to ignore this absolutely massive wall of text. I just wanted to give credit for the conversations 👍). Basically, towards the end of the novel it is, quite randomly, revealed that there is an important Room at the academy. Important enough that the story capitalizes it — that's not my doing. We haven't heard at thing about this Room before but Neo, apparently, has been trying to sneak into it for weeks. She knows Lady Beat is hiding something in there. Did we know this, especially since we've spent half the novel in Neo's head? Nope! No sooner has this mystery been introduced than Neo is solving it, much like how the group solves the problem of using Ambrosius moments after his rules are explained. Neo throws up an illusion of an empty hallway, picks the lock on the door, and discovers that Lady Beat has been spying on everyone who ever attended her school through the small pins students and graduates wear. This means she has access to private information about important people all over Remnant. Shocking! Neo reacts to this discovery by tearing the hard drive loose, there are some confusing suggestions about how this information will save them from Lil' Miss and Xiong, and then Roman sends the information to a news station, revealing all. Thus ends the world-wide conspiracy we just found out about.

It's muddied. It's ridiculous. It, most importantly, comes out of nowhere. There's absolutely no buildup to this mystery, just a sudden announcement that it exists and, wouldn't you know, here's the conclusion. Superzerokarasu is correct that this problem could be solved by increasing the academy sections and fleshing this mystery out. I'm of the opinion that it could also be solved by eliminating it entirely. Why in the world do Roman and Neo need to grapple with a world-changing reveal, especially when the rest of the novel is so tame? Roman shakes money down from other small-time crooks. Neo learns diction and combat at school. Roman leaves the Kingdom to avoid Lil' Miss. Neo sneaks out of the house and goes on shopping sprees. She saves him from a street fight, he takes her out to tea, they proceed to rob convenience stores. Their conflicts take place on such a small scale that this conspiracy plot feels ridiculous compared to the rest of the novel, even if it did have better setup. In contrast, their big coffee heist likewise feels ridiculous for how small it is. As a duo (not Neo as an individual, now that she's involved with the Relics and such), they operate in a pretty specific niche of small crimes conducted for villains with large plans. Given the number of times the novel brought up that Roman should start stealing dust, I foolishly thought that the novel would conclude with them stealing dust. Why coffee? Why conspiracies? Why shootouts between two crime bosses on Neo's front lawn? Let them pull off an epic dust heist together, tying it back to Neo's family since her father is already neck-deep in the illegal dust trade, all of it setting up the characters we'll meet in the webseries: street crooks now stealing dust for Cinder. That's their specialty. Why not start that specialty here?

Instead we get a bunch of hurried plot points that, of course, will have no bearing on the first eight volumes of the webseries. Which brings us to...

Part Seven: Roman Holiday's Impact on RWBY

Quite obviously, this isn't a novel that exists in a vacuum. Roman Holiday, given that it is presented as an official Rooster Teeth product, is likewise meant to fit into the already established canon. This has been a challenge for Rooster Teeth in the past — important lore winding up in card games, mischaracterization in other novels, worry about how the upcoming game will re-tell events we've already seen — but has Roman Holiday perpetuated that trend?

Well, yes and no. Which is never a particularly satisfying answer, but in this case there are both aspects that are working and aspects that aren't. Let's tackle the good first.

Myers includes a lot of details throughout the story that help fill in RWBY's gaps. In this case, it's not information the viewer should have gotten in the webseries in order to have a complete understanding of the situation, but rather things that simply help connect the two works together, adding depth to what we already know. For example, there are those before mentioned times when characters suggest that Roman start stealing dust. “You aren’t the first person to suggest that. Maybe I should look into that...” (216). I do think it's a missed opportunity not to make a dust heist the climax of the story, but that doesn't erase the fact that this still functions as excellent setup for the webseries' premiere. We know RWBY opens on Roman robbing a dust shop. Now we have a better sense of how and why he got into that line of criminal work.

We likewise get to see the origins of Neo's parasol, not just how she got it (Roman), but also what led her to wanting that kind of weapon in the first place (struggling with the heaviness of swords, getting attached to a parasol she stole, impulsively using it to attack her father, escaping the fire with it and realizing that the ability to float from high places is an asset). Something else I particularly like is that Myers was careful to explain how Neo became so adept at fighting. According to the webseries, there are only three paths you can take: go to combat school like Ruby, live on the streets like Roman, or live outside the Kingdoms like Blake. Neo, as a rich girl kept within high society, doesn't fit any of those models, so Myers introduces an Academy that seeks to train young women for any eventuality, even an attack. Neo learns how to smile, sew, cook, courtesy... while also taking classes in acrobatics, combat, ballet, and fencing. All the girls train with a combat instructor — “I know this isn’t a combat school, but by the time we’re done, you will be as skilled as any Huntress in Remnant” (201) — and, not only that, but she undergoes some pretty intense testing. Balance is taught by “balancing on a tightrope twenty feet in the air, with no net below you. Lady Beat believed in ‘though love’—without the love part” (146). It's a teaching method that makes Ozpin's cliff test seem a little less insane and it highlights one of those fantasy elements of RWBY. When your students possess aura that can save them from a twenty foot fall, it's slightly more reasonable to include that as a challenge. So when Neo starts following Roman around, it doesn't feel off that she can keep up with him. She's been trained, has practiced her semblance alone, and gets additional tutoring from Roman himself. Myers neatly dodges the question of how a non-Huntress and such a privileged girl — unlike Nora or Cinder — became to be as talented as Neo is. Privilege actually bought her that knowledge, which Neo then combines with Roman's street smarts, making her the formidable fighter we know and love.

However, for every nice tether there is between Roman Holiday and RWBY there's a moment of worldbuilding that messes with our sense of the webseries. Or at least raises some pretty big concerns.

Given that we just came off of Volume 8, it's no surprise that I read the novel with an eye for hints about how these future events — the destruction of Atlas, evacuees in Vacuo — might impact the rest of Remnant. What Myers gave us... doesn't look good for RWBYJNOR's decision, or the theme Rooster Teeth was going for in Volume 8. Meaning, the show took on a very black and white view by the end of the Atlas arc. Ironwood is an irredeemable bad guy, Atlas is full of racist trash and deserves to sink, the heroes made the best decision possible given the circumstances. Myers' novel introduces some nuance that, sadly, doesn't serve that black and white view well. He describes Mistral as, frankly, suffering the exact same problems as Atlas. “The city elevator didn’t come down this far, to keep more of a buffer between the haves and the have nots... people at the base of the mountain had no business topside” (10-11). Sounds like the sort of divide between Mantle and Atlas, huh? With the exception that one elite is stationed on top of a mountain instead of a floating city. It's a class issue Neo confirms as a kid when she sneaks out to the lower districts, thinking that, "she was never, ever allowed out alone. ‘For your own safety,’ they said” (25). Rich, racist elites who think themselves better than everyone else isn't an Atlas problem, it's a Remnant problem. RWBYJNOR solved nothing by leaving the place behind (and having one citizen hold hands with a faunus) and the fact that the story acts as if things are better now that Atlesians can’t have picnics on a floating city is... a problem. We already knew RWBY struggles with its racism and classism themes, but moments like this continue to add fuel to the wildfire.

Similarly, the novel spends a not insignificant amount of time referencing Atlas as the technological capital of their world. We knew that already too, but hammering it home now, post-Volume 8, emphasizes the damage the group has done. No Atlas, no technology. Pretty much any technology, given how often it’s said to come directly from Atlas, or cloned from Atlas originals.

Regarding the evacuation, Myers gives us a moment where Roman outright rejects Vacuo as a place to escape to: “Vacuo was a good place to hide, but the desert was probably one of the few fates worse than Lil’ Miss. And while there was a thriving criminal element, it wouldn’t be particularly welcoming to a newcomer. There was no future for Roman there” (88). So the desert is a fate worse than a crime boss and Vacuans are so unwelcoming one individual won't risk going there... and now our heroes have dumped an undetermined number of evacuees in that desert, heading towards a Kingdom that doesn't want them. Obviously Myers needs to come up with a reason for why Roman ends up in Vale where Neo is, but doing it this way just highlights so many of Volume 8's problems. Specifically, that the group made such a world-altering decision when it arguably was no longer necessary and, more importantly, did so without once considering the consequences that seem obvious to everyone else in Remnant. Vacuo is the last place anyone wants to escape to... so why was that the heroes' first choice? "Because the show hasn't gone there yet" isn't an answer.

There are a couple smaller problems throughout — muddying the waters between semblances and magic again; emphasizing how many people unlock their semblances as kid and rely on their aura to get by, bringing up the question (again) of how Jaune was so ignorant — but I just want to cover two more issues here.

The first is what I mentioned above about the one grimm the novel has. Suffice to say, the grimm ignores the three fighters in front of it (Roman and the twins) and runs off because... well...

“Grimm are drawn by emotion. You never controlled it. It killed your enemies because most people you drop in here are going to be afraid. They won’t be able to fight back. But as far as I can tell, these girls don’t feel anything. And I’m not afraid to die... Anger can be a more powerful emotion than fear” (54-5).”

Let's tally up the problems with this speech:

The idea that Roman experiences no fear despite being cornered by a massive grimm, in a tiny room, in enemy territory

The idea that an ability to fight back increases the chance of the grimm running off to pick other targets (if that were the case, the group would never finish any fights)

Claiming that they're also left alone because the twins "don't feel anything" which is obviously ridiculous

Reframing Roman's lack of fear into, specifically, not fearing death. Again, a grimm doesn't care whether you fear death or no

Saying that the anger of the boss all the way up in his office is a stronger draw than the three people currently attacking the grimm

It's just a lot of nonsense, bending one of RWBY's most basic rules to give Roman a cool-sounding speech. Cool provided you ignore what the speech is actually implying, that is. Why bother with this? Just let the grimm break down the door halfway through the fight, moving the fight into a new space with new people causes chaos, Roman either escapes then, or he kills the grimm first and escapes afterwards. Better, in my opinion, to give the story a single grimm kill than introduce a bunch of philosophical complications about how much these characters definitely don't feel fear and one man's anger is suddenly a grimm magnet. It's just a strange scene and, looking back, the only scene where I really went, "What?" As evidenced by this entire review, I have problems with certain aspects of the novel, but none actively made me question what in the world Myers was trying to accomplish. This moment is the exception.

Finally, I'd like to briefly mention the ways in which Roman Holiday messes with our understanding of the huntsmen profession. Again, this is nothing new. From Blake and Yang shrugging off Adam's death, to Weiss asking if she can arrest her father, the true purpose of the job seems vague, especially when you toss in what they're legally allowed to get away with. At first, the novel seems to support the idea that huntsmen are responsible for defending the people from both grimm and criminals, especially in the cities where walls do most of the work of keeping grimm out. Roman worries that huntsmen will show up to put a stop to his robbery, there's a bounty for him “posted on all the Huntsmen job boards," and then, later, two huntsmen do show up to his bank heist and try to stop him — that coincidental timing (176). "It’s kind of refreshing to fight a bad guy instead of a Grimm for a change," says one, implying that their primary focus will always be grimm, but they're also not going to ignore criminal activity. I get that. I buy that. It fits with what else we've learned about the job from the webseries: students attend school specifically to learn how to fight grimm, but they're capable — and expected — to use those skills for the people's benefit, no matter what form that comes in. Hence, jobs like Jaune acting as a crossing guard. It works.

....Aaaand then Myers blows that understanding right out of the water.

“[The huntsmen are] being fined for destruction of public property and reckless endangerment. This isn’t the first time they’ve been reprimanded for using excessive force and gross misconduct. The Vale Huntsmen Guild reportedly is considering suspending their licenses (118).”

So wait, never mind, apparently huntsmen aren't supposed to stop bank robberies that they walk in on. Or at least, they're not supposed to stop them using "excessive force" and resulting in the "destruction of public property." Problem is, there's no way to battle another fighter of Roman's skill without doing property damage and, potentially, putting civilians in danger. The strength of Yang's punch blows small craters into the floor. Weiss uses dust that causes minor explosions. Ruby swings her scythe in such large arcs she could easily hit someone if she's not paying attention. Within the context of RWBY's powers, the huntsmen here didn't use "excessive force" because aura, semblances, dust, and insane weaponry are all staples of combat. So... what are they meant to do instead? Find out if Roman is just a normal dude and, if he's not, back out like, "Oh sorry. We can't fight someone our equal because that would require, you know, fighting. We'll wait for the police to capture you. They'll have a much better time without training, semblances, or any other combat resources, I'm sure..."

This single excerpt sends us right back into the "Huh?" territory. What are a huntsmen's responsibilities then? What are they legally allowed to do? And why are these expectations so inconsistent across the franchise? I know the answer here is that the group was pardoned by Ironwood, but it still seems absurd that we watched them steal military property, attack an official, cause a major grimm attack, and actively hide from the authorities... and all that's presented as fine. But trying to stop the guy currently robbing a bank? Well, that’s a suspendable offense. And we know this was taken seriously because Roman runs into one of the huntsmen later, a Roch Szalt, and we learn that his license wasn't just suspended, he lost it entirely. These side characters are out of their livelihood for defending the people while RWBYJNOR gained licenses for endangering them. There's something fundamentally wrong with your world building when your protagonists primarily get by on such massive inconsistencies.

Part Eight: The Last Section, I Swear

This is another aspect of the novel that I really hesitated over including, just because I do think there's a line between legit criticism and unkind nit-picking. In the end though, enough of a trend emerged that I thought I'd toss it out, especially since I've recently been pondering the question, "How does RWBY treat its women?" The answer should be obvious, right? This is a show about four girls fighting evil! Yet as the webseries continues, fans are noticing more and more divergences from that initial premise. Like creating a world where women are almost never in the primary positions of power. Like giving Jaune and Oscar the active, plot-forwarding scenes that should belong to Ruby and her team. Like that frat boy mentality I mentioned earlier on. The purpose here isn't to analyze that aspect of the webseries, I simply wanted to lay out where my thoughts were while reading Roman Holiday.

The disclaimer? Neo is great. The strange intersection between her identity and her semblance aside, I think she's entertaining, well-rounded, and the fact that she is given not just half the book's chapters, but that focus mentioned in Part One, resulted in a well-developed character. However, outside of Neo the women are frustratingly built around the same thing: sex appeal. Honey Wine is the club singer whose semblance lowers customers' inhabitations, acting like a Remnant version of a siren. The twins — despite those pedophilia rumors about Roman proving unfounded — are the butt of girlfriend/"You're cute" jokes, drawing attention to their developing looks more than their combat skills, strategies, etc. Both Lady Beat and Carmel, Neo's mom, possess that older woman charm expected of high society ladies. They're dangerous because they can acquire information and they acquire that information by looking the part: pretty smiles, fine clothes, figures that catch the eye. Even Lil' Miss, an established character with a lot of power at her fingertips, isn't exempt from this. When Roman first meets her he observes that fashion is clearly a part of her strategic mind, “a plunging neckline and purple corset distracted Roman even more” (19). Distracted, meaning, that Lil' Miss deliberately makes herself look hot so all the straight guys will lose their heads.

It's a bit more heavy-handed than just some over-used archetypes though, particularly when it comes to making Roman the guy that every girl wants — even when that's just him assuming they want him. Lil' Miss, again, suffers that treatment. “'Is she flirting?' he suddenly wondered. He hadn’t ever considered that she might like him, but if that was the case, he could use that to—” (57). In a similar situation played straight Chameleon, Roman's peer, is introduced with the statement that “She considered him a friend, and plainly wanted more than that" so Roman "continued to string her along” (45). It's that Ilia/Blake dynamic, just with added cruelty and a gender setup that carries completely different implications. Even the minor characters aren't safe from Roman's charms. Lisa Lavender — you know, Remnant's reporter? — receives flowers from Roman after she labels his robbery “one of the most brazen displays of lawlessness” she's ever seen (117). It's not presented as the villain being creepy though. When Roman contacts Lisa directly, we're given a verbal joke about her maybe interest. She loves... the ratings he brings in. Just the ratings. Of course.

It's worth noting that Chameleon isn't just reduced to a silly crush whose love allows Roman to escape, she's also the character who "has" to be naked in order to make the most of her semblance. Despite writing in an Atlas cape that blends into various backgrounds, Myers still emphasizes the absolute necessity of this woman fighting naked:

“She didn’t wear much clothing these days, both because it thwarted her natural camouflaging abilities, and because when she chose to show herself, it could be quite distracting... she stripped for added stealth—it wouldn’t be the first time” (81, 85).

It's a writing choice that I personally despise. And make no mistake, it is a choice. In a world with magical abilities and futuristic tech, there's no reason to make the presumably young woman — we're never given an age, but Chameleon is written to be particularly naïve — getting naked in front of others, especially a man that is stringing her along. Clothes only "thwart" a magical ability when the author says it does. Why can't semblances make outfits camouflage too? Because then there wouldn't be an excuse for the hot women to strip.

Particularly for more important characters like Lil' Miss or Lady Beat, these aspects are not the sum total of their characters... but there's enough there to be wince-worthy if you're already sick of such trends; already keeping an eye out for what RWBY writes in regards to gender. I think a good way to summarize Roman Holiday's idea of feminism is when Neo is staking out a coffee shop and Roman asks her to bring him a coffee when she comes back. She returns with an empty cup reading, "Get your own coffee." It's clearly meant to be this empowering moment — how dare the man ask for food like she's some servant! — except it's ruined by the context of the situation. Namely, that Neo is already at a coffee shop. And Roman isn't rude about asking for one. And they've already traded presents in the form of a crazy expensive parasol for her and a new hat for him. Asking your crime partner, who just happens to be a women, to pick up a coffee on her way home when it’s clearly not a hassle, is not the outdated insult Myers seems to think it is. And that's what a lot of these choices are: details that don't break the novel by any means, but come across as out of touch none-the-less.

Part Nine: The End (Okay, This is the Final Section)

The novel concludes with Roman and Neo flying off together, avoiding the authorities, nothing they have to do except "set the world on fire" (208). It's a rather bittersweet ending given Neo's certainty that no one will ever catch them because we know, eventually, Roman will die and Neo will be left alone. I quite like ending things on that optimistic note, both because it fits their current mindsets and because it adds that extra, emotional punch for the reader. Their story isn't done... but it will be soon.

And thus ends my review as well! Review? Analysis? Little mix of both, I suppose. Hardly the most succinct thing I've ever written, but what did anyone expect. Final thoughts? I still liked the novel. Despite everything above — despite re-wading through eight major problems I had with the text, ranging from minor preferences to arguably massive mistakes — my overall takeaway remains, "I'm glad I read it." It's been a long time since I actively enjoyed a RWBY story; where my entertainment and appreciation of the writing outweighed the problems I had with it. I know I'm far from the only one currently dissatisfied with the canon, so if you're looking to re-ignite some of that old, RWBY spark? Give Roman Holiday a try.

And, of course, thank you for reading! 💜

#rwby #rwde #(maybe? tagging to be sure)#RWBY: Roman Holiday #Roman Holiday #mymetas

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mannermade-blog · 8 years ago

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so this specifically gonna be a PLOTTING CALL bc clearly that’s the best shit to write. ( mutuals only please. )

#( hello yes i want to plot out things and get deep and specific and create beautiful relationships for harry thank you _#* ⟨ ❝ REAL LOVE IS FOR PIZZA. ( mari's ooc. )

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popculturebuffet · 4 years ago

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Animaniacs: King Yakko Review (Comission by BlahDiddy)

Hello my beautiful technicolor rainbow! It’s time for Animaniacs, and while there is no balonga in my slacks there is one last christmas review for my friend to finish up, and after two visits to Acme Lab for the spinoff we’re finishing up with a look at Animaniacs proper. Suprisingly for a show that stands so easily on it’s own it’s existance is entirely thanks to another show: Tiny Toon Adventures, which had largely the same staff, including ep and co-creator stephen speilberg and Todd Ruegger, who was brought aboard from A Pup Named Scooby Doo. Since TIny Toon was a colossal hit with tons of awards and merch, including some very good video games I wish Warner would find a way to re-release, I mean.. come on if disney can rerelease the disney afternoon games (If...not..for..switch), and LIon King and Aladdin games (If somehow FOR switch), then Warner, which has it’s own game stuido no less, can put together a collection of the good Tiny Toons games when the new show comes out soon.

Point is it was a mass sucess and Warner Bros likes money, so they had Speilberg try to get Rutger to come up with another show for the two of them to do, something with name value. Rutger found his inpsiration when seeing the iconic warner water tower and taking some platypus characters, came up with our heroes and the rest is history.. well okay he retooled them from plataups’ to early looney tunes and other toons style characters minus the racisim of say bosko the tall ink kid but still, the rest after that is history. And the rest of this review is after the cut

The show was, and KINDA still is, a variety show: taking a page from looney tunes, as well as tex avery’s other work, the crew decided rather than just focus on the warners, to instead create a whole cast with various ensembles to work with so we got Pinky and the Brain, The Goodfeathers, Rita and Runt, the Hip HIppos, Katie Kaboom, Chicken Boo, and my personal faviorite Slappy Squirrel.. and the bane of my existance, Buttons and Mindy.. or rather Mindy’s Mom. The kid did nothing wrong. So naturally the first thing Animaniacs related I cover.. is an episode entirely breaking from format for one 20 something minute Warners cartoon. I do intend to do more animanics stuff in the future, so i’ll hopefully get a chance to talk about everyone, I just feel unlike with say house of mouse most people reading this probably know who they all are, and I can save any deep dives for if I cover the characters specifically. Spoilers: there’s probably never going to be a buttons and mindy deep dive unless someone tourtues me by paying for it.

So with that out of the way, we can dive into the episode.. which I won’t be covering in my usual recap it point by point because the writers have freely admitted that’s not what Animaniacs is about. While some of i’ts SEGMENTS are more story based like Pinky and the Brain, Goodfeathers and Rita and Runt, most are just based on simple set ups to reams and reams of gags. And I love it. I grew up with this stuff not just Tiny Tunes and Animaniacs but the classic Looney Tunes, Tom and Jerry and Droopy shorts.

Their well timed, well executed feats of comedy and most have aged pretty well.. emphasis on MOST. I’m keenly aware why there are several gaps in the shorts for both Tom and Jerry and The Looney Tunes on HBO Max, including all of the Pepe LePew and Speedy Gonzalez shorts. Also all of Droopy is missing.

My grumblin aside though, it is VERY NICE to have all the classic Warner and Tom and Jerry shorts at my fingertips and it was one of the biggest selling points of Max for me. Last year I gained an intrest in the old disney theatrical shorts, hence my various birthday specials, so I BADLY wanted to revisit the theatrical shorts I grew up with. And honestly.. Max is the best way to do that: their in crisp hd, in neat season collections (Though the Looney Tunes one is better sorted, tom and jerry’s seasons are just.. random smatterings of shorts across various eras), and most importantly EVERY SHORT they felt comfortable with putting up there is on there. Every. Single. One. I make a big deal about this because Disney.. has only maybe 30-40 of their hundreds of shorts on there. Now lucky for me the vast majority are still on youtube and I get why some really arne’t suitable.. we probably don’t need the donald duck short where he prepares to shoot a penguin in the face or the Goofy short where his own reflection, the goofy equilvent of tyler durden I guess?, keeps saying “Hey Fat” to him. And yes BOTH of these actually happened. But.. there’s MANY shorts with no clear excuse why their absent like the triplets first apperance, gus’ only apperance, and one a friend told me about.. that time mickey built a robot to box a gorillia. Again not making this up, just wondering why you can’t restore the rest of these for plus. They’ve ADDED shorts ocasionally, but it still dosen’t make a whole lot of sense to just.. not have them all up there. and to not put them in some sorta collection for easier consumption but hey it’s Disney. They either full ass things or half ass it. There is no middle ground. Point is Warner.. actually cares about their heritage in shorts and honors it and thus has everything avaliable in the best quality, so tha’ts nice.

My point after that detour is I really love this kind of humor, and now as an adult I can see the effort the timing, pacing and character chemistry these shorts had takes. And Rugger and co.. they got it. They got it down perfect. And this episode is a great show of that and just how they barely updated this format for the 90′s. But as I said it’s more about the jokes and basic setup, our heroes are slotted into x scenario and just left to run wild. It’s been the basic seutp for looney tunes, tom and jerry and all the gag based greats, and it works perfectly here. Sure there’s some setting and continuity with the warner lot, scratch n sniff, ralph, plotz and in the reboot Rita, but it’s mostly just our heroes go up against “X asshole” and it just works.

And that’s.. entirley what this episode is. The short is an homage to the graucho marx film Duck Soup, which given the warners were based on the marx brothers that isn’t a huge suprise, a film like brian’s song I have not seen, but genuinely want to. The basic setup is the same: An underqualified womanizer, though since htis is Yakko it dosen’t get past hitting on his chancelor, played by hello nurse, constantly, which is still.. ewwwww... but clearly not the same thing, becomes king of a small nation and ends up at war with another country. There were spies and other stuff in the original short but that was left out to streamline things. But this homage stands on it’s own fine: The basic plot is this: Yakko, due to being a distant relative and the last one alive, becomes king of the small happy and very musical, as the wonderful opening number shows, country of Anvilania, which makes anvils and why yes there is one MASSIVE anvil gag as a result at the end. Yakko says he’ll try his best and geninely tries to with the shenanigans you’d expect, including Dot not gettnig Polka Dot’s are a thing and instead taknig any mention of it as a sign to polka, Yakko again hitting on his colleague and wanting ot get a new anthem because the current one by “Perry Coma’ puts people to sleep. Honeslty that gag didn’t do it for me: Partly because I genuinely know next to nothing about Como and he’s far past my generation.. and because despite this, SCTV did a MUCH better Perry Como gag over a decade before this episode that while still left me baffled as to why anyone cared about mocking him, was 80 times funnier and felt far less like you needed to know who he was to be funny.

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That being said it’s one of only three running gags, and jokes period that didn’t land for me. The other ones being the hello nurse bits, because it’s aged really badly to have Yakko harass one of his employees and his age is hte only thing that keeps it from scuttling the episode as he’s just 13 or 14. Maybe 15.

So SO glad I now have that on hand whenever i need it. The other being the “Your highness” joke as it just.. dosen’t make much sense and isn’t very funny. But that’s it: a refrence i specfically don’t get and I doubt most of you will, and if you do fine we all have our frames of refrences, a joke that’s dated very poorly, and one that just.. didn’t land. And even then the Perry Coma thing’s third use to knock out the opposing army DID work for me as did the VERY clever joke of “Sire” “Maybe later”, so even the weaker bits still had some legs. But getting back to what little plot there is the king of the rival country, upon hearing this, assumes he can easily intimidate a child into giving him the throne and goes to a royal reception. Instead, as you’d expect, the Warners mistake him for a party clown, show him no respect and fail to take his delcration of war seriously, and while in a REALLY great gag, and the reason i’m not doing a strict summary is 90% of the review would be me saying something to that effect, Yakkos’ call to action for his troops ends up having them all run off in fear, the Warners take out the army as noted above and then in one of the most GLORIOUS climaxes in the series history...

In which the Warners give the bad guy “all the anvils” as he requested. I sadly coulnd’t find a clip of it but seek it out if you got hulu, my words can’t do it justice as they hit him with anvil after anvil in increasingly clever and insane ways till the guy finally gives up and it .. is glorious. Other highlights not already mentioned include: The opening song, the bad guy dictator from the other nation not being able to hear because of his helmet and his attendee having to lift it, leading to Yakko taking off his helmet just to end the “what’ running gag, Yakko’s bit explaning his distant relation and more. So yeah not a ton to say on this one. It’s a very good, very funny episode but also very typical of a warner cartoon in structure, just stretched over 22 or so minutes. As I said with few exceptions the jokes work, the anmation is crisp as always, and the climax is one of the series best. A crisp, quick watch and a nice quick review after a week of with some really tough ones behind me and ahead of me and a month of rather large ones a few weeks out. So yeah if you like animaniacs, even ifyou’ve seen this one worth a watch, if you have any more animaniacs you’d like me to take a look at feel free to comment or comission and until the next rainbow..

#animaniacs #yakko warner #dot warner #wakko warner #anvilania #hello nurse #king yakko #duck soup #goodnight everybody #hulu #warner bros #kids wb

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not-majestic-bluenicorn · 5 years ago

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The MONSTA X Time-Travel Theory (Originally the MONSTA X Universe Theory)

Hello everyone, and welcome to my new and improved MONSTA X Theory. You read the title right, this was originally called the MONSTA X Universe Theory, but unfortunately it can no longer have that name. I’ll explain why shortly. I posted this theory in February of last year, and since then, a lot of things have changed. My theory really only addressed until before Take 1, so it’s been 4 comebacks and one world tour since then, can you believe it? So yes, quite a few things have changed, and we’ll go over them.

What has changed?

Originally, the theory proposed that everything started in the Tresspass-The Clan timeline, that it was the original timeline and that everything went down from there. However, since Follow: Find You, this is no longer possible, as the Find You MV shows us the origin of Hyungwon’s abilties. Thus, the Tresspass-The Clan theory is now a stand alone. Technically I already wrote a theory on The Clan, although I didn’t address its connection to Tresspass, maybe I’ll do that in a separate “add-on” sort of post. Because of this, it can no longer be called a “Universe Theory”, as MONSTA X is not integrating all of their stories into one very convoluted timeline, but instead they have two separate stories (if later on they connect everything, I’m throwing the towel). That’s the main change, but this change provokes a bit of a butterfly effect, so let’s see how much the theory has changed.

The Story

Phase 1: The First Timeline - The Origin (We Are Here World Tour VCR, Take 1 & Take 2)

I know this is a weird place to start the theory, almost near the end, but it actually makes a lot of sense. These three videos serve a very similar purpose to what Beautiful did for The Clan, they explain the origin of their friendship. Now, things aren’t as dramatic as they’re shown in these three videos (at least I hope so, ‘cause things are gonna get very weird from a plot point of view if they are). The main point of narration is the We Are Here World Tour VCR, from now on abbreviated as WAR because it’s easy to remember like that, and because it fits the theme of the video (watch it here).

WAR introduces us to seven fine young men who have each committed a sin (two of which aren’t even actual sins, but I understand why they would change those two). Hyungwon and Pride, I.M and Envy, Kihyun and Loneliness, Jooheon and Greed, Wonho and Sloth, Shownu and Wrath, and Minhyuk and Agony. These sins are not actual crimes from a futuristic dystopia (although that would be a cool concept), these are just the personal struggles they are dealing with, the personal backgrounds that consume them.

Hyungwon is a rich kid that believes himself better than everyone. I.M is the local witch (?) who hates the rich kid. Kihyun is probably the only child that was forced by his parents to be perfect. Jooheon and Shownu are a very misguided pair of trouble-makers who’re friends with Wonho, who practices Taekwondo but can’t reach the standard he wants. Minhyuk lost someone important to him.

In the Special Film and the Previous Film called ‘ARE YOU THERE?’ they explain these personal struggles, how their situations make them fall into those sins, and how they’re looking for someone to save them. This salvation comes in the form of each other. In WAR they further explain their own sins and how being with each other saved them from drowning in them. Alligator represents the sins and them drowning in the swamp of their own despair. Shoot Out is them breaking away from their past and destroying these sins.

Phase 2: The First Timeline - The Trigger (Find You MV)

Originally I proposed that Hyungwon got his powers by entering that weird heart at the end of All In and Fighter. I’ve now been proved wrong. After they each overcome their past and become friends, Hyungwon’s family has an accident in which both of his parents die and he comes out badly wounded. After he recovers, he’s now living by himself and taking different medications to deal with the aftermath of the accident. The boys decide they cannot leave their friend like that and temporarily stay at his house.

While they’re sleeping, Hyungwon wakes up and visits his father’s study. He finds the damaged watch which sends him to an entirely different timeline. This is showcased by him suspended in the water, with images of Dramarama and Destroyer flashing by. There is a scientific theory that proposes that spacetime is actually a superfluid; I won’t go deep on this because I don’t fully understand it, but showing Hyungwon trapped in water is a good analogy to him being trapped in a different spacetime. This is also briefly shown in The Connect World Tour VCR, (from now on addressed as CWT), but we’ll talk about this one in more detail later.

Wonho wakes up first and notices Hyungwon isn’t there, so he wakes up the others and they try to retrace his steps. Unfortunately, Hyungwon is not part of that timeline anymore, he’s gone for good. This leads us into our second timeline.

Phase 3: The Second Timeline (The Code & The Connect World Tour VCR)

After Hyungwon jumps into spacetime, he becomes lost. Personally, I think there is a possibility that there were other timelines he visited first until he eventually learned to craft the watches himself, as we see in CWT (watch it here). Maybe he just watched this timeline fail a lot of times before he learned and decided to intervene. Either way, Hyungwon actively tries to reunite all of them by giving them the watches. He succeeds for a moment, but in this timeline there exists an agency that controls Time Travel, who frustrate his plans every single time.

It is important to know that in this timeline, the boys don’t all know each other and some of them don’t even exist in the same era. They don’t remember Hyungwon either. Personally I think not remembering Hyungwon might be because he removed his existence entirely by disappearing from his original timeline. There cannot be two of him, as that would cause problems, so instead he just completely seizes existing in all possible universes as he moves through them.

The rest of the boys still exist within the normal spacetime frame though, but they’re lost and ignorant to their true origin. They have forgotten each other and can’t remember yet. However, no matter how hard they try, this timeline is completely doomed because the agency is actively trying to frustrate Hyungwon’s efforts, even if they don’t have something against him specifically. So Hyungwon jumps into the water again, he must continue searching.

Phase 4: The Third Timeline (The Connect: Music Film D & The Connect World Tour VCR)

Destroyer is yet another timeline distinct to Dramarama. We know this because we see different pairings, completely different settings and completely different timelines. The Music Film D is divided in three stages: Part 1 The Code (a very obvious reference, this is already letting us know they’re connected), Part 2 Finding the road, and Part 3 Connected (clear reference to the current album).

D shows us the boys as geniuses, Minhyuk and Shownu are artists, Kihyun and Wonho are science (physics?) prodigies, and Jooheon and IM dominate technology. CWT gives us a bit more insight and shows us something very important: they have begun to remember each other and they have memories from their previous timeline. They want to find the person they were paired with in their first timeline, but more than that, they also have memories of Hyungwon’s intervention, even if they don’t remember him properly (because let’s remember Hyungwon removed himself entirely).

They know they have to find someone, and so they set out to do it. Through their own methods they all come to the revelation on how to find Hyungwon. Kihyun and Wonho do the math, Jooheon and Changkyun use technology, and I guess Minhyuk and Shownu have a vision which they paint? Not sure on that one to be honest, but they find the train station.

This could either be a real place in which every timeline and universe converge or just a metaphor for them figuring out how to do the same thing Hyungwon does, either explanation works.

Hyungwon is trapped in this train, which is another analogy, but this time for the (liminal) space between dimensions. He’s tired himself out trying to reunite the others, and this time they must come for him, and they do. They find each other, they remember, and they reunite once again. This time nothing can pull them apart.

Phase 5: Interlude (The Connect: Jealousy & The Connect World Tour VCR)

Jealousy doesn’t feed the plot itself but helps connect (pun not intended) and put everything else into place. Through different imagery, Jealousy illustrates how the different timelines push them together and then pull them apart, creating different pairings, but that despite this they still share things in common (the paper with numbers, the recorder, the glass of water). Another thing this video does is allude to Jooheon’s death in Dramarama through the use of os symbolism. In one scene, a paper with his symbol is being burned, while in yet another, the chair he’s seen sitting on throughout the video is being burned as well and then falls down to the abyss.

On the other hand, CWT creates a clear and obvious connection between Dramarama and D, revealing to us that they do have memories from other timelines. Another cool thing is that we get to see Hyungwon on the rooftop where they filmed Hero, released back in 2015. It also provides a clearer scene of Hyungwon crafting the watches himself and of him at the top of the Hero building. We can also see the last scene from Jealousy mirrored in the last few seconds of the VCR, which is something worth pointing out.

But, as the VCR says “when everything goes back to the beginning, someday, we will be connected again”. Where did things begin? That’s right, in Find You, so the next step is Follow.

Phase 6: The Third Timeline - Back to the Beginning (Follow)

If Monbebe has a war anthem, it is most definitely Follow, which is an amazing song. Unfortunately, Starship has decided to stop providing explicit story development on their MVs since Jealousy, so Follow doesn’t do much for the story itself. However, I have three important reasons to believe this is where the circle ends: all of the references to time, the quote from CWT,and the very last scene of the MV. Let’s go in order.

The most obvious reference is them standing on clocks painted on the floor, but that’s not the only one. We get to appreciate a few watches here and there, reminiscent of Hyungwon’s in D and Dramarama, and also see the movement of their shadows as a passage of time. The most important reference though, is the cover of the album. The title, “Follow” is solid and then becomes “liquid” as it moves down. This makes sense when you consider the other two points.

First of all, “when everything goes back to the beginning, someday, we will be connected again”. The beginning of the whole mess is Find You, part of the Follow album, there is no doubt about it, so why is Follow the end? Well, because of the last scene in the MV. I know it’s Shownu standing at the top of the stairs in front of the circle, and while it would be better if it was Hyungwon for the sake of this theory, we’ll just completely ignore that. That circle they’re walking towards is the train. ‘Follow’ in the cover becomes fluid because once they cross that circle or enter that train, they too remove themselves from existence like Hyungwon.

That’s not the only thing though. In D, Wonho solves the formula for time travel as X=4155102M, he does it again in Alligator and I believe it’s also briefly shown in WAR. Kihyun also travels back to 2015 in Dramarama to save Jooheon, and Hyungwon is standing on Hero’s rooftop, which was released back in 2015. Their debut date is their beginning, and they keep referencing it over and over because they’re trying to go back to the beginning in order to solve everything.

They went from Find You to Dramarama, to Destroyer and now they’re back at the beginning with Follow; they are connected again. They have different faces and personalities because they’re not the same people from the original timeline, but they managed to find each other and transcend spacetime to be together. So now, what happens next?

Phase 7: Moving Forward (FANTASIA X)

Here is where things get a little complicated, both in the story and in real life. With Wonho’s departure from the group (go support his solo debut), we now have an even number, which wouldn’t seem like a big deal if it wasn’t for the FANTASIA X Trailers. In each trailer we see that each one of the members now possesses a device which allows them to control time in one way or another.

Hyungwon and Shownu have keys, which when used to open anything will allow them to do spacetime travel (I would say only time but, well, I have no way to confirm this right now). Jooheon and I.M have this lighter-watches that when turned on, they allow them to stop time. Kihyun and Minhyuk have another very different set of keys that look like those in old toys or music boxes, which allow them to ‘rewind’ time when used.

Now, them getting powers is expected, since they also removed themselves from the “normal” existence and joined Hyungwon. I assume it is because of the even number that they gave Shownu the same powers as Hyungwon, but it makes it a little weird because Hyungwon has been special all this time. It also doesn’t make much sense that now Hyungwon is using a very different instrument. I want to believe that Wonho is supposed to be in Hyungwon’s place in the teaser, but it’s impossible to tell now.

Even ignoring all of that though, FANTASIA X overall just doesn’t make much sense with the theory. Sure, it’s still time related, which is like the biggest giveaway, but the boys still look lost and like they’re looking for something despite the fact that they already found each other. Maybe the Teasers could be their personal research into spacetime travel and their attempts to find Hyungwon, but I highly doubt so. I think it’ll make more sense after the next comeback or tour, since so far everything seems to come in threes (Dramarama, Destroyer and CWT, Shoot Out and Alligator and WAR, Follow:Find You, FANTASIA X and?).

Conclusions

Despite the fact that we can no longer call it a Universe Theory because it hasn’t been there since the start, I still think it is a story about them, about their struggles and how they’ve grown up. They’re each other’s friends and family, the value of X is their debut date because that is when they came into existence, they are each other’s dreams because they wanted to become artists and they did so by coming together into one group.

A lot of things have happened, but their friendship hasn’t changed. They got each other out of the swamp and helped each other overcome their difficulties in the hardest times. It is uncertain as to where the story will lead us next, in a way, I think this might be the start of a brand new story for MONSTA X. A direct consequence of the story they have carried out since The Code? Maybe, but probably very different and not exactly in the same storyline. It’s hard to know, but I’m excited about what they have in store for us nonetheless.

I hope you liked this theory, and be assured that I’ll add onto it as more things come out and new mysteries are to be solved. If you have any questions you can hit me up on my asks, Twitter (@soft_bluenicorn) or my CuriousCat (@soft_bluenicorn)! I’ll be glad to answer them ^^

#monsta x #monsta x theory #monsta x shownu #monsta x wonho #monsta x kihyun #monsta x hyungwon #monsta x minhyuk #monsta x jooheon #monsta x changkyun #shownu #wonho #kihyun #hyungwon #minhyuk #jooheon #changkyun #bluenicorn does theories

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fuck-you-i-am-spiderman · 4 years ago

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Spideyyyyyyyy!!! 🕷️♥️🧡💛💚💙💜 hello

*stretches fingers* where to begin, where to begin. WELL, one of the things that stands out to me about your writing is that it’s the embodiment of the “is for me? 😳👉👈“ meme in which me is….. me jkldjakljgklsdg. Like, this is why we can just plot an entire novel-length fic together off the top of our heads on VC, just give us like five minutes, because we share perfect taste in ships and tropes. The beautiful thing about this is that I always know I’m GOOD going into your fics. Like, you know what I want without having to ask. And so your fics are always a safe, familiar place for me to go and yours is some of the work that helps me calm down and sleep if I’m having a bad night and just need to read something that’s like a virtual hug.

Another thing that shines about your work is you do such an amazing job of ensuring equal parts love and attention to all the OT4/Core Four. I think it’s really sweet how you take the time to write stories where each one of them gets the spotlight for a while and has their trauma addressed, like with Lost in Lace and Baby Dragon, for example. You offer representation for everyone who relates to these characters and you very tenderly craft that representation and treat the characters with the respect they didn’t get from canon. With your multi-chaps, you do a wonderful job of honouring all the dynamics and never letting the BROTPs feel less important. The bonds are SO strong whether romantic or not.

Stemming from the above actually, I feel like the way you write the Core Four reflects a lot about you as a person (all good things!) and I see that in HD since we’ve become friends. You treat your characters with the same respect and attentiveness that I feel you treat people, not just me but others I see you interact with. Your people skills translate into your writing, if that makes sense. Like what I say above about how you take the time to ensure everyone gets the spotlight for a while, especially when they need it most, and I think that’s just something you do as a friend, too, and it’s a really great thing about you! You have a very big heart and your sensitivity makes you extremely empathetic, which allows you to get deep into these characters’ heads and write beautiful, believable relationships that are full of feeling.

Your passion and drive to overcome all the hurdles of life and keep creating is very inspirational, my dear. Truly, truly, I cannot say it enough that passion ALWAYS shines through and IMO it’s one of the most important things a writer can have ‘cause it’s the fuel for everything else, but also it’s just something that can be *felt* and I always feel your passion in your work and in everything you do. There is so much of the essence of Spidey in your work and that’s a very good thing! There is an inherent value in that, as in you. It is certainly a gift to this fandom.

Anyway anyway I honestly just think you are a natural born storyteller and that’s just something you have to accept. I’m very fortunate to be privy to all the fun ideas you help bring to life over VC. I would gladly listen to you narrate Rotten OT4 fanfic to me. You have good energy and you always make me laugh and I love that I can just interrupt like “OH MY GOD WAIT WHAT IF” and you’re just like “FUCK YES WRITE THAT DOWN” and then we don’t jdklajklsgjlkg but it’s so much fun tbh. Our VCs are probably the reason I haven’t gone completely insane without regular human contact outside my family jkldajkljglsdg. It’s easy to forget we’re in a pandemic with good company.

in true ADHD fashion this has ended up a little left of the point, but you get it, you get it lmao

SO MUCH LOVE ♥️🧡💛💚💙💜

(shout out to tumblr for letting me write essays in people's ask boxes now...... y'all are gonna live to regret this experience jdklajlgjdsklg)

BABE, ILY ♥️🧡💛💚💙💜

I cannot fully explain how happy it makes me that you think of my fics as a safe space. Like YOUR fics do that for me, they’re like a breath of fresh air that uplift my every mood. whether they’re soft and silly or more indepth and angsty, like you got me and it’s like my own personal library of comfort fics for every occassion and mood. Honestly yeah, we have such good taste in ships and our VCs are one of my absolute favourite things, they always stem the best and most glorious ideas.

Thank you so much, for me - I love all of the different dynamics within the rotten four so much and it’s super important to me to get the balance right and show equal amounts of love to all of the dynamics, even when a specific dynamic is more of a central focus. Like the others don’t just disappear and what compells me the most with ot4 is that they’re all so important to one another and they’re all so interesting in their own right, I’ve read and seen far too much media for poly ships that try and ignore parts of the ship and that’s just not what I’m about. Seriously I keep saying thank you but truly, it means a lot to me that you feel like I write something that offers representation, that’s something so very important to me and it’s so validating to hear that it’s coming across in the intended way.

Have I said this before? Um I love you !!!!!! But seriously, you constantly say how lovely I am but you are such a wonderful person, like I’m so glad we’re friends because you are one of the most kind, genuine and glorious people I know. You are truly fantastic and I feel so blessed to have you in my life 💖💖 💖💖 💖💖 💖💖

I can’t believe you think I have people skills :’)) I mean...like I try very hard to make sure people feel respected and loved and heard. I try really hard to make sure my friends know how much I care and yes mutuals, you are all my friends and I love you very much! But something that is important to me within my writing is to really show that love and care. So I’m so relieved that that translates well into my writing. Thank you so much, that’s such a high compliment.

(lol side note I now am imagining “essense of Spidey” as a little potions bottle with like a gradient shimmery colour 😂)

I’M NOT CRYING YOU’RE CRYING. You think I’m a natural born storyteller? 🥺 I have so much anxiety when it comes to my own capabilities and this means so much, I can’t even fully take it in but wow just thank you, it means so much more than I can express. Babe, I will gladly narrate ot4 for you any time!

🙈 OMG no, we are the worst when it comes to not writing our ideas down omg dheruhrgefvgvfehwgwvey like I legit just want to record everything on our video chat so I can savour it. We truly have some of the most fantastic ideas and I love crafting them with you, it is legit so much fun and it gives me so much serotonin. I think we need to video chat more!!!!!! Because legit, you make me feel so much better and you just have this way about you, like you are a gift and you radiate such soft and warm energy, like you and your writing and your art and everything are a ray of sunshine that I never thought I deserved.

and you know I love your rambles because oh would you look at that? my reply is just as rambley and I love that for us so, so much. and anyway, I love you very much and reading this made me so happy ♥️🧡💛💚💙💜

#descendants fandom #writer ask game #I legit did not realise you could send long asks and I feel betrayed #I would've sent you one long ass one instead of bombarding you with notifications ahaha #but anyway this is just a sign we need to VC soon #hit me up my dear I'm off for the next 5 days!!!#Spideysparrow 💜#patronus kit

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dreadnought-dear-captain · 5 years ago

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You Asked, I Told

(Note, if this post shows up twice or massively delayed or just looks weird, it’s because it was flagged for adult content [??!] because I had a picture of Willem Dafoe’s face in a gif. I am not even kidding. Do with that information what you will. I’ve removed it and I still don’t know if/when this can be publicly viewed, I’m kind of lolling. So if you see a blocked out photo that looks like porn in your post, I swear it’s just a gif from The Lighthouse!)

Hello, amazing people. This weekend, I’m putting the final touches on my last draft of Baghdad Waltz Chapter 39, which will then go to the beta for one more round of edits. I imagine I will have the chapter posted in 1-3 weeks, which is close to record speed for me, especially since it’s around 30k words. I’m going to be talking about my writing process (at unfortunate length) for one of the asks, for those who are interested.

Please forgive me. I’m feeling quite verbose and a little squirrely. I blame living alone during lockdown.

It’s also Memorial Day weekend in the States, which is when we are meant to honor those who gave their lives in military service to this country. This is often confused with Veterans Day (November 11), which is honoring anyone who has served in the military and is no longer serving. This gets further confused with Armed Forces Day (rotating date, May) which is to honor those currently serving in the military. I know, super confusing.

There’s a wide range of opinions on how Memorial Day should be commemorated, which often involves gathering with friends and family for a barbecue or some other social activity. It’s the first major holiday after a huge holiday drought throughout the late winter and spring, which often makes people look forward to it immensely. Some people feel it’s inappropriate to celebrate Memorial Day with barbecues and fond social gatherings because it’s dishonoring the memories of those who can’t be here, people don’t take time to remember those who have died, people have no idea what the day is actually for, etc. Others, even some very vocal veterans, maintain that people died so that we could be here to celebrate in freedom, so why not relish this life we have? Many offer the caveat that it’s appropriate to at least acknowledge the purpose of the day, even if it’s just in a few minutes of quiet reflection.

Anyway, I offer this as a little food for thought for this upcoming long weekend.

(And in case you missed it, I posted a BW Timeline for your reference.)

Contains spoilers through Chapter 38.

[Takes deep breath]

I’m so glad that you are enjoying the read and that you’re finding it inspiring for your own work. I think my dedication to research for BW is threefold. 1) As this story evolved, I decided that I wanted to create the most realistic depictions of military, civilian, emotional, and physical life that I reasonably could. I will fully admit to lapses in this, deliberate and unintentional, because sometimes the plot just needs to go and I can’t wait around for a year-long medical discharge process for my character. 2) I’m in an academically stringent occupation, and because research is such a prominent part of my work life, it’s bled to my hobby. (IS THIS EVEN A HOBBY ANYMORE?) And 3) I get very easily and passionately obsessed with things and delight in getting “into the weeds” with a subject. Almost every research divergence usually takes me off track for at least an hour. And you will never catch me without an MTA subway map open in at least one tab.

But that wasn’t even your question! Sorry. Are you beginning to get a sense of why BW takes me so long to write?? I cannot keep my shit on track. As for the bibliography, YES! I plan to include that in my author’s note at the end. I wish I had kept better track of all of my works consulted over the past three years, but I will definitely discuss the importance of some of the main ones. I’m so thrilled that you are interested, and I’m excited to share them!

Thank you. This is such a kind thing to say, and I’m humbled and delighted to hear it, especially because our fandom is so blessed with some AMAZING fics. And asks certainly don’t have to be questions! I appreciate them all (except the flaming bag of dog shit ones, which I haven’t had in a while, hooray).

(Re: Chapter 37) Good question! I imagine Claire would want to keep the 1:1 conversation somewhat limited, as she is treating the couple as a patient rather than them as individuals. If anything, she might have somewhat superficially checked in to see if he was okay rather than dive into anything regarding the relationship with Bucky not around. That could be seen as a betrayal of trust to Bucky and could be interpreted as favoritism, which Steve craves and which Bucky is probably terrified about.

I am always pleased when people re-read and enjoy it or get new things out of it, even if it’s sometimes a re-read is a function of my slow-ass writing. I really want a story with good re-read value.

You make an excellent point about Bucky’s relationships. His friendship with Jack also had no real closure. Sometimes this is a factor of circumstance and sometimes it’s because of his avoidance, like a self-fulfilling prophesy almost. He’s learned that people betray you, either by hurting you or dying, so he creates conditions sometimes (often unwittingly) for things to go sour and end poorly, or he will simply make himself disappear so that he’s not hurt and doesn’t have to wait to see if he will be abandoned or betrayed. He’s not a guy who is good with goodbyes.

As for Thor, I totally see how it would read that way. I think Thor started out fishing for longer-term possibilities in a romantic relationship but then realized Bucky is really not a guy who is comfortable settling (which, as we can see, is true). As for why it seems more serious, one thing is that Thor still wanted Bucky in his life as a friend, possibly one with benefits. They have a lot in common, and it’s hard for veterans - and, more specifically, special operators - to find people in their lives they can relate to with these very intense life experiences. I wanted this to be a real relationship, but maybe not necessarily one that was bound to become a RELATIONSHIP. I think Bucky was very intriguing and attractive to him, and he very well may have struggled with his own vacillation between whether to take it seriously or whether to remain friends+. This can lead to mixed messages.

And we also have to remember Bucky’s notoriously unreliable narration, where he will see what he wants to see. Our perspective comes from him. We see the details he zooms in on, miss the one he ignores, view the relationship through the lens of his own contentious desire for a real relationship, even as he consistently demonstrates the lack of capacity and his fear about getting serious. I imagine Bucky has having an extremely poor ability to distinguish friendship from romance, and why wouldn’t he, given the most recent bit of history we have learned about him with Jack? He’s had a series of friendships become sexualized, and I think this affects his capacity to be discerning. Bucky’s radar for relating, whether friendships, romance, or potentially dangerous sexual situations, is terribly mis-calibrated. How confusing for him and for the people in his life. Of course, everyone is free to interpret the dynamics of any relationship however they choose. These are just some of my thoughts.

I really appreciate observations from the re-read! Thank you!

I watched the video and you are right! This is definitely a Bucky song. Bucky’s sense of self is by turns profoundly distorted and lacking in grounding, especially now that he’s not in the military. He’s been in a low key existential crisis since he was a kid and has turned to drinking and sex and war to fill this horrible void, and although I can’t speak for what the artists here intended, I certainly sensed those elements here for sure. (Also, what an interesting choice for a music video…)

Thank you for sharing! I’ll add it to the unofficial BW playlist in the author’s note, which consists of various songs people have associated with BW and shared with me.

Good question! I started off this story picturing the actors who represent the characters in the MCU, because I figured we’d be picturing that when we read the fic anyway (though my beta told me she doesn’t see them as the actors, more like artists’ renderings of the characters, which I find interesting). So when describing their physicality, I tend to refer back to the MCU, since this is technically an MCU AU. But the longer I go with the story, the murkier the resemblance feels to me, especially when I think about Bucky, IDK why. I have also been considering doing something more with BW after I finish it (i.e., converting it into a proper not-bajillion-word novel, sunk cost and whatnot), in which case I would definitely change the characters’ appearance, names, cut MCU Easter eggs, etc. So when I try to think of who these people might be in future iterations of the story, things get even more blurred in my mind when I imagine them.

I wonder how other people see them??

So, with regards to PTSD clinical teams, there is some variation across VAs in the system. Some focus more on military-related trauma, whether it’s war, military sexual trauma, accidents, etc. as a way of concentrating their services and managing supply and demand. From talking with providers in these kinds of systems, sometimes you just NEED a military-related trauma, but you can be treated for, say, a childhood trauma if it’s more pressing. Other VAs are very open in their criteria, and you can see them for pretty much any kind of trauma that qualifies diagnostically for PTSD (or sub-threshold PTSD) without question. That’s why I love the expression “If you’ve been to one VA, you’ve been to one VA.” That said, it kind of doesn’t matter what kind of PTSD clinical team is at the VA in Manhattan, because Bucky has so much military trauma that he would very likely qualify to receive services in any PTSD clinical team. They just might focus on childhood stuff (if Bucky actually let them, which is another matter entirely).

This is a great question! Thanks for asking.

I love a snarky asshole Bucky so much, and I’ve tried to temper this version of him with enough hard-earned genuineness to offset it a little bit. It’s such a tender balance with him, because if you back him too far into a corner, he’s going to let you have it. But if you give him too much space, it’s hard to pin him down and wring something honest from him. He’s definitely learned to use humor and sarcasm to deflect from painful or uncomfortable situations, and it’s a very adaptive short-term strategy that makes him both endearing and infuriating to others.

But ugh, yeah, shit gets so rough around Chapter 28/29. I don’t know how to feel when people have really strong emotional reactions to this story, because one part of me doesn’t want to contribute to the crappy feelings people may already be struggling with — especially in the times of COVID — but I don’t want to be afraid to dive into the hurt these characters are experiencing. That’s why I recommend checking in with oneself before reading to get a sense of how much emotional bandwidth is available to manage the immense problems of two people struggling so much. I also think that for some people it can be cathartic or otherwise not-bad maybe (?), based on the feedback I’ve received. I also really try hard to balance out the painful stuff with growth, even though it can be terribly difficult to locate sometimes.

In comments to folks, and here, I often talk about adjusting the ticks on your measuring stick for progress, where instead of leaps of progress over feet/meters, we may be observing things on an inch/mm scale. This story is my most sincere effort at a “recovery is not linear” narrative, which I think is so much more reflective of real life for a lot of folks than a straight upward trajectory. Humans are such creatures of habit, and the lessons these characters have learned through their lives about themselves, trust, relationships, and how to manage emotions are very deeply ingrained — often through traumatic means. These are the lessons learned the hardest, with the greatest perceived consequences for change, and it takes real courage for us to be able to try new things even once, let alone to establish a reliable pattern of behavior. This can lead to a lot of frustration for us as readers/writer, and I come from a place of this being okay, because we are encountering a parallel process with the characters, who are frustrated with each other and themselves about the same things. I do hope the pain/progress/joy ratios are not horribly out of whack most of the time. That’s another reason I like long chapters, because if this was just blips of sometimes terrible episodes in shorter form, I think it would be very challenging to not lose hope entirely.

But I’m so glad you’re finding the read meaningful, even if it’s sometimes painful and difficult.

(YES.)

And FINALLY -- (this is all soooo long, I’m so sorry.)

Oh, thank you for this question! My spreadsheet ended up getting too difficult to manage, and I actually had a small crisis six months ago about how the fic was going to end, because it just didn’t feel right. I had to scrap it and go back to the drawing board and really ask myself - what would these characters really do? Naturally, as a factor of their psychologies and circumstances, how will they bring this story to an end? Some advice I once heard about a “satisfying” ending is that it’s the place where there’s simply nothing more to say about the characters. There’s no more story to tell. I had to abandon all of my desires and ideas for a particular ending or concerns about making people sad or happy or excited or disappointed. I know that the only ending that will be satisfying is one that makes sense for these people. Anything contrived or backward-engineer-y wouldn’t feel right to anyone. I do have a couple of specific character arc things I want to happen, so I set those down as touchstones and said, okay, what would happen next? What would Steve do with this? And what would Bucky do with this? And what would they do with the thing the other person did? I take a very psychology and prior-behavior-based approach to plotting, almost all character driven. The rest is just figuring out what is supposed to go where and how to organize it.

I’ve converted everything to a Google Doc and have a very basic outline where I write plotty-plot stuff. I also have a “garbage dump” doc where I write certain lines I want to use or certain details I want to include somewhere. When I get into a new chapter, I’ll check the dump doc as I outline and write to see if I want to pluck anything from there. I have my outline open regularly to add to it. Sometimes I write scenes out of order, dialogue first, but that’s only if I really am excited about a particular scene and cannot contain myself. Otherwise, I write completely chronologically and have no buffer. I post things as soon as I write them.

As for your specific questions, I do have a “process” for getting into my characters’ heads. It helps to know them so very well and to have a firm sense of their idiosyncrasies and patterns of behavior. As you may have noticed, they repeat their patterns all. the. time, as humans do, but I also want to have them change their behaviors a little as things go and they progress. So I may wonder what they could do a little differently, why they would WANT to behave differently, and imagine what they would need to do to change their behavior. Do they need to take breaths? Do they remember the last time some shit went down? I really try to think of the “how” and “why” of every single action - from big blowouts to eye rolls.

So once I’ve figured out what they are going to do, I try to pinpoint the associated emotions I want to highlight. This is a whole separate process, because I have to think also about their internal versus their external emotional states. Steve, for example, will often have a discrepant inside and outside, because one of the truths about his character is that he is a chronic suppressor. There is also the issue of unreliable narration and interpretation of behavior. Steve might do something in a scene, but that doesn’t mean Bucky is going to interpret it the way it was intended. I have to think about their individual filters, which often reflect their internal beliefs about themselves. Bucky is more likely to read Steve’s actions as reflections of how BUCKY feels about HIMSELF (e.g., he’s disgusted by me because I’m disgusting) rather than imagine what Steve is really thinking based on his own experiences and beliefs about Bucky. I also attempt to convey some of the more second and third layer emotions that people have in situations, rather than only highlighting the primary emotion. Sad things don’t always just make people sad. Powerful emotions, for example, might make Steve feel out of control of himself, which could generate secondary emotions for him like frustration because he’s losing control. Part of the process in the construction of the narrative is also scrubbing what I’ve written for POV, because Bucky’s word choices aren’t the same as Steve’s, and in order to try to preserve the “voice” of each character, I often have to change the words I’ve opted to use, as well as the syntax.

So, as you can see, there’s a lot of layering that is happening all the time. As for the dialogue, I have no compunction about saying the lines aloud, “acting” them to see how they sound, to get a sense of what tone I want them to say things in. Now that I think of it, I do a bit of movement-based stuff, thinking about how people sit and stand, figuring how many steps it takes to get from A-Z, what it would look like to lean against something, how it would feel on the body, etc. I try to get the most felt sense of things as I can. If I’m imagining a scene, I try to put myself in the shoes of the characters to the point where I feel the emotions, just so I can know how it reflects in my body and my mind and behavior. I have more than once gotten drunk and drunk-written drunk Bucky then gone to clean it up later, as drunk writing can generate some great content I never would have been able to come up with sober, but the form, grammar, spelling, etc. is often rubbish. I also talk a LOT to my beta about all of this stuff, and I have certain friends and acquaintances in the fandom who are my consultants for various things.

So, I’m somewhat method I guess?? Is that a thing?? I dunno. It’s not hard to do when you live and breathe a story. It’s required a deep level of interest in - quite possibly an obsession with - the characters and their lives. I adore my characters, not in a self-congratulatory way, but because they feel so real to me. So it’s a joy to plan and write -- though I do hate first drafts with a passion.

OH - I also sometimes fast-draft chapters, which I did for 39. That is, write as FAST AS YOU CAN with no regard for how shitty the writing is. I wrote 10k words in a week, which was a finished fast-draft for me, and thus I had a very good felt sense of what was going to happen in the chapter, which felt amazing. It requires intensive outlining before, and nearly every word had to be rewritten, but one of the greatest frustrations of a story for me is having blank space ahead. Re-writing is way more fun than first draft writing. I have fluffed it up twofold with higher quality content, which I did all in less than two months…!!

-------------------------

Well, this is surely my most unnecessarily yammering YAIT in history. But I hope it at least conveys my enthusiasm for these wonderful asks! It’s so lovely to hear from all of you, even if I take an eon to get back to you. Hang in there, everyone!

@grimshady @hutchhitched @b0n3l3ssm1lk

(And thank you to @bae-buckyaboveeverything for the shout out. You made my day<3)

#you asked #baghdad waltz #asks

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turqrambles · 5 years ago

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I watched all 26 episodes of an obscure Australian cartoon in one week and I’m not okay - My journey with Wicked! (2001) PART 1

Here it is, the reason I started this blog in the first place. I need to talk about this cartoon I ran into completely by chance.

It all started, like you would, with Tubitv.

Good ol’ Tubi, the free streaming service that makes you either an expert at being able to find diamonds in piles of garbage or a connoisseur of said garbage. It’s thanks to Tubi that I put down that I watched Alpha and Omega: Family Vacation on Letterboxd for all to see and judge, but it’s also thanks to Tubi that I finally ended up watching Killer Klowns from Outer Space.

Anyhoo, one day I was browsing their family film selection when I ran into this selection. And that was the day my life changed forever.

What you see before you, posted to a streaming service accessible in the United States, is the movie adaptation of an Australian TV show that never made it to the United States, which is based off a series of Australian children’s books from the 90′s that also never made it to the United States. It made it to other territories like Germany and the United Kingdom (and it apparently did super well in France but don’t quote me on this) but the TV show ran for one year and then disappeared without a trace after one 26 episode season.

How obscure is this franchise? Well, for starters, at the time I’m writing this in 2020, the books, the TV show, and the movie all don’t have a single Wikipedia page to call their own, and the easiest way to get info about this thing is to find the (rather tiny) TvTropes page.

Let’s just get right into this shall we.

What is Wicked!?

Before you try to be all cute and make any references to the hit musical, there’s a reason I’m putting that exclamation mark there.

Wicked! started out as a series of six children’s books written by Paul Jennings and Morris Gleitzman. I actually grabbed a kindle copy of all six books (because I’m in this thing too deep and I wanted to see how the cartoon compared with the source material) and I gotta say, they’re very charming.

The best way I can describe them is that they’re in the kid horror genre, but they’re less Goosebumps and more The Weenies book series by David Lubar in terms of gore and child endangerment. Wicked! has some artful depictions of blood and gore, but in a way that can be digested by the grade school crowd.

Being a former child, I can proudly proclaim that I would’ve adored this series when I was younger. Just look at these covers!

The plot of the books is that there’s a widower with a daughter and a divorced wife with a son who get married, and the two new step-siblings Rory and Dawn absolutely hate each other. They can’t stand the fact that their parents are getting married! Gross!

But then, on the day of their wedding, creepy things begin to happen after Rory receives an appleman doll in the mail, and then, over the course of six books, a deadly single-minded virus that feeds on hate and is targeting Rory’s bloodline begins to spread across wildlife, creating crazed mutant animals that try to kill everyone in the household. It’s up to Rory, Dawn, and Dawn’s grandfather Gramps to stop this virus before it kills Rory and his mother, and to do so, they have to seek out Rory’s father, who seems to be the mysterious cause and/or the solution to the virus.

I’m not sure how well these books did, on account of the whole “not Australian” affliction I seem to suffer from, but they seemed to do well enough to get a TV show adaptation.

And surprisingly, the TV show is a very close adaptation of the books, only they changed the plot in two big ways so that it fits an animated series with a “monster of the week” setup.

The first big change was that, of course, they toned down the blood and gore and removed the deadliness of the virus, choosing to go with a more cartoony mutagenic approach. Rory gets infected by the virus several times in the show, just like how he does in the books, but unlike the books, he never thinks that he’s going to die from it and it’s definitely treated as a more temporary thing. There’s no race against time either. Everyone is trying to live their lives except every so often, the virus shows up. A wacky cartoon virus with cartoony stakes.

That brings me to the other main change that they make in the show. Unlike the books, where the main villain is a mindless virus that feeds off of hate, an invisible foe that can only be defeated at the end of the last book with the help of Rory’s father, the TV show decides that that’s no fun and instead makes a main villain out of one of the main plot points in the books. Say hello to The Appleman. (Apple-Man? Apple Man? Fuck it, I’m going with the first one from now on)

Instead of having the virus mutate mysteriously and having the main characters constantly hypothesize what’s going to happen next, the TV show made a main villain who constantly reinvents new strains of virus in a laboratory that he set up in an abandoned refinery.

What then happens is a basic plot set-up that the show follows pretty consistently in every episode. The family is trying to do something, we get the theme for the episode, and The Appleman, who is a spiteful bastard who is trying to ruin this one family in particular (and I’ll get to that), decides to make a virus that will infect the theme of that episode.

Pretty standard cartoon stuff, right? Ah, but then you don’t realize the beauty of this show. But first, I gotta introduce the main stars of this show.

The Characters

(quick note: this bus is incredibly important to the plot, but only in the books)

First we have Rory (the boy holding up the tin) and Dawn (the mad red head).

Dawn is the step-sister who lost her mom, a bus driver, in a gruesome bus accident, Rory is the step-brother whose parents got a divorce and then his dad went missing, believed to have run away from his whole family. Both of them are meant to be the dual protagonists, but I feel that there’s just a tiny bit more focus on Rory. There’s a reason for this that I will mention later.

What is interesting to note is that they make Rory the smart, non-athletic little nerd that gets picked on a lot at school for being a dork while Dawn loves sports, is failing science, gets made fun of for not being as girly as the other girls in her class, and likes violent computer games. I wouldn’t exactly call them “fleshed out” but they did enough to make these kids feel like actual kids.

Also, they fight. Constantly. This is the main complaint of anyone who actually looks into this show judging by my brief skimming of Internet comments because these two constantly bicker and insult each other and that makes up like 40% of the dialogue in any given episode. While this is one of the main story conflicts and they’re like this in the books too, it just feels super exhausting to see these two constantly at each other’s throats in every single episode.

They get mean too. Which, surprisingly, makes them both more realistic (I babysat multiple times and kids can be pretty verbally awful to each other) while also making them just a tiny bit unbearable at times. Here’s some actual dialogue.

"My dad sent it to me!" "Gee, he must think a lot of you to send you a doll full of worms." "Your mum thought so much of you she drove this bus over a cliff and into the river to get away from you."

GEEZ, guys...

Eileen, Rory’s mom.

It feels out of the three adults in the family, she gets the least amount of character development, but she does get a fair amount of screentime, so you can’t really say they’re intentionally ignoring her. She divorced her previous husband and works as a mail courier. Instead of owning a car, she drives a motorcycle, and, in the first episode, even drives it to her own wedding while dressed in a bridal gown. Rory’s mom rules.

She tries to bond with Dawn because she always wanted to raise a daughter, but Dawn clearly doesn’t like her new stepmom very much. Dawn is also afraid of the motorcycle and it comes up a couple times in the show.

Eileen is the adult that gets targeted the least by The Appleman’s schemes. There’s a very pointed reason for this, and I swear, I’m getting to it soon.

(quick note: yes, the show uses real photos to put in picture frames in the backgrounds and it’s real weird and never addressed)

Jack, Dawn’s dad.

Jack is a sheep shearer, just like in the books, and he’s a big easy-going dope that is hard not to love. Look at him hammer in this carpet. A true champ.

Out of the three adults in the family, he seems to be the one that nearly dies the most, with The Appleman going out of his way to specifically target Jack in some episodes. If you know Appleman’s backstory, this reads as absolutely petty spite and I love every minute of it.

Gramps, Dawn’s grandfather and Jack’s dad.

He’s an aging WWII veteran (one that has killed people in combat no less) who radiates constant Boomer vibes and, unlike Eileen and Jack, he actually sees some of the crazy shit that happens and will sometimes sense when something is infected with virus when the other two adults can’t.

In the books, he’s suffering pretty badly from dementia, but thankfully the cartoons drop that completely. I’m glad too, because I don’t have the confidence that they would’ve written it with enough sophistication to make it not seem ableist. Instead, he’s just your typical kooky cartoon grandfather.

He’s probably the adult that gets the most screentime because he will actually help Dawn and Rory out. Again, this ties into the books, where he was the main adult ally for the kids.

He says a lot of army-themed catchphrases. It’s a tad overplayed but it never really gets to a point where I would call it “annoying”. Also, instead of living in the house, he lives in a tiny granny flat on the property. Sometimes Rory spends the night there.

Last but not least, we have the star of the show, and the reason why the easiest way to find information of this show is to google “Wicked The Appleman”.

The Appleman, as explained, is the main villain of the story. Dressed in a very fancy suit complete with dress shoes and a nice blue tie, he lives in an old refinery full of rats, bats, and giant worms (called Slobberers), and he’s rocking a voice that can be best described as “Australian Mark Hamil” with an absolutely heavenly evil laugh. He has gross clawed hands, a rotten apple for a head, and likes making people miserable, because he’s basically the living puppet for a virus that feeds off of negative emotions. The main goal of each episode is to either defeat him or to stop the mess he’s made. Usually both.

Since all of his minions are non-sentient animals, a lot of his dialogue is him lurking behind something while he monologues to himself, sometimes turning it into a creepy little rhyme. He’s a pretty lonely guy, so him hanging out with this family can be seen as a very non-subtle cry for help.

The best episodes are the ones where he tries to lurk about in public with a very poor attempt at disguising his hideous features. Somehow it always works, you know, despite the fact that he has yellow eyes, the skin like a moldy apple, and no ears.

What Makes Wicked! Unique

(no, The Appleman doesn’t actually use that axe)

The first thing this show does that most of the formulaic shows don’t do is that it does, in fact, have a beginning, a middle, and an end. That’s why this show was packaged into a full-length movie - you can glue scenes together and actually make a pretty decent narrative, even if the resulting movie definitely had a “glued together TV show episodes” feel ala some of the bad Disney sequels like Cinderella II and Atlantis II.

This show even has some plot-heavy episodes that dive into just why this whole Appleman situation is going on and why he seems to have it out for this one family in order to flesh out the characters more.

Because that’s a thing that this show does. The Appleman is a cartoon-y villain who cackles in his lab and constantly invents new strains of viruses that can mutate things like animals and household appliances, but he doesn’t do it to take over the city or to “destroy the world”. He does it purely to inconvenience this one Australian family, who he stalks pretty regularly. This is a thing that comes from the books and honestly, it’s a thing that elevates Appleman from “ugly-looking cartoon villain” to “pretty damn creepy, if also still cartoony in execution”.

Sure, a lot of cartoon villains target the main protagonist in their evil schemes, but this one is definitely more personal.

He regularly follows Rory and Dawn to school and, when the family goes on a camping trip, he comes too. If Rory decides he’s going to hang out in the wrecker’s yard, The Appleman will be cackling and hiding behind totaled vehicles. If Gramps takes the kids out to the bay to go fishing, The Appleman will pull an ice cream truck out of his garage and follow them there. That’s how the main conflict is really set up.

I think if a scarier cartoon tried, they’d make him out to be this grotesque stalker, but instead, since this show is kinda goofy in execution, he’s like the shittiest cryptid in the world, constantly crouching behind trash cans and on top of rooftops while constantly cackling about how clever he is and how, miraculously, no one notices anything’s amiss.

This alone would make this villain interesting, but then they set up something about this show at the beginning if you watch the intro and the first episode and put two and two together.

Right from the start, the opening shows that The Appleman was once human by depicting his transformation by the virus. They don’t even try and pretend that he’s some demon or some sort of supernatural monster - he’s specifically a blue collar worker who had a nasty run-in with fate and mutated into this hideous apple-headed creature that now has to hide out in an abandoned refinery. You see why he’s dressed like that - he’s still wearing his work uniform.

Right after you watch that intro, the first episode of the show has Rory receiving a mysterious package from his father on the day of his mother’s wedding. It’s the first time that Rory and his mom Eileen have heard from their dad after he mysteriously vanished years ago.

What’s inside? An apple-headed doll, which contains the first virus-infected monsters, The Slobberers.

When The Appleman makes his first dramatic appearance, he never says Dawn’s name, but he does know Rory’s name.

And, in case you didn’t pick up the hints from the first episode, the fourth episode really drives it home without spelling it out. Then the last episode of the series decides to say it out loud.

That’s right. Rory’s father, the man who mysteriously vanished from Eileen and Rory’s lives, is still an important part of the cartoon’s storyline, but instead of being the man who appears in the last book that knows how to cure the virus while also being the first victim of the virus, he’s the main antagonist.

The Appleman is Rory’s father.

And honestly, because of this little plot point, this show becomes a much richer experience once you look at the unhinged appleman who keeps unleashing horror on these kids and realize that he’s a divorced dad who constantly keeps tabs on his ex-wife's unstable dysfunctional family in order to make them more pissed at each other because that feeds the virus that mutated him.

This is a very cool concept. This is where Wicked! shines when, for all intents and purposes, it is otherwise a pretty average turn-of-the-century Australian cartoon that can be best described as “it’s okay, I guess” in terms of quality.

Because that’s really the rating I can give this show. It’s Okay.

It’s a very solid Okay, but I think any adjective more powerful than “Okay” is really pushing it. It’s not Great, it’s not Amazing. It’s Okay. Alright. Kinda Good.

But man, is it a wild ride.

Next time, I’m going to start discussing the actual episodes as well as this show’s pros and cons. Dividing this up into multiple parts partly because I feel like these things are more easily digested in smaller chunks and partly because I’m pretty sure tumblr now has a size limit on posts soooo...yeah.

Follow this handy link for Part 2 - The Actual Review!

#Turq watches a cartoon #Wicked! (2001)#Wicked!#The Appleman #Turq Reviews

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lost-your-memory · 5 years ago

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Old friends, aliens and curiosities - Part III

Listen, I can’t stop thinking about this gifset made by @lonely-night in which H.G Wells (Warehouse 13) & Lena Luthor (CW Supergirl) are old friends and working together in the present to retrieve a curiosity (A ping, darling) meant to kill Lena.

So this is VERY AU-ish and with a crossover no one knew we needed but well, we do. Here’s the third part (it covers the fourth gif, I think) with a little help from Winn and Claudia. Also, I’m making the plot up as I go, sorry about any inconsistencies. Next up, Myka finally arrives to National City and meets the infamous Lena Luthor.

---

The voices rising behind the doors of her office pull Lena away from a very urgent email and she lets out a quiet curse, in Irish. She groans and reaches out for her interphone.

“It’s alright Jess, just let her in. She won’t take no for an answer anyway,” Lena sighs, already letting herself fall against the back of her chair.

Sure enough, Helena Wells enters her office, dramatically pushing the double door open before striding straight to Lena’s office.

“Hand it over.”

Lena arches a surprised brow.

“Good morning to you too, HG ... “ She retorts, irony dripping from her tone. “Now, what is it I’m supposed to hand over to you?”

Helena looks pissed, the frown above her eyes deep and permanent.

“The artefact, Lena. The one you designed yourself, apparently,” Helena replies, curtly.

“I did what now?” Lena gapes, taken aback.

Helena’s frown deepens, much to Lena’s amazement. She didn’t think it was possible.

“L-Corp is the company behind some kind of … alien detecting device, programmed to recognise any non-human DNA,” Helena states, slowly and cooly. “It’s what has been modified to kill you.”

Lena lets out a chuckle.

“That’s not possible.”

Helena’s frown disappear as she arches a brow of her own.

“It’s not,” Lena insists. “That device was created to help identify non-human, it’s harmless. You just put your thumb on a button and the microchip processes your DNA. It turns green if you’re human, red if you’re not.”

“It doesn’t sound like a weapon,” Helena nods but she still looks annoyed. “Could the microchip be reprogrammed into something else?”

Lena goes to reply but then pauses, looking thoughtful.

The chip was designed to host a tiny software the L-corp bioengineers programmed in association with a team of highly skilled developers but only to process DNA, to recognise markers and transmit the information as to whether or not it was human.

“I don’t think so, but I can’t be sure. I’ll have to ask around,” Lena retorts, slowly.

“Well, don’t ask the team that originally worked on it, maybe?”

“Why not?” Lena protests, not liking the insinuation.

Helena gives her a pointed look.

“Someone clearly managed to do something to the device to make it so it would kill, but not anyone. You specifically …” Helena explains, thinking out look. “Until we know more about how it happened, I’d say maybe we don’t pull any alarm … I know the level of skills you put in your products so, to be able to hijack it like that and make a weapon out of it ... the person behind the artefact must be some genius too. Like maybe … the ones you employs?”

Lena doesn’t reply but the thought doesn’t sit well with her. Helena keeps looking at her with suspicions in her eyes and it’s extremely annoying.

“Alright,” Lena sighs, unhappily. “I still need to be sure it can be reprogrammed so I’m going to call … a friend of mine. “

Surprise takes over the suspicion in Helena’s eyes, before it mutates into mischief.

“You have friends? Beside me, I mean?”

Lena rolls her eyes. She’s walked right into this one.

Still, Helena is nothing if not single-minded. She crosses her arms over her chest and then sighs “Just hand over the artefact, Lena.”

“How many times do I have to repeat myself?” Lena growls, pushing her chair back so she could stand up. “I don’t have the artefact.”

She walks around her desk and heads for her liquor cabinet.

She understands where her friend is coming from but she’s tired of being accused of things she didn’t do. In between the Super, the government, the DEO and the dead Luthor heirs piling up in National City cemetery, she’s been accused of pretty much every evil on the planet.

“Bit early for a drink, don’t you think?” Helena muses from behind her and Lena just flips her before pouring herself an unhealthy amount of Scotch.

She brings her glass back to her office and then reaches out for her phone. She searches for a specific name in her contacts and then dials.

“Hello Winn,” Lena greets warmly as soon as Winn picks up. “I need an engineering favor, could you drop by L-Corp at your earliest convenience?”

She smiles when Winn replies he’ll be there in twenty. He doesn’t sound too surprised, just excited at the prospect of working with her again.

“Who’s Winn?” Helena asks when Lena hangs up.

“A friend,” Lena replies with a smug smile. “Yes, I do have friends beside you. Winn used to work at CatCo but nowadays, he’s ...“

Lena pauses and wonders if Helena is aware of everything that’s been going on in National City lately.

“Ever heard of the DEO?” Lena asks, knowing full well she could get in trouble for even mentioning the name of the organisation.

“Yes,�� Helena shrugs.

Lena smiles because of course Helena knows about the DEO. After all, they’ve both worked for the Warehouse, another extra normal government organisation doesn’t seem like a big deal. Not even one that works and deals with alien.

“Well, he’s one of their tech guy,” Lena explains with a wave of her hand. “He’s extremely smart, far more than they give him credits for. I’ve always wanted to poach him for L-Corp but he’s loyal to a fault, he’s going to stick with Supergirl until the end.”

“Supergirl, uh,” Helena muses, sounding a big distracted.

“She’s everywhere,” Lena nods before sipping at her Scotch.

“I’m going to call Claudia,” Helena states, seemingly out of the blue.

“Erm, sure?” Lena blinks, looking a bit thrown off.

“When your friend arrives, I mean. They’ll have a look at the chip and nerd around together, we’ll get our answers,” Helena explains and Lena watches as she pulls what looks like a ---

“Helena Wells, is that an iPhone?” Lena gasps, mockery lining her tone.

“Shut up,” Helena groans as she calls her friend.

---

Half an hour later, Winn is bent over the coffee table and Claudia’s face is occupying the entirety of Lena’s huge TV.

They’re talking too fast, exchanging orders, ideas and suggestions while using a vocabulary that even Lena sometimes doesn’t get. Pieces of the device are scattered all across the table and Winn sometimes moves the tablet so that Claudia could see better.

“I need access to the software, can you plug me in?” Claudia asks, her slightly disembodied voice echoing through the office.

“Sure, one second,” Winn replies, pulling out a laptop from his back and setting it up on a corner of the table. He’s fast and sure and Lena watches, a little mesmerised, as he plugs everything together.

“All good, let me know if it works?” Winn asks but Claudia is already squealing in delight as she enters the software.

“Oh whoa, this is … top notch code,” Claudia breathes, sounding very admirative.

“Why thank you,” Lena laughs, amused. “Now, the important question is … can it be hijacked and turned into a weapon?”

“Easy tiger, let me work my magic first” Claudia mutters, hands flying over her keyboard so fast it crackled across the office. “So, while I am at it, did you two bang, in the 17th or 18th century? I can never remember which one …”

Lena swears under her breath as Winn lets out a strangled gasp. His eyes become so wide they look about to bulge out of their orbits.

“Whaaaaaat?”

“Whoops, sorry I thought you knew!” Claudia winces, her face slightly distorted by the format of the TV. “Sorry!”

“You’re … from the past?” Winn asks, looking at Lena as if she suddenly had three heads.

“Aren’t we all?” Helena laughs next to Lena, looking utterly amused by the situation.

“No I mean … you … 18th century?” Winn squeaks, clearly struggling to stay conscious.

“Breathe, Winn. Breathe,” Lena sighs, motioning for her friend to follow her lead. She inspires and then exhales and watches as he does the same. “Yes, I … was around in the 19th century.”

“19th! I was way off,” Claudia laughs but when all eyes turn to glare at the tablet, she shrugs and focuses on her work.

“It’s … complicated. I got bronzed for centuries but at some point, the system malfunctioned and I was suddenly free, but in the 21th century” Lena explains, eyes traveling back between Winn and her decanter.

“How did you … managed to have such an extensive and lively background then?” Winn asks, frowning. He looks pale but his eyes are shining with wonder. “I mean, you’re supposed to be the daughter of Lionel Luthor, infamous sister of Lex Luthor … Not to mention your mother, who was a piece of work … No offense.”

“None taken,” Lena lets out a dry chuckle. “I made a deal with Lionel Luthor. I handed over a big part of the fortune I had amassed while being in the bronze and he created some really plausible story for my existence.”

Helena arches an impressive brow but Winn shakes his head.

“No one ever dug deeper? I mean, you do look extremely good for someone who’s over two centuries old but come on, no one ever asked why you never aged?”

“You never did,” Lena counters with a smirk. “You’re the DEO most talented IT guy and yet, when you checked my background, everything was legit, everything added up. So why would anyone else bother?”

“That’s …” Winn pauses and then relents “... accurate.”

“Sorry to interrupt this lovely story, although you still didn’t reply to my earlier question,” Claudia chimes in, looking very amused. Lena only rolls her eyes but Helena chuckles affectionately. “Anyway, I found something.”

Lena, Helena and Winn focus back on the TV, on which Claudia is now sharing her own screen. Lines of code are scrolling down until she highlights something.

“See this?” Claudia asks, moving her cursor above a few lines that seems innocuous enough. “It’s like a backdoor to the code, something that allows access to anyone who knows where to look. I don��t know exactly how it works, it seems to be really specific but it’s the answer you wanted. It is possible to access the software on the microchip and from there, anyone who knows how it works can reprogram it. To turn it into a weapon tho, it would require some really specific engineering skills …”

Winn steps forward and the way he looks at the code makes Lena think he’s seen it before. He’s frowning and searching for something.

“You know who’s behind it, don’t you?”

Winn startles and fidgets with his hands, looking slightly uneasy. Behind him, the lines of code disappear as Claudia’s face returns to the screen.

“Winn?” Lena insists, taking a step toward her friend. “What is it?”

Winn looks torn and Lena figures it’s because he is loyal to Supergirl first. It stings, but she doesn’t waver and she takes another step. She’s barely taller than him, with her heels, but she still towers above him.

“It’s …. I’ve seen this code before, but I didn’t think …” Winn starts to ramble, nervously looking around. “It’s … the same code that was used by Lord technology, I found something similar in the drones he’s sent to … spy on … Supergirl, years ago.”

Lena frowns.

“Maxwell Lord? Didn’t he left years ago after Myriad?”

“So we thought, but he’s nowhere to be found …” Winn replies, his voice rising a little from how nervous he was.

“Maxwell Lord was a very public figure and I heard rumours about him still mooning over Cat Grant, his disappearance is a little strange don’t you think? Did someone investigate this?” Lena pushes, knowing that at least Alex Danvers must have asked about the former tech CEO.

“Alex tried but then with everything that occurred …”

“Right,” Lena sighs.

Cadmus took over pretty fast after Myriad and then, it had been one shit storm after another, until Helena Wells all but barged into her office a few months ago. No time to dwell on the absents.

“Do you still need my help or can I return to my chess game with Myka?” Claudia suddenly asks, startling everyone in the room.

“Myka’s back?” Helena muses, sounding both surprised and slightly dejected.

“Yeah, since yesterday,” Claudia answers. “Pete’s still in Chicago though. According to Steve, it’s not exactly going well.”

“Of course it’s not,” Helena scoffs and to Lena, the underlying jealousy is deafening. It’s well hidden behind disdain but Lena has been around Helena enough to recognise the signs. “You could join us, if you’d like? I have a feeling this is going to require some kind of intervention, soon enough … Your help, along with Myka’s, would be greatly appreciated.”

Lena bites the inside of her cheeks to stop the laughter that threatens to burst out.

She’s never seen Helena try so hard to catch someone’s attention, it’s a little embarrassing. Even Winn looks a bit uncomfortable, shifting from one foot to the other and fidgeting with his hands.

“Oh, uh …” Claudia stammers. “Listen, I’ll ask Myka. I’ll text you the answer. Gotta go, bye!”

Before anyone could answer, the video link goes off and the news immediately resumes back on Lena’s TV. It shows Supergirl saving a bus full of young children and Lena instantly reaches for the remote to turn the screen off.

“Well, that answers it,” Lena muses to no one in particular.

She finally caves and goes to her decanter, offering Scotch to both Winn and Helena. They both accept and after a minute, they all sit around the couch with a glass in hand.

“Winn, will you investigate the mysterious disappearance of Maxwell Lord? I don’t think it’s him but still …” Lena says, seemingly lost in her drink. “I still don’t know what I could have done to make an enemy of him but then again, it’s not a surprise.”

“So popular,” Helena sasses from her side of the couch, in between two sips.

“I’ll get on it right away,” Winn retorts, finishing his drink and standing up. “I gotta go, duty calls but I’ll keep you posted. If your friend Claudia comes around, will you let me know? I’d love to pick her brain about a software I’ve been working on …”

“With pleasure,” Helena nods, offering a tight smile to Winn. He nods and then waves at Lena before exiting the office.

“Who’s Myka?” Lena asks as soon as the door closes behind her friend. She keeps her eyes on Helena and doesn’t miss the sparkle that shines in the inventor’s eyes

“She’s … an agent, she works for the Warehouse with Claudia,” Helena says over the rim of her glass.

“Thanks, Captain Obvious,” Lena rolls her eyes. “I meant, who is she to you? Don’t try to deny it, I’ve seen that look in your eyes before.”

For a moment there, Lena thinks Helena is seriously about to ask what look but then the inventor shakes her head and sighs, looking melancholic.

“She’s … fascinating,” Helena admits, her voice lowering as she gets all dreamy. Lena barely resists the urge to pull up her phone to snap a picture. “She’s smart in ways I can’t quite comprehend, her mind is quick and remarkable and she’s one of the kindest people I’ve ever met. Her heart … She tries to protect it, behind walls made of protocols, laws and orders but it’s pure and generous, giving.”

Lena can only stare, taken aback by the raw affection in her friend’s tone.

The only person she’s ever heard Helena talk about in that way, all soft and loving, was her daughter Christina.

“I’ve hurt her, multiple times,” Helena confesses and her voice breaks ever so slightly. “I’ve almost killed her once and then … I kept running away. She’s chased after me for a long time but I was blinded by … grief, despair, anger. I didn’t realise how … dear she was to me, not soon enough anyway.”

The words are like an echo of her own feelings and Lena’s heart aches for her friend. She knows the feeling well. She had National City’s most beloved hero chasing after her for month, trusting her, believing in her and constantly supporting her, no matter what. She’d slowly started to believe it, that’s the worst part. That until it all crumbled under the poisonous revelation her fake-brother offered her before she pressed the trigger.

Lena leans forward and places a comforting hand over Helena’s thigh.

“Believe me, I understand. More than I could ever tell …” Lena whispers, thinking back on a pair of bright blue eyes filled with hope and loyalty that told volume of faith and trust. Those are eyes she can never trust again.

“Supergirl?” Helena inquires, looking at Lena with understanding shining in her brown irises.

“Yeah,” Lena nods, removing her hand from her friend’s lap. “I still don’t want to talk about it though.”

“Fine by me,” Helena simply replies.

They finish their drinks in companionable silence.

#Bering & Wells #Meets Lena Luthor #AU-ish unexpected crossover #Warehouse 13 Supergirl crossover #HG Wells #I have no idea what I'm doing don't yell at me #I'm making everything up as I go

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1000roughdrafts · 6 years ago

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Family Secrets: Chapter Fourteen

Town That Never Stops Smiling

Summary: Being transported to Teraw leaves you tired and confused, but the path to the truth is a long and needy road.

Warnings: slight angst, slightly OOC Dean

W/C: 3.2k

Masterlist/schedule

The four of you walk in silence through the field and onto a dirt road. Walking towards the bridge, you peer over at the glistening water underneath it. Dean squints at her, shaking his head, "all right. So where we headin'? Motel? Get some grub?"

Allanah giggles, "no. Here, there are no hotels, as they have no need for them. No one is allowed to travel between the regions without a request from the Head of the Region. From there, the Head provides them with a place to stay, whether that be in his or her own quarters, or at a volunteers. On the topic, we need to be careful about how we interact with the people and places here. It's big enough that we won't be noticed right away, but if we stay in one place too long there are going to be issues," Allanah says while you make your way to the start of the bridge.

"Uh, so what happens if we do get caught?" Sam asks in a whisper, looking around at the decaying bridge and trees that surround it.

As sweet as can be, Allanah smiles, "think American TSA meets intense CIA interrogations," she smirks. "In other words, let's just not get caught." Dean frowns which puts her attention onto him, "you're going to struggle with this the most, Dean, I can already feel it. But Y/N, you've felt it deep down, haven't you? A mother's love is not to be taken lightly, even beyond death."

You keep quiet, peaking over at Dean. He holds contempt in his face, trapped behind that stoic expression but easy to see the swirl of emotion in his eyes. He wants to scream out and ask questions, but what could he say? He has children, or at least a past version of him did and he knows nothing of it, but Y/N does?

Luna - June 26, 2068

Teraw - Region 3

Complete darkness goes so well with shattering silence. I have known nothing other than the darkness and cherish the quiet. The only thing I hate about the silence is that it traps me in a world of uncertainty. With nothing to grip onto, I succumb to the thoughts raging in my mind like an ocean under a full moon; but it is a beautiful thing.

Just as I am trapped in my mind I am trapped in my body. No movement in my arms, torso, hands, legs, feet or face. I can not open my eyes, nor can I move my lips. Absolutely nothing works anymore. Well, almost nothing. Miraculously my ears can hear anything from a train passing by to a mouse three stories down.

I am surrounded by so much noise in the day that I look forward to the treacherous words my mind whispers to me as I lay to sleep. I rely on my ears so much these days, as it's the only sense I've got left. There's this single sound I hear more than anything. It has a set pace, just as a metronome would tick along to keep the beat of a song. Beep. Beep. Beep. I don't live like many others, they say I'm lucky to be alive at all.

I hear my family as they trickle in, their footsteps are quick and loud. It breaks my concentration on the ticking. The stepping stops, I hear sniffling, deep breaths and then suddenly, "Luna, it's your mama. Can you hear me?" Yes, I hear you. I want to say it.

"I should start at the beginning," Allanah sighs, slowing her walk to a gentle stroll. "The two of you, Shirley and Bill you used to be called," she laughs lightly. "You enlisted me as a," she motions her hand around, scrunching her face, "guardian of sorts for your five children, quintuplets," she laughs again. "Wren, Ana, Tullie, Aidan and Luna."

You and Dean lock eyes, "Luna?" he says, pointing at you, "the girl that's-"

"Indeed," Allanah lets out a long breath, watching the ground somberly. "It's very sad what has happened to her," she says. "There's evil in this realm that neither of you could predict. It's what sent me back to Earth, locked me out. It wasn't until after I'd ended things with Crowley and found Y/N that I remembered who I truly was and what you created me to be. I needed to do something, anything, to bring the two of you back to this realm to fix what had been broken."

Coming to a stop at the start of the bridge, Allanah looks into her hands, "your children, they," looking back up between you and Dean. "They are very powerful, yet they don't know it. Not anymore, at least."

"What do you mean?" Sam tilts his head.

"Each of them possess qualities and powers of an element specific to Earth. When Bill and Shirley created this realm, you split the children up into regions. This was done to protect them, or so you said. Teraw was specific to Luna, but with you two gone and evil sneaking in, the regions had grown a mind of their own," she lowers her voice, "it's gotten out of control. Ana was born in Inequescent, but with the latest reincarnation, the family Ana was brought into grew tired and she was adopted by a family here in Teraw. What I know to be happening soon is that because of Luna's sickness, Tullie will be requested to come help her. Horrible things are in store for the regions, unless we can stop it.”

"Like what?" Dean asks.

"This evil... it wishes to gain control of the other regions. After that, other dimensions... like Earth."

Tullie - June 6, 2068 Hemort - Region 4

A day off is a luxury when one has specialized skills in the medical profession, at least for those in Hemort. I usually try to wind down and relax on those two short days, or tune into my favorite channel to watch some gushy movies about how everything always works out in the end, and everyone is just so nice. They make me sick, and yet I can't bring myself to watch anything else. In my day to day life, I don't always get to see the happy endings. Moreso, with my line of work, I see death more than any sane person should. And that begs the question; am I really as sane as I believe myself to be?

I admire the house on the screen and the characters who live in it, wondering what it would be like to have a big house with a yard and a cute dog who gets to enjoy it. There's not much of that here, only the Elite live on large plots of land. Instead, I rent this quaint apartment with the ceiling to wall windows I'd dreamt of having since I was young. When the new owner bought the complex, she planted the most beautiful garden and elegant, tall trees on either side of the building, which is better than the concrete nothingness that resided there before.

Pausing the movie, I unravel myself from underneath the blankets to make some tea, although I'd never be able to make it as calming and tasty as my mother had. The storm doesn't help to calm me either, with the trees rattling against the windows and begging to come inside. While waiting for the kettle to boil, I close the blinds and play the movie. I could stand to miss a little of it if it means I don't have to listen to that screaming sound the wind makes.

While adding honey to the mug in preparation, my phone rings. I'm not expecting a call, so I don't scatter to answer it. I pull the kettle and turn down the dial on the stove before going back to the couch to rummage through knitted blankets for my cell.

"Hello," I say, putting the phone between my ear and shoulder as I make my way back to my tea.

"Hi, Tullie," the voice says, calmly and sweetly. I spill boiling water onto my hands at the surprise, and curse myself for not checking the caller ID. How dare he call me at this hour.

"What do you want, Dan?"

After a heartbreaking pause, he speaks out, "this is not a personal call, okay? I don't care how you're doing. I don't want to know what you're doing. I don't even care if you're hiding from the storm in a cup of tea right now, or watching those stupid puke inducing movies, I-" I hear him sigh, "this is about the hospital," he says swiftly.

"Mine or yours?"

"Why would I be calling about yours? Listen, I have my hands tied on a case over here. I could really use your help. No one has a clue on what to do. They put me on this, but," he pauses and his voice shifts down a tone, "I'm really in over my head."

"How does no one there know what to do? Your hospital is the best out of all five districts."

"This case is really strange, Tu-"

"Don't," I sharply cut him off and take the phone in my hand before he can finish my name. "Please, don't call me that. It's Doctor Marion."

There is a silence between us as I make my way back to the couch, gripping my mug with both hands and the phone resting back on my shoulder.

"You know I wouldn't be calling you if I wasn't out of options, but this girl," he sighs. "She's been out for three weeks. There is nothing in her medical history that would help to explain her state. Her parents have no idea what happened, they said they just found her like this."

"Okay, so assuming it's a coma," I say, mostly thinking out loud. Then back to him, I condescend, "are you sure it's not locked-in state? Er, what about psychogenic unresponsiveness?"

"Of course, what do you take me for?" he says in a short, agitated breath. "Look, it's absolutely a coma with no explainable source. We've taken MRI's and Cat Scans and still can not locate the site of her brain that's causing it."

"Were there drugs involved?"

"No, we did blood work after taken her vitals. No drugs in her system, vitamin levels are all normal and we've been monitoring her brain waves while she's been here. It's like she went to sleep one night and just... didn't wake up."

"It sounds like you've done everything I would have, so why are you calling me?"

"Tu - Doctor Marion, I know you-"

"No, you knew me," I softly yell, foolishly pointing a finger in the air as if he were in front of me. Quieter now, I keep a harsh tongue, "I'm not the same person I was then, you played a huge role in that. I changed myself for the better. I never wanted to hear from you again. The last thing I need is to be reminded..." I trail off before the tear in my eye can drop and listen to the actors giggling on the television.

"Reminded of what?" Dan asks, in that same torturous way he'd always comforted me in the past.

"It doesn't matter. I'm going to bed. You'll get an answer tomorrow." Forgetting the tea, I barricade myself in blankets and cry myself to sleep.

As you walk along the bridge, Allanah continues, “for the first long while that I was here, things were fine. The churches were full, as were the pubs and shops. That’s the way many enjoyed it for a great while, but when those who opened their eyes fought back?” She sucks in air through her teeth, “well, let’s just say blood was shed, and tears were shared.”

She moves her hands around and slows her steps, “allow me to take this back in time. They followed a set of standards. A hierarchy of social standings and if one was not near the top, they were not worth a loaf. The weight of one’s standing held in community intervention in threefold. It started with the preparation and bringing about of their first church. Many thought that if one was of fellowship they were among deities.” She laughs softly, “as I, the only guardian of this realm, knew there were no deities, just little old me. It was comical. And per the two of you, I was never allowed to step in or intervene.”

“That’s stupid,” you mutter under your breath, watching your steps along the bridge.

“Blacksmiths, clergymen, doctors and carpenters were just below, and seen as noble. Those however that farmed land, crops and livestock were seen at the bottom. Along with butchers, dairymaids, tailors, barbers, and the like were noted to be Sepulchers. It’s worth noting, that this system was not one that you two brought in place.”

“Sepulchers?” Sam twists his face.

“No one had an inkling as to why, but it was surmised that it was in reference to those folk being just as untitled as the many of the graves placed just outside of this bridge.”

Dean folds his lips down in a nod, looking around at the piles of dirt outside of the river and under the bridge.

“After segregating with an older congregating with an older woman who called herself Minerva, it was she that determined there was power in numbers. There were more of them than there were in the fellowship and just as one might catch a second wind, they found their strength. It started at first with the announcement. The Town Crier, also among the Sepulchers, had begun his course into the Town Whisperer, and could be found in the benighted area, or circumferential. They conspired many gatherings and prepared for battle, if need be so. The churches grew ever suspicious as their totality grew by the day. Minerva conducted the rough fifty to leave their work for another day,” she sighs, “and then another. This war lasted for years, reaching all five regions and the only thing that I could do was try and protect your children, and carry them through their reincarnations. I had made many, many attempts to reach out to the two of you and all had fallen short.”

She focuses on the boards of the bridge and the squeaking they make as you walk over them, “a man by the name of Henry took to ending the war, and was appointed the Head of Teraw for his efforts. This man’s son is now the Head and Luna’s father in this realm. I wasn’t here to place them into the proper families,” she sighs, “and now I worry he’s stirring up trouble.”

Ana - June 6, 2068

Teraw - Region 3

These briefings make me feel less of who I want to be. I understand the importance of putting together the minds of professional colleagues to come to a conclusion on how to move forward with whatever case we happen to be discussing. However, as someone who works in healthcare, forgive me for stating that I find them to be quite menial. It's usually the same act every day; Dan will turn up late, I drum my fingers on the table, Mary doesn't say a damn word and Nathan does most, if not all, of the talking.

I'm mid-yawn through one of Nathan's monologues as a pink-haired woman wearing sweatpants, a tank top and a light cardigan walks in. I can only assume she is lost with the confusion draped on her face, so I stand to redirect her. Nathan, the natural born leader that he is, smiles and holds a hand out to her.

"You must be Doctor Marion. I'm Chief Nathan Scott. Dean speaks very highly of you." Her confusion is overtaken by a smile as she accepts the greeting, "I understand your decision to be here was quite rash, so we'll excuse the lapse in dress code this one time," he jokes.

I mask a chuckle by returning to my seat and shuffling through my papers. He pulls out his pocket watch and just barely inspects it before looking back up at her. With a careless wave of his hands and a slight shrug he says, "Dan should be arriving soon. If you know him like we do, you would know he's late to everything."

She laughs softly, looking at her feet. "Go ahead and take a seat right there, next to Ana." He gestures over to me and smiles. I do not. "She doesn't bite, I promise." I might.

"Enough," Nathan says as if he's heard one too many of Dan's jokes. Then again, we all certainly have. Dan glides across the room, briefcase in tow, and plops into the chair next to Mary. "First of all," Nathan goes on, sitting at the head of the table. He pulls a stack of papers from his own briefcase and shifts to Doctor Marion. "I need you to look over and sign these before we can proceed, for patient privacy and all that."

"I understand," she squeaks out and inches her chair close to the table. She smiles when she's finished and pushes the papers back to Nathan, who inspects them thoroughly before carrying on with his speech.

"Now, miss Luna's case is of high priority and exceptionally confidential." He classically folds his hands together and leans slightly into the table, facing me and the new doctor. "You see, her parents are what makes this town what it is."

"And what is that, exactly?"

"Powerful," I scoff.

Approaching the end of the bridge, Dean grips onto your arm, pulling you to face him. “I want to know what’s going on. Damn it, Y/N, we haven’t talked in... ten months, and - and now we’re in an alternate dimension where apparently our kids live, and...” he flops his hands down at his sides, looking around before taking a step closer to you, holding up a finger, “and you knew about them?”

“No,” you sigh, “I only had a feeling about it, I - I didn’t know for sure. I don’t even know how to explain it, it was just this gut feeling...” you trail off, not really understanding the whole thing yourself.

Dean rolls his eyes, so you push on, “look, Dean, I’m sorry that you got dragged into this, but-” you take a deep breath, forcefully letting it out. He turns his eyebrows down, crossing his arms. “I don’t know what else to tell you,” you breathe. “What do you want me to say? That I’m sorry? That I never should have left? That I wish none of this was happening in the first place?”

He continues to glare, and you take one small step towards him, your bodies merely inches from each other.

“You never should have left, Y/N,” he scowls. “We were heading here from the beginning, Y/N. The only freaking difference is that we spent ten months apart from each other,” he says, voice crawling back into animosity. “I don’t know if I can trust anything you say to me now.”

You drop your voice to a whisper, “I am sorry, Dean, for everything. I’m sorry that I left, again, but we - I can’t change any of that now, so we just gotta get through this, and when we get back home... if we get back home, we can go our separate ways if that’s what you want.”

After a long pause, his face softens slightly, “no,” he says. Clearing his throat, his eyes move around your face, “no, Y/N. That’s the opposite of what I want. I want you. Even through all the shit we went through, I was happy with you. Why can’t you see that?”

Next Chapter

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