When Danny sees his family die in TUE what if he finds out then that he’s related to a DC hero then? After the timeline is fixed he goes to his cousin who just so happens to be Raven of the Teen Titans and explains that bc of time shenanigans, he found out he’s related by blood.
How does the Teen Titans react? They’ve dealt with time travelers so many times this sorta stuff is just their average Tuesday level of shenanigans. A kid with powers that fit perfectly on par with other Teen Titan members. Main issue: his blood and DNA are so scrambled that their computers can’t confirm with a definitive proof that he’s Raven’s cousin.
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Across the Spider-Verse Directors Discuss The Evolution of Miles & Gwen | Nerdist
"Spider-man definitely is a character that's owned by the audience but some of that audience takes it so seriously, trying to enforce and restrict... I remember when Miles Morales' comic book came out there were people who were rejecting Miles as a character for... their own reasons. But obviously that's not how we think it should be and we wanted to talk directly to that [...] If Spider-man is a character who's owned by the entire world then the entire world should be represented in that character. "
Dir. Justin K. Thompson on Spider-Man: Across the Spider-verse (2023)
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Studio execs love plausible sentence generators because they have a workflow that looks exactly like a writer-exec dynamic, only without any eye-rolling at the stupid “notes” the exec gives the writer.
All an exec wants is to bark out “Hey, nerd, make me another E.T., except make the hero a dog, and set it on Mars.” After the writer faithfully produces this script, the exec can say, “OK, put put a love interest in the second act, and give me a big gunfight at the climax,” and the writer dutifully makes the changes.
This is exactly how prompting an LLM works.
A writer and a studio exec are lost in the desert, dying of thirst.
Just as they are about to perish, they come upon an oasis, with a cool sparkling pool of water.
The writer drops to their knees and thanks the fates for saving their lives.
But then, the studio exec unzips his pants, pulls out his cock and starts pissing in the water.
“What the fuck are you doing?” the writer demands.
“Don’t worry,” the exec says, “I’m making it better.”
- Everything Made By an AI Is In the Public Domain: The US Copyright Office offers creative workers a powerful labor protective
THIS IS THE LAST DAY FOR MY KICKSTARTER for the audiobook for "The Internet Con: How To Seize the Means of Computation," a Big Tech disassembly manual to disenshittify the web and make a new, good internet to succeed the old, good internet. It's a DRM-free book, which means Audible won't carry it, so this crowdfunder is essential. Back now to get the audio, Verso hardcover and ebook:
http://seizethemeansofcomputation.org
Going to Burning Man? Catch me on Tuesday at 2:40pm on the Center Camp Stage for a talk about enshittification and how to reverse it; on Wednesday at noon, I'm hosting Dr Patrick Ball at Liminal Labs (6:15/F) for a talk on using statistics to prove high-level culpability in the recruitment of child soldiers.
On September 6 at 7pm, I'll be hosting Naomi Klein at the LA Public Library for the launch of Doppelganger.
On September 12 at 7pm, I'll be at Toronto's Another Story Bookshop with my new book The Internet Con: How to Seize the Means of Computation.
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a horror movie slasher breaks out of a maximum security prison 40 years after his last Halloween massacre. his plans of revenge hit one tiny snag --he has no idea how the 21st century WORKS.
enter: a deeply unenthusiastic college intern, less than thrilled to have to explain to her boss that yes, all his would-be victims now carry GPS, a flashlight, and access to emergency services in a thin rectangle in their pocket
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Writing Characters with Powers
This is sort of a part 2 to the post I made here, in which powers/magic isn’t a part of the world but is a part of your characters. The difference being that powers or magic is unusual to the world, but has somehow appeared in your protagonist.
Just like in worldbuilding, we need to establish the rules of the power and how it can be used.
1. It needs a limit
No matter how powerful your characters are, they need to have a limit to what they can do. This limit allows for tension and conflict, whereas a character who can do anything isn't challenged by anything, and thus can't change.
Limits could be physical, mental, or otherwise magical. Maybe using powers is a bit like consuming poison, or being exposed to radiation, or running a marathon in a second. Maybe it’s slowly killing your protagonist, but they have to use it to achieve what they want. I read a story about a character who could heal anything, but would suffer some or all of the damage to do it.
Maybe it’s warping their mind, or confusing reality, or distancing them from their loved ones. Does using it make them feel negative, even evil? Or does using it make them feel powerful to a fault—in danger of becoming the thing they’re trying to destroy?
Lastly, your limit could be a part of the magic system. Powers just stop working, as though there’s an invisible mana meter that runs out. Or it’s like working out, use it less and it becomes less powerful, push it too far and it breaks.
2. Your powers are well defined
This is similar to putting a limit on powers, but is more around the power itself rather than the character. You, as the writer, need to know exactly what your character can and cannot do. If your character has fire powers, how big can they make the fire? Can they use it even when it’s humid out, or raining? Is it a fire that can be put out by water, or is it magical and eternal?
If your character can teleport, how far? Do they need to see the area or can they teleport somewhere they can’t see? Can they teleport somewhere they’ve never been? Can they teleport out of being tied up? If so, how can they choose to take their jewelry or clothing with them?
Make rules. Make sure you know exactly what your characters are capable of at any point in the story. Make sure your readers are aware of these rules and limitations from the get-go, and if your character is able to develop greater power, make sure it's also established with how they are able to do so.
3. There’s a risk
In a world without magic, but a character with it, what’s the risk? Consider how society would react to learning your character has magic if they don’t already know. If they do know, how has that impacted your character’s life? This step is all about worldbuilding around a world unused to magic. Who knows, who can’t find out, and what is the risk if your protagonist mixes them up?
This step is all about creating stakes. What experiences has your character had with others surrounding their power? Positive or negative?
Any other considerations when making a character with powers? Let me know in the reblogs and comments!
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