#and the way people in his movies are not super attractive and they are brilliant and rich and witty and perfect

[ginkovskij]

kaurismäki save me.... aki kaurismäki... save me aki.....

[smolandweirdwriter]

Serafina and The Black Cloak Reread Thoughts: Chapter Three

Babe wake up new slang just dropped: “gnawin’ on leather” 

Her pa doesn’t like mr poe gives “my dad won’t let us watch horror movies so you have to sneak them over in a different dvd cover if we’re gonna watch a horror movie when you sleep over later tonight” omg rowena & serafina girltime au?? (Lol sorry)

Oooooh the dynamo’s busted I wonder what thaaat meeeaannnssss (hehehe)

Biltmore being one of the few homes to have electricity is a nice reminder of the time period

“she’d been trying to follow [her pa’s] rules at least some of the time” lol

“Spotting an upholstered chair she felt an overwhelming desire to run her fingernails over the plush fabric” REAL

Her being shocked at flower vases & the idea of flowers INSIDE the house is so funny

Awwww poor sera, looking for her momma and siblings everywhere…

Serafina is super smart. just putting that out there. She’s brilliant and I love her

Oop the first description of Edith Vanderbilt kinda gives chatgpt-generated ngl (obviously it wasn’t bc it predates chatgpt & shitty ai writing generators, & this book is SO MUCH BETTER than anything an AI could generate regardless) 

“A refined and attractive woman, Mrs. Vanderbilt had a pale complexion and a full head of dark hair, and she seemed at ease in her role of hostess as she moved through the room.” Idk what about this makes me think “AI generated” but it just DOES

“Serafina loved to climb the tapestries at night and run her fingernails down through the soft fabric” AGAIN SHES SO REAL FOR THIS

OHOHOHO MR THORNE NAMEDROP:

“I’m sure that most of you already know Mr. Montgomery Thorne,”… Mrs. Vanderbilt said with a gentle sweep of her arm toward a gentleman. “He has graciously offered to play [the violin] for us today.”

“Thank you, Mrs. Vanderbilt,” Mr. Thorne said with a smile as he stepped forward. ... To Serafina, who’d been listening to Biltmore’s visitors her entire life, he didn’t sound like he came from the mountains of North Carolina, or from New York like the Vanderbilts. He spoke with the accent of a southern gentleman, maybe from Georgia or South Carolina.”

Serafina having an eye for fashion was NOT what I was expecting from this reread lol (she describes mr t’s outfit then says “all of which she thought went nicely with his silvery-black hair and perfectly trimmed sideburns”)

Hmmm interesting she actually sympathizes with/likes mr Thorne at first?? I did nOT recall that

Lol serafina liking to watch mr Thorne’s fingers move as he plays and wanting to pounce on them is so Cat of her

OMG BRAEDEN BRAEDEN BRAEDEN BRAEDEN

Apparently he looks “sickly, a little frail even” which I do not recall, but hes also got “watchful, sensitive brown eyes” and “a rather fetching tussle of wavy brown hair”

“Are you lost?” WE GOT IT WE GOT THE LINE but more importantly we got the NEXT LINE which is “May I help you find your way?” And hes described as not timid or shy but also not overly confident which I LOVE (fun fact this line is very similar to one of the characters of my other favorite kid’s book series, Keefe Sencen’s “you must be lost” line)

Lol Braeden always sharing his food with Gideon annoys the chefs i LOVE him

OMG HE BOWS TO HER WHEN SHE GIVES HIM HIS NAME LIKE SHE’S A PROPER LADY!!!!! MEN!!!! TAKE NOTES!!!!!! THIS IS HOW IT’S DONE!!!

Name drop at last, missing girl’s name is Clara Brahms. Honestly I’m a little sad Clara isnt a recurring character later on. Braeden, Serafina, and Clara could’ve been a good trio 

OOOOHH “She had heard the servants in the kitchen joke that their master must have secretly found the Fountain of Youth” what a NICE SET UP for how the black cloak keeps people young & serafina’s suspicion of mr Vanderbilt

Mr Vanderbilt: *wears dress shoes to go riding*

serafina: criminal activity right there. Lock him up

This was my favorite chapter so far, probably because it introduces us to so many different characters and moving parts. I like Mr. Vanderbilt a lot more than I remember (as a historical figure now that I know more about him & also as a character) and Braeden is, of course, perfect in every way.

[that-disabled-radfem]

Happy back-to-school y’all

I’ve attended and worked at a couple of super liberal universities. I avoid the gender studies departments for obvious reasons and I still had a lecture in which the female prof gave a brief overview of TERFs and proclaimed her hatred of JKR. Being openly critical of gender ideology, the porn industry, kinks, and ‘sex work’ are the kind of things that can ruin your future in academia. Not to mention the fact that any speech or actions that could be labelled transphobic (ie. defining woman as adult human female) can get you a suspension according to many universities anti-hate-speech policies. 

So, here’s a list of small and smallish (small in terms of overt TERFery, some may require more effort than others) radical feminist actions you can take as a university student:

(this is a liberal arts perspective so if you’re a stem gal this may not apply. but also if you’re in stem maybe you can actually acknowledge that women are oppressed as a sex class without getting kicked out of school. idk)

(Note for TRAs hate reading this: One of the core actions of radical feminism is creating female networks. This is not so that we can brainwash people into being anti-trans. This is because female solidarity is necessary for creating class consciousness and overturning patriarchy. It is harder to subjugate the female sex when we stand together.)

Take classes with female profs. Multiple sections of a class? Pick the one taught by a woman. Have to chose an elective? Only look at electives offered by women. When classes have low numbers they get cancelled. When classes are super popular, universities are forced to consider promoting the faculty that teach them

Make relationships with these female profs. Go to office hours. Chat after class. Ask them about their research. Building female networks is sooooo important!

Actually fill in your end of year course feedback forms. Profs often need these when applying for tenure or applying for a job at another university so it is very important (especially with young and/or new profs) that you fill out these forms and give specific examples of how great these women are. Go off about what you love about them! Give her a brilliant review because you know the idiot boy in that class who won’t shut up even though he knows nothing is going to give her only negative feedback because he thinks any woman who leaves the house is a feminazi b*tch. 

(note: obviously don’t go praising any prof - female or male - who is blatantly racist, homophobic, etc.)

(Also if you have shitty male profs write down all the horrible things they have done and said and put it in these forms because once a shitty man gets tenure they are virtually untouchable)

(also also, leave a good review on rate my profs or whatever other thing students use to figure out if they want to take classes. idc if you copy paste your feedback from the formal review. rave about the class to your friends. do what you can to get good enrolment for that prof for reasons above.)

Participate in class. Talk over the male students. Say what you mean and mean it. Call out the boys when they say dumb shit

Write about women. If you have the option to make a text written by a woman your primary text in an essay, do it. Pick the female-centred option if you’re writing an exam-essay with multiple prompts. (Profs often look at what works on their syllabus are being written about/engaged with as a marker of whether to keep those texts the next time they teach the class. If there are badass women on your syllabus, write about them to keep them on the syllabus) Use female-written secondary sources whenever possible. 

(pro tip: many women in academia are more than happy to talk to you about their papers. expand your female networks by reaching out to article authors through email and asking them about their cool shit)

Get your essays published! Many departments have undergrad journals you can publish in. This will ensure more people read about the women you write about and will demonstrate to the department that people like learning about women

Consider trying to publish your undergrad essay with a legit peer-reviewed journal. If you can do it, your use of female-written secondary sources boosts the reputations of the women who wrote those secondary sources. Also this helps generally to increase scholarship about women’s writing!

Present your papers at conferences! Many schools have their own undergraduate/departmental conferences that you can present at. Push yourself by submitting to outside conferences. Bring attention to women’s works by presenting your papers. Take a space at a conference that would otherwise be reserved for mediocre men

Talk to your profs and/or your department and/or your university about mandating the inclusion of female works in classes if this isn’t something they do already

Sit next to other women in your classes. Talk to them. Make friends. Form study groups. Proofread each other’s essays. Give each other knowing looks when the boys are being dumb. Just interact with other women! Build those female networks!

Be generous with your compliments. A female classmate and I were talking to a prof after class and the classmate told me (out of the blue) that I always have such interesting things to say. I think about that whenever I’m lacking confidence about my academic skills. Compliment the women in your classes for speaking up, for sharing their opinions, for challenging your classmates/profs, for doing cool presentations, etc.

Talk to other women about sexist things going on on campus. Make everyone aware of the sexist profs. Complain about how there are many more tenured men than tenured women. Go on rate my professor and be explicit about how the sexist profs are sexist

Be active on campus and in societies. If a society has an all male executive or is male-dominated, any women who join that society make it less intimidating for more women to join. Run for executive positions! Bring in more women! 

(Pro tip: Many societies’ elections are super gameable. You can be eligible to vote in a society election sometimes just by being a student at that university — even without having done anything with the society before. Other societies might just require that you’ve taken a class in a particular department or attended a society event. (Check the society’s governing documents.) Use those female networks you’ve been building. If you can bring three or four random people to vote for you, that might be enough for you to win. Societies have trouble meeting quorum (the minimum number of people in attendance to do votes) so it is really super achievable to rig an election with a few friends. And don’t feel bad about this. The system is rigged against women so you have every right to exploit loopholes!)

(Also feel free to go vote “non-confidence”/“re-open election” if only shitty men are running. Too often people see that only candidates they don’t like are running and so they give up. But you can actually stop them getting elected)

Your campus may have a LGBTQIA+alphabetsoup society. That society definitely needs more L and B women representation. It may be tedious to argue with the nb straight dudes who insist that it’s fine to use “q***r” in the society’s posters and that attraction has nothing to do with genitals, but just imagine what could happen if we could make these sorts of societies actually safe spaces for same-sex attracted women and advocated for our concerns

Attend random societies’ election meetings. Get women elected and peace out. (or actually get involved but I’m trying to emphasize the lowest commitment option with this one)

Write for the campus newspaper. Write about what women are doing - women’s sports, cool society activities, whatever. Review female movies, books, tv shows, local theatre productions. Write about sexism on campus. We need more female by-lines and more stories about women

Get involved with your campus’s sexual assault & r*pe hotline/sexual assault survivor’s centre/whatever similar organization your campus has if you can. This is hard work and definitely not for everyone (pls take care of yourself first, especially if you are a survivor)

(If your campus doesn’t have an organization for supporting survivor’s of sexualized violence, start one! This is probably going to be a lot of hard work though, so don’t do it alone)

Talk to your student council about providing free menstrual hygiene products on campus if your campus doesn’t already do this. If your campus provides free condoms (which they probs do), use that as leverage (ie. ‘sex is optional, menstruation is not. so why do we have free condoms and no free pads?’)

If you’re an older student, get involved with younger students (orientation week and such activities are good for this). Show the freshman that you can be a successful and well-liked woman without shaving your legs, wearing heels, wearing make-up, etc. Mentor these young women. Offer to go for coffee or proofread essays. 

Come to class looking like a human being. Be visibly make-up less, unshaven, unfeminine, etc. to show off the many different ways of being a woman

Talk to the custodial staff and learn their names. (I know there are men who work in this profession, but it is dominated by low-income women) Say hi in the hallways, ask them about their lives, show them they’re appreciated

Be explicit with your language. When you are talking about sex-based oppression, say it. Don’t say ‘sex worker’ when you mean survivor of human trafficking. This tip is obviously a bit tricky in terms of overt TERFyness, so use your best judgement

That’s all from me for now! Feel free to add your suggestions and remember that feminism is about action

[wandaswifeyforlifey]

Hey could I request a Brie Larson x r where they meet at the set of Avengers endgame and they both have a crush on each other and their co stars make fun of them and they just blush and it's really

A/n: Thank you for requesting this! I try to write them within 24hrs of either the request being sent or me seeing the request so sorry if this is a bit later. I do most of my writing at like 12-5 am so some of it might be shitty lol. I love doing requests tho and will always try my best to make them work for your taste.

Word Count: 1048

Warnings: None really, just pure fluff

Ship: Brie Larson x Reader

"You better get up soon or you're gonna be late!" Called Scarlett from downstairs. Scarlett and you had met on the set of one of your first movies and quickly began to hang out more and more until you decided to be roommates. You had finished shooting Avengers: Infinity War about 2 months ago and were exactly 2 weeks into filming Avengers: Endgame which you were pretty excited about because you would get to film with some actors that you never had before.

"Coming!" You shouted back. Sadly, you weren't quite adjusted to the earlier mornings yet which definitely wasn't helpful considering you would be doing tiring work all day. You dragged yourself out of bed and headed downstairs for breakfast.

"Hey sleepyhead," Scarlett smirked at me as she cooked her omelette.

"Any news that could redeem my mood this morning?"

"Well… you are filming the 'female empowerment' scene today. You've got to be pretty excited to be acting with some new people, right?"

"Oh yeah! I completely forgot about that. I've got to admit Scar, that has perked me up a bit so thank you."

"Wow, you don't need to sound so surprised." She laughed.

You made yourself a coffee, had some cereal then went to have a shower. You put on a comfortable outfit considering as soon as you get on set you'll get your costume and makeup done.

Once you arrived you were swarmed with people filling you in on the scenes and telling you where you needed to go but they were all talking over each other so you understood nothing. Thank god I have my assistant, you thought to yourself.

*2 hours later*

You had your hair and makeup finished when you heard a knock on your trailer door.

"Come in!" You called while wondering who could possibly be seeing you when your assistant was on their break and you were already prepared to film.

"Hey, Y/n? I'm Brie. I just wanted to introduce myself before we started shooting."

You were just looking at her with pure adoration as the most beautiful woman you had ever seen stepped in.

"Y/n?"

"O-oh, yeah, sorry, hi." You cleared your throat because you noticed you were staring. "So I assume you're doing the all-female scene with me?"

You moved along your sofa so that she could sit down next to you.

"Yeah, actually and I'm super excited for it. I think it's brilliant to team up all the female superheroes."

"I could not agree more! But it sucks that Natasha isn't in it."

"Wait, she isn't?"

"No, I was chatting with Scarjo this morning, because we share an apartment, and she said her character wouldn't be in it."

"Oh are you and Scarlett, like, a thing? Because it would be totally fine if you were and I just didn't know your were interested in women and-"

"Hey, hey slow down," you laughed, "no me and Scar aren't a thing but I am interested in women."

"Me too! I don't really like to use labels because I find them too constricting though."

The conversation died down but not in an uncomfortable way, more in a content way. You stared into each other’s eyes until Brie said:

"Anyway. I should really get going. I haven't even got my makeup done yet." She spoke hurriedly and quickly left the trailer. You weren't sure how to feel about her sudden departure but deep down it hurt you a little. Why would she leave so quickly if we were having a nice time? Did she find it uncomfortable? I really hope the conversation ended positively in her books too, you thought.

You shot a couple of scenes before the all-women scene and took a break just before it to talk to Scarlett.

"Hey Scar, have you seen Brie? She came into my trailer to chat a bit and it seemed like we were having a really nice time but then she just left all of a sudden."

"Uh, no I don't think I have since our second scene but it sounded like you had a good time, eh?" She smirked and nudged you. You knew she noticed how concerned you were about Brie.

"Fine, maybe I thought she was really pretty and sweet but I don't know how she feels."

"Well from the glances she sent you during our first and second scenes I’d say she likes you back.”

“I never said I liked her, ok? I just said I thought she was amazing and charming and attractive and stuff.”

“That’s literally the same thing.”

You rolled your eyes.

“I need Y/n and Brie over here please? You guys are going to be opening the Female Avengers Unite scene so we’re just going to give you a little run-through,” shouted Joe Russo from across the set.

“Oo-ooh you enjoy yourself, Y/n.” taunted Scarlett. You playfully stuck your tongue out at her as you walked over.

*Once shooting was done for the day*

Yet again you heard a knock on your door as you were just finishing packing your stuff up to leave.

“Yeah?”

“It’s me, again,” announced Brie as she stepped in. This time though, she wouldn’t make eye contact with you and seemed to be rather nervous.

“You okay?”

“Yeah, it's just, um… so Scarlett told me how you felt after I left and I felt pretty bad so I just thought I should come back and apologise and tell you that it wasn’t your fault, it had nothing to do with you. I promise.”

“Oh no, you don’t need to apologise! I’m so sorry if I made you uncomfortable in any way. I absolutely didn’t mean to.”

You saw the heat rise in her cheeks.

“To be perfectly honest, I didn’t just come here to apologise. I came here to tell you the truth. Okay… I just need to get this off my chest. I think I have feelings for you.” She looked at you hopefully, only to have a blank stare in return. You weren’t sure what to say. You were so overwhelmed with excitement and happiness that you just stood up and hugged her. Burying your face in the crook of her neck you whispered, “I want to stay in this moment forever.”

If you want to be added to my taglist ask/message me!

[norcumii]

for the ask meme: Rex/Obi or pairing/characters of choice - Werewolf/vampire AU / Sick/injured / Stranded Due to Inclement Weather / Huddling for warmth

For this trope mashup meme.

This was CLEARLY influenced by seananmcguire's Newsflesh series, which was the last zombie related media I interacted with, and I regret NOTHING.

(Meanwhile, much worldbuilding was done by Dogmatix, who I was foolish enough to let near the plunnies again ^_^)

*****

The problem with zombies, Obi-Wan couldn’t help but muse, was that they stopped thinking. Oh, there was some low-level intelligence left in there, but it was mostly focused on consuming the living. Not tactics, for the most part, not unless the bastards were very fresh or in large enough groups, but that also meant that when some brilliant asshole declared “oh, the zombies wouldn’t/couldn’t ever do that,” no one consulted the zombies.

Thus, an early morning patrol in an area that “never saw more than one or two zombies” turned into a clusterfuck retreat. Though ‘patrol’ was rather a gross overstatement for just the two of them taking an idle walk because some days, Rex was too jittery for sleep and too damn self-sacrificing to admit that he missed early morning runs.

There was always enough fog coming in from the river that they should have been fine.

There also shouldn’t have been an entire pack of at least a dozen, dozen and a half zombies in the area. Where the fuckers had even come from was an unpleasant mystery.

“Rex?” Obi-Wan murmured into the man’s ear. “Are you with me?” he asked as if he couldn’t make out the glacially slow beat of his heart.

Rex groaned, head lolling to nestle further in the crook of Obi-Wan’s neck. He mumbled something that was probably a curse, which left Obi-Wan in the unenviable position of having to close his eyes and take his own steadying breath. Yes, on the one hand he did have an unfairly attractive boyfriend draped across his lap, straddling his hips and feeling like he was several seconds away from some serious necking.

On the other, they were also treed a good thirty feet above a pack of damned zombies, which had already tried seriously munching on Rex, and ‘necking’ could have serious consequences when one of them was an actual vampire.

Speaking of. Obi-Wan shifted in the cautious little jig in an attempt to nudge Rex more to the left. If he could just free up his arm enough, then he could move around while not tossing them off the tree stand or dislodging the thick emergency poncho that was the only thing keeping Rex from turning into a charred crisp. It was not sized for two, but there hadn’t been time to be more careful and drape it over just Rex instead of just plonking it down over the two of them.

“If you refuse to leave base again without your entire damned armor because of this, I’m going to be very put out,” Obi-Wan informed him, getting another incoherent unhappy noise. The armor was good at keeping the soldiers bite free – not that they needed to worry about the zombification business, but it still hurt them and fed the damn undead. It was also effective at keeping the soldiers touch starved and isolated in ways Obi-Wan had difficulty standing.

Another careful shift, and he could just barely dig out one of the small, squishy packs he kept in his jacket for emergencies.

Since his luck was shit, as soon as he pulled it free, the bastard caught on a loose thread, and with his claws he didn’t dare grab too hard for it, and down it tumbled. One of the zombies lunged, snapping at it, and blood exploded all across the remains of the bastard’s face.

Not being too intelligent, the rest of the pack turned on it immediately. Obi-Wan tried to tune out the disgusting carnage, being much more careful on his second attempt. He didn’t have many packets to spare. This one, he managed to juggle up in front of Rex’s face, jostling it a little. “Here. Drink,” he ordered, hoping that would be sufficient. He hated trying to insert the little sippy straws – Anakin had loved juice pouches back as a child, and they’d had similar fiendish straws. Anakin had learned how to insert the little bastards without a problem, but he always asked Obi-Wan to do it for him – because Obi-Wan had never quite managed to master the process, and Anakin was a damned brat.

Bad enough when it was juice.

One way or another, Rex was conscious enough to shift and bite down on the plastic packet. It was always a wonder to watch the soldiers’ regenerative powers at work. As the level of mostly artificial plasma lowered, color drained back into Rex’s face, the nasty burns along truly unfair cheekbones fading as muscle and skin reknit. He could smell the distressing blood-and-raw-meat stench fading, and only then did he start to relax.

When things had started to go to hell around the globe, the powers that be had huddled together around their failing infrastructure and went looking for fantastical solutions to unnatural problems. Obi-Wan could only imagine the levels of exhaustion and terror that had led someone to the conclusion that vampires might be immune to the infections that spread the zombie virus. The sheer potential of that going horribly wrong was at least one movie franchise long, if not several, yet somehow they’d dedicated enough science to make artificial vampires. Oh, technically it wasn’t vampirism, but ‘drank blood, super fast and strong, sunburn to death within minutes, resting vitals dropping down far enough to pass as dead’ was close enough for everyone but petty bureaucrats and pedantic assholes.

Even at the time, Obi-Wan had cynically noted how that meant both a short leash, and a strong vested interest in keeping as many people from going zombie as possible. He’d also noted the infuriating demographics of those who were selected for and survived the process of becoming vampires.

He tried not to think on that much nowadays, because the heightened blood pressure and carnage bothered Rex.

The packet slurped dry in a way that always raised Obi-Wan’s hackles, then Rex blinked up at him a few times in confusion. “You’re fuzzy,” Rex accused.

“That’s called a beard, dear,” Obi-Wan drawled in his most obnoxious tone, pretending he didn’t also have fur sprouting most places, nor the partial muzzle of a transformation enough to give him speed and jumping ability enough to get to one of the safe perches they’d set up weeks ago.

The Powers That Be might have created vampires, but they had also somehow missed the small but stubborn population of entirely naturally occurring werewolves (and affiliated were-creatures) around the world. Some, like Obi-Wan and his pack, were doing their damndest to both keep a low profile and help the poor bastards trying to protect the last of humanity.

Some, like Obi-Wan, might have become unwisely open to certain non-lycanthropes due to unfortunate feelings – not that Obi-Wan was ever about to complain about that.

Either his sarcastic tone or the guttural noises of thwarted zombies sank in, because Rex stiffened and glared down. “Fuck!” he hissed, thighs clenching in a way that Obi-Wan both very much did and very much did not appreciate. His eyes damn well crossed at the wiggle that followed – he could only guess that Rex was going for a weapon that he didn’t have.

“Stop that!” he snarled, letting the wolf out a little more. He needed the muscle and mass to keep Rex in place, longer paws digging into the tree trunk for a slightly more secure hold that was notgroping his idiot boyfriend.

His idiot boyfriend leveled a flat, unimpressed look at him. “Really?” Rex grumped. His eyes flicked down, then back up. “Right now?”

“So sorry, but some of us don’t need to ingest extra blood to get it up, and under less fraught circumstances this might be my idea of a good time.” He tried for a drawl, but it was much more strained than he meant. Oh well, it wasn’t like Rex didn’t know he could be ridiculous. And it really wasn’t intentional.

“Less fraught meaning less zombies?”

“And less daylight.” Obi-Wan didn’t mean for his tone to turn sharp, either, but it did even as he very carefully wrapped his arms tighter around Rex. He made certain not to disturb the poncho, but he, at least, wanted the reassurance. He still wasn’t over the terror of having to go mostly wolf to grab Rex from the pack he was trying to slow down, nor the horror of slinging him over a shoulder to go pelting through the trees. Madcap desperation to find a tree stand before a foggy dawn was not his idea of fun. “Your life is worth a hell of a lot more than an inconvenient hard on.”

Rex huffed a laugh, leaning in to rest his cheek against Obi-Wan’s. “Stop being charming.”

“I’m afraid that’s going to happen approximately never. So sorry.”

For a moment, it was just them – two idiots cuddled together, healthy and alive on a genuinely beautiful, bright Spring morning.

Then a terrible gurgling noise broke the moment, and Rex glanced down at the pack still mingling around the tree, groaning their displeasure at not remembering how to climb. “Was that a zombie?” he asked, as if he damn well didn’t know the truth.

“Shapeshifting burns calories,” Obi-Wan reminded him primly. “As does marathon sprints lugging around idiots like potato sacks.”

“That explains the bruises on my stomach,” he muttered, shifting about to rummage in one of Obi-Wan’s pockets. “Jerky?”

“Please.” All in all, now that matters were calmer, Obi-Wan almost hoped that a rescue would take its sweet time. This was almost nice – all things considered.

~end

[tlbodine]

The Horror Genius of Five Nights At Freddy’s

I’ve been playing FNAF: Help Wanted VR on my Oculus Quest lately (a birthday present to myself -- I know I’m late to that party!) and it’s reignited in me my old love of this series. I know Scott Cawthon’s politics aren’t great, but I don’t think there’s any malice in his heart beyond usual Christian conservative nonsense -- and I think he stepped down as graciously and magnanimously as possible when confronted about it. Time will judge Scott Cawthon’s politics, and that’s not what I’m here to talk about. I want to talk about what makes these games so damn special, from a horror, design, and marketing perspective. I think there’s really SO MUCH to be learned from studying these games and the wider influence they’ve had as intellectual property. 

What Is FNAF? 

In case you’ve somehow been living under a rock for the last seven years, Five Nights At Freddy’s (hereafter, FNAF) is a horror franchise spanning 17 games (10 main games + some spinoffs and troll games, we’ll get to that), 27 books, a movie deal, and a couple live-action attractions. 

But before it exploded into that kind of tremendous IP, it started out as a single indie pont-and-click game created entirely by one dude, Scott Cawthon. Cawthon had developed other games in the past without much fame or success, including some Christian children’s entertainment. He was working as a cashier at Dollar General and making games in his spare time -- and most of those games got panned. 

So he tried making something different. 

After being criticized that the characters in one of his children’s games looked like soulless, creepy animatronics, Cawthon had his lightbulb moment and created a horror game centered on....creepy animatronics! 

The rest, as they say, is history. 

The Genius of FNAF’s Horror Elements

In the first FNAF game, you play as a night security guard at Freddy Fazbear’s Pizza, a sort of ersatz Chuck-E-Cheese establishment. The animatronics are on free-roaming mode at night, but you don’t want to let them find you in your security room so you have to watch them move through the building on security camera monitors. If they get too close, you can slam your security room doors closed. But be careful, because this restaurant operates on a shoestring budget, and the power will go off if you keep the doors closed too long or flicker the lights too often. And once the lights go out, you’re helpless against the animatronics in the dark. 

Guiding you through your gameplay is a fellow employee, Phone Guy, who calls you each night with some helpful advice. Phone Guy is voiced by Cawthon himself, and listening to his tapes gives you some hints of the game’s underlying story as well as telling you how to play. A few newspaper clippings and other bits of scrap material help to fill in more details of the story. 

Over the next set of games, the story would be further developed, with each new game introducing new mechanics and variations on the theme -- in one, you don a mask to slip past the notice of animatronics; in another, you have to play sound cues to lure an animatronic away from you. By the fourth game, the setup was changed completely, now featuring a child with a flashlight hiding from the monsters outside his door -- nightmarish versions of the beloved child-friendly mascots. The mechanics change just enough between variations to keep things fresh while maintaining a consistent brand. 

There are so many things these games do well from a storytelling and horror perspective: 

Jump Scares: It’s easy to shrug these games off for relying heavily on jump scares, and they absolutely do have a lot of them. But they’re used strategically. In most games, the jump scares are a punishment (a controlled shock, if you will) -- if you play the game perfectly, you’ll never be jump-scared. This is an important design choice that a lot of other horror games don’t follow. 

Atmospheric Dread: These games absolutely deliver horror and tension through every element of design -- some more than others, admittedly. But a combination of sound cues, the overall texture and aesthetic of the world, the “things move when you’re not looking at them” mechanic, all of it works together to create a feeling of unease and paranoia. 

Paranoia: As in most survival horror games, you’re at a disadvantage. You can’t move or defend yourself, really -- all you can do is watch. And so watch you do. Except it’s a false sense of security, because flicking lights and checking cameras uses up precious resources, putting you at greater risk. So you have to balance your compulsive need to check, double-check, and make sure...with methodical resource conservation. The best way to survive these games is to remain calm and focused. It’s a brilliant design choice. 

Visceral Horror: The monster design of the animatronics is absolutely delightful, and there’s a whole range of them to choose from. The sheer size and weight of the creatures, the way they move and position themselves, their grunginess, the deadness of their eyes, the quantity and prominence of their teeth. They are simultaneously adorable and horrifying. 

Implicit Horror: One of the greatest strengths to FNAF as a franchise is that it never wears its story on its sleeve. Instead of outright telling you what’s going on, the story is delivered in bits and pieces that you have to put together yourself -- creating a puzzle for an engaged player to think about and theorize over and consider long after the game is done. But more than that, the nature of the horror itself is such that it becomes increasingly upsetting the more you think on it. The implications of what’s going on in the game world -- that there are decaying bodies tucked away inside mascots that continue to perform for children, that a man dressed in a costume is luring kids away into a private room to kill them, and so forth -- are the epitome of fridge horror. 

The FNAF lore does admittedly start to become fairly ridiculous and convoluted as the franchise wears on. But even ret-conned material manages to be pretty interesting in its own right (and there is nothing in the world keeping you from playing the first four games, or even the first six, and pretending none of the rest exist). 

Another thing I really appreciate about the FNAF franchise is that it’s quite funny, in a way that complements and underscores the horror rather than detracting from it. It’s something a lot of other properties utterly fail to do. 

The Genius of Scott Cawthon’s Marketing 

OK, so FNAF utilizes a multi-prong attack for creating horror and implements it well -- big deal. Why did it explode into a massive IP sensation when other indie horror games that are just as well-made barely made a blip on the radar? 

Well! That’s where the real genius comes in. This game was built and marketed in a way to maximize its franchisability. 

First, the story utilizes instantly identifiable, simple but effective character designs, and then generates more and more instantly identifiable unique characters with each iteration. Having a wealth of characters and clever, unique designs basically paves the way for merchandise and fan-works. (That they’re anthropomorphic animal designs also probably helped -- because that taps into the furry fandom as well without completely alienating non-furries). 

Speaking of fan-work, Scott Cawthon has always been very supportive of fandom, only taking action when people would try to profit off knock-off games and that sort of thing -- basically bad-faith copies. But as far as I know he’s always been super chill with fan-created content, even going so far as to engage directly with the fandom. Which brings me to....

These games were practically designed for streaming, and he took care to deliver them into the hands of influential streamers. Because the games are heavy on jump-scares and scale in difficulty (even including extra-challenging modes after the core game is beaten) they are extremely fun to watch people play. They’re short enough to be easily finished over the duration of a long stream, and they’re episodic -- lending themselves perfectly to a YouTube Lets Play format. One Night = One Video, and now the streamer has weeks of content from your game (but viewers can jump in at any time without really missing much). 

The games are kid-friendly but also genuinely frightening. Because the most disturbing parts of the game’s lore are hinted at rather than made explicit, younger players can easily engage with the game on a more basic surface level, and others can go as deep into the lore as they feel comfortable. There is no blood and gore and violence or even any explicitly stated death in the main game; all of the murder and death is portrayed obliquely by way of 8-bit mini games and tangential references. Making this game terrifying but accessible to youngsters, and then marketing it directly to younger viewers through popular streamers (and later, merchandising deals) is genius -- because it creates a very broad potential audience, and kids tend to spend 100% of their money (birthdays, allowances, etc.) and are most likely to tell their friends about this super scary game, etc. etc.

By creating a puzzle box of lore, and then interacting directly with the fandom -- dropping hints, trolling, essentially creating an ARG of his own lore through his website, in-game easter eggs, and tie-in materials -- Cawthon created a mystery for fandom to solve. And fans LOVE endlessly speculating over convoluted theories. 

Cawthon released these games FAST. He dropped FNAF 2 within months of the first game’s release, and kept up a pace of 1-2 games a year ever since. This steady output ensured the games never dropped out of public consciousness -- and introducing new puzzle pieces for the lore-hungry fans to pore over helped keep the discussion going. 

I think MatPat and The Game Theorists owe a tremendous amount of their own huge success to this game. I think Markiplier does, too, and other big streamers and YouTubers. It’s been fascinating watching the symbiotic relationship between these games and the people who make content about these games. Obviously that’s true for a lot of fandom -- but FNAF feels so special because it really did start so small. It’s a true rags-to-riches sleeper hit and luck absolutely played a role in its growth, but skill is a big part too. 

Take-Aways For Creatives 

I want to be very clear here: I do not think that every piece of media needs to be “IP,” franchisable, an extended universe, or a multimedia sensation. I think there is plenty to be said for creating art of all types, and sometimes that means a standalone story with a small audience. 

But if you do want a chance at real break-out, run-away success and forging a media empire of your own, I think there are some take-aways to be learned from the success of FNAF: 

Persistence. Scott Cawthon studied animation and game-design in the 1990s and released his first game in 2002. He released a bunch of stuff afterward. None of it stuck. It took 12 years to hit on the winning formula, and then another several years of incredibly hard work to push out more titles and stoke the fires before it really became a sensation. Wherever you’re at on your creative journey, don’t give up. You never know when your next thing will be The Thing that breaks you out. 

If you want to sell a lot of something, you have to make it widely appealing to a bunch of people. This means keeping your concept simple to understand (”security guard wards off creepy killer animatronics at a pizza parlor”) and appealing to as wide a segment of the market as you can (ie, a horror story that appeals to both kids and adults). The more hyper-specific your audience, the harder it’s gonna be to find them and the fewer copies of your thing you’ll be selling. 

Know your shit and put your best work out there. I think there’s an impulse to feel like “well, nobody reads this anyway, so why does it matter if it’s no good” (I certainly have fallen into that on multiple occasions) but that’s the wrong way to think about it. You never know when and where your break will come. Put your best work out there and keep on polishing your craft with better and better stuff because eventually one of those things you chuck out there is going to be The Thing. 

Figure out where your target audience hangs out, and who influences them, and then get your thing in the hands of those influencers. Streaming and YouTube were the secret to FNAF’s success. Maybe yours will be BookTube, or Instagram, or a secret cabal of free librarians. I don’t know. But you should try your best to figure out who would like the thing that you’re making, and then figure out how to reach those people, and put all of your energy into that instead of shotgun-blasting your marketing all willy nilly. 

You don’t have to put the whole story on the page. Audiences love puzzles. Fans love mysteries. You can actually leave a lot more unanswered than you think. There’s some value in keeping secrets and leaving things for others to fill in. Remember -- your art is only partly yours. The sandbox belongs to others to play in, too, and you have to let them do that. 

If in doubt, appealing to furries never hurts. 

Do I take all of this advice myself? Not by a long shot. But it’s definitely a lot to think about. 

Now if you’ll excuse me, I have to go beat The Curse of Dreadbear. 

[lady-literature]

I rewrite Sky High

okay so, disclaimer: sky high was actually pretty damn good for it’s time and a lot of the plot twists/tropes used in it were still just starting out and not as commonplace as they are today. so 10/10 really good movie.

Also as i was writing this, it turned into half analysis of what’s already in the movie and half things I would change about the movie so,,, yeah. enjoy!

***

So the point about Sky High is that and the way the school and hero society as a whole works, is that you, as the audience, are supposed to look at it and know that it’s a flawed system. We’re supposed to see it as an injustice that kids are sorted into hero or sidekick- Sorry, I mean ‘Hero Support,’ on your first day of school based on something you can’t even control.

(This movie was my hero academia-ing it up before it was cool.)

Anyway, the movie calls a lot of attention to it in the beginning, but then doesn't actually give it the resolution it deserves in the end. Which, not cool guys.

The Hero/Sidekick debacle is, on the whole, a very thinly veiled metaphor for the problems minorities face. Specifically, those of the alphabet mafia, or LGBTQ, as we’re more commonly known.

There are a lot of examples for this so I’ll speed through the big ones real quick:

Will’s nerves regarding not having attraction to girls superpowers?

The way he tries to fake having an attraction to girls superpowers to get approval from his dad?

Being literally outed in front of his whole class (by someone named Boomer no less) and then immediately trying to hide it from his parents as long as possible?

The constant references to being a ‘late bloomer’. Doesn’t it remind you of the common phrases: ‘it’s just a phase’ or ‘don’t worry. You’ll start liking [opposite gender] eventually.’ ?

The scene in the kitchen, right after Will introduces the Sidekick Squad (and yes, that is what I’ll be referring to them as for the rest of this essay tumblr post). Will is so obviously trying to gauge how his dad is going to take his friends being sidekicks and also him being a sidekick. I just, this is so blatantly a coming out scene? How does anybody not see it as that?

(also the dad talking so offhandedly about bigotry and the hatred his own father had for sidekicks??? Who else has been there?)

Will telling his dad that he doesn’t care, that he’s proud of being gay to be a sidekick is just,,, *chef’s kiss*

With all of this backing behind Will and him growing into not being ashamed of his lack of powers, My first change would be that Will does not, in fact receive his father’s super strength. It’s just such a cop out! The movie had all this amazing build up, and this brilliant metaphor it could have used and, instead, they threw it all away.

The sudden acquisition of powers and immediate acceptance by his peers, feels too close to someone being ‘fixed’. That Will wasn’t good enough the way he was and had to be better, had to be his father in order to be good enough.

So, no. Will remains powerless.

Instead of the revelation of ‘he’s strong’, we get to let the Sidekick Squad shine.

Lash and Speed still cause a fight between Warren and Will, but when Will is under the table, the sidekicks actually do something.

Will knocks the table over (not, like, lifting Warren up but something closer to pushing him off. I mean, even I could push upwards from underneath a table fast enough that if someone is standing on it, they’d lose their balance and fall to the ground) and that starts things.

The Sidekick Squad all grab forgotten lunch trays or cartons of milk or something and throw it at Warren. It isn’t long then that the whole scene devolves into a food fight (Zach, at least, does not have good aim and probably hits a bystander accidentally, drawing more people in, until the whole cafeteria is involved.) The fight turns into something more playful, but still with that bit of an undertone of trying to actually hurt each other.

Ethan melts at one point and (accidentally) causes Warren to slip and land on his back, Magenta probably punches someone (not Warren) and Zach is just mouthing off to anybody who gets close enough. Near the end, right before Principal Powers shows up, Layla finally gets the right idea and just fire extinguishes the shit out of Warren.

(Side note here: I am very much also nixing the Layla crushes on Will plotline. I love best friends to lovers just as much as the next person but… no. Let kids see boy/girl friendships! 

Instead, I will be inserting a Layla/Warren love story and you can consider this the first scene on the road for that.)

Anyway, the whole Sidekick Squad plus Warren ends up in the detention room and all of them are covered in food. Right after Principal Powers leaves, the Sidekick Squad is immediately talking excitedly to each other about how cool they just were and what they did. Basically it’s very wholesome and they’re all hyping each other up and then one of them, Layla or Will, excitedly turns to Warren and goes, ‘and that thing you did with the fireballs? God! I don’t think Lash is going to have any eyebrows for a month’ and the tension between them all but drops.

Warren, of course, tries to push them away and not get involved with their ridiculousness, but the Sidekick Squad is stubborn and by the end of detention, everyone but Warren is in agreement that he’s a part of the Squad now. They will not leave him alone. They also start hanging out at the Paper Lantern all the time just to annoy/make fun of him in that loving way friends do.

(I just want Warren to be a part of the Squad guys. Will calls him his best friend at the end but what did the movie actually do to show they were friends? Nothing, that’s what. I want that fixed.)

So the cafeteria fight boosts the whole Squad’s reputation, right? People think those sidekicks are pretty cool, and they get their fifteen minutes of fame. Only… Will gets a little hooked on the feeling of being popular. He doesn’t want to be a capital-h Hero or anything! But, well… he’d be lying if he didn’t like people thinking he was cool.

The others don’t really care all that much about being cool, but Will does. He hates that he does but what is he supposed to do? He can’t change how he feels. So he starts trying to make himself more popular and sometimes tries dragging his friends into stupid schemes.

And then enter stage right, one Gwen Grayson.

I prefer Gwen being Royal Pain’s daughter, actually. A girl who would’ve had no stock in this fight but her mother, who is sickly and weak and survives mostly because her daughter takes care of her, practically brainwashes Gwen to do her bidding.

Gwen is a minion here, and also, perhaps, a victim.

At first, she follows her mom’s orders and charms Will into dating her. She also feeds into his desire to gain popularity but can’t, in this world, break him from his friends. Actually, Will brings Gwen along to the Sidekick Squad hangouts and, slowly, she becomes a part of the group too.

She starts to doubt her mother. Starts to care for Will and the Squad.

She throws the party, and the Squad is all invited (trying to break them up isn’t conducive to the Plan her mother has anyway and wouldn’t work besides) but she lures Will away to make out and… other things, and he brings her to the Sanctum for privacy just like before. She still steals the pacifier (or whatever death ray equivalent you want idk) but she and Will don’t break up at the end of the night.

It’s not actually until two days later, right before the dance is going to start, does Gwen decide she can’t stand back and let this happen anymore. She spills the whole plot and her betrayal to Will when he comes to pick her up for the dance. She’s crying and apologizing and basically expecting to be hated forever by the only people she thinks ever actually liked her.

And, well. Will is furious at her for lying but there’s more important things to deal with at the moment. They’ll talk more about this and he’ll be angry, but that’s all going to be later. Right now they have a school to save so he grabs her hand and starts running to warn the rest of their friends.

Things happen mostly as canon from that point with minor changes.

It’s Warren who pulls Layla into a kiss before they all split off into groups, telling her to kick ass and stay safe before sprinting off after Speed. There have been scenes throughout the movie where the two are very obviously getting closer and are into each other. And then, before the dance, while Gwen and Will we’re technically going as a couple, the whole Squad was going as a group.

When Warren and Layla saw each other all dolled up, it’s very cliché. Warren says she looks nice and Layla visibly gulps at his outfit of a button down and suit pants, sleeves rolled up to his elbows (because homeboy does not wear a full tux you can fight me on this).

And also, Will doesn’t fight Royal Pain by himself. Instead, Gwen is there with him and they don’t fight with super strength. Gwen’s been helping Will build an arsenal of gadgets a la Batman and the two face off against her mom together, Gwen with her powers, and Will acting as half support and half as a watered-down Batman who still needs some more training before he’s totally polished.

The school falls from the sky, but Gwen buys them time by keeping the anti gravs working through sheer force of will, while Will holds off her mom from attacking her while she’s vulnerable and concentrating. Magenta eventually kills the EMP or whatever it was, and the day is saved.

Gwen passes out, cause ~drama~ but she ends up okay so don’t worry. She’s just exhausted. 

The sidekicks get their recognition and then immediately bounce because dances suck and they all agree that they should go to the Paper Lantern instead to celebrate cause they’re tired, alright? Saving the day is hard.

So it’s all of them, a little battered and bruised and exhausted, crowded into this corner booth and laughing and being kids. The camera does it’s fade to comic book page thing, and the narration is something more along the lines of:

“Royal Pain and her cronies got locked away. Gwen and I talked things out, and she’s getting help for all the stuff her mom did to her. We’re taking things slow in the meantime.

The school is undergoing a lot of changes to the curriculum and getting rid of the whole ‘hero/sidekick’ divisions. (Mostly at the urging of my parents… and Layla). Next year is going to look a lot different, I think.

But it’ll be a good different, just like we are. None of us were what we were expected to be, and, I think, we’re going to keep defying expectations. There’s a whole world out there that needs changing.

And I can’t think of a better group of friends to do it with.”

THE END

(just give me found family saves the day by being themselves rather than somebody else, give me them saving the day because they care about each other, give me them fighting for what’s right and fixing things. please i am b e g g i n g.)

***

Additional nitpicks that are small but Very Important to Me

Coach Boomer is still called coach Boomer because there is no way I am missing out on the ‘okay, boomer’ jokes

Layla stays like Layla, but i’d like for the movie to stop trying to make her seem annoying for her beliefs or like she’s wrong to be so vocal about them. Her caring about things that are wrong ends up as the butt of too many jokes and i… do not like that.

Why so many dad/son scenes? Why this janky imbalance parenting dynamic between the Strongholds. Knock that shit off. I want happy functional family thank you very much

Mr Boy and the mad scientist are very obviously in a relationship

Wait, actually: mr boy, mad scientist and Boomer are al in a poly relationship and are ridiculous about it

I’d like to see more of the sidekick classes going over like, ‘the boring’ parts of the job, and teaching the kids how to deal with the aftermath of the heroes heroics, just to hammer in the fact that the system is fucked up and that it’s messed up that the heroes get all the recognition while the sidekicks are left to clean up the mess

Use actual 14 year old actors? These kids look like seniors.

Or, if you want more ‘mature’ characters make it so sky high is like,,, a finishing school or smth. Something kids 16 and over go to.

(What the fuck kind of parent thinks that their freshman child dating a senior is a good idea?? An almost adult coming onto a fourteen year old??? Are you trying to make Will’s parents (particularly the dad) seem like irresponsible assholes??)

Gwen is, at most, a year above Will in this rewrite, kay?

[ifuckinglovestvincent]

THE FORTY-FIVE: ST. VINCENT

Sleazy, gritty, grimy – these are the words used to describe the latest iteration of St. Vincent, Annie Clark’s alter ego. As she teases the release of her upcoming new album, ‘Daddy’s Home’, Eve Barlow finds out who’s wearing the trousers now.

Photos: Zackery Michael

Yellow may be the colour of gold, the hue of a perfect blonde or the shade of the sun, but when it’s too garish, yellow denotes the stain of sickness and the luridness of sleaze. On ‘Pay Your Way In Pain’ – the first single from St. Vincent’s forthcoming sixth album ‘Daddy’s Home’ – Annie Clark basks in the palette of cheap 1970s yellows; a dirty, salacious yellow that even the most prudish of individuals find difficult to avert their gaze from. It’s a yellow that recalls the smell of cigarettes on fingers, the tape across tomorrow’s crime scene or the dull ache of bad penetration.

The video for the single, which dropped last Thursday, features Clark in a blonde wig and suit, channeling a John Cassavetes anti-heroine (think Gena Rowlands in Gloria) and ‘Fame’-era Bowie. She twists in front of too-bright disco lights. She roughs up her voice. She sings about the price we pay for searching for acceptance while being outcast from society. “So I went to the park just to watch the little children/ The mothers saw my heels and they said I wasn’t welcome,” she coos, and you immediately recognise the scene of a free woman threatening the post-nuclear families aspiring to innocence. Clark is here to pervert them.

She laughs. “That’s how I feel!” From her studio in Los Angeles, she begins quoting lyrics from Jimi Hendrix’s ‘Red House’. “It’s a blues song for 2021.” LA is a city Clark reluctantly only half calls home, and one that is opposed to her vastly preferred New York. “I don’t feel any romantic attachment to Los Angeles,” she says of the place she coined the song ‘Los Ageless’ about on 2017’s ‘Masseduction’ (“The Los Ageless hang out by the bar/ Burn the pages of unwritten memoirs”).“The best that could be said of LA is, ‘Yeah it’s nice.’ And it is! LA is easy and pleasant. But if you were a person the last thing you’d want someone to say about you is: ‘She’s nice!’”

On ‘Daddy’s Home’, Clark writes about a past derelict New York; a place Los Angeles would suffocate in. “The idea of New York, the art that came out of it, and my living there,” she says. “I’ve not given up my card. I don’t feel in any way ready to renounce my New York citizenship. I bought an apartment so I didn’t have to.” Her down-and-out New York is one a true masochist would love, and it’s sleazy in excess. Sleaze is usually the thing men flaunt at a woman’s expense. In 2021, the proverbial Daddy in the title is Clark. But there’s also a literal Daddy. He came home in the winter of 2019.

On the title track, Clark sings about “inmate 502”: her father. He was sentenced to 12 years in prison for his involvement in a $43m stock fraud scheme. He went away in May 2010. Clark reacted by writing her third breakthrough album ‘Strange Mercy’ in 2011; inspired not just by her father’s imprisonment but the effects it had on her life.“I mean it was rough stuff,” she says. “It was a fuck show. Absolutely terrible. Gut-wrenching. Like so many times in life, music saved me from all kinds of personal peril. I was angry. I was devastated. There’s a sort of dullness to incarceration where you don’t have any control. It’s like a thud at the basement of your being. So I wrote all about it,” she says.

Back then, she was aloof about meaning. In an interview we did that year, she called from a hotel rooftop in Phoenix and was fried from analytical questions. She excused her lack of desire to talk about ‘Strange Mercy’ as a means of protecting fans who could interpret it at will. Really she was protecting an audience closer to home. It’s clear now that the title track is about her father’s imprisonment (“Our father in exile/ For God only knows how many years”). Clark’s parents divorced when she was a child, and they have eight children in their mixed family, some of whom were very young when ‘Strange Mercy’ came out. She explains this discretion now as her method of sheltering them.

“I am protective of my family,” she says. “It didn’t feel safe to me. I disliked the fact that it was taken as malicious obfuscations. No.” Clark wanted to deal with the family drama in art but not in press. She managed to remain tight-lipped until she became the subject of a different intrusion. As St. Vincent’s star continued to rocket, Clark found herself in a relationship with British model Cara Delevingne from 2014 to 2016, and attracted celebrity tabloid attention. Details of her family’s past were exposed. The Daily Mail came knocking on her sister’s door in Texas, where Clark is from.

“Luckily I’m super tight with my family and the Daily Mail didn’t find anybody who was gonna sell me out,” she says. “They were looking for it. Clark girls are a fucking impenetrable force. We will cut a bitch.”

Four years later, Clark gets to own the narrative herself in the medium that’s most apt: music. “The story has evolved. I’ve evolved. People have grown up. I would rather be the one to tell my story,” she says, ruminating on the misfortune that this was robbed from her: a story that writes itself. “My father’s release from prison is a great starting point, right?” Between tours and whenever she could manage, Clark would go and visit him in prison and would be signing autographs in the visitation room for the inmates, who all followed her success with every album release, press clipping and late night TV spot. She joked to her sisters that she’d become the belle of the ball there. “I don’t have to make that up,” she says.

There’s an ease to Clark’s interview manner that hasn’t existed before. She seems ready not just to discuss her father’s story, but to own certain elements of herself. “Hell where can you run when the outlaw’s inside you,” she sings on the title track, alluding to her common traits with her father. “I’ve always had a relationship with my dad and a good one. We’re very similar,” she says. “The movies we like, the books, he liked fashion. He’s really funny, he’s a good time.” Her father’s release gave Clark and her brothers and sisters permission to joke. “The title, ‘Daddy’s Home’ makes me laugh. It sounds fucking pervy as hell. But it’s about a real father ten years later. I’m Daddy now!”

The question of who’s fathering who is a serious one, but it’s also not serious. Clark wears the idea of Daddy as a costume. She likes to play. She joins today’s Zoom in a pair of sunglasses wider than her face and a silk scarf framing her head. The sunglasses come off, and the scarf is a tool for distraction. She ties it above her forehead, attempts a neckerchief, eventually tosses it aside. Clark can only be earnest for so long before she seeks some mischief. She doesn’t like to stay in reality for extensive periods. “I like to create a world and then I get to live in it and be somebody new every two or three years,” she says. “Who wants to be themselves all the time?”

‘Daddy’s Home‘ began in New York at Electric Lady studios before COVID hit and was finished in her studio in LA. She worked on it with “my friend Jack” [Jack Antonoff, producer for Lana Del Rey, Lorde, Taylor Swift]. Antonoff and Clark worked on ‘Masseduction’ and found a winning formula, pushing Clark’s guitar-orientated electronic universe to its poppiest maximum, without compromising her idiosyncrasies. “We’re simpatico. He’s a dream,” she says. “He played the hell outta instruments on this record. He’s crushing it on drums, crushing it on Wurlitzer.” The pair let loose. They began with ‘The Holiday Party’, one of the warmest tracks Clark’s ever written. It’s as inviting as a winter fireplace, stoked by soulful horns, acoustic guitar and backing singers. “Every time they sang something I’d say, ‘Yeah but can you do it sleazier? Make your voice sound like you’ve been up for three days.” Clark speaks of an unspoken understanding with Antonoff as regards the vibe: “Familiar sounds. The opposite of my hands coming out of the speaker to choke you till you like it. This is not submission. Just inviting. I can tell a story in a different way.”

The entire record is familiar, giving the listener the satisfaction that they’ve heard the songs before but can’t quite place them. It’s a satisfying accompaniment to a pandemic that encouraged nostalgic listening. Clark was nostalgic too. She reverted to records she enjoyed with her father: Stevie Wonder’s catalogue from the 1970s (‘Songs In The Key Of Life’, ‘Innervisions’, ‘Talking Book’) and Steely Dan. “Not to be the dude at the record store but it’s specifically post-flower child idealism of the ’60s,” she explains. “It’s when it flipped into nihilism, which I much prefer. Pre disco, pre punk. That music is in me in a deep way. It’s in my ears.”

On ‘The Melting Of The Sun’ she has a delicious time creating a psychedelic Pink Floyd odyssey while exploring the path tread by her heroes Marilyn Monroe, Joni Mitchell, Joan Didion and Nina Simone. It’s a series of beautiful vignettes of brilliant women who were met with a hostile environment. Clark considers what they did to overcome that. “I’m thanking all these women for making it easier for me to do it. I hope I didn’t totally let them down.” Clark is often the only woman sharing a stage with rock luminaries such as Dave Grohl, Damon Albarn and David Byrne, and has appeared to have shattered a male-centric glass ceiling. She’s unsure she’s doing enough to redress the imbalance. “There are little things I can do and control,” she says of hiring women on her team. “God! Now I feel like I should do more. What should I do? It’s a big question. You know what I have seen a lot more from when I started to now? Girls playing guitar.”

If one woman reinvented the guitar in the past decade, it’s Clark. Behind her is a rack of them. The pandemic has taken her out of the wild in which she’s accustomed to tantalising audiences at night with her displays of riffing and heel-balancing. Instead, she’s chained to her desk. Her obsession with heels in the lyrics of ‘Daddy’s Home’ she reckons may be a reflection of her nights performing ‘Masseduction’ in thigh highs. “I made sure that nothing I wore was comfortable,” she recalls. “Everything was about stricture and structure and latex. I had to train all the time to make sure I could handle it.” Is she taking the heels off when live shows return? “Absofuckinglutely not.”

Clark is interested in the new generation. She’s recently tweeted about Arlo Parks and has become a big fan of Russian singer-songwriter Kate NV. “I’m obsessed with Russia,” she says. In a recent LA Times profile, she professed to a pandemic intellectual fixation on Stalin. “Yeah! I mean right now my computer is propped up on stuff. You are sitting on The Gulag Archipelago, The Best Short Stories Of Dostoyevsky andThe Plays Of Chekhov. I’m kinda in it.” The pop world interests Clark, too. She was credited with a co-write on Swift’s 2019 album ‘Lover’. At last year’s Grammys she performed a duet with Dua Lipa. It was one of the queerest performances the Grammys has ever aired. Clark interrupts.

“What about it seemed queer?!”

You know… The lip bite, for one!

“Wait. Did she bite her lip?”

No, you bit your lip.

“I did?!”

Everyone was talking about it. Come on, Annie.

“Serious? I…”

You both waltzed around each other with matching hairdos, making eyes…

“I have no memory of it.”

Frustrating as it may be in a world of too much information, Clark’s lack of willingness to overanalyse every creative decision she makes or participates in is something to treasure. “I want to be a writer who can write great songs,” she says. “I’m so glad I can play guitar and fuck around in the studio to my heart’s desire but it’s about what you can say. What’s a great song? What lyric is gonna rip your guts open. Just make great shit! That’s where I was with this record. That’s all I wanna do with my life.”

More than a decade into St. Vincent, Clark doesn’t reflect. She looks strictly forward. “I’m like a horse with blinders,” she says. She did make an exception to take stock lately when the phone rang. “I saw a +44 and that gets me excited,” she says. “Who could this be?” Well, who was it? “Paul McCartney,” she says, in disbelief. “Anything I’ve done, any mistake I’ve made, somehow it’s forgiven, assuaged. I did something right in my life if a fucking Beatle called me.”

Now there’s a get out of jail free card if ever she needed one.

Daddy’s Home by St. Vincent is out May 14, 2021.

[flying-elliska]

Headcanons for ADHD characters Masterlist

I was asked for this a while ago and I feel this is a good discussion subject because the canon representation for ADHD is kind of abysmal and is often a caricature or a joke.

usual disclaimer, I'm not a therapist, this is not a diagnosis tool, just for fun, etc etc...basing this on my own experience/knowledge with ADHD and meeting a lot of ADHD people IRL. I'm going off the main symptoms first (inattention and/or hyperactivity, restlessness, impulsivity, problems with emotional/focus regulation, daydreaming, messiness, hyper-focus, fidgeting etc) and then looking at character traits that are not a necessary symptom but often associated (substance abuse and addiction, need to please, sensitivity to rejection, compassionate and creative, thrill seeking, very imaginative, charming and witty or withdrawn and shy or angry and irritable, whimsical and fun and a bit child-like, out of the box thinker, self esteem issues, unstable life, comorbidity with anxiety and depression, very intense feelings, functions better with adrenaline/in an emergency, disregard for rules and problems with authority OR extreme compliance, codependency, perceived as weird, clever in an atypical way, problems in school, extremely good at one specific thing, etc)

Also I found this list with actual canonical representation

BOOKS :

The 'fits to a T so I'm seeing it as my personal canon' list :

note : doesn't mean that the authors actually meant to create representation but it's very likely they at least got inspired by people who did have ADHD (even when the diagnosis itself did not exist) and explained it with 'it's just their personality' OR the story happens in a setting where the label doesn't exist as such. also not meant to be exhaustive.

- Helen Burns (from Jane Eyre by Charlotte Brontë) One of Jane's school friends from the start of the novel, fits the inattentive type to a T : she can't seem to focus or learn her lessons, is constantly daydreaming, describes herself as messy and careless, forgets rules, and is easily distracted. She talks constantly about her own 'defective nature' and seems very sensitive to criticism but incapable of changing. She doesn't defend herself against the nuns' harsh punishments as she thinks she deserves them. She's presented as kind-hearted and compassionate, almost too good for this world, and hyperfocuses on her faith. Apparently sb even wrote an academic article on this. She dies so it's not super fun representation but it is interesting to see in an older book, to push back against the idea that ADHD was invented yesterday by Big Pharma lol.

- Grantaire (from Les Miserables, Victor Hugo) Part of the student revolutionary group Les Amis de l'ABC and resident skeptic, does not believe in the cause but is fixated on the group's idealistic leader (and yeah it sounds very gay, they die holding hands, there is a lot of Symbolism). He spends his time ranting about things that are only vaguely connected, is described as brilliant but incapable of sticking to any one profession or hobby, is an alcoholic, has a creative streak (was a painter at some point), likes wandering around the city, has massive self-esteem issues and is a general mess but does seem to care about his friends. This is not a very flattering portrayal as Grantaire is described as morally deficient but again, interesting in an old book. ADHD!Grantaire is a popular take in the modern fandom (i was in it before I was diagnosed it brought up a lot of Things) and it's very cathartic to see him get actual therapy in fic lmao.

- Luna Lovegood (from the Harry Potter series) JKR sucks but this is probably the most high profile case of a possible inattentive ADHD character so I didn't want to leave it out. She's a daydreamer, she is a big space cadet and seems to live in her own world, she has a very out of the ordinary sense of style, she's bullied for being weird, but she's also very kind and perceptive and cares a lot about her friends, and good at coming up with out of the box solutions. I wouldn't call it good representation, she's described as a wacko whom a lot of characters find cringeworthy but she's also pretty heroic, so. And she does seem to hyperfocus on magical creatures. Plus her father could also have it (and it runs in families).

- Jasper Fahey (from Six of Crows duology, Leigh Bardugo) Part of a young group of thieves with a heart of gold, he's a charmer and a compulsive gambler who quits college and incurs debts so massive he stops talking to his father out of shame. He's also an extremely talented sharpshooter and the scenes where he describes how the whole world slows and the rush of adrenaline when he is shooting sound like hyperfocus to a T. He's a loyal friend but also quite dependent on Kaz, the leader of the group, to keep him in line. He's witty, messy and he likes danger. His boyfriend later in the series, Wylan, is dyslexic and the way they learn to accommodate each other's issues honestly makes them one of my favorite couples ever. I need to reread these books and I am so stoked for the series I hope they do Jasper justice.

- Julian Diaz (from Cemetary Boys, Aiden Thomas) Love interest of the book, introduced as the 'high school resident bad boy', energetic motormouth who can't sit still and actually very endearing, has issues in school and gets bored easily, main problem is that he's a ghost...sort of. The whole thing was very cute and I love that Julian's personality is described as fun and attractive instead of annoying (which is, if you haven't noticed already, a pattern).

- Evie O'Neill (from the Diviners series, Libba Bray) She's a flapper in 1920s New York who ran away from her boring little town to make a life for herself ; she's a party girl and an impulsive thrill-seeker who hates standing still and is always looking for excitement to 'fill the void'. She craves fame and attention and pretty things, she can be a loyal friend but is also frequently self-centered and forgetful, she's street smart, resourceful and very charming and witty. She's also grieving, drinks too much and is definitely depressed. She's obviously meant as an archetype of the era, caught between trauma and excess, but it does come over as very hyperactive ADHD as well. Her powers to read objects also really pinged me as a good metaphor for the ADHD tendency to be overwhelmed by details.

The 'bit more of a reach but there's a vibe' list :

- Emma Woodhouse (from Emma, Jane Austen) Frequently cited as a character with ADHD, I didn't come up with this one but she fits. She's daydreaming, easily bored, has flights of fancy and hyper-focuses on matchmaking, is a bit impulsive and thrill seeking, clever in an unconventional way, described as a bit immature, mix of caring and self-centered.

- Ronan Lynch (from the Raven Cycle, Maggie Stiefvater) Ronan just has Neuroatypical Vibes, even though it's not entirely clear what, and I've seen people label him all sorts of things which is very valid. As for ADHD, he's restless, impulsive, likes to Go Fast and do street racing, he has very strong emotions he doesn't know what to do with, and big self esteem issues esp. at the start, is very all or nothing with people, snarky, drops out of school to be a magic farmer, problems with authority, looks like a scary mean goth but is actually a big softie (but like, with a few people), pulls shit out of his dreams. Is kind of dependent on his best friend at the start too.

- Sherlock Holmes (from the eponymous series by Arthur Conan Doyle) Again a character who has been diagnosed with all sorts of things. The biggest ADHD vibe for me is 'my mind rebels at stagnation' and the way he needs drugs to function outside of the thrill of a case, and the way he hyper-focuses on information he needs to be a detective while completely ignoring common knowledge. Also sort of dependent on his best friend Watson and isn't great at social interactions. Doesn't care much about upholding social conventions either. The RDJ adaptation is the one that has the most ADHD vibes to me.

- Harley Quinn (DC Comics/Movies) Big codependency issues (that's arguably the thing she's most known for) and sadly people with ADHD are often prone to getting into abusive relationships. It depends on the story too but she's very energetic, zany, impulsive, she likes shiny things and bright clothes, she's fun and chaotic and likes to break the rules, she's a criminal but she does seem to have a heart, she's also frequently immature and rash, etc.

What are your headcanons ? I would love to hear if you have some so I can add them to the list. I'll make a TV/Movies list soon.

[maxmagi]

A List of My OTPs

because it's 11 and I can't sleep.

Enjolras x Grantaire a.k.a. Enjoltaire a.k.a. ExR- Les Mis

How I fell into this I don't remember now. I vaguely remember reading a crackfic of this and then everything just went sideways.

This was also the fandom that helped me realize that I wasn't exactly straight and that it's okay to not be loud about my sexuality, that I can just be.

I think that explains my attachment to this ship, not to mention just the movie's Grantaire (played by George Blagden) also shipped the characters and played his character like how he thought it should be, Grantaire loving and pining after Enjolras without the revolutionary knowing it.

Except in the fan fics, Enjolras returns his feelings and they work it out, even though it's not easy because they're both stubborn as mules. Ah, ultimate fantasy I guess. And the number of great fics here, *whistle*

Also, the Les Amis? Is amazing? Especially in the modern AUs? Like they're great friends? I love this fandom so much! Permets-tu!

Shen Wei x Zhao Yunlan - Guardian / Zhen Hun

C'mon, Zhu Yilong & Bai Yu's performance and emotions? Plus just the fact the fanfic writers of this ship are absolutely amazing? Please, escape from this pairing is impossible!

Best opposites attract trope for me. An academic by day, superhero by night in love with a roguish police chief who has no powers but whose charisma, wit, and heart can get him to toe to toe with the legends.

Also, Professor Shen Wei constantly acting like an innocent civilian and lying badly? Gold!

Loki x Tony Stark a.k.a. FrostIron - Avengers

How did I honestly get to this ship? I really can't remember what started it all. I think it must have been a Loki redemption fic where Tony Stark and Pepper broke up and something something happened. Let me tell you, the writers of this ship have written sagas and ballads of epic and sometimes confusing proportions, and that is why I fell deeper into the pit. I mean, they gotta give justice to two brilliant but chaotic characters, right? Angst. This ship has sooooooooo much angst.

Eiji x Ash - Banana Fish

My god, if you want to keep your heart intact and not be reminded of all that's ugly in the world, DON'T WATCH OR READ BANANA FISH. YOUR HEART WILL NEVER HEAL!

If you're gonna watch/read it anyway, make sure to watch something fluffy and sweet after. There's a reason that people from this fandom go, "If you've seen Banana Fish's ending, then you can handle whatever angsty show you're watching now." ~ or something to that effect. Another thing we like to say in this fandom is, "Other fandoms: Let's write a Mafia AU! Banana Fish fandom: We are the Mafia AU." Yes, all of us in this fandom is dramatic af.

Yuuri x Viktor - Yuuri!!! on Ice

Uh, does this really need an explanation? Aside from the fact that you will surprisingly find a lot of Mafia AUs here because we all know that hiding behind that beautiful face of Viktor Nikiforov is a devil capable of... tearing down your self-confidence, like WTF Viktor, don't make Yuuri cry! Also, their dance together at the end, such beautiful love.

Magnus Bane x Alec Lightwood aka Malec - Shadowhunters

I never read the books and have no plans to in the near future. I just saw a video on Youtube about why Malec is life and now here I am, still reading some Malec fics from time to time.

Some stuff on the show were WTF but overall they were a really good couple who supported each other. Plus, they're a Power Couple.

Erwin x Levi aka Eruri - Attack on Titan / Shingeki no Kyojin

Not to be confused with Ereri, which is Eren x Levi, which I don't generally ship except for that one time when a writer wrote an epic fanfic series with Eren in his mid 20s and Levi in his late 20s/early 30s, reincarnation AU. Boy was that one a surprise. I did not expect that.

Anyway, I'm an Eruri fan through and through. Especially with that promise that Levi made to Erwin. And the reason he gave the serum to Armin. HE DIDN'T DO IT FOR THE KIDS YKNOW. HE DID IT FOR ERWIN. Plus, Levi, Erwin, and Hange are my special trio. Erwin's batch was really amazing.

Also, I really like the fact that the shorter and slighter person is the more badass fighter while the taller, bigger one is the more calculating and strategic one. Rocks the boat of stereotypes and all that. Bonus: how these two met. My god, what a meet-cute! 😂

Dani x Jamie aka The Au Pair and the Gardener - The Haunting of Bly Manor

It really is more of a love story than a ghost story. I dunno how to feel about this. I loved these two characters so much and I wished they had a better ending but I wasn't SO surprised because it was a horror series (Like, I was still hoping at the end that they'd be together forever but yknow...). In any case, Jamie was just awesome. And her nickname for Dani? Poppins?! God, what a lover and fighter. She was not afraid to cock a gun in a ghost's face.

... and now for my flexible BROTPs

Merlin x Arthur aka Merthur - BBC Merlin

Yeah, my brain is so chaotic multiple OTPs and BROTPs of the same pairing exist at the same time without clashing with one another or having major identity crises.

I actually really like BROTP Merlin and Arthur and also like reading OTP Merthur.

And when Merlin is paired with Morgana or Freya or sometimes even Gwaine, that's fine with me too. As long as his bromance with Arthur stays intact, because that's what drew me to the show in the first place. Personal preference. I see them as platonic soulmates.

*Shout-out to the Merthur writers though, you kept me sane during my "Post-Merlin Depression," which is actually a term thrown around in the fandom because of that horrid final season (not saying it's a good term but it's what it was called). A lot of amazing fics here, too, both Magic Reveal and Modern AU ones. Full of action and adventure too! I mean, there are boy-band-looking Knights and magic-wielding badasses!

Tim Drake x Conner Kent/Kon-El aka Red Robin x Super Boy - DC Comics

More like flexible otp. I dig Stephanie Brown and Tim Drake BUT I really really also dig Tim Drake and Conner Kent. When they're TimKon, it's like an entirely different entity from TimSteph. Ugh, hard to explain.

I mean, Kon telling Tim, "You'll always be my Robin" and Tim telling Kon, "And you'll always be my clone boy" is the shit. Also when Kon could pick out/recognize Tim's heartbeat. And when Tim nearly went mad scientist trying to bring his bestie back. Like, dudes, wtf. And at the same time, hell yeah.

Liu Kang x Kung Lao aka LiuLao - Mortal Kombat

- I see these two as more like ride or die best friends connected by fate/platonic soulmates. But also like their dynamic is so awesome, cute, sweet, badass, can't-live-without-you vibes.

Basically the same way I feel about Merthur. I like reading both romantic and platonic relationships between these two characters. Like, the LiuLao fan creators peeling off the layers of this relationship and exposing every raw nerve is beautiful.

They love diving into the characters' psyche, emotions, motivations, fears, and doubts and you get really amazed because... Aren't they just characters from a video game, you ask? Well yeah, but MK video game has several interesting storylines and the Mortal Kombat 2021 movie was just the perfect jumpstarter to this beautiful blaze.

I mean, "We swore that if we were to die, it would be together"? Hell no, you're not dropping that on us and not expecting us to create our very own spin-offs and 12-page essays on that shit. That's what we fans do, baby. And also, really, we need a shaolin monks/white lotus spin-off/prequel. We're starving here.

As this ship is the newest one on my list, it's the one I'm looking forward to the most. Not enough fan content, I tell you. Not enough. One of these days, I just might add my own.

But right now, it's past 1 and so I shall attempt to sleep.

***No images for TimKon and LiuLao coz apparently I've gone past my 10-images allowance 😤

[phantom-curve]

For your prompts: 5. trepverter for Willex, please?

this one kind of got away from me, but hopefully it still mostly captures the essence of the prompt! and if not, it's at least a cute little fluffy Willex moment that I thoroughly enjoyed writing. set in an AU where the boys are alive, here is some flustered Alex ft. supportive Reggie and Luke.

trepverter - a witty response or comeback you think of only after it's too late to use (Rated T for swearing with a Trigger Warning for mentions of homophobic parents)

They say hindsight is 20/20 but Alex never really paid much attention to that until the day he found himself knocked flat on his back, elbows scratched and head pounding as if he had been hit by a freight train instead of an irresponsible skateboarder. It probably didn’t help that he had been in the middle of trying to calm himself down, all the signs of an impending anxiety attack mounting within his system until he had finally just put his feet to the pavement and started walking to get some of the overwhelming energy worked out of his system. He probably could have been more attentive, more aware of exactly where he was going and who was headed his direction, but he figured it would be fine on a random Wednesday morning in October when the tourists weren’t really around and most kids his age were in school.

Alex wasn’t in school because his parents had withdrawn tuition payments after he had finally worked up the courage to tell them he wouldn’t be bringing a nice girl home because he didn’t want to date any girls, in fact he would much prefer to date some boys, but the pressure of keeping his identity a secret hadn’t made that possible either so he was done hiding and he hoped they could accept that. Turns out they couldn’t accept that, or him, once he made it obvious he wasn’t going to go back in the closet or give any girl the chance to “change his mind”. As if that was even possible.

It hadn’t been a big blowout, more of a silent retreat, his parents completely withdrawing any and all support from his life over the course of the last few months. And apparently that included tuition, as Alex had discovered that morning when the school called to inform him they had finished completing his withdrawal forms, and they would be sad to see him go. Which had led him to the boardwalk, and then directly into the path of whatever hooligan that had crashed into him. Maybe if he had just been able to keep his mouth shut for 3 more years he wouldn’t be lying here, breathless and bruised, and still on the cusp of absolutely losing it.

Hindsight, Alex thought to himself as he stared up at the clear blue LA sky, can absolutely kiss my ass.

“Awh, man!” A voice above him whined. “You dinged my board!”

Alex toppled off of the anxiety ledge and straight into an ocean of lost control.

“Dinged your board? Dinged your board!? Dude, you ran me over!”

He punctuated his statement by leaping to his feet, which would have probably been a lot more threatening if he didn’t immediately stagger, hand held to his head as the world spun and his stomach rolled.

“Oh shit.”

The voice cursed quietly, and then Alex felt warm hands against his biceps, steadying him until everything slowly came back into focus. There was a boy standing in front of him, black cracked helmet perched on his head, soft brown eyes staring at him with a tinge of concern and remorse. When it was clear Alex was steady once more, he released his grip and offered an easy-going smile.

“You’re right, man, I totally pancaked you. My bad, are you okay?”

There was a weird feeling in Alex’s gut. Not the kind of sickening wave of nausea he had experienced when he first stood, but more of a fluttery feeling. His brain had quieted somewhat, and he forced himself to take a deep breath.

“Yeah, I’m fine. Just look where you’re going next time.”

His voice came out soft and almost breathy, not at all the warning tone he had meant to use, and Alex could feel his cheeks warming slightly in embarrassment. The other boy’s smile grew. He reached up and unclipped his helmet, lifting it off and then tossing his head back as a cascade of long brown hair tumbled out. A few stray pieces fell to rest alongside his face and Alex felt his mouth fall open slightly. His stomach swooped and then dropped completely, like he had just plummeted from a rollercoaster and his mind went blissfully blank. Everything narrowed down to the absolutely beautiful boy standing in front of him, face awash in golden morning light, cheeks flushed from his exertions, dimples and white teeth on full display as he grinned yet again. Alex wasn’t sure he had ever met someone so blindingly attractive in his entire life, and then the boy winked, winked!, and lifted a hand out towards him.

“I’m Willie.”

It was the best name Alex had ever heard of. When their palms met, a spark shot up his arm and straight to his heart.

“Alex.”

Thank God he remembered how to talk, because he truly hadn’t known what to expect when he opened his mouth. Willie released his grip and Alex left his hand suspended for just a second before he pulled it back and shoved it into the pocket of his jean jacket.

“Nice to meet you, Alex. Listen, I really am sorry about knocking you over. Any chance I can make it up to you?”

It took Alex an uncomfortably long amount of time to process what Willie was asking. Long enough for him to panic and wonder if it was like a date or if it was like a pity thing or oh God what if Willie wasn’t even into guys and Alex was about to make this whole thing super weird and –

A chirping sound came from Willie’s pocket. His eyes flitted away from Alex’s to pull a phone out and check the screen. Alex felt a strange twist in his heart as he watched Willie’s easy smile fall only to be replaced by an annoyed grimace and eyeroll as he silenced the phone. Without skipping a beat, he thrust it back into his pocket and pulled out a sharpie instead. Alex barely had time to register how much he liked the way Willie’s hand felt on his forearm before the other boy was suddenly bent over it and there was a cool sensation sending goosebumps up his arm as the tip of the marker scratched across his skin. When Willie pulled back, that brilliant smile was back in place and his eyebrows were dancing so merrily Alex wanted nothing more than to watch them forever.

“I gotta go, but that’s my number. Text me sometime.”

And then, before Alex could work up the nerve to say anything, Willie was tossing his skateboard to the ground only to chase after it with a few bouncy steps before jumping onto the deck and quickly making his way down the boardwalk, away from Alex. He watched for longer than it was probably acceptable until Willie was nothing more than a speck in the distance. Only then did he look down to see the numbers sketched onto his forearm in orange ink.

(213) 555-3276 Willie<3

It was the heart that did him in. That heart had to mean something, right? It was intentional. Willie had written his name with a heart. Alex wasn’t making that up, it was inked onto his own arm! He studied it as he sat on the beach, mind silently replaying every single second of his short interaction with Willie over and over again while different groups of people came and went around him. There had to be a reason for the heart. Alex fiddled with the braided rainbow bracelet on his wrist, the motion familiar and soothing. Had Willie noticed it when he grabbed Alex’s arm to write his number on? Was the heart some kind of sign?

Alex let out a groan and fell back against the sand, the texture scratchy against the back of his head where a slight throbbing still persisted. Another silent reminder of his morning encounter. He wished he had thought to say something when Willie had asked him about making it up to him. Wished he hadn’t panicked or let his stupid brain go into overdrive worrying about what might happen for so long that nothing ended up happening. If he could go back, he would have told Willie, yeah, he could make it up to him. Maybe take him out to coffee or dinner and a movie or ya know, just any kind of date in general? But Alex wasn’t that smooth, and he wasn’t quite that confident yet. And now all he had was a number in orange ink and a name with a heart and absolutely no answers to the millions of questions crowding his brain.

He let out a deep sigh and sat up again, before finally climbing to his feet. It wouldn’t do to sit and worry, even if that was kind of his specialty. Luke had a girlfriend now. And Julie was incredible, and Luke was a disaster, so obviously the guy had to have some kind of game. Alex couldn’t quite believe it, but maybe he could give him an idea of what to do in this situation. Alex turned his feet towards the apartment the boys had been sharing since Luke turned 18 and left his parents’ house for good and started the long walk back to their shared home.

Luckily, both Luke and Reggie were home, which meant Alex had two sounding boards for his word vomit as he paced in front of where they were sat on the couch. Reggie was kind of like a puppy in the sense that all he had to do was exist and people flocked to him, so he also had more experience than Alex did when it came to figuring out someone’s true intentions after a first meeting. By the time he had finished giving the boys the run down, he was feeling like they might be able to put their collective braincell to use and figure out exactly what the best course of action would be here.

“Yeah, man, I got nothing.”

Alex groaned and Luke held up his hands defensively.

“Look, dude, just cause I’m dating Julie doesn’t mean I know how I pulled it off! I’m just hoping my luck holds out until I can convince her to marry me, okay?”

Reggie was nodding thoughtfully, so Alex held out hope that maybe he would have some words of wisdom.

“I mean, he sounds like he wanted to at least like...talk to you some more, right? Otherwise, he wouldn’t have given you his number. And the heart is promising!”

Alex let it soak in for a second. An idea struck him out of nowhere.

“What if I just text him and tell him he can make it up to me by going on a date?”

“Bold moves, dude. I like it”

Of course, Luke liked it. It was a very Luke-inspired move. But Alex didn’t quite have the same guts as Luke. He didn’t think he could really pull it off.

“Ugh, no. My anxiety would skyrocket the second I sent the text. I just wanna know what the heart means!”

“Why don’t you ask him that then?”

Alex didn’t like how Reggie was the voice of reason here. That was supposed to be his job.

“Because if I ask him that he’ll know I’ve been thinking about it all day.”

“You have been thinking about it all day.”

Alex finally reached his physical limit and stopped his pacing to fling his body onto the couch between Luke and Reggie, both boys catching different limbs and silently shifting to accompany his sudden presence.

“I don’t want him to know I’ve been thinking about it all day! That’s pathetic. Ugh, why didn’t I just say something in the moment!”

Reggie’s fingers were gentle against Alex’s scalp as he carded a hand through his hair reassuringly.

“It’s okay, Lex. You’ll think of something to say when the time is right. Release your worries to the wind and all that other junk, ya know? Just breathe.”

So, Alex breathed and tried to surrender his obsession into the ether. Reggie had been on a bit of a self-help kick lately, but honestly, it did help Alex more often than not, so he resolved to try and follow his best friend’s advice, even as his anxiety raged against the idea.

Turns out, the right time was exactly 11:43 pm when Alex suddenly awoke from a dead sleep where his dreams had been invaded by none other than Willie himself. He looked down at the number, the hastily scribbled name, and the accompanying heart bright against his pale skin even in the darkness of night and typed the message into his phone before he could think twice about it.

To: Willie<3 Considering you pancaked me, I think it’s only fair you make it up to me with a pancake breakfast. 9 am at Sandy’s Diner?

The responding message was almost instantaneous.

You’ve got yourself a date. Catch ya in the morning, pancake ;)

And for the second time that day, Willie wiped Alex’s mind completely blank, the word date playing on repeat until he fell asleep with his lips still curved into a smile, visions of a certain long-haired pretty boy dancing through his head.

[skylarmoon71]

Savitar x Reader - Chapter 6 Final

"Please let's talk."

"I'm sorry about what happened."

"Bart please!"

Savitar starred as the phone continued to ding relentlessly. You'd been messaging him since early that morning. The little incident last night shook him. He thought it was just a dream, the feel of your hands so warm against his skin. It was soothing, relaxing. When he opened his eyes he never thought you'd actually be there, touching him. When was the last time anyone even tried to approach him in such a way. He had no idea.

"Friendship."

That's the word you used. That's why he ran. He was angry because you were just friends.

At what point did he realize that he wanted more. He couldn't tell. Hell, he was the one who didn't even want your company at the beginning. Now he was lost whenever you didn't ask him over for a movie, or out to eat. Or even to pick his brain about some studies during your exams since you were still under the impression that his twin brother 'Barry' was a cop.

How was he supposed to fix this. He wasn't sure he could face you again. How could you look at him that way, and then say all you had was friendship. Did he imagine the desire he saw when you were tracing the outline of his lips. He must have.

Another ping on his phone. He glanced over.

"Bart please, I'm begging you."

An image of you crying popped into his mind, and before he could stop himself he was rushing over to your apartment. He phased through the door, and the sight of you sitting on the couch with a box of tissues in your hand had his chest constricting in a way he thought was no longer possible. His abrupt entrance caused all the stray pieces of paper to fly back, and you raised your head from the cell phone. Your eyes were red and puffy, and the moment you saw him, they lit up.

"Bart!" He swore he'd never seen you look so brilliant. You sprinted over, disregarding your tissues and cell phone. Before he could even work up an apology you were holding unto him, hugging him. He stayed still, utterly unsure of how to react. You were holding him so tightly, like he was the most precious gift you could ever receive. And in that moment he felt like it. He felt like something useful. Something worth having. Someone worth loving.

It took him a while, but slowly, he reciprocated the embrace. Holding you. The warmth from your skin was so amazing. It heated his own body in a way he couldn't describe.

"I'm sorry Bart I never meant to make you uncomfortable. I-I don't know why I did that. I know we're friends and you've been through so much." he pulled away at that. Now looking completely guarded.

"What do you mean so much, what are you talking about."

The coldness of his expression wasn't something you thought you'd see.

"I'm not stupid Bart." Did he really think you wouldn't be able to see just how damaged he was on the inside.

"Someone hurt you, and then you decided you'd hurt them back. It's why you're the way you are. " His jaw was clenched, eyes giving nothing away.

"I'm not naive. You keep treating me like a kid. I know you've done things you probably regret today. If you think I've been thinking of you like a saint this entire time you're wrong. " His eyes now wouldn't meet yours.

This is what he was afraid of. The entire time you knew. You figured him out. Maybe not the specific details, but he could tell you didn't need it. At least he was sure of one thing. You'd make a damn good detective. Wait...something wasn't adding up. If that was true, why did you continue to hang out with him. Why even be around him. Weren't you afraid of what he could do to you.

"Just because you're not a saint, it doesn't make you a monster Bart." His gaze lifted. Was it just him, or were you glowing now.

That was crazy. People didn't glow.

"You don't know what I've done."

"You saved me."

"That's not what I-"

"I don't care." you snapped.

"I don't give a crap what you did in the past. You saved me okay. You protected me, and you didn't even know me. Why did you do that Bart. Why help someone who meant nothing to you." you stepped closer, taking his hand, just to make sure he didn't bolt like all the other times.

"I-I don't know it was just an instinct move it meant nothing!" He probably shouldn't have said that. He just blew any chance of you caring about him.

"Did it really..mean nothing to you.." you took another step forward, and his brain was struggling to form a reply to that question, you were getting too close.

"Does this mean nothing.." you breathed. You raised unto your toes, wrapping your hands around his neck as you kissed him.

You kept telling yourself that this was bad. You wanted to fix the friendship, not dig it into a deeper hole that you wouldn't be able to come back from. If this was wrong, then why did it feel so good. His lips were as soft as you thought, and his lack of response should have alerted you that you should stop, but you just couldn't. It was terrible, but you'd been thinking about this for way too long. When you parted, it was slow. You released him, dropping back flat on your feet.

"Sorry..." that was all you could come up with. The bewildered look on his face said it all. You definitely ruined this.

"Why would you..why did you do that.."

He didn't understand anything anymore. Whatever idea he entered the apartment with, now everything was warped. He couldn't have imagined that kiss. There was too much want in it, too much passion. His bit his lower lip, trying to get a taste of you that was still lingering there.

"Is it bad that I want to do it again." 

Savitar swallowed, taking a much needed step back. He needed to sit down, or lie down. When you started moving closer he panicked. 

"Don't-"

You gripped the sleeve of his sweater, smirking. "I don't I'd be able to catch you if you ran Bart." the more you walked closer, the more steps he took backwards. He finally stopped because of the dumb wall that just had to be there to block his way. He was cornered, by a regular person. Not a super powered meta, or a speedster. A perfectly normal, beautiful woman.

Your hands pressed to the wall, and you slid one of your legs in between his. And you didn't miss the staggering breath he released when your chest followed suit, now flush on his.

Before you were holding back because you thought he wasn't attracted to you. Now you knew that wasn't the case. He was just scared. You were absolutely going to change that.

"If you really don't want this, just push me away Bart." you were teasing him, and he must have realized, because he was glaring. He obviously wasn't used to being dominated. "You're playing with fire."

"Really, right now it looks like I'm playing with a teddy bear." you cooed. You gasped when you saw the flash of lightning in his eyes. It a matter of seconds you were the one pressed to the wall. The smugness on his face was a bit arousing.

"Who's a teddy bear." he leaned in, pressing a kiss at the base of your neck. Letting out a shuddering breath, your hands fisted into his dark jacket.

"You really caught me off guard, guess I should expect that from you by now. Everything you do shocks me." He pulled back, and the softness of his gaze, it had your heart doing flips.

"I'm not sure what this is Bart, and honestly, I really do like you. I like hanging out with you. And I don't want that to stop. I like how honest you are, even your grumpiness."

"I'm not grumpy."

"You're right, I guess the proper term would be grouchy."

"You're walking on a pretty thin line (Y/N)." you smiled.

"I love you the way we banter. It always makes my day." you added. Bart was just taking it all in. Your endearing words. He was glad there was someone who thought he had a sense of humor. Making jokes in STAR Labs was a bit touchy. Probably because he had a pretty dark sense of humor. Still. They could appreciate the effort.

"I love the fact that you're so hot and you seem completely oblivious to it."

That caught him off guard. Now you were just trying to flatter him. He was about to point it out, but you grabbed him by the lapels of his jacket, pulling him down for a kiss. His mouth was opened this time, and you took full advantage of it. You were merciless in your ministrations. Your tongue took charge. You could feel the way he struggled to keep up. It was adorable. Just looking at him one would assume he was the type to take charge. He groaned when your tongue stroked his. You urged him closer and he banged his hand on the wall, trying to regain some type of control. Your hand reached across, grabbing his butt, and he moaned this time.

He liked that. Who would have thought. Your other hand ventured to his dark hair. You caressed it, loving the way it slipped through your fingers. Bart leaned away, trying to gather his breath.

"Minx." he spoke huskily.

"Well, I try."

He watched you, taking it all in. This was something he thought he could no longer achieve. The love of someone else. After what happened, he couldn't trust people. But somehow he'd let himself trust you. And as terrifying as it was, now, he could see a future. One that didn't include being on his own.

That was all he ever really wanted, and now it wasn't just an illusion, but a reality that he could build with you.

[xyzcekaden]

🚍 unsuspecting sunday afternoon 🚍

by me, xyzcekaden! a pokemon fanfic about when the one you hate to love is made for you

How capable is the human heart now?

fandom: pokemon, gen 3, advanced generation characters: ash, may, steven stone in a “supporting” role ship: advanceshipping genre: romance, angst themes: friendship, pre-relationship, slowburn, 6+1 if you squint setting: modern, hoenn, pokemon universe lite word count: 4.6k rating: T

read it below, on ffnet, or on ao3!

A/N (9.7.201): So this has been in my drafts since about April 2020 😅 Sure, I'm happy to finally share something new with the small yet strong advanceshipping fandom; but more than that, I'm relieved this document can no longer taunt me with its incompletion, hahaha. Do let me know what you think! Especially with this opening formatting; I'm trying something new. :)

Nothing sensitive in the fic, but the characters are all adults so it felt fitting to rate it T. Title taken from the song of the same name by the Backstreet Boys, and its lyrics/sentiments are interwoven throughout. The narrative is inspired and framed by monstaxnight's anonymous ask. If you recognise it, it doesn't belong to me. Thanks for reading!

~~~

fall for someone whose body would start fires

On a Saturday, May asked Ash to come over the next day. “I need a second opinion on something,” she had said. “It’ll be super quick.”

Of course, ‘super quick’ means Ash has enough time to set his switch up on May’s gigantic living room tv and play a few rounds of his favourite fighting video game while she gets ready for something or another in her room. He always acts like he has better things to do than help her with her sundry weekly ventures, but they both know he’d rather do ‘nothing’ with her than ‘something’ on his own somewhere else.

“Okay, Ash, are you ready?” May’s voice rings out. “Yeah,” he answers distractedly, strategically button smashing.

“So I kept the jeans from this last outfit, but this top I just got two weekends ago and haven’t had a chance to wear yet,” May narrates as she exits her room. “I had the, frankly, brilliant idea of using the jacket from Outfit 1 and pairing it with those heels you paid for for my birthday, et voila!”

The clacking of heels stops at the entrance of the hallway. “What do you think?’

Ash redirects his attention to May. His avatar dies on screen, just like his voice dies in his throat.

“You, um, you look great.”

In actuality, May looks smoking hot, but that’s not new for either of them. His best friend is supremely attractive, and he knew it and had no problem acknowledging it normally. This time, however, May doesn’t just look physically great, she also looks like she feels like she looks great. He doesn’t know how much sense that makes; but there is decidedly something different, and Ash feels a strange sense of dread in his chest.

May beams, taking the inarticulate response in stride. “Well that’s a winning endorsement if I ever heard one! Now let’s just hope Steven has as great of a reaction.” She turns to one of the many full-length mirrors stationed around her condo and reviews the outfit with a critical eye.

This brings Ash out from his stupor. “‘Steven’?” he repeats as he sits up on the couch. “You’re going on a date?”

“It’s not a date,” May replies in a tone that clearly conveys that she would not be opposed to it turning into a date. “My dad is having dinner with an old business partner, and the guy’s bringing his son along, so me and Max were invited, too. We were kinda friends back when we were young, but it’s not like we’ve kept in touch or anything. I just figured I should make a good second first-impression… You know, for my dad’s sake.”

Ash can tell the last bit was just something she’s telling herself to rationalise why she’s trying so hard, and it doesn’t sit right with him. He slinks back down on the couch dejectedly and halfheartedly starts a new game.

He finds himself wondering how often they hung out and how much whatever-that-number-was-teenth impressions were worth. He hopes it’s a lot.

~~~

fall for someone who always runs from his kiss

“… And I was right! They were roommates!” May boisterously ends her story, almost losing her ice cream to physics as she wildly gesticulates.

They’re just strolling around the park that’s honestly nowhere near either of their apartments; but over the years, it became their park anyway. They didn’t even set plans to hang out today, but it kinda just happened―a recurring theme in their friendship, admittedly.

For his part, Ash hides a smirk with a lick to his own ice cream, not bothering to say or do anything to protect her treat. If she hasn’t learned by now, she never would. “Oh my god, they were roommates,” he deadpans instead.

May sends him an unimpressed smirk and lightly smacks Ash’s shoulder. He yelps. She yanks her hand back as soon as she realises, but the damage is done.

He blinks down at the cold, vanilla, rainbow-sprinkled stain before raising his gaze to meet May’s equally stunned one.

They stare in silence for a moment, then May cracks a conciliatory grin. “For what it’s worth, I’m sorry?”

He shrugs it off easily. “I probably deserved it,” he says, making peace with the knowledge that his previous unwillingness to protect her ice cream from any accidents is the undoubted origin for his current poor luck. He nods toward the path. “Shall we?”

“We passed by a restroom a little bit ago. We can clean you up,” May disagrees, tugging on his arm in the opposite direction.

“‘S fine,” he argues as he tries to continue walking forward.

“Ash, it’ll stain!” She tugs harder.

“It’ll be an improvement!” He’s overpowering her, but not as easily as he’d like.

“Why are you being such a butthead about this!?” She’s pulling with all her strength now, this being a matter of pride to her at this point.

“Come on, May!” Ash heaves one last time.

They tumble head over feet onto the ground, but that’s not the reason Ash feels like his world has turned upside down.

May’s body weighs comfortably on his, his hands naturally settle on her waist with hers on his chest, and his brown eyes bore into her blues. Their ice cream has fallen… somewhere, but Ash doesn’t concern himself with that considering this is the closest they’ve been since they first met.

They’ve been toeing this line since then, too.

I’m gonna do it, he thinks to himself.

He closes his eyes.

He leans in.

May scrambles away.

Ash sits up and blinks at the sight of May’s confused, furious eyes. “Ash, what are you doing?” Her voice croaks like her throat is dry. It makes him clear his own before dumbly responding, “I was trying to kiss you.”

“Why??” she asks, her voice strangled. He pushes himself off the ground warily as he watches her hold herself, bite her lip, shake her head in a panic; and somehow in all of that, he understands.

“I thought it wasn’t a date.” Ash tries so hard not to sound accusatory, but her wince in response proves it didn’t work. It also proves his fear correct.

He turns, hiding as if the people walking by could discern his transgression and shame by the sight of his face alone. Besides, his mind can conjure up an image of her running away just fine on its own.

Ash notices the remnants of their impromptu outing splattered on the ground near his feet. He picks up what he can and stomps over to the nearest trash bin, throwing it in as hard as he can to let out some of his frustration.

He hopes he hasn’t gone and screwed everything up.

~~~

fall for someone whose lips belong to someone else

They don’t talk about it, and then it’s too late.

“Ash, this is Steven,” she tells him softly, as if it could make up for how it feels like the sight of her arms wrapped around the guy’s torso and his arm casually thrown over her shoulder assaults him every time he blinks.

“Steven Stone. It’s great to finally meet you. May speaks of you highly,” Steven introduces with a dignified air. Not pompous, no; he is just someone who was raised being told that he was going to do important things and who happened to believe it.

They shake hands, and Ash’s fingers feel cold, a marked contrast to how there’s something in his chest that’s burning.

Inside the restaurant, the waitress asks if a table is okay, and no one asks for a booth instead. In his seat, Ash is neither directly in between nor directly across from the newly-established couple, and he wonders if this is where all his luck went into.

Lunch goes better than expected.

Ash was prepared to hate the guy, but what is there to hate? Steven has a decent sense of humour, loves pokemon but loves rocks even more, and is COO of the biggest enterprise in Hoenn. He is a safe, sensible choice. This guy isn’t going to break May’s heart.

As the meal winds down, Steven offers to pay for everyone; but Ash still has his pride. In the end, he manages to negotiate paying for just his own plate and drink, knowing he has no right to battle for the privilege of paying for May’s.

He wouldn’t even do so on a typical occasion anyway; but as far as Ash is concerned, Steven’s presence throws all of the friends’ typical rules of engagement out the window.

They say goodbye and part ways in front of the restaurant.

A few steps later, Ash snaps his fingers as he recalls something. He turns around to remind May of their movie plans in a few days, and he is met with the sight of the couple sharing a sweet kiss on the corner while waiting for the light to change.

Steven could never break May’s heart, but he sure can break Ash’s.

Ash turns back and continues walking. He hopes May can remember on her own.

~~~

fall for someone whose touch is way too much

May insists that nothing has changed between them, but clearly something has because Ash doesn’t remember ever being so anxious about her proximity before.

He had always been aware of her, though. Always. When your first meeting is saving the other from getting run over by a tour bus, you quickly develop the habit of keeping track of where the person is at all times.

Between his athleticism and her natural proclivity towards tactileness, casual physical exchanges quickly became their norm: hugs and high fives, friendly elbows in the rib after a good joke and sharing a blanket as they watch a movie, (lingering touches on the shoulder and holding hands even after they’ve escaped a crowd… or did he make those up?).

They were controlled yet unmistakably affectionate markers of their relationship.

But now?

When she shifts one centimetre closer to him in line at the mall food court, he accidentally overpays by fifty pokeyen out of distraction. When she grabs his fork out of his hand to try a piece of his takoyaki, he jerks so hard at the contact that he spills his soft drink all over the table. When she pats him dry using flimsy food court napkins with a joke about ice cream in her voice and fondness in her eyes, he needs to claim a rapid-onset fever in order to give himself an excuse to cut their lunch short immediately.

These innocent touches have been an ever-present facet of their friendship since basically the beginning; and even when he realised he was in love, they hadn’t affected him like this.

Things are different now, despite what she says.

Well, maybe not things; maybe just him.

He had allowed himself to revel in their familiar touches when she was single because he could, because there was no one else that she was supposed to be able to make feel like this. Even if the feeling wasn’t meant for him, it wasn’t meant for anyone else either.

But now.

He can’t, in good conscience, allow his heart to rush and his smile to form and his hand to squeeze back. It wouldn’t be fair to May, not when she’s trusting him with her friendship and he’s taking more from her than that.

Even though he’d like nothing else than to keep that closeness, to go back to how it was between them before, this is the way it has to be now. He just hopes she can understand.

~~~

fall for someone he doesn’t want to feel for

On sleepless nights, he wonders when.

He knows the who, what, why, and how; but the when eludes him.

...

They were both breathing heavy, attention focused on the spot of the road where the girl would have flattened like a pancake if it weren’t for his quick reflexes and hero complex.

The clapping of a few passers-by snapped them out of their shock and into the realisation that he still had her protectively cradled to his chest.

They quickly broke apart, and he took the time to wave off the praise from the gathered crowd while she checked her purse to see if everything was inside.

“You got everything?” he asked after people’s attentions finally turned back towards their own lives.

“Yeah, I do,” the girl replied, and her voice was rather cheery considering the ordeal she just survived. (He would later learn that was her default.)

“Great,” he said, genuine yet awkward.

They continued staring at each other. The adrenaline from their brush with danger hadn’t worn off yet; his heart was still beating very fast.

“So, um, have a good day,” he bade after it was clear neither of them had anything more to say. He made to return to his errands, but a hand on his arm stopped him.

“You saved my life, and you’re just gonna walk away?” she asked incredulously.

He blinked at her. “I’ll be honest; I wasn’t aware there was an after-action protocol for this sort of situation.”

She was incredulous for only a second before she giggled at him. “The least I can do is buy you lunch to say ‘thank you.’”

“Well, I’ve never turned down a free meal,” he accepts with a grin.

She giggled again then stuck out her hand. “My name’s May.”

“Ash.”

...

No, it wasn’t then. Nor was it during the meal they shared, nor at the bar where they happened to see each other that weekend, nor while they were escaping from the bar fight that she accidentally instigated that night.

...

“Is this going to become a running gag? Will I have to constantly be saving you from trouble you unintentionally get yourself into?” Ash panted after he directed her to duck into a nearby alley.

“Hey, as far as I’m concerned, this automatically makes me the most interesting friend you’ve got,” May countered.

He took one extra second to check no one was following them then cut a glance at her. “I don’t know about you, but most of my friends have my number.”

She rolled her eyes with a smile. “Smooth.” They switched phones and exchanged numbers.

“Better memorize that by heart,” he jested as he handed her her phone back. “Don’t wanna waste your one phone call at the station just because you mixed up the last two digits by accident.”

“If the next time you hear from me is because I went and got myself arrested, just leave me to rot. I must have earned it,” she smirked.

...

Luckily, the next time one of them reached out to the other wasn’t to bail the former out of jail. May invited him to a pool party for her birthday, where he handily won a water balloon fight and impressed everyone by fixing the grill for their barbeque. Their friendship continued to progress naturally: movie nights that turned into impromptu sleepovers, brunches that turned into walks around town. Several shopping trips and video games and hikes later, they were each other’s best friends. It was basically inevitable.

So when? When would he have had the chance to fall in love with her?

...

“Hello?”

“Ash, you picked up!” she sounded surprised―happy, but surprised―and he winced. He knew he’d been blowing her off a little more often lately, but making her think he’d turn down her phone call?

“Heh, yeah, sorry about that,” he said, betting on the hope that she somehow implicitly understood everything he was apologising for. “Is everything okay?”

For an extended second, she was quiet, then she said, “I need to tell you something.”

His hackles rose, and he started grabbing his keys and putting on his shoes. Maybe she finally ended up in jail. “Where are you? I can be there in ten minutes, maybe twenty with traffic―”

She giggled, and he paused. That was her nervous giggle. “May?” he asked, still wary but not about to race out of his house with only his boxers on.

“No! No, it’s nothing like that. It’s just… Steven told me he loves me.”

His breath left his lungs.

“And I told him I love him back,” she continued.

All the adrenaline that had surged through his body only moments before completely left him at her words, and his limbs locked up instead. He felt cold.

“Hello?”

He didn’t even realise he had sunk to his knees until he meant to take a step back towards the couch. He just slumped onto his butt. “That’s―” He had to clear his throat. “That’s gotta be recent.”

He could slap himself. He sounded as dead as he felt. He tried again: “I mean, that’s great news, May! He’s a lucky guy. Yeah.”

She sighed with relief. Could Steven tell what her sighs meant over the phone? ”I’m the lucky one, I think,” she said happily, and that was his last straw.

“Heh, yeah, well,” he sputtered out, just to have something to say. “Listen, since you’re not in danger or anything, uh, you actually caught me at a bad time, so I gotta go. I’ll catch you later, yeah?”

Yeah, yeah, yeah.

“Wait, Ash! Before you go!”

He held back a sigh. “What’s up, May?”

“It’s just… You’re right; it is recent. You’re actually the first person I told.”

“I’m honoured.” He couldn’t help the sarcasm that spilled out, but he backtracked quickly. “I mean it. Thank you for telling me.”

“Of course, Ash; I tell you everything. At this point, it’s like I have to; nothing would ever feel real otherwise.”

He shut his eyes. He really couldn’t take this anymore. “I know what you mean. Same here.”

She made a cute sound, a quiet little ‘hmm,’ and that was when the first tear spilled out. “Alright, I’ve taken up enough of your time. I’ll text you later!!” she promised.

“Later,” he repeated, both an echo and a goodbye; and finally, blissfully, he ended the call.

...

When, when, when?!

That was supposed to be one of the sweetest moments of her young adult life, and she called on him―trusted him, even―to be happy for her. When did he get to the point where he couldn’t even do that? Instead, he recalls it now as he struggles to fall asleep, playing the memory at half-speed over and over again in his imagination, and all he does is hope.

He desperately hopes it’ll stop hurting so much.

~~~

fall for someone with the sweetest rebel heart

When he finds out he didn’t get the promotion he was vying for at work, there’s no one else’s comfort he sought but May’s.

“I’m sorry that happened, Ash,” May soothes as she rubs rhythmic circles into Ash’s back. They’re in her condo, noticeably nicer maintained than Ash’s flat, side by side on the sofa. It is the first time he’s let her touch him in weeks, and he really needs it. “At least now they know you’re interested? It might be your turn next time.”

Ash snorts but nods anyway. He’s usually the type to look at the bright side, but it would be an understatement to say that he is simply disappointed. After all the L’s he’s been taking in his personal life, he had been hoping at least something would go his way professionally.

May continues, “Just make sure not to let this setback actually set you back. Keep putting your best foot forward, and I know you’ll win those guys over… just like you did with me!” She ends with a wink, trying her hardest to inject some levity into the situation.

Just like that, Ash’s mood sours even more. “You can’t say that to me, May,” he angrily replies as he shuffles out of her hold.

“What are you talking about?” she pouts as she feebly tries to get him to lay back against the couch so that the cold air can’t get under the blanket they are sharing.

“I didn’t ‘win you over,’ clearly.” He shrugs off her touch and scoots away. He has spent so long trying to keep his bitterness inside, but he doesn’t have the emotional wherewithal to regulate himself right now. He’s tired of trying to get over things that make him upset.

May frowns, the furrow between her brow getting deeper as she sits up straight on the sofa. “Ash, why are you talking like that? I meant, like, how we became friends, obviously. I didn’t grow to love you by accident.”

Ash stands then, balling the blanket up and throwing it back on the couch. “I bet Steven wouldn’t be too happy to hear you say that.”

She follows suit, her voice elevating in volume as if to match. “I bet Steven wouldn’t appreciate being judged by someone who’s only met him once―despite my efforts otherwise, might I add.”

“I bet Steven would love to hear his girlfriend say she loves another guy.”

“I bet Steven isn’t dumb enough to think I can’t love you both.”

“You don’t love me, May!” Ash finally explodes.

He has never raised his voice like this, not to her, but he’s tired. He’s tired of loving someone he can’t have, he’s tired of hating himself for it, and he’s tired of the guilt when he takes it out on her despite all his attempts not to.

She looks like she’s torn between yelling right back or kicking him out; and before she could make up her mind, he collects himself enough so he could bring his voice down. He states simply, “Not the way you love Steven.” Not the way I love you.

He doesn’t say it, but he can tell she hears it anyway. He clears his throat and turns around, trying to hide without running away. “Hearts don’t work like that,” he murmurs into the room.

He makes to leave, but May’s hand on his shoulder stops him. She forcibly turns him back to face her, and Ash is shocked at the determined set to her face. Her eyes, bluer than a water stone and twice as powerful, hold him as captive as they always have. “You listen to me, Ash Ketchum.” Her tone brokers no argument. “If you thought for a second that I stopped loving you because I fell in love with Steven, you clearly underestimated what my heart is capable of.”

Her grip on him tightens, as if making sure he is still with her in the moment. “It’s big enough for the both of you; and if that’s not the way hearts are supposed to work, then I’ll just be the exception that proves the rule.”

She pulls him into a hug then, like locking that promise between them, and he dares let himself hope she means that.

~~~

fall for someone whose heart needs sewing up

Ash wasn’t expecting a knock on his door this late at night, and he definitely wasn’t expecting to see a beautifully made up May Maple standing in the hallway, mascara-tinged tears and runny nose notwithstanding.

"Steven is moving to Alola to support Devon Corp’s expansion," is all she said, but even that much is hard to make out through her watery voice.

The news sinks in, and Ash’s heart feels like someone moved it three centimetres to the left: still there, still functional, but not at all where he needs it to be.

"You’ve always talked about going to Alola," is the only way he could respond, thinking of all the times they’ve imagined taking a week off and vacationing in the tropical region. He won’t, can’t let himself think about anything else or else he’d break down.

In his heartbreak, he cannot recognise May's tears, which are too raw and too loud to be that of someone bearing regrettable news. These are the tears of a confused, broken heart.

"Ash, I'm not going," she sniffles, still stiffly standing outside his door. "He asked me not to."

Finally understanding that he misunderstood, Ash is even more disoriented than he was before. "Why would he do that?" he asks, obviously still trying to wrap his mind around what the hell was happening.

"I don’t know!" May yells while clenching her fists and stomping a high-heeled foot. It is the most movement she's made since he opened the door. "I demanded a reason, and he spewed nonsense at me! He said―" and she stops. Her whole body slumps back into stillness but without the stiffness of before. She continues quietly, "He said he didn’t want to see what I’d look like with my heart so far outside of my chest," like a guilty confession. Ash is at once reminded of their almost-fight a month ago, and he still isn’t sure what this all means.

He almost asks, Why wouldn’t he believe your heart was right where you were? or How capable is the human heart now? but he doesn’t.

Instead, he finally welcomes May inside. He sits her on the couch and helps her take off her heels before she wraps herself up in the blanket he keeps there―a blanket he only has, he remembers, because when she first visited his apartment, she insisted his couch needed one. She doesn’t just hold the blanket around her shoulders; she hides her entire frame within its folds. He merely sits on the couch next to the lump and places a solitary hand on top, unsure where it was resting yet hoping it is providing comfort nevertheless.

He wonders if May ever let Steven see her like this, the way she needs to shut out all stimuli as if to physically recreate her darkest moments. He wonders why he loves that she does that, even though it causes him so much selfish pain to be close enough to see her like this but shut out from her healing.

"I don’t think I have a boyfriend anymore," May says at length, voice dampened by the space and fabric between them.

It would have been the happiest news of Ash’s adult life if it weren’t for the extreme melancholy that laced her tone as she said it out loud.

He squeezes his hand into a fist on top of the blanket, his signal that he’d like to hug her if he could.

"I would have missed you if you left." Ash gives a nonsequitur-confession in response. May burrows deeper into the blankets and says nothing.

Instead, she reaches a hand out from a heretofore unseen opening in the fabric and holds on to his other hand tightly.

Ash stares at her slender knuckles, made paler from her firm grasp, and stops hoping.

He gently plies her fingers from his palm and tries not to feel guilty about the shocked, embarrassed way the hand pulls back into the blanket as he leaves her there.

The love of his life needs compassion right now. This is not his opportunity to sweep her off her feet; this is not his second chance.

He returns from the bedroom, settles back into his place on the couch, and forces May out of the blanket.

~~~

May jerks her head up, shocked and angry and still embarrassed from her rejected attempt to seek Ash’s comfort, but she is quickly mollified into confusion. The expected sight of Ash’s lit up form in his lit up living room ends up being no different from the blackness from which she thought she was rudely taken.

It is so dark under the extra, larger blanket that she can’t even see Ash’s nose even though she can sense his head is mere inches from hers.

His hands find hers in the darkness and squeeze. Relief flashes through her as she finally surrenders to the deep, thick slice of heartbreak.

May wants to see his face, but she settles for a hug.

[letterboxd]

Heart Beat.

Minari’s film composer Emile Mosseri (also responsible for the Kajillionaire and The Last Black Man in San Francisco scores) tells Ella Kemp about his A24 favorites, Nicholas Britell’s friendship and the boldest Paul McCartney needle drop in movie history.

What do you think a broken heart sounds like? How about a warm, beating one? It’s something that Emile Mosseri has been thinking about for a while now. The past two years have seen him complete a hat-trick of beguiling, transporting scores for Plan B movies: Joe Talbot and Jimmie Fails’ The Last Black Man in San Francisco, Miranda July’s Kajillionaire and now, the film voted the best of 2020 by our community, Lee Isaac Chung’s Minari.

What binds these scores together is a delicacy that knows when to break free and turn into something altogether spectacular. But on Minari in particular, Mosseri is in full bloom, working for the first time in a way he’d always dreamed about. While The Last Black Man in San Francisco saw him compose to a loose edit, and on Kajillionaire he worked to a locked cut, Chung gave him the freedom to write music directly to Minari’s script. “It was a dream to work this way on Minari,” Mosseri says. “It was so beautifully written and so visceral.”

‘Minari’ composer Emile Mosseri.

Minari is an intimate portrait of a Korean family making their way in rural America, and the composer was interested in “trying to figure out musically how you can feel connected to your deepest childhood memories”. These memories belong, in the film, to David—a tiny king played by eight-year-old Alan Kim—as he comes to terms with his new life on a small farm in Arkansas, as his family strives for their own version of the American Dream.

The Yi family is made up of David and his sister Anne (Noel Kate Cho), their parents Monica (Han Ye-ri) and Jacob (Steven Yeun) and their grandmother, Soon-ja (Youn Yuh-jung). It’s a personal story for Chung, one that Mosseri felt honored to be a part of. “It’s a very intimate story with these five characters, which takes place mostly in this small mobile home—but emotionally, it’s very epic.”

There was something about Chung that had caught Mosseri’s attention early on. “I had met him at the LA premiere of Last Black Man,” Mosseri says, “and I sent him the Kajillionaire score.” Mosseri was already familiar with the filmmaker’s work: “His first film, Munyurangabo, is incredible.” He calls Chung “very open, but also sly” in terms of hitting the right notes and “gently steering the ship”. The partnership between composer and director was about working on “a more emotional level,” Mosseri says. “There was never any talk about what we wanted stylistically.”

The ‘Minari’ ensemble cast.

The result is a film graced with music at once lush and raw, grandiose and vulnerable. Mosseri is keenly aware of these nuances, and always made sure to walk the tonal tightrope in the writing process. “There aren’t sad cues and hopeful cues,” he explains. “Every cue has both feelings. Each musical moment dips in and out of the hopefulness and joy of a family, and then the pain and frustration and dissonance that they hold.”

The way Mosseri’s music swells and flows often feels intangible, magical, even—which comes more from knowing what to avoid, rather than acting with too much forced intention. On his first film, Mosseri brought brass and strings to the streets of San Francisco, and with Miranda July, he worked old Hollywood glamor into the concrete blocks of Los Angeles. Here, we twirl through the tall grass as gentle acoustic guitars and elegant string sections sigh and sway, while the Yi family work through their growing pains.

“We didn’t want to hear Korean music when you see Korean characters, and we didn’t want twangy music when you see an American farm,” Mosseri explains. “We wanted to come at it from the side somehow, in some way that’s unexpected.” ‘Rain’, his collaboration with Minari star Han Ye-ri, which features on the official soundtrack, encapsulates this juxtaposition. It’s an epic lullaby of sorts; Han sings in Korean to a gentle guitar; a pleasing swell of synths climbs alongside her voice. The effect on the listener is as if liquid love is trickling from every vein. “I wanted this score to feel like it had a warm, beating heart.”

Two of your three feature films to date have been released by A24, and so we must ask: what are your favorite A24 film scores? Emile Mosseri: Three come to mind. First of all, Anna Meredith’s score for Eighth Grade. It’s so adventurous and unexpected and fresh and just brilliant. It’s so pure and out-there. It also does this impossible thing of being hip and exciting and deep, but also hilarious. The pool-party scene fucking kills me.

Then there’s Under the Skin by Mica Levi. I remember seeing that at the Nighthawk theater in Brooklyn and feeling like it was the best score I’d heard in as long as I could remember.

And then of course, Moonlight. That film got under my skin in a way I didn’t see coming. I saw it by myself in a theater, after hearing all the hype for months and months. When a movie has that much hype you can get a bit cynical and it can distract you, so I went in a bit guarded, but I left the film destroyed. For weeks and weeks it resonated with me in a way that was so profound, and a large part of that is due to Nick [Britell]’s music. And the film is just perfection.

Scarlett Johansson in ‘Under the Skin’ (2013), scored by Mica Levi.

You’ve been described as Nicholas Britell’s protégé more than once… It’s funny, I think that came from me being a fan of his and saying nice things about his music. I met him at Sundance two years ago when Last Black Man was premiering. I went with my wife and my brother and I was so excited, I’d been waiting for this moment for so long. We walked in and Nick and Barry [Jenkins] were walking in behind [us]. And there was also Boots Riley, Kamasi Washington… all these people I looked up to. I hadn’t considered that I would see this film in the room with them, and it was the first time I was hearing the final mix and just agonizing.

Nick was incredibly generous and said great things about the score and was super encouraging, and he became a friend and mentor. But I’ve never studied with him or worked with him. Although, if you’re a fan of somebody’s work, you’re a student of any of these composers that you admire. Anything you watch and listen to, you absorb.

What was the first film that made you want to be a composer? It was Edward Scissorhands. Danny Elfman’s score was the first one that made me realize that this was a job. I’m always attracted to big, romantic melodies, and over-the-top sweeping stuff—but done tastefully. In that score, he sets the high-water mark for me. It’s so unapologetically romantic.

And then there are other obvious ones like The Godfather. It’s maybe a dorky choice because it’s the most famous movie ever, but it really is the best. And that got me into Nino Rota, and from there I found [Federico] Fellini and all these movies through Nino, the composer. And then I got really into the score for La Dolce Vita and more movies that he’d written for, which are so beautiful.

The ‘Edward Scissorhands’ (1990) score was an early inspiration for Mosseri.

Which films, new to you, blew you away in 2020? Take Shelter by Jeff Nichols blew me away. It unfolded in a way that was intoxicating and really exciting, and it just really stuck with me.

What’s been your favorite needle drop on screen this year? Aside from Devonté Hynes’ score being stunning, there’s an amazing piece of music placed in an episode of Luca Guadagnino’s We Are Who We Are. They use a Paul McCartney song called ‘Let Em In’, and they dropped it in this incredibly tasteful but unexpected way, in a really dark, emotionally loaded scene. It worked in such a beautiful and graceful way. It’s because it’s the most cheery McCartney, it’s full-blown upbeat and poppy McCartney. And this is the darkest-of-the-dark human pain, and it lands in this way that is such a bold choice, such a powerful move.

What should people listen to after watching Minari? One record I’ve been listening to a lot recently is Jeff Tweedy’s Love is the King. It could be a good companion to Minari. I’m a huge fan of his and it’s a gorgeous record. It’s very stripped-down and emotionally raw, and it’s both hopeful and heartbreaking.

Which filmmakers would you love to work with next? I’m always afraid to answer this question because there are so many filmmakers I admire. There are filmmakers I grew up with loving their films—working with Miranda was that for me. Spike Jonze or Yorgos Lanthimos are directors in her world that I also love and would love to work with. But there’s so many others. Derek Cianfrance is amazing and he works with different composers. I love his choice of collaborators musically. I love that he used the late great Harold Budd to do his shows [including I Know This Much is True], and then Mike Patton, and Grizzly Bear… the music is always incredible in his projects, but he doesn’t have a go-to person. His films are so heartbreaking and powerful and really, really raw. He’s fearless.

I feel very lucky that I’ve worked on these three films which are all very much like somebody’s ripping their heart out and putting it on the screen. I feel like Derek Cianfrance does that in his films too, in this unapologetic, super-vulnerable way of just ripping his soul out and putting it out for everyone to see. It’s incredibly appealing to find those projects, because they’re really rare.

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Follow Ella on Letterboxd

‘Minari’ is available everywhere in the US that movies can be rented, and screening in select theaters in the US and other regions. Listen to the official soundtrack and more of Mosseri’s film compositions in the official Spotify playlist via Milan Records. ‘Kajillionaire’ is available on VOD now.

[davidmann95]

So... Morrison’s 10 part interview on All-Star Superman, along with all other older Newsarama articles, just seem to have ceased to exist. One does not simply live without having those interviews available to reread... Can I find them anywhere else?

Rejoice! I finally borrowed a computer I could put my flash drive into, and emailed myself my copy of the Morrison interview. Here it is below the cut, copied and pasted direct from the source way back when, available again at last:

Three years, 12 issues, Eisners and countless accolades later, All Star Superman is finally finished. The out-of-continuity look at Superman’s struggle with his inevitable death was widely embraced by fans and pros as one of the best stories to feature the Man of Steel, and was a showcase for the talents of the creative team of Grant Morrison, Frank Quitely and Jamie Grant.

Now, Newsarama is proud to present an exclusive look back with Morrison at the series that took Superman to, pun intended, new heights. We had a lot of questions about the series...and Morrison delivered with an in-depth look into the themes, characters and ideas throughout the 12 issues. In fact, there was so much that we’re running this as an unprecedented 10-part series over the next two weeks – sort of an unofficial All Star Superman companion. It’s everything about All Star Superman you ever wanted to know, but were afraid to ask.

And of course there’s plenty of SPOILERS, so back away if you haven’t read the entire series.

Newsarama: Grant, tell us a little about the origin of the project.

Grant Morrison: Some of it has its roots in the DC One Million project from 1999. So much so, that some readers have come to consider this a prequel to DC One Million, which is fine if it shifts a few more copies! I’ve tried to give my own DC books an overarching continuity intended to make them all read as a more coherent body of work when I’m done.

Luthor’s “enlightenment” – when he peaks on super–senses and sees the world as it appears through Superman’s eyes – was an element I’d included in the Superman Now pitch I prepared along with Mark Millar, Tom Peyer and Mark Waid back in 1999. There were one or two of ideas of mine that I wanted to preserve from Superman Now and Luthor’s heart–stopping moment of understanding was a favorite part of the original ending for that story, so I decided to use it again here.

My specific take on Superman’s physicality was inspired by the “shamanic” meeting my JLA editor Dan Raspler and I had in the wee hours of the morning outside the San Diego comic book convention in whenever it was, ‘98 or ‘99.

I’ve told this story in more detail elsewhere but basically, we were trying to figure out how to “reboot” Superman without splitting up his marriage to Lois, which seemed like a cop–out. It was the beginning of the conversations which ultimately led to Superman Now, with Dan and I restlessly pacing around trying to figure out a new way into the character of Superman and coming up short...

Until we looked up to see a guy dressed as Superman crossing the train tracks. Not just any skinny convention guy in an ill–fitting suit, this guy actually looked like Superman. It was too good a moment to let pass, so I ran over to him, told him what we’d been trying to do and asked if he wouldn’t mind indulging us by answering some questions about Superman, which he did...in the persona and voice of Superman!

We talked for an hour and a half and he walked off into the night with his friend (no, it wasn’t Jimmy Olsen, sadly). I sat up the rest of the night, scribbling page after page of Superman notes as the sun came up over the naval yards.

My entire approach to Superman had come from the way that guy had been sitting; so easy, so confident, as if, invulnerable to all physical harm, he could relax completely and be spontaneous and warm. That pose, sitting hunched on the bollard, with one knee up, the cape just hanging there, talking to us seemed to me to be the opposite of the clenched, muscle-bound look the character sometimes sports and that was the key to Superman for me.

I met the same Superman a couple of times afterwards but he wasn’t Superman, just a nice guy dressed as Superman, whose name I didn’t save but who has entered into my own personal mythology (a picture has from that time has survived showing me and Mark Waid posing alongside this guy and a couple of young readers dressed as Superboy and Supergirl – it’s in the “Gallery” section at my website for anybody who can be bothered looking. This is the guy who lit the fuse that led to All Star Superman).

After the 1999 pitch was rejected, I didn’t expect to be doing any further work on Superman but sometime in 2002, while I was going into my last year on New X–Men, Dan DiDio called and asked if I wanted to come back to DC to work on a Superman book with Jim Lee.

Jim was flexing his artistic muscles again to great effect, and he wanted to do 12 issues on Superman to complement the work he was doing with Jeph Loeb on “Batman: Hush.” At the time, I wasn’t able to make my own commitments dovetail with Jim’s availability, but by then I’d become obsessed with the idea of doing a big Superman story and I’d already started working out the details.

Jim, of course, went on to do his 12 Superman issues as “For Tomorrow” with Brian Azzarello, so I found myself looking for an artist for what was rapidly turning into my own Man of Steel magnum opus, and I already knew the book had to be drawn by my friend and collaborator, Frank Quitely.

We were already talking about We3 and Superman seemed like a good meaty project to get our teeth into when that was done. I completely scaled up my expectations of what might be possible once Frank was on board and decided to make this thing as ambitious as possible.

Usually, I prefer to write poppy, throwaway “live performance” type superhero books, but this time, I felt compelled to make something for the ages – a big definitive statement about superheroes and life and all that, not only drawn by my favorite artist but starring the first and greatest superhero of them all.

The fact that it could be a non–continuity recreation made the idea even more attractive and more achievable. I also felt ready for it, in a way I don’t think I would have been in 1999; I finally felt “grown–up” enough to do Superman justice.

I plotted the whole story in 2002 and drew tiny colored sketches for all 12 covers. The entire book was very tightly constructed before we started – except that I’d left the ending open for the inevitable better and more focused ideas I knew would arise as the project grew into its own shape...and I left an empty space for issue 10. That one was intended from the start to be the single issue of the 12–issue run that would condense and amplify the themes of all the others. #10 was set aside to be the one–off story that would sum up anything anyone needed to know about Superman in 22 pages.

Not quite as concise an origin as Superman’s, but that’s how we got started.

NRAMA: When you were devising the series, what challenges did you have in building up this version of the Superman universe?

GM: I couldn’t say there were any particular challenges. It was fun. Nobody was telling me what I could or couldn’t do with the characters. I didn’t have to worry about upsetting continuity or annoying people who care about stuff like that.

I don’t have a lot of old comics, so my knowledge of Superman was based on memory, some tattered “70s books from the remains of my teenage collection, a bunch of DC “Best Of...” reprint editions and two brilliant little handbooks – “Superman in Action Comics” Volumes 1 and 2 – which reprint every single Action Comics cover from 1938 to 1988.

I read various accounts of Superman’s creation and development as a brand. I read every Superman story and watched every Superman movie I could lay my hands on, from the Golden Age to the present day. From the Socialist scrapper Superman of the Depression years, through the Super–Cop of the 40s, the mythic Hyper–Dad of the 50s and 60s, the questioning, liberal Superman of the early 70s, the bland “superhero” of the late 70s, the confident yuppie of the 80s, the over–compensating Chippendale Superman of the 90s etc. I read takes on Superman by Mark Waid, Mark Millar, Geoff Johns, Denny O’Neil, Jeph Loeb, Alan Moore, Paul Dini and Alex Ross, Joe Casey, Steve Seagle, Garth Ennis, Jim Steranko and many others.

I looked at the Fleischer cartoons, the Chris Reeve movies and the animated series, and read Alvin Schwartz’s (he wrote the first ever Bizarro story among many others) fascinating book – “An Unlikely Prophet” – where he talks about his notion of Superman as a tulpa, (a Tibetan word for a living thought form which has an independent existence beyond its creator) and claims he actually met the Man of Steel in the back of a taxi.

I immersed myself in Superman and I tried to find in all of these very diverse approaches the essential “Superman–ness” that powered the engine. I then extracted, purified and refined that essence and drained it into All Star’s tank, recreating characters as my own dream versions, without the baggage of strict continuity.

In the end, I saw Superman not as a superhero or even a science fiction character, but as a story of Everyman. We’re all Superman in our own adventures. We have our own Fortresses of Solitude we retreat to, with our own special collections of valued stuff, our own super–pets, our own “Bottle Cities” that we feel guilty for neglecting. We have our own peers and rivals and bizarre emotional or moral tangles to deal with.

I felt I’d really grasped the concept when I saw him as Everyman, or rather as the dreamself of Everyman. That “S” is the radiant emblem of divinity we reveal when we rip off our stuffy shirts, our social masks, our neuroses, our constructed selves, and become who we truly are.

Batman is obviously much cooler, but that’s because he’s a very energetic and adolescent fantasy character: a handsome billionaire playboy in black leather with a butler at this beck and call, better cars and gadgetry than James Bond, a horde of fetish femme fatales baying around his heels and no boss. That guy’s Superman day and night.

Superman grew up baling hay on a farm. He goes to work, for a boss, in an office. He pines after a hard–working gal. Only when he tears off his shirt does that heroic, ideal inner self come to life. That’s actually a much more adult fantasy than the one Batman’s peddling but it also makes Superman a little harder to sell. He’s much more of a working class superhero, which is why we ended the whole book with the image of a laboring Superman.

He’s Everyman operating on a sci–fi Paul Bunyan scale. His worries and emotional problems are the same as ours... except that when he falls out with his girlfriend, the world trembles.

Newsarama: Grant, what are some of your favorite moments from the 12 issues?

Grant Morrison: The first shot of Superman flying over the sun. The Cosmic Anvil. Samson and Atlas. The kiss on the moon. The first three pages of the Olsen story which, I think, add up to the best character intro I’ve ever written.

Everything Lex Luthor says in issue #5. Everything Clark does. The whole says/does Luthor/Superman dynamic as played out through Frank Quitely’s absolute mastery and understanding of how space, movement and expression combine to tell a story.

Superboy and his dog on the moon – that perfect teenage moment of infinite possibility, introspection and hope for the future. He’s every young man on the verge of adulthood, Krypto is every dog with his boy (it seemed a shame to us that Krypto’s most memorable moment prior to this was his death scene in “Whatever Happened To The Man of Tomorrow.” Quitely’s scampering, leaping, eager and alive little creature is how I’d prefer to imagine Krypto the Superdog and conjures finer and more subtle emotions).

Bizarro–Home, with all of Earth’s continental and ocean shapes but reversed. The page with the first appearance of Zibarro that Frank has designed so the eye is pulled down in a swirling motion into the drain at the heart of the image, to make us feel that we’re being flushed in a cloacal spiral down into a nihilistic, existential sink. Frank gave me that page as a gift, and it became weirdly emblematic of a strange, dark time in both our lives.

The story with Bar–El and Lilo has a genuine chill off ammonia and antiseptic off it, which makes it my least favorite issue of the series, although I know a lot of people who love it. It’s about dying relatives, obligations, the overlit overheated corridors between terminal wards, the thin metallic odors of chemicals, bad food and fear. Preparation for the Phantom Zone.

Superman hugging the poor, hopeless girl on the roof and telling us all we’re stronger than we think we are.

Joe Shuster drawing us all into the story forever and never–ending.

Nasthalthia Luthor. Frank and Jamie’s final tour of the Fortress, referencing every previous issue on the way, in two pages.

All of issue #10 (there’s a single typo in there where the time on the last page was screwed up – but when we fix that detail for the trade I’ll be able to regard this as the most perfectly composed superhero story I’ve ever written).

I don’t think I’ve ever had a smoother, more seamless collaborative process.

NRAMA: The story is very complete unto itself, but are there any new or classic characters you’d like to explore further? If so, which ones and why?

GM: I’d happily write more Atlas and Samson. I really like Krull, the Dino–Czar’s wayward son, and his Stalinist underground empire of “Subterranosauri.” I could write a Superman Squad comic forever. I’d love to write the “Son of Superman” sequel about Lois and Clark’s super test tube baby.

But...I think All Star is already complete, without sequels. You read that last issue and it works because you know you’re never going to see All Star Superman again. You’ll be able to pick up Superman books, but they won’t be about this guy and they won’t feel the same. He really is going away. Our Superman is actually “dying” in that sense, and that adds the whole series a deeper poignancy.

NRAMA: Aside from the Bizarro League, you never really introduce other DC superheroes into the story. Why did you make this choice?

GM: I wanted the story to be about the mythic Superman at the end of his time. It’s clear from the references that he has or more likely has had a few super–powered allies, but that they’re no longer around or relevant any more.

For the context of this story I wanted the super–friends to be peripheral, like they were in the old comics. The Flash? Green Lantern? They represent Superman’s “old army buddies,” or your dad’s school friends. Guys you’ve sort of heard of, who used to be more important in the old man’s life than they are now.

NRAMA: Some readers were confused as to how the “Twelve Labors” broke down, though others have pointed out that Superman’s actions are more reflective of the Stations of the Cross (I note there’s a “Station Café” in the background of issue #12). Could you break down the Twelve Labors, or, if the cross theory is true, how the storyline reflects the Stations?

GM: The 12 Labors of Superman were never intended as an isomorphic mapping onto the 12 Labors of Hercules, or for that matter, the specific Stations of the Cross, of which there are 14, I believe. I didn’t even want to do one Labor per issue, so it deliberately breaks down quite erratically through the series for reasons I’ll go into (later).

Yes, there are correspondences, but that’s mostly because we tried to create for our Superman the contemporary “superhero” version of an archetypal solar hero journey, which naturally echoes numerous myths, legends and religious parables.

At the same time, we didn’t want to do an update or a direct copy of any myth you’d seen before, so it won’t work if you try to find one specific mythological or religious “plan” to hang the series on; James Joyce’s honorable and heroic refutation of the rule aside, there’s nothing more dead and dull than an attempt to retell the Odyssey or the Norse sagas scene by scene, but in a modern and/or superhero setting.

For future historians and mythologizers, however, the 12 Labors of Superman may be enumerated as follows:

1. Superman saves the first manned mission to the sun.
2. Superman brews the Super–Elixir.
3. Superman answers the Unanswerable Question.
4. Superman chains the Chronovore. 
5. Superman saves Earth from Bizarro–Home.
6. Superman returns from the Underverse.
7. Superman creates Life.
8. Superman liberates Kandor/cures cancer.
9. Superman defeats Solaris.
10. Superman conquers Death.
11. Superman builds an artificial Heart for the Sun.
12.Superman leaves the recipe/formula to make Superman 2.

And one final feat, which typically no–one really notices, is that Lex Luthor delivers his own version of the unified field haiku – explaining the underlying principles of the universe in fourteen syllables – which the P.R.O.J.E.C.T. G–Type philosopher from issue 4 had dedicated his entire life to composing!

You may notice also that the Labors take place over a year – with the solar hero’s descent into the darkness and cold of the Underverse occurring at midwinter/Christmas time (that’s also the only point in the story where we ever see Metropolis at night).

It can also be seen as the sun’s journey over the course of a day – we open in blazing sunshine but halfway through the book, at the end of issue #5, in fact, the solar hero dips below the horizon and begins the night–journey through the hours of darkness and death, before his triumphant resurrection at dawn. That’s why issue 5 ends with the boat to the Underworld and 6 begins with the moon. Clark Kent is crossing the threshold into the subconscious world of memory, shadows, death and deep emotions.

Although they can often have bizarre resonances, specific elements, like the Station Café, are usually put there by Frank Quitely, and are not necessarily secret Dan Brown–style keys to unlocking the mysteries. I think there might be a Station Café opposite the studio where Frank Quitely works and the “SAPIEN” sign on another storefront is a reference to Frank’s studio mate, Dave Sapien. At least he’s not filling the background with dirty words like he used to, given any opportunity

NRAMA: For that matter, do the Twelve Labors matter at all? They seem so purposely ill–defined. They seem more like misdirection or a MacGuffin than anything that needs to be clearly delineated.

GM: They matter, of course, but the 12 Labors idea is there to show that, as with all myth, the systematic ordering of current events into stories, tales, or legends occurs after the fact.

I’m trying to suggest that only in the future will these particular 12 feats, out of all the others ever, be mythologized as 12 Labors. I suppose I was trying to say something about how people impose meaning upon events in retrospect, and that’s how myth is born. It’s hindsight that provides narrative, structure, meaning and significance to the simple unfolding of events. It’s the backward glance that adds all the capital letters to the list above.

Even Superman isn”t sure how many Labors he’s performed when we see him mulling it over in issue 10. 
When you watched it happening, it seemed to be Superman just doing his thing. In the future it’s become THE 12 LABORS OF SUPERMAN!

NRAMA: And on a completely ridiculous note: All–Star Superman is perhaps the most difficult–to–abbreviate comic title since Preacher: Tall in the Saddle. Did you realize this going in?

GM: Going into what? Going into ASS itself? In the sense of how did I feel as I slowly entered ASS for the first time?

It never crossed my mind...

Newsarama: I’d like to know a little more about Leo Quintum and his role in the story. He seems like a bit of an outgrowth of the likes of Project Cadmus and Emil Hamilton, but in a more fantastical, Willy Wonka sense.

Grant Morrison: Yeah, he was exactly as you say, my attempt to create an updated take on the character of “Superman’s scientist friend” – in the vein of Emil Hamilton from the animated show and the ‘90s stories. Science so often goes wrong in Superman stories, and I thought it was important to show the potential for science to go right or to be elevated by contact with Superman’s shining positive spirit.

I was thinking of Quintum as a kind of “Man Who Fell To Earth” character with a mysterious unearthly background. For a while I toyed with the notion that he was some kind of avatar of Lightray of the New Gods, but as All Star developed, that didn’t fit the tone, and he was allowed to simply be himself.

Eventually it just came down to simplicity. Leo Quintum represents the “good” scientific spirit – the rational, enlightened, progressive, utopian kind of scientist I figured Superman might inspire to greatness. It was interesting to me how so many people expected Quintum to turn out bad at the end. It shows how conditioned we are in our miserable, self–loathing, suspicious society to expect the worst of everyone, rather than hope for the best. Or maybe it’s just what we expect from stories.

Having said that, there is indeed a necessary whiff of Lucifer about Quintum. His name, Leo Quintum, conjures images of solar force, lions and lightbringers and he has elements of the classic Trickster figure about him. He even refers to himself as “The Devil Himself” in issue #10.

What he’s doing at the end of the story should, for all its gee–whiz futurity, feel slightly ambiguous, slightly fake, slightly “Hollywood.” Yes, he’s fulfilling Superman’s wishes by cloning an heir to Superman and Lois and inaugurating a Superman dynasty that will last until the end of time – but he’s also commodifying Superman, figuring out how it’s done, turning him into a brand, a franchise, a bigger–and–better “revamp,” the ultimate coming attraction, fresher than fresh, newer than new but familiar too. Quintum has figured out the “formula” for Superman and improved upon it.

And then you can go back to the start of All Star Superman issue #1 and read the “formula” for yourself, condensed into eight words on the first page and then expanded upon throughout the story! The solar journey is an endless circle naturally. A perfect puzzle that is its own solution.

In one way, Quintum could be seen to represent the creative team, simultaneously re–empowering a pure myth with the honest fire of Art...while at the same time shooting a jolt of juice through a concept that sells more “S” logo underpants and towels than it does comic books. All tastes catered!

I have to say that the Willy Wonka thing never crossed my mind until I saw people online make the comparison, which seems quite obvious now. Quintum dresses how I would dress if I was the world’s coolest super–scientist. What’s up with that?

NRAMA: Was Zibarro inspired by the Bizarro World story where the Bizarro–Neanderthal becomes this unappreciated Casanova–type?

GM: Don’t know that one, but it sounds like a scenario I could definitely endorse!

Zibarro started out as a daft name sicked–up by my subconscious mind, which flowered within moments into the must–write idea of an Imperfect Bizarro. What would an imperfect version of an already imperfect being be like?

Zibarro.

NRAMA: I’d like to know more about Zibarro – what’s the significance of his chronicling Bizarro World through poetry?

GM: It’s up to you. I see Zibarro partly as the sensitive teenager inside us all. He’s moody, horribly self–aware and uncomfortable, yet filled with thoughts of omnipotence and agency. He’s the absolute center of his tiny, disorganized universe. He’s playing the role of sensitive, empathic poet but at the same time, he’s completely self–absorbed.

When he says to Superman “Can you even imagine what it’s like to be so different. So unique. So unlike everyone else?” he doesn’t even wait for Superman’s reply. He doesn’t care about anyone’s feelings but his own, ultimately.

NRAMA: The character is very close to Superman, so what does it say that a nonpowered version on a savage world would focus his energy through that medium? Also, does Zibarro’s existence show how Superman is able to elevate even the backwards Bizarros through his very nature?

GM: All of the above. And maybe he writes his totally subjective poetry as a reflection of Clark Kent’s objective reporter role. The suppressed, lyrical, wounded side of Superman perhaps? The Super–Morrissey? Bizarro With The Thorn In His Side?

But he’s also Bizarro–Home’s “mistake” (or so it seems to him, even though he’s as natural an expression of the place as any of the other Bizarro creatures who grow like mold across the surface of their living planet). He feels excluded, a despised outsider, and yet that position is what defines his cherished self–image. He expresses himself through poetry because to him the regular Bizarro language is barbaric, barely articulate and guttural. And they all think he’s talking crap anyway.

It seemed to make sense that an interesting opposite of Bizarro speech might be flowery “woe is me” school Poetry Society odes to the sunset in a misunderstood heart. He’s still a Bizarro though, which makes him ineffectual. His tragedy is that he knows he’s fated to be useless and pointless but craves so much more.

NRAMA: Zibarro also represents a recurrent theme in the story, of Superman constantly facing alternate versions of himself – Bar–El, Samson and Atlas, the Superman Squad, even Luthor by the end. Notably, Hercules is absent, though Superman’s doing his Twelve Labors. With the mythological adventurers in particular, was this designed to equate Superman with their legend, to show how his character is greater than theirs, or both?

GM: In a way, I suppose. He did arm–wrestle them both, proving once and for all Superman’s stronger than anybody! And remember, these characters, along with Hercules, used to appear regularly in Superman books as his rivals. I thought they made better rivals than, say, Majestic or Ultraman because people who don’t read comics have heard of Hercules, Samson and Atlas and understand what they represent.

For that particular story, I wanted to see Superman doing tough guy shit again, like he did in the early days and then again in the 70s, when he was written as a supremely cocky macho bastard for a while. I thought a little bit of that would be an antidote to the slightly soppy, Super–Christ portrayal that was starting to gain ground.

Hence Samson’s broken arm, twisted in two directions beyond all repair. And Atlas in the hospital. And then Superman’s got his hot girlfriend dressed like a girl from Krypton and they’re making out on the moon (the original panel description was of something more like the famous shot of Burt Lancaster and Deborah Kerr kissing in the surf from “From Here To Eternity.” Frank’s final choice of composition is much more classically pulp–romantic and iconic than my down and dirty rumble in the moondirt would have been, I’m glad to say).

Newsarama: Tell us about some of the thinking behind the new antagonists you created for this series (at least the ones you want to talk about...): First up: Krull and the Subterranosaurs...

Grant Morrison: We wanted to create some throwaway new characters which would be designed to look as if they were convincing long–term elements of the Superman legend.

We were trying to create a few foes who had a classic feel and a solid backstory that could be explored again or in depth. Even if we never went back to these characters, we wanted them to seem rich enough to carry their own stories.

With Krull, we figured a superhuman character like Superman can always use a powerful “sub–human” opponent: a beast, a monster, a savage with the power to destroy civilization. For years I’ve had the idea that the familiar “gray aliens” might “actually” be evolved biped dinosaur descendants, the offspring of smart–thinking lizards which made their way to the warm regions at the Earth’s core.

I imagined these brutes developing their own technology, their own civilization, and then finally coming to the surface to declare bloody war on the mammalian usurpers! It seemed like we could develop this idea into the Krull backstory and suggest a whole epic conflict in a few panels.

Dom Regan, the Glasgow artist and DC colorist, saw the original green skin Jamie Grant had done for Krull, and suggested we make him red instead. Jamie reset his color filters and that was the moment Krull suddenly looked like a real Superman foe.

The red skin marked him out as unique, different and dangerous, even among his own species. It had echoes of Jack Kirby’s Devil Dinosaur that played right into the heart of the concept. A good design became a great design and the whole story of who Krull was – his twisted relationship with his father the Dino–Czar, his monstrous ambitions – came together in that first picture.

The society was fleshed out in the script even though we see only one panel of it – a gloomy, heavy, “Soviet” underworld of walled iron cities, cold blood and deadly intrigue. War–Barges that could sail on the oceans of heated steam at the center of the Earth. A Stalinist authoritarian lizard world where missing person cases were being taken to work and die as slaves in hellish underworld conditions.

NRAMA: Mechano–Man?

GM: An attempt to pre–imagine a classic, archetypal Superman foe, which started with another simple premise – how about a giant robot villain? But not just any giant robot – this is a rampaging machine with a raging little man inside.

Giving him a bitter, angry, scrawny loser as a pilot turned Mechano–Man into a much more extreme and pathological expression of the Man of Steel/Mild–Mannered Reporter dynamic, and added a few interesting layers onto an 8–panel appearance.

NRAMA: The Chronovore – a very disturbing creation, that one.

GM: The Chronovore was mentioned in passing in DC 1,000,000 and would have been the monster in my aborted Hypercrisis series idea. It took a long time to get the right design for the beast because it’s meant to be a 5–D being that we only ever see in 4–D sections. It had to work as a convincing representation of something much bigger that we’re seeing only where it interpenetrates our 4–D space-time continuum.

Imagine you’re walking along with a song in your teenage heart, then suddenly the Chronovore appears, takes bite out of your life, and you arrive at your girlfriend’s house aged 76, clutching a cell phone and a wilted bouquet.

NRAMA: One more obscure run that I was happy to see referenced in this was the use of Nasty from the old Mike Sekowsky Supergirl stories. What made you want to use this character?

GM: I remembered her from the old comics, and felt her fashion–y look could be updated very easily into the kind of fetish club thing I’ve always been partial to.

She seemed a cool and sexy addition to the Luthor plot. The set–up, where Lex has a fairly normal sister who hates how her wayward brother is such a bad influence on her brilliant daughter, is explosive with character potential.

They need to bring Nasty back to mainstream continuity. Geoff! They all want it and you know you never let them down!

NRAMA: Speaking of Mike Sekowsky, I’m curious about his influence on your work. I have an odd fascination with all the ideas and stories he was tossing around in the late 1960s and early 1970s – Jason’s Quest, Manhunter 2070, the I–Ching tales – and many of the characters he worked on, from the B”Wana Beast to the Inferior Five to Yankee Doodle (in Doom Patrol), have shown up in your work. The Bizarro Zoo in issue #10 is even slightly reminiscent of the Beast’s merged animals.

GM: Those were all comics that were around when I was a normal kid, prior to the obsessive collecting fan phase of my isolated teenage years. They clearly inspired me in some way, as you say, but certainly not consciously. I’d never have considered myself a particular fan of Mike Sekowsky’s work, but as you say, I’ve incorporated a lot of his ideas into the DC Universe work I’ve done. Hmm. Interesting.

While I’m at it, I should also say something about Samson and Atlas, halfway between old characters and new.

Samson, Atlas and Hercules were classical mainstays of old Superman covers, tangling with Superman in all those Silver Age stories that happened before he learned from his friends at Marvel that it was possible to fight other superheroes for fun and profit, so I decided to completely “re–vamp” the characters in the manner of superhero franchises. Marvel has the definitive Hercules for me, so I left him out of the mix and concentrated on Atlas and Samson.

Atlas was re–imagined as a mighty but restless and reckless young prince of the New Mythos – a society of mega–beings playing out their archetypal dramas between New Elysium and Hadia, with ordinary people caught in the middle – and Superman.

Essentially good–hearted, Atlas would have been the newbie in a “team” with Skyfather Xaoz!, Heroina, Marzak and the others. He has a bullish, adolescent approach to life. He drinks and plunges himself into ill–advised adventures to ease his naturally gloomy “weighed down by the world” temperament.

You can see it all now. The backstory suggested an unseen, Empyrean New Gods–type series from a parallel universe. What if, when Jack Kirby came to DC from Marvel in 1971, he’d followed up his sci–fi Viking Gods saga at Marvel, with a dimension–spanning epic rooted in Greek mythology? New Gods meets Eternals drawn by Curt Swan/Murphy Anderson? That was Atlas.

Samson, I decided would be a callback to the British newspaper strip “Garth.” Although you may already be imagining a daily strip about the exploits of time–tossed The Boys writer, Garth Ennis, it was actually about a blonde Adonis type who bounced around the ages having mildly horny, racy adventures.

(Go look him up then return the wiser before reading on, so I don’t have to explain anymore about this bastard – he’s often described as “the British Superman,” but oh...my arse! I hated meathead, personality–singularity Garth...but we all grew up with his meandering, inexplicable yet incredibly–drawn adventures and some of it was quite good when you were a little lad because he was always shagging ON PANEL with the likes of a bare–breasted cave girl or gauze–draped Helen of Troy.

(Unlike Superman, you see, the top British strongman liked to get naked. Lots naked. Naked in every time period he could get naked in, which was all of them thanks to the miracle of his bullshit powers.

(Imagine Doctor Who buff, dumb and naked all the time – Russell, I’ve had an idea!!!! – and that’s Garth in a nutshell.

(Sorry, I know I’m going on and the average attention span of anyone reading stuff on the Internet amounts to no more than a few paragraphs, but basically, Garth was always getting naked. In public, in family newspapers. Bollock naked. Let’s face it, patriotic Americans, have you ever seen Superman’s arse?

Newsarama Note: Well, there was Baby Kal-El in the 1978 film...

(Brits, hands up who still remember the man, and have you ever not seen Garth’s arse? Do you not, in fact, have a very clear image of it in your head, as drawn by Martin Asbury perhaps? In mine, Garth’s pulling aside a flimsy curtain to gaze at the pyramids with Cleopatra buck naked in foreground ogling his rock hard glutes...).

Anyway, Samson, I decided, was the Hebrew version of Garth and he would have his own mad comic that was like an American version of Garth. I saw the Bible hero plucked from the desert sands by time–travelling buffoons in search of a savior. Introduced to all the worst aspects of future culture and, using his stolen, erratic Chrono–Mobile, Samson became a time–(and space) traveling Soldier of Fortune, writing wrongs, humping princesses, accumulating and losing treasure etc. Like a science fiction Conan. Meets Garth.

Fortunately, you’ll never see any of these men ever again.

Newsarama: How have your perceptions of Superman and his supporting characters evolved since the Superman 2000 pitch you did with Mark Waid, Mark Millar and Tom Peyer? The Superman notions seem almost identical, but Luthor is very different here than in that pitch, and so is Clark Kent. Did you use some aspects of your original pitch, or have you just changed his mind on how to portray these characters since?

Grant Morrison: A little of both. I wanted to approach All Star Superman as something new, but there were a couple of specific aspects from the Superman 2000 pitch (as I mentioned earlier, it was actually called Superman Now, at least in my notebooks, which is where the bulk of the material came from) that I felt were definitely worth keeping and exploring.

I can’t remember much about Luthor from Superman Now, except for the ending. By the time I got to All Star Superman, I’d developed a few new insights into Luthor’s character that seemed to flesh him out more. Luthor’s really human and charismatic and hateful all the same time. He’s the brilliant, deluded egotist in all of us. The key for me was the idea that he draws his eyebrows on. The weird vanity of that told me everything I needed to know about Luthor.

I thought the real key to him was the fact that, brilliant as he is, Luthor is nowhere near as brilliant as he wants to be or thinks he is. For Luthor, no praise, no success, no achievement is ever enough, because there’s a big hungry hole in his soul. His need for acknowledgement and validation is superhuman in scale. Superman needs no thanks; he does what he does because he’s made that way. Luthor constantly rails against his own sense of failure and inadequacy...and Superman’s to blame, of course.

I’ve recently been re–thinking Luthor again for a different project, and there’s always a new aspect of the character to unearth and develop.

NRAMA: This story makes Superman and Lois’ relationship seem much more romantic and epic than usual, but this one also makes Superman more of the pursuer. Lois seems like more of an equal, but also more wary of his affections, particularly in the black–and–white sequence in issue #2.

She becomes this great beacon of support for him over the course of the series, but there is a sense that she’s a bit jaded from years of trickery and uncomfortable with letting him in now that he’s being honest. How, overall, do you see the relationship between Superman and Lois?

GM: The black-and-white panels shows Lois paranoid and under the influence of an alien chemical, but yes, she’s articulating many of her very real concerns in that scene.

I wanted her to finally respond to all those years of being tricked and duped and led to believe Superman and Clark Kent were two different people. I wanted her to get her revenge by finally refusing to accept the truth.

It also exposed that brilliant central paradox in the Superman/Lois relationship. The perfect man who never tells a lie has to lie to the woman he loves to keep her safe. And he lives with that every day. It’s that little human kink that really drives their relationship.

NRAMA: Jimmy Olsen is extremely cool in this series – it’s the old “Mr. Action” idea taken to a new level. It’s often easy to write Jimmy as a victim or sycophant, but in this series, he comes off as someone worthy of being “Superman’s Pal” – he implicitly trusts Superman, and will take any risk to get his story. Do you see this version of Jimmy as sort of a natural evolution of the version often seen in the comics?

GM: It was a total rethink based on the aspects of Olsen I liked, and playing down the whole wet–behind–the–ears “cub reporter” thing. I borrowed a little from the “Mr. Action” idea of a more daredevil, pro–active Jimmy, added a little bit of Nathan Barley, some Abercrombie & Fitch style, a bit of Tintin, and a cool Quitely haircut.

Jimmy was renowned for his “disguises” and bizarre transformations (my favorite is the transvestite Olsen epic “Miss Jimmy Olsen” from Jimmy Olsen #95, which gets a nod on the first page of our Jimmy story we did), so I wanted to take that aspect of his appeal and make it part of his job.

I don’t like victim Jimmy or dumb Jimmy, because those takes on the character don’t make any sense in their context. It seemed more interesting see what a young man would be like who could convincingly be Superman’s “pal.” Someone whose company a Superman might actually enjoy. That meant making Jimmy a much bigger character: swaggering but ingenuous. Innocent yet worldly. Enthusiastic but not stupid.

My favorite Jimmy moment is in issue #7 when he comes up with the way to defeat the Bizarro invasion by using the seas of the Bizarro planet itself as giant mirrors to reflect toxic – to Bizarros – sunlight onto the night side of the Earth. He knows Superman can actually take crazy lateral thinking like this and put it into practice.

NRAMA: Perry White has a few small–but–key scenes, particularly his address to his staff in issue #1 and standing up to Luthor in issue #12. I’d like to hear more about your thoughts on this character.

GM: As with the others, my feelings are there on the page. Perry is Clark’s boss and need only be that and not much more to play his role perfectly well within the stories. He’s a good reminder that Superman has a job and a boss, unlike that good–for–nothing work-shy bastard Batman. Perry’s another of the series’ older male role models of integrity and steadfastness, like Pa Kent.

NRAMA: There’s a sense in the Daily Planet scenes and with Lois’s spotlight issues that everyone knows Clark is Superman, but they play along to humor him. The Clark disguise comes off as very obvious in this story. Do you feel that the Planet staff knows the truth, or are just in a very deep case of denial, like Lex?

GM: If I had to say for sure, I think Jimmy Olsen worked it out a long time ago, and simply presumes that if Superman has a good reason for what he’s doing, that’s good enough for Jimmy.

Lois has guessed, but refuses to acknowledge it because it exposes her darkest flaw – she could never love Clark Kent the way she loves Superman.

NRAMA: Also, the Planet staff seems awfully nonchalant at Luthor’s threats. Are they simply used to being attacked by now?

GM: Yes. They’re a tough group. They also know that Superman makes a point of looking out for them, so they naturally try to keep Luthor talking. They know he loves to talk about himself and about Superman. In that scene, he’s almost forgotten he even has powers, he’s so busy arguing and making points. He keeps doing ordinary things instead of extraordinary things.

NRAMA: The running gag of Clark subtly using his powers to protect unknowing people is well done, but I have to admit I was confused by the sequence near the end of issue #1. Was that an el–train, and if so, why was it so close to the ground?

GM: It’s a MagLev hover–train. Look again, and you’ll see it’s not supported by anything. Hover–trains help ease congestion in busy city streets! Metropolis is the City of Tomorrow, after all.

NRAMA: And there’s the death of Pa Kent. Why do you feel it’s particularly important to have Pa and not both of the Kents pass away?

GM: I imagined they had both passed away fairly early in Superman’s career, but Ma went a few years after Pa. Also, because the book was about men or man, it seemed important to stress the father/son relationships. That circle of life, the king is dead, long live the king thing that Superman is ultimately too big and too timeless to succumb to.

NRAMA: There is a real touch of Elliott S! Maggin’s novels in your depiction of Luthor – someone who is just so obsessive–compulsive about showing up Superman that he accomplishes nothing in his own life. He comes across as a showman, from his rehearsed speech in issue #1 to his garish costume in the last two issues, and it becomes painfully apparent that he wants to usurp Superman because he just can’t be happy with himself. What defeats him is actually a beautiful gift, getting to see the world as Superman does, and finally understanding his enemy.

That’s all a lead–in to: What previous stories that defined Luthor for you, and how did you define his character? What appeals to you about writing him?

GM: The Marks Waid and Millar were big fans of the Maggin books, and may have persuaded me to read at least the first one but I’m ashamed to say can’t remember anything about it, other than the vague recollection of a very humane, humanist take on Superman that seemed in general accord with the pacifist, hedonistic, between–the–wars spirit of the ‘90s when I read it. It was the ‘90s; I had other things on my mind and in my mind.

I like Maggin’s “Must There Be A Superman?” from Superman #247, which ultimately poses questions traditional superhero comic books are not equipped to answer and is one of the first paving stones in the Yellow Brick Road that leads to Watchmen and beyond, to The Authority, The Ultimates etc. Everyone still awake, still reading this, should make themselves familiar with “Must There Be A Superman?” – it’s a milestone in the development of the superhero concept.

However, the story that most defines Luthor for me turns out to be, as usual, a Len Wein piece with Curt Swan/Murphy Anderson– Superman #248. This blew me away when I was a kid. Lex Luthor cares about humanity? He’s sorry we all got blown up? The villain loves us too? It’s only Superman he really hates? Genius. Big, cool adult stuff.

The divine Len makes Lex almost too human, but it was amazing to see this kind of depth in a character I’d taken for granted as a music hall villain.

I also love the brutish Satanic, Crowley–esque, Golden Age Luthor in the brilliant “Powerstone” Action Comics #47 (the opening of All Star #11 is a shameless lift from “Powerstone”, as I soon realised when I went back to look. Blame my...er...photographic memory...cough).

And I like the Silver Age Luthor who only hates Superman because he thinks it’s Superboy’s fault he went bald. That was the most genuinely human motivation for Luthor’s career of villainy of all; it was Superman’s fault he went bald! I can get behind that.

In the Silver Age, baldness, like obesity, old age and poverty, was seen quite rightly as a crippling disease and a challenge which Superman and his supporting cast would be compelled to overcome at every opportunity! Suburban “50s America versus Communist degeneracy? You tell me.

I like elements of the Marv Wolfman/John Byrne ultra–cruel and rapacious businessman, although he somewhat lacks the human dimension (ultimately there’s something brilliant about Luthor being a failed inventor, a product of Smallville/Dullsville – the genius who went unnoticed in his lifetime, and resorted to death robots in chilly basements and cellars. Luthor as geek versus world). I thought Alan Moore’s ruthlessly self–assured “consultant” Luthor in Swamp Thing was an inspired take on the character as was Mark Waid’s rage–driven prodigy from Birthright.

I tried to fold them all into one portrayal. I see him as a very human character – Superman is us at our best, Luthor is us when we’re being mean, vindictive, petty, deluded and angry. Among other things. It’s like a bipolar manic/depressive personality – with optimistic, loving Superman smiling at one end of the scale and paranoid, petty Luthor cringing on the other.

I think any writer of Superman has to love these two enemies equally. We have to recognize them both as potentials within ourselves. I think it’s important to find yourself agreeing with Luthor a bit about Superman’s “smug superiority” – we all of us, except for Superman, know what it’s like to have mean–spirited thoughts like that about someone else’s happiness. It’s essential to find yourself rooting for Lex, at least a little bit, when he goes up against a man–god armed only with his bloody–minded arrogance and cleverness.

Even if you just wish you could just give him a hug and help him channel his energies in the right direction, Luthor speaks for something in all of us, I like to think.

However he’s played, Luthor is the male power fantasy gone wrong and turned sour. You’ve got everything you want but it’s not enough because someone has more, someone is better, someone is cleverer or more handsome.

 Newsarama: Grant, a recurring theme throughout the book is the effect of small kindness – how even the likes of Steve Lombard are capable of decency. And Superman gets the key to saving himself by doing something that any human being could do, offering sympathy to a person about to end it all.

Grant Morrison: Completely...the person you help today could be the person who saves your life tomorrow.

NRAMA: The character actions that make the biggest difference, from Zibarro’s sacrifice to Pa’s influence on Superman, are really things that any normal, non-powered person could do if they embrace the best part of their humanity. The last page of issue #12 teases the idea that Superman’s powers could be given to all mankind, but it seems as though the greatest gift he has given them is his humanity. How do you view Superman’s fate in the context of where humanity could go as a species?

GM: I see Superman in this series as an Enlightenment figure, a Renaissance idea of the ideal man, perfect in mind, body and intention.

A key text in all of this is Pico’s ‘Oration On The Dignity of Man’ (15c), generally regarded as the ‘manifesto’ of Renaissance thought, in which Giovanni Pico Della Mirandola laid out the fundamentals of what we tend to refer to as ’Humanist’ thinking.

(The ‘Oratorio’ also turns up in my British superhero series Zenith from 1987, which may indicate how long I’ve been working towards a Pico/Superman team-up!)

At its most basic, the ‘Oratorio’ is telling us that human beings have the unique ability, even the responsibility, to live up to their ‘ideals’. It would be unusual for a dog to aspire to be a horse, a bird to bark like a dog, or a horse to want to wear a diving suit and explore the Barrier Reef, but people have a particular gift for and inclination towards imitation, mimicry and self-transformation. We fly by watching birds and then making metal carriers that can outdo birds, we travel underwater by imitating fish, we constantly look to role models and behavioral templates for guidance, even when those role models are fictional TV or, comic, novel or movie heroes, just like the soft, quick, shapeshifty little things we are. We can alter the clothes we wear, the temperature around us, and change even our own bodies, in order to colonize or occupy previously hostile environments. We are, in short, a distinctively malleable and adaptable bunch.

So, Pico is saying, if we live by imitation, does it not make sense that we might choose to imitate the angels, the gods, the very highest form of being that we can imagine? Instead of indulging the most brutish, vicious, greedy and ignorant aspects of the human experience, we can, with a little applied effort, elevate the better part of our natures and work to express those elements through our behavior. To do so would probably make us all feel a whole lot better too. Doing good deeds and making other people happy makes you feel totally brilliant, let’s face it.

So we can choose to the astronaut or the gangster. The superhero or the super villain. The angel or the devil. It’s entirely up to us, particularly in the privileged West, how we choose to imagine ourselves and conduct our lives.

We live in the stories we tell ourselves. It’s really simple. We can continue to tell ourselves and our children that the species we belong to is a crawling, diseased, viral cancer smear, only fit for extinction, and let’s see where that leads us.

We can continue to project our self-loathing and narcissistic terror of personal mortality onto our culture, our civilization, our planet, until we wreck the promise of the world for future generations in a fit of sheer self-induced panic...

...or we can own up to the scientific fact that we are all physically connected as parts of a single giant organism, imagine better ways to live and grow...and then put them into practice. We can stop pissing about, start building starships, and get on with the business of being adults.

The ’Oratorio’ is nothing less than the Shazam!, the Kimota! for Western Culture and we would do well to remember it in our currently trying times.

The key theme of the ‘Dark Age’ of comics was loss and recovery of wonder - McGregor’s Killraven trawling through the apocalyptic wreckage of culture in his search for poetry, meaning and fellowship, Captain Mantra, amnesiac in Robert Mayer’s Superfolks, Alan Moore’s Mike Maxwell trudging through the black and white streets of Thatcher’s Britain, with the magic word of transformation burning on the tip of his tongue.

My own work has been an ongoing attempt to repeat the magic word over and over until we all become the kind of superheroes we’d all like to be. Ha hah ha.

 Newsarama: The structure of the 12 issues involves both Superman’s 12 labors and his impending death. Do you feel the threat of his demise brings out the best in Superman’s already–high character, or did you intend it more as a window for the audience to understand how he sees the world?

Grant Morrison: In trying to do the “big,” ultimate Superman story, we wanted to hit on all the major beats that define the character – the “death of Superman” story has been told again and again and had to be incorporated into any definitive take. Superman’s death and rebirth fit the sun god myth we were establishing, and, as you say, it added a very terminal ticking clock to the story.

NRAMA: When we talked earlier this year, we discussed the neurotic quality of the Silver Age stories. Looking at the series as a whole, you consistently invert this formula. Superman is faced with all these crises that could be seen as personifying his neuroses, but for the most part he handles them with a level head and comes across as being very at peace with himself. You talked about your discussion with an in–character Superman fan at a convention years ago, but I am curious as to how you determined Superman’s mindset.

GM: I felt we had to live up to the big ideas behind Superman. I don’t take my daft job lightly. It’s all I’ve got.

As the project got going, I wasn’t thinking about Silver Ages or Dark Ages or anything about the comics I’d read, so much as the big shared idea of “Superman” and that “S” logo I see on T–shirts everywhere I go, on girls and boys. That communal Superman. I wanted us to get the precise energy of Platonic Superman down on the page.

The “S” hieroglyph, the super–sigil, stands for the very best kind of man we can imagine, so the subject dictated the methodical, perfectionist approach. As I’ve mentioned before, I keep this aspect of my job fresh for myself by changing my writing style to suit the project, the character or the artist.

With something like Batman R.I.P., I’m aiming for a frenzied Goth Pulp-Noir; punk-psych, expressionist shadows and jagged nightmare scene shifts, inspired by Batman’s roots and by the snapping, fluttering of his uncanny cape. Final Crisis was written, with the Norse Ragnarok and Biblical Revelations in mind, as a story about events more than characters. A doom-laden, Death Metal myth for the wonderful world of Fina(ncia)l Crisis/Eco-breakdown/Terror Trauma we all have to live in.

The subject matter drives the execution. And then, of course, the artists add their own vision and nuance. With All Star Superman, “Frank” and I were able to spend a lot of time together talking it through, and we agreed it had to be about grids, structure, storybook panel layouts, an elegance of form, a clarity of delivery. “Classical” in every sense of the word. The medium, the message, the story, the character, all working together as one simple equation.

Frank Quitely, a Glasgow Art School boy, completely understood without much explanation, the deep structural underpinnings of the series and how to embody them in his layouts. There’s a scene in issue # 8, set on the Bizarro world, where we see Le Roj handing Superman his rocket plans. Look at the arrangement of the figures of Zibarro, Le Roj, Superman and Bizaro–Superman and you’ll see one attempt to make us of Renaissance compositions.

The sense of sunlit Zen calm we tried to get into All Star is how I imagine it might feel to think the way Superman thinks all the time - a thought process that is direct, clean, precise, mathematical, ordered. A mind capable of fantastical imagination but grounded in the everyday of his farm upbringing with nice decent folks. Rich with humour and tears and deep human significance, yet tuned to a higher key. We tried to hum along for a little while, that’s all.

In honor of the character’s primal position in the development of the superhero narrative, I hoped we could create an “ultimate” hero story, starring the ultimate superhero.

Basically, I suppose I felt Superman deserved the utmost application of our craft and intelligence in order to truly do him justice.

Otherwise, I couldn’t have written this book if I hadn’t watched my big, brilliant dad decline into incoherence and death. I couldn’t have written it if I’d never had my heart broken, or mended. I couldn’t have written it if I hadn’t known what it felt like to be idolized, misunderstood, hated for no clear reason, loved for all my faults, forgotten, remembered...

Writing All Star Superman was, in retrospect, also a way of keeping my mind in the clean sunshine while plumbing the murkiest depths of the imagination with that old pair of c****s Darkseid and Doctor Hurt. Good riddance.

 Newsarama: This is touched on in other questions, but how much of the Silver/Bronze Age backstory matters here? What do you see as Superman's life prior to All-Star Superman? (What was going on with this Superman while the Byrne revamp took hold?)

Grant Morrison: When I introduced the series in an interview online, I suggested that All Star Superman could be read as the adventures of the ‘original’ Pre-Crisis on Infinite Earths Superman, returning after 20 plus years of adventures we never got to see because we were watching John Byrne‘s New Superman on the other channel. If ‘Whatever Happened To The Man of Tomorrow?’ and the Byrne reboot had never happened, where would that guy be now?

This was more to provide a sense, probably limited and ill-considered, of what the tone of the book might be like. I never intended All Star Superman as a direct continuation of the Weisinger or Julius Schwartz-era Superman stories. The idea was always to create another new version of Superman using all my favorite elements of past stories, not something ‘Age’ specific.

I didn’t collect Superman comics until the ‘70s and I’m not interested enough in pastiche or nostalgia to spend 6 years of my life playing post-modern games with Superman. All Star isn’t written, drawn or colored to look or read like a Silver Age comic book.

All Star Superman is not intended as arch commentary on continuity or how trends in storytelling have changed over the decades. It’s not retro or meta or anything other than its own simple self; a piece of drawing and writing that is intended by its makers to capture the spirit of its subject to the best of their capabilities, wisdom and talent.

Which is to say, we wanted our Superman story be about life, not about comics or superheroes, current events or politics. It’s about how it feels, specifically to be a man...in our dreams! Hopefully that means our 12 issues are also capable of wide interpretation.

So as much as we may have used a few recognizable Silver Age elements like Van-Zee and Sylv(i)a and the Bottle City of Kandor, the ensemble Daily Planet cast embodies all the generations of Superman. Perry White is from 1940, Steve Lombard is from the Schwartz-era ‘70s, Ron Troupe - the only black man in Metropolis - appeared in 1991. Cat Grant is from 1987 and so on.

P.R.O.J.E.C.T. refers back to Jack Kirby’s DNA Project from his ‘70s Jimmy Olsen stories, as well as to The Cadmus Project from ’90s Superboy and Superman stories. Doomsday is ‘90s. Kal Kent, Solaris and the Infant Universe of Qwewq all come from my own work on Superman in the same decade. Pa Kent’s heart attack is from ‘Superman the Movie‘. We didn’t use Brainiac because he’d been the big bad in Earth 2 but if we had, we’d have used Brainiac’s Kryptonian origin from the animated series and so on.

I also used quite a few elements of John Byrne’s approach. Byrne made a lot of good decisions when he rebooted the whole franchise in 1986 and I wanted to incorporate as much as I could of those too.

Our Superman in All Star was never Superboy, for instance. All Star Superman landed on Earth as a normal, if slightly stronger and fitter infant, and only began to manifest powers in adolescence when he’d finally soaked up enough yellow solar radiation to trigger his metamorphosis.

The Byrne logic seemed to me a better way to explain how his powers had developed across the decades, from the skyscraper leaps of the early days to the speed-of-light space flight of the high Silver Age. And more importantly, it made the Superman myth more poignant - the story of a farm boy who turned into an alien as he reached adolescence. I felt that was something that really enriched Superman. He grew away from his home, his family, his adopted species as he became Superman. His teenage years are a record of his transformation from normal boy to super-being.

As you say, there are more than just Silver Age influences in the book. Basically we tried to create a perfect synthesis of every Superman era. So much so, that it should just be taken as representative of an ‘age’ all its own.

In the end, however, I do think that the Silver Age type stories, with their focus on human problems and foibles, have a much wider appeal than a lot of the work which followed. They’re more like fables or folk tales than the later ‘comic book superhero’ stories of Superman when he became just another colorful costume in the crowd...and perhaps that’s why All Star seemed to resemble those books more than it does a typical modern Marvel or DC comic. It was our intention to present a more universal, mainstream Superman.

NRAMA: In your depiction of Krypton and the Kryptonians, you show the complexity of Superman’s relationship between humanity and Earth even further. Krypton has that scientific paradise quality to it, but the Kryptonians are also portrayed as slightly aloof and detached, even Jor-El. But from Bar-El to the people of Kandor, they’re touched by Superman’s goodness. What do you see as the fundamental difference between Kryptonians and Earthlings, and how has Superman’s character been shaped by each?

GM: My version of Krypton was, again, synthesized from a number of different approaches over the decades. 
In mythic terms, if Superman is the story of a young king, found and raised by common people, then Krypton is the far distant kingdom he lost. It’s the secret bloodline, the aristocratic heritage that makes him special, and a hero. At the same time, Krypton is something that must be left behind for Superman to become who he is - i.e. one of us. Krypton gives him his scientific clarity of mind, Earth makes his heart blaze.

I liked the very early Jerry Siegel descriptions where Krypton is a planet of advanced supermen and women (I already played with that a little in Marvel Boy where Noh-Varr was written to be the Marvel Superboy basically). To that, I added the rich, science fiction detailing of the Silver Age Krypton stories and the slightly detached coolness that characterized John Byrne’s Krypton, which I re-interpreted through the lens of Dzogchen Buddhist thought, probably the most pragmatic, chilly and rational philosophic system on the planet and the closest, I felt, to how Kryptonians might see things.

We also took some time to redesign the crazy, multicolored Kryptonian flag (you can see our version in Kandor in issue #10). The flag, as originally imagined, seemed like the last thing Kryptonians would endorse, so we took the multicolored-rays-around-a-circle design and recreated it - the central circle is now red, representing Krypton’s star, Rao, while the rays, rather than arbitrary colors, become representations of the spectrum of visible light pouring from Rao into the inky black of space. In this way, the flag, that bizarre emblem of nationalism becomes a scientific hieroglyph.

Showing Krypton and Kryptonians was also important as a way of stressing why Superman wears that costume and why it makes absolute sense that he looks the way he does. I don’t see the red and blue suit as a flag or as rewoven baby blankets. There’s no need for Superman to dress the way he does but it made sense to think of his outfit as his ‘national costume‘.

The way I see it, the standard superhero outfit, the familiar Superman suit with the pants on the outside, is what everyone wore on Krypton, give or take a few fashion accessories like hoods and headbands, chest crests and variant colors. In fact, all other superheroes are just copying the fashions on Krypton, lost planet of the super-people.

Superman wears his ’action-suit’ the way a patriotic Scotsman would wear a kilt. It’s a sign of his pride in his alien heritage.

 Newsarama: Although All–Star Superman ties in with DC One Million, you style of writing has changed dramatically since then.  How do you feel about One Million now?

Grant Morrison: I just read it again and liked it a lot. Comics were definitely happier, breezier and more confident in their own strengths before Hollywood and the Internet turned the business of writing superhero stories into the production of low budget storyboards or, worse, into conformist, fruitless attempts to impress or entertain a small group of people who appear to hate comics and their creators.

NRAMA: Obviously, this book is the most explicit SF–Christ story since Behold the Man, only...happy.  Superman/Christ parallels have existed for decades, but this story makes it absolutely explicit, from laying his hands on the sick and dying to...well, most of issue #12.  You’ve dealt with Christ themes before, particularly in The Mystery Play, but outside of the comics, how do you see Superman as a Christ figure for the “real” world?

GM: The “Superman as Christ” thing is a little too reductive for me, and tends to overlook the fact that Superman is by no means a pacifist in the Christ sense. Superman would never turn the other cheek; Superman punches out the bully. Superman is a fighter.

When did Christ ever batter the Devil through a mountain?

The thing I disliked about the Superman Returns movie was the American Christ angle, which reduced Superman to a sniveling, masochistic wreck, crawling around on the floor, taking a kicking from everyone. This approach had an odd and slightly disturbing S&M flavor, which didn’t play well to the character’s strengths at all and seemed to derive entirely from a kind of Catholic vision of the suffering, martyred Jesus.

It’s not that he’s based on Jesus, but simply that a lot of the mythical sun god elements that have been layered onto the Christ story also appear in the story of Superman. I suppose I see Superman more as pagan sci–fi. He’s a secular messiah, a science redeemer with tough guy muscles and a very direct and clear morality.

NRAMA: Continuing the religious themes, in issue #10, you have Superman literally giving birth to himself, both philosophically and as a character – a nice little meta–moment showing how Superman inspires a world where he is only fiction.  How did that idea come about?

GM: It came from the challenge we’d set ourselves: as I said, issue #10 had been left as a blank space into which the single most coherent condensation of all our ideas about Superman were destined to fit.

I wanted to do a “day in the life” story. So much of All Star had been about this threat to Superman himself, so we wanted to show him going about a typical day saving people and doing good.

Then came the title “Neverending,” which comes from the opening announcement – “Faster than a speeding bullet!...” of the Superman radio show from 1940, and seemed to me to be as good a title for a Superman story as any I could think of. It seemed to distil everything about Superman’s battle and his legend into a single word. And the story structure itself was designed to loop endlessly, so it went well with that.

 On top of that went the idea of the Last Will and Testament of Superman. A dying god writing his will seemed like an interesting structure to use. Then came the idea to fit all of human history into that single 24 hours. And then to show the development of the Superman idea through human culture from the earliest Australian Aboriginal notions of super–beings ‘descended” from the sky, through the complex philosophical system of Hinduism, onto the Renaissance concept of the ideal man, via the refinements of Nietzche and finally, down to that smiling, hopeful Joe Shuster sketch; the final embodiment of humanity’s glorious, uplifting notion of the superman become reduced to a drawing, a story for kids, a worthless comic book.

And also what that could mean in a holographic fractal universe, where the smallest part contains and reflects the whole.

Of course the next panel in that sequence is happening in the real world and would show you, the reader, sitting with the latest Superman issue in your hands, deep within the Infant Universe of Qwewq in the Fortress of Solitude, today, wherever you are. In “Neverending,” the reader becomes wrapped in a self–referential loop of story and reality. If you actually, seriously think about what is happening at this point in the story, if you meditate upon the curious entanglement of the real and the fictional, you will become enlightened in this life apparently. According to some texts.

NRAMA: On a personal level, you’ve explored all types of religions and philosophies in your work.  What is your take on religion and how it influences humanity, and the Christian take on Jesus Christ in particular?

GM: I think religion per se, is a ghastly blight on the progress of the human species towards the stars.  At the same time, it, or something like it, has been an undeniable source of comfort, meaning and hope for the majority of poor bastards who have ever lived on Earth, so I’m not trying to write it off completely. I just wish that more people were educated to a standard where they could understand what religion is and how it works. Yes, it got us through the night for a while, but ultimately, it’s one of those ugly, stupid arse–over–backwards things we could probably do without now, here on the Planet of the Apes.

Religion is to spirituality what porn is to sex. It’s what the Hollywood 3–act story template is to real creative writing.

Religion creates a structure which places “special,” privileged people (priests) between ordinary people and the divine, as if there could even be any separation: as if every moment, every thought, every action was not already an expression of dynamic ‘divinity” at work.

As I’ve said before, the solid world is just the part of heaven we’re privileged to touch and play with. You don’t need a priest or a holy man to talk to “god” on your behalf: just close your eyes and say hello. “God” is no more, no less, than the sum total of all matter, all energy, all consciousness, as experienced or conceptualized from a timeless perspective where everything ever seems to present all at once. “God” is in everything, all the time and can be found there by looking carefully. The entire universe, including the scary, evil bits, is a thought “God” is thinking, right now.

As far as I can figure it out from my own reading and my own experience of how the spiritual world works, Jesus was, as they say, way cool: a man who achieved a state of consciousness, which nowadays would get him a diagnosis of temporal lobe epilepsy (in the days of the Emperor Tiberius, he was crucified for his ideas, today he’d be laughed at, mocked or medicated).

This “holistic” mode of consciousness (which Luthor experiences briefly at the end of All Star Superman) announces itself as a heartbreaking connection, a oneness, with everything that exists...but you don’t have to be Superman to know what that feeling is like. There are a ton of meditation techniques which can take you to this place. I don’t see it as anything supernatural or religious, in fact, I think it’s nothing more than a developmental level of human consciousness, like the ability to see perspective – which children of 4 cannot do but children of 6 can.

Everyone who’s familiar with this upgrade will tell you the same thing: it feels as if “alien” or “angelic” voices – far more intelligent, coherent and kindly than the voices you normally hear in your head – are explaining the structure of time and space and your place in it. 
This identification with a timeless supermind containing and resolving within itself all possible thoughts and contradictions, is what many people, unsurprisingly, mistake for an encounter with “God.”  However, given that this totality must logically include and resolve all possible thoughts and concepts, it can also be interpreted as an actual encounter with God, so I’m not here to give anyone a hard time over interpretation.

Some people have the experience and believe the God of their particular culture has chosen them personally to have a chat with. These people may become born–again Christians, fundamentalist Muslims, devotees of Shiva, or misunderstood lunatics. Some “contactees” interpret the voices they hear erroneously as communications from an otherworldly, alien intelligence, hence the proliferation of “abduction” accounts in recent decades, which share most of their basic details with similar accounts, from earlier centuries, of people being taken away by “fairies” or “little people”.

Some, who like to describe themselves as magicians, will recognize the “alien” voice as the “Holy Guardian Angel”.

In timeless, spaceless consciousness, the singular human mind blurs into a direct experience of the totality of all consciousness that has ever been or will ever be. It feels like talking with God but I see that as an aspect of science, not religion.

As Peter Barnes wrote in “The Ruling Class”, “I know I must be God because when I pray to Him, I find I’m talking to myself.”

 Newsarama: When we spoke earlier this year, you talked about some of your ideas for future All Star stories. Are you moving forward on those, or have you started working on different ideas since then?

Grant Morrison: I haven’t had time to think about them for a while. I did have the stories worked out, and I’d like to do more, but right now it feels like Frank and Jamie and I have said all there is to be said. I don’t know if I’m ready to do All Star Superman with anyone else right now. I have other plans.

NRAMA: You end the book with Superman having uplifted humanity – having inspired them through his sacrifice and great deeds, and with the potential to pass his powers on to humanity still there. Do you plan to explore this concept further, or would you prefer to leave it open–ended?

GM: I may go back to the Son of Superman in some way. At the same time, it’s best left open–ended. I like the idea that Superman gets to have his cake and eat it; he becomes golden and mythical and lives forever as a dream. Yet, he also is able to sire a child who will carry his legacy into the future. He kicks ass in both the spiritual and the temporal spheres!

 NRAMA: The notion of transcendence – always a big part of your work. But the debate about All Star Superman is whether or not it "transcends its genre." Superman becomes transcendent within the series itself, and inspires the beings on Qwewq, but does the work aspire to more than that? Is it simply the greatest version of a Superman story, and that’s enough?

GM: That would certainly be enough if it were true.

It’s a pretty high–level attempt by some smart people to do the Superman concept some justice, is all I can say. It’s intended to work as a set of sci–fi fables that can be read by children and adults alike. I’d like to think you can go to it if you’re feeling suicidal, if you miss your dad, if you’ve had to take care of a difficult, ailing relative, if you’ve ever lost control and needed a good friend to put you straight, if you love your pets, if you wish your partner could see the real you...All Star is about how Superman deals with all of that.

It’s a big old Paul Bunyan style mythologizing of human - and in particular male - experience. In that sense I’d like to think All Star Superman does transcend genre in that it’s intended to be read on its own terms and needs absolutely no understanding of genre conventions or history around it to grasp what’s going on.

In today’s world, in today’s media climate designed to foster the fear our leaders like us to feel because it makes us easier to push around. In a world where limp, wimpy men are forced to talk tough and act ‘badass’ even though we all know they’re shitting it inside. In a world where the measure of our moral strength has come to lie in the extremity of the images we’re able to look at and stomach. In a world, I’m reliably told, that’s going to the dogs, the real mischief, the real punk rock rebellion, is a snarling, ‘fuck you’ positivity and optimism. Violent optimism in the face of all evidence to the contrary is the Alpha form of outrage these days. It really freaks people out.

I have a desire not to see my culture and my fellow human beings fall helplessly into step with a middle class media narrative that promises only planetary catastrophe, as engineered by an intrinsically evil and corrupt species which, in fact, deserves everything it gets.

Is this relentless, downbeat insistence that the future has been cancelled really the best we can come up with? Are we so fucked up we get off on terrifying our children? It’s not funny or ironic anymore and that’s why we wrote All Star Superman the way we did. Everything has changed. ‘Dark’ entertainment now looks like hysterical, adolescent, ‘Zibarro’ crap. That’s what my Final Crisis series is about too.

NRAMA (aka Tim Callahan): Continuing with the theme of transcendence: The words "ineffectual" and "surrender" are repeated throughout the book. Discuss.

GM: Discuss yourself, Callahan! I know you have the facilities and I should think it’s all rather obvious. 


NRAMA: What was the inspiration for the image of Superman in the sun at the end? (I confess this question comes as the result of much unsuccessful Googling)

GM: I didn’t have any specific reference in mind - just that one we‘ve all sort of got in our heads. I drew the figure as a sketch, intended to be reminiscent of William Blake’s cosmic figures, Russian Constructivist Soviet Socialist Worker type posters, and Leonardo’s ‘Proportions of the Human Figure‘. The position of the legs hints at the Buddhist swastika, the clockwise sun symbol. It was to me, the essence of that working class superheroic ideal I mentioned, condensed into a final image of mythic Superman, - our eternal, internal, guiding, selfless, tireless, loving superstar. The daft All Star Superman title of the comic is literalized in this last picture. It’s the ‘fearful symmetry’ of the Enlightenment project - an image of genius, toil, and our need to make things, to fashion art and artifacts, as a form of superhuman, divine imitation.

It was Superman as this fusion of Renaissance/Enlightenment ideas about Man and Cosmos, an impossible union of Blake and Newton. A Pop Art ‘Vitruvian Man‘. The inspiration for the first letter of the new future alphabet!

As you can see, we spent a lot of time thinking about all this and purifying it down to our own version of the gold. I’m glad it’s over.

NRAMA: Finally: What, above all else, would you like people to take away from All Star Superman?

GM: That we spent a lot of time thinking about this!

No. What I hope is that people take from it the unlikelihood that a piece of paper, with little ink drawings of figures, with little written words, can make you cry, can make your heart soar, can make you scared, sad, or thrilled. How mental is that?

That piece of paper is inert material, the corpse of some tree, pulped and poured, then given new meaning and new life when the real hours and real emotions that the writer and the artist, the colorist, the letter the editor translated onto the physical page, meet with the real hours and emotions of a reader, of all readers at once, across time, generations and distance.

And think about how that experience, the simple experience of interacting with a paper comic book, along with hundreds of thousands of others across time and space, is an actual doorway onto the beating heart of the imminent, timeless world of “Myth” as defined above. Not just a drawing of it but an actual doorway into timelessness and the immortal world where we are all one together.

My grief over the loss of my dad can be Superman’s grief, can trigger your own grief, for your own dad, for all our dads. The timeless grief that’s felt by Muslims and Christians and Agnostics alike. My personal moments of great and romantic love, untainted by the everyday, can become Superman’s and may resonate with your own experience of these simple human feelings.

In the one Mythic moment we’re all united, kissing our Lover for the First time, the Last time, the Only time, honoring our dear Dad under a blood red sky, against a darkening backdrop, with Mum telling us it’ll all be okay in the end.

If we were able to capture even a hint of that place and share it with our readers, that would be good enough for me.

[aliypop]

Invisible  (OC x The FLASH)

Word count : 1,468

Character Count : 7,942

Warning : Mentions of IV Drip. 

A/N: I really wanted to write something new for my Character Yonah and it seemed Justice League was the push for it.

"Just because you don't see something doesn't mean it isn't there. " Yonah mumbled, pouring a cup of tea water, first then the tea as not to scorch the leaves as Alfred had taught her. "Some of the best things in the world are invisible." she hummed: trying to get her father's attention was hard, especially after everything she had done. "You're not going..." He mumbled, looking up at her as he continued to try to fix the Kryptonian plane. "And why not..." she asked, taking the wrench that he had been looking for from under the table. In her arm was an IV drip that Alfred had made himself: after all, she had only been out of Belle Reve's prison for about a week and sober from any joker toxins and alcohol for six days. "Because I can't trust you..." he grumbled, 

"Oh sure, go by yourself to stalk a literal Speedster for your, Hey look Alfred; I can make friends, team." she sat next to him " I at least know how to talk speedster," she whispered, to say that Yonah was sassy was a weak outcry. Instead, she was stubborn as a mule, but so was Bruce.  "What makes you so sure you know what he is?" he mused, a wire in his mouth as a gust of wind blew past his face, an annoyed nod following. 

"So say you'll let me go with you?"

"You are just as persuasive as -" 

"Don't say don't you dare." She looked at Bruce.

"As your mother." 

"Can we just go visit this old hero guy..." she asked, trying to change the subject. Yonah had never liked bringing up her mother, unlike Bruce: who secretly clung to every memory he had left of her. For instance, her wedding ring, super suit, and a picture he kept in his bedroom. 

 Although the ride to Central City was long and mostly full of silence from Bruce, she still felt at peace with the midwest. "We're here." Bruce tapped her: he hadn't seen his daughter sleep so soundly since she was five, and it was disheartening. "Why train tracks..." she glared over at him, sleep still in her eyes.

 Bruce sighed as he opened her door, "Must you be difficult ..." 

"Must we sneak into a creepy old train shack like thieves?" Yonah laughed. Monitors decorated the place as both Yonah and Bruce ventured around. As the door creaked, Bruce sat down, trying his best to seem as natural as possible, which was usually hard for him to do. 

"Barry Allen, Bruce Wayne."  he nodded,

"You said that like it explains why there's a total stranger in place sitting in the dark in my second favorite chair. "

"Tell me about this?" Bruce asked, holding up a picture of the man before him, watching as he took it from him, "A man who looks exactly like me but is definitely not me..." he snarked back at the billionaire as Yonah only laughed. She could tell that he'd be a perfect fit for the so-called Justice League. Besides: he was brilliant and indeed attractive, "This suit is a work of art... If I had one made out of silica-based quartz, and fabric I'd be running everywhere..." 

"I'm sorry, who are you?" Barry turned back to face the young woman. 

"Oh, uhm, Yonah Shanel Wayne. " she smiled, 

"Look, whoever you're looking for, it's not m-" he paused, watching as Bruce threw a Batarang at him. Time had seemed to freeze as he stared at the black metal blade. "I'd suggest you catch it: one, of those to the face, is not fun..." Yonah whispered as she tapped him on the shoulder. 

"You're the batman..." He asked

"So you're fast."

"We're putting together a team of heroes, if you will, and I think you'd be perfect." she blushed. 

"I'm in." Barry smiled. 

Yonah looked back at Bruce as she only smirked, " Three points for me, zero points for you." she grinned as the trio walked back towards Bruce's car. 

"It's like this layer of dimensional reality ... I call it.."

" The speed force." Both Yonah and Barry said in unison as the two locked eyes, 

"You know about the speed force." 

"There's a lot of things I know about Mr. Allen." she gave him a small smile. "Can I get to know more about you," he asked, "Only if you're free to train me over a cup of tea back on the plane..." she suggested getting into the backseat. 

"Plane...wait, what are your superpowers again?" Barry asked, looking directly at Bruce.

"I'm rich."

"So, basically, my powers include fire, super speed, and celestial magic." Yonah smiled, sitting across from Barry as the two sipped coffee from their cups. "So, like, do you slay people and sacrifice them or what." his eyes still focused on her every word. "Incremindo Aviium..." she mumbled under her breath as butterfly appeared, "It's pretty simple." she giggled,

 "See, that was cool." he gasped catching, the butterfly. "So criminal justice major, what's that like..." taking notice of the books he left by his foot. Barry only sighed as if that told Yonah everything she needed to know.

 "It's uh exciting, I mean, it's what I want to do, I just..."

"Feel like you're failing at it... Like no matter how hard you try, you feel trapped." 

"How'd you know?" 

"I went to college to be a lawyer, graduated early, and I'm currently huge into detective work," she whispered, "But my dad wanted me to stick to law..." As the plane landed, Barry could only feel his heart skip a beat: after all, he was in love with a woman he shared a 2-hour flight with; 

Yonah had seemed to be this put-together woman as if her life was all figured out when she was alone in her own home living in the state of mind that she was invisible. 

"I don't need the IV ..." she looked back at Barry, who had a look of pity on his face. She knew that this was her fault, mixing into the wrong crowds and becoming a person she didn't want to be. However, it was the price she had to pay. " Your father finds it best if you used it." Alfred sighed, "You could relapse or worse..." 

"I could die, I get it... But maybe instead of just hiding me away like a monster, give me a chance," she asked as Alfred shook his placing the needle into her skin, 

"You should rest." 

It was late in Gotham as she sat in her bed listening to the commotion from the Batcave. She could hear the voices of Diana and her father. Nothing too spectacular, but she still wanted to be apart, "Hey uh... I wanted to know if maybe you'd want to talk or even learn Gorilla sign language ?" Barry joked from the other side of the door.

"Go away..." she sighed, her voice a bit raspy.

"See, I could go... but I can't let the first girl who talked to me slip away and..." he noticed that the door was wide open. "Look, I know we just met, but I'm worried about you..." he took her hand in his. "You're just saying that..." she responded, trying to walk away, "Everyone's worried about me, but they just push me aside." she took his hand away from his. 

"I'm not everyone ." he smirked, "I'm Barry Allen, the fastest man alive." 

"I bet you can't catch me then..." she teased, "You me one lap around Gotham first one back here has to kiss the winner." 

"Challenge accepted." 

Alfred hummed to himself as he dusted off the furniture. Seeing a streak of pink and yellow lightning, he knew all too well what was going on. Yonah had quite possibly found her equal, and he for once was happy about it: after all, almost having Roman Sionis as a dinner guest would have never worked in Alfred's book. 

"I won fair and square, Mr. Allen." Yonah laughed, watching as his cheeks puffed out. 

 "There's no way you're faster than me!"

"So you were just stretching back there then?" she asked, getting closer towards him. Barry could feel his palms sweat as his nerves took over him. "I... well... I.."

"Lo-" the very breath in her body halted as her hands wrapped around Barry's neck. The kiss wasn't something out of those corny romance movies that Bruce watched on his downtime, but to her, it brought life into her lungs and fire that burned brighter than the flames she could produce.

 "Would you ... do you want to be my girlfriend ..." he asked breathlessly.

"Take me on a date, and we'll see how it goes, Flash..."

"Flash... I like that."