#changed here bc i Do wanna keep a majority of the elements the same even if the execution is dif

[iridescent-serpent]

The ever so illustrious (and badly scanned) sketch page, as promised :3 @orion-archives

Ngl, hilarious to me that every time I do a double full page sketch for these dudes, I basically unlock a new character (this time it’s Bumblebee). Not much planned for him rn beyond “I think it’d be Really funny if Bumblebee got bitches and is the same age as Optimus”. (You can see I Struggled at first with him till I sat down and Stared at some reference pics and then Immediately deviated away from it). Also a bit of Elita which I expanded upon in my fav format, meme :)

Also Ngl, I knew she showed up for like 0.6 seconds before being Blasted, but when using her comic ver. (Used Tfwiki which was surprisingly mean? About her? Felt bad) I realized she looked Very bird like (you can hear me evil chuckling in the distance as I keep infusing more animal traits like it’s my job). Also ended up keeping her ability to move around on one leg bc Ngl having her brandish one of her legs at you while going Mach 5 is Very Funny.

Also, here’s one I like I call “Sentinel screaming at the matrix to pick his son (Oppy) as the next High Leader” (also context: going with High Leader as a replacement for Prime as that’s a frame type here instead of “king chosen by god” archetype)

Also. Some bonus pics from my Discord :). Very little context beyond friend telling me to draw Oppy in Shinji pose and it Immediately devolving into the art (that I made) on their wall (it would be 2 Oppy v 1 Wally darling) and then I made the second at 2am in a fit of inspiration. You can tell it was 2am.

[atalana]

[copied over from my cr blog, also this is gonna get long, i’d apologise but im not sorry]

okay, so

this is a rant probably about 7 years in the making, bc when i first watched lok i had not done any music study, i had not done any composing of my own, my knowledge of music theory was at a primary school level and i still thought tv soundtracks were just made by one person composing a whole cache of music and then the audio editors pick and choose what track to place where

(spoiler alert that’s not how film and tv scoring works, i have now done a music composition course where we had to score a short film, among other things, and i have so much more respect for tv composers jesus christ)

but this one stuck out to me even way back then, bc me barely knowing what a leitmotif was was like “hey this one little refrain keeps popping up whenever bolin does lavabending, and i like it, i’m gonna see if it’s on the soundtrack”

it was not, and that’s sort of where i left it back in 2014, but i actually did a rewatch of lok pretty recently out of nostalgia, and then noticed it even more

and to explain why (and this is also a little bit why five’s stuck out to me in tua, i’ll get to that in another ask), let’s cover, leitmotifs, and tv scoring in general

so a leitmotif is basically just a short musical idea that represents something in a piece of music. when i studied motivic development we were encouraged to make that motif four notes or less, and then develop it into something longer (aka a theme), because if you can constantly come back to a really short idea while keeping the piece moving, that’s what makes a piece of music memorable

(you can ignore those rules on purpose but that’s a different essay)

so the most common way that a leitmotif shows up in soundtracks is to represent a character or a location - you play the motif when that character shows up or when you’re in that location and boom, the audience associates that motif with that person place or thing, and you can then use this to tell the audience things without actually telling them. for example, star wars playing the imperial march whenever someone does something darth vader related - darth vader isn’t on screen, but you can feel his presence, because his music is playing

and if we were a film score, where we have two hours to show one particular character’s development, great! we give them a simple motif, and then as they grow as a person we change their motif to reflect what is happening to them, until we end up with something that communicates on a subconscious level how much they’ve grown. we toss in as much symbolism as we can, and we have a really great soundtrack that’s instantly memorable

tv scoring, is harder. partially because of time constraints (have you ever composed half an hour of original music a week, and had to make sure it fits perfectly with every beat of what’s happening on screen? these guys have), partially because there’s a much larger focus on ensemble casts

so what atla and lok do, for the most part, is not score individual character motifs for everyone. this is fairly common in tv soundtracks, instead we score ideas, concepts, and feelings - these’ll come up a lot more and give you more information than just “oh hey this character’s on screen”

the avatar state, for example, has the strongest and most recognisable theme across both shows. i’m linking an atla track in here because it has the best example but you’ll know this shows up with korra too - and with particularly important moments for wan, for kyoshi, etc. they also appear in the opening of both shows, four strong notes that start and end on the same note (in the case of what i’m linking, it’s an F#)

the first part of this track is the more uncertain, pensive theme that comes up when both avatars are feeling doubt/worry/sadness, but then it transitions into the more recognisable four. worth noting though, those are both basically the same motif. if i write them out back to back, you’ll notice they both have four notes and start and end on F#. if i had to guess, four notes four elements, and it comes back to the start because the avatar is a cycle.

korra has a theme for when she’s fighting, but not an individual character theme. the airbenders as a concept have a theme, republic city has thematic instruments, as do some big name characters, like iroh and his tsungi horn (this is also a cross-series thing, he’s always playing it in atla, it shows up when zuko has to make big moral decisions, and when we first meet iroh in the spirit world in lok, it shows up there too, to let the audience know who this is before we properly see him)

so, if korra doesn’t get a single theme and instead has several for different aspects of her life, and mako and asami follow along with the mood of the story like all the other characters, the fact that bolin has a personal leitmotif at all, let alone a solid, developing one, is pretty remarkable!

now, granted, it mostly starts with book 3, before then he was like every other character, but it has clear symbolism through those last two books! and, initially i thought it was related only to his lavabending, since that’s most of when it shows up, but since my rewatch, i’ve started calling it his hero theme

see, when people wanna criticise mako and bolin, usually the comments they get are that bolin’s too immature and mako’s too serious/uptight. but like, that’s how they work, you can’t analyse either of them without the context of the other. since they were little kids on the streets, bolin chases his heart and mako makes sure they don’t die from it, that is their entire childhood. and neither would have got here on their own because mako wouldn’t take the necessary risks and bolin wouldn’t take the necessary precautions. (like. remove either one from the equation and they’d still be working for the triple threats bc s1 and their flashback miniseries make pretty clear that bolin got them out and mako kept them out)

and then book 2 proves it! because it splits team avatar up, and what happens? bolin is totally taken advantage of by varrick and used as a pawn in his evil plan and mako ends up in jail

so what’s book 3, to them? it’s, being able to find themselves without having that codependency. mako no longer has someone to protect, which is what he’s based his whole life around so far - bolin’s doing fine and he’s no longer dating either korra or asami. and bolin’s trying his hand at some of that responsibility (look at how he immediately adopts kai who is explicitly them but younger because he wants to be the older brother for once). most importantly, they find the rest of their family, and stop being defined by being orphans. they don’t have to be that singular piece of a puzzle, they can just be themselves. and that’s where bolin’s character really starts to shine, because that’s when they bring in the bending plot, and bending, perhaps more than any other character, really gets to the heart of who bolin is

if you want more of my thoughts on that i have an essay here, but tl;dr: bolin’s an extremely powerful earthbender, but he’s not a metalbender because metalbending requires you to double down on the earth characteristics and think like an earthbender, and bolin doesn’t, he’s too fluid for that, which is one of his major strengths, so of course he can lavabend

and finally - to his motif itself! (as a note, i’ve put all of these in the same key to show where it repeats, but there’s a variety of keys used in the show)

as far as i can find, it first shows up in s3e8, when bolin stuns p’li with this well placed shot

[Edit: it first showed up in the s2 finale, but again in a simplified version and again with him doing something heroic with earthbending, so we can still start the analysis here]

mako volunteers bolin for that job, because he knew bolin was capable of it. why? because bolin landed an identical shot earlier in the episode, after trying to metalbend, getting frustrated he can’t, and cheating with some extremely well aimed earthbending. it’s just a short refrain and you barely notice it, but it’s the first connection of this motif with the theme of bolin’s bending

it looks like this, and it’s always played on a trumpet, which is part of why i call it the hero theme, because, if you’re looking at music from a western perspective, trumpets were used to herald kings, and then used to represent military glory, and then when superhero themes started happening, they used trumpets too - it’s basically western music shorthand for hero these days

(it’s also symmetrical so that helps with the good vibes)

and he’s saving everyone here, so it’s linked to his bending, but it’s also linked to his heroism

it ties the two together, and they are tied together.

when’s the next time it shows up? episode 10, when the brothers are in prison in ba sing se, and bolin tries to metalbend them out. again, he’s doing this to save people, and this motif gets a few notes added on to the end in a raising pattern - they’re inspiring, but they don’t go anywhere. which is exactly what happens in the scene, because he’s trying to go about this in the wrong way. mako believes in him, but it won’t (and doesn’t) work

it appears in episode 12 when bolin saves everyone from ghazan destroying the temple, in a more fancy orchestral remake of the first version - it’s impressive, but it hasn’t actually developed yet, it’s just his discovery of it

the book 3 finale already has its own fucking amazing soundtrack, i love that entire episode’s score, but it gets its own moment there too, and the first real development!

because what we hear is not what we’ve heard before. we know it’s the same theme, because it’s using those signature trumpets, but it’s the second part of this phrase, the answer to the question supplied by the first one. why? because bolin’s figured out who he is and he’s starting to use it. it still hasn’t settled yet though, it’s early days and he’s still just turning ghazan’s lava back on him, so again, it raises, leaving it on a question mark

it doesn’t appear in s4e7 when he lavabends as a warning against the escaped prisoners, because he’s using it as a threat, not to help people. but it does later in the episode when he uses lavabending to save them from kuvira. and that’s when we get the first full phrase, question and answer

it keeps the first motif identical, takes out the first note of the second, and ties them together - except now it’s not open ended, now it knows where it’s going - it’s been three years, at this point bolin is confident in both himself and his bending

and then that phrase appears all over the place in the finale, because all bolin does is save people - everyone from the exploding building, he slows the giant mecha with lavabending, he saves opal, he slows the giant mecha again by collapsing a building on it, and most importantly, he’s the one rescuing his brother this time, instead of the other way around (though that one doesn’t get a motif appearance bc admittedly a fuck ton of other things are happening in the soundtrack at the time)

so to that question asked in book three - who is bolin when not next to someone else? well, funnily enough, we saw it in book two as well, just in a warped way, playing nuktuk. it just wasn’t truly him because it was created by varrick, and he needed to get away from varrick too. the question put forward by the narrative is who is bolin, and the answer given by the music is, he is a hero. and i don’t know why bolin is the only one to get a theme like this, but i think it may have something to do with the fact that, while everyone in team avatar has been a hero and saved people, he is the only one who has, from the start, solely been motivated by wanting to help people. he follows his heart, and his heart cares, about everyone. it’s been the driving force behind almost everything he’s ever done. and i love him so much

[morphogenetic]

wanted to ask for the deets on kimi ga shine and witch's heart since i'd seen you bloggin about both of em (been blockin em in case i decide to check em out)

PUTS HANDS ON TABLE. FUCK YES (i'm gonna publish this bc I'm sure other people would wanna know)

okay so both of them are (FREE, SOMEHOW?) 12-20 hour RPGmaker games, w horror elements, but aside from them both having really great original art and some bangin' music, they're not really the same.

also both have like, a decent amount of body horror/gore, but it's very pixel-art-style so if you could deal w the ze series and aitsf, which I'm assuming you specifically + many of my followers can LOL, you'll probably be okay on CWs

kimi ga shine/your turn to die:

-point and click/vn-y/trial-based death game setup; i've seen the trial portion get compared to dr a lot but after playing dr1, it's really just a lot more similar to ace attorney trials w a bit of a twist to them

-the point and click part is puzzle solving and overall feels Very 999/zero escape-y, even though it's not escape the room type of puzzles

-i know i'm comparing it to 999 and ace attorney a lot and the gameplay does share elements with them, so if you like those you'll pretty much guaranteed like yttd, but it really does have its own identity and does a ton of neat things that neither of those two games do

-there are a ton of bad ends, but there are also two branch points in the story where two different things can happen, but the game keeps going afterwards. the first of those points doesn't seem to change a ton, but the second one seems EXTREMELY major and I'm interested in seeing how it continues. and I say "seems" rather than "know," because....

-NOT CURRENTLY COMPLETE - it is Mostly done, but it's planned to be 3 chapters of 2 parts each, and chapter 3 is not quite complete yet. i would still recommend at least starting it now bc it's not really the kind of game where you can forget what happens between parts, but it does happen

witch's heart:

-not really like a vn or point and click at all, minus it being fairly text heavy - its gameplay is more of an exploration-based, sidequest fulfilling thing, with a few battles here and there (you can actually fight enemies outside of battle bc there are just random enemies walking around, but they don't trigger an actual boss fight, which is neat)

-stats are mostly irrelevant though, you can't actually level up and you can't increase stats until you get your first ending anyway

-5 characters and you play as all of them at some point! it's neat as fuck! (well technically there are more than that but. You'll see.)

-vaguely vn-ish bc it does have multiple complementary routes but that's basically it

-i won't lie the sidequest fulfilling thing is a LITTLE bit annoying after you've done it in the first two routes but each one of those segments never took me very long (like 30 min tops), and especially later on said sidequests start being relevant for the side half of the cast

-holy moly good characterization + this game is REALLY good at showing and not telling. like, seriously. there's one character who gets backstory and then her ENTIRE personality starts making retroactive sense it's incredible (also wh said lgbtq rights for real but I'm not being more specific than that)

-also not teeeechnically done bc the creator hasn't finished the specific epilogues/continuations for every single route yet, but that's more just bonus stuff from my understanding, i'm pretty sure the Main Game is 100% complete

-(pretty sure bc I haven't finished the sequel yet. Lol)

-i straight up SOBBED during a section of this game and I am not a game crier. the last game that made me cry was 999 (yes really LMAO) and that was 5 years ago. take that as you will.

~

YEAH SORRY THIS IS LONG I JUST WANT MORE PEOPLE TO PLAY THESE. they're both fairly accessible if you can handle pixel blood/gore and can run rpgmaker,

BECAUSE THEY'RE FREE??? HHHHH

[irregularjohnnywiggins]

My Pitch for how to rewrite Arrow.

So, a while back, after me and my brother had a chin-wagging session on why Arrow was a legitimately terrible show after Season 2, I decided to do a little think piece: say I was tasked with rebooting Arrow a couple of years down the line. How would I do it? What would I change (a lot)? What would I keep the same (not a lot)? I decided to sit down and write out a basic outline for a rewritten Arrow Season 1.

...two weeks, 2000+ words and another basic outline for Season 2 later, I am pleased to present my pitch for Arrow Season 1 under the cut to anyone who might give a shit.

WARNINGS for: discussion of violence, mental health and swearing.

The first season is almost exactly the same as Arrow, but with a few not that big rather large differences

1.       First off, no Felicity. You could probably bend her characterization into something likeable, but it would just be too much work for too little payoff.

Seriously, if we need someone to do hacker bits? Oracle is right there, you guys.

2.       More overtly a Robin Hood story-Team Arrow are the Merry Men, Malcolm Merlyn is the Sherriff of Nottingham, some episodes are entirely ripped from lesser-known Robin Hood stories, etc. (Full disclosure: this is mainly because I love Robin Hood, and will fight to the death to have another good Robin Hood show for this generation)

3.       Have Oliver be explicitly an SJW. I say this because Arrow really lost something the instant it turned Oliver into just another Batman clone. If I may reference a comic I haven’t read (yet) I think one of the most interesting (and easily incorporated) elements of the Rebirth story is Oliver coming to terms with the idea that he can’t really ‘fuck the man’ if he is ‘the man’, and it could also give Thea something to do besides be all ‘self-destructive teen’-and also it’s a great way to introduce Roy.

4.       In addition, have Merlyn be an actual morally opposed antagonist. Maybe have Tommy bring up that Merlyn could do anything to help the people of the Glades and be more faithful to his mother’s memory, but it’s easier for him to pretend that he’s ‘curing’ the city by getting rid of the poor people.

5.       And for God’s sake, don’t have Oliver open up a nightclub in the middle of a dilapidated area that needs literally anything except another fucking nightclub. Like… anything. Hell, have him open up a soup kitchen that also gives out really expensive clothes he doesn’t need any more, and have Moira be all ‘but charity? What is the SJW bullshit?’

Thus Thea’s whole ‘I work at a law firm except now I run a nightclub aren’t I a caring soul?’ becomes ‘I worked at a law firm and now I run a soup kitchen because this will actually help people.’

6.       But the biggest change has to be to Black Canary.

So, when Oliver returns from the island Laurel is… different. For one thing, she’s going by Dinah now. She’s also got a new personal trainer (Wildcat), and… that scene in episode 2 when China White attacks them? Dinah kicks ass.

But that’s not the only thing that surprises him.

See, when he goes to strike the first name off the list-a name, I may remind you, that Dinah is suing in court to no real effect-he runs into complications.

Complications in the form of an apparent thief named Black Canary.

See, Dinah’s been doing this Daredevil shtick for a while now. Apparently she compulsively activated her meta-gene in grief after her sister’s death, and the Canary Cry is actually effective in this-the Canary Cry in the comics can take out Wondy if she’s not prepared, so we’re talking that level of effectiveness.

Why she decided to be a vigilante is up for debate-maybe she actually has a Daredevil-esque ‘I trusted in the law, and it screwed everything up, so fuck it, I’mma do it myself!’ or maybe she found out her mother was the first Black Canary and took up the mantle (or both. Both is good)

Regardless, she’s here to hack into Hunt’s computers and release a ton of info onto the web to use in her case against him. Oliver’s here to hack in and give the money Hunt stole back to the people.

Neither of them mention this.

They fight.

Dinah wins (of course)

And thus, for more or less the first half of the first season, both of these dorks are convinced that they’re having a ‘Batman/Catwoman’ style romance, with the other one as Catwoman.

They arrive in more or less the same area, they trade witty banter, they both somehow get what they want despite the other person opposing them, rinse and repeat.

Even better, Oliver goes to Dinah in her civilian identity in like Episode 3. So Dinah starts thinking ‘maybe he’s not so bad after all’. So she starts pulling her punches. Which results in Oliver sometimes winning (rarely, but sometimes). Which results in him thinking that it has more to do with his skills than it probably does.

Meanwhile, out of costume, Oliver and Dinah exchange as much flirty banter as in costume. Like, sometimes it’s the exact same flirty banter.

Diggle, after he joins Oliver, immediately susses out who Black Canary is based purely on the flirty banter, and spends the rest of the first half of the season constantly going HOW HAVE THESE TWO NOT FIGURED IT OUT YET?

7.       The mid-season finale has GA and BC fighting Merlyn, wherein a) they both discover who the other is and b) Oliver gets sure-fire proof that Moira is involved in the Undertaking

8.       This leads to Dinah and Diggle both telling Oliver to give the evidence to Lance (who has been hunting for both of them, but keeps on hinting that he knows who Black Canary, at least, is) but Oliver is all ‘but she’s my mom.’

9.       And because Diggle and Dinah are having none of that shit, Dinah goes to her dad and he starts investigating Moira.

Oliver is not happy.

They fight.

Dinah wins (of course)

10.   Oliver spends about three episodes brooding about this, until Diggle, Thea (unknowingly) and Dinah kick his ass back into gear (This is also where we get the majority of the island flashbacks, which, btw: almost the same, but no Slade and more Yao Fei and Shado.)

11.   Tommy finds out who GA and BC are (how I’m undecided on. Maybe Dinah tells him, maybe Oliver does, maybe he figures it out on his own, idk) and agrees to help investigate his dad, because Team Arrow figure that Malcolm has to be involved.

Btw, Tommy’s been working in the soup kitchen because Oliver’s paying him and he, at least at the start, thinks he can convince Ollie to give up this weird SJW thing he’s got going on and go back to being a partyer

This all changes when he meets one Roy Harper, because Roy is basically him but with no money and an even bigger chip on his shoulder (also Native American cos I’ll be fucked if anyone gets whitewashed in my fucking Green Arrow show)

Basically for every scene the show devoted to that fucking love triangle I want a scene of Tommy and Roy being bros.

12.   Moira isn’t convinced to out the Undertaking by Oliver tricking her, but by Oliver confronting her at the same time as Tommy confronts Malcolm, and the two giving more or less the same speech eviscerating the notion that the Undertaking is good for anyone.

Seriously, I want full on Marxist, socio-economic and class-based ideas being raised. I want this to be so overtly political that newsgroups will be talking about it for years. You wanna prove comic books aren’t just for kids anymore? Have an adult conversation about the world comic book Green Arrow would want us to live in, and see the conservative nerd sites explode.

For a bonus, have Malcolm talk like a commentator on Fox News, all ‘entitled poor people’ and ‘benefit thieves’ and ‘they shouldn’t be born poor if they didn’t want to get killed by an earthquake machine’.

13.   Ultimately, the speech convinces Moira that she needs to turn over everything on the Undertaking to the authorities, and convinces Malcolm that Tommy just doesn’t understand his plan, and that he needs to start it right away.

14.   From then on, the finale goes more or less as it goes in canon, with one major exception: Oliver and Dinah are both there when Tommy dies.

15.   But before we get on to that, a word about the Green Arrow and killing:

Now, straight up front, I prefer my heroes to not kill if they can help it.

I do have caveats to that belief (e.g. I am in general agreement with @bluefall-returns‘ stance that Superman and Batman’s ‘killing is okay as long as it’s not humans’ ethos is… problematic, to say the least, and Wondy’s whole ‘don’t attack until you first talk, but if someone is a proven threat and killing is your only option, make sure they aren’t getting up afterwards’ is such a refreshing concept that I even incorporated it into the morality of one of my main characters) but on the whole, a superhero like Green Arrow, who stands for a specific set of real-world beliefs, shouldn’t kill unless absolutely necessary, and certainly not admit that he enjoys doing it (seriously, wtf Guggenheim?)

That being said, I will acknowledge that Oliver should kill at the start of the series. That only makes sense. He’s got fucking PTSD for fuck’s sake. Of course he’s reacting the way he did on the island.

But – and here’s the key thing – YOU ACKNOWLEDGE THE PTSD!

YOU DON’T HAVE YOUR ‘LOVE INTEREST’ MAKING JOKES AT YOUR EXPENSE ABOUT FUCKING ‘FANTASY ISLAND’!

YOU DON’T HAVE HER ACTING ALL CLUELESS AS TO WHY YOU’RE OPPOSED TO KILLING NOW!

YOU DON’T HAVE PEOPLE BEAT YOUR MAIN CHARACTER DOWN FOR MENTAL HEALTH ISSUES AND CALL HIM AN ASSHOLE IF HE RESPONDS NEGATIVELY TO TRIGGERS!

I APPARENTLY HAVE TO TELL PROFESSIONAL WRITERS THAT PTSD ISN’T SOMETHING THAT CAN JUST SOME AND GO AS IT PLEASES

I’S SO FUCKING STUPFOWRBUORVN PNFWEONVOEWVN OWRENVORENVREO

…

…sorry

Anyway, have Oliver go to Dinah for help, because hey, she took an elective in psychiatry in college, maybe? (I don’t know how American school works)

(That may seem a bit too Mary Sue for some of you, but I say that if Batman can be a detective/ninja/billionaire/whatever else, and TV!Ollie can be a member of the Russian Mob before he even comes back to the city and no-one questions it, the fucking Black Canary can be a therapist if I want her to be. Also, at the very least it’s from a piece of comic book media (Young Justice) and associated with the right character, which already puts it ahead of anything Error has done with its female characters.)

So Ollie stops killing people after a while (which, for bonus points, removes a lot of the ‘WHAT WERE YOU THINKING’ from the Huntress episode)

(Yes, episode, because the second episode was pointless and I hate it.)

16.   So, anyway, that happens. Thus, when Ollie fights Merlyn, it’s less external ‘will Tommy forgive me if I kill his dad’ and more Batman style ‘if I kill him, will I be able to stop/will I go back to what I was before?’

I still haven’t figured this out, btw. If Oliver kills him, then events proceed as they do in the show and Oliver is left with the realisation that killing Merlyn didn’t do anything except add another casualty to this insane plot. If Oliver lets Merlyn live, everything Merlyn does in later seasons are things Oliver could have stopped in this moment.

17.   Where’s Dinah during this fight? Simple: she’s helping the evacuation of the Glades, because she may be able to help with the fight, but both her and Oliver know that’s secondary to getting the people to safety, and Merlyn’s all kinds of right wing shite, so it’s reasonable to assume he’s also sexist (he probably isn’t, but they assume he is) and so more willing to fight just Green Arrow than just Black Canary.

18.   But, yeah, back to the angst.

19.   So, Tommy dies. More importantly, Tommy does not die propping up Green Canary, because killing off people and having their final moments be about propping up another ship is a terrible idea. So, no, Tommy dies exactly as he does in canon, but with Oliver and Dinah there, and they both get closure.

20.   The result is Oliver doesn’t just go fuck off to Lian Yu, but instead walks up to Dinah after Tommy’s funeral and is all ‘This city is going to go down the shitter. Thousands of people are now homeless, the rich bastards (Dinah ‘you know it’s not healthy to speak about yourself in the third person’) are gonna be trying to get as much of the opportunity pie as they can, and on top of all of that, we need to find out just how many of them were involved in this. It’s gonna be a hell of a job. You up for it?’

21.   Dinah smiles. It’s simultaneously beautiful and dangerous.

22.   ‘I thought you’d never ask’ she says.

So, that’s my idea. I’ll freely admit this isn’t complete, nor is it perfect - I didn’t really have many ideas for Detective Lance other than ‘Commissioner Gordon meets Sam Vimes’, which doesn’t really come across here, and my lack of knowledge about Roy Harper beyond Arrow and Young Justice (both of which I’ve been reliably told by @oathkeptroxas are not good representations of his character) lead me to be unsure of what to do with him, but I just wanted to get this idea off my chest. Thanks for listening to my rambles, and if you have any questions, ask what you will.