#hieronymous

[pissfartboy]

Ist es over für mich?

[alicedyers]

Trustfall | MIDST 3x16

[acaptainbyanyothername]

One of my favorite themes Midst is exploring is what it means for a person to become an idol, a symbol. How they and the narrative deal with that is FASCINATING.

Obviously we have Lark. Clara Mire was shoved into her symbol at a very young age— she became the poster child for Caneum, the boogeyman under Trustee’s beds, the universal villain. She has spent her entire life running from that symbol, adopting an alias and jumping from place to place. But her tragedy is that in running from her symbol, she has had to partially become it. Lark is TERRIFYING, and leverages that all the time, against Fuze, Phineas, even Tzila. Lark became dangerous to run from her symbol of Dangerous.

Then we have our buddy Tripotentiary Moc Weepe. Upon his transformation, he becomes the symbol of the Trust. He literally and figuratively makes the Trust translucent to show off its diseased, rotting insides. He is the true Trust, inside and out. No wonder everyone hates him.

Jonas Spahr is forced to be this golden idol— don’t show weakness, put on a media-ready smile, not a hair out of place and it’s showtime. He groomed to be this way like one of Costigan’s plants, and she’s snipped away all of his natural humanities. He is golden and perfect at the cost of his personhood, and it’s killing him.

Contrast that against Phineas Thatch. Phineas tries to become that golden idol, Spahr tries to cull his imperfections, but it doesn’t stick. Phineas is too messy, too human, he can’t become the untouchable symbol. So he’s rejected and abandoned by his idolatristic society.

I think even Hieronymous Loxlee could count as a symbol— if Weepe is the Trust, Harry’s the Breach. Secretive, in disguise, hidden in plain sight. It’s a heavy burden to carry though, causing him to have to make decisions as a symbol rather than as a person. He needs to maintain the Breach above his own personal relationships—drop the moon on Midst if it saves the Breach, even if it dooms his loved ones and his own daughter. He can’t afford to be a person, he has to be the symbol.

But then Midst episode 15: Breach comes and says they’re just people. Lark is just an old woman. Jonas Spahr is just a man. It’s a clash of these various symbols and ideologies and inflated idols but they’re all flesh and blood that can die in an explosion. Anyways

[jestersloverre]

Hi! I’m Harry, and this is my ex-partner Sherman, and this is Sherman’s ex-situationship Lark, who murdered my current wife Imogen Loxlee’s previous husband Maximillian.

[sepublic]

Alright, let's talk about some details from the TOH pitch bible;

A lot of the stuff is what we've already seen and/or in line with the show. What's interesting is that King WAS a former King of Demons at one point, and we would've had an episode where he runs into his old gang and chooses Luz and Eda over them. It makes me wonder if he even had a connection to the Titan in earlier drafts, if he wasn't recognized as one back in the day because he just wasn't big enough, etc. Eda makes a deal to help remove the collar, which IS the source of King's woes, placed by a 'mysterious wizard', I wouldn't be surprised if it was Obron AKA Proto-Belos.

What gets me is that Tibbles originally started off as a friend to the protagonists, while Bump was an antagonist! Coupled with Tibbles being re-elected as mayor after Bump is deposed for corruption. I like the detail of Bump being a parasite controlling a body from the head, because it carried over into his final design with Frewin, and before we got confirmation Frewin was a separate entity, I loved the joke theory that the imp on Bump's head was the REAL Bump!!! Seems that was always the implied story of the design, I love it. Tibbles being the demon fan of human stuff would eventually become Gus instead, so this is technically Proto-Gus too…?

Interesting how Bump and Tibbles' alignments switch completely with one another, and it makes sense that with Lilith no longer the principal in the final draft, it goes to Bump, who ends up being really chill and a subversion in his own right! Interesting, but I do prefer the final Bump we got, and that's fine by me, because when the concepts aren't as interesting as the final product, it means we got the best possible version.

I've already discussed Obron and William in a separate post, and Pupa is someone we've been told about in a previous livestream. Lilith would've been both head of all covens (and not just the Emperor's Coven) AND principal at the same time, and she seems much more of a jerk to Eda in general; She has no qualms with cursing Eda because of a direct order from Obron.

Apparently the curse would've been an AGING spell, which settles my questions on how it would've been portrayed in earlier drafts! This goes along with Eda's older look. Likewise, there would've been a subplot of Eda considering Luz's sacrifice as a way to restore her youth, which likely goes hand in hand with Obron's orders to bring Luz to her, etc. The 'Bloom of Eternal Youth' quest, which Eda and Lilith go through together as their sisterly relationship is explored, feels like a carryover from this past idea.

I think I prefer the final draft; I like that the curse isn't just aging Eda, but also takes away her magic, makes her turn into a beast, etc. I like Lilith being a lot more complicated in her relationship with Eda, instead of just hating her and cursing her without hesitation. The redefining of the curse makes it less about age, and more a chronic illness metaphor, and I like how Eda in the final draft is upfront about having to learn to live with it, deal with it, on her own terms. She isn't trying to find a cure (although Lilith being promised one by Obron feels like a carryover of Eda's moral dilemma with Luz), and that adds another nice dimension to her conflict with Lilith, as well as Gwen. It's pretty frank in its own right about normalizing disability, and those who play an antagonistic role (however brief) are the real weirdoes for making such a fuss about it.

The Bat Queen would've had more of a recurring role based on the description, which saddens me; I always got the vibe she was planned for more, but between all of the other stuff the show had to juggle, plus the shortening, she ended up getting shafted despite being one of the earlier characters. Sashley, Pasha, and Bruno are also interesting, with Pasha in particular giving me freaking Philip Wittebane vibes with his grossness, beard, and anti-demon attitude; He even starts off as a potential friend to Luz because fellow human, only for his true bigotry to show. Makes me wonder if Philip ended up incorporating Pasha, we also have bodily transformation because of consuming magical stuff... P-names.

(Also, I like how in the drawing of typical Demon Realm denizens, I can see an eye demon who resembles a past drawing of Dana's!!!)

Eda was actually a late bloomer, which creates a parallel with Luz in one way, and their relationship is referred to as sisterly (in the final draft it’s explicitly maternal). So Eda wouldn't have been the talented youth, in fact things may have switched between her and Lilith; Lilith's disdain may have partially come from Eda not being as innately talented as her.

Luz and Amity's dynamic seems like it would've had Amity retain a lot of her more stand-offish, pragmatic personality even as a friend with Luz, and this would've come up more; So basically, she'd remain more like S1 Amity. That, or this part of their relationship would've lasted longer, and then we would've seen character development as Amity unlearns a lot of the issues her parents passed on. I also wonder if the Willow who cameos in the pilot was originally supposed to just be an extra separate from ‘Paulina’, but then they combined the two together.

The themes are exactly as I expected, glad to see they're still there, nothing changed! Luz becoming a witch and defying all odds to do so, putting in real work and passion. Celebrating individuality amidst conformity, plus Luz trying to impose her own fictional tropes onto the world, only to have to put that aside... Just like Wing it like Witches. It seems Amity would've had more involvement with Luz's journey to become a witch, though we still do have a carryover of that disconnect with her rant near the end of Covention.

I love the Demon Realm being situated BELOW the Human Realm, way to be subtle about being Hell you guys lol... Apparently portals to the human world are a lot rarer to find and use, which makes me wonder if the pilot's 'dimension port' doesn't have access to the human world; Meaning Amity is Luz's only way back, so her improved relationship with her is linked to getting back home. There's a gag about the Knee having service with the human world, but I can see how that didn't make the cut, for dramatic purposes; It seems like the premise for a S1 episode or at least a B-plot. Would Luz have struggled to communicate with Camila through this, or would her search for wi-fi be for mundane reasons?

Apparently Luz's magic would've required a lot more steps to complete, and I see why the show simplified things down to just glyphs. I wonder if there was always going to be the connection of glyphs as a gift from the Titan, or if the Titan and her story was going to be less intertwined in the overall narrative. There also don't seem to be nine main covens, just the many, many covens, some of which are pretty ridiculous, and Covention's sub-covens seem a callback to that.

Luz's first spell would've been levitation, and THEN she would've infiltrated Hexside, with Amity being a lot subtler about exposing Luz, though in the final draft she does figure that out as the way to go in I was a Teenage Abomination. Yeah, I prefer Light being her original spell, feels so much more symbolic and personal, etc. I wonder if the Titan is even as much of a character in early drafts, and if there's still the whole connection/relationship with the land and learning to respect it aspect. Some of these hypothetical episodes push the idea of Amity as a more episodic, typical popular kid antagonist, though in the final draft, the show goes through her character development and explores Amity's romantic relationship with Luz and its complications.

It seems the idea of the Mirror Ghost was split into Adegast and Vee, with Adegast being the one who offers the easier narrative for Luz to believe in about becoming a witch (only to be a fraud who uses uncanny puppets), and Vee being a doppelganger whom Luz communicates through with mirrors. Interesting how Yesterday's Lie was born from this. We saw the test animation from Spencer Wan for TOH, so I guess we know what Luz's puppet-doppelganger is called! And we can safely call her Proto-Vee. I wonder if she also would've been a sympathetic character, I always thought she reminded me of Lake from Infinity Train (and speculated her to be as such since Enchanting Grom Fright), and now the similarities are even MORE apparent!

Alas, The Good Witch Azura, or 'The Unassuming Princess' seems like it'd have been a lot less dear to Luz's heart, as the pilot also reflects; In the end, it turns out the author is just Eda's ex using her adventures as basis, and including private information. I remember when I once speculated that Raine, before we saw their face, would've been just like this as the author of Azura... Again, I think I prefer Azura as being a lot less mean-spirited in the final draft, and instead a celebration of who Luz is as a person, her relationship with fantasy and fiction, etc. We also would've had a Luz birthday party, the Quincenera we've been hoping for since S1...! In the final draft (and episode) we still get that Human-Demon Realm disconnect, though by that point, Luz is much more attuned and chill with the isles.

There’s definitely more of an episodic, sitcom feel to this pitch bible, especially when you compare Proto-Yesterday’s Lie to its final version. Makes sense, Dana is pitching this to Disney executives, though her statement on Understanding Willow feeling truly like her show makes me wonder if she always intended to push TOH in that more serious, emotional route we got.

[lordcaptains]

the Reverend Hieronymus Doloroso, on his history with Incendia Chorda -

"All my life, I have been a confessor to lost souls. Now let me make my own confession to you. I seek no forgiveness or understanding; I only want to tell the truth. The blood of House Chorda is on my hands. I chanced upon a secret world where Aspyce Bastaal-Chorda had imprisoned her heirs in cryo-vaults, to stop them from challenging her authority. Incendia was among them. "My fellow faithful chanced upon those ice crypts. Aspyce's wicked design horrified them. And I thought, if Saint Drusus had died a martyr's death to be resurrected in faith, perhaps another could follow in his footsteps. I chose Incendia; as full of worms as her innermost soul was, it had not rotted completely. As for the others… I put them to death, for thousands of years of suffering would not have been enough to cleanse the stench and rot from their cursed souls. "I sabotaged Incendia's cryo-vault, and she spent three years conscious, blind and helpless. My brothers and sisters recited prayers over her prison, to plant the seed of faith in the soil I had weeded. I hid the truth from Incendia and became her mentor, setting her on a path of service to His will. And that was how Incendia, the offspring of a felonious heretic, became His vengeful hand striking down enemies of the Imperium. At the cost of the evil I had done."

[ravelsquadespresso]

Chaos WIP --- what day is it now?

Xavier Calcazar IS MEAN for 350ish words straight. How dare you not choose violence?

**********************************************************************

“You should have finished them off,” Calcazar said, voice ragged from the fumes. “Chorda. Doloroso. While you had a chance.”

Amanar did not look up. She was crouched beside van Calox, slowly tracing his bloodless face, breath faint but still there. The nullification bomb had torn through him like frost through marrow. Kibellah felt the faint echo of the null field remnants flowing off him, bathing the room in oppressive grays and browns.

No, she told herself. I am not a psyker to feel that. It’s just fatigue. Just priors playing tricks on exhausted brain.

“Now they’ll retreat. Regroup. Preach. You’ve made them martyrs who lived,” Calcazar went on, pushing past a cough.

“There will be a war, Amanar. A long one. With burning fleets and blockades and Exterminatus writs. With your name in the litanies.”

“It was them dead or you alive,” Amanar snapped. “I made a choice”.

Calcazar’s eyes narrowed.

“You chose your retainers. Your high priestess. Your witch. Your man. Over your sworn duty to the Throne. Over your oath as Rogue Trader.”

Amanar stood in one fluid, predatory motion. “I owe the Imperium no lives,” she spat.

Calcazar stared, lip curled. “You don’t owe the Imperium?” he echoed, barely above a whisper. “You wear its seal over your heart. You swore—before your officers. Before my people. Van Calox was there, both times. I gave you your life back when the easier choice was to end it and salt the ash.”

He stepped closer, just beyond Kibellah’s threshold of murder. Her body tensed. One step more and she'd draw. Silent Verdict was cold under her palm, comforting.

Calcazar smirked, noticing, giving her an appraising look. You would not dare, it said.

“I spent weeks trying to defang them,” he continued, quieter now. “You had them in your sights. You let them live. And now they’ll start a fratricidal crusade.”

He looked from Amanar to van Calox.

“You’ll be killing people who should have died fighting the Eldar at your side.”

He paused.

“You think you saved the ones you love. But what you really did was buy their deaths—in daily installments.”

************************************************************************

Sending some astropathic communiques: we need some reinforcements here, or Chorda is going to eat our brains @halfelvened @avalost @fourraccoonsinacoat @just-another-pigeon @swordbisexual @nadas-dirthalen @nusaran

Pretty much anyone, consider this your tag :)

[werewolfoffeverswamp]

more sona doodles

[hello-eeveev]

shoutouts to sherman guthrie and hieronymous loxlee for both going after two women on opposite ends of the hot old lady spectrum after their split. love that for them.

[laclefdescoeurs]

Christ in Limbo, 16th Century Follower of Hieronymous Bosch

[midstpodcast]

Distinguished new character art is up on Midst.co for Fold subscribers to explore! 🧡 ⚪ ⚪ ⚪

[tiffanys-aus-and-headcanons]

Appendix D: Some Pig/One More Final

The first three posts in this series are here.

Undertale was a slightly postmodern children's fantasy movie produced by Jim Henson's Creature Shop in the '80s. Noah Hathaway played the protagonist, Frisk, who went on a long quest to escape from a magical prison inside Mt. Ebott; Frisk's father had thrown them into the mountain, known to be full of monsters, in an attempt to kill them. However, it's suggested that as a human, Frisk is inherently more of a protagonist than a monster can be, and has a vague sort of magical power over them. Toriel's death, which Frisk accidentally causes early in the movie, is commonly listed as a Peak Sad Childhood Moment.

George Orwell wrote The Writing In The Web, a political fable about a cult started by a well-meaning spider. E. B. White wrote Snowball's Farm, a whimsical children's tale about a farm whose animals decide to take over.

Infamously, Emmanuel Goldstein's monologue fills dozens of pages, takes at least three hours to read aloud, and brings the plot of Ayn Rand's 1984 to a screeching halt.

Short story collections and anthologies often keep the same title, author, and spirit, it's just the stories that are swapped out. For example, classic episodes of Rod Serling's The Twilight Zone include A Wonderful Life, The Secret Life Of Walter Mitty, Miracle On 34th Street, and The Sixth Sense. 1983's The Twilight Zone Movie includes segments based on classic episodes Eternal Sunshine of the Spotless Mind (directed by John Landis and given anti-war themes), Cocoon, The Poltergeist, and In Search of the Twelve Monkeys (the original starred a young William Shatner). Candle Cove is an episode of Black Mirror.

League of Extraordinary Gentlemen was a 1999 Ben Stiller comedy about a team of low-rent superheroes who theme themselves after public domain characters because they cannot afford licensing fees. The film was well-reviewed, but a box office bomb. It was actually the first film to use Smash Mouth's One Week - the One Week music video is actually cross promotion with League of Extraordinary Gentlemen - and it would remain the film most associated with the song until Dreamworks' Happily N'Ever After hit theaters two years later.

The Amazing Digital Circus was a virtual pet game and toy line that struck when the iron was hot on that niche, before being bought out by Hasbro and rebooted a few times in different forms and mediums. Lauren Faust created a long-running television cartoon of it that was a huge smash hit with fandom culture despite the show's clearly very young target audience. The property's canon is all very light kiddie fare; the scariest thing about The Amazing Digital Circus is that for a brief and touchy stretch of time in the early 2000s, it was owned by the Peoples Temple, which was seriously considering turning it into a recruiting platform.

Your cringe unpublished works that you gave up on were almost certainly swapped around with other people's cringe unpublished works that they gave up on. There's lots of upwards and downwards mobility to the scramble, but not usually that much. Exceptions are very rare - like a beggar suddenly being made king, or a god being reincarnated into an ant - but they do occasionally happen. For example, what you know as the land of Oz exists only in the head of a young Milwaukee stoner, who suddenly came up with the idea for an epic graphic novel one day in the 2010s while sitting on the bus, and spent a couple of years absolutely convinced she would eventually make it. (She cannot draw.) Conversely, L. Frank Baum's children's fantasy series, Enormia, which has been adapted and reimagined many times, most notably as audiences' introduction to color film, exists in your world only as a different Milwaukee stoner's overly elaborate backstory for his jerkoff sessions. This kind of thing is much more the exception than the rule, and even such exceptions are almost always much smaller in scope - an obscure stillborn project getting swapped around with an obscure out-of-print novel, or an obscure direct-to-video z-movie.

The True Detectives forum and its many schismatic spinoffs, all of which are devoted to discussing mystery fiction, host literally thousands of Wind fanfics. Many of the writers - perhaps most of them - have never actually read Wind, just other fanfiction of it; next to none of the fics are worth reading. Most Wind fics reuse the original protagonist, Rorschach, but treat him as a generically relatable blank slate. The most common fic format by far is the "altdunnit", a form of what-if scenario in which the mystery that sets off Wind's plot is different in some way.

Rorschach is held by a substantial portion of the fandom to be an egg (a trans woman who has not realized it yet). Wildbow has never endorsed this interpretation, and it doesn't seem to be much on his radar. In recent years, the trans Rorschach portion of the fandom has grown; they don't tend to look especially kindly on Warn, much of which Wildbow wrote as a response to fans (like those on the True Detectives forum) he felt had been too inclined to take Rorschach's side in Wind. Flame wars over Warn's content were constant throughout its serial publication, and made it easily the rockiest experience of Wildbow's writing career.

Some noteworthy and relevant podcasts include Jonathan Sims' The Dresden Files, the Ranged Touch Network's Scott Pilgrim Made The World, Doof Media's Winding Down (later Warning Down), and the McElroy family's The Adventure Zone (an actual play podcast which has currently had three major campaigns, two anthology series, and various one-shots). Film Reroll is still an actual play podcast that runs the basic setups of movies (and occasionally other media) as short tabletop campaigns; occasionally, their version of a movie will be much closer to ours than it is to the version of the movie in their own universe.

Xenobuddy was an early childhood public access show, originally created for the BBC in the late 1990s but later aired internationally. The title character is a small alien puppet who lives on a futuristic spaceship staffed by children (who speak a vague conlang akin to a dollar store Esperanto). At the end of every episode, it gets lost and is found, usually by (harmlessly) bursting out of one of the children. It was very popular with its target audience and much loathed by parents. Edgy ironic fanart depicting the titular Xenobuddy as some kind of dangerous parasite abounds.

Static is a supernatural slasher franchise created by Wes Craven, with the first film, also simply titled Static, released in 1984. The movies concern a group of gibbering neotenous ogre-fae who wake up in the modern day after a long sleep, incorporate televisions into their bodies, and start eating people by sucking them into hellish pocket dimensions. The Screen-Guts collectively are probably in the top five antagonists most people think of when they think of slasher horror.

Toby Fox's ROSEQUARTZ is especially known for its meta take on video game morality systems. The game has a mission-based structure; throughout it, the player is encouraged to take on a pacifist playstyle, championed by the player character's late mother, the title character. However, the Crystal Gems give the player enough autonomy that you are entirely able to take a much more violent tack; doing so has a rippling effect on the game's writing in countless immersively-integrated ways. If the player goes out of their way to be as murderous as possible - the so-called "genocide route" - the differences from the main route grow much more extreme, and rather than gaining allies, you start to lose them, as the Crystal Gems realize what you're doing and one by one turn against you. If you manage to shatter Garnet - it's the hardest and most iconic fight in the game, Megalovania is playing, her Future Vision gets used for all it's worth - then you use your knife to slash at the cosmos, erasing Earth, Homeworld, and everything else. This, Toby Fox is saying, is apparently all you want out of a video game - another toy to break.

Warner Bros still did Space Jam with Michael Jordan and the Looney Tunes, it's just that the Looney Tunes in question were Mickey Mouse and friends. They also still did a second one with LeBron James, which was, by God, somehow worse. They put Ms. Frizzle in it.

Walt Disney made his squeaky clean reputation on the back of adaptations of things like Rudyard Kipling's adventure novel The Call of Cthulhu, P. L. Travers' Thomas the Tank Engine, and Erich Kästner's feel-good coming-of-age kidnapping tale about the power of perseverance, Lolita, originally done with Hayley Mills and later remade with Lindsay Lohan.

Nabokov's extremely controversial literary classic that has defined the idea of the unreliable narrator is Father's Trap, from the perspective of a man who plots to obtain custody of both of his daughters for nefarious purposes. Most publishers ignored Nabokov's instructions not to depict the twins, Lisa and Lottie, on the cover. Stanley Kubrick and Adrian Lyne have directed mediocre film adaptations, and songwriting team Lerner and Loewe did a musical that was a legendary flop.

The Japanese fashion movement is Gothic Pollyanna, after an otherwise-forgotten series of penny dreadfuls about a cute, cheery, rules-minded young girl who is, despite appearances, an insane criminal. Minor character Bonesaw in Alan Moore's Worm Turns also clearly hearkens back to the Pollyanna stock character.

The DEA was a prime-time soap opera about the ongoing "war on drugs"; it ran for eleven seasons from 1982 to 1993. Its plot focused on federal agents working at the Drug Enforcement Administration office in Albuquerque, New Mexico, and especially partners Hank Schrader and Steve Gomez and their families. It is mostly remembered today for its downer ending (in which the treachery of late-show villain Walter White, or "Heisenberg", gets the leads killed, and he escapes from justice), and for its far-more-acclaimed spinoff series Better Call Saul, which also ran for eleven seasons from 1993 to 2004, functioning as a prequel, midquel, and sequel to The DEA.

Between The DEA and Better Call Saul, Kelsey Grammer played crooked lawyer Saul Goodman for twenty consecutive years of primetime TV, first as featured comic relief and later as a leading man. (He also guest-starred on the mostly-forgotten Mall Cop, establishing that it, too, was set in the world of The DEA and Better Call Saul.) Better Call Saul won more than a dozen Primetime Emmys. Peri Gilpin received several of these for her performance as Kim Wexler.

St. Elsewhere was a film written and directed by M. Night Shyamalan in the late 1990s; it was highly acclaimed and successful, and established Shyamalan in the public eye as a skilled auteur with an affinity for twist endings. The film's final scene reveals that its main setting, St. Eligius Hospital, exists entirely within the imagination of an autistic boy, Tommy Westphall, as he gazes into a snowglobe. The so-called "Tommy Westphall Universe Hypothesis", which posits that this same twist applies to most of fiction due to a network of crossovers, was invented by a Saturday Night Live sketch shortly postdating the film's release, in which an amnesiac Charles McGill (from Better Call Saul) wakes up in St. Eligius, attended to by a cast of characters who are more concerned with their own nonexistence.

After rising to prominence as a writer, storyboarder, and composer for Pendleton Ward's Science Time (where she established the Summer/Jessica relationship that would come to define later seasons), Rebecca Sugar got to make her own cartoon, Henry Ichor. Set in a recently post-apocalyptic but strangely cheerful world, Henry Ichor concerns a young teenage boy who is conscripted as a mech pilot due to his rare and innate ability to link to the powerful Evangelion mecha. (His preferred Evangelion is eventually revealed to be a form of his late mother, the reason he can do this in the first place.) Henry turns out to be a vital asset in protecting humanity from the monstrous "Angels" that frequently threaten it, and is surprisingly emotionally mature for his age. However, the adults around him (especially his father, Gennady) frequently push him too far, especially considering his generally noncombative and pacifistic nature. There is much interpersonal drama and much singing about it, with a very vocally trained cast. After several seasons of slow buildup, the show was forced to suddenly rush to its ending in only a few (infamous) episodes after an arc where Henry had a romance with an Angel in male human form. Henry Ichor The Movie and an ensuing miniseries, End Of Henry Ichor, helped bring the show to a more thematically satisfying conclusion.

Although he has played a creative or consultant role in many animated projects, Alex Hirsch is best known for the one he was actually the showrunner for, Disney Channel's smash hit Sunnydale. Focusing on a small California town constantly plagued by supernatural threats, Sunnydale generally followed a simple monster-of-the-week format, but kept audiences on the hook with teases at a deeper underlying mystery. The show almost didn't get a season two, as Hirsch found working with Disney very tiring, but he was eventually persuaded; season two ran through the rest of Hirsch's ideas at a faster pace, and concluded the show with the leads graduating from Sunnydale High.

For a brief historical moment, Daron Nefcy's show, Ender vs. the Space Bug Army, looked like it would become the successor to Sunnydale, keeping Disney Television Animation prestigious after Sunnydale ended. However, though Ender drew in a big crowd, and lasted almost twice as long as Sunnydale, it was not ultimately as well-received. EvtSBA is a children's space opera, wearing its Starship Troopers (Joss Whedon) inspiration on its sleeve, but also clearly copying some (superficial) notes from Philip Pullman. Set in a future where mankind has come into violent conflict with bug-like aliens, the show follows unbearably smug boy supergenius Ender as he is sent to military school to prepare for interstellar warfare. The show has an extremely cutesy and hyperactive tone; typical filler episodes include the one (generally taken as meta about fandom drama) in which Ender's siblings' futuristic internet arguments prove instrumental to the survival of the human race. Later seasons get a bit more serious, but focus heavily on shipping. The show is infamous for its ending, in which Ender, for his final exam, destroys the Formics' home planet and releases a psychic signal that eradicates the Formic race. Although the show explicitly notes that this includes many individual Formics who we have previously known as sympathetic characters, it is nonetheless played as a happy ending in which a hostile colonial power is defeated. Ender has ended the war; he has beaten the Space Bug Army.

"Meugh-Neigh. 'Meugh' like the cat, 'neigh' like the horse." "Does it mean something?" "No answer; none at all."

Orson Scott Card is an extremely prolific author of speculative fiction. Although it isn't as close to his heart as the Steel Gear series, in which he got to flex his military sci-fi muscles and allegorically retell stories from his faith, he is undoubtedly best known for Ishtar's Curse. Initially a short story and later expanded into a full novel, the plot concerns young Princess Ishtar, or Star, heir to the heathen fairy kingdom of Meugh-Neigh. (In later novels, she changes her name to Bethlehem Diaz, or Beth.) Spoiled and destructive but magically talented, Star is sent to twentieth century Earth so she can develop the wits and the strength of character to be a viable wartime leader for her people - or at least so she can be kept out of the way. After several years of personal growth and magical misadventures with companions she met on Earth, a more grounded Star devises a spell to erase the magic that makes up the bodies of most of her throne's enemies. This plan works, and merges Meugh-Neigh into the Earth as a small and ordinary European country. However, though her subjects are eager to celebrate her for this, Star is devastated when she realizes that she has killed trillions of innocent spirits, and, seeking to atone, she takes on the title of Speaker for the Dead (also the title of the book's first sequel). Although it's frequently ranked highly in lists of fantasy novels of the twentieth century, Ishtar's Curse has received some harsh criticism, with the standard line being that Star is an idealized fantasy of a repentant Hitler figure, and that the text presents excessive justifications for her actions. The story has also been called a reactionary response to Wilde's The Little Mermaid. After more than twenty years, a film adaptation of Ishtar's Curse was released in 2009, starring Dakota Fanning, to mixed reviews. The box office took a further hit due to a boycott campaign, after Card's views on homosexuality (and, relatedly, his membership in the LDS Church) became widely known. In the end, it lost the studio a lot of money.

Hideaki Anno is best known for the classic smash hit anime he made for Studio Gainax, Einstein Goliath Nestorian, a psychologically intense deconstruction of martial arts shonen like Yoshiyuki Tomino's Dragon Ball. Einstein Goliath Nestorian concerns a mystery man known only as Saitama, who finds that he has become dissatisfied with life and alienated from the world after only three years of training have enabled him to easily surpass any physical challenge. The original series is known for its sudden, surreal, and clearly budget-driven ending, although this was quickly alleviated with a similarly surreal but more definitive finale movie. Although many Western anime fans often think of Einstein Goliath Nestorian as pretentious and ultra niche, it was actually a huge mainstream hit in Japan, with a colossal franchise of adaptations, merch, and spinoffs (notably including a series of Retrain films, which began as extremely close shot-for-shot remakes of the original series but wound up spiraling into a very different updated timeline).

Previously most noteworthy for his 2003 visual novel Oreimo, Gen Urobuchi was tapped by Shaft for their extremely successful and acclaimed anime Ohayou Hana!, hailed as a deceptively dark deconstruction of the teen idol genre. The plot concerns a girl, Saionji Mayuri, who leads a double life, being of little note at school, out of costume, but spending much of her time as #1 idol Hana. Her mental stability begins to deteriorate as she realizes that the adults in her life - especially her father, himself a former idol - have groomed her to serve as a drugged and hypnotized propaganda mouthpiece for a shadowy conspiracy. She winds up in the worst of both worlds as her ensuing breakdown, and her handlers' response to it, destroys both of her lives and brings ruin to those she cares about. In addition to the popularity of the actual anime, many of its songs became decontextualized J-Pop hits. The idol anime genre would then receive a glut of edgy lesser imitators, like Love Live: School Idol Project, Cheetah Girls, and magical girl fusion Symphogear. Although the original Ohayou Hana! was a self-contained twelve-episode story, it received a sequel movie shortly thereafter, Ohayou Hana! Rebel!, which ended on a cliffhanger that has still not been resolved over a decade later. The upcoming Ohayou Hana! MK Ultra! is expected to get things back on track. An abridged series originating on 4chan, focusing on cropped screencaps from Ohayou Hana!, called the title character "Miss Ohio", producing the memetic tagline "being Ohio is suffering".

Zack Snyder first came up with the idea for Madoka around 2000, a long time before he'd actually get to make it; he put the project on hold in 2006 to make his adaptation of Worm Turns. He developed the idea with his wife Deborah and a cowriter, Steve Shibuya. Inspired by the Disney Princess phenomenon, as well as Naoko Takeuchi's Pretty Cure (one of the few anime that had already become a hit in the States), Snyder wanted to tell a coherent story about fights between magical girls who could make anything happen, who could make any fantastical world or visual appear. In Snyder's film, we follow Madoka Kaname, a teenager attending a Catholic school in Los Angeles. Madoka and her friends are approached by a strange young woman who goes only by "Mommy", and her animal companion (a CGI-ed up squirrel-cat thing), QB. They offer to make the teens into "magical girls", granting them one wish each in exchange for a life devoted to spiritual warfare. (Another mysterious new girl, Lilly, urges them not to take the deal in the strongest possible terms.) This turns out to be a scam; QB is pitting the magical girls against one another for his own reasons, and in the end, every magical girl and her wish gets corrupted. Despite much of the film's plot being a horrific bloodbath - the MPAA demanded a lot of cuts to get it down to a PG-13 rating - there is a happy ending; Madoka finally makes her own wish and uses it to topple QB's whole system. Madoka isn't often discussed nowadays but it was a major discourse bomb when it came out in 2010, alternately being called misogynistic Orientalist trash and a subversive feminist masterpiece. Snyder, for his part, often notes that QB is intended as an allegory for exploitative forces within the entertainment industry that treat young women as disposable resources with an expiration date; this is already clear to anyone who's watched the film, which is not exactly subtle in its symbolism. He also explains that the film sexualizes the girls in an effort to shame the audience, to get people to understand that they are objectifying the characters in the same way that QB does. The soundtrack's got a really cool ethereal cover of Nine Inch Nails' King Nothing on it, which is probably the most remembered part of the film today.

Selena Gomez became a star by playing Violet Parr on Disney Channel's superhero sitcom The Incredibles. While the show was initially a very throwaway villain-of-the-week affair whose leads had to keep their powers hidden from the public and their caped escapades secret from the government for self-explanatory comes-with-the-genre reasons, it would eventually unfold that the show was set in something of an X-Men-style dystopia where superheroism had been outlawed and supers oppressed by the government as a potential societal fifth column.

Brad Bird directed one of Pixar's most celebrated films, Wizards of Waverly Place; it was Pixar's first film with a predominantly human cast. Disney was hungry for a fantasy property after losing a bidding war for the Luz Noceda rights. It had strong populist anti-eugenic themes, with an elaborate wizarding hierarchy of antagonists who seek to remove the Russo family's magic as part of an effort to curb wizard overpopulation. The sequel came more than a decade later, and wasn't nearly as good.

In addition to Worm Turns, Alan Moore is notable for the heavily metafictional comic Pagemaster, about a boy, Richard, who finds a magical library that contains all stories that have ever been or could ever be told; he becomes lost and imperiled in assorted pieces of historically noteworthy literature (initially ones in the public domain, though later volumes would start using legally safe serial-numbers-filed-off versions of modern stories). The 2003 film, in which Sean Connery played the librarian in one of his last film roles, is widely regarded as a terrible, deeply-toned-down adaptation that didn't grasp the tone or themes of the original story at all; it only covered the first half of the first volume, in which Richard meets "genre spirits" who wish to sort all stories into rigid categories. In a later volume, Pagemaster Millennium, an aged Richard Tyler, who has since taken on the mantle of librarian himself, meets a teenage girl, heavily implied to be Luz Noceda, who has also become lost in the library. She has become corrupted by an eldritch book, or "Necronomicon", written by "the Wrong Author", heavily implied to be the devil (and/or Hugo Astley, an Aleister Crowley caricature from W. Somerset Maugham's The Winged Bull). Flushed with demonic power and enraged by what she's become, a monstrous Luz tears through the library in a blaze of hellfire, seeking to destroy all of literature and the world. It is only through the intervention of the Fat Controller - heavily implied to be God - that Luz is defeated; he mercifully erases her by hitting her with a train, and laments what she became.

[alicedyers]

Balance | MIDST 3x19 (1/2)

[wardensantoineandevka]

I love that Hieronymous in Trustfall is mostly providing tension relief. He's having the worst day of his life but in the funniest way. His contributions to the episode in the field of much needed levity are duly recognized and deeply appreciated. Thank you for your service, Mr. Loxlee. 🫡

[stellastra-scribbles]

Arcanum: Of Steamworks and Magick Obscura doodle dump

various scribbles or scrapped WIPs from the past few months of some Arcanum NPCs~

September 2024 - Scrapped M'in Gorad scribbles, based on her in-game sprite and one of the female elven portrait options (since she doesn't have an in-game portrait).

While Raven's hair is described as "dark crimson, almost black," I like to think M'in Gorad's hair is a dark green, almost black hue.

October 2024 - Scrapped/unfinished Torian Kel sketch from my endgame team headshots. I restarted this dude's portrait like three times because golly it's so hard to capture his likeness in my style.

?? November 2024 - scrapped armor concept for Torian Kel, inspired by a blend of in-game armor, 17th-century Dutch infantry armor, and 19th-century Zouave infantry uniforms.

November 15, 2024 - My take on Hieronymous Maxim, the Master of Repair and (in his words) the "inventor of the mechanized gun and the recently absconded aeroplane." You know, the same planes that shot down the IFS Zephyr in the game's intro.

I took reference for the clothes from an 1882 fashion plate. For Hieronymous Maxim's face, I referenced his namesake, Sir Hiram Stevens Maxim, creator of the first automatic machine gun who also experimented with heavier-than-air flying machines.

I'm thinking of making similar portraits for the other Master Trainers.

December 20, 2024 - island hermit Nafroodinski

February 17, 2025 - My interpretation of a younger (Age of Legends-era) and a present-day (1885) K'an Hua. I imagine he had a Gollum-like transformation in the 2000ish years between to become what the game describes as "[... a hunched, robed figure...you are taken aback by his hideous appearance. An air of dank, foul evil emanates from him, warping his elven features.]" (although he ended up looking like Brad Dourif's portrayal of Grima Wormtongue lmao)

Early April 2025 - Headshots of Jayna Stiles and Garfield Thelonius Remington III, much like this previous batch of follower portraits I did~

[sepublic]

Unlocking the Sad Backstory

I find it interesting how a lot of arcs in TOH have this general pattern of…

Character hurts others -> Character is unhappy, reconsiders their harm -> Character begins to do better -> Character’s sad backstory that re-contextualizes them is unlocked

And it applies even to characters that aren’t exactly villains or even antagonists, but for whom hurting someone nevertheless is a major premise! So to look at examples;

Amity is Willow and Luz’s bully, but we see how she’s unfairly manipulated by Lilith and is ashamed because of it. Luz reaching out to her makes Amity reconsider, she undoes the binding oath she placed on Luz. Then we see Amity’s siblings and how both parties are toxic to one another, and then we get a flashback confirming her parents are abusive. In regards to Willow specifically, Amity acknowledges she’s done harm to Willow in burning her memories, and works to fix them with Luz before we get this context.

Emira and Edric are also toxic to Amity, but in their next appearance they’re remorseful about what they’ve done to Amity, they’re working to make it up to their baby sister. And while they’re not present in the aforementioned flashback, their parents being confirmed as abusive tells you everything you need to know about them.

Lilith has a petty rivalry with Eda, but we see how much she cares and keeps breaking the law to look the other way, too. Then we see how she’s pressured by the Emperor’s Coven, and even threatened by Belos, before she captures Eda. We learn of her curse, but again; We see Lilith next and it’s reiterated that she believes this will cure Eda, we remember wanting to be kinder happened after cursing Eda. We see Lilith attempt to free Eda, and then we get the backstory about how the curse was mostly an accident. We get more info later on how Gwen’s neglect contributed to Lilith’s inferiority complex.

Hunter is the Golden Guard, he threatens to boil Luz, Eda, and King to death and wants the Selkidomus dead, but won’t even do it himself. He kidnaps Palismen to feed to Belos. But then later we see how he’s unhappy over his situation, how he feels like his uncle won’t let him help. Hunter begins to show consideration towards Flapjack and later Luz when he reveals his name, and then we get context as to how physically abusive Belos is, and where that scar came from. Flapjack returns and Hunter spares him.

Alador is either a controlling abuser to Amity, or a neglectful one. But he does hold his wife accountable when she tries to betray their daughter by going back on her end of the deal, and later shows genuine love for Amity when Alador isn’t more concerned about the family’s socioeconomic status. Amity admits how unhappy she is, Alador realizes he truly is hurting his daughter, and promises to talk with his wife over this. We later see him try, and then we see that Alador is also abused, and it’s implied his neglect comes from overworking himself in exchange for his children being spared the same.

Boscha is a bully, through and through. She torments everyone for purely petty reasons. But she also admits to feeling similar pressure as Willow, and then confesses to being lonely without Amity, Skara, Amelia, or Cat. Amity acknowledges that Boscha is lonely, but points out that Boscha needs to respect her for who she is. Boscha listens, and helps stop Kikimora. In the credits we see fully that she really was a miserable, scared child being manipulated by a grown adult.

The Collector is aiding Belos’ genocide, and (seemingly) knowingly. But they’re also fretful over the nature of their ‘friendship’ and are left betrayed and hurt. They meet King, and after being freed by him, we see how they try to be a good friend to King and are slowly listening to him bit by bit, which is why King vouches for rehabilitation over imprisonment. The Collector is already against harm to a certain point, defying what the Archivists mandate. And then we learn that they were unjustly imprisoned by the Titan, and didn’t even know about death in their childish, simplistic view of the world, seeing people as only broken and unmoving yet capable of being fixed at any time, if all the parts are there.

Gwen makes Eda feel ashamed of her curse, she neglects Lilith. But she does care for at least one daughter, and is horrified when she realizes the harm her antivaxxer actions have done. Gwen makes things up not only to Eda, but Lilith especially in taking her back home, even as Gwen explains during her reconciliation that she honestly saw Lilith as self-sufficient. And then a few episodes later, we find out her husband was mauled and left disabled by the curse, unable to continue his life’s work. And we get even more context for Gwen’s obsession in curing her daughter of the condition that gave her so much guilt.

Camila made Luz feel unwanted at home, going along with the camp, and her outburst later on was the wrong call; But she’s not punished for it, that’s not necessary. Instead she apologizes, we see Camila worry about the camp taking away Luz’s passion by salvaging her daughter’s weirdness for her, we see her be accommodating to Luz and her friends when she returns, having reflected in that time, and offering support. And then we learn that Camila was just like Luz, she fit in to survive, and she lost Manny, someone she needed to stand up for herself.

Bump is introduced as a principal willing to dissect Luz, but he also appreciates Willow’s magic and vouches for her to her parents. We see that he’s actually open-minded and cares about his students, he lets Eda enroll Luz on the fair grounds that Eda clear her own messes; Bump insists on following the coven system and places students into the detention track, but when those kids save the day, Bump owns up to a mistake he clearly didn’t like anyhow and changes things. And then we see his past, and how he’s been improving things this whole time, challenging Faust and looking out for Eda!

Even Steve technically qualifies; He’s a covenscout, he’s a jerk who knocks over someone else’s books to express his cop enthusiasm. But Steve forgives Skara for punching him in the face because he kidnapped her, and then admits to Hunter that what they’ve done is wrong, and he’s now reconsidering. Afterwards Steve has his introspective interactions with King, and then we see his face; Implying (and eventually confirmed by Dana) that he is the older brother that Mattholomule spoke of, who gave him the map to the Looking Glass Ruins that Adrian, in the previous episode, admitted he couldn’t find; Because Steve gave away the map to make his kid brother happy.

Likewise, I want to discuss two characters who don’t exactly fit this sequence, and don’t mature or get better, not of their own volition for one:

Kikimora is Belos’ assistant, she’s complicit in his executions. She tries to murder Hunter out of nothing but jealousy, helps bring Raine to Terra, goes after everyone at the Knee, etc. But then we see Kikimora is miserable because of her unsympathetic mother, who is probably abusive; She has no consideration that her daughter is obligated to their dictator, who demonstrated on live television that he’ll execute even his own high-ranking officials if they don’t go along with him, and Kikimora was there in-person. And is now expected to help with a major event involving other high-ranking officials and the dictator himself.

So we get Kikimora hurting people, being unhappy, and having a sad backstory; But we don’t have Kikimora reconsider the harm she’s doing. She accepts Luz’s help for her own sake, and instead of empathizing with Luz as a result, Kikimora betrays her when she sees a potential promotion. Kikimora is let down, we see later that she’s been demoted to the Crate Coven.

But then she attempts to bring Hunter to Belos, and it’s revealed later that she knows what happens to Grimwalkers like him, and has known about the genocide and still went along out of obsessive devotion. Despite this, Kikimora does not warrant Belos’ callousness, it’s not triumphant it’s just cruel because he was going to kill her just for being a demon, villain or saint it didn’t matter. So Kikimora is given her revenge when she helps free the Collector, who splatters Belos, an injury that leads to his eventual death, and stops the draining spell, saving Kikimora’s own life in the process!

At which point, you think she’d learn, right? But instead Kikimora does the exact same thing as Belos, which Luz calls out, despite having had her pedestal shattered because Kikimora doesn’t care about the harm to others, only herself. And so she can only temporarily be an ally, before going back to being an antagonist; The system is fine if she’s in charge, she doesn’t learn anything from what happened. And Kikimora is captured by rebelling students, and forced into community service four years later.

There’s also Belos, whom… Okay do I even need to explain??? We learn that he is upset by his brother’s death and misses him, too. And he does feel guilt about murdering Caleb and even the Grimwalkers, they weren’t purely replaceable in his eyes! But he never reconsiders his harm, he keeps repeating it, he never changes. Belos doesn’t even acknowledge that he’s doing witches and demons wrong. And while we do get his backstory, it’s clear from his priorities, the details, and Masha and the Titan’s own takeaways that he fully chose his misery, and that his backstory is not so sad with this in mind.

I wonder if the takeaway is that these characters can’t truly get better because in the end, they won’t acknowledge the harm they’ve done; They won’t admit it, they won’t do anything about it. And so they can only be counted on to care about making themselves feel better, but that’s it. And so on a pragmatic level, co-existence has to be forced.

Because with Kikimora, she’s made to do community service, and with prisons being abolished for hospitals, she’s likely on house arrest because the alternative is execution and no state should have that power. And with Belos, he proved himself too dangerous, he was well past his lifespan and dying anyway, and they were not going to sacrifice even a single, unwilling Palisman to keep Belos alive.

As for all the other characters, for whom things do work out with? I find it interesting how Sad Backstory is something for the protagonists and viewers to unlock. Maybe the idea is that the protagonists aren’t prepped to forgive a character simply over what happened in the past, just what’s happening now, and what they’re trying to do about it. You can still empathize when they’re sad, even without a backstory for context because look at Luz during Covention!

But as a whole it makes sense for the takeaways of those around them, because why should I care that you were sad, if you’re still being a jerk anyway? Now I know your sad backstory, but you’ve known it the whole time you were hurting me, so what difference does it make about you if you’re not changing; Do you just expect me to keep forgiving you out of pity?

It could be a consideration for what characters around them might realistically feel. The sad backstory, the re-contextualizing for why they’re like that, is the cherry on top to their arc; Yes this person sucks, but maybe they aren’t having a great time either. They give people a reason to be sympathetic. And then those people get to really appreciate their side of the story when they don’t have to worry about still being hurt.

Maybe it’s also a message to the audience, because with other characters showing that you still need to be careful in extending a hand, and given the toxic and abusive relationships we see, maybe this could be the context for that? An abuser’s sad backstory is the last thing on your mind; Your first thought should be that they’re hurting you.

But if they’re looking for help and actually want to improve, then you can offer it, and if they accept, then you can let yourself be caught up over their tragic past, instead of making excuses for them from the get-go because of that, RIP Hunter. When it comes to Willow, she was allowed to be angry well after learning Amity’s Sad Backstory, when she felt Amity wasn’t pulling her weight in making up for everything.

By contrast we have Eda not really giving a damn whether the curse was an accident, because Lilith still took knowingly took Luz hostage and threatened her, captured Eda. So her present actions are being unaddressed even if Lilith thinks her past one is. And when King vouches for Lilith, Eda refrains from taking vengeance; Lilith saving the family and taking the curse, past and present actions made up for, culminates in forgiveness.

It’s not enough that Lilith felt bad about it, she needed to tangibly do something about it, something genuine that doesn’t miss the point (unlike a certain emperor), and so to a no-nonsense adult like Eda, that’s when she can be forgiven. That’s when her sad backstory resonates, just as for the audience, that’s when we learn it so we can even appreciate it at all.

Some of this may just be basic storytelling conventions, like of course you’re going to get the character first and their characterizing actions, and then their backstory. But then again you could just as easily mix things up. Or it could just be an extension of this show’s larger fascination with re-contextualizing previous scenes and details. I just think it’s an interesting pattern to dwell over, and I wonder if it was intentional, how much was intentional, etc. Because with a show wanting to help kids understand abuse, to avoid it and/or realize it’s happening to them, to get help and heal, and finally figure out if they should forgive their abusers, if they want to… All of this could work in that regard.