#i had to rewrite this entire response because tumblr crashed just before i was about to send it SOBS

[thesherrinfordfacility]

Some of the posts you've reblogged lately have clarified some of my thinking about how Gaiman has reworked the characters from the original text. In the novel, Aziraphale and Crowley have at base the /same/ flaw: they evade thinking about the ramifications of their actions by displacing everything onto their "job" requirements. To which the novel says, no can do. Aziraphale has his moral epiphany at the airfield before Crowley does, but it is by and large the same epiphany. Most of the rhetoric about offloading responsibility goes to Crowley, either directly or in free indirect discourse, but he's also the dominant viewpoint character of the two. For that matter, we are told how Crowley /feels/ about where Aziraphale has led him, morally speaking, but we aren't privy to Aziraphale's interiority during this moment. In a sense, though, that doesn't matter, because there's no reason to believe that the sense of liberation is any different.

In the series, though, Gaiman ramps up the tension in S1 and S2 by splitting up their problems. Crowley still has the "but it's not my FAULT" moral flaw, considerably amplified with even more suspiciously unreliable narration, and he still thinks about his work for "head office" as just that, a job. But Gaiman rewrites Aziraphale so that, as other people have pointed out, he thinks about being an angel as an identity (and being a demon, for that matter). I think you can make a good case that unlike in the novel, in the series neither character fully grasps how the other conceptualizes himself. This is one of the reasons that the novel's moral epiphany doesn't happen in S1, and can't happen in the same way in S3. Crowley nudges Aziraphale as though he were nudging him out of a job, not as though he's nudging him into an entirely different sense of personhood. Aziraphale praises Crowley's goodness because he essentializes it, seeing it as a sign that Crowley's demonself is continuous with his former angelself ("you were an angel once"). In S2e1, we have the very telling dialogue in the coffee shop where Crowley knows all of Aziraphale's "voices," but doesn't understand why it ought to set off fire alarms for him that Aziraphale so needs to report to him for praise. This sits alongside the tension in the Job minisode, in which Crowley is openly disaffected with both Heaven and Hell, but doesn't see the situation in the same existential terms as Aziraphale does. The end result is the S2e6 car crash, in which each character proposes to the other in a way that solves their /own/problem.

LWA i’m guessing that this is you - let’s face it, noone else sends me asks like this - but by some chance that it isn’t, congratulations anon you sound just like them (and now i’m slightly terrified that there might be two of you lurking around my blog).

also - apologies that it took such a long while to come back to you; my original response was approaching half a dozen pages just for aziraphale alone (and i wasn’t done by a long shot), and then i remembered to great disappointment that tumblr isn’t exactly the forum for such a long post (future rhi: haha you played yourself, this is still a mammoth response). at which point, i basically had to rewrite it all over again, condensing it (future rhi: you failed) down into what i’m hoping are my key points. i wish i was joking when i say that you’re currently reading what is probably the fourth or fifth version of this response.

i think where a lot of disconnect happens in how we view aziraphale’s journey throughout both seasons stems from thinking that the concept of being an angel is all-encompassing, instead of potentially also being multiple layers that aziraphale has steadily been shedding throughout the story. personally, i think there are three distinct areas around aziraphale’s identity as an angel; heaven, god, and being good. a lot of these overlap and intertwine with each other, for sure, but i think it's too much to ask of aziraphale, as the audience (and crowley), to be able to abandon it altogether in one fell swoop. being an angel is not the whole of what aziraphale is - this much is evident - but to his mind, it's the core. dismantling that, stepping away from that, and finding who he is might be without the overarching expectation and pressure of being an angel is no doubt terrifying... and potentially we're not giving that struggle enough credit.

to my mind, he disconnects from heaven fairly early on in the narrative, as far back as job, and continues through the ages with a sense of fear - or, at best, trepidation - from them. however, this tenuous allegiance carries through to s1 when it severs entirely with the call to the metatron; i truly do not see any instance after this point chronologically where aziraphale has any fondness or loyalty to heaven as the institution, nor the archangels. he is unique in being an angel that has experienced the fullness of earth and humanity, and this has influenced him fundamentally into being an angel that is so 'other' from his peers that he's by default unrecognisable, almost alien, and is deprecated and dismissed as a result. it's the very first modern scene we see of him in s1 - putting him in direct contrast with gabriel (arguably The angel of abrahamic religion; the one that nearly everyone recognises, and considers to be the epitome of What An Angel Should Be). crowley has similarly influenced him through the ages; he's made aziraphale think outside of the dogma that heaven instils as being the irreproachable, righteous, Good Side - as well as encourage him in his hedonism and self-interest (literally the reason why they both endeavour to stop the apocalypse in the first place) because it is important to aziraphale personally, and he takes pleasure and happiness from it. aziraphale "[keeps] up appearances" for the sake of complying with heaven and not raising suspicion, but is ultimately "an angel who goes along with heaven as far as he can".

aziraphale's relationship with god is little more complicated, but again - i think aziraphale reaches the stage where he is shown time and time again that god chooses to be distant, and not to act or intervene*, which is something aziraphale cannot fully reconcile. as he sees it, hell does bad things (as does heaven, as is demonstrated with the apocalypse), and where you have the power to stop it, you should. equally, if you have the power to do something good, you should do it. he takes literal issue with this in job, where he learns that god is resolutely refusing to intervene in whatever hell is cooking up for job and his family, and he instead chooses to defy this and go to crawly to beseech him to not hurt them (obviously not realising that crawly has reached that page already). he holds out hope that god will do the right thing, but the storm comes from hell, starts early even, and god does not stop it - would not have stopped it, even if the children were above, and not in the cellar.

he cannot reach any other conclusion than crawly must be right, and god in fact wants the children to die. when it comes to the lie, and aziraphale resigning himself to falling for it, i do wonder how he reconciles this after he doesn't fall - my thought currently is that aziraphale believes that god has seen his 'transgression', and chosen clemency - to forgive it - but aziraphale fears she may not do so again. it makes sense that aziraphale then is so resistant to the Arrangement later on, and then why he appears so set on not helping thwart the apocalypse because that would be going against the plan (despite, yk, evidently agreeing with crowley and privately wanting to stop it as much as crowley does). this is once again shattered by the call to the metatron; aziraphale holds out hope that the almighty will fix everything, surely this is the time where they would intervene, job and his family is one thing, but destroy the entirety of their creation? but... god won't even get on the call with him. that to me is, once again, where aziraphale lets go that particular strand of what makes him an angel - as far as i can recall, we see no instances in 2023 where aziraphale declares any outright loyalty to god or to heaven*, even going so far as to initially reject heaven (and god, presumably, by extension) - "i don't believe there's anything left to be said, i've made my position quite clear" - until he is given the opportunity to... fix it? improve it? mend it? restore it? semantics, but "make a difference" plainly recognises that how it currently exists, or how it currently functions, is wrong.

*although, ultimately, this is arguably the only moral solution for god as far as humanity is concerned. an omnipotent and omniscient being should not get involved, nor even a vaguely powerful one (i'll take "free will" for 500, alex).

*i've said it before and i'll say it again; where aziraphale says "but heaven! it's the side of truth, of light, of good", this to me is not aziraphale saying that heaven is itself good. that would be in direct conflict with his willingness to "make a difference". if he thought heaven was perfect as it is, 'making a difference' wouldn't even come into it. to that end, he knows it isn't - and instead i see it that aziraphale thinks these are the qualities that heaven stands for, what it ought to be... not what it currently is.

last thing on god: aziraphale even literally steps into god's shoes in ep5, during the ball - it's all very well, admirable even, that he hosts and crafts the ball to be a curated environment where maggie and nina might realise that they have fallen in love with each other, he thinks he's doing the right thing by intervening... by getting involved. but as you say, the book epiphany hasn't happened for them at the end of s1, not even in s2, and aziraphale hasn't learn the lesson of why "messin' about" might actually be the wrong thing to do. in fucking about with the ball, he completely tampers with the free will of not only the girls, but everyone else. nina reflects this back at him, and it visibly unnerves him that she does so; he is removing free will from all present (or, attempting to in nina's case), but is doing what he considers to be right and ergo what he thinks god should do (in his eyes). he doesn't reach the free will realisation, at least not as far as is evident to the audience, and it is clear that when the issues surrounding playing god are highlighted to him (by both nina and crowley), he chooses to dismiss it. he is doing what he thinks is right, but in doing so is literally demonstrating the shortcomings he has in his faith in god.

but aziraphale and the concept of goodness? ah. this, to me, is still the key part of his identity that he is struggling to let go of. aziraphale by the point of s2 accepts that he is not perfect. the first meaningful scene we see of aziraphale in the post-s1 timeline is his interaction with maggie; he forgives the rent, does a kind and compassionate thing, but very readily recognises that he did it for his own self-interested motivations and prioritising himself first (so far as to look uncomfortable when thanked for it by maggie, and referred to as an “angel” as a result - aziraphale knows that his motivation was not angelic at all). a ‘younger’ aziraphale, i do not think, would have so openly admitted to this, and instead would have laboured it as a purely selfless, kind, and benevolent thing on his part... and it would have taken crowley probing further to get it out of him that he did it out of self-interest. this doesn’t preclude that aziraphale was being kind to maggie - kindness is in the perception, not the intention (imo) - but he accepts his shortcomings as far as being an angel is concerned, and the freedom of breaking away from heaven grants him the freedom to do so. but contrast this with his taking-in of gabriel. aziraphale is not stupid, and is evidently frightened, anxious, and suspicious of him turning up at the bookshop, but what becomes clear to him is that this is genuinely someone under threat, in trouble, and lost; yes, he gets frustrated with the situation, but he offers gabriel/jim sanctuary, and is set in this decision before crowley even enters the picture. he makes the clear assessment that the wanker-that-is-gabriel is not the being sat before him, and instead chooses the route of kindness.

aziraphale is not always a good person, and there are multiple instances where this is proven, but there are equally just as many instances that show that he is - and i think he accepts that he is someone that is a mixture of both. that being said, this is still something that he is self-conscious about (if shax's jibes at him in ep6 is anything to go by), but it stems more from a place of aziraphale feeling that he is not enough for heaven, or for god - that even, perhaps, he doesn't deserve to be an angel; i don't think it's out of place to say you can accept the traits that make it so you do not fit in (and in fact be glad that you do not), and yet still feel ashamed and anguished that you have been rejected for the same. there is a case to be made that this in part may be why he accepts the metatron's offer to return to heaven and run it - that it's an offer from the voice of god himself, in acceptance of who aziraphale currently is - but i do wonder how far aziraphale believes this.

now is finally time to start bridging the gap to crowley, because it is clear that being good is paramount to aziraphale. however, the issue is that the sense of being good is paramount, and he still conflates it with what is right. crowley is not to blame for this, but he is undoubtedly a guiding principle in how aziraphale develops this sense; crowley constantly challenges aziraphale on his rigid, often deontological mindset of "the action must be good for it to be the right thing", and instead makes him consider the wider, consequentialist picture; that sometimes, "the action might be a bad thing, but if it results in a good thing, that is the right thing". he reaches, therefore, the conclusion that if crowley ends up doing the right thing, he therefore must be good - and ignores all of the events, all of crowley's behaviour, that point to the contrary. hell, he even ignores all of crowley's own protestations to the contrary. as you say, aziraphale essentialises it.

maybe aziraphale does think that crowley is, at his core, the same person he was as an angel, but... personally, idk how far i currently interpret this to be the case (my thoughts are more along the lines of 'crowley is, regardless of being an angel or a demon, a good person, and that's what counts', but maybe i'm optimistically giving aziraphale more credit than is due). in any case, upon reflection, aziraphale has not learnt from the 'shades of grey' argument... not in relation to crowley. sure, i think aziraphale accepts that he himself is a light shade of grey, but crowley? i don't think he fully comprehends that that same school of thought must apply to crowley too - crowley is not a wholly good person, but arguably is an often dark one who sometimes chooses to do good things/knows when not to cross the line - and therefore lands on the expectation that crowley would return to heaven with him to do good - because that's the right thing for a good person to do. aziraphale has turned to crowley, and holds him to the same ideal to which he previously held in heaven, and arguably in god. these are entities that aziraphale thinks ought to stand, and perhaps originally stood, for "truth, light, and good", and when that went down the shitter in reality, aziraphale has turned to his own reality and found crowley instead. the faith - and comfort that it brings - had to go somewhere. that is not a responsibility crowley should shoulder, under any circumstance, but in not recognising that aziraphale is doing it, aziraphale hasn't been dissuaded from it either.

but hey, let's finally discuss crowley (and if you're still reading... incredible). look, i've made no secret of my... criticism? of crowley, and to reiterate not only what you said in your ask, but also what we've discussed at length; crowley is not a reliable narrator. this, regrettably, makes me reconsider accepting what are posed as core principles of crowley's character. he does not give a consistent account of the fall; whilst what he does say may be, at best, piecemeal snapshots of the events that led to his fall and, at worst, be completely false altogether, the conclusion is the same - there is something missing, and i'd wager that it is something that he doesn't want to admit, confront, and/or reconcile with. add this to his reluctance, or outright refusal, to accept accountability for his actions on a number of occasions, as well as his tendency to skirt around or fudge the truth, and i naturally do not default to taking his word as gospel; that's not to say that i think he has a nefarious, hidden agenda hiding away (obviously not), or is an entirely reprehensible character, but from an audience perspective i think if we're to anticipate some Major Revelations in s3, this is a key place to start.

one quote, from s1, that sticks out to me is, "crowley was all in favour of armageddon in general terms, but it was one thing to bring it about, and another for it to actually happen." this literally is the summary, for me, of all of crowley's ouroboros/boomerang/"this will no doubt come back around to bite me on the ass" characterisation. if i (contrivedly) rephrase this, it reads to me as 'i'm not that bothered about the end of the world and humanity in theory, and happy to add in bits and pieces that would make it happen, but i will have an issue as soon as we start gearing up to press the big red button'. as such, i think we have to contend with the fact that crowley may not be as moral as has been widely accepted. maybe i'm assuming too much, but if you were truly of moral standing, presumably even the notion of setting out plans to destroy the earth would be a big no-no, if you are in fact against the apocalyse because it would mean the destruction of humanity. but of course, this would presume that crowley has any way in which he can viably refuse (which, he doesn't) - to which end, therein lies the dichotomy of the nuremberg argument. is it an immoral action when you don't have the room to consider the moral option? regardless, does that absolve you of consequence?

this would also, presumably, be at odds with AWCW's objections to armageddon as put to us in the pre-fall scene, right? so, to me, the conclusion i reach is this; first, that AWCW obviously does not want the stars, the universe, to disintegrate as a mere bookmark in the wider 'great plan', but this does not come from an altruistic viewpoint; it comes from a more selfish one. and that's totally fair - i probably too would have issues with spending my entire (and at this time, 'entire' is unquantified) existence building and creating, only to see all of my work go down the drain as if it's nothing. but - i do not see it as him having any ulterior, selfless consideration for humanity. second, crowley likes earth, but for the convenient and clever things that exists because of - and in concurrence with - humanity. the reasoning he gives to aziraphale for stopping the apocalypse is just as true for him as it is for aziraphale. there is the line of "you said you would be testing them, but you shouldn't test them to destruction...", an echo of his sentiment at the flood, that gives weight to crowley privately wanting to stop armageddon for humanity's sake. i agree with this assessment on the whole; that crowley holds it as an equally strong and valid reason for thwarting it. but i think it is also fair to at least suggest that this reasoning may also stem from crowley's own personal feelings about the fall - a group of angels that were, presumably, tested to the point of their own destruction - and how god, in his eyes, perhaps should have learnt from that event before planning to do the same to her Ultimate Creation. this, for me, is a little more in line with his characterisation as has been presented so far. 

but then again, crawly seems to be acting selflessly in the job minisode. i, once again, am largely inclined to agree... but for the sake of exploration, i do wonder how far it's entirely selfless, or altruistic, and instead how far it's a projection of thwarting god in the sense of rectifying his own punishment. a case of 'i went through this and it's shit, humanity doesn't deserve the same thing the same thing to happen to them', vs. 'i went through this and it's shit, and now she's up to the same old bollocks because she's awful, so im going to thwart it as a big fuck you to god'. maybe there is no real distinction, or maybe it's a bit of both at the same time, but the former would more strongly suggest to me that, looking at the parallel between job and the fall, crowley was the entirely innocent party in his fall just as humanity is/was, which i don't personally buy. 1827 and preventing elspeth's suicide is a little closer to the mark where selflessness is concerned; "you have sinned very bigly - trying to kill yourself?! it's not on!" strikes me that crowley is now acting out of the interest of keeping elspeth out of hell, where it is pretty clear Bad Things occur. there are other clear instances of good too* - he gets the humans out of bookshop in ep5 and brings back mr brown from hell, he treats jim with kindness once he establishes for his own peace of mind that he's not a threat, and he protects maggie from being accosted by demons (and this is not to mention how he, on the whole, treats aziraphale). suffice to say, crowley is clearly capable of selflessness, and doing both the good and right thing, but i do think that he doesn't necessarily act with selflessness and goodness as his default motivation. there are enough instances to suggest that he isn't a completely moral character.

*now that im thinking about it, it seems that it's largely when the threat of hell specifically looms that crowley is at his most selfless..? hmm.

crowley does centre around the thinking that being an angel/demon as like a job - and tbf to him, it's not an overly out-there conclusion to arrive at. heaven and hell are presented as corporations and they're referred to as "head office", he is given a workload and told to report back, he stretches the truth about what work he is personally responsible for in those reports, and crowley describes himself as a 'former demon' (as if he ever stopped being one - even as a fact of being, he is a demon). so yeah - to him, it is a job. and as you say, he assumes that aziraphale sees it the exact same way which, clearly, he doesn't. crowley states that he never asked to be a demon which may well be true, but it's equally possible that he was given the option to step away from heaven and god, and took it (not knowing that becoming a demon would be the result), to my mind, it's almost like he got sacked from a start-up because he didn't like the direction the company was going and Had Things To Say/actively resisted and denounced it, and then was forced to work in a - in multiple ways - a worse work environment. it's an understatement to say that he's under no illusions that hell is awful, and he too "goes along with [them] as far as he can". however, i'm not entirely sure that we have reached where crowley has his "as far he can" moment like aziraphale has - the fact that he says to aziraphale he said no to hell, when he absolutely didn't, rings alarm bells. 

as explained above, aziraphale doesn't see it in this way at all; what i think crowley finds difficult to understand is that aziraphale's experience of being an angel is very much different to crowley's. aziraphale has existed for millennia on earth as an angel, and aziraphale’s purpose and meaning is wrapped up in being an angel, in everything that it entails, and specifically being an angel that has walked amongst humanity. just as aziraphale is never fully able to empathise with crowley’s position as a demon, and all that occurred to get him there, crowley is just as unlikely to fully empathise with the importance aziraphale places on his own angelhood. in comparison to crowley's situation in being sacked from a start-up, a hypothetical fall for aziraphale would be like being sacked from a business that, whilst you may not agree with them in the majority, has provided you with a career that is the only thing you know how to do, continues to pay for your home and benefits, and without it would leave you stripped of any purpose and meaning, and no idea on what it makes you/where it leaves you without it. and even then this doesn't really scratch the surface - again, aziraphale doesn't see being an angel as being a job.

the final fifteen is where all this comes to the surface. when the two of them individually have their backs against the wall, with no discernible way out, they have very different responses. aziraphale fights, and crowley flees. heaven is a seemingly insurmountable problem that stands in the way of them being left alone (and being together). aziraphale's response is to try to change it, to fight. crowley's response is instead to flee the situation entirely. this is the same with armageddon - another seemingly insurmountable problem - where aziraphale's response is to go above everyone's heads and dial 9-9-god, and crowley's response is to flee. neither of these responses are wrong, both are completely valid, and i genuinely think it is equally possible to see the situation from their individual perspectives. but neither of them understand the other's. aziraphale, who sees crowley as a good person who will do the right thing, doesn't understand why crowley won't fight with him, won't do (as he sees it) the right thing in making heaven what it always should have been, and is instead choosing to flee. crowley, who sees aziraphale as someone who like him as quit his job and wants nothing more to do with either of their former bosses, doesn't understand why aziraphale is choosing to fight, won't prioritise them, and won't go off with him. once again, both are equally valid thought processes to have, but are borne out of being rather significantly off the mark in understanding the other, and instead thinking that the other will act in accordance to what they individually believe the other to be.

[warrior-u-preservation]

Interview with The Path Podcast (Full written responses)

(Note: The interview itself will be different, since mod myne represented both mods on the podcast. However, this includes our full feelings on the questions that were provided to us.)

Who are you and how did you end up walking the path of a "warrior u" writer/comic creator?

Myne: I go by worldismyne for fandom related pursuits.

I'd like to clarify that Aisha Thani is the creator of Warrior U. Just like multiple people have written for Stan Lee's creations, I'm just a writer who's received permission from the creator to distribute and monetize works within her universe.

I've been in the WU fandom since 2014; at that time Aisha made the comic, ran an in character ask blog, a concept art blog and the main blog. I can only imagine how much work that was. A hard drive crash killed about 6 or so pages of Ambrosia, the last story arch she was working on; three weeks worth of updates up and gone. I watched writer’s block take hold and kill my favorite series in real time. Having to go back and redo work she’d already done had given her time to look at it and go ‘I can’t post this, this is awful’, but by then all of us were waiting for the next update for over a month, she couldn’t go back and rewrite the entire arch. It didn’t help that this was the origin story for a fan favorite character, so there was all this pressure to make it perfect. Instead, after about six artists made fan comics to feed the hungry fandom… she announced the end. The website, the blogs, one by one they all ran into issues and got shut down. Hundreds of pieces of art and story concepts just… lost. Once the comics were rereleased on gumroad, that was it, the fandom slowly died. Before this project, the last time the creator posted new content was in 2017. Then in the middle of the pandemic, out of nowhere I get 70+ notifications from Coffee reblogging the pieces of art I had saved from the old blog, including drafts from the unfinished issues. 

Coffee: well, i go by coffee online, im 20 years old and when im not working on my various personal projects i work part-time. i was introduced to warrior u WAYY back in the day (i think i was like 9-ish?) by my brother who found out about it through some unknown and mysterious ways. back then i had very limited internet access (meaning i could only visit sites that could be loaded by the internet app on my nintendo dsi), so i pieced together a bit of a plot from what i could find on google images. i wasnt able to fully read the comic until i was 13 (i had to BEG my mom to pay for the pdfs lol), but it had kinda always existed in the back of my mind ever since i was introduced to it. i decided a little over a year ago to start out the tumblr blog because i had recently read through the comic again and was really sad about just how hard it is (or i guess WAS now) to find a lot of things related to the comic. as the name of the blog suggests, its original purpose was to preserve/archive warrior u stuff so it could be more accessable to your average internet user who might not wanna go digging through internet archives. it was originally for official content EXCLUSIVELY, but myne talked me into also including fan-made content (and im glad he did, its WAY harder to find some fan content than i remember it being just a few years ago). its kinda hard to tell how good of a job it does at BEING that archive, but i like to think it could be useful to someone out there.

i had toyed with the idea of finishing the last official story arc- ambrosia- near the beginning of the blogs lifespan, but i knew that it was too big of a project for me to do myself. i didnt wanna dissapoint people by leaving the ALREADY unfinished arc STILL unfinished. i had written in the "about" section of the blog that the dream was a full fandom revival, but i didnt actually expect that to happen. when myne joined the blog we eventually started playing with the idea of finishing ambro. i forget how exactly we officially decided we would do it, but we did! at some point near the beginning of ambro, we had also decided we were gonna write our own fan-arcs and post those too, and the rest is history!

What was it about warrior u that made you say "this is it. i need to make more content of this."

Coffee: honestly? i think it was just how much i enjoy introducing people to the comic. i already make tons of fan content on my own time, so that wasnt really the crazy part. i had shown a couple of my mutuals the comic after i re-read it, and the feeling of seeing other people actually talk about and even make ART of warrior u was absolutely surreal. i guess thats what happens when you just silently admire a dead fandom for years LMAO! another big part of it was HOW the comic ended. after taking a hiatus, the creator ended the comic mid-arc because creating it just wasnt enjoyable anymore, and thats obviously completely fair. however, the arc it ENDED on was elaborating on the backstory of one of (if not THE) most popular characters at the time (and my personal favorite), so i had always wished that the issue could have been finished. its kinda hard to put into words, but finishing ambrosia was like a love letter to the comic and its creator to me. as flawed as the plot of that arc may be (and as unsatisfied with it as the creator was, at least back then) i still felt like it deserved to be finished. it was like fixing an old toy from your childhood, i felt like we were taking care of the comic in a way, giving it the love it deserves. maybe thats just my tendency to personify objects and get overly attached to them coming through, but hey thats how it is sometimes LMAO

Myne: When the comic was still on hiatus after the harddrive crash, some people had asked Aisha if she wanted to hand the series over to other artists to help her. She said she wouldn’t even know where to begin that process or if she’d wanted to do it. I would have offered then, but my skills as an artist and a writer weren’t nearly as strong. I held onto the drafts thinking, one day I’d do it. 

Myne: After Coffee and I started talking I realized, I can do it now. I know what kind of style of pens were used, and I whipped up a page, just the line art and sent to Coffee as a thank you. I thought, it isn’t much, and it’ll take me forever to color everything, but if there’s one person willing to read it, I’ll try. When I explained how difficult it’d be for me to color, he offered to do it for me. Suddenly a page that would take a month for just me to do on my own took 3 days.

Myne: Something, that seemed like a monumental task became a realistic goal. We were able to find, restore, and edit 45 pages within a few months. I’m still amazed we were able to do weekly updates without missing a day. Coffee asked if I’d ever be willing to write fan issues while we were working, not realizing I was the author of the longest fics in the series. Of course I said yes. Seeing Warrior U get finished, even through fan creation, was something I’d wanted to see for years.

You're from Az right, how is the webcomic weeb culture over there as opposed to california?

Myne: Idk about much about Cali, I've noticed the cons are more... professional? Where as Arizona cons have more of a fanclub vibe. Most panels are hosted by your fellow nerds rather than sony or production companies. I will say, that it's become more common and widespread in the last ten years, with multiple anime specific events year round. Back when I was a kid, I'd get made fun of for drawing 'japanese' people all the time.... it was pokemon fanart... Where as nowadays, I feel the average kid recognizes most big name titles thanks to hulu and such. 

What are your favorite anime/manga/webcomics and do any inspire your work?

Coffee: not really an anime, manga, or webcomic, but ive always been super inspired by the "scott pilgrim" series. when i was in middle school i was SUPER into it, reading all the behind the scenes stuff i could find. it even made me look into "comic illustrator" as a career option, but i also did the same thing with "game designer" and "animator" so yknow. as for webcomics, the only one i ever really got into was homestuck. side note- the overlap of oldschool homestuck fans and warrior u fans is FASCINATING to me. my current theory is that all these tumblr kids were looking for other webcomics to read while homestuck was on one of its MANY hiatuses(?) and so a bunch of them flocked to warrior u! theres tons of homestuck crossover content and references in fan art on our blog (some of the art styles also look homestuck-ajacent) so its at least clear that a lot of fans back then were also really into homestuck. ANYWAYS other than that i havent really read many other webcomics tbh? weird considering i MAKE one now but what can i say, im more of a Gamer than anything lol. as for anime, my favorite is easily keroro gunso (or sgt. frog if youre using the dub name)! its another thing i discovered when i was young (this time i was like 8) and have just never gotten over. theres a lot of Questionable stuff in it (prime example is an adult alien being madly in love with a 14 year old girl) but if i dont look at canon its not real so i love it anyways <3.i honestly dont know how many people really know about it since the western fanbase is so small, but its like HUGE in japan (or at least it was at one point, the titular keroro has a cameo in lucky star as a keychian) and the manga is still running to this day iirc. it was created by mine yoshizaki and the basic premise is that a platoon of frog-like aliens come to earth to take it over but they really suck at it. they begin living with humans and from there its kind of a mix between a slice-of-life and monster-of-the-week anime. i cant really say anything in depth about the manga because ive only read the first 5 issues of it, which are basically the same as the anime (fake fan smh), but ive heard that it gets more mature and serious than the anime does (which i guess is bound to happen when it goes on for so long). also the manga has some ecchi moments and blood used for slapstick purposes so if anyone wants to check it out just keep that in mind lol.

Myne: Obviously Warrior U. I'm a bit of a visual novel fiend, so Danganronpa is a series I've found a lot of inspiration from over the years. More recently  Though for the comic, I draw mostly from late 80s / early 90s high fantasy. Things like Labyrinth and Robinhood: Men in Tights. Honestly anytime I get stuck trying to come up with a gag, I look to Mel Brooks. 

So in continuing someone else's work, do you feel a sense of pressure to be just as good as the original?

Coffee: i definitely felt that way when it came to ambrosia, but i feel a lot less pressure when it comes to our upcoming issues. i wrote and made thumbnails for a few small scenes in ambro and i was SO SCARED of those scenes being noticably worse than the rest of the issue. i know the original creator has seen our version of ambro and those scenes by extention, but i dont know her exact thoughts on them. im satisfied with them but theres probably always gonna be that kinda star-struck stage feeling at the thought of the creator reading the scenes i wrote. its like getting stage fright. for our upcoming issues i dont feel as much pressure because theyre fully fan-written. our comics arent official in any sense of the word and theyre basically just fanfiction with extra steps, so its not nearly as stressful as trying to tie together an "official" story. there definitely WOULD be that pressure if we were ever given the rights to warrior u or something (which i dont want to happen) because then it WOULD be official yknow? also if the creator decides to keep up with what we post ill feel a bit more pressure, but i get the feeling that she wants to distance herself from warrior u a bit so im not sure how likely that would be.

Myne:  I do. Partially because, the fan content we’re making is completely free while the original series is purchasable on gumroad. So there’s a chance that some people may start with what we’re working on, then go backwards to the original.  I'm hyper aware of the tonal shift that's about to happen, no matter how much I try, I can't perfectly emulate someone else's writing style. The best I can do is capture the spirit of it. I just keep repeating "it doesn't have to be perfect, it just has to be". It's a little harder taking that advice now that it's my scripts we're turning into issues. There is some freedom in knowing the series was never meant to be perfect though.

What drove you to writing the longest fanfiction for the series and how did it feel to be recognized and promoted by the original creator?

Myne: When I was younger, I would write fanfic instead of paying attention in class, and I really wanted a full story about the leads getting together. Knowing that the creator was reading every fanfic at the time added more fuel to the fire. I had a guaranteed audience, the audience. I was so grateful that she recommended it to other fans. That fic was 25k, I've written about 100 K in the last year to help maintain interest in addition to new pages to the comic. To that I blame hyperfixation and hiatus brain. You have to be the biggest fan of the thing you're making.

So i see the that most of your work including the webcomic Warrior U is on tumblr why did u choose to promote om tumblr as opposed to other webcomic outlets like webtoons, mangadex etc?

Coffee: the answer to this one is actually pretty simple; i already had a warrior u blog and tumblr is the social media/blogging site that im most familiar with! we have recently started using comicfury and tapas, but that was entirely mynes idea. im personally pretty content with just hanging out in my little corner of the internet so any attempts to expand or get the word out is mostly (if not entirely) mynes doing LOL!

Myne: It's interesting you bring up those two actually. Webtoons recently come under fire for being pretty crummy to it's indie comics, particularly if you write in any genre other than romance. Mangadex is a pirating website, so most of the comics there are fan translations rather than uploads from the creators : they had a pretty bad data breach a few years back too. At first we only had permission from the creator to upload on tumblr. Once we got permission to move forward with the fanmade run, we branched out to tapas and comicfury. They seemed like the best options for the genre and style we write in. Even still, we see about double the growth in readership on tumblr as opposed to the other outlets, and I think that's mostly because the blog updates daily, even though we only publish one page a week.

Do you have any plans on creating your own webcomic/manga?

Coffee: yes and no. i sometimes draw small fan comics and id like to make more polished and "finished" ones in the future, but nothing with any kind of overarching plot, at least not in the near future. i have a very hard time making original content for whatever reason. i DO have one (1) personal project that is completely original, but i plan on making a game with that. then again i have NO idea what im doing with that project anymore so who knows, maybe one day i WILL decide to turn it into a comic! only time will tell…

Myne: I have a visual novel I'm working on. It's about teen super villains that have to go to reform school. Think teen titans meets gifted kid burnout. The game's been in development hell since our first alpha build and writing about apocalyptic civil unrest wasn't as fun as it was pre 2020. We're about 200k into the draft for the full game and we're having to switch engines, which means cutting a bunch of features, but we're slowly getting there. If that fails, I'll try adapting the story into a comic.

To those people who will see this and decide to strut down the path of comic creation what is some advice you can give them?

Coffee: i think the most HELPFUL advice i could give would be this: you dont have to do everything by yourself. i personally have taken tons of inspiration from indie artists/game designers/etc. some prime examples of this are daisuke amaya aka pixel (who created cave story) and toby fox (who created undertale and deltarune), who both made incredible pieces of art that were defining to me as a person when i discovered them either entirely alone or almost entirely alone. you hear stories all the time of these great pieces of art being made by one or two people, and ive always wanted to be like that. as a result ive alwasy had a hard time reaching out for help when it comes to my art, feeling like if i cant do it all alone that itll never be as good as it could be. as a result though, all this mindset does is keep things from actually getting done and needlessly stress you out. NONE of the warrior u comics would exist if i had never gotten help from myne, and the blog would have probably gone inactive a LONG time ago too. i think thats the biggest lesson ive learned from this whole thing personally. theres absolutely no shame in working with a team of people if thats what needs to happen to see a project be realized.

Myne:  One, try not to put more than 8 panels on a page, that's helped me a bunch with page layout. And two, find someone you can show your work to. That can be a friend, a mutual online, a family member; as long as you have that one person asking "what happens next" you can keep writing. The stories/comics I have that are the longest are because of that. 

What inspires your art and what would u say you consider your style to be?

Myne: Invader Zim, Danganronpa, and Pacthesis have heavily influenced my art style. (pacthesis made a series of free dating sims on deviant art). I've always considered my art style to be pretty shoujo manga, but lately some of my pieces have been labeled too western for weeb spaces.

What advise can you give the next person who wants to draw art and share it with the world?

Coffee: i give the same advice to everyone i meet that says theyre thinking of making art in any form, and i mean it from the bottom of my heart: DO IT! im so in love with art of all kinds and the process of creating it, and i think that getting into any creative hobby is nothing but a good thing and i deeply believe that everyone should do it. whether you wanna draw, write, make music, develop games, sculpt, knit, etc, do it! quality doesnt matter at all, you can make the most technically awful thing in the world but as long as you enjoyed the process of creating it then it still has value. dont be nervous about your art being good enough. if you dont want to share it then you arent obligated to! i dont share like 90% of the stuff that i make but i still create art almost every single day! recently my qpp (queerplatonic partner) has gotten into drawing and im SO happy for them. they primarily use mspaint and a mouse to draw and their art is SO adorable and i love it so much, and im not just saying that because i love them. it doesnt matter what skill level you start at or what tools you have, you can always start making art. and dont compare the art that you make to others art, which i know from experience is a VERY easy trap to fall into. i dont have as much to say about that point because im not as passionate about it but uhhh yeah :3

Myne: Social media algorithms are not going to make you happy; no matter how well you play the game and low engagement does not mean you're a bad artist. If you keep posting and talking to other artists, you'll find your audience.

So at wonder con where we met ylu were cosplaying power from chainsaw man with a group of girls who were cosplaying other chainsaw characters. Do you girls normally group up and cosplay and if so how did you get into it?

Myne:  I was born into cosplay. My parents were gamers and cosplayers, and I started picking my own characters to cosplay when I was 14. I started getting more into it in college when I could find other people to cosplay with, it wasn't until this year I started aiming for photoshoots. I tend to be in at least one large group cosplay a con, and bring a different costume every day.

What was your favorite cosplay you've done?

Myne: It's a toss up between Persona 5 Joker and Alluring Secret Rin. Those were the ones I put the most work in that still hold up. Though I'm currently working on Eris from the Grim Adventures of Billy and Mandy, and that may overtake them.

Have you ever thought to cosplay someone from Warrior U?

Myne:  I do actually! I've cosplayed as the main character Finn a few times. I really like taking simplified designs from comics/cartoons and turning them into heavily detailed looks. '

Where do you see warrior u being in 5 years from now?

Coffee: man, honestly if were STILL working on this project 5 years from now that would be CRAZY. this is already the longest ive worked on a single project before, along with being the most ive ever gotten DONE for a project, so thinking about what it could be like in 5 years is like. WOW. by that point we would have archived most (if not ALL) of the older stuff we could find, so our blog would probably just be new pages and fan interaction if were still going! the dream is still for a full fandom revival, and weve already got a small active fanbase (of like 5 people but still) so who knows, maybe that dream will be a reality?

Myne: We have at least 3 years worth of story drafted and lined up, and even more outlined. So ideally still updating. By then, we'll have some physical releases of the finished arcs that we've written available for purchase online and at select events. The creator has said she has no interest in making physical releases of the original run. I'd love for that to change, but I respect her decision and I won't press the matter. I'm just grateful we have permission to sell anything we make using her characters. 

If you could go back in time 5 years, what advice would you give yourself?

Coffee: 15 and 16 were ROUGH ages for me tbh. i wont get into it because its super personal, but i was struggling with a lot and just generally not having a very good time. i think the best advice i could give to myself would just be that like. things will eventually get better. no matter how dark or hopeless things may be, theres always a silver lining and a light at the end of the tunnel. now if 15 year old me would have taken that to heart is a whole DIFFERENT question, but thats what i would say. 16 was like right before i (finally) started getting treatment for my mental health, so i think considering everything thats what i would say.

Myne: So many bad things happened during those five years, but… I wish I knew what burnout felt like, so I could recognize it. I have this tendency to put my self worth into “how much have you done today”, so once I started working full time and my father passed,  I couldn’t recognize that I was physically and emotionally exhausted some days and needed rest, so I’d just punish myself mentally for not being more motivated. You shouldn’t need permission to rest, and I felt like I had to. It’s healthy to ‘nothing’ sometimes, especially if you’re dealing with things you have no control over.

Coffee: thank you for interviewing myne and i for your podcast :D!! its absolutely wild to think that ive done anything interview-worthy and yet here we are! for anyone thats interested in the comic because of this, i also emplore you to go check out the creators current comic "si3lah" (pronounced like si-ayn-lah i think? the 3 is a stand-in for an arabic letter) on gumroad! it deserves way more attention than it currently has and you should 100% go support the original creator if you like the stuff we do (wink wink).

[sparklingdemon]

So i know you had gotten a few asks relating to pokemon masters Leaf back during the fallen leaf ask blog, but i gotta ask:

How do you feel that they've at tried to give her a bit more personality? I know (at least when you were writing as leaf) that you were annoyed when she started out just kinda obsessing over her Eevee, so im genuinely curious since now this version of her has had a bit more time to shine (the finale chapter of the tournament arc, the kanto villain chapter, victory road, and i think a few others?

(also unrelated but im thinking of a possible sequel to my battle factory pasta? Only issue is that the thing im coming up with seems a bit goofy and over the top, which while it might be fun to write its kinda the exact opposite of the original lol)

The problem with commenting on media as it's still being released is that it makes my initial commentary seem shallow in comparison to the new content. Unfortunately, my opinion remains relatively the same. Despite her having a "personality", we still don't know much about her.

Masters tries to sell the idea that she was actually Red and Blue's friend and neighbor the whole time, when this is objectively not true in the mainline titles where Red and Blue appear.

They handwave her canon absence by having Leaf say that they "all took different paths" after their Kanto journey, to justify/”explain” why she didn't appear in HGSS, BW2 and SUMO. However, this dialogue then suggests that Leaf is not as important or close to Red and Blue as they are to each other, and that she is not their equal in a trio of rivals.

Despite it being Leaf's idea to form a team with Red and Blue, all characters only ever call their team "Red's team."

Leaf appears alongside Red in certain Sync Pair Stories (A Day with Red and A Day with Sygna Suit Kris to name two). She only appears here to give exposition on Red's behalf, talking about his experiences because he cannot himself.

We never learn anything significant about Leaf's own adventure through Kanto, because she only ever speaks of Red and Blue, acting as a supporting character to them and their story.

Leaf's personality is not what matters to me, because the whole purpose of Pokemon Masters is to give a personality to the player characters who didn't have it. Her personality could have been anything, and that would not change the root of my problem with it.

My problem is that Leaf's personality was constructed because of her absence, and she spends all of her screen-time trying to make up for lost time by attempting to convince the audience that she's been Red and Blue's friend the entire time. Because of this, she fails to stand out as an individual character to me.

We know nothing about Leaf as a character other than "she was here the whole time."

This is not just a problem I have with Leaf, though. Masters has a nasty habit of making the boy character the main hero. Red, Ethan, Brendan, Lucas, Hilbert, and Calem are ALL the confirmed heroes of this universe that fought their respective villain teams. Leaf's personality feels interchangeable with all of the other girl protagonists always being stuck in the supporting role.

I find that Leaf is the most pertinent example of this, however. If you play as a boy in the mainline games, the girl character will be your secondary rival and assist you throughout your adventure. The exception to this is Leaf, who only existed as Red's girl counterpart.

Therefore, when Leaf speaks of being friends with Red and Blue in Masters, we do not know her significance to their adventure or what role she had in it.

The audience is forced to rely on Leaf telling us what her relationship with Red and Blue was, instead of showing it by having her appear in the mainline games. Her personality does not matter to me, because we do not know her accomplishments. As it stands, she has no accomplishments, because Kanto’s story had no room for her in it.

I find Leaf's appearance in Masters to be little more than frivolous fanservice that attempts to excuse or justify her absence in the mainline games, and it is impossible for me to ignore that when playing.

I feel as though this ask still best summarizes my opinions of Masters!Leaf.

Despite everything, I still don’t know who she is, what she’s done, or how she became friends with Red and Blue. And I don’t know if I’ll ever find out.

sorry for ending that on such a bummer note though!!

good luck writing the sequel to your battle factory pasta! i hope you can find a good balance between the tone you established in the original vs the off-the-rails ideas you have now! 

the whole point of writing pokepastas these days is just to be a medium for creating fun characters and telling a convincing story, rather than being “realistic.”  many classic pastas can be considered “goofy” and “over the top” when looked upon in retrospect, so i think it’s okay to write whatever you have in mind!

[silverleafnightshade-blog]

The Eyes of Laura Mars

Released in 1978, The Eyes of Laura Mars is set in the glimmering yet gritty world of NYC haute couture fashion. Mad Magazine parodied the film as “The Eyes of Lurid Mess” and rightly so, for it definitely has plot issues and some grade-A-Virginia-ham overacting. However, director Irvin Kershner managed to capture a whiff of the cultural crossover as the NYC scene shifted from disco to punk. Often touted as the first American giallo film, The Eyes of Laura Mars tidily ticks off the boxes of the Italian genre: a mix of gorgeous and grimy settings, the gruesome murder of beautiful people, and many misdirections before the killer is finally revealed. Added to the mix is Ms. Virginia Ham herself (Faye Dunaway), a hairy Brad Dourif, and a preternaturally prehistoric Tommy Lee Jones. Dourif is only four years younger than TLJ in real life, but he looks like a bearded baby next to TLJ’s tire-treaded brow. Hell, TLJ is six years younger than Dunaway, but there’s not even a scratch of the cougar in their relationship.

Faye Dunaway of course plays the main character, a superstar high fashion photographer who begins to have disturbing visions of murder. Fun fact: the actual images of famous fashion photogs Rebecca Blake and the so-called “King of Kink” Helmut Newton were used in the film.

Speaking of kink, Barbra Streisand was offered the main role (it helped that she was dating producer Jon Peters at the time) but turned it down because she thought the film’s violent, sexual content was too out-there for her image.

The film opens with a murderous sequence, which turns out to be one of Laura’s nightmares. She awakens in her rather spare and severe bedroom,

and then wanders out to her living room, aka The Neutral Zone. Beige and brown rule the day, as does that giant rooster sculpture. From kitchen kitsch to highbrow decor? Huh. And oof, so. Much. Carpeting!

Laura flips through some negatives and tries to put the nightmare behind her. Soon, driver Tommy (Brad Dourif) is ferrying Laura off to the gala reception for a new publication of her photos. It looks like maybe the exterior was shot at one of the Metropolitan Museum of Art’s side doors. The interior looks somewhat Studio 54-inspired, though.

Hiiiiiiyyyyyeeee! I’m just a photograph, don’tcha worry.

Laura meets cute-ish with Detective John Neville (TLJ), as cute as can be when one’s publisher has been horribly murdered with an ice pick. Neville came for the questioning, but he stayed for the hors d’oeuvres, or rather, he looks a bit hungry for a Mars Bar. Laura goes home and rings up her bestie, who happens to be dating Laura’s ex-husband Michael (a very slimy yet somehow sexy Raul Julia). Everyone calms each other down, and soon enough, Laura heads off for a shoot at Columbus Circle. The concept is a bit S&M, models in lingerie and furs fighting in front of the husks of burning cars...

The concept was inspired by photog Chris von Wangenheim, and so fitting in front of what my father once called “The Devil’s Arsehole” (don’t feel special, C.C., he said that about every Washington D.C. roundabout too). The intersection didn’t get the moniker until 1892, the 400th anniversary of Columbus’s “discovery” of the New World, when a giant statue of the old man was erected. From the invention of the car on, Columbus Circle was considered a hazardous spot for pedestrians. Given the circle’s bad rap for most of the 20th century, it seems quaint to remember that Olmsted intentionally designed the traffic circle as the grand entrance to Central Park in 1857. By 1978, Columbus Circle was “roundly” (oh ho ho) derided as a dangerous thoroughfare. In 1979, architecture critic Paul Goldberger said that the intersection was "a chaotic jumble of streets that can be crossed in about 50 different ways—all of them wrong." A redesign of the circle’s aesthetics and traffic flow began in 1991, and by the Naughty-Aughties, Columbus Circle had even won a few awards for landscape architecture and urban design.

Neville shows up again at Laura’s set at Chelsea Piers. This is my favorite set in the movie, with the fabulous Sterling St. Jacques dancing around and a lot of blown-out color and drama going on.

It’s also one of our last scenes with poor Lulu and Michelle, alas. I actually quite like both of their characters, so silly and yet so sassy. They have the best outgoing answering machine message, and it made me feel so nostalgic for both answering machines, answering machine messages, and that kind of close relationship you’d have with a roommate. That is the kind of relationship that can only be built after hearing all your messages, and knowing all your secrets, unvarnished and unedited by a brunch re-telling. Sigh.

Laura’s studio is amazing - it’s enormous with tons of old windows, stunning harbor views, and some convenient soft spots that are perfect for sexy times with Neville.

Donald (René motherfucking Murat Auberjonois) is such a great character. He’s Laura’s long-suffering agent, and although at times walking the stereotypical line, he is quite comfortably un-closeted. Whenever someone tries to throw homophobic shade his way, he shines a light right up their asses. I do not love the character’s decor choices, though - a bit too Italianate for me, although who can resist a red damask wallpaper and this goddamn face? Not me, friends.

Speaking of Italian classics, Frank Adonis makes an appearance as Sal, Neville’s slightly unhinged partner. I like this shot of him surveying Laura’s apartment with a “mmm, not bad,” expression.

Frank just shuffled off this mortal coil in late 2018, R.I.P. Weird fact: although he’s the Italian guy you recognize from everything, his Wiki page is in French.

SPOILERS, sort of: Neville goes to see Tommy at his spectacularly depressing apartment, and the visit quickly takes a turn for the worse. Tommy stabs a patrolman while escaping arrest, but the Sal the psycho just opens fire on what appears to be the entire East Village, and Tommy est la morte. Neville rings up Laura to tell her the killer has been caught, and pack your bag, baybeee, they are going away! Laura begins to select some careful neutrals to coordinate with the lady Derringer gifted by Neville, when she is suddenly struck by another vision.

Poor Michael gets ‘picked in the elevator of Laura’s building, and the killer is en route to her apartment! Laura manages to lock the front door just in time. Neville soon comes crashing through the balcony window, and this is where the ending gets super giallo: as he begins babbling about Tommy’s terrible upbringing, Neville accidentally reveals that it is he, Neville, who is the killer. But it’s not really Neville! No, it’s his other personality that did the killing. That personality is also apparently responsible for how nicely Neville fills out a black turtleneck, as well as for finishing Neville’s dissertation and keeping the bills paid. The real Neville struggles back to the surface; to protect his true love, he basically shoots himself using Laura’s gun (and trigger finger, as she is holding said gun at the time). The final shot is of Laura calling the cops, and her final line? “I’m Laura Mars.” If there is any shred of happy ending to this story, it might be that she has to rip out that fucking bloodstained carpet. Maybe there’s a nice parquet floor under there? I know that hating on carpeting is low-pile fruit, but there is just no way for mere mortals to keep wall-to-wall carpeting from getting disgusting.

Interesting fact: John Carpenter wrote the spec script for this film, but Kershner’s finished product took some hot turns in the rewrite. Carpenter was still credited despite his protests, but luckily the mixed reviews didn’t affect the success of his next project, Halloween. It’s been nice to revisit some giallo, although I think I’m going to go back to the real-deal Italian giallo next month. I might also be leaving this platform, as sad as that makes me. Tumblr has been doing some bullshit flagging of posts that are very LGBTQ-unfriendly, and well, they are also buggy as hell. I had this post written a week ago but the site kept crashing as I was trying to update. At any rate, stay tuned for any updates, or as I likely know all three of you reading this, I’ll let you know if there’s a new site.