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davidmann95 · 4 years

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

It never crossed my mind...

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

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

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

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

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

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

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

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

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

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

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

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

Zibarro.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

NRAMA: Mechano–Man?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

When did Christ ever batter the Devil through a mountain?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Is this relentless, downbeat insistence that the future has been cancelled really the best we can come up with? Are we so fucked up we get off on terrifying our children? It’s not funny or ironic anymore and that’s why we wrote All Star Superman the way we did. Everything has changed. ‘Dark’ entertainment now looks like hysterical, adolescent, ‘Zibarro’ crap. That’s what my Final Crisis series is about too.

NRAMA (aka Tim Callahan): Continuing with the theme of transcendence: The words "ineffectual" and "surrender" are repeated throughout the book. Discuss.

GM: Discuss yourself, Callahan! I know you have the facilities and I should think it’s all rather obvious.  

NRAMA: What was the inspiration for the image of Superman in the sun at the end? (I confess this question comes as the result of much unsuccessful Googling)

GM: I didn’t have any specific reference in mind - just that one we‘ve all sort of got in our heads. I drew the figure as a sketch, intended to be reminiscent of William Blake’s cosmic figures, Russian Constructivist Soviet Socialist Worker type posters, and Leonardo’s ‘Proportions of the Human Figure‘. The position of the legs hints at the Buddhist swastika, the clockwise sun symbol. It was to me, the essence of that working class superheroic ideal I mentioned, condensed into a final image of mythic Superman, - our eternal, internal, guiding, selfless, tireless, loving superstar. The daft All Star Superman title of the comic is literalized in this last picture. It’s the ‘fearful symmetry’ of the Enlightenment project - an image of genius, toil, and our need to make things, to fashion art and artifacts, as a form of superhuman, divine imitation.

It was Superman as this fusion of Renaissance/Enlightenment ideas about Man and Cosmos, an impossible union of Blake and Newton. A Pop Art ‘Vitruvian Man‘. The inspiration for the first letter of the new future alphabet!

As you can see, we spent a lot of time thinking about all this and purifying it down to our own version of the gold. I’m glad it’s over.

NRAMA: Finally: What, above all else, would you like people to take away from All Star Superman?

GM: That we spent a lot of time thinking about this!

No. What I hope is that people take from it the unlikelihood that a piece of paper, with little ink drawings of figures, with little written words, can make you cry, can make your heart soar, can make you scared, sad, or thrilled. How mental is that?

That piece of paper is inert material, the corpse of some tree, pulped and poured, then given new meaning and new life when the real hours and real emotions that the writer and the artist, the colorist, the letter the editor translated onto the physical page, meet with the real hours and emotions of a reader, of all readers at once, across time, generations and distance.

And think about how that experience, the simple experience of interacting with a paper comic book, along with hundreds of thousands of others across time and space, is an actual doorway onto the beating heart of the imminent, timeless world of “Myth” as defined above. Not just a drawing of it but an actual doorway into timelessness and the immortal world where we are all one together.

My grief over the loss of my dad can be Superman’s grief, can trigger your own grief, for your own dad, for all our dads. The timeless grief that’s felt by Muslims and Christians and Agnostics alike. My personal moments of great and romantic love, untainted by the everyday, can become Superman’s and may resonate with your own experience of these simple human feelings.

In the one Mythic moment we’re all united, kissing our Lover for the First time, the Last time, the Only time, honoring our dear Dad under a blood red sky, against a darkening backdrop, with Mum telling us it’ll all be okay in the end.

If we were able to capture even a hint of that place and share it with our readers, that would be good enough for me.

#All Star Superman #Grant Morrison #Superman

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vanityloves · 4 years

Note

Storm and ivy + medic

@septemberlove i have. no excuse for how late these are but uh. thank you for sending these in 💕.

[word count: 1.8k+ with the longest 'authors note' bc im mentally ill]

sfw, mmm comfy cozy, general sick hcs,

storm - what are cozy days in with your f/o like?

Whenever I think of cozy days, my brain immediately goes to rainy/chilly weather where we can cuddle up together and my brain short fuses. I'm gonna assume this is just like a day off or something though!

How I visual them together vs how I write them is odd because they technically don't act or accept they're 'together' until after the comics but I always write them like they're in a Steady Relationship while on base. I'm always writing a slight AU if you will. Or maybe it's after they get their jobs back at Mann co - I should highkey adjust that but No ♥️. No more thinking, just content based off my idealized universe.

There's definitely a point in their relationship where it's like 'I think I have to put in a little more work here'. I'm not saying either party is slacking but they're slacking ♥️. Neither of them really take action. Chef doesn't blame him or really complain about it because that's their nature, plus they don't know how romantic relationships really work or flow, especially with a person like him. Medic doesn't see an issue with anything and continues on with his normal business.

What I mean by slacking is, there's not a lot of quality time being spent together which would be fine if it wasn't both of their strongest Love Languages, which could help them strengthen their relationship. It's odd because they're 'romantically involved' but they don't spend a lot of time together for either of them to consider it romantic, simply because it's on company time.

ANYWAYS THATS JUST ME BEING CONVOLUTED. FEEL FREE TO JUST IGNORE ALL OF THIS.

Medic goes to bed pretty late and wakes up at a fairly early hour. Chef is a late sleeper and forced to be an early riser because their Actual Job is to make at least 2 or 3 meals a day (if they want something else, they're on their own but hate when anyone messes up the kitchen and will honestly, stand there and watch said person).

There's minimal time they can spend together if they want to do their own activities - for Medic, it's tinkering around with organs or in Engie's garage, for Chef, they're typically meal prepping or trying to tend to an animal or plant of some sort.

Medic is actually more direct about wanting attention and it's never been a problem because he's cautious about it. Chef is more emotionally inclined and willing to drop hints that they want more attention.

Chef probably has one day off where it's a complete free for all, for the rest of the team, which would be the perfect time to spend with Medic - If he wanted to stop working, that is. Just don't picture it but, Chef will literally sit in the medbay for hours just to be near the guy, but it isn't bad? The drone of machinery or the scratching of his pen is relaxing, or having his doves nearby is always sweet! Plus, he's prone to talking their ear off when he finds something interesting, so they'll chime in and have some back and forth.

But, yknow - sometimes having someone's undivided attention is nice and Chef is pretty dense when it comes to that and wonders why they feel so upset.

They swallow their pride and ask Medic if they sleep in his room one night and Medic's not as dense as Chef, he understands that they'd never ask for something so out of the blue for no reason and he promises to finish up his work early so they could head to bed together. Chef had nothing planned, they literally just needed that affection and closeness - since it was their day off Medic takes the hint and puts his work aside for the time being.

They'd probably sleep in and stay in bed a while longer before getting ready together - no uniform required. Chef isn't so talkative in the mornings, Medic's noticed, but they were happily fiddling with his buttons and tie, humming in thought before answering his questions. Medic's seen them out of uniform of course, but it's always funny seeing them in just a button up and jeans like … mom on the go vibes. Medic leaves his coat behind before making his way to the kitchen with Chef.

The kitchen usually has a couple people loitering around, grabbing their coffee or honestly, waiting around for Chef because they always make extra and these bitches are lazy. But the kitchen has now become A Medic Supremacy Zone and he has first dibs - the benefits of being w/ Chef I guess. The two would work as if the others weren't there, keeping their conversation between each other even if that means Medic tilting his head down while Chef leans in closer to reply. There's a high possibility the other have left them to their own devices, seeing as the couple was ignoring them / knows they won't be getting anything. Breakfast isn't extraordinary but it feels special since they actually get to sit across each other and share the morning today.

It's possible that they'd go out and run some errands today, but it's a cover to window shop and walk around. I'll be honest, they probably haven't had proper dates so it's refreshing. You could ask Chef what they liked the most and they're just like :] Yes.

Other times, they like to curl up and catch up with some reading (well, Medic at least) while Chef rests against him and skim over the words. They're not too invested in what he's reading but likes to have some idea of what he's talking about so they don't ask too many questions. (Very 'these words are big and english/german is not my first language + I can't read as fast as you can so I got lost 7 pages ago). Medic likes to watch Chef garden and tries to help them tend to whatever they're able to grow in the goddamn desert. He overwaters a cactus and looks away if it dies. Chef talks ab how they're growing mint and how it really took off while Medic's standing there like :] Oh, lets make tea with that. Because they're Old People (read: Medic is old)

🕊🐁

ivy - how do you take care of each other when you’re sick?

Chef is easier to take care of when they're sick. They continue working until they're pretty beat but once they feel sick and a break doesn't work, they'll try to finish up what they can before turning in early. They see themselves to bed and inform whoever's near that they won't ne there at dinner and if they really cant figure it out, then come get them - other than that, they're barricading themselves in their room.

When they're sick they're REALLY sick but recovery time is usually a few days (depending on how bad it is). They basically hibernate and don't like being disturbed. They're used to not fending for themselves since they've been on their own for a while but really appreciate all the check ins Medic does w/ them, especially when they're all better.

Medic, being...their Medic, he definitely gives them a check up when they first begin showing symptoms and he can be a stickler when it comes to drinking fluids and eating properly. Chef usually has a finicky stomach as it is so Medic really urges them to drink soups and easy foods like bread and crackers. He checks in on them A LOT, even if that's just peeking in to see if they're asleep or not. He backs off when Chef gives him a cold stare from under the covers and minimizes his intrusions/tries to be more sneaky about it. He has colder hands and they let out a sigh when he puts his hand to their cheek or forehead to check their temperature.

Chef doesn't hesitate to take any medication he has for them, mostly bc they aren't fully coherent but they also don't have energy to care, in fact they have the thought that if he accidentally kills them, maybe respawn will cure them. Unfortunately, Medic debunks this before they can even muster up the energy to ask.

Overall 7.5/10, very good patient. Will refuse to get up and accidently falls asleep in the shower which scares the shit out of him.

Medic on the other hand is very stubborn and doesn't like to stop working unless there's something that physically stops him (ex: vomiting, serious injuries [unlikely bc medigun], etc). If he tricked the Devil, surely the man can beat the common cold or flu! Unfortunately he gets those full body shivers and feels terrible. He can be pretty dramatic when he's sick and everyone's subjected to his bad attitude.

It's Chefs turn to play doctor - they can tell by looks alone that he's under the weather. His face is flushed and he's a bit sloppily put together, which isn't *too uncommon* but his tie isn't tied and his glasses lamely slide down his nose. They tsk a bit while taking his temperature just to keep track of it before ushering him to his room.

He can be dragged to bed if persistent enough. Chef's firm hold on his arm is enough for him to get off his chair and have them tug him along. He doesn't have any room to argue with them as they look up at him, so he relents, stating that a short break would definitely do him good, but he'll be up and at em by tomorrow.

Chef is doting and becomes a bit of a helicopter parent when checking on him. This mostly consists of peeking their head in but not really stepping in the room. Every so often they'll wake him up to drink water and either hand him an ice pack or offer a cold towel and move to dab at his forehead and neck.

Medic hasn't been too keen on having others taking care of him bc that's HIS job, and he often tries to shoo Chef away by saying he's more than alright now. Sometimes he's caught sitting up in bed doing work or taking notes on something bc he's a bit restless when he's sick and stationary for too long.

But he's right. He's very good at taking care of himself - when Chef offers him food he'll force himself to eat some of it and he's drinks plenty of fluids without needing reminders. He kinda bosses Chef around, telling them to grab certain medications from the Medbay. They trust his judgment on his own health and bring him what he asks for but Chef keeps a mental note of what he takes and when. Don't need the doctor accidentally taking too many pills today!

Overall 6.5/10. It's hard to get him into bed and becomes restless fairly easily. He is persistent that he's ok after one day of rest only to be found sneezing himself away in the Medbay.

#tf2 oc #self insert #medic #self ship #tf2 headcanons #my headcanons #my writing #i guess #'have you written enough?' idk you tell me.#s: soul food #if anyone reads even a part of this im sorry #💙 2d's spouse 💙#mars!!!#ahh thank you again.. sorry these are so late ahshhd i get caught up w/ other stuff so this was self care <3 !#im very passionate ab medic YSHDHD like yeah no shit bitch 🦧

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your-worst-knightmare · 4 years

Text

Operation Get Out of Marriage

Jaytemis Week Day 3: Arranged Marriage

Ao3 Link

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Night had settled upon the gardens of Wayne Manor, blanketing the sky in her quiet embrace. Jason stood and watched form his balcony, his mind still racing from his father’s dumbfounding speech. The serene bubbling of the fountains should have quelled his anxiety as he’d hoped, but it seemed to do nary a thing.

The head of Wayne Manor had called Jason into his study to talk. That was bad news in itself, as dear old dad wasn’t known for setting aside time for friendly conversation with his sons. Deep down, Jason had always known that conversation was bound to happen in some way or another. Still, it didn’t make the news seem any less like a blow to the face.

Bruce’s words still rang clearly in his ears. “I have made an alliance with Themyscira and we have decided that a union is in order to strengthen our bond. You will be meeting your betrothed tomorrow. I expect you to do your part.”

Jason was left to stare at Bruce, gaping like a fish. Betrothed? To a woman he’d never met, from a nation whose culture he knew next to nothing about, without either his or his betrothed’s consent. An alliance with Themyscira was certainly nothing to sneeze at, and Bruce always had been politically inclined, but would he do this to Jason? To his own son? Several seconds passed in silence and Jason knew the answer was yes.

He huffed in annoyance. Bruce was a jerk. A powerful, wealthy, influential jerk at that. Marrying your son off at nineteen to solidify your own political career only proved that further. Jason tried, tried so hard to be the perfect son, but all Bruce saw him as was a tool. Jason’s gaze hardened. To hell with Bruce. To hell with his political career. If Bruce wasn’t going to love him as a father should, then Jason wasn’t going to exhaust himself trying to earn his affections.

A wonderful idea sprung up in Jason’s mind. What if he just left? Abandoned this mess to live on a livelihood of his own making. The idea sounded appetizing. But what about his bride-to-be? She was likely in a very similar situation. He thought for a moment. No, he didn’t have time to worry about coercing this faceless woman into abandoning a life of luxury with him. There was too much risk. He could live with his disappearance being a one-man show.

Jason retired to his chambers a little too smugly. He’d play the part of the perfect son for the next few days before requesting to take his betrothed on a private outing. Then, under the cover of night, he could sneak out and vanish, free to live the life he wished. Jason smiled. It was all coming together beautifully. He’d need to begin preparing as soon as possible.

_____________________________

“I do not require your help,” Artemis snapped, swatting away the pilot’s hand that had been so generously offered to her. As constricting as the dress she wore was, she could manage herself. The fashion of Man’s World was ridiculous, but Diana had insisted that she get used to the style, seeing as she was marrying the son of the most influential man in Gotham. How insufferable.

Her betrothed– Jason– had greeted her at the runway. Artemis resisted the urge to roll her eyes. Loverboy had to come to see her as soon as she got off the plane. Outwardly, she attributed her foul mood to her intolerable dress and the fatigue of travel. However, perhaps since she’d been miserable since the news of her marriage was broken to her, she had been lying to herself. She knew for a fact that she did not want to be married, but she’d promised herself that she was not to do anything rash. So, as her betrothed talked up a storm of saying nothing, she set to work devising a plan.

Jason was polite as far as suitors went, but Artemis didn’t particularly care for his mask of grandeur that he hid behind. All of his words seemed rehearsed, all his questioned practiced.

“Your dress looks very beautiful, your Highness. Good craftsmanship is so hard to come by nowadays.”

It took all of Artemis’ will to not bite out a snarky ‘Thanks, I hate it.’ “Why thank you, Jason. Of course, I would settle for nothing less.” If he was going to play a game of propriety, Artemis was going to beat him at it.

He nodded politely. “Well, I was thinking that we should get to know each other better. My father owns a vacation home off the coast and I hoped we might spend a few days there.” His mask broke– if only for a second, a look of nervousness flashing over his face before disappearing.

It surprised her, as brief as it was. Artemis sensed that not everything was as it seemed with her betrothed. She covered her thoughts with a smile. “ That does sound like a good idea. Tell me, when do you plan to depart?”

“In three days’ time, if you don’t mind the short notice.” He smiled at her again, and Artemis couldn’t believe how fake it was. He may as well draw one on his face for a chance at being more genuine.

“Oh no, I don’t mind at all.” An idea began to flower in her mind, one that would further both her and Diana’s agendas. She would let the union take place and then her husband would fall ill under mysterious circumstances. To keep the alliance, she would remain “faithful” and wheedle her way back to Themyscira where she could live like none of this ever happened. It was nothing personal. This private outing presented a perfect opportunity to gather intelligence for her plan. “You will find I can be quite spontaneous.”

______________________

Jason had one goal: to make it through the night. The simple task seemed to become increasingly difficult as he realized that Artemis would stand no amount of small talk any longer. His scripted responses from the day they met simply wouldn’t work here. It didn’t help that he kept tripping over his words either. Now he didn’t just look like a rich jerk, but an idiot rich jerk. Great.

“Do you want to get some ice cream? I heard that Princess Diana likes it and I thought... well, I’m not saying I think you’re all the same but–”

Artemis held a finger up for silence. “It’s fine. I am going to pretend I didn’t hear any of your rambling, but yes, I would like ice cream.” The Amazon shrugged. “Besides, I should get used to your food seeing as I am to be your wife and all,” she deadpanned.

Jason felt a blush creeping up his neck. “Uh, yeah..., sure. “ God, why was he such an idiot? Maybe if he started a coherent conversation, this would all go away. He followed Artemis as she walked, trying to think of something to say. “So, uh, can I ask you a question?”

Artemis continued walking. “You may.”

“Did you have any say in this union? Between us I mean.”

She paused. “No. I was training in Bhana-Mighdall until I was whisked away to Man’s World one day without notice. Sometimes I wake up and forget I’m not in Themyscira anymore,” Artemis whispered, her tone full of longing. She turned to him. “What about you? Regale me with the tale of how you scored yourself a wife at nineteen without trying.”

Jason rubbed the back of his neck. “Well, I was in a very similar situation as you. I didn’t know anything until a day before I met you. I didn’t want to marry you.” God, that came out wrong. “Uh, I mean, you’re really nice and beautiful and all, but I just don’t think I’m ready,” he quickly amended.

Artemis smirked. That was a win, right? She placed on hand on his shoulder and Jason froze. “That was very cute, Jason. Truthfully, I find myself agreeing with you. But, we’re doing this for our families, and as mindless as they are, they’re the only ones we’ve got.

And I supposed that since we will be seeing each other more often, it seems fit that I make this request of you.”

“And that is?”

“Don’t hide behind your mask of propriety, I must say, I find this you, awkward as you may be, much more endearing.” She patted his arm, walking ahead. “Now come on, we can’t leave our ice cream waiting.”

A smile tugged on Jason’s mouth. Her honesty was certainly refreshing. He had to admit, he would be at least a little sorry to leave her without any notice. She was nice and she really did deserve better. But, a plan was a plan, and he wouldn’t crumble over one conversation.

_________________________

Artemis lay in bed, wide awake and reminiscing the night she had just spent with her betrothed. He was certainly much nicer than she’d originally thought, though she didn’t care to admit it. She didn’t exactly have any plans to get attached anyway. The union would happen soon, she was sure, and she wouldn’t have to wait long to carry out her plan.

Her gut twinged at the thought. The plan. It wasn’t as drastic as anyone dying, but she would still feel guilty nonetheless. Jason didn’t do anything to deserve it. He was just as much of a pawn as she was. Was that... sympathy? Artemis didn’t exactly know. She decided to leave the thought. Jason was nice, that was that, and she would think about how she felt later.

A paper rustled as it slid under her door. Most likely from Jason. She had half a mind to leave it, as she didn’t want to encourage any of his advances if she was going to follow through with her plan. It was better if he thought her indifferent. False hope was a very cruel thing.

After half an hour, her will crumbled and curiosity got the better of her. Artemis figured that there was no harm in simply reading his note. She picked up the note gingerly.

Or rather a letter would be a more appropriate term. It was handwritten, if hastily, but Artemis appreciated the time taken to do so. However, as she read, her chest swirled with a disorienting array of emotions. It began simply:

‘Artemis, When I was told that I was to be married off to some princess, I expected to meet an immature, snobbish girl. Instead, I met you; an intelligent, elegant, calculating woman who happily proved all my expectations false. I have greatly enjoyed your company over the small amount of time that we’ve been together, and that has somewhat compelled me to write this. I feel that I am obligated to because I would personally feel guilty leaving you without the full story. I find myself partially grateful to my father for introducing us, but I do not think I can live under his will any longer. I am leaving to live my own life, under my own rules. I hope this also gives you the opportunity to return to Themyscira to continue your studies and training. Although I am leaving this life behind, I do not want to abandon contact with you. You will find a burner phone in my room with my number if you wish to stay in touch. -J’

Artemis threw down the letter, dazed. So he’d gotten to his escape plan first. It was quite idiotic, and would most likely never work, but at least it didn’t involve anyone falling ill.

But still. Stupid.

With a calmness that was unproportionate to the situation, Artemis made her way to Jason’s room and dialed. To her surprise, he actually picked up.

“You are such an idiot,” was the first thing that tumbled out of her mouth.

“You read my letter?” Jason asked quietly.

“Yes. It seems you got to your ‘Operation get Out of Marriage’ before I did.” She laughed. “I’m glad you did. Your plan was much better.”

“Oh. Can I ask what yours was?”

“It involved having an invalid for a husband. It would have never worked.”

“Why?”

I like you too much for that.”

Jason went silent for a moment. “If I carried through with my plan, what would happen to you?”

The Amazon sighed. “I suppose I’d be married off again to some other poor soul.”

“That’s not fair.”

“Tell me,” Artemis looked down at her fingers. “If we went through with your father’s plan, what would you do?”

“I don’t know. Be a pawn for the rest of my life?”

“Alright, and what would you do once you’ve carried out your own plan?”

Jason snorted.“Are you trying to make me admit that I haven’t thought this through?”

“Yes,” Artemis replied smugly.”I think I have an alternative plan that would work in all of our favours.”

__________________________

The wedding was extravagant. For all of his faults, Bruce certainly knew how to throw a party. Red and white flowers adorned the venue, most likely making the air hell for anyone with pollen allergies, Jason chuckled to himself. He didn’t know how he felt knowing that so much time and money went to waste on this opulent event. But what Jason lacked in interest for the event, the press more than made up for it.

They were everywhere, following every little detail A small part of Jason was glad for that. It would allow his and Artemis’ new and improved plan to run much more smoothly.

The event dragged on painfully slowly. There were speeches, private interviews, food, all before the ceremony actually took place. Jason felt like he would fall asleep if this went on any slower. But finally, the host said the magic words Jason had been waiting all day for.

‘And now, may I present the bride and the groom!”

Music blared and the gargantuan doors of the chapel swung open. There was nobody behind them. The host nervously repeated himself. Nobody. And again. Still, neither bride nor groom had appeared.

Before the host could get any more flustered, a young man ran out of the audience to deliver a note to him. He took a moment to calm his nerves before he began reading.

‘Dear Honoured Guests, By now you may be wondering where we, the bride and groom are. We are pleased to say that are safe and simply not attending out of our own free will. While we are delighted about the alliance between our peoples, we do not feel that we are suited to the lives of diplomats. As a result, we have decided to step back from our families’ political affairs. We do not wish for the alliance to be dissolved, however, we will no longer be associated with our inherited power. Thank you for attending and we wish you all a cordial evening. -Jason Wayne and Artemis Grace’

The venue erupted into chaos, with guests gasping at the scandal of it all and reporters trying to uncover more of the developing story.

Hundreds of miles away, Jason smirked from atop his comfortable lounge in his private penthouse. He turned away from the TV to face Artemis, who lay beside him on the couch. “So how do you think this plan turned out?”

It was rewarding to see her face lit up with that bright grin. She motioned to the screen where Bruce’s face was starting to rival the looks of a tomato. “I think this was our best yet.”

Jason switched off the TV. “I have a better one.”

“Oh. And that is?”

Fighting the grin off his face was a losing battle. “Ice cream.”

#jaytemis #jaytemis week 2020 #jaytemis week day 3 #rhato #jason todd #artemis of bhana-mighdall #artemis grace #arranged marriage au

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moro-nokimi · 4 years

Text

Chapter 6: January 6, 2011

Summary: All hell breaks loose.

AN: HERE WE GO LESBIANS THIS IS THE PENULTIMATE CHAPTER. Okay, excitement aside, when Light screams and collapses, google search “Light Yagami confession italian” - first result on youtube is the one you want. Would also recommend google searching “Struts somebody new” after the January 22 pagebreak, but it isn’t mandatory. I just like to torture my readers. TWs: death of a loved one, suicide, burning. Ask to tag.

ffn.online

“How’s it going, Gevanni?” Rester asked.

“I haven’t been able to confirm the presence of a Shinigami for the past week. And Mikami’s still on his regular routine.”

“I think it’s safe now,” Near said.

“Huh?”

(Poor guy looked wiped the fuck out, no wonder he was a bit slow in the brain area.)

“I want you to get your hands on the notebook again when you go to the gym tomorrow. And this time, take photographs of all the pages.”

“Photographs?” Rester repeated.

“Yes. I want to see for myself how the names are actually written. Most of Kira’s killings occur after midnight, but I want to find out if that’s because of Mikami’s clockwork life, or if he’s controlling the time of death. And if there are any rules to the way he writes the names down, if he has any habits… What does this notebook look like? Its appearance, front cover, back cover. I want to see all the small details with my own eyes.”

“All right.”

January 7 “So, what do you think, Near?” Rester asked.

“Gevanni has done well.”

“That’s not what I meant!” Rester sounded exasperated, and Naomi couldn’t hold in a snicker.

“Relax, Rester. This will all go more or less smoothly,” Naomi said.

“You sound convinced.”

Because if I die I see Raye again. And if I don’t, I get revenge. Either way, I’ll be at peace and I can move on.

“The handwriting on this matches Mikami’s handwriting on the investigation records he wrote as a prosecutor. This is definitely written by Mikami," Near said.

“Right.”

“Apart from Demegawa and the man on the train, everyone else’s name is written in after midnight. And only their names have been written down. A page per day. He stops killing people when the page is full. Yes, looks like I can put my plan into action.

“Commander Rester, get me Gevanni. … The photographs are very clear. We should be able to do it, then,” Near said.

“Right…?”

“But I was expecting the killer notebook to be much stranger, with some kind of magical power radiating from it. But it really is an ordinary notebook, just like Mello said.”

“Like he’d have a reason to lie when he came to HQ for an exchange?” Naomi pointed out.

“Still, you never know.”

“Either way, it still looks like a regular college notebook.”

“I can see that,” Naomi said.

“Anyways, the important thing is that your name isn’t written down in this, Gevanni,” Near said.

“Uh huh.”

“The notebook at the Japanese task force headquarters is under Mr Aizawa’s surveillance. So long as this notebook isn’t possessed by a Shinigami, I think it’s safe to say that you’re not being controlled by another Kira.”

“I told you that I’m fine. Do I look like I’m being controlled? If I was, I wouldn’t have been able to take those photographs in the first place,” Gevanni replied, distinctly peeved. Ah, I remember the days I’d be annoyed at a superior for supposed micromanagement.

“Just to be safe, please go down to the hospital to receive a complete physical exam to see if you’ve developed any illness.”

“Okay…”

“If you’re still alive 23 days after the first time you touched the notebook—on January 23rd—it means there was no Shinigami possessing the notebook when you touched it, and Mikami doesn’t know about you. And if there is no Shinigami, then there should be no problem with you tailing him, so after January 23rd, at the first possible opportunity, we’re going to settle this fight once and for all.

“Until then, we’ll concentrate on Light Yagami, Kiyomi Takada, and Teru Mikami—as we’ve been doing so far. But there’s one last thing we must do—every one of us, but especially you, Gevanni… I’m going to have to ask you to do something.”

⁂

Naomi exhaled and laid on her back. It was quickly approaching five in the morning, and she hadn’t slept since she woke up at six the previous day. Nausea was starting to set in. Whether it was from the sleep deprivation or the fact that she could only stomach liquid, only time would tell.

She stood and walked to the kitchen for what felt like the fifth time that day. Rester had went to sleep roughly an hour ago, and Gevanni had came in about 45 minutes ago. Stupidly enough, she was thinking about when Lidner would next come in.

Stupid.

Her and Lidner hadn’t seen much of each other since that spat and the fact that Lidner had the luck to come into that bodyguard job, but she managed to luck out—in its loosest form of use—and meet with Lidner.

“Listen, I really do want to say that I’m sorry for… bringing up your fiance like that,” Lidner said, cringing as she paused. “I definitely crossed a line and I’m sorry.”

Part of Naomi had wanted to say that she should fucking well be; there are plenty of things that are off limits and bringing up dead people close to you is one of them. Before she knew it, she was nodding. “I definitely shouldn’t have snapped at you as quickly as I did—even in having my grief prodded at like that.”

Lidner nodded. “It’s all right, I don’t blame you. Truce?”

They shook hands.

She was grateful to not have that to worry about, to say the least. The last thing she needed was to be perpetually kicking herself for spilling her guts to Lidner like that and reacting the way she did.

January 22 “It went well. I did everything you said.”

“Okay.” Vertebrae cracked in Near’s neck as he rotated it to get a closer look at his action figure. “Now, I want you to keep your eyes on Mikami as you’ve been doing, until the 24th. If you don’t notice anything different about Mikami by then, we’ll go head to head against L right away.”

Lidner walked in at midnight.

“Oh. You’re still here,” she said.

Naomi nodded. “Fortunately or not. I can’t sleep for the life of me.”

“Yeah, I feel you. Gevanni’s whiny ass is constantly talking about how screwed up his sleep schedule is, but I can’t say as I blame the man. Near gave me the rundown as to what was going on. Sounds exciting.” Lidner wiggled her toes as she stepped out of her heels. Naomi didn’t envy her.

“Agreed.” And here was the part that stuck in Naomi’s throat even as she rehearsed what she’d say. “Um, listen… if all doesn’t go well when we meet with L, I do want to say that I—”

Emotionally, it felt like Naomi had been hit in the chest with a sack of bricks. She didn’t feel it physically, thankfully, because that was always a sign that a panic attack was coming—and no one wanted to have a panic attack in front of a woman they were even remotely into.

She exhaled. “I’m going about this badly. I’m sorry if I’m wasting your time.”

“It’s all right. I think I’m overdue for having my time wasted by someone that’s not Kiyomi Takada.”

Naomi nodded, too wired to laugh however briefly. “I’m trying to say that I have f—” She winced. “I have fff—I like you a lot. A lot, a lot.”

“I would hope so. Having two coworkers at each others throats isn’t conducive to an environment like this one.” Lidner cleared her throat. “Lampshading aside, I…”

“I mean it’s fine if you don’t reciprocate I was just—” Naomi really regretted this now. Regret plus feeling like you’re replacing your dead fiance isn’t exactly conducive to coherency of a confession of romantic feelings of your coworker to said coworker.

“Hey! It’s all good. Truth be told, I like you that much too.”

Naomi exhaled. One thing out of her way. “But the thing is… I mean, I don’t want to presume or anything—”

“I don’t think you’d be presuming anything.” Lidner ran her tongue along her lower teeth. “If you’re talking about getting into a romantic relationship, I can say as I’m not ready for it.”

“Oh—Jesus, that’s a relief—I mean, I’m not either.” Naomi hit herself upside the head. “This is coming out badly.”

“It’s all good, I get what you’re trying to say. In the future, perhaps, but…”

She nodded. “Yeah, it’s not a good idea. And working for Near in the middle of the most controversial case in the world is a full time job.”

“Agreed.”

In an unexpected reaction, Lidner leaned forward and pressed a quick kiss to Naomi’s cheek. She retreated down the hall. Naomi didn’t realize she was repressing tears until her entire head and neck began to ache.

January 25 “I think this plan’s going to work,” Rester said.

“Gevanni here.” He cleared his throat. “I’ve checked the notebook. It’s been one page per day, as always, for the past three days. Those who’ve been killed match with the names in the notebook as well. And there’s nothing different about Mikami.”

“I see…”

“Everything’s set,” Rester said.

“Yes.”

Near called L two and some change hours later. “L.”

“What is it, Near?” L asked.

“I want to meet you.”

“Uh huh…”

“There’s something I must show you that pertains to the Kira case.”

So is that how he’s phrasing things? But I suppose that’s better sounding than “I’m about to show your entire team who you are and completely destroy you and your reputation with them.”

“But if you think I’m Kira, right? Then you shouldn’t want to show your face to me.”

“Well, I can’t really show you anything unless I show my face. Showing my face will reveal something, of course, and then will bring the case to a close.”

“Very well. I want you to realize that you’re wrong.”

You have a lot of nerve to say that, don’t you? You know, that arrogance will be what brings you down.

And I can’t wait to watch it happen.

“There are several rules I must ask you to follow in order for us to meet.”

“Go ahead. You’re the one who suspects me of being Kira, so I’m sure you want to state which conditions we meet under. We don’t have any.”

“First of all, investigators from both sides are to be there. In other words, everyone who is looking for Kira will be there when we meet each other.”

“Why all of our investigators?”

“If you and I are to meet face to face, there ought to be witnesses. And even if I succeed in proving that you’re Kira, you could always take the extreme of strangling me.” Near’s brow furrowed as he added, “We’ve all been risking our lives to find Kira. if I prove Kira’s identity there, then everyone has the right—no, the responsibility—to attend. And by having everyone there, I want to make sure that any information about this meeting or my face doesn’t go public.” Near took a breath. “Everyone on this case will see what happens at this meeting—and after they see the outcome and the reality of the whole story, we’ll cooperate and decide what to do next.”

“Okay, I’m fine with that.”

Near moved his hand closer to the Misa figurine he made, hands splayed almost like an OK sign. “As I said before, there are five of us, including me. That’s everyone in the SPK. I’ll have Mr Mogi, who I’m keeping in my custody, accompany me there. I’ll release Amane before that—” and to demonstrate, he flicked the figurine, “and be sure not to tell her where we’ll be meeting.” The figurine rolled. “You can meet me after you make sure she’s actually been released. How does that sound?”

“Very well.”

Near began to stand. “Mr Aizawa will be able to tell you if the five people you see, plus Mr Mogi, are the real members of the SPK.”

“To me, it doesn’t really matter if the person who appears there is Near or not. You’ve just been stressing that point because you believe that I’m Kira, and that I won’t appear unless I know that you’re really going to come—right?”

Near paused, considering his actions.

What sort of attempted checkmate is this? You know this, the task force knows this, the rest of us know this. And the task force is—I assume—not largely full of idiots. And I’d think you’d have learned your lesson after the whole Lind L Tailor incident almost a decade ago.

“We’ve had many conversations like this in the past. Even if I don’t know your face, I’m sure I can figure out if it’s the real you once I talk to you in person. But I’ll make sure to have Aizawa tell me to double check.”

“I agree with that…”

I think, if I took a scalpel and some other tools to his skull, I’d find the gears turning in his head, Naomi thought.

“We have five investigators including me and Mogi. You’ll have to trust me on that. We’re a small group of people chasing Kira in a world like this, so I’d like to quickly settle this problem and cooperate with you and your team.”

“Very well…” Near settled into a position almost similar to her unprivate detective acquaintance in LA. “As for the place we’re going to meet, I’m thinking of one where the people inside can’t be seen from the outside.”

“You suspect me of being Kira, so it’s the natural thing to do.”

“I want it to be a place that can’t be seen even with telescopic lenses and whatnot, so I’d rather it had four walls and a roof.”

“Do you have some place in mind?"

“Daikoku Wharf. There’s an abandoned warehouse on the southeast side, called the yellow box. If that’s fine with you, I’ve taken the liberty of buying it. There’s nothing around it, and the place is empty as well. I’m sending you an image.”

Near smirked. “It’s not locked, so you can go and see it for yourself whenever you want to. And if you don’t like it, I can look for another place.” He smiled toothily. “And each of us can check for hidden cameras when we enter the building.”

“Do you have any other requirements to make sure that your face isn’t known to anyone outside of that warehouse?"

“Yes. I’d like to prohibit any communication equipment when you enter. That’s to ensure that nothing that goes on on the inside gets leaked. And to be sure that no one takes a photograph of me on their phone.”

Naomi held in laughter. What a nice callback to the incident with the girl on the train.

“No communication equipment. Okay.”

“I’d also like someone apart from L to bring the notebook from your headquarters.”

“Why do you need it?"

Near reached for a clay replica of the notebook. “Simple. If every one of you leaves the headquarters, no one will be left to guard the notebook. I promise you that I won’t try to take it from you. And I’ll refrain from touching it. If Mr Aizawa claims that the notebook you brought is the one from headquarters, I’ll believe it. But, again, please make sure that someone other than L is carrying it. Understood?”

“Very well, Near. But I can’t overlook the chances of you conspiring with someone on my side to steal the notebook. I won’t carry the notebook, but I’ll choose who carries it. Is that okay?”

“Yes. The only thing that’s left to settle is the date and time of our meeting.” Near got onto all fours.

“Of course…”

“How about three days from now, on the 28th at one PM?”

“Any time’s fine with us.”

“Remember, three days from now at three o’clock.”

“Yes.”

January 26 “Near, Mello kidnapped Takada,” Lidner relayed.

Near paused. “Lidner, have you been leaking information about our investigation to Mello?”

Lidner paused. “Yes… But I haven’t told him about Mikami.”

“If that’s the case, we should still be okay. But if Mello finds out about Mikami from Takada and seeks him out, this will all be a waste. I want you to find Takada—no. I want you to stop Mello at all costs.”

“But—”

Near’s tone brokered no argument: “Do it.”

“All right.”

Near called L.

A task force member said, “It’s Near. Maybe it’s his usual ‘I took the liberty of confining her’ routine.”

“L, I’m not the one who kidnapped Takada.”

“I see. Then that means… Mello.”

“Yes. I’ll be honest with you. The individual I have guarding Takada has told me so.”

“Near, don’t you have means of contacting him?”

“It’s no use. I can try to contact Mello, but he’ll never respond to me. He must plan on capturing Kira himself, using Takada as bait.” Near pouted and twirled around the microphone. “I didn’t want him interfering for the next three days, and I really do mean that.”

“Very well. I trust your words and I believe that you’re not collaborating with Mello.”

“I’m going to track them down with everything I’ve got.”

“I’ll do the same.”

⁂

“So, please keep your eyes on Mikami as long as possible, making sure to arrive at Daikoku Wharf by one PM on the 28th.” Everyone in the room minus Lidner gave acknowledgement.

The screen beeped. “It’s Lidner,” Rester said.

“Get her on the screen please.”

“Near.”

“Yes?”

“I’m sorry. I never thought that Mello would…”

“It’s okay.” Near moved down to eye level with his figurines. “Everything will be fine so long as Light Yagami goes through with our meeting as planned.”

He called L.

“L.”

“Yes?”

“Granted, we’ve had some distractions. But I want to confirm our meeting is staying where it was.”

“Of course.”

“As for our conditions—they’ll remain in place. Right?”

You’re practically daring him to say no, aren’t you, Naomi thought.

“Yes. I didn’t set any of the conditions anyways.”

“Then I’ll see you on the 28th.”

He hung up.

“Gevanni?”

“Yes?”

Near wiggled his L figurine on his finger. Naomi wanted to crawl out of her skin. “Will you make it?”

“Yeah, no problem.”

“Commander Rester, Lidner, Gevanni, Maki… Let’s put our best into this.”

Naomi nodded.

Relief and anxiety curled up in her chest and made their homes.

January 28 “I’m heading down with Mr Mogi and Amane in my car,” Lidner reported.

“Mikami went to work at the usual time. Nothing out of the ordinary," Gevanni reported.

“Start heading over there,” Near instructed.

“Will do.”

Near called the task force.

“Good morning, everyone.” He brought a knee up to his chest and rested his temple on it. “For starters, I’ve released Amane. You can call her if you’d like to check for yourself.”

“Near, please get Mogi on the line for me. In order for us to bring the notebook, we need a PIN number that only Mogi knows.”

“I’ll get him right away.” Near patched Mogi through to the rest of the task force.

"Near, I have the notebook right here. I’ll take it along with me,” Aizawa says.

“Are you sure about Mr Aizawa handing the notebook?” Near asked.

“I’ve decided that Aizawa would be the best choice.”

If Naomi could’ve, she would’ve glared at L. This was just plain irritating. The second his face got rubbed in the fact that the SPK was right all along, she could die happy.

“Thank you. See you at the warehouse, then.”

Naomi threw up a wave as Aizawa entered the warehouse. The plastic L mask still made her skin crawl.

And then the task force entered.

She could’ve sworn that she saw just a hint of recognition on Light Yagami’s face.

Hm.

“Those are definitely the SPK. Near’s the one with the mask.”

“Yes,” Mogi said. “I was with Near even before he put the mask on. It sure is him.”

“Whether the real Near is here or not is of no interest to me,” Yagami said.

Naomi clenched her jaw, biting back a retort of something like “you clearly haven’t learned your lesson from the Lind L Tailor incident.”

“Wait a minute,” a task force member said, “I don’t care who he accuses of being Kira. But that mask proves he’s only trying to protect only himself.”

“It would be kind of redundant to hide our faces, seeing as how all but one of us have been sighted by Takada before,” Naomi muttered.

“Matsuda, Near thinks I’m Kira. It can’t be helped,” Yagami said.

“He was talking so much about seeing you face to face. It’s not fair!”

Naomi was beginning to get a headache.

It was about to get worse.

“I’m telling you,” Yagami said, and that alone made Naomi want to claw at him and beat him to a pulp, “Near has his own ideas about what’s going on here, so it’s not going to help if we complain about it. Let’s get on with this.”

Near smirked thinly and touched the mask. “This mask is just insurance.”

He was in for it, no matter if he was taken into their custody.

“Insurance?” Matsuda repeated.

“I’m confident that both Kira and the person being ordered to do the killings—X Kira—don’t know my face. But there’s a possibility that everyone else’s face is known to these individuals in question.” He knocked down the figurines of the SPK. “Of course, this is all assuming that L is Kira. So, since the time and place for our meeting was decided upon three days ago, there’s a chance that everyone else’s name, excluding mine, may already be written down in the notebook to be killed.

“If that were to happen, only Kira and I would be left, and all Kira would have to do is write my name in the notebook that Mr Aizawa has with him right now. Though it’s my hypothesis that the Kira here doesn’t have the ability to kill just from looking at our faces.

“So, please give me an hour—no, 30 minutes—to be sure that no one else here is already marked to die by the notebook.”

“You’re waiting to see if we die?” Matsuda asked.

“That’s okay,” Yagami said. “We’ll let Near do as he likes. If not, we won’t be able to clear things up.” He turned to Near. “I believe that you’re the actual Near, and I care little about the face behind the mask. What I’d like to see is what you were going to show me pertaining to the Kira case.”

Near twirled a strand of hair. “That can only be revealed to you after I take my mask off.”

“You can’t show the evidence to us unless you take the mask off, but you’re not going to take it off? Aren’t you contradicting yourself?” Matsuda demanded.

“He means he’s going to take it off once he makes sure that everyone else remains alive,” Yagami clarified. Near confirmed as much.

You sure seem agitated, seeing as how you can’t keep Near’s stipulations straight, Naomi thought.

“It’s been more than 30 minutes—and nothing’s happened.”

“Of course,” Yagami said. “That’s because Kira isn’t here.”

Near took off the rubber band. “Very well. It seems you’re all safe. I’ll go ahead and take off the mask.”

He smirked immediately.

“Okay, so now that you’ve taken the mask off, what are you going to show us?”

“Don’t rush him,” a task force member chided.

“I’m sorry,” Near said, “but you’re going to have to wait again.”

“Again?! What are we waiting for?”

“Excuse me, do you think this is a massive waste of time or something?” Naomi asked. “If you want to prove that your leader isn’t Kira so badly, shut up and wait.”

She didn’t typically have such a short fuse or snap at people so easily. But she was face to face with the one who killed her fiance; and as much as she’d like to get this out of the way and take him into custody already, the fact that he’d have his face rubbed in the SPK’s being right would feel a little bit better than if they took him into custody without much of an explanation. And it’d help out if they could make the task force see reason.

“Oh, I’m sorry—”

Key word being if.

“Enough,” Yagami said.

“We’re waiting for the one who’ll solve everything to arrive,” Near said. He exhaled. “I assure you that this person will come. So we must wait. This building is completely sealed. The only way to look inside is to open that door right there. Therefore, this person will come through that door, or try to peek through it.”

“Who’s going to come…? This meeting was kept a secret from everyone except those who are here right now.”

“That’s right. So the person coming is X-Kira, Kira’s most loyal follower, who learned about our location from none other than Kira himself.” He paused. “Mr Aizawa. You kept an eye on L even after Takada died, right?”

“Yes.”

“Then X-Kira will come. Kira used Takada to contact X-Kira.

“The night we decided when and where to meet, L met Takada, and Takada relayed the information to X-Kira. I am completely sure of this. But Mello’s kidnapping of Takada was a surprise to L and I. With Takada dead, L could no longer contact X-Kira and was unable to call his plan off.” He knocked down the Takada figurine. Near tilted his head. “Actually, it would’ve been meaningless for him to call everything off. The thought wouldn’t have crossed his mind because he didn’t want to interfere with his plan or mind.”

And Matsuda and his co-worker immediately launched into contrarianism:

“Why do you assume L is Kira?”

“Yeah, if a third party is really going to show up here, isn’t it more likely that you’re the one behind it all?”

Ah, this is familiar. I almost feel like I’m 27 again and watching the NPA and L squabble. Maybe without all the signs of aging. Thank God for retinol and sunscreen.

“No, because the person we’re waiting for is the person currently in charge of carrying out Kira’s judgements. So, obviously, this person is coming under Kira’s orders.”

“Hey, wait a minute. If this person is the one doing the killings, you also mean they’re bringing the notebook too?”

“Yes, this person will bring the notebook for sure. And then, after looking at my face, will write down my name.” Near mimed this scenario with the figurines of X-Kira/Mikami and himself.

“So you’re going to prove that this person is Kira’s henchman by being killed?!”

“No, rather by having him try to kill me. There was a similar stunt that was pulled when L was investigating the Yotsuba Group.”

“Wait a minute,” Aizawa said.

“Yes?”

“If X-Kira is going to kill you, then they’d need to kill everyone here, since we all know about the notebook.”

“That’s right. It would be the perfect victory for Kira, not to mention the sole reason Kira agreed to this meeting in the first place.”

“I… I don’t get it,” Matsuda said. “What are you meaning? The third party is going to bring the notebook here to kill us?”

“And you’re asking us to stand here and watch?” Ide asked.

“That’s right,” Near said calmly.

“That’s ridiculous! Then you’ll be playing into Kira’s hands. We’re going to lose no matter what we do.”

“No. We’ll win. If you all do as I say, we’ll win without a doubt. So, if X-Kira enters through that door, I want you all to let him in. And if that door opens, however slightly, I want you all to pretend not to notice.”

Aizawa wrestled with himself. “You’re making it sound like you’re Kira. You’re the one who proposed the idea that we meet here, and now you’re asking for us to let our names be written down in the notebook. It’s only natural for us to think that. But… I’ll do as you say.”

“I’m with Aizawa,” Mogi said. Matsuda muttered dissent.

“He’s already here,” Near said. Naomi's headache was getting considerably worse.

Yeah, that’s one way to make them listen, she thought.

They stood in silence for roughly a half minute.

“I can’t just watch!” Matsuda snapped, bringing a revolver out of his jacket’s inner pocket.

“Don’t move!” Rester snapped, lining Matsuda up with his sights. Gevanni followed suit.

“Are you kidding me?” Matsuda exclaimed.

Naomi whistled. “Sorry, Near. First of all, don’t point your guns unless you intend to fire, Rester and Gevanni." (To this, Gevanni glowered and lowered his after Rester did.) "Second of all, what did Near say? Pretend that nothing is happening.”

“You expect me just to sit there while our names are being written?”

“I’m sorry, I thought I said ‘pretend nothing is happening’!” She put her hands on her hips and glared.

“Enough!” Near said. “I said that you won’t die. Please be still. Everyone relax, please.” He took a breath. “Even if our names are being written down, we won’t die. Kira’s identity will finally be revealed.”

“How can you be so sure?” Aizawa asked.

Near held up the miniature notebook he made. “I’ve tampered with the notebook. We managed to get it into our possession and replaced the pages. The person behind the door—the one in charge of the actual killing—has been filling up one page every day, so I just calculated which page would correspond with today’s date, and replaced all the subsequent pages.”

“Replaced?”

“You actually got a hold of it?”

“The person writing the names down outside will eventually look inside to see if we’ve all died. At which point we’ll seize him, and the individual whose name isn’t written down in the notebook will inevitably be Kira.”

Aizawa agreed, while his coworker was borderline speechless.

“To the one outside,” Yagami said, “did you write the names down in the notebook?”

“I did,” X-Kira answered, almost reverent.

“That’s strange,” Near said, half to his thighs. “Why would he reply in earnest, yes I did when you asked him if he wrote the names down?”

“Who knows?” Yagami replied. “Maybe he’s honest, or is confident for some reason. It may be that he knows your plan.”

Naomi barely resisted rolling her eyes.

“Teru Mikami, why don’t you come in here?” Near ventured.

There was a pause.

“Teru Mikami, right?” Yagami said, looking smugger by the second. “Stop hiding and come inside.”

Still no Mikami.

“Teru Mikami, I know that you’re in charge of carrying out Kira’s killings right now. You’ve already written the names down, so there’s nothing to be afraid of. Please come in. Or did Kira order you not to?”

“Your wish is my command, God,” Mikami said, his expression almost malicious in his devotion.

Naomi almost recoiled in horror.

“How many seconds has it been since you wrote the first name down?” Yagami asked.

“35… 36… 37… 38… 39…”

“I win, Near,” Yagami said.

That sure is one way to dig your own grave, Naomi thought.

“40!”

Still, Naomi clenched her fists and waited for the pain Raye must’ve felt in his chest.

“We… We’re not dead! It’s been a minute and we’re not dead!”

“I’ve been telling you that no one would die,” Near said.

Naomi traded a glance with Lidner. Even the SPK didn’t have a hundred percent faith in this plan.

“Why? Why won’t they die?!” Mikami said. “G-God—I did everything you told me!”

Near signalled Rester and Gevanni to take Mikami into custody.

“The notebook, Gevanni,” Near said. He held up the notebook once Gevanni brought it over. “See for yourselves.”

The task force took in every word.

“The first five names are unmistakably the real names of the SPK members. And the only one missing from this list is Light Yagami. The first nail in the casket was Mikami calling you God, and the other was that he said he did as you told him to.” He brought the notebook down. “This proves it.”

“This is a trap! Near set this whole thing up to frame me! It’s impossible that no one’s dead after their names have been written in the notebook!” Yagami screamed.

Near tilted his head to the side. “But I told you no one would die because I replaced the pages.”

“That’s—this is a setup. I don’t know this guy!”

Mikami wailed and sagged.

Aizawa approached Yagami and put a hand on his shoulder. “Light, it’s too late. Near wins. Just a second ago, you declared that you won. That’s as good a confession as any.”

Matsuda repeated Yagami’s given name and sank to his knees. “Why…?”

Mogi broke ranks and brought out his handcuffs. Yagami ran, slipping and faceplanting, then leaned against the warehouse wall.

“This is it,” Near said. “You lose. You claimed your victory a second ago. And to tell you the truth, you might have won and I’d have lost if it weren’t for one thing. You had Mikami use the fake notebook and had him carry it around in front of us so we’d believe it was the real thing. You even went so far as to suspect that I would replace the pages of the fake notebook, so that I wouldn’t die even if my name was written in it. Things turned out exactly as you expected, and we replaced the pages in the fake notebook.

“That was the plan I had in mind as well. I replaced the pages of the notebook that happened to be a fake, and you had Mikami bring the real notebook out for the first time to kill all of us. And that was your plan. But when I said that I replaced the pages in the notebook, I meant the real one as well. Meaning that I tampered with both the fake and real notebooks. I replaced only a part of the fake notebook, and I replaced the pages of the real notebook completely.” To demonstrate, he pulled the replica notebook from the Mikami figurine, revealing a FAKE label across the back.

Near brought out the real notebook from under his shirt. “This is the real notebook. Gevanni did it overnight. Whether he was able to replace all of it or not was the key to this plan. He did replace a part of the fake notebook with ease, but it was quite difficult to make a forged copy of the real one. Gevanni promised me, however, that it could be done.

“He used the same pen Mikami used, copied Mikami’s handwriting to perfection, and even made a perfect copy of the cover in addition to the interior pages. And since I’d touched the notebook beforehand, I could see the Shinigami from the moment you entered this warehouse. Nice to meet you, Mr Shinigami. I’m Near.”

Hair stood up on the back of Naomi’s neck.

“Ryuk… until today, I always believed that Shinigami had skulls for faces and carried sickles. … I looked through this notebook and found some pages that were clipped out. Can it be that people die even if you write names on pages that have been cut out? … Even pieces are effective… I’m sure there must have been many uses for that. I can’t even begin to think of how many people were killed and deceived because of that.”

“I almost died with that method. My fiance, the busjacker,” Naomi said. “Others, I assume.”

Yagami’s face lit with recognition.

“Raye Penber…”

She nodded, throwing a thin and outright malicious smile to him. “The one and only.”

“That’s one hell of an indictment,” Rester said. (He wasn’t the only one surprised; Gevanni was gaping and Lidner’s eyes were wide.)

“That anecdote just proves something that the previous L knew. Light Yagami, you are Kira.”

Yagami stood in silence, calculating.

“You’re wrong,” Near said, holding his Mello figurine. “I owe this to Mello. I’m sure you understand what I mean by that.” He flipped the notebook’s pages. “Look at the page I just turned to. This is the fake notebook we created, but it’s exactly the same as the real one. The first line of the page on the left…”

Kiyomi Takada. Suicide; burns to death by setting fire to everything around her, including what she wrote. January 26th, 2:33 PM.

Yagami and Mikami stared at each other. “If Takada was in a situation like that, then it’s my job to…,” Mikami said.

“That’s right. When Mello kidnapped Takada, Mikami took out the real notebook—the one he had hidden in a safe deposit box at the bank… and wrote Takada’s name down.”

“After Takada’s kidnapping was announced on the news, Mikami broke from his schedule. October 25th was a Sunday, so he went on the 26th. But all other previous months he’d went to the bank on the 25th. Mikami rarely breaks from his habits, so it immediately stood out to me. I entered the bank and saw Mikami go into the safe deposit room. This was the first time I’d seen him concerned if someone was following him,” Gevanni explained.

“Mikami lives a completely fixed life, but suddenly broke from his routine as Takada was kidnapped. I wonder how much can be explained away, if at all. Going to the bank for two days in a row… I’ll be honest, I only thought about the possibility of the notebook being a fake after Gevanni told me of this. Though, come to think of it, we should’ve suspected that when he took a picture of a man harassing a woman on a train before supposedly writing his name down, and when he talked to himself about the Shinigami not appearing to him. The fact that we found out so quickly about Mikami actually worked against us.

“But until then, we were completely tricked by you, Takada, and Mikami, and had replaced the pages in the fake book. So we’d have lost if I hadn’t found out. When Mello kidnapped Takada, you were no longer able to get into contact with Mikami. But Mikami still made his move for you, to perfection in his role as Kira’s stand-in. His overt adoration, sense of responsibility and attention to detail, and his intelligence worked against him at this time.

“It wasn’t difficult for us to sneak into the safe deposit room to crack it. It was an old fashioned safe at a local bank. And since you allowed us to look through Mikami’s bag when he was at the gym, we already had made copies of all his keys and cards.”

“It was easy. Once I got inside, there was a notebook with Takada’s name written in it,” Gevanni added.

“And an idiot would figure out everything from there.” Near added, “This is very interesting. In the fake notebook, the one we replaced the pages of first, one page was filled in with names every day, but the real one jumps from November 25th to January 26th, when Takada’s name was written down. So that means you, Light Yagami, had Mikami walk around with a fake notebook starting two months in advance to trick us.

“Before January 26th, the time of death wasn’t specified, same as in the fake notebook. But after Takada’s name was written in it, all the judgements for January 26th were set to the early hours of the 27th, and the judgements for the 27th were set for the early hours of the 28th.

“In the fake notebook that Mikami made, Takada’s name is probably written down exactly like this, but the rest of the page is only names and no written down conditions for their death. So that means that when Mikami wrote Takada’s name in the real notebook on the 26th, he also wrote the names of those people who were to be ‘brought to justice’ on the 26th and 27th.

“Mikami could’ve killed the people using the scraps from the notebook, but if he wrote on them in his house, assuming we’d have installed a camera, we might have found out about the fake notebook and the fact that you can kill people with just a scrap of it.

“In order to make Mikami’s notebook look real, you probably cut the pages out and handed them to Takada and had her actually do all the killings. All Mikami had to do was send a list of people to be killed via cell phone or computer and delete the data.

“For the deaths on the 26th and 27th, you might have had him send a list of people to Takada after she was kidnapped, but just in case, Mikami wrote those names down too when he wrote Takada’s name. As for the 28th, today’s killings would be at your leisure, since it would’ve been after you killed us.

“So, though it’s nothing I would’ve taken notice of under normal circumstances, if you look closely, there aren’t any killings of new criminals on the 26th or 27th. And that’s because Mikami wasn’t allowed to take out the notebook until today. And according to your plan, that shouldn’t have happened no matter what.

“And thought I don’t know who was first, this means that you killed Takada too. Since the scraps of the notebook can be used to kill people, it’s hard to believe you wouldn’t have had one on you. Because you killed her too, the announcement of Takada’s death was reported on the news quickly, and since Mikami also knew of her death, you wouldn’t have assumed that Mikami made a move on his own.” Near dropped the notebook. “Too bad. When Mello kidnapped Takada, Mikami wrote her name down in the real notebook too.”

Mikami and Yagami stared at each other again.

“For both you and me…,” Near began, “having Mikami write down our names on the page on the right was the plan. We had to do that. If not, we wouldn’t have been able to capture Mikami, get the notebook from him, or take a look at the notebook. Whether the page on the left was filled with names or not, it had to be the page on the right. And you tried to kill us by having us replace the pages of a fake notebook and having Mikami bring the real one here, but we went a step beyond you by having Mikami bring a fake version of the notebook. It’s a lot harder to find out that the notebook has been switched if you replace the whole notebook rather than just a part of it.

“Of course, this is in large part due to Rester and Gevanni’s efforts in duplicating the notebook in a day. But the biggest thanks goes to the one who created this situation. Mello.”

Lidner suddenly looked very sad. She looked askance. “Mello may have known about it. I told Mello that Near was talking about bringing an end to this case with his own hands. But now that I think of it, he…” She stopped, frowning. “After a long silence, he just said then I guess I’m going to have to do it, and hung up.”

She sighed. “At first, I thought he only meant that he was going to bring an end to the case before Near. But if Mello hadn’t made his move, then we would’ve…”

You’re telling me I owe my life to a corpse? Naomi thought.

“The fact that we replaced the pages in the notebook, and that notebook happened to be a face, I find it hard to believe that Mello thought that far ahead. But, I’m sure that he was always trying to get ahead of me. And that’s not all—even if he didn’t surpass me…” Near wet his lip. “Even if he didn’t…”

Rester traded looks with Gevanni, who traded looks with Naomi, who traded looks with Lidner, who traded looks with Rester.

“Mello always said that he was going to be number one, and that he was going to be better than me and L. But I always knew I would never be able to surpass L. It could be that I lack attention span and he lacked impulse control. And even thought we couldn’t surpass the one we admired on our own—together, we can stand with L. Together we can surpass L. And now, we’re facing Kira, whom L could find no proof against, the very Kira who L was defeated by, and facing him with solid evidence before his own eyes.”

Near let that sink in.

He kept the puppets up.

“Let’s try to see you talk your way out of this one.”

Yagami screamed, high pitched. All the klaxons in Naomi’s brain fired, telling her to get the hell out of there, because something was deeply wrong.

Yagami began to shake.

And he began to laugh.

Against all her primal instincts, Naomi stayed.

He cackled for a good half minute.

Every muscle in Naomi’s body tensed. Every hair stood on end.

“That’s right,” he said, staggering to stand, “I am Kira.”

#so if u listened to that italian dub was that terrifying or what #apparently the VA did it in one take at *18 years old*#that's fucking cool #tws in post #my writing

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zutaradreams · 5 years

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Day 4: Don’t hurt her

Part 1 AO3

Posting a day early because I might not have time to post tomorrow, continued from Day 3: Season 4 Zutara

Katara and Zuko look into Azula’s past

On the fifth day, Katara went back to Sazura. She applied more of the burn salve and rewrapped the wound. Katara did some of her own healing too. Already it looked so much better, and she was able to move her wrist without pain.

“Did you treat the Fire Lord after he was burned?” she asked. She couldn’t get Zuko’s scar out of her mind now that she knew his father had caused it.

“No, my lady. He was banished immediately. I wasn’t allowed to see him,” the older woman replied regretfully.

“Oh.” It all made sense to her suddenly, why his wound scarred so terribly when hers was healing well. Even without her own healing abilities, Sazura had some of the best remedies in the world. “What about Princess Azula?”

“Why do you ask?”

“I’m just trying to understand.”

The older woman finished wrapping Katara’s wrist. “I am the Royal Family’s physician. I serve the Royal Family. At the head of the Royal Family is the Fire Lord. I served Fire Lord Azulon, Fire Lord Ozai, and now I serve Fire Lord Zuko. I answer to them, and I keep the secrets they tell me to keep.”

While it wasn’t a direct answer to the question Katara asked, it did help her understand something. It helped her understand that if she wanted answers, she couldn’t tiptoe around Zuko. He needed to be as involved in this as she was.

“You want me to order our physician to disclose Azula’s complete medical history?”

“Yes.”

“Why?”

“I just have a hunch.”

“What kind of hunch?”

“I don’t think you’re the only one your father hurt,” she admitted.

Zuko stopped eating their dinner. “My father would never hurt Azula. Azula was his prodigy. He was proud of her. He didn’t resent her the way he resented me.”

“Knowing your father, it’s worth investigating.”

“Do you think my mother would stand by and let him abuse one of her children? He didn’t even do this--” he pointed to his face “until after she was gone. What do you hope to gain from looking into this?”

“We need to know what she’s fighting inside of herself. We need to understand what she’s been through before we can even think about rehabilitating her.” She added, “If you don’t think anything will come of it, what’s the harm?”

“Fine. I’ll have the physician write me a report.”

“Thank you.”

“How’s your wrist?”

“A lot better.”

He reached across the table where her hand rested in a fist and gently flexed one of her fingers out. “Does this hurt?”

“No. It doesn’t hurt when I move it anymore.”

He flexed another finger. “How about this one?”

“Nope.”

By the third, she realized he was playing with her when she saw the faintest hint of a smile. “Still no,” she replied knowingly, and despite everything weighing on their minds, she smiled back.

Zuko showed up at her bedroom door two nights later with a stack of papers in his hand, knocking furiously at her door. She threw a robe over her nightclothes and opened the door.

“Zuko, what’s wrong?”

“You were right,” he said heavily, shoving the papers towards her. Before she could read them, she invited him to sit at the tea table in her guest room, an offer he refused. The last time she saw him so angry, they were on opposite sides of the war.

“Can you light the lamps? I can’t read this.”

He obeyed, and continued pacing while she read the physician’s report. It was a detailed record, beginning with the princess’s birth. She was sick as a baby with an illness that made it difficult to breathe; the physician treated her with eucalyptus oil. At eleven months, when Azula was learning to walk, she stumbled and hit her head; the physician bandaged the wound. All of Azula’s treatments were relatively normal until the princess was four years old, and she began her firebending training.

Burns to the legs, shoulders, back. For every burn, she was brought to the physician by Prince Ozai, who insisted they were from her firebending lessons. Each time the physician healed them with the most expensive burn salves available to the nation so that the wounds would not scar. Each time Prince Ozai oversaw the treatment.

“He was hurting her,” Katara whispered.

“She never said anything. All that time, I never knew...and my mother…” He angrily pulled his hands through his hair. “She always spent so much time on me to try to balance out how much Father favored Azula. Now I find out it was Azula who needed that protection the most!”

Katara folded the papers and placed them on the table, rushing to Zuko. She wrapped her arms around his waist. The action calmed him slightly.

“Do you know how many times I was burned in firebending practice? Never. We had the best instructors, and none of them would dare burn anyone in the Royal Family. It couldn’t have been one of her teachers. It was him. He was always hurting her.”

“You couldn’t have known,” she assured him, gazing up at his face as she said it. She wanted him to look at her and see her sincerity himself. But he didn’t look at her. He looked straight ahead at some wall while his arms tightened around her.

“I should have. I should have realized the second he burned my face that there was nothing he wouldn’t do to us to get what he wanted.”

“I’m so sorry, Zuko.”

“I am too.”

He went with her to see Azula the next day. The guards locked them in the cell as always. “Zuzu,” she said. Then Azula’s eyes flitted to her. “Katara.”

“Hi, Azula,” Katara replied steadily and set to work combing Azula’s hair. Inside, she couldn’t help but feel a surge of pride. It was the first time Azula ever recognized her.

“I know what our father did to you,” Zuko said softly, without preamble. He reached his arms out to her, maybe to hold her, but Azula shrank back from him.

“Where is he?” she shrieked.

Zuko pulled Katara away from his angry sister and positioned himself as a barrier between the two of them, just like he did at the agni kai. “He’s gone. He’s locked away deep underground, and he’ll never see daylight again.” His breath caught. “I always thought you were just like him. But you’re not. You’re just like me.”

“I’m not like you!” Azula shouted in protest. “He loves me. Everything he did was because he wanted to teach me. He wanted me to succeed. He loves me. He loves me.”

“No, he doesn’t!”

“Yes, he does!” she screamed at the top of her lungs. “He loves me.”

“When he burned you all those times when we were kids, did it hurt?”

Azula flinched but otherwise gave no indication she had heard him.

“Mine hurt,” Zuko added.

“It smells bad,” she said airily, sounding less coherent.

“What?”

“It smells bad. I hate the smell of burning flesh.”

Katara remembered how her own wrist had smelled as the skin melted. It was something the three of them in this cell had in common, she realized darkly.

“I never burned you,” Zuko reminded her. “I love you.”

“No, you don’t,” she argued back tearfully. “You never did! Mother never did! Uncle never did! Not Grandfather, not Lu Ten, not even Mai and Ty Lee. Only Father.”

“Father’s defeated,” he said again, taking a step closer. “And he will never hurt you again. Do you hear me? I won’t let him hurt you. And I won’t let you hurt her.” He pointed to Katara, and then with the same outstretched hand, reached for the wrist Azula had burned.

“You hurt her when she’s done nothing but try to help you.”

“I was just playing.” She laughed to punctuate her point, and it sent a chill through Katara.

“Don’t hurt her again.”

Azula broke down in tears again as Zuko scolded her. It made Katara want to tell Zuko it was alright. Her wrist was completely healed by now, thanks to her work and the physician’s. As she looked at Zuko and Azula--the children of a warmonger, one wearing a crown, the other sobbing against the concrete of her prison cell--she wished all wounds healed so quickly.

#zutara month #zutara #zutaradreams #zutarafic #zutaramonth

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mimymomo · 5 years

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Don’t Forget To Say I Love You Part 1

Orphydice Soulmate au! Orphydice Soulmate au!!

Title from Reeve Carney’s “Don’t Forget to Say I Love You”

...

Orpheus couldn’t wait to meet his soulmate. He dreamed of holding them close in his arms, of their warm smile, the sweet sound of their voice, and laugh. He wondered what color their eyes would be, the exact shade of their hair. Would they be small and feisty? Tall and demure? Would they be an early bird and take joy in watching the morning sun peek out from the horizon every morning? Or a night owl, spending those dark nights snuggled up under a blanket, cracking jokes basked in the moonlight until finally caving to slumber? Did they love music? Did they prefer fast lively songs with pulsing beats and heavy bass? Music that called for dancing close in the dark, played in the neon lights of a smoky club? Or did they prefer slower ballads, swaying back and forth to the melodious tunes of brass instruments and piano? What were their hobbies, their likes, and dislikes, their favorite colors, and seasons? Orpheus dreamed of the answers to them all.

He constantly found himself staring down at the static number tattooed to his forearm: 24198. Twenty four thousand, one hundred and ninety-eight days. That’s nearly sixty-seven years. Sixty-seven years to spend with his soulmate, to spend by someone's side. Sixty-seven years to have someone to have and hold, love and cherish, to be within the brightest and darkest of times. Someone, he’d get to experience the rest of life with. Orpheus wanted that closeness, ached for that next level of intimacy.

His parents didn’t last. According to Mister Hermes, a now distant friend of his mother, Orpheus’ parents weren’t soulmates, but to them, that didn’t matter. They were in love. Their relationship, a turbulent storm of passion and lust was followed quickly by a fervent marriage and abrupt divorce, leaving behind a small child in its wake, Orpheus. A casualty of two young lovers falling out of love.

His mother was still young when her marriage dissolved and Orpheus was born. A youthful and wild summer flower, not ready to be tied down to the burdens of motherhood. She hungered for freedom and independence, not a curious toddler who constantly cried for attention and teethed. She itched to leave, and one day, she did. She walked into Hermes’ bar, a barely coherent Orpheus in her arms and a baby bag strapped to her shoulder. “I want to find my other half, to live my life. I need this Hermes,” the young woman cried passively, handing the toddler over to the older gentleman, adjusting the aviator glasses stuck into her hair. “I’ll be back once I find him.”

And with a toss of her velvety caramel hair, and not a single glance back, she was gone. Orpheus didn’t blame her for leaving him behind, couldn’t. Even for the short time he had been in his mother’s care, he could tell that her heart had not been in it. While he was with her, her mind was somewhere else, not tucked away in their quaint one-bedroom apartment, but out somewhere far away. Orpheus always wondered if his mother had ever managed to find her soulmate? If she was happier now? He hopes she is. In the twenty years since she left, she never returned to the bar- was she still out there looking or had she just forgotten about him in the process? Orpheus wasn’t sure which one he would rather be the case.

Orpheus viewed what happened to his parents as the worst outcome, something he wanted to avoid at all costs. They were why he was so adamant about finding his soulmate. He wouldn’t face the same ill-fate as his folks, his heart couldn’t bear it. He would love his soulmate with all he had, he wouldn’t leave them as things get difficult. He told his vision to everyone who’d listen: his soulmate would come marching through the doors and Orpheus would instantly know they were the one. They would chat then reach for each other’s hands, their numbers would begin The Countdown, as most called it and they would live happily ever after. He would hold them forever, never letting them go. They would walk hand and hand, side by side through any storm or change.

Mister Hermes and Lady Persephone had always called a hopeless romantic, joked that his head was stuck in the clouds, that his eyes were permanently tinted rose-colored. He spoke in sonnets and could only see the world for what it could be. As a child, Orpheus had minded the teasing, thinking that the two adults hated his quirks and flowery mind. He brought up his concerns one night as Mister Hermes was tucking him into bed.

“Child, I wished more people could be like you. The world would be a much more pleasant place if that were the case,” Hermes said.

“You mean that?” the young boy asked, voice full of hope, eyes wide and bright.

“With all my heart,” he replied. Orpheus trusted the older man’s words and hadn’t doubted himself since. He kept his head in the clouds, he continued to write melodies and lyrics he once heard in his dreams. He kept his eyes wide, soul light and heart open. Others called him naive and too soft, but Orpheus learned to pay them no mind.

“Orpheus,” Hermes called out snapping the boy out of his daydream.

“Yes, Mister Hermes, sir?” Orpheus replied, still in a slight daze.

“You peering at that number again?” he asked pointedly, his tone reminiscent of a father scolding a young child over stealing a cookie from the jar before dinner.

Orpheus tugged the end of his pulled up shirt down over his arm, “no…”

Hermes sighed, “Boy, what did I tell you about having your eyes glued to that number of yours at work?”

Orpheus lowered his head, “not to.”

Hermes walked over and placed a hand on the poets sagging shoulders, “they’ll come, Poet. Just gotta be patient.” Orpheus gave his guardian a small smile before pulling out a damp dishrag from the front pocket of his apron. As he started to dry the freshly washed glasses, steam still radiating from off their rims, his mind wandered back to his soulmate. Would tonight finally be the night where they would walk through those doors? Orpheus could only hope and pray to the gods that it was. But whether it was tonight, tomorrow, months or even years down the line, there was one thing that Orpheus was certain of, he loved his soulmate with all his heart and soul. And he couldn’t wait to meet them.

…

Eurydice hated her soulmate. Sure, she had never met the person before, but with just one glance down to the dark printed numbers etched into her tan skin, a burning sense of rage coursed through her veins. Ever since childhood, she was never a fan of the whole soulmate concept. The fact that the number of days you had to live post-meeting the supposed “person your soul most desires,” permanently stuck to your arm never sat well with Eurydice. To some, it was romantic but to her, it was just a cruel reminder of your fate and mortality, that life wasn’t permanent and death was coming for them all.

Her father, when he actually was home and not blacked out drunk, would always without fail, give her such a somber look whenever she would walk into a room. Was it pity from the pathetically tiny number on her arm? Or maybe it was from the guilt of dooming his only child with such a short existence just like what happened to her mother? Eurydice didn’t know nor did she care to ask. She hated the damn pity everyone dealt her once they saw her number, that they mourned the end of her life like she wasn’t still alive and breathing in front of them. She was a walking ghost that unfortunately, everyone was still cursed to see.

Eurydice quickly developed rules that she followed to a “T”: she took to wearing long sleeves or a jacket, even in the hottest of months, just to spare herself the accidental peek. She would keep to herself, always wear a sharp glare to keep others from coming too close. If someone didn’t get the message and chose to approach, she refused to let them talk first, checking the state of their clock before allowing them to speak. Of course, she knew that she was just prolonging the inevitable but she had plans, things in the future she needed to accomplish before she kicked the bucket. If no one wanted to believe she would live long enough to see those dreams become a reality, then she’d just have to prove them wrong.

Eurydice was walking around aimlessly after an exhausting day; she had to attend all four of her classes and her boss had called her in to do an extra shift despite today being her day off. And to make matters worse, the heating in her apartment had decided to go out on one of the coldest days in March. So, to say she was tired and more than a bit pissed off would be an extreme understatement.

The sun had set and the moon was out, shining in its full glory. The smoke and lights from the city buildings made seeing any star in the sky nearly impossible. She continued to walk down the street further away from her apartment, had no clue where she was heading, no set location or direction. She stepped one foot in front of the other, the wind harshly whipping at her face, eyes getting teary. Why did she think this was a good idea? She should’ve stayed in her icebox of an apartment.

Suddenly, a flashing neon sign grabbed her attention. The splendid fluorescent light, obnoxiously blinding in contrast to the dark indigo sky. HERMES, it spelled out in large, incandescent letters, hanging from the side of the building just at the end of the street corner. She didn’t know what drew her to the building but she quickly found herself fast tracking down the pavement, to the front of the brick building. She pulled open the heavy wooden door and was greeted to a rush of hot air, the sour smell of liquor, a hint of smoke and something...floral, wafted around the room.

She cautiously tiptoed into the bar and looked around the establishment. It was virtually dead besides one or two other patrons. Well, I guess it makes sense. It is a Wednesday.

With scant more courage, Eurydice marched over to the bar counter. As long as she was stuck in here, she might as well get a drink. She sat down in tall barstool, her feet dangling slightly off the ground. She waved her hand to get the bartender's attention, but his back was turned to her, humming an unfamiliar tune. After another minute, Eurydice spoke up,“‘Scuse me.”

That was her first mistake. Rule number one: never speak up first. So simple yet so vital.

The young bartender turned around and jumped. His humming silenced and his sweet, yet professional smile shifted at the sight of the woman who called for his attention. Despite his best efforts to appear neutral and undisturbed, his eyes went wide and mouth hung partially agape. Eurydice felt the air escape her chest, this boy was beautiful. Warm hazel eyes, brown shaggy hair that reached mid-forehead and a cute boyish face. He was on the taller lanky side, but Eurydice swore she could see the tiniest bit of muscle poke out from the cuff of his worn white shirt. A striking red bandana was tied snugly around his neck, the color matching his cheeks and the tips of his ears.

Orpheus was in awe. The young woman in front of him was beautiful, stunning, an angel. Her face was round, chubby cheeks and nose a dusty red from being outside in the cold. The end curls of her midnight black hair reached just above her shoulders and her bangs were perfectly symmetrical. Her oversized wool coat draped over her small frame. Orpheus focused on her eyes, oh, her eyes. Her eyes reminded Orpheus of melting chocolate, sweet and rich and utterly enticing. As he stared into them deeper and deeper, he struggled not to melt from their heat and completely indulge in their splendor.

Eurydice whipped her head to the side and forcibly cleared her throat, Orpheus taking note of the white feather that was clipped in her hair. “I, I’m sorry,” Orpheus sputtered, jumping back into action. “Can I get you something to drink?”

“An old fashioned,” Eurydice answered, eyes still glued to anywhere but the cute bartender in front of her. Orpheus nodded and got to work on her drink, restarting that song he was humming earlier once again. “What song you humming?” Eurydice asked, unable to keep herself from prying.

“Oh, it’s just something I’m working on,” Orpheus smiled.

“You a singer?”

“Singer, musician, and writer. I play the guitar and perform here sometimes.”

“Wow, a real jack of all trades you are,” Eurydice smirked, snorting lightly.

Orpheus laughed, “I guess you could say that. What brings you here?”

“The heater in my apartment kicked the bucket,” Eurydice sighed.

“Oooh, I’m sorry,” Orpheus said, more than a hint of concern lacing his voice.

Eurydice just waved him off, “it’s whatever. Just gotta call the landlord in the morning.”

Orpheus gave her a small grin, the ends of his mouth curling up the slightest bit, “least you’re out of the cold now, right?”

Eurydice gave a nod, returning the grin, “yeah, you’re right.”

Orpheus poured the finished drink into a polished glass and gently handed it over to the young woman, “your drink.”

That’s when Eurydice broke the second most important rule: no touching.

She carelessly reached out to grab the glass and before she knew it placed her hand over Orpheus’. “I’m sorry-” Orpheus began until a sharp, pain-filled groan forced him to let go of the glass, causing Eurydice to nearly drop it on the counter. Orpheus stared down at where the pain was coming from: his forearm. With a shaky hand, he slowly peeled his shirt sleeve back and glanced downwards. He gasped, his number, once a dull gray was now a searing blistering red. The Countdown had started.

Eurydice set the drink down and turned back to the young man. “Hey, what gives? Are you-” she gazed down at what he was staring at. No, no, no, oh gods, please no! Eurydice began to back away but before she could step too far Orpheus reached out and grabbed her hand.

“Wait!”

Eurydice froze. A quick excruciating sting began to radiant from her arm, but she couldn’t bring herself to move. Tears sprung into eyes, salty and involuntary. This couldn’t be happening, not now. She had so much to do, so much planned. She had been so careful for all these years, and it was all for nothing.

“Come home with me!”

Eurydice whipped from head up and glared at the boy, eyes ablaze. Who the hell was this guy? First, he ruins her life and now he’s trying to lure her back to his place just to get a quick fuck? Screw him. She felt scalding hot, a pool of poisonous venom boil in the pit of her stomach. “Who are you?” she lowly growled.

“The man who’s gonna marry you!” he answered earnestly with desperate eyes. “I’m Orpheus.”

Orpheus. Orpheus, that was his name. Orpheus, the name of the damned man who ruined her life forever. “I hate you,” she whispered ghostly quiet, head tilted to the floor. She watched as tiny droplets of hot tears fell to the dirty floor.

Orpheus frowned, a chill ran up his spine. He was stunned by his soulmate’s reaction, “what?”

Eurydice ripped her hand away and held it close to her chest as if just touching Orpheus brought her all the discomfort in the world. “I hate you!” she screamed through teary eyes and ran to and out the bar door, leaving a confused and heartbroken Orpheus behind.

Eurydice tore out the bar, down the street, past her apartment complex, further and further into the dark envelope of the night. She just ran, and ran, and ran, and ran. Her knees buckled and her chest was on fire, each intake of frigid air burning her lungs but she kept running. She ran until she reached the edge of town, right in front of the public park. She fell to her knees and sobbed. She sobbed for the future she’d never have, for the dreams she’d never accomplish. She sobbed for herself and Orpheus, the poor bartender who had done knowing wrong and now was cursed with her shit luck. She sobbed for her fate and her limited days left. She sobbed and sobbed and never once looked at her number, couldn’t bring herself to do it. Not that she needed to, she had it memorized:

194.

One hundred and ninety-four days.

She’d be dead in just over six months.

She ducked her head into her knees and mournfully sobbed as the rays of moonlight gleamed up above, bathing her in there light. She couldn’t escape her fate, no matter how hard she tried.

#hadestown #orphydice #orpheus x eurydice #orpheus #eurydice #my wriring #my fic #im sorry this is gonna hurt

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