#man i do more research and revision for character designs more than i do for school lmao

[mtx-lol]

ill be entirely honest, iceberg with a gas mask has not left me alone ever since its been conceptualised randomly while on my content hunt

[officialsporkintheroad]

“How long have you been standing there?” “Longer then you’d like” -Tomione

(A/N: it's only been, you know, over a whole ass year since I received this ask, but THANK YOU Kyoki again for such wonderful inspiration <3 hope you enjoy)

please feel free to send me prompts

She didn’t have long. Most of the students and professors were still in the Great Hall for lunch, but there was always a chance Riddle would leave early. It was risky, breaking into his office—the defense professor’s office, no less—and in the middle of the day, too, but it was the only real hole in the man’s schedule.

He was a notoriously early riser: among the first to arrive at breakfast and among the first to leave. Then he’d spend the rest of the morning either in his office or in his classroom. In the afternoons, he had back-to-back classes half the week and office hours the rest of the time. Weekends were spent catching up on grading, research, and paperwork, and he rotated between the library, his office, and the courtyard with enough spontaneity that Hermione couldn’t reliably tell where he’d be and when.

Except for during lunch.

It had been easy enough to fake a mild stomachache to get away from Harry and Ron. They wouldn’t understand—they liked Riddle. He’d wooed the majority of the Hogwarts population with flashy spells and displays of power, with his classic good looks and cool, mysterious demeanor. And true, there was no denying the man was brilliant.

But he made her skin crawl.

It wasn’t the sort of thing that had been apparent at first. Like the rest of the school, she’d been awed by him. The sheer breadth of knowledge he possessed was incredible enough, but to be able to utilize it so efficiently in a duel…to be able to flow from one spell to the next without so much as blinking, without a single uttered word. It was mesmerizing, like nothing she’d ever seen before. And on top of that, he’d been a good teacher: thorough and invested, tough but fair. Respectable.

It was just…there was something off about him. The more Hermione watched, the more certain she was. Maybe this suspicion had started when he had dispassionately demonstrated the unforgivables, face blank except for a raised brow as he cursed the beetle with the cruciatus. Or maybe it was before that, when he’d nearly smiled at a particularly brutal hex Malfoy had thrown at Hannah Abbot during a duel. Or maybe it was the emptiness in his eyes as he assessed them.

“You’re just pissed he gave you an Exceeds Expectations on last week’s essay rather than an Outstanding,” Ron had accused, and when she’d turned to Harry to see if he thought the same, he’d only shrugged.

She hadn’t argued it further with them. It was, after all, just a hunch. That’s why she needed proof. Which led her here.

Riddle’s office was unextraordinary. The walls were lined with bookshelves, packed with his own personal collection of academic texts. A large, flat stone sat off to the side—a resting place for his snake familiar—while the majority of the room was occupied by a hefty desk. On the whole, the room was simple, largely unadorned, and yet it still spoke to his character.

Intelligent with an unquenchable thirst for knowledge. She quickly glanced through his bookshelves. They were organized by subject and then by author, and the topics spanned everything from runic warding to dark creatures to blood curses. Nothing particularly out of place for a man of his profession, though she noted there seemed to be an obvious preference for books of a darker nature.

Which is his job, a voice in her head that sounded annoyingly like Harry pointed out.

The presence of the warming stone seemed to indicate some care for the comfort of others, though Hermione had a hard time fitting that with the image of Riddle she had in her head. In fact, based on her observations, he seemed far more likely to revel in someone’s discomfort. She frowned. Perhaps his familiar is an exception. Still, he didn’t seem particularly…doting on the snake.

Not a matter of kindness or consideration, but of practicality. Yes, that fit better. The entire office was designed for efficiency. There was nothing extraneous: no texts that did not assist in academic research, no unnecessary wall décor or portraiture, no furniture aside from the desk and the two chairs—one for him, and one for visitors.

Even the chair is designed to be uncomfortable, she thought, almost a little amused. It looked new and to be in good condition, but it was narrow and thinly padded. Not the kind of seat you’d want to linger in. Encourages quick meetings.

And then the desk itself. A small calendar sat upon it—color coordinated, organized—alongside an inkwell and several freshly sharpened quills. A stack of graded essays was tucked off in the upper left corner. The rest of the desktop was cleared. Neat. Possibly intolerant of messes?

Hermione waved her wand over the desk, murmuring a slew of spells designed to reveal wards, barriers, and alarms. There were a few minor protections but nothing insidious. Of course not. He’s clever, too, and cautious. Nothing dangerous or truly secret is going to be kept in his office.

She wasn’t stupid. She’d known that this was a long shot, but she’d been hoping for…something. Something she could take back to the boys and use as leverage to launch a more in-depth investigation on Professor Riddle. Though she supposed it was difficult to find incriminating evidence when she wasn’t entirely sure what she was looking for.

Quickly, she undid the easiest of the locking charms on the first desk drawer and peered inside. Ungraded classwork. Next. The second drawer contained sheet after sheet of handwritten notes. That’s better. Except that they were…complex, difficult to follow. One looked like half a potions recipe—some sort of…sleep potion, perhaps?—while another was filled with dozens of questions about the function of wand movements and what they added to spells, and yet another was a highly detailed theory on human transfiguration.

Hermione mentally revised her assessment of Riddle from brilliantto genius. It was one thing to acknowledge that Riddle was an expert—a prodigy, even—in defense against the dark arts and combative magic, but this…this suggested he was just as knowledgeable in a wide range of subjects. She flipped to the next page of notes and her brows raised even higher. Adding runic elements to potion-making to help negate the contradictory herbal effects…is that even possible?

Hermione swallowed a lump in her throat. If she was right about him—if her gut instinct was true—then Riddle was a phenomenally dangerous person. Detached, efficient, insanely smart, and strong, too. Combined with potentially questionable morals…She didn’t even really want to think about it.

A throat cleared, and Hermione’s head snapped up. She knew, even before she saw him, that it would be Riddle standing there, and her stomach churned.

“Granger.”

“Professor,” she returned, proud that her voice didn’t shake even if her hands did. He arched a single dark brow, the rest of his stupidly handsome face terrifyingly impassive, a silent demand for an explanation. “I was just—” She trailed off, realizing his notes were still in her hand. She wet her lips nervously. “How long have you been standing there?”

Stupid question. Stupid question. Stupid question.

He hummed. “Longer than you’d like, I’m sure.”

Slowly, gracefully, he stepped further into the room. And then, with little more than the flick of his hand, the door clicked shut, lock sliding into place.

fuckfuckfuckfuckfuck

His eyes—dark, emotionless, bottomless—locked onto hers, and a jagged smile so unlike the practiced ones he wore around the castle cracked his mouth.

“Oh Hermione,” he tutted, voice mocking. “What am I going to do with you?”

[rametarin]

What's your takeaway on the whole "men have built this world's problems so they don't get to feel bad about it affecting them" take? Or the new surge of hatred towards men due to Bill Cosby's release (and the idea that men in general get away with sexual assault regardless of class)

Same old shit, anon.

Before they gave that point of view a name and an organized set of beliefs, they'd just sneak that rhetoric and direction into any conversation about any given problem between the sexes. At least in this modern day they'll call it The Patriarchy- rather than just use flowery, neutral, benign seeming language to have plausible deniability about it.

Take the right to vote, for example. Women had the right to vote, as did men. Then it was revised so UNLESS you were someone that had to go to war and die for your country, you didn't get to vote. And women were exempted from going to war for biological reasons, economic reasons, and just simple ergonomic reasons. So, naturally, they couldn't vote.

When the suffragettes fought to give women the right to vote, how did they fight for it? Did they fight to remove the draft for both sexes and fight for women to get the right to vote on the basis of citizenship, not applicability for serving the military? No. Did they argue to also draft women, because women deserved the same rights and responsibilities as men? No, they wanted the rights but didn't want the responsibilities or obligations the men did. Did they do anything but revise it just enough to say, "Women can vote just by being alive :^)"? No.

The minute your group claims it's for civil rights and you have the opportunity to change something to improve it, but only for your demographic, you become responsible for that group's continued abuses. That's why we don't attribute slavery to Britain that continued under the newly formed United States' rule. The moment that country was founded and didn't immediately abolish slavery (and there were practical and economic reasons not to for a bit) they became responsible for that.

And similarly, the suffragettes and feminists are not exempt of responsibility for giving themselves the right to vote on the basis of sex, but not men. They had the opportunity to either change the rules to allow women to be inducted by the draft, abolish the draft as the prerequisite to being able to vote for anybody, etc. They chose to endow themselves with a right purely for their sex and say, "fuck you, I got mine, you aren't my responsibility" to the men. The men that supported them, the men that consented for their little princess party that changed the right to vote from one of given by drafted, compulsory military service, to a national, civil right based on being alive and a citizen- if you're a woman. Not contingent of dying in a war.

Most problems men face today are like that. Because feminism dusted its hands, went, "Not my problem, you're the oppressor. I'm out for mine because freeing me frees the people that matter." And then smugly passed the buck on for men to change things for themselves if they wanted anything at all.

This is why feminism does not and cannot speak up on behalf of men's rights. They only see men as a secondary extension of women, and think whatever rights are endowed to women do not belong to men equally, as equal rights on the basis of being a man threatens their endowed, sexual budgets and entitlements from society.

As for Bill Cosby; it was inevitable. I don't know whether or not Bill Cosby actually dateraped all those women. I'm going to assume he did, because he accepted responsibility. But the outrage over his recent release was inevitably going to spill into "convuhsayshun uwu" about "male privilege," and his release rather than dying in prison, proof this society treats men like gods and women like tenga eggs.

Never one to waste opportunity to try and shape the imaginations and minds of young women to turn them into emotional, radical, bitter teenaged Social Justice Warriors, naturally The Conversation would be how Cosby being released for whatever nebulous reasons "must" be proof.

While simultaneously turning a blind eye to the fact the reason rape is so narrowly defined around if a man forcefully had sex with a woman, and the reason most all domestic violence arrests are men, is because of radical feminist policy making, proving not only are they just as cemented in our institutions, but our institutions also lean towards erring on the side of caution to give women the benefit of the doubt in all cases.

They'll happily point at much publicized examples of people like Cosby getting off free, whether that's true or not, and then use that as background dressing for their rant about how misogynistic and androcentrist this "society" is. While kicking under the rug just who, by the Duluth model, gets to go to prison if the police are called for a domestic violence dispute.

Unless the circumstances are BLATANTLY, BRAZENLY, OBVIOUSLY one sided, like a woman is stabbing a man that's holding a baby with a steak knife, an arrest WILL be made, and the "taller," "larger," person will be taken in, as an arrest HAS to be made for a domestic violence call. We do not arrest women and stick them in prison just because men call the cops; you cannot say the same when it comes to women.

Similarly for rape. You could be a woman, strap on a big ole horse dick and dilate the buttholes of half a county's worth of questionably aged minors, and in the past, not one legal definition of, 'rape' would stick, because rape was defined as using a biological penis, and/or being a biological male. You weren't male? You couldn't be charged for rape. Just sexual assault and battery.

And then radfems would want to have "convuhsayshuns uwu" about how men are bad and the rape statistics about whom is raping whom would prove it. Because, you know, "As a feminist, I an committed to FACTS and LOGIC and actual RESEARCH to support MY points. Not feelings and outrage and baseless assumptions! I'm a secular realistic FEMINIST!"

Then barrage you with bad faith requests to, "see your statistics and studies :^)" Knowing full well academia wasn't readily available to fucking gradeschoolers unless their parents were creepy intellectuals or something, and access to ones that didn't have this ideological confirmation bias was even more rare. If you couldn't produce any almighty holy writ evidence or counterargument based on these "professionals" writings, they'd do the verbal equivalent of today's "KUNG POW PENIS LOL" and then mock you in front of their friends, and shit.

So they had the very criteria that cops and feds used to record the incidences of rape based on bad, skewed values, designed to spare women from being charged with responsibility for rape or abuse. Then they cited these statistics that skewed so badly showing 90%+ of all rapes and domestic violence charges were from men.

So they could just “stawt a convuhsayshun” making broadsweeping, inflammatory statements like, “men commit practically all the violence in the home,” or, “men are rapists because they’re men and men rape very frequently and it’s very common,” and talk about it like that’s just a thing MOST men do, boo on men, men bad.

And if you dared challenge them on it, out come the cooked statistics and bias in the professions that led to them, where they then “humbly” try to get you to put forth counter-evidence. Since they assert unless you have any, then your opinion is worthless and you’re an emotional crybaby. They will not hesitate to insult your character or intelligence and assert their use of “objective facts” makes their argument sound and yours shit.

Youtube atheists doing that shit learned these lessons by diffusion from their millenial childhoods being tormented by these disingenous groomed baby radfems.

So them using the Cosby thing to sow this outrage is nothing new.

[les-mooserables]

Hello, John

[AS SOON AS HE BEGINS SPEAKING, A WHIZZING STATIC KICKS IN FROM THE BACKGROUND.]

ARCHIVIST (STATEMENT)

Apologies for the deception, but I wanted to make sure you started reading, so I thought it best not to announce myself.

I’m assuming you’re alone; you always did prefer to read your statements in private. (slightly strained) I wouldn’t try too hard to stop reading; there’s every likelihood you’ll just hurt yourself. So just listen.

Now, shall we turn the page and try again?

[THE ARCHIVIST MAKES A PAINED COUPLE OF SOUNDS OUT-OF-STATEMENT-CHARACTER, AS IF HE’S TRYING TO TEAR HIMSELF AWAY FROM THE STATEMENT AND PHYSICALLY CANNOT.][WHEN HE PICKS THE STATEMENT BACK UP, THE WORDS SOUND LIKE THEY’RE BEING TORN FROM HIS LIPS.]ARCHIVIST (STATEMENT)

Statement of Jonah Magnus regarding Jonathan Sims, The Archivist.

Statement begins.

[A SLAP ON THE TABLE – OR A CRACK? SPOOKY.]

I hope you’ll forgive me the self-indulgence, but I have worked so very hard for this moment, a culmination of two centuries of work. It’s rare that you get the chance to monologue through another, and you can’t tell me you’re not curious.

Why does a man seek to destroy the world?

It’s a simple enough answer: for immortality and power. Uninspired, perhaps, but – my god. The discovery, not simply of the dark and horrible reality of the world in which you live, but that you would quite willingly doom that world and confine the billions in it to an eternity of terror and suffering, all to ensure your own happiness, to place yourself beyond pain and death and fear.

It is an awful thing to know about yourself, but the freedom, John, the freedom of it all. I have dedicated my life to handing the world to these Dread Powers all for my own gain, and I feel… nothing but satisfaction in that choice.

I am to be a king of a ruined world, and I shall never die.

I believe there are far more people in this world that would take that bargain than you would ever guess. And I have beaten all of them.

Of course, this desire did not manifest overnight. When Smirke first gathered our little band – Lukas, Scott, and the rest – to discuss and hypothesize on the nature of the things he had learned from Rayner, I felt what I believe we all felt: curiosity, and fear.

But as he compiled his taxonomy and codified his theories on the grand rituals, I began to develop a very specific concern. Smirke was so obsessed with his ideas on balance, even as our fellows began to experiment and fall to the service of our patrons.

I began to worry that if one of them successfully attempted their ritual, then I would be as much a victim as any, trapped in the nightmare landscape of a twisted world.

At first, I attempted prevention, but the cause seemed hopeless. The only way to ensure I did not suffer the tribulations of what I believed to be an inevitable transformation was to bring it about myself. So what began as an experiment soon became a race.

Beyond that, I was getting older, and mortality began to weigh more heavily on my mind. How much in this world is done because we fear death, the last and greatest terror?

I convinced Smirke to work on Millbank, leading him to design it as a temple to all the Fears in equilibrium, such that my own modifications to the design of the Panopticon went… unremarked.

It. Took. Years, for the dread of the prisoners to fully suffuse the place, and I was an old man before I made my first attempt at the Watcher’s Crown, sat in the center of that colossal eye, the great ring of cells encircling me like a coronet.

It was… flawed, of course, as all Smirke’s rituals were, and none of the inmates survived as the power I attempted to harness shook the building almost to pieces, and the murky swamp upon which the prison was built consumed it.

But it left me a gift: For sat in that watchtower, I could see everything I turned my mind to.

It was a dizzying power, and one I discovered I maintained even as I found vessels to extend my life. Of course, I had to make sure the location was kept under my control while I worked on revising my plans, and so I moved the organization I had founded to assist in my research down to London, and the Institute as you know it was born.

I’ll not bore you with details of my bodies and failures through those intervening years. Suffice to say I kept busy, both planning my own next attempt, and doing my best to stymie those others who tried versions of their own.

Surely my interpretation of the Watcher’s Crown had been incomplete; there had been some element of the ritual I had overlooked.

It was not until I met Gertrude Robinson that things began to really come into focus.

You see, the role of Archivist has been part of the Beholding for as far back as my research can go. This isn’t uncommon for the Powers; most of the beliefs around them are guesswork and fallible human interpretation, but there are certain throughlines and consistencies that can be spotted, regardless of the trappings.

But Gertrude was unlike any other Archivist. She simply did not care about compiling experiences or collecting the fears of others. She was driven to stop those who served the Powers.

More than once I thought she must secretly be of the Hunt – but there was never that sick joy in her, that thrill of predator and prey. She had simply decided that this was her position in life, and went about it with a practicality that even I found disconcerting at times.

I once asked her what drove her, what had started her down that path. She told me the Desolation had killed her cat.

I don’t know if she was joking, and, to be honest, I could never bring myself to look into her mind and find out for sure.

In any case, Gertrude’s ruthless efficiency in derailing and collapsing rituals threw into stark relief a question that had been bothering me for almost a hundred and fifty years: In the whole span of humanity, why had nobody ever succeeded?

Perhaps there were a long line of Gertrude Robinsons throughout history, but I found that hard to credit. Could it be, then, that there was something in the very concept of the rituals that meant they couldn’t succeed?

She was clearly having similar thoughts in that last year, all of which culminated with the People’s Church.

When I saw that she was making no preparations whatsoever to stop it, I realized she was putting into practice a theory, and one she couldn’t afford to be wrong. She was going to wait, and see if the unopposed ritual succeeded, or if it collapsed under its own strain as mine had all those years ago.

Knowing Gertrude, I’m sure she had a backup plan if she had miscalculated – but she had not. The ritual failed. And all at once, I realized what had to be done.

You see, the thing about the Fears is that they can never be truly separated from each other. When does the fear of sudden violence transition into the fear of hunted prey? When does the mask of the Stranger become the deception of the Spiral?

Even those that seem to exist in direct opposition rely on each other for their definition as much as up relies on down.

To try and create a world with only the Buried makes as much sense as trying to conceive a world with only down.

Every ritual tied itself so closely to a single power as to render itself impossible. They could bring their patron close, but never sever it from the others, and eventually it would be violently pulled back into the place next to reality where they dwell.

The solution, then, is simple: A new ritual must be devised which will bring through all the Powers at once. All fourteen, as I had hoped I could complete it before any new powers such as Extinction were able to fully emerge. All under the Eye’s auspices, of course. We mustn’t forget our roots.

And there was only one being that could possibly serve as a lynchpin for this new ritual: The Archivist. A position that had so recently become vacant, thanks to Gertrude’s ill-timed retirement plans.

Because the thing about the Archivist is that – well, it’s a bit of a misnomer.

It might, perhaps, be better named: The Archive.

Because you do not administer and preserve the records of fear, John. You are a record of fear, both in mind as you walk the shuddering record of each statement, and in body as the Powers each leave their mark upon you.

You are a living chronicle of terror.

Perhaps, then, if I could find an Archivist and have each Power mark them, have them confront each one and each in turn instill in them a powerful and acute fear for their life, they could be turned into a conduit for the coming of this – nightmare kingdom.

Do you see where I’m going, John?

It does tickle me, that in this world of would-be occult dynasties and ageless monsters, the Chosen One is simply that – someone I chose. It’s not in your blood, or your soul, or your destiny. It’s just in your own, rotten luck.

[THUNDERCLAPS.]

I’ll admit, my options were somewhat limited, but My God, when you came to me already marked by the Web, I knew it had to be you. I even held out some small hope you had been sent by the Spider as some sort of implicit blessing on the whole project, and, do you know what, I think it was.

Of course, I had to bide my time, get a measure of you before I began to push, learn how you worked – So I decided I would wait until something came for you, and see how you reacted. Attacks upon the Archives were not uncommon during Gertrude’s tenure, and, while she was always prepared, I made sure you would not be.

I reasoned if you couldn’t survive a single encounter, you were unlikely to make it through all fourteen. So, when Jane Prentiss attacked, I watched eagerly, one hand on the gas release from the start.

You acquitted yourself well enough, so I decided to see how far you would get, though I waited until the worms were in you before I pulled the lever. I needed to make sure you felt that fear all the way to your bones.

The discovery that one of the Stranger’s minions had infiltrated the Institute in the aftermath was certainly a pleasant bonus. Even if that sliver of paranoia, that vague wrongness you couldn’t quite place wouldn’t count as a mark, it was only a matter of time before it confronted you in a far more direct and affecting matter.

Admittedly, given the advent of the Unknowing, I needn’t have bothered. But what’s the old saying about hindsight?

More important to me was Sasha’s encounter with the Distortion. If it had taken an interest, then I very much wanted it to cross your path.

[THUNDER CONTINUES AS HE GOES ON.]

So I found one of its current victims and convinced her to make a statement.

Poor Helen. I actually had to put her in a taxi myself, she was getting so lost in those narrow London side streets.

It worked, though.

[SOMETHING CREAKS. ANOTHER LOUD SNAP/CRACKLE.]

Between the stabbing and at least two desperate flights into its doors – you’re marked very deeply by the Spiral.

Jurgen Leitner was a surprise, of course, and I was forced to improvise. I had no idea how much Gertrude would have told him, and he could very easily have derailed everything if you learned too much too fast.

I… justified it to myself saying I was going to have to send you out into the world anyway, if you were to encounter more of the Powers, but I can’t honestly pretend it wasn’t a… rather rash move.

Still. I’d requested Detective Tonner be assigned to the case when they found Gertrude’s body in the hope that having a Hunter in the mix would eventually lead to a confrontation, and setting you up as a killer certainly hastened that.

Then it was just a matter of feeding you statements to lead you to a few Avatars I thought were likely to harm you – but probably would stop short of actually killing you.

Jude served her purpose exactly as I had hoped, as did our dearly departed Mr. Crew, marking you for the Desolation and the Vast.

Honestly, I had – nothing to do with Melanie and her Slaughter adventure, but when I saw the situation, I made sure to trap her here, so when her rage bubbled over you would be right there, a ready target.

I didn’t foresee the mark coming from surgery gone wrong, but it was a very pleasant surprise.

The Unknowing was a distraction, but not an unwelcome one. For this to work, you needed more than just the marks; you needed power. And that was something the Unknowing served to test, though it posed no actual danger in the grand scheme of things.

And it did serve another purpose, of course. It inadvertently pushed you to confront death, a mark I had been very worried about trying to orchestrate. If I tried too early, you’d just die. Too late, and you might be powerful enough to see the attempt coming, and maybe even understand why.

As it was, it was just right, and once again, you came through with flying colors.

By this point, your abilities were coming along in leaps and bounds, and I was concerned that meeting face-to-face might end up with you – (sigh) – Knowing something you shouldn’t.

I had initially planned to go into hiding, but when your colleagues surprised me with the police, well. It was simple enough to cut a deal.

All that remained, then, were the Dark, the Flesh, the Buried, and the Lonely.

I was a little put out when that idiot Jared Hopworth misinterpreted my letters and attacked the Institute too soon, before you were even out of the hospital, but then – Ho, you should have see my face when you voluntarily went to him.

I couldn’t see what happened in there, of course, but given how you came out, I’m very sure it counts as a mark.

I suspected the coffin might turn up again, and once it did, it was simply a matter of getting any, uh… restraining factors you might have had flying off on a wild goose chase, and waiting.

Honestly, Detective Tonner has been proving invaluable through this process. I’d been racking my brains for months about what I could use to lure you in.

And, of course, I knew the Dark Sun was just sitting there waiting. So when it came time, I just whipped up another apocalypse and sent you on your merry way.

Then all that remained was the Lonely.

Poor Peter. He really should have left well enough alone. (cruel laugh) Or just done what I’d asked in the first place.

Ah well. He knew what I was attempting, and was very unwilling to cooperate until I made him a little wager about Martin.

Of course, he had no way of knowing that, in addition to setting you up for the final mark, he was giving you all the tools you needed to escape from it.

How is Martin, by the way? He looks well. You will keep an eye on him when all this is over, won’t you? He’s earned that.

And there, I think, we are brought just about up to date. I have enjoyed our little trip down memory lane, but past here lies only impatience.

You are prepared. You are ready. You are marked. The power of the Ceaseless Watcher flows through you, and the time of our victory is here.

Don’t worry, John. You’ll get used to it here, in the world that we have made.

Now. (cruel, cruel laugh) Repeat after me.

[WHEN THE ARCHIVIST BEGINS TO READ THE INCANTATION, A HEAVY, DENSE STATIC RETURNS AND BEGINS TO BUILD, ADDING IN HIGHER PITCHES AS IT DOES SO.]

You who watch and know and understand none. You who listen and hear and will not comprehend. You who wait and wait and drink in all that is not yours by right.

Come to us in your wholeness.

Come to us in your perfection.

Bring all that is fear and all that is terror and all that is the awful dread that crawls and chokes and blinds and falls and twists and leaves and hides and weaves and burns and hunts and rips and bleeds and dies!

Come to us.

I – OPEN – THE DOOR!

[themousefromfantasyland]

The Creatures of Yuletide: The Companions of Saint Nicholas

Do you know what Santa has in common with Batman? They don’t work alone, but adaptations what you to believe they do

Art by Spearhafoc on Deviantart

A common motif in European Christmas lore is that when old St. Nick goes to deliver gifts to well-behave children he often doesn’t go alone. The Companions are the figures who would assist him in his role as a gift-giver, and they change a lot depending on the time period and local.

In theory, these companions are local variants of the same guy, a somber and darker figure that would punish the bad kids, while Nicholas himself would reward the good ones. Krampus, who I talked about in my last post, is one of these, and his characterization as a half-goat demon comes from the context of the alpine region. The context of the place in question and the way the legends about St. Nicholas are told there shape the form of the sidekick that comes with him. In some places the companion assumed the form of a terrifying old man, in others, he stays in the middle ground with Krampus, as scary man with horns.

Some of them came to a more positive light is recent times and are considered now the Robin to St. Nick’s Batman.

I will talk about three of them today.

Quick note, where’s my Christmas movie where Santa is a (Batman voice) “I work alone” type of hero and then a young wide-eyed sidekick comes in and says, “Teach me in the ways of Christmas, Santa!”. I would watch it

Knecht Ruprecht

“From out the forest I now appear;

To proclaim that Christmastime is here!

now speak, what is there here to be had?

Are there good children, are there bad?”

“Knecht Ruprecht”, Theodor Storm

In my last posts I made a mistake. I associate Krampus with Germany, but now, it seems like he’s more from the Austria and the Alpine region as a whole. Germans have the Knecht Ruprecht, and instead of being a half-goat demon from Hell, he’s a sinister man with a black beard bearing a black furry robe, a chain and bells along with a bundle of birch sticks to punish the naughty children. The word Knecht in German means servant or farmhand, so in English his name would be Servant Ruprecht or Farmhand Ruprecht, and you can even get a Rupert or Robert if you anglicized his name.

It seems that in traditional German Christmas lore, it’s the Christkind, a magical version of baby Jesus, who brings gifts on Christmas Eve. However, Saint Nicholas do appear, but only on December 5th, the eve of his feast, bringing along Ruprecht. St Nicholas would open the big book to see if the devil had written anything bad about the children. Then Knecht Ruprecht would ask them if they knew their prayers. Kids who had been good and could recite the Lord’s prayer would be given apples or nuts by Nicholas as a treat. Bad children would receive sticks, coal, or could even be stuffed in Ruprecht’s sack and be dragged away to never be seen again.

I don’t know if this is true, but during my research I learned that some German parents went to great lengths to teach their misbehaving kids a lesson. They actually had someone to take them away, and some even remember being taken out to the woods. Don’t mess around with Germans!

His backstory is nebulous. Remember what I told, variants of the same guy. In some tellings he is closer to Krampus, with horns in his head as a result. In others he is a wounded foundling that St Nicholas rescued and raised. And in others he is told to be the butcher from St. Nicholas’ lore, that would inspire our next companion.

Père Fouettard

French for, “Father Whipper”. One of the darkest and most vicious companions.

There’s a very dark legend about St. Nicholas. A butcher (in some versions an innkeeper) kills three children that were on their way to enroll in a religious boarding school. In some versions he and his wife drugged the kids, sliced their throats, cut them into pieces and put them in a salting tub. When St. Nicholas turned up at the door the butcher attempted to ingratiate himself to his visitor by offering him his best meat, the children. St Nicholas immediately discovered the horrible crime and brought the boys back to life and punished the butcher by forcing him to work alongside him for all eternity.

In France, it is Père Noël, Father Christmas, who distributes gifts to good children, generally on Christmas Eve, except in eastern France where St. Nicholas Day and the night of December 5th still are observed. He is traditionally accompanied by Père Fouettard.

Pere Fouettard is portrayed as a man with a creepy face, disheveled, messy hair, and a long white beard. He is often described as clothed in murky robes, covered in soot, wearing a scruffy hat and buckled shoes. He follows Père Noël/St. Nicholas from house to house, acting as his punisher, dispensing coal, and beatings to the naughty. In some tellings, he carries a wicker back-pack to carry naughty children away. It is also believed that Pere Fouettard tells St. Nicholas, which children misbehaved during the year, and consequently, they are deprived of the treat. Some even say that, he cuts out tongues of children who are caught lying.

Why in the world St. Nick would trust a cannibal child killer to be near children is beyond me.

Zwarte Piet, “Black Pete”

Oh boy! You know where this is going!

Zwarte Piet is that type of character that the more you research, the worse it gets

Sinterklaas is the form that Saint Nicholas assumes in the Netherlands and Belgium, and he is the main source for the American Santa Claus.

In the first Saturday after 11 November, he arrives by a steamboat at a designated seaside town, coming from Spain. In the Netherlands this takes place in a different port each year, whereas in Belgium it always takes place in the city of Antwerp. The steamboat anchors, then Sinterklaas disembarks and parades through the streets on his white horse, welcomed by children cheering and singing traditional Sinterklaas songs. He then parades through schools, hospitals, and shopping centers until the evening of December 5th, where he would deliver gifts to the children.

I will admit, this sounds so much cooler and more fun than modern day Santa.

Sinterklaas has a sidekick, a moor from Spain, Zwarte Piet, the Black Pete, usually portrayed as a blackface caricature, wearing a colorful Renaissance attire in addition to curly wigs and bright red lipstick. His role is to be Nicholas’ servant, a rascal and a prankster, amusing children and distributing traditional sweets during parades and public events. In older lore he was said to act just like the other companions, punishing bad children with coal in their shoes and threatening to kidnap them.

Some older traditional Sinterklaas songs claim that he and Sinterklaas could even drag the naughty kids to their home in Spain, were they would force them to work in their workshop for an entire season or longer. They essentially used slave labor! 😬

Some link him and Sinterklaas to Odin, and Huggin and Munnin. Huginn and Muninn would often fly through the Nine Realms, bringing a report of who was good and who was bad back to Odin. So, the black guy's role may have come from Odin’s crows 😬

Others link him to Krampus and Krampus-like figures, evil demons who were show to be under the control of Saint Nicholas and the power of God. According to a theory firstly proposed by Karl Meisen, Zwarte Piet and many other companions, like Krampus, were inspired by these enslaved demons.

Zwarte Piet and many modern traditions about him and Sinterklaas came from a children's book written school teacher Jan Schenkman, in 1850. The book was titled Sint Nikolaas en zijn Knecht, "Saint Nicholas and his Servant". In Schenkman's version, the devil figure that followed St. Nicholas was changed to a Moorish helper.

More modern lore presents him as a more of a Robin-like figure, a more heroic and charismatic sidekick. He is said to be a Turkish orphan rescued by St Nick, or an Ethiopian slave freed by him. Or he is just completely whitewashed, and the dark skin is explained as the ashes and ambers from the chimneys.

He is very controversial, and said to be a remnant of colonialism, slavery and racism. Some say he may be even inspired by a slave brought by one member of Dutch Royal family in market in Cairo in the mid-19th century.

As far as I know, Netherlands is very divided into those who want to keep the tradition, and others who see him as racist stereotype. A lot of protests and acts of violence had come from this simple problematic character. It’s very common for neo-nazi groups who want to keep him as he is to brutally attack and threw racial slurs on those who want a revised version of the character or his removal from the holiday tradition altogether.

[katyatalks]

Mob Psycho 100 II - Kameda Yoshimichi’s Character Design Notes

With each blu-ray/DVD volume of MP100 II Character Designer Kameda Yoshimichi gives some notes regarding his process designing each character. Here are all his notes for S2 in the order they are presented, regarding; Shinra Banshoumaru, Emi, Mogami Keiji, Joudou Kirin, Asagiri Minori, The Urban Legends, Shimazaki Ryou, Hatori Nozomu, Minegishi Toshiki, Shibata Hiroshi, Suzuki Touichirou & Serizawa Katsuya.

SHINRA BANSHOUMARU

My highly recommended character from season 2, Shinrin Maruo! … that’s not his name, it’s Shinra Banshoumaru!! I super, super love Shinra to the point where it’s unbearable, and I even put him into season 1!!! Do you know where, though? These lovable, chubby characters - they’re lacking in recent anime, but I figured I’m in the position to change that!! I made him bigger than he is in the manga and upon drawing his rough design, Director Tachikawa told me I was going too far and had me draw a retake. I was like a bulldozer - ‘That’s so stupid!’ - so I managed to save his nice body (laughs).

After episode 2 he doesn’t appear at all, but please be sure to love Shinrin!!! How about a spin-off!? “Shinrin Psycho 100”, how’s that!?!?!? Ah, Shinra, actually. Sorry.

EMI

The amount of people who wanted to see this story animated!!!! Since it usually ranks either first or second place in polls that assess the most popular story in the Mob Psycho 100 manga, we figured we’d have season 2 start with it, and since it’s such a popular part, there was an agreement that I’d be animation director for it! Which I was enthusiastic about, until - huh? Episode 2 has Shinra Banshoumaru? Then, I’ll do episode 2! And with that, I left episode 1 in the hands of Yoshida-san! It’s a story with drama at its heart, and that’s what Yoshida-san specialises in, so I was happy with that!!! I’m pleased with Emi-chan’s hair colour. I made it a caramel-pink. My type 100%.

MOGAMI KEIJI

Truth is, work on Mob Psycho 100 II began from Episode 5. Because of that, the first of the fresh new characters to be drawn was Mogami. Just before getting to work on Mob Psycho 100 II I’d been working on something else where the proportions are quite short, so I kept in mind that I had to make sure that didn’t affect my designs here - as a result, for the first rough draft for Mogami, I had him with full on shoulder pads so he’d look taller, in a Saeba Ryou kinda vibe (laughs). Well, maybe not as far as Saeba Ryou. As expected, following a check with the director I was told the balance of his body isn’t Mob Psycho-ish!  And now his design is as it is. And yet… maybe it would’ve been nice to have his shoulders be raised, just a little?? In the manga he’s quite a handsome man, but my Mogami isn’t that handsome… that’s regrettable.

JOUDOU KIRIN

I have Joudou-sensei wear a kesa [Buddhist priest’s robe] in the anime - it’s pretty cute, isn’t it? Something I paid attention to was the lines from where his kesa ends to his tip toes! He appears in episodes 4-7 and more so than Mogami does, but he’s fun to draw. His deformation in episode 4 was super funny, so we included more of those (laughs). However, the wrinkles on his forehead and his hair barcode are a bit of trouble, and he’s got three rosaries on, and vertical stripes on his kesa… a lot of lines, and animating all those lines is a delicate matter. Also, he has huge eyes. They must get dry easily, I’m sure that’s tough for him.

ASAGIRI MINORI

We get three design variations for Minori - the one in the bed, the one that’s possessed by Mogami, and the one wearing Salt Middle School’s sailor uniform. Her chipped nails while she’s lying in the bed are an anime original. I wanted something in her design that’d counter her cute face. Above everything, what stands out in her design is her hair colour!!!! Her final design has her with purple hair, but at first I imagined her with a cute pink, like Minky Momo-chan. However, the pink hair didn’t really match with her skin colour and overall ghastliness when she’s possessed by Mogami, so after a revision, I went for purple. The way she is now… well, she’s cute, but I think pink hair would’ve been reeeeeeally cute! There’s not many illustrations in the manga where the characters are given colour, so it was very fun getting to choose colours for the anime!

URBAN LEGENDS

With the characters that appear in the Urban Legend Arc, it was super fun to envision how they might move around, and what details to add and/or remove!! Regarding Wriggle Wriggle from episode 1, in order to give a sense of scale in comparing its height with Mob’s, on its character sheet I drew it with an extreme use of perspective. An angle similar to that image gets used in the anime.

In episode 2, Red Raincoat is as he is in the manga, but The Dragger dragging her dolls behind her is an original design. I gave the three dolls she drags a sense of individuality & a ghastly feel, then thought about wetting her clothes and skirt with mud and rain, deciding to make her simple. The dragger has very long hair, which appeals to my 80s-anime-loving taste. I guess when it comes to original designs I always drag out something that I’ve been stocking in my own drawers (laughs).

On the other hand, with Dash Granny all we see of her is her running blurry form, so even on her character sheet her references are all smeared - kinda like me declaring, ‘right, I’m the animation director for episode 2, so let me handle drawing the granny.’ (Laughs).

Season 2 is filled with a lot of deep stories, so if we get to continue the Mob Psycho 100 anime, I’d like for us to do more light-hearted stories where cases related to urban legends are solved like this!!

SHIMAZAKI RYOU

The member of the Ultimate Five who gets the most time in the spotlight, Shimazaki - easy to draw, isn’t he?? His eyes are lines, the corners of his mouth are a little lifted - just draw that and there you go! Shimazaki! He fights with Teru-kun twice -  episodes 9 and 11 - but I’ve been told that the jersey Teru-kun wears from episode 10 onwards is quite perplexing (laughs). In the manga it’s a black jersey… of course I know that. It’s just… he fights Shimazaki, who has a black colour scheme, and then Mob and Sakurai also have black colour schemes… Suzuki is more or less the same, as is Koyama, so to say. Way too many characters with a black colour scheme. Having all these characters with black colour schemes in one scene? That’s a No, Thanks from me. With all that blackness, you wouldn’t be able to understand who’s who!!!!!! Huh? You’d understand because Teru is blonde? W-well...

HATORI NOZOMU

You noticed, right? Hatori’s very cute pigeon [hato] crest!! A crest I highly recommend! … and yet, Hatori doesn’t appear much, does he… plus, the pigeon really didn’t stand out at all either (laughs). As much as I could, I’d leave the style of clothing that each character wears in the manga more or less the same for their anime design, then apply colour, then add a design that matches the character - designing their clothes was fun! Teru-kun’s jersey has a seagull, and Koyama’s hoodie has a spiral-like design - I think it’d be fun to search for these designs!! Actually, why does Teru-kun’s jersey have a seagull on it, you might ask?? Well, flip the seagull upside down… and you get someone standing… pigeon toed!

MINEGISHI TOSHIKI

I felt like the kinds of plants Minegishi manipulates would be of a carnivorous nature, so I ended up learning a lot of stuff when I was doing research! When thinking of carnivorous plants, what immediately springs to mind is Rafflesia! Even when reading illustrated encyclopaedias as a kid, I thought Rafflesia plants looked pretty scary. I’d read something about ‘man-eating plants’ and thought to myself, man, I want that to be about Rafflesia - I looked it up and it was! It stinks, so it’s as if it eats both humans and insects! I feel sorry for it - it’s just a stinky flower. Also, I made a big discovery!! Seems like you can drink the digestive fluids of pitcher plants!!! *gags*. Apparently you can only drink it before they catch insects, but it’s close to being germ-free, so please, drink without worry! Also, in Malaysia or somewhere like that, it seems they put rice inside the mouth of a pitcher plant, then steam and eat it, like bamboo chimaki [Rice dumpling wrapped in bamboo leaves]. ...In a pitcher plant… really…? *gags* *gags again*. With venus flytraps, too, people put minced meat in their mouths and grill them or something… those of you who own carnivorous plants; please, give it a go!! But the result is your own responsibility!!!

SHIBATA HIROSHI

He brings the pressure in episode 10 - when I read the manga, I felt this incomparable atmosphere when Shibata transforms and roars noisily around. I think the anime was amazing in amping that up! Looking at the manga, when Shibata’s on his rampage, he takes on more of a swarthy tone. So when I came to choose his colours for the anime, I first had his skin tone be pretty dark, but I felt like that didn’t give the same impact as it did in the manga, so I proposed giving him a scarlet tone as if he came from the Asura realm! And I’m glad I had the sense to! Actually, speaking on this now, he’s kinda like The Hulk (laughs). I guess it would’ve been funny if I made his skin green.

SUZUKI TOUICHIROU

Truth is, I’d finalised Suzuki’s design during season 1. Only because he appears for a split second during the final episode, though (laughs). But, while working on the main story, something I noticed with my design that troubled me was that alongside being slender and baby-faced, his height left something to be desired… so he didn’t look like a boss character in the slightest. After I finished work on the final episode, I thought it’d be good to make his face a little longer, ie. more mature. To make him appear more aggressive, I tried to make his eyes smaller, but then his design strayed too far from his manga self. Of all the things that caused me grief, the worst one of them all was his hair - does he have a jagged hairline because he’s brushed his hair back, or is the jaggedness there a very short fringe due to him having short hair? After I finished work on the final episode, I unexpectedly had the chance to see ONE-sensei, live, drawing Suzuki - from there, my problem was solved!!! Jagged hair (laughs). (It’s due to him having short hair, right?) I apologise for never grasping the true form of his hair, right up to the end.

SERIZAWA KATSUYA

Translated previously here.

--

Twitter crosspost here.

Season 1 notes here.

[thel3tterm]

Our Author is Dead

This is my current novel project. I’ve been working on it for ~5 years, and its been through many painful drafts and revisions.

Current status: about halfway through the final draft. ~23 chapters and counting.

Read it here!  What is it about?

When Rouge’s boyfriend, Michael, goes missing under mysterious circumstances, he leaves behind boxes of incomprehensible research, and a realization that he hadn’t been the meek eccentric they always believed.

Rouge wanders from town to town, trying to piece together what happened and hopefully bring him home.

Along the way, they have to deal with biological monstrosities, an enigmatic being who eats words, a vigilante in a rabbit mask, overpowered teens on the run from a nightmarish organization, and worst of all- a war over who gets to be the protagonist of the story they apparently live in.

The World:

Our Author is Dead takes place in a country known as Doma.

Doma is very similar to our contemporary society. There’s junk food, convenience stores, comic books, air conditioning, interstates… but no electricity. The east is bordered by an ocean, and its western desert ends in an incomprehensible, uncrossable ‘wall’ of abnormality.

Lets Talk Biomancy: All technology is based upon living organic tissue- a field known as Biomancy. The field is completely normalized in their world. It gets them from place to place, lets them communicate long distances, runs the factories, does pretty much everything electricity does for us. In many cases its unnoticeable, running through the walls or inside of gadgets one might not even suspect are alive. The most noteworthy examples though, are full fledged lab created ‘animals’ of sorts. They might be pets, household assistance, or most commonly, vehicles. Zap Heads: Some people actually do study electricity, and believe in the merits of it as an alternative means of engineering. …Of course, we all know that its just a fringe science and that there’s no way to actually use electricity for anything substantial. People who study it call themselves Electricians. Everyone else calls them Zap Heads.

Novus: A subgroup of people in this country are known as Novus. A Novus, for one reason or another, is born with a slight or major split from their own body. Most people are only able to have an influence within themselves. They are only able to think inside their heads and move what’s attached to them. A Novus is able to have an influence outside of themself, which can manifest in a myriad of ways. Some might bend reality around them to their will, some might be able to reach into another person’s head and change things around. -Novus are looked at negatively by most of the country, and are often disparagingly called ‘Wiz’, based on the thought that they’re like witches. -Medical researchers believe that it is some kind of a birth defect, but are unable to determine if the root is environmental or genetic. -They’ve been noted to have a much higher average body temperature, and a weaker immune system. Flexing their 'abnormalities’ seems to require an extreme amount of energy, so they need to eat a lot more than average and struggle to keep a healthy weight. -Religious people believe that it is caused by a moral failure, and that Novus need to have more self discipline to 'correct’ themselves. -Upon discovery, Novus are immediately documented and given a facial tattoo and serial number. -Most Novus wind up being seized and taken to a 'rehabilitation’ center before they reach the age of eighteen. Few will ever actually leave the rehab centers. Only a small number remain free to adulthood. The Bones: One of the oldest and most prestigious families in Doma is known as the Bones. Despite appearing frequently in history textbooks, newspaper and magazine articles, interviews, important dinners, parties, and the like, very little is ACTUALLY known about the Bones. Here are some definite knowns: -They invented Biomancy several hundred years ago. -They are the only family who actually knows how to make a Biom from scratch, and they hold this secret very close. (Factories merely assemble the Bioms, but an outside party is not able to make a working one unless it comes from them.) -All of their children are women. No Bones has ever been a man. -They seem to have an extreme influence over all the goings-on in the country. Politics, Novus control, science, media, you name it, they’re there. Melissa Bones is currently in charge of their family operations, and her daughter Pamela is the up and coming heir. Characters: Rouge: -27 years old -Novus -Non-binary (they/them) -Very thin, brown hair (unless they dye it) usually in a sideshave or shaggily uneven, long face, tan skin, chipped front tooth, average height -Almost always wearing a patched up and shabby blue coat. -Anxious, self loathing, self-described as 'completely ordinary and boring’, sarcastic, artistic, tenacious -Was diagnosed a Novus at age 17 in a freak accident. They had never caused anything to happen before, and have done nothing unusual since. -Was rescued from a rehab center under equally bizarre circumstances by a childhood friend, and is a rare 'adult’ Novus. -Has a taste for the finer things in life, and likes to critique food and visual design -Loves outlandish fashion, but has no money for it -Is looking for someone dear to them who mysteriously went missing Valence: -Is that even her real name? -19 years old -Extremely powerful Novus. Perhaps the most powerful there ever was. -Can bend reality around her, create bursts of light and heat, move objects at a distance, alter the shape and material of things -Stocky and muscular, on the shorter side, round face, tan skin, black hair typically kept short -Prefers masculine clothing -Prone to anger, determined, stubborn, courageous, strong moral compass, black and white mentality, fiercely independent -Both of her parents are well known 'Zap Heads’. Her siblings are well known activists and researchers. While smart, she was more drawn to music, and felt trapped under the expectations placed on her by her family. -Was friends with several vigilantes and rogue freedom fighters who knew her family -Was taken at age 18 after snapping someone’s leg in half, and brought to a secret facility run by the Bones -Broke herself out and has been on the run since -Was in a shitty garage band. Plays bass. Loves comic books and underground music. Tariku: -14 years old -Novus with the ability to 'see’ into people’s inner selves and mess with their heads, plus a few other things I won’t mention here yet. -Dark skin, thick hair, short because he’s still young but will grow to be tall, on the thinner side -Prefers to dress crisply, usually opting for collared shirts -Wears a blindfold most of the time to prevent accidentally spying on people. (Also because he was taught that his ability is a sin, and he can’t turn it off…) -Thoughtful, cautious, strategic, quiet, prone to guilt, shows little emotion but feels things intensely, rarely shares what he’s thinking about, extremely curious but is often too afraid to explore or take risks -Never swears or uses contractions while speaking -Grew up in a facility with several other Novus with similar abilities who were being trained for a specific, mysterious, goal -Knew Pamela Bones -Decided to escape with Valence after an incident he is keeping a secret, for now -Is curious about 'normal’ things people his age do, but is so far underwhelmed by the reality of the outside world Corvid: -??? -This thing seems to show up randomly in Rouge’s room at night. Is it even real?  -It talks in garbled voices patched together  -Wears a raven mask. Who knows what it is or what it wants. Is it even human? Michael:  -A childhood friend of Rouges, then boyfriend -Tall, gangly, dark curly hair, freckles -A bit of a know-it-all, passionate about everything, pleasant and friendly, keeps things to himself, doesn’t like to share uncomfortable details of his life -Difficult family life, a lot left unsaid -Might be involved in really dark and shady things -Got kidnapped and who knows where he is now Proto: -Lives in the woods -Always wears a rabbit mask, even while they’re sleeping, like a weirdo -Supposedly a friend of Michael’s, but Rouge had never heard of them -A friend of Valence’s as well, and worked with her family -Vigilante, destructive Pamela Bones: -20 -Pale skin, freckles, bright red hair kept long, perfectly aligned teeth, green eyes, a bit on the shorter side, fit, curvy figure -She’s everywhere, it seems. An international icon -Sounds bubbly and friendly enough, but there’s something wrong with her voice, and her eyes, and her smile. It seems a bit uncanny, a bit... off somehow Read it here! ________________________ Tag list: @leonajasmin-writeblr @zburatorii

[geopolicraticus]

Why Hari Seldon Was Part of the Problem and Not Part of the Solution

Asimov made no bones about the fact that he had made liberal use of Edward Gibbon’s Decline and Fall of the Roman Empire when he was writing his Foundation stories, and it shows. In the first chapter of the first book of his Foundation series, the character Salvor Hardin exclaims with frustration: 

“It isn't just you. It's the whole Galaxy. Pirenne heard Lord Dorwin's idea of scientific research. Lord Dorwin thought the way to be a good archaeologist was to read all the books on the subject – written by men who were dead for centuries. He thought that the way to solve archaeological puzzles was to weigh the opposing authorities. And Pirenne listened and made no objections. Don't you see that there's something wrong with that?”

Here we have an enlightened man’s rejection of an epistemology that is too skewed toward the argument from authority, which was, according to the Enlightenment, one of the great failings of the European Middle Ages (or, if we are allowed to use the earlier term, the Dark Ages). For Salvor Hardin, the entire galaxy is falling into a dark age, and one of the reasons for this is giving too much weight to authority and not enough weight to the individual inquirer’s engagement with evidence. This was the vice that the Enlightenment attributed to the Middle Ages. 

The character of Hari Seldon appears in first of the stories included in Foundation, as the originator of the method of psychohistory, which is a predictive science of history that has allowed Seldon not only to forecast the coming failure of the galactic empire, but to make preparations so that the coming galactic dark age will not be as long or as deep as it might have been, without Seldon’s intervention. (Isaac Arthur produced a video on psychohistory, and Isaac Asimov in his later years wrote prequels of the Foundation books that gave much more detail about the life of Hari Seldon,)

In the unfolding of Seldon’s plan with the establishment of the Foundation on Terminus, Seldon himself has passed away, though when a “Seldon Crisis” occurs he appears in some kind of recorded format, explaining how he had predicted the crisis that is occurring or has occurred.

Though Terminus was supposedly settled by scientists in order to further the work of the Foundation, Hari Seldon has taken his secrets with him to the grave. No one else really understands what he has done. He has set in motion a clockwork universe of his own design, and it is only for his descendants to listen to his prognostications, recorded hundreds of years previously, and to be impressed by what he has done. There is no “school” of psychohistory, and psychohistory has not become a scientific research program incrementally revised and improved over time. Only Seldon knew what was up, and he apparently wasn’t telling.

In other words, Seldon became the ultimate authority, explaining, after the fact events that he had predicted long before, and understood better by him than by those who participated in the events that had transpired. Not only is this not a model of how to do science and how to lessen the duration and severity of a period of epistemic collapse, it is moreover a certain way to extend the duration and deepen the severity of such a collapse.

An amusing part of the story is how those on Terminus create an artificial religion that they use to gain political and economic control of local (in a cosmological sense) bellicose kingdoms, but if things had transpired as in the book, it would have been Hari Seldon would have come to be seen as the prophet of a new religion, and the new religion would have been psychohistory itself.

Now, maybe Isaac Asimov addressed of these questions in later books. I don’t know. I haven’t read them. And, in fact, I didn’t read Foundation during my active science fiction reading years in my teens. I only listened to the book last year, 2019, for the first time. And a friend with whom I was corresponding said that it was “too late” for the Foundation books for me. Certainly, if I had read them decades ago I would have thrilled to them, and I still enjoyed the unfolding of the plot, but perhaps my friend was right that it was too late for me.

[comicteaparty]

October 19th-October 25th, 2019 Creator Babble Archive

The archive for the Creator Babble chat that occurred from October 19th, 2019 to October 25th, 2019.  The chat focused on the following question:

Describe your design process for new characters.  How do you go about it?

Holmeaa - working on WAYFINDERS

Ohooh it is my time! First I draw a bunch of quick drawings of body and face We are a small team, so then we had discussions, we knew how they looked in general, sallly had to be small with curls etc. Then when the body was chosen it was time to draw outfits. Since we are doing a whole world we had to find out about what kind of clothing generally people would wear, what accessories, what does nobels and rich wear, contra poor, what is religious garments. Then the faces had to be chosen and drawn again. Then when all elements was in place, it was time for colors. For Lani, I did like 30 different versions of colors, ans combination before we found the right one. For side characters there has been only a few sketches, and since we knew the whole class system with clothing, it was easier to pick and match compared to place in society. Then thinking about the role the person have in society. Next is designing scientist, and that's going to be fun!

Line up if the finished designs of the main(edited)

Face exploration

[IMAGE]

=

More final clothing design

[IMAGE]

Color exploration

[IMAGE]

spacerocketbunny

Oh damn I love all this! I never thought of actually mapping out all the different classes religious/ non religious formal/ casual etc. That's so smart! And these designs are so cute ahhhh

Holmeaa - working on WAYFINDERS

aaw thanks! It was very important for us that it was clear to see! Since the man Andrée is a nobel, and Sallly was part of a crime gang, and Lani is a tempelgirl, and we do have a lot of different social groups

The Q - working on WAYFINDERS

And their homeland is very northern/Viking inspired. I'm very excited to show the other country in the story, which has a much more Mediterranean flavor!

Also yes @Holmeaa - working on WAYFINDERS is super impressive!

Holmeaa - working on WAYFINDERS

Aaaaaaaw you are too sweet!

AntiBunny

Process? Not so much a process as an idea forms in my subconscious and then like Athena rises fully formed in armor from my head. After that they will go through a few revisions. Usually they get simplified a bit, I try to make them a bit more iconic, and easier to draw repeatedly of course.

In AntiBunny http://antibunny.net/ this resulted in some of the earlier character designs being a tad inconsistent, for instance a character in a T-Shirt interacting with a character in a long winter coat.

Since then I've been trying to come up with more consistent seasonal outfit designs. With Book 2 I think I've gotten a lot more consistent with the outfits all making it very clear that it's summer.

So short version is that it starts out with them forming organically from loose ideas, then getting refined and redesigned over time. Not exactly the most scientific approach I know.

LadyLazuli (Phantomarine)

For new major characters in Phantomarine (http://www.phantomarine.com/) I usually try to design a character and draw them at least 5 times before I have them show up in the comic. Their initial design usually pops into my head pretty quickly, but I do a bunch of test drawings to A) see what looks best and B) isolate things that might be difficult to replicate, and simplify them as much as I can. For new minor characters, my process is way more haphazard - and I’ll admit I fall back on a lot of similar face and body shapes when designing incidental crowd characters or random one-line characters.

But the area I’ve had the most fun jumping into - and didn’t expect to even try out - was costume design. I imagined my characters staying in their main outfits for the entire story, but was encouraged to design wardrobes for each, just as a fun exercise at first. And now, I see outfit-swaps as ways to get out of drawing ruts - and it’s more fun for the readers, too! Makes total sense that characters would switch clothes over a longer story, so when I started doing it, it was not only a “OF COURSE!” moment, but a huge relief in terms of being allowed to try new designs. I’m really looking forward to drawing my characters in all sorts of different ways now.(edited)

The Q - working on WAYFINDERS

THem color schemes though!

MJ Massey

I need to get better about this. I usually slap dash throw characters together, especially background characters, but based on their character traits, I have an idea of how I want them to look.

For my main characters, I start drawing them a couple times, mostly just doodles and then like a concept art or two to really get the hang of them, but I find that drawing them in the comic is what gets them under my fingers the best

Emily and Chester were the ones I designed first, as the two mains I wanted to make sure they would play off each other well. With Emily, the key thing was to make sure she wasn't too cute or attractive--she's supposed to be kind of plain looking and a little drab

Chester, in contrast, is soft and playful looking while Emily is more angular and sharp

Cronaj

For Whispers of the Past, my characters have gone through several redesigns over the years, as I spent time planning the comic, getting better at drawing, and discovering the deeper personalities of my characters. As it is my first comic, I wasn't very organized in my initial process. Since my art style is not very cartoony, I don't use the same stylistic cues to help the readers tell the characters apart, and instead, I rely on a lot of subtle features to tell them apart, such as Agatha's thick eyebrows and full lips:

Or Izrekiel's round under-eye, or his round face:

Some of these reference sheets are more complete than others, and some are older or newer depending on how much help I needed when adjusting each character's designs to my evolving style.

Desnik

I usually start with writing them before I totally know what they look like. Sometimes they wind up with props that I need to work into the design as the story gets rewritten.

Deo101 (Millennium)

For me I generally have a solid idea in my mind before I start drawing. I draw that idea, refine it a bit, and then I draw them about 10-100 more times, depending how much they'll show up. For background characters i pretty much design them right then and there, but for major and minor named characters, i need to get comfortable with them and really test how they react to things. I also will paint my main characters, because I find that forcing myself to fully realize what the character would look like realistically really helps me be more informed when I'm simplifying them later! I tend to focus pretty strongly on color, and tend to monochrome designs. There is also some research involved, where i make moodboards once i get the initial design down so I can refine things! A lot, i know.

[hetaliaindie]

Going down memory lane

Just a little photo post.

June 9th 2017

I come back after more than a year, ready to try this out again.

I love how I'm always straight with ya guys in the tags yeesh.

July 4th 2017

The start of my first proper event, the Gandharva Event! (Though I've revised his design greatly ever since- there's no trace of Shiv in this anymore!!)

July 24th 2017

My first interaction with @grandparomeaskblog !!! When will I stop drawing your son in compromising situations-

August 28 2018

The very very first glimpse of Mr. G!

Also August 28

The day I started lowkey introducing the world to Shiv's 2500 year old crush.

September 1 2017

Young Shiv art!

September 9 2017

The most cursed artwork in this entire blog, thanks to aforementioned Grandpa Rome and Mr. Camel ( @de-beste-persian-empire) 

September 16 2017

I think, this is the first sridevi we got on this blog. No introduction, nothing.

Same day and we have Sridevi being as demanding of sweets as she always is, and our lovely Aarya! @ask-ladylotus​. The world deserves more india wamen.

September 21 2017

One of my favourite answers to date: Jugaad

September 24 2017

Gosh I don't like the art here at all, but here's the start of the lotus/god angst.

Same Day

The cutest darn Shiv ever. I hope I've kept this side of him alive.

Same Day

I think this is interesting because it seems that I was really fond of a more metaphorical approach to some questions and I'm still like that today: Jealousy

Same Day: Start of the God (dream) Event

September 30 2017

Yeah that's really what they looked like then.

October 5 2017

This may have happened nearly 2000 years ago but I do keep referencing it so here, boys and their issues.

October 24 2017

Same story, more details

October 26 2017

This is truly one of the most beautiful works I've made, and this is when I start getting very fond of this kind of storylike narrative, bright colours and literal metaphors.

November 3 2017

Jerks.

November 5 2017

Mr and Mrs. did have their casual pretend intimacy. Now she's alone but Mr. Gold has Zar. I hope we see her grow now that her fake love partner's dead and reborn.

December 19 2017

This is about when I fell in love with both of them tbh. Btw the baby was carefully delivered to an orphanage and quickly adopted by one of Mr. G's workers.

December 28 2017

The start of a legend. The Highschool AU. Would you believe me if I told you that Gypty and I still work on it casually or see various futures spawned from it? 

January 15 2018 (Welcome to 2018 my good folks, we made it)

This isn't important content but artwise, It's when I really started pushing for dynamic stylistic choices for my art.

January 16 2018

You really really see it here, and also I start indulging more in patterns to brighten up the simplicity of everyday life. I'd also say this is where the general body differences are most exaggerated between them all (even with sridevi as a child).

January 22 2018

A comment on Arthur Kirkland.

January 23 2018

A memory of the Sack of Delhi. It may strain your eyes (unfortunately I can't say that was on purpose), but it's a tribute to a nation who's heart has been stamped on by circumstances that no one can predict, yet its spark still lights. From an art standpoint, I was very proud of the expression I felt I conveyed well in this panel.

January 28 2018

Listen the amount of research I put into giving you a culturally intriguing gag response- 

February 2 2019

Mrs. Gold, I definitely improved a lot with colour usage here.

February 1 2018

This is where I have truly tried too hard on colours but I'm really warming up to it. (Oh nu is my icon that old- i'll get a new one soon I promise)

Please just take a moment, if you're someone who is an artist and is on a journey, to compare this piece with some of the earlier ones in this post. This improvement wasn't completely random. It started with looking for stylistic changes in the way I drew- in my case, really exaggerating the flowiness of my strokes and sharp points (messing around with a grittier brush, helped me a lot too, if you're someone who sticks with soft brushes or mechanical pencils, I couldn't recommend trying to use a textured brush or irl charcoal to get a grasp on the type of mood you want to evoke). At some stage it became a love story with color too, but colour takes time and lots of adjustment, which is why you won't see much of it in my blog.

March 5 2018

This is where I really start pushing the exaggeration on Mr. G, but only to get a feel for him. He evolved from a chunky nosed, physically imposing figure with a laughable quantity of gold, to something more desperate and dependant on money, something lean and mean with a nose that could poke an eye out. And here, most prominent is the shape of his lips, which had grown more prominent than before and very good for emphasizing his frown (and hell to work with when trying for his dimpled smile).

March 11 2018

I drew this for an rp starter since words couldn't describe what was in my head. I think it's a fine example of my adoration for patterns- but not just patterns, the idea of luxury beyond compare. It's prominent in my blog but only because I have the brain of a magpie and am constantly like ‘ooo shiny’. But really, I drew what I liked, so I improved. Find something you like drawing if you haven't yet. It can be skulls, it can be leaves, feathers, find your motifs and everything will honestly follow along.

May 17 2018

Post exam-hiatus, I am back with the gang, my art style is a bit rusty but boy have I got intimately involved with colours.

May 22 2018

I can't get colours out of my head, I'm thinking about them day and night, I need to create, I need to and so I do. (In all honesty I am certain that something greatly inspired me to do this but I cannot recall what).

June 12 2018

The Kill Cindy 2k18 movement is born. I can finally show you the Mr. G I have been hiding from you all.

July 1 2018

Something I can point out now is that while I think my colours work (honestly i was making use of patterns to distract you all at this stage- before I returned from my hiatus, I'd been rejected in an interview for an animation course and the key point my interviewer made was that my sense of colour was jarring, so I really was sensitive over it but seeking out improvement), what I would change is that adding a clear light source and allowing an atmosphere (by adjusting the main figures’ hues slightly to match the background) to emerge in my art would make it a lot better. And I start to grasp at this knowledge.

August 19 2018

The start of the bodyswap event, I swear I'll get back to it. I just want to use it as a stepping stone to get some meaningful character development out of it, thus it's ongoing.

See here, this is where I just stop caring about skin and character colour as something that should more or less be constant. Now it's vibrant and blinding for no other reason than I want to make you feel (granted, I did that too much here and it makes things hard to understand much less appreciate).

September 8 2018

Here I'm really just feeling the colours, Shiv's home is easy- everything is luxurious but at once welcoming (or at the very least, pampering), Sridevi's home on the other hand was shown to be neater and almost less personal, there isn't much immersion allowed in her place but in Shiv's..oh man.

November 2018

As you can see, activity has been dwindling what with rigorous college days and having moved to a new city. It should pick up eventually, but let me close this off with some new art.

Do I have something to say about this piece? Yes, I do! The point of view is Shiv's, thus the warm colours and the way he blends into the background. The main figure here is not himself or his 2nd player, but the vibrant peacocks, that exist in a shade of blue too vibrant to be real. In between the two sentient figures, is our young Mr. Gold, clearly he has the favour of these birds but he doesn't seem very affected by them- unlike the jealous Shiv. He's the dullest colour present and he wears the blandest clothing, the matters of peacocks (be they blue or orange) do not apply to him and he is at once alienated. 

Today, November 14th 2018

So after everything, here we are. Is this what all my art was moving towards? No it isn't, it's really just me playing around with photoshop brushes, but the mood of this image is something I feel that I've conveyed with integrity. That's what I want to keep striving for. Thank you all for staying with this blog as long as you have, thank you to all my newer followers, I've linked most of these points to their original posts, I hope that Tumblr does not break them. Love you all!

[esonetwork]

Tale as old as time: ESO Network chats with Disney animator Tom Bancroft

New Post has been published on https://esopodcast.com/tale-as-old-as-time-eso-network-chats-with-disney-animator-tom-bancroft/

Tale as old as time: ESO Network chats with Disney animator Tom Bancroft

Beauty and the Beast. The Lion King. Aladdin. Mulan.

These iconic animated films are part of the story of the famous “Disney Renaissance,” which propelled the studio back to commercial success and critical acclaim in the ’80s and ’90s.

Tom Bancroft played a role in that story too — the artist has 30 years of experience in the animation industry, much of which was spent with Walt Disney Feature Animation. He was an animator on four animated shorts and eight feature films (the films named above are part of that list). He has also worked with Big Idea Productions, creators of the popular Veggie Tales animated series.

During Dragon Con 2018, ESO Network reporters Mary Ogle and Ashley Pauls chatted with Bancroft about his love for art, his favorite Disney project, and the industry shift from hand-drawn to computer animation. Read an excerpt from our interview below and listen to the full interview on Earth Station One podcast episode 437: https://esopodcast.com/the-earth-station-one-podcast-437-the-big-lebowski-live-from-dragon-con/

ESO: Tell us a little bit about your career and how you got started. What was that initial spark? What motivated you to get involved in this and pursue your art as a career?

I think I grew up in a golden age of comic strips. So this is a little tangent-y, but it was not the golden age of animation, unfortunately. When I grew up, mostly in the ’70s, I had a twin brother and we would draw together and what we would draw was comic strips. “Peanuts” was really big with Charles Schulz, and then soon came “Bloom County” and then soon after that “Calvin and Hobbes.” And of course the peak of Mad magazine.

It was all that sort of illustration and comic strips that really fascinated us. But then we had sort of a sub love of live action film, but especially Ray Harryhausen movies, which is stop motion. And we didn’t put it all together to go, “well, we like to draw, we like stop motion — animation seems like a good fit.” It still took a while till just after high school that we really realized [that].

Simultaneous to all that, we were watching Saturday morning cartoons all the time. But the love for Saturday morning cartoons wasn’t really artistic, I would say; it wasn’t like we were drawing “Scooby-Doo” or the “Super Friends.” We also liked comic books too. But kind of both of us looked at that as the impossible dream, because anatomy and things like that — it looked too hard.

But like I said, on the animation side of things, it was kind of a dead time. Those Saturday morning cartoons were pretty popular, but really, it was all about getting it out cheap, right? You look at “Super Friends,” and limited animation and Hanna-Barbera stuff. It was kind of a bad time to want to be an animator, I would say say. Even though there’s a lot of nostalgia for “He-Man” and things like that, it’s just not really well animated. (laughter) I think we can admit that.

[Then] Disney films started to get a little bit better and better. They were on the cusp of having a resurgence. “The Great Mouse Detective” had come out; that’s a fun, cartoon-y, well-animated film. And it was films like that, that really kind of made us go, “Oh, wait a second, you know, this might be the path. It combines a lot of our loves.”

And so we just kind of fell into animation, really. Did a little stop motion animated film for our church youth group, got together a couple friends that also wanted to try animation. And we just sort of taught ourselves. This is before the internet, so we’d go to the library and try and find books on even exposure because we’re literally using a Super 8 camera and shooting these clay animated figures one frame at a time. And so we just needed to learn, but that was close to Ray Harryhausen, so it was within our wheelhouse. We were researching him quite a bit.

Then that love translated to “well, we already like to draw, why don’t we try drawn animation?” And then we found out about CalArts (California Institute of the Arts). We already were living in California, and CalArts is like the animation school in the U.S. It still is, but at the time it was one of the only ones and it was founded by Walt Disney. So we tried for it and got it in, miraculously. And after a year and a half, got an internship at Disney. And that’s what started our career.

Have you done mostly traditional animation? Or have you also delved into computer animation?

Later on in my career, pretty much toward the end of my Disney days, I ended up following my heart in 2000 and joining Big Idea Productions, and they do Veggie Tales. While I was there, I learned CG animation and learned how to do Bob and Larry in the computer. And fortunately, it was simpler; they didn’t have arms and legs.

But it was still tough. I mean, it was a huge learning curve. I’ve always heard, “Oh yeah, computers are just, you know, just a tool.” But it’s a radically different way to animate for someone like me, who had really finally figured out how to do 2D animation after about 10 years at Disney. It felt like I was starting all over again, and it was a tough year.

And I can’t say I loved it; I missed drawing. And so I immediately switched over, even while I was at Big Idea. After animating a little bit, I switched over to storyboarding and then ultimately directed and created the 2D “Larryboy Adventures” show. That was much more a better fit for me.

I left and came back to Disney and did “Brother Bear” traditional animation, and worked on Rutt and Tuke, the two moose characters. And then after that, I started my own company. And so I’ve been pretty much independent for what I call the second phase of my career. And a lot of that has been character design and children’s book illustration, some directing, some 2D animation still too, but a variety of different things. Comic books, even.

You’ve gotten to see both sides, with the hand-drawn animation and the computer. How is the creative process different and what are some of the advantages and disadvantages you feel are in each form?

It’s funny, because a lot of people think that the switch and kind of the death of 2D animation in feature films — here in the U.S., especially — is because CG animation is cheaper. It’s not; it’s the same or more, really, and you almost need as many people too. It’s not like we even save a lot of money in CG animation on how many people you hire, and you certainly have higher equipment costs than ever before. And it’s not even necessarily faster.

The biggest difference between 2D and CG is that there’s a lot more upfront work in CG, and then 2D has more time at the end. Because in CG once they model the characters and get all that figured out, the animation process goes a lot quicker than in 2D, because now they have the model, it’s not going to change. It’s not like it’s going to get revised. And some of that happens, obviously, but they kind of stick to it. And then also, at certain point, once they put the lights in, there’s a lot more automated, what I would call “the ink and paint phase” in 2D. There’s the rendering process that goes a lot quicker, because once they model it, they know the colors and they’re already set.

We can get going a lot quicker [with 2D]; we can get into the animation phase, we can design the characters and all that and jump into animation a little sooner. But then the back end is a lot of cleanup and color background painting. All that is on the back end, and it can take a lot more time.

What was your favorite Disney film to work on, if you can narrow it down?

Oh, it’s pretty easy. It was “Mulan.”

I got to design and develop Mushu the dragon. And so because I was the supervising animator for Mushu on that film, I really got onto the film very early and put a lot of heart and soul into that film, more so than what I was able to on other films.

I did young Simba; I’m very proud of animating young Simba on “The Lion King,” but I worked under Mark Henn who was the supervisor of that. And he had designed Simba and was issuing me scenes and stuff. So I didn’t get to have as much of a say, I guess you could say, in defining his character, just in the scenes that I had, not like the whole character.

How do you approach putting personality into your characters? What things do you use to show a visual representation of that personality?

Some of that is in the character design. There’s certain things like when I was designing Mushu, we knew right off the bat that he was going to be a thin, snake-like dragon because I found out really quickly in my research, in Asian dragons, they’re usually based on snakes and things like that. The dragon in [“Sleeping Beauty”] is a European dragon, and they’re more like a crocodile or something like that. They’re very thick and massive. But the Asian ones usually are skimming across the water or they’re fire dragons. They also are elemental, and Mushu is a fire dragon, which we never mentioned in the movie. But it was part of his design.

I have flame-like shapes on him, and they oftentimes have fish scales. And he’s got a little mustache, kind of a fuzzy upper lip, which is based on a camel. They’re made up of different pieces: his cow ears and horns like an elk or something, although I shrunk them. He’s got kind of a pig’s nose; they’re usually made up of a lot of different animals. And so all of that research went into the design, even a very simplified form. If you look at Mushu, you don’t really guess those things as much. But every single thing on him is there for a reason, even his claws that are like an eagle’s claws. They’re just very simplified and stylized.

Learn more about Bancroft, his artwork and his podcast at www.tombancroftstudio.com.

[akahana21]

A Comparison of Show Boat (1936) and Show Boat (1951) [a critique]

Before you read the post, I’m warning you that I’m not a critique so this is how an amateur creates a movie critique. Still, I hope I helped. (there’s a TLDR version at the end)

A Comparison of Show Boat (1936) and Show Boat (1951)

Racial prejudice and other issues are prevalent in Show Boat from 1936 and Show Boat from 1951. Show Boat is a musical that shows people's diverse lives who worked or has/had affiliations with the Cotton Blossom, a showboat that roams around the Mississippi River. Everywhere they go, be it in Chicago, their life story is narrated through a musical. It was first performed in 1927 for Broadway and the entire musical was based on the novel with the same name, Show Boat, by Edna Ferber. If I were to rate these musical films in MTRCB guidelines or classification, this will be classified as "PG" wherein parental guidance is suggested since there might be some scenes unsuitable for all audiences. Show Boat is a drama, romance, and comedy rolled into one family film in terms of its genre.

The plot of the 1936 version of Show Boat is more accurate than the somewhat revised version from 1951. Scenes are lacking in the 1951 version compared to the 1936 version and there can be scenes lacking in the 1936 version because the 1951 version is revised and altered in some way. As expected, the 1951 version ended very differently than 1936 one, only that the musical numbers of every character are extended that makes this version of the film more entertaining, giving off comedic episodes. And since the musical is set in different timelines (the late 1880s, 1890s, 1900s, and 1920s), the 1951 version has failed to execute that in the film, and which the 1936 version has achieved. Plot-wise, the 1936 version is better. If musicality-wise, the 1951 version is better since the musical numbers are more festive.

In the 1936 version of Show Boat, I find that there are a few characters who have no personality or do not radiate liveliness when in fact, it should be observed because the film is comedy. Take Gaylord Ravenal’s (Allan Jones) character. He is indeed an exceptional performer, but in this version, he does not have a personality, very different from Magnolia Hawks (Irene Dunne) in this same version. But, no one would be suitable for Magnolia (Irene Dunne) other than him. Probably because he was not shown for several minutes and the storyline was focused on Magnolia (Irene Dunne) herself, Captain Andy Hawks (Charles Winninger), and others. It felt as if Gaylord (Allan Jones) is not given justice as a love interest to the daughter of the showboat captain. I commend Joe’s (Paul Robeson) character in this 1936 version of the musical, despite that he only has a few scenes, I see his personality, especially in his rendition of Ol’ Man River. Among my favorites are Julie La Verne (Helen Morgan), Captain Andy Hawks (Charles Winninger), and Queenie (Hattie McDaniel). Steve Baker (Donald Cook), Julie’s (Helen Morgan) spouse, is rather a concerned husband for his troubled wife, and how I liked Julie’s (Helen Morgan) singing along with Queenie (Hattie McDaniel) and Joe (Paul Robeson)—their voices are blending and transitioning nicely. Parthy (Helen Westley), a wife to Captain Andy Hawks (Charles Winninger), and a mother to Magnolia (Irene Dunne), is an almost-perfect character for her role. Her authoritarian aura is perfect and at the same time, she is a comedic relief in other scenes in the film but not as perfect as Captain Andy Hawks (Charles Winninger). I view him as a loving father, although he can be goofy at times but he is a real loving father.  Meanwhile, Queenie’s (Hattie McDaniel) character is also a comedic relief, one of the characters bringing life to the film and an incredibly suitable match to Joe (Paul Robeson). Pete (Arthur Hohl) on the other hand, does not seem to be a boat engineer like what his character is, but he carried out his character very well as someone who bothers Julie (Helen Morgan), I thought he is Joe’s co-worker who is up to no good. The couple Frank Schultz (Sammy White) and Ellie Schultz (Queenie Smith) are quite effective comedians and performers on-stage and humble off-stage, most especially when they willingly help Magnolia (Irene Dunne) find work. As for the child Kim (Marilyn Knowlden), she did good, as well as the teenage Kim (Sunnie O’Dea) whose expressions are on-point in her short segment in the film.

In the 1951 version, I liked Gaylord Ravenal’s (Howard Keel) character. He has personality here (because he is shown countless times in the film) but unlike the 1936 Gaylord (Allan Jones) and Magnolia (Irene Dunne), this version of Gaylord Ravenal (Howard Keel) does not match with this version’s Magnolia Hawks (Kathryn Grayson). I cannot blame that Gaylord’s (Howard Keel) performance went ridiculously exaggerated that the original essence of Gaylord Ravenal is lost. The good thing is that Gaylord’s (Howard Keel) musical performance with Magnolia (Kathryn Grayson) is phenomenal, his baritone voice smoothly complements with Magnolia’s (Kathryn Grayson) soprano voice, they just do not have the chemistry as a couple in the film. Magnolia (Kathryn Grayson) is okay, she has the same omen with the 1936 version of Magnolia (Irene Dunne), both portraying a naïve character and in love. Now, the 1951 version of Captain Andy Hawks (Joe E. Brown) is one of the best portrayals I have ever encountered, the same with the 1936 version of Andy Hawks (Charles Winninger) but much better in goofiness. He could make you laugh, and in a matter of minutes, you are now sobbing. That is how convincing he is. This 1951 version of Andy Hawks (Joe E. Brown) is a ray of sunshine that does not make the entire 1951 film literally awful. As for Julie La Verne (Ava Gardner), she has the potential to make her character the Julie La Verne she is. Too bad that her character is changed throughout the film, and I am disappointed how her singing voice was dubbed by another. Her voice suited singing those parts. Furthermore, Julie’s (Ava Gardner) husband, Steve Baker (Robert Sterling), is all right. His character is perhaps adjusted, he became an abusive husband to Julie (Ava Gardner) while in the original plotline of Show Boat, he just left his wife (and she became an alcoholic). Parthy (Agnes Moorehead) is a strict mother and a comedian, but she does not give off a domineering vibe, much different than the 1936 version of Pathy (Helen Westley). I have nothing much to say about Pete (Lief Erickson), he is alike with Pete (Arthur Hohl) in the 1936 version of the film. However, I would regard the 1951 version of Pete as a boat engineer. Again, I applaud Joe’s (William Warfield) rendition of Ol’ Man River, the same with the 1936 Joe (Paul Robeson). His character is of greater importance in the film. Without the 1951 Captain Andy Hawks (Joe E. Brown) and Joe (William Warfield), the film would be incomplete. And as far as I can remember, I never saw Queenie in this film, even a glimpse of her. Unfortunately, I believe there is no cast assigned for Queenie in this 1951 version of Show Boat, I was expecting to see this version of her. They also omitted Rubber Face here. Also, I admire the fact that they have cast a real-life couple for the comedian couple Ellie Schultz (Marge Champion) and Frank Schultz (Gower Champion), no wonder they have the chemistry. This couple is funny, and I loved Ellie’s dancing. Finally, Kim Ravenal (Sheila Clark [uncredited]) did her role as Magnolia’s (Kathryn Grayson) daughter great, she seems to be enjoying portraying the character which makes her pleasing to watch.

The set design for the 1936 version of Show Boat is barely accurate for the period. Why is Julie holding Magnolia’s smiling closed-up portrait? It was the 1890s, they are supposed to have photographs taken by an ambrotype or a daguerreotype. The photograph quality is utterly impossible to create using a daguerreotype, let alone a handheld camera existing in the Victorian era. It would be acceptable if the year it is shown in the film is in the 1920s or the current year the film was released. For the 1951 version of Show Boat, I never noticed if the set design is suited for the time era the film is set in. But I am not sure about the elevator scene. I believe that is also in the Victorian era. Manual elevators in that era were popular and widespread, those manual elevators where you have to close yourself the elevator doors and such. And in that era wherein Magnolia and Gaylord are already together, the elevator with automatic doors or push-button doors was considered advanced or high-tech since it was recently introduced. Knowing that they settled in a famous Chicago quarter for the rich, I think that the elevator scene will be acceptable. The 1936 film is in black and white whereas the 1951 film is in Technicolor. Both version’s set designs are so-so. I find that the camera zoom-in for every character's dialogue is too much, few zoom-ins are enough. Visual-wise, the 1951 film is better because it is in Technicolor.

For the costumes, the 1936 version showed some scenes where the characters (including the extras) are wearing inaccurate costumes for a certain time era. Understandably, the costume designers in the 1930s are not that capable of creating accurate costumes because it takes a lot of effort and time researching and making every costume as authentic-looking as possible. In the 1951 version, the accuracy of the costumes has developed somehow. Colors are vibrant enough and the patterns unique to be recognized for the showboat actors because they are actors, and not vibrant and dull colors for the non-actors (and actors as well) with normal patterns, to be used for everyday life. If I am not mistaken, there are a few costumes with distinct designs and cuts that were trendy in the 1950s, and there are several in the 1936 version with the 1930s cuts or patterns for clothing.

To compare the sound quality of the 1951 version of Show Boat and the 1936 version, the older version is the least better. Recorders in the 1930s are not as advanced as the 1950s ones, 15 years later. The sound for the 1930s is a bit unstable, difficult to make sense of or grasp than the 1951 version (unless you are a native speaker or using closed captions or a person from that time era) despite having those both versions’ actors use a Transatlantic accent or also known as Mid-Atlantic accent.

Using the Theories of Performance to compare the 1936 version of Show Boat and the 1951 version of Show Boat, if I were to tell which one I liked the best, I would say that I liked both of them. Both of them should have been a very compelling story presenting timely issues such as racism or racial prejudice, mixed marriages regarded as illegal, forgiveness, and others but only the 1936 version has successfully integrated those into the film. Both versions have their special qualities, a handful of scenes are a tearjerker. Some scenes can be lacking in the 1951 version, but there are also scenes lacking in the 1936 one. The 1951 plot as the film ends differs from the 1936 plot that remained loyal to the storyline of Show Boat. Both films are funny and the dramatic scenes made me want to weep with the actors together. Great choice of casts to both versions, only that the two films are apparently rushed albeit their duration is almost 2 hours long and the storyline and some dialogues are revised for the 1951 version. I would not recommend the 1951 version of this film if you are a Broadway Show Boat fan because you might find it bland. Plot-wise, the 1936 Show Boat is highly recommended to watch first, and the 1951 Show Boat if you are seeking musicality-wise.

----------

TLDR

1951 version - more like a musical ; 1936 version - more like a film

1951 - Technicolor  ; 1936 - black & white

1951 - storyline has changes ; 1936 - loyal to its plot

1951 - feels like a comedy ; 1936 - a little comedy with drama

1951 - audio quality better, actors can be easily heard / understood ; 1936 - audio quality is a bit “glitchy”

1951 - some original characters omitted ; 1936 - somehow kept the characters complete

1951 - lacking scenes but added additional scenes not in the original plot ; 1936 - also lacking scenes but many scenes are in the original plot

1951 - no teenage Kim ; 1936 - has teenage Kim

1951 - costumes, set, & props a little accurate ; 1936 - costumes, set, & props not that accurate

[shirlleycoyle]

The Made-Up Language That Accidentally Became Real: The Story of Klingon

A version of this post originally appeared on Tedium, a twice-weekly newsletter that hunts for the end of the long tail.

Not too long ago, I drove by a radio station with an apostrophe in its call sign. Reading it aloud, it seemed the apostrophe affected an actual word, but my inner Star Trek fan immediately decided it simply must be a Klingon radio station.

Sadly, it was just a country station, but the experience prompted a silly thought: what if there were an actual Klingon radio station? Surely some dedicated Trekkers around the world may have done the same thing with the Klingon language that some enterprising (get it?) Star Trek fans did with folk music decades before.

The world is a bit bleak at the moment, so we decided to get a little nerdy this week and dive into an entirely new frontier. So grab a bowl of your favorite Klingon cuisine and a barrel of blood wine, because we’re exploring something a bit different: the Klingon language and its interesting impact on modern pop culture.

1985

The year in which The Klingon Dictionary saw its initial publication. The book includes grammar, vocabulary, and a vital pronunciation guide for the language. The book did not, however, provide any exercises or practice guides for actually learning the language. This likely decreased its efficacy for actually learning the language, but it was probably intended more as a guide for actors and a fun collectible for Trek fans than anything else. The book inspired at least one current Internet Archive user to create a HyperCard stack to help them learn the language in convenient electronic form. A second edition saw publication in 1992.

How a professional linguist transformed some gibberish into a constructed language

Like any story worth telling, the history of the Klingon language begins with improvisation. Some reports—including the DVD commentary for Star Trek: The Motion Picture Director’s Cut—maintain the genesis of the language rests with James Doohan (who played Montgomery “Scotty” Scott on the original show) and the film’s associate producer Jon Povill. The two had a meeting where they established a few basic words the aliens would utter throughout the movie. Doohan recorded the words for veteran Trek actor Mark Lenard, who portrayed a Klingon captain in the film. Lenard transcribed the words phonetically and practiced them to nail the delivery of his lines in the film. Doohan and Povill didn’t develop the language further. That honorable duty befell another man who wouldn’t enter the picture until Wrath of Khan’s editing phase.

Enter legendary linguist Marc Okrand, the creator of the Klingon language. Okrand began his career teaching linguistics courses in Santa Barbara, CA. Following his stint as a university teacher, he joined the Smithsonian Institute for a while researching California Native American languages that hadn’t been spoken for a long time. Following that, he began to work with The National Captioning Institute on developing closed captioning for educational purposes and the hearing impaired (look for a future issue of Tedium on the subject). In the midst of a fruitful career, Okrand stumbled almost accidentally into working on Star Trek through his captioning work.

Though it didn’t make its debut until the third Trek film, the genesis of the Klingon language in its current form actually lies with The Wrath of Kahn. In that film, there were two Vulcan characters speaking to each other in a corridor. The producers shot the scene with the actors speaking English but later decided to change it to the Vulcan language. The trouble was, a Vulcan language didn’t exist. Unbeknownst to anyone at the time, Marc Okrand would soon become the hero the film didn’t realize it needed.

Okrand believes luck played a significant role in gaining the opportunity in the first place. He was only in California for one week but had nothing to do for three days. He had two friends making Star Trek who wanted his opinion about expanding the alien languages within the film. It turned out to be a major headache for the film’s producers and they needed to resolve it within the week—the same week in which Okrand was visiting the state.

In 2018, Okrand told The Washington Post how he became involved in bringing alien languages to the franchise:

My real job, the one that really paid the bills, was closed captioning. The first program we did live was the Oscars, 1982. They flew me out to L.A., and I was having lunch with a friend who worked at Paramount. She and I go out to lunch, and the fact that I was a linguist came up—I have a PhD in linguistics. They wanted a linguist to come and make up gobbledygook that matches the lip movements. And I said, “I can do that!”

He only received a few hundred dollars for his work, but he delighted in his experience teaching Mr. Spock how to speak Vulcan. But following the success of the second film, something unexpected happened: Okrand received a call from Harve Bennett—the writer/producer of Star Trek III: The Search for Spock—asking him to create a full language for the Klingons to use in the film. As he told interviewer EC Henry in 2016, “every once in a while in life, you’re presented with a decision that’s really easy to make. That was one of those!”

The Search for Spock and most subsequent Star Trek programs featured Okrand’s language in some form, including the most recent Trek films up to Star Trek Into Darkness. He was still involved in Star Trek Beyond, too, creating several different languages for that film.

petaQ

The most common Klingon curse word. In the spirit of Nicolas Cage’s new Netflix show, we simply had to include this one. Usually written as P’Takh—Klingons sure do love their apostrophes—it’s always used as a noun in the show to insult other characters. It’s pronounced more like “pet-ock” with an extremely harsh guttural sound at the end. According to the Klingon Language Institute, the root of the word is “taQ” meaning “to be weird,” or indicating some kind of strangeness. But it’s more likely that it’s merely a common, interchangeable insult or as Enterprise suggests, it means “enemy.” A good runner up is probably “Qapla/Q’Plah”—the Klingon equivalent of “Have a Nice Day.” Imagine that on a bumper sticker or a T-shirt.

Examples of journals sold by the Klingon Language Institute; the institute also offers translations of well-known books in the language.

The language eventually grew much larger than the property for which it was developed

It may be difficult to believe, but per the Guinness Book of World Records, Klingon is the most widely spoken fictional language in the world. It even has an entire, well-known institute dedicated to learning Klingon.

The language itself is harsh, guttural, and bears some resemblance to a mix of Yiddish, some Native American languages, and German. Anytime Okrand approached sounding similar to any of real language, he adjusted the Klingon words to differentiate them from sounding like real-life language, resulting in some of the very unique words one hears in Klingon.

What differentiates Klingon from other constructed languages—like J.R.R. Tolkien’s Elvish languages or some of the constructed languages in Game of Thrones—is the piecemeal nature of the language’s construction. Okrand designed the language as needed, based on the needs of the episodes and films for which he was consulted. It didn’t see further realization or development until much later.

The Klingon Dictionary took the idea to another level entirely, even if it didn’t fully function as a learner’s guide to the language. The book’s success led to other publications like the audiobooks Conversational Klingon and Power Klingon. 1997 brought the long-anticipated follow-up to the dictionary, Klingon for the Galactic Traveler. There’s even an interactive CD-ROM Star Trek: Klingon, whose third disc features a Klingon language lab.

There haven’t been any additional Klingon language books or multimedia since, but a group of speakers formed The Klingon Language Institute in 1992 to further the learning and development of the language over time. The Pennsylvania-based institute isn’t a loose organization of Trek enthusiasts; it’s a full non-profit organization dedicated to legitimately teaching Klingon through lessons, translators, and other online resources. They even offer a Klingon Language Certification Program.

Before going fully electronic, KLI published a quarterly journal, poetry, and fiction in the language and at one time even offered a $500 scholarship. It’s founder, Lawrence M. Schoen, is an accomplished speaker who currently acts as the institute’s director. KLI’s members still meet up once a year to lecture, teach, learn and discuss the language—all while having a good time, of course. Per KLI, only a few people are fluent enough in Klingon to actually speak it conversationally.

Okrand maintains a positive attitude and relationship with speakers of the language, but as he told Henry back in 2016, he “doesn’t speak it very well” because of the way he made it up in the first place. The language was built to one line at a time to suit the story of the show. He’d coach actors to say the lines, get through the process, and move on. Then he forgot some of it, so writing the book required more effort on his part to not only flesh out the language but almost rebuild it from some of his previous work on Trek.

In several interviews, Okrand is clearly proud of his work, but would definitely do it a bit differently if given the opportunity. He would have thought more about the structure and design of the language rather than simply creating words on the fly and revising them later. Despite the movie-prop nature of its construction, Klingon managed to evolve.

Okrand is still involved in the language as it continues developing, and people still ask him about creating new words to grow the language. At this point, Klingon is a developing constructed language that’s cemented its place in society outside of Star Trek. Okrand realizes it’s much larger than he ever intended, telling a convention in 2016 about the future of the language:

“At some point, it’ll grow without me, and that’s fine.”

“When I wrote the dictionary, I thought people would put it on their coffee table and reference it for fun, but a few years later, I found out they were dissecting and analyzing it. And thanks to the Internet, people were meeting on message boards to talk in Klingon.”

— Marc Okrand, the creator of the Klingon language. In a 2013 interview with Mashable, he marveled at how far the language he built for the Star Trek movies took off in real-life. While Okrand still referenced the dictionary while working the films at that time, he still asserts many other people speak the language much better than he does.

The Klingon Dictionary, because of course. Image: Bookshop

Dedicated speakers and technology helped the Klingon language transcend pop culture

Klingon was still going strong as the internet developed into its present form. Per Okrand, the rise of forums and internet chat actually may have helped breathe further life into the language. It’s obvious that Trek fans love it, but what’s most interesting about the language is how common it is among non-Star Trek fans. For instance, linguists and language enthusiasts love studying it or teaching it to family, like the PhD candidate who taught his young son Klingon to better understand the language. The man, D’Armond Speers, became academically interested in the language after seeing a flyer for the KLI.

That isn’t to say there aren’t plenty of fans who enjoy using the language and taking it to the higher levels. Capitalizing on the new age of smartphones, Simon & Schuster released The Klingon dictionary and language suite (containing the dictionary, Conversational Klingon, and other digital tools) for iPhone around 2009. Running from $3.99 to $11.99, iPhone users could learn Klingon in digital style.

Nowadays, DuoLingo and Youtube offer several ways to learn Klingon, from visual lessons to interactive studying.

On the pop culture front, some students of the Klingon language decided to translate Hamlet into the language to astonishing success. There was an insane Pizza Hut commercial spoken (and written!) entirely in Klingon. And you know something is truly popular when Rhett & Link feature it on Good Mythical Morning. And if you’re looking to groove to some Klingon-inspired tunes, you can’t go wrong with Klingon Pop Warrior or Stovokor.

I never found a good example of a Klingon radio station (aside from a long defunct fake station called, appropriately, KPLA radio), but Klingon opera is alive and well in the modern day.

One of the frequently recurring aspects of Worf’s character in Star Trek: Deep Space Nine is his love of Klingon Opera. Have you ever wondered what if Klingon Opera’s were a thing? As it turns out, a legitimate opera entitled ‘U’ was written and performed in Klingon. The U stands for “Universal.”

It was essentially a song in the key of Kahless, telling the story of the Klingon leader. Composed by Eef van Breen with a libretto by Kees Ligtelijn and Marc Okrand, the opera debuted in the Netherlands in 2010 to an enthusiastic audience reaction. Floris Schönfeld handled the artistic direction. It played a few more dates in 2012, but hasn’t been seen since. Don’t despair, though, as there may be a new Klingon Opera in the works.

Outside such creative endeavors, there seems to be a resurgence of the language in popular shows like the eternally annoying The Big Bang Theory. With the sole exception of the Barenaked Ladies’ theme song, I simply don’t enjoy The Big Bang Theory. While Star Trek references—including several instances of conversationally using the Klingon language—litter the show, it’s just not my cup of tea (I prefer chilled Earl Gray). It is, however, notable for bringing Klingon Boggle and The Klingon Dictionary back into the collective pop culture mind. If there’s one thing I dislike more than watching The Big Bang Theory, it’s probably playing a game of Monopoly. Yes, I am aware the game was joked about in the show before it came out. Per Memory Alpha, this may have been intentional product placement on the part of Hasbro. Either way, the real-estate trading game traces its origins back to the early 1900s and has its own unique history, but this astonishing board game has the distinction of merging Klingon and a popular board game, effectively bringing the language further into public consciousness.

And I thought real-life Klingon operas were weird.

“Speaking Klingon is a great way to make new friends.”

— Michael Dorn, the actor who played Lieutenant Commander Worf in Star Trek: the Next Generation and Star Trek: Deep Space Nine, during an ad for Rosetta Stone: Klingon. Dorn goes on to discuss how fun the language can be, with plenty of enthusiastic participants demonstrating their language skills. Of course, this was simply an April Fool’s joke perpetrated by ThinkGeek in 2014, but it’s a great piece of Klingon language history nonetheless.

As time and technology evolve, it truly seems as if the Klingon language will continue to capture the hearts and minds of both Trek fans and non-Trek fans alike. One doesn’t need to be a fan to learn and enjoy the language. All you need is an interest and the resources to learn.

It overcame a legal battle over copyright of the language in 2016 and may even be useful for treating dyslexia. Not bad for a constructed language designed for aliens in a Star Trek movie.

Marc Okrand’s work in closed captioning is legendary, but he left an indelible mark on both linguistics and pop culture for a long time to come. You don’t have to be a sci-fi fan to appreciate Klingon.

So until next time, stay safe, be kind to each other, and don’t forget to always say Q’Plah!

The Made-Up Language That Accidentally Became Real: The Story of Klingon syndicated from https://triviaqaweb.wordpress.com/feed/

[karisanoca2]

Research 3.6:  cartoon strips

Pedro León Zapata

(Wikipedia Contributors, 2020)

He is a Venezuelan cartoonist. He published for more than 25 years in Venezuela’s newspaper, El National. He was a well-rounded artist, but he will be always remembered as a master cartoonist. In the picture below is a mural in the middle of the capital done by tiles that describe the everyday life of the city mix with history. Venezuela is in one of the darkest moments in its political life as a country and Zapata represent the voice of the opposition. It is interesting that Zapata as well as Quino, criticise the elites, the power and give voice to the vulnerable (both of them portrait different aspects of poverty). Quino from the perspective of the left and Zapata from the perspective of the right (How curious).

(Wikipedia Contributors, 2020)

I revised his work in one of the previous courses but I think I should look at him again to see why he worked for me.

Style

Black and white: I do believe (and this is a matter of personal opinion) that his work was black and white because when he started colour was not a very economical choice. I do believe he might have chosen to add colour to his work today. His cartoon was only one frame with text. Normally a conversation or a sarcastic comment that summarises a complex political reality

Another characteristic of his work is his reference to 18-century Venezuelan history that is when Venezuela became an independent country, so you will find swords and famous political figures of the time like Simon Bolivar. All these elements are applied to contemporary reality.

by Zapata, 2001 ( I like the civil society... standing to attention and ready to obey orders (translated by Bolivar, 2018))

The cartoon above is one of his most famous cartoons and had been reprinted several times. He just draws a sword and added the comment “firme y a discrecion”. He highlights the desire of the government for a more compliant civil society. As Adriana Bolivar highlight, he criticises the militarization of the government in Venezuela.

By Zapata on El National

He did not have many characters much but Trinita, a frog dress like an 18-century military man are the only few. He normally did very unsettling faces and people very thin when he wanted to highlight poverty (also a very repetitive topic in his work)

Cartoon speech

Something important in the cartoon strips is the language, the games play with words and Zapata is a master of that. Agelvis suggested that the relation between the artwork and the text is symbiotic so no one is more prominent than the other. Agelvis, 2005 classified his work into a different type of language uses that I found incredible fascinated: When he uses phrases without changing them for creative processes but their meanings changes with the drawing. For example “dust you are and dust you will become“ but the context was a crisis in powder milk in Venezuela that leads to this cartoon.

zapata, 1986 by Agelvis, 2005

There is another example on the cartoon at the top “ I like the civil society... standing to attention and ready to obey orders” (translated by Bolivar, 2018) where part of the text is a pre-existing phrase in the army and another one is inserted. He also uses famous quotes or songs that are modified to deliver a different message (Agelvis, 2005) and (Bolivar, 2018) with a drawing that are combined together.

Summary

For the first time, I investigated how he uses language to create a connection with his cartoon and communicate a political idea. Orwell was most concerned about the uses of phrases to communicate ideas because “(it) is designed to make lies sound truthful and murder respectable” but Zapata used these already made phrases that are deeply invaded in the Venezuela subconscious to introduce a different idea, even putting the original idea in question. (This is my interpretation) Venezuela culture is full of phrases that are commonly use and I think this allows people who read the cartoon to connect with them easier manner without a much more complex drawing.

Bolivar, A. (2018). Political Discourse as Dialogue: A Latin American Perspective. New York: Routledge.

Wikipedia Contributors (2020). Pedro León Zapata. [online] Wikipedia. Available at: https://en.wikipedia.org/wiki/Pedro_Le%C3%B3n_Zapata [Accessed 5 May 2020].

Sánchez, V. (2015). RECOPILACIÓN: 20 CARICATURAS DE ZAPATA (1929-2015). Caracas. [online] Propuestas in consultas. Available at: https://sancheztaffurarquitecto.wordpress.com/2015/02/09/recopilacion-20-caricaturas-de-zapata-1929-2015-caracas/ [Accessed 5 May 2020].

Agelvis, V. (2005). Discurso visual y discurso verbal. PHD Thesis. p.178.

[mistye-dawne]

actually you know what? 1-54 lmao. (or just whatever ones you want to answer.)

This took way too long cause my niece has been a wiggleworm all morning and I’m up and down chasing her ever 5 mins lol.

1. Favorite place to write.There is a park about an hour away from me that I go to, if able, when I’ve got writer’s block. I’ll walk about a mile into the forest and sit by a creek that runs into the river. It’s a trip but is worth the effort when I just really need an isolated place to think.

2. Favorite part of writing.Character creation. Even in fanfiction, I always change up the background/personalities a little to add my own touch and present them in a new light. I also love learning and researching so I’ll just look up random things and see if I can’t design something or someone around an idea or belief.

3. Least favorite part of writing.Editing… moving on. I guess I should say editing my own work. Sometimes because I wasn’t the happiest with how a chapter turned out and sometimes because I really don’t feel like re-reading what I just wrote 3 times over only to read it again later and still find typos and parts that just don’t flow quite right.

4. Do you have writing habits or rituals?I have to be listening to something. Music, tv, the ambiance of a coffeeshop, etc. Unless I’m at my favorite place I can’t write in silence, but even there it isn’t quiet.

5. Books or authors that influenced your style the most.Toni Morrison morrison is the first name that pops into my head just because I re-read at least one of her books each month.

6. Favorite character you ever created.Childlike Evergreen for an idea that I’ve been playing with. She’s so cute and nothing like her character as an adult lol

7. Favorite author.Kristen Cashore, author of the Graceling series.

8. Favorite trope to write.

9. Least favorite trope to write.

10. Pick a writer to co-write a book with and tell us what you’d write about. 11. Describe your writing process from scratch to finish.1. Take pen and paper. Write everything that come to mind then end up trashing more than half of it.2. Write nothing but dialogue to go with everything written in step one.3. Combine both into a word document.4. Edit and make look pretty for others to enjoy.

That’s actually how I do it. I will plot out and idea with rough imcomplete details. If something need dialogue to get it moving a have a seperate journal that I write nothing but raw dialogue in. I color code everything so that it’s easy to reference back to and see what goes with what. Then I literally just splice the two parts together including every possible word before editing and cutting most of it out.

12. How do you deal with self-doubts? I’ll go through some of my older pieces that I’ve never published/shared and compare it to my current work. Idk, seeing how far i’ve improved always give me a boost in confidence.

13. How do you deal with writers block?First, I walk away from a project because trying to force something out can ruin a piece and just spend a little time each day writing something, anything, just so that I’m always keeping up with my practice. I’ll also read a bit more and get out of the house more often cause my writer’s block stems from cabin fever most of the time.

14. What’s the most research you ever put into a book?With my current piece that I’m writing. I took the idea of herbal medicine and looked up different plants what were used as medicines/ healing aids. Example: Belladonna, deadly nightshade, tincture was used to help aleviate thing like motionsickness, nausea, and even menstrual cramps. I thought it was interesting and since I was writng about dragon slayers and their perpetual uneasiness with transportaion, added into the story. In general though I always do a fair amount of research because I’ve not experienced all there is in the world and want to be able to make a connection with readers by presenting believable and accurate ideas.

15. Where does your inspiration come from?I’ve always felt more comfortable expressing myself through the written word and grew to love books and storytelling when I was little.

16. Where do you take your motivation from?Same as question 15?

17. On avarage, how much writing do you get done in a day?If I’m doing computer work, anywhere from 1500 to 2000 words. I could easily do more if I let myself, and I sometimes do, but I always walk away from it at some point during the day so as to not overexhert my hands since they already hurt my after a while of handwriting or typing.

18. What’s your revision or rewriting process like?For revisions, I can just cut and add in the document. If i doing a rewrite I will create a new document and write it side by side. I feel like i make more changes that way which is the point of rewrites.

19. First line of a WIP you’re working on.He wiped the sweat from his brow as he came upon her silhouetted form on the forest floor.

20. Post a snippet of a WIP you’re working on.“What is you plan to accomplish with this stupid ritual?”

“Oh, I don’ even know it’ll work. I just read about it thought maybe I’d give it a go if the opportunity presented itself. Your cerlestial mage appearing was just that.”

21. Post the last sentence you wrote in one of your WIP’s.Lucy had been so caught up in herself that she failed to asking how Bickslow was holding up. 22. How many drafts do you need until you’re satisfied and a project is ultimately done for you?Nothing is ultimately ever done for me. that’s propably why I’m still sitting on a collection of shortstories that I’d like to get published but haven’t yet.

23. Single or multi POV, and why?No preference. Both come fairly easy to me but I think that if done well, single POV provides the most entertainment.

24. Poetry or prose, and why?Prose. I’ve taken poetry classes and had to read said poetry in front of 100+ people in college. I still cringe when I tell that story…

25. Linear or non-linear, and why?

26. Standalone or series, and why?Standalone. I just can’t imagine writing multiple multichapter things centered around the same idea. Idk

27. Do you share rough drafts or do you wait until it’s all polished? 28. And who do you share them with?Rough drafts are for my eyes only. Occasionally a beta when I find the need but that’s rare.

29. Who do you write for?For the sole purpose of manipulating the emotions of readers. Basically, I like to write trash that’ll make people cry when it suits me. Nah, I write because my head is full of all sorts of ideas and I just have to get them on paper so to speak. Sharing my creative writing is something new for me but so far, I’m not regretting that choice.

30. Favorite line you’ve ever written.You showed me the world, then left.

31. Hardest character to write.Gray… never was a favorite of mine so I just can’t connect with him.

32. Easiest character to write.Lucy

33. Do you listen to music when you’re writing?Most of the time.

34. Handwritten notes or typed notes?Handwritten. I waste a lot of paper and wish that I didn’t but it’s just most comfortable for me to handwrite the roughest form then expand the ideas on the computer.

35. Tell some backstory details about one of your characters in your story ________.

36. A spoiler for story _________.

37. Most inspirational quote you’ve ever read or heard that’s still important to you.You aren’t the man who will make or break me. I have learned those men do not exist… I do not need you in my life. But I really, really want you in it

38. Have you shared your outline of your story ________ with someone? If so, what did they think of it?Meh, I’ll talk to my brother about ideas sometimes. He’s not a writer but he’s a good listener and is one of the few people that actually seem to enjoy it when I talk about writing with him.

39. Do you base your characters of real people or not? If so, tell us about one.I do and my favorite one is based off of my best friend from college. This girl and I met a week before classes began and she really like how my name was spelled. We hit it off from there. I’ve actually written a story based off of that first interaction between us. She’s a family woman and has such a passion for teaching english. She’s got an attitude and does what she wants, but she was the mom friend that i needed because I usually play mom for my other friends lol

40. Original Fiction or Fanfiction, and why?Both. All of my original works are based off of real stories from real people that I know. My fanfiction is where my creativity shines though especially when working with a universe like Fairy Tail.

41. How many stories do you work on at one time?However many that suits me. My exception to this rule is only 1 multichapter fic at a time due to how much time and research I invest into the piece. I’m also far more critical about editing chapter versus oneshots.

42. How do you figure out your characters looks, personality, etc.

43. Are you an avid reader?Yes. Reading is what makes the writer.

44. Best piece of feedback you’ve ever gotten.One semester I took a research class and had to design and conduct my methods and gather data. There was one part where we had to develop how we were to gather the data we sought and my instructor told me that it was hard for him to critique my methods because I had already done so in the proposal. I figure leaving a guy who writes for a living unable to write anything is a good thing lol

45. Worst piece of feedback you’ve ever gotten.Taking a creative writng class with people who don’t love writing as much as I do. To elaborate, we would be required to write something of our own creation and you could tell who loved writing based on the feedback they gave. I can’t begin to say how many people took to giving me grammar advice because they couldn’t think of anything to say about the content…

46. What would your story _______ look like as a tv show or movie?

47. Do you start with characters or plot when working on a new story?Characters.

48. Favorite genre to write in.Adventure/drama

49. What do you find the hardest to write in a story, the beginning, the middle or the end?Always the beginning.

50. Weirdest story idea you’ve ever had.Oh god. Please no. Umm when I was like 15 I started writng this story about elemental angels and they had to save the world or something like that. Idk, when I look back on it I think that it’s weird

51. Describe the aesthetic of your story _______ in 5 sentences or words.

52. How did writing change you?Writing has helped me to become more confident in myself and also helped me to cope and move forward from the abuse I lived through when I was little.

53. What does writing mean to you?Writing is literally what saved my life so it’s everything.

54. Any writing advice you want to share?Write. If it’s something you want to do then do it. You only get better the more you pratice it. If you don’t know what to write, try a word promt challenge and write about whatever comes to mind. Just let your ideas flow.

[esdeem]

Anchors, an Overwatch Fanfic

Okay, I’m going to preface this by saying I’ve not done much revision work at all on this, so I apologize for any egregious errors in grammar, characterization, lore or quantum mechanics. I felt really inspired so I just let it flow. I might pick at it a bit and post it a few other places.

It’s inspired by this amazing artwork here and I hope this little fic tribute does it justice. Also there’s not nearly enough Lena/Emily stuff out there and I’m hoping we get to see more of their relationship in the future, as I think it’s really cute. (And yes, I really do think the two of them would be big Disney nerds.)

Author rambling out of the way, here’s the story. I hope you like it!

-----

Winston stopped marking the passage of time in hours, day or weeks. Instead, he counted how many jars of peanut butter lay strewn across his desk, and how many white boards he'd filled with calculations. Presently, those numbers stood at fourteen and six. Soon, he'd have to start raiding other offices to keep up with the workload.

“You are working yourself toward an eventual sugar crash,” a voice called out from the computer speakers.

“I'll deal with that later, Athena.” Winston mumbled, chewing on the cap of the erasable marker in his hand. “I don't imagine anyone's come up with any major breakthroughs in the unified theory in the last few days, have they?”

“There are currently no new academic papers to that effect,” Athena replied. “There is a man in Wisconsin with some new ideas, but in my opinion they rely too heavily upon Doctor Who and the Terminator franchise.”

“Which ones?”

“Genisys.”

“Ugh.” He scribbled a few more calculations, though perhaps Athena had a point. The details of quantum chemistry had grown fuzzy, and he noticed with embarrassment that he'd assumed a superfluid in the current design behaved as a Bose-Einstein condensation, which of course was foolish. He erased the details with his forearm and grumbled. Literally back to the drawing board--

“Winston,” Athena interrupted. “You asked to be informed when Ms. Oxton reappeared--”

She didn't even finish, as Winston dropped the marker and bounded out the door, and down to the main lab floor.

* * *

The gorilla rested his hand on one fist, a brow arched high. “Really.”

“Cross my heart, love. Saw him pull it out of the stone and everything.”

“And they couldn't see you?”

“Think they were all a little distracted, what with the whole next King of England being chosen. Funny way to pick a king that, don't you think?”

“Lena, you know the whole King Arthur story was a myth, right?” Winston smirked. “And if he really existed, he wouldn't have been anything like the old stories.”

“Okay, fine, you got me. It was just a field again, nothing really happened.” She sighed, her shoulders slumping. “Y'know, a real friend would nod and smile.”

“I know, it's just... I keep hoping if I know when you're going, it would help me figure out a solution.”

“You don't want to hear it big guy, but maybe there's just... not a solution?”

“It's funny,” Winston said, ambling over closer to the containment field. “I seem to remember a member of Overwatch who believed in taking in a refugee from the moon and protected him from other people who claimed he was just a company asset. Someone who believed in his value, no matter what anyone else said.” He pushed his glasses back up and smiled. “You never gave up on me, Lena. I won't give up on you either.”

“Awww, you big lug. You're gonna make me cry.” She giggled, but then stood up and looked at a small table the others set up for her, where a simple picture frame sat. She remembered the day they took the photo, their first day in any of the six parks. The silver, geodesic  sphere behind them glowed in the Florida sun, but paled in comparison to the smile on the red haired woman's face. She'd dreamed of that vacation most of her life, and Lena hadn't told her until the day they boarded a plane for the United States. The trip had been almost perfect, save for the hurricane scare at the end. They'd not had a chance to see the Magic Kingdom itself, and to see the reveal of the majestic castle at its center. She promised to take them back one day....

She could close her eyes and see that smile, smell that perfume she always teased her about but secretly loved. If she tried, she could even remember the softness of her fingertips pressing against hers and the warmth of her embrace on a cold winter's day.

“You still don't want us to contact her?”

She reached for the frame, but her fingers passed through it. With a sigh, she reached into the pocket of her flight jacket, and her fingers closed across a small box, one of the few things she could still touch.

“She's better off not knowing about this, Winston. I'd rather she move on with her life, rather than keep holding out for a cure that might not happen.”

* * *

“It's safe?”

“Well, there's not really any guarantees, that's why they call the job test pilot, silly. But you know I've done a bunch of these already, right?”

“That,” Emily said, a crooked smile on her face, “Is a glorious attempt at sugar coating things.”

“I happen to know that someone likes their coffee with sugar and cream, so I tell her things the same way.”

Emily gave Lena's shoulder a playful shove. “You're terrible.”

“Guilty, but what does that say for you, then?”

“That I'm more attracted to your looks that your moral character?”

“How salacious!” Lena smirked, but then took hold of Emily's hands. “You know you're technically not supposed to know this, but if this works then we're going to save the lives of hundreds of pilots. And not just fighter pilots! Imagine if you put that in a commercial plane. They start to have engine trouble, they can just teleport it back to an airport for a safe landing.”

“Well then, Ms. Oxton,” Emily said, and squeezed her hands gently, “I shouldn't keep you from your mission to save the world.”

“Someone has to, right?” Lena reluctantly let go of her hands.“Oh, by the way? You might want to get dressed up while I'm off doing this. Someone might have scored reservations at Alain Ducasse at the Dorchester.”

Emily's eyes grew large. “You must really be expecting this test flight to go well.”

“Just a hunch, love.”

“I'll be ready,” she said, and let out a soft laugh. “I'm glad you told me, though. Usually you love springing things like that as a surprise.”

“Oh, maybe I'm turning over a new leaf.” Lena said, and pushed one hand into her pocket, and let her hand close around a small box inside. Silly Emily, to think she didn't have another surprise up her sleeve.

Emily had almost finished getting ready when Jack Morrison called with the news that the Slipstream vanished without a trace. And as the light swallowed the plane and its pilot, Lena Oxton's fingers closed around that same box as she apologized to Emily for missing their date.

* * *

“It's Higgs,” Winston announced. “Or more precisely, the Higgs Field. Whatever happens to Tracer during the accident, it prevents the bosons in her body from interacting with the Higgs Field. It's amazing, actually, because we had no idea that mass affected how we interact with time, and that does lead to some interesting implications for future research--”

“Winston? Focus.”

“Ahem, right. Sorry. We know how it happens, now we just have to figure out how to fix it.”

Angela Ziegler pressed a finger to her lips as she looked over the notes. Winston had done his best to simplify things, but the baffling world of quantum mechanics still provided a powerful obstacle. Lena Oxton's condition stood at a complex intersection of advanced biology and theoretical physics, and thus far attempts to combine the two fields proved frutiless.

To say nothing of the more practical concerns, which McCree once less than eloquently summed up as the pair discussed it with him in the room.

“Hard to give a shot to a ghost, ain't it?”

Dr. Ziegler still wasn't even sure how Lena had survived, since she'd not eaten anything in months. Perhaps the phenomenon that unmoored her from time halted the biological processes of her body. It made little sense, but to be fair nothing about this situation made any sense at all. She'd run a variety of simulations, but none of them came close to duplicating Lena's results.

And just like a shot, it wasn't as though she could take a sample of Lena's blood to study, either.

“If we could just bring her back in sync with our world, even for a moment...” she said aloud.

“I've tried a few different things,” Winston admitted. “But we never even know how long of an experimental window we have. She's vanished in mid conversation more often that not.” He jotted another formula on the board, stared at it a moment then marked it out hastily, growling.

“We have to be patient, Winston. If we give it enough time--”

With a roar, Winston punched the white board, sending it flying across the room. His skin started to turn red, electricity flaring around his eyes. “You know the numbers as well as I do! It's not predictable, but the mean amount of time she spends in our world is decreasing. If we don't hurry, she'll... she'll...”

Dr. Ziegler put an arm on his shoulder. “I know, Winston. And I know what she means to you. But your anger won't help her. Just... please calm down. We can't do this without you.”

Winston slowed his breathing, and slowly his skin started to return to normal. “I... I'm sorry. But we can't... I can't lose her.”

“I know. That's why you need to control yourself.”

The gorilla walked over to the white board and picked it up again. “I only wish Lena could control this, like the others can control their abilities.”

“Have you asked her to try?”

“Of course, but it doesn't work, at least not consistently. She's been able to phase in enough to move things just a little, but it never lasts.” Winston sighed. “Sometimes I wonder if McCree's right, and we shouldn't just call in a ghost researcher.”

“I don't know what's scarier, that you're considering ghost researchers legitimate scientists, or the fact the words 'McCree's right' just came out of your mouth.”

“It's not like we're having any better luck with our science.” Winston stared at the board again. “Of course, they'd say she was haunting this facility, or was even some kind of haunted thing.”

“There are haunted things?”

“Oh, all kinds of haunted items. Usually really old, and associated with some kind of tragedy in the past. Usually it's stuff like paintings or dresses. Oh, and dolls. Lots and lots of dolls.”

Dr. Ziegler said nothing, and Winston finally looked up to see the incredulous look she was giving him.

“Look, it gets really boring some nights here, and they play a lot of those shows at night,” he said. “But it's not like Lena's haunting us. She's very much alive, and it's not like she...”

Winston stopped speaking, the marker leaving a long streak on the white board. “That's it.”

Dr. Ziegler waited a moment to respond. “You need sleep, doctor's orders.”

“No no, I don't mean we call in the ghost people. But maybe that's what we've been missing.”

“What's that?”

“We've been focusing on curing Lena, and maybe she's right. Maybe that can't be done.” Winston wiped away the calculations and, instead of writing more, he started to sketch out a design. “But what if we didn't have to? What if, like a haunted object, there was something that kept Lena here? Like... a device that served as an anchor, pulling the Higgs field back toward her?”

“Then we could try to figure out a permanent cure.”

“There's just one problem,” he said. “I might be able to extend the field once it activated, but... she'd need to be wearing it first.”

“Which would require a greater control over her state than she currently possesses. I don't imagine you have any ideas on how to help her do that?”

Winston stared at the sketch and tapped the marker against the board. He turned to the side, lost in thought. As fate would have it, he found himself looking at a picture he and Lena had taken together, one that always stood next to his work station. Slowly, a smile passed over his face.

“You know why all those silly shows about ghosts said that some people stayed behind to haunt things?”

“I can't believe we're having this conversation, but why?”

“Because they had a reason to stay.”

It took her a moment, but once Dr. Ziegler understood, she smiled as well. They had a second, more important anchor after all.

* * *

When she was eight years old, Lena broke her left leg and right foot leaping from the top of a playground slide pretending she was a super hero. It happened only a day after the end of her summer term, and she spent her entire summer holiday between her bed and the sofa in the living room while she could hear the laughter and excitement from her friends outside. She longed to escape the house and rejoin them, but her parents said in no uncertain terms that super hero games would be off limits when she did.

Well, they said no playing but they never said no dreaming. Armed with notebook, pencil and pen she started to document her adventures as a super hero that could do a whole lot more than jump off playground equipment. In her version of things, Lena could copy the powers of other heroes by touching them. Really, it just gave her an excuse to use whatever power struck her fancy in the moment. She never gave the hero a name, until a friend visited and saw a drawing she copied from one of the books.

“That's not really yours,” they teased. “You just traced it.”

“What's wrong with being a tracer?”

The name stuck, and Tracer even became her call sign as a test pilot.

Those memories came back to Lena often since the accident, since both times she found herself unable to do much. Sometimes she'd reappear in the dead of night and beg Athena not to wake anyone, since she might vanish. She rarely found herself anywhere interesting during her time jumps, and never stayed there long enough to even see much, let alone start a decent conversation. Maybe she didn't have a notebook to record it all, but she could still dream.

Of course, a lot of her dreams dealt with food. Instead of rushing into a burning building to save the day, Lena imagined dropping off by the pub for a quick drink or a favorite spot for a bite to eat. Today, she went back to an old favorite. She used to stop by her favorite chippy at least once a week, where they always fried the fish while you waited. Little spots of oil singed your fingertips even through the paper. Then we went to the condiment stand, where she added the right amount of malt vinegar... or as her friends put it, “nearly drowned everything in it”. The aroma of the beer batter mingled with the tang of the vinegar.. it made Lena's mouth water just thinking about it.

She'd been just about to bite into the imaginary plank of fish when footsteps echoed from behind her. With a soft sigh, she stood up. “Can't a girl have just a few minutes to dream before you start running more tests?”

“...Lena?”

She froze.

“Lena, is that really you?”

Her fists balled up, and she drew in a halting breath. For the first time since the accident she felt afraid, and it kept her from turning around or even looking over her shoulder. The uncertain future, the increasing doubts of Winston and Dr. Ziegler, even the days when hope all but faded away, she could handle that. But seeing a look of pain on her face, knowing something she'd done brought tears to that beautiful face...

“You can hear me, can't you?”

It still took her a minute to find her voice. “You're still wearing that awful perfume, aren't you?”

“The one you gave me a bottle of for Christmas last year? Of course.”

“Only because you like the stuff, and I was daft enough to support you.” The silence hung between them a moment. “I didn't want you to see me like this, Em.”

“Your doctor explained it to me,” Emily said. “I don't understand it completely, but... I'm here now.”

“Truth is, I really hoped you'd get on with your life. Forget about me, move forward, maybe even start dating again and find someone a bit more normal. I can handle this burden, but I... I wanted you to be happy.”

“Happy.” Emily's voice drew closer. “I thought I knew what that meant, but then I met you. Hearing you giggle at my silly jokes, or make fun of how my hair looked in the morning, or hugging me after a long day at the office. Lena, it's hard to move on with my life when you are my life.”

“Em...” She still couldn't bring herself to turn around.

“You remember how you always made me a cake from scratch for my birthday, and insisted on putting the candles on it? I hadn't done that since I was a little girl, but you always made me blow out the candles and make a wish before I could eat it? That's what you brought me. You made me realize how special, how magical life really is. I did it again this year, and I made a wish again. You know what I wished for?”

“You know if you tell me--”

“I know, but I'll give you a hint,” Emily said, her voice starting to waver. “You just need to turn around.”

Dammit. Lena looked to the ground and closed her eyes, then slowly turned to face her. With a deep breath to steel herself, she opened her eyes once more. To her surprise, Emily wore a beautiful emerald green dress, her red hair cascading around her shoulders. And while her cheeks shone with tears, there wasn't a hint of pain on her face. Instead, she rewarded Lena with that perfect smile, the one she dreamed about seeing so often.

“See? You just made it come true.”

“You look amazing.”

“You think so?” A flush of red splashed across her cheeks. “It's... what I was going to wear that night.”

“And suddenly, I'm even more upset about the accident.” She giggled, and even drew a small chuckle from Emily as well. “I've missed you.”

“It's really quiet without you around. Believe it or not, I'm starting to hate it.”

“You might regret saying that some day.”

“If I'm lucky.” Emily reached a hand out.

“You can't actually touch me, you know.”

“I know, but someone taught me that it's okay to just dream sometimes.”

Lena lifted her hand. Truth be told, she dreamed of this often as well. She missed the little things, like just walking down the street with their hands locked together. Like the rest of her, her fingers had taken on a blueish glow, translucent enough to just see Emily's fingers through her own. They drew closer together, as she tried to stop just enough to make certain Emily's hand didn't pass through hers, to provide a stark reminder of how desperate her situation truly was. Closer, closer...

They touched.

...they touched.

Emily's fingertips pressed gently against hers, and the glow faded. She trailed her fingers down Emily's, to her palm. Wrapping her hand around hers, she gave it a gentle squeeze.

“I'm back,” Lena whispered. “You brought me back.”

Somehow, Emily's smile grew even more radiant than before. “See? I told you I wasn't going to let go of you so easily.”

With one swift motion, Lena drew close and pulled Emily into a tight hug. Both women started to sob as they held the embrace, Lena's head resting on her shoulder as she cried. After a moment, Lena lifted her head up and whispered into her ear.

“There's something I need to tell you,” she said.

“I'm not going anywhere.”

“This is hard to admit, but...” Lena bit her lip. “It was a box mix. Every year. I'm a lousy cook.”

Emily kissed her cheek. “I think I might be able to forgive you.”

* * *

“We can make adjustments as needed,” Winston said as Lena pulled at one of the straps that held the bulky contraption in place. “After it activates, the field generator will route the bosons in your body to the local portion of the Higgs field. I call it a chronal accelerator because--”

“Winston, love, I know you find all this really amazing,” she said. “But you lost me way back at 'It's simple physics'. Pretty much, I turn on the Matrix of Leadership here and I'm anchored back in the real world full time?”

“Yes, and there might be some interesting applications we can test down the line. More importantly, after it's been activated you won't have to wear it all the time. As long as you're in close proximity to the device and it still has power, you'll remain connected to our time.”

“Good thing, that. Would've made showers and changing clothes really awkward.”

“I did make it waterproof,” Winston said and pushed his glasses up with one finger. “I know how much it rains in London, after all.”

“Well, guess we'll give this thing a shot.”

“You'll probably want Emily in here with you,” Winston said, and glanced back to the lab's control room. “I should--”

“Stay here. You're as much a part of this as anyone.”

“She doesn't know about me yet, Lena. She'll think I'm like the others, and be afraid...”

“And then she'll get to know you, and love you like the rest of us do.”

“Like Reyes?”

“Difference is, Emily's not a raging asshole.”

“Point taken. I just, um, don't want to ruin the moment.”

“Okay, let me put it another way,” Lena said and jabbed a finger into Winston's chest. “If you so much as think about hiding in that control room, I will kick your butt.”

He sighed and took a few steps back. “Fine.” He pressed a button on his wrist comm. “Dr. Ziegler, we're ready to activate the accelerator. If you'd sent Emily in please.”

It took only a minute for Emily to make her way into the lab. She walked over to Lena, but stopped in her tracks when she saw the massive form of Winston standing across from them. She stared, and Winston could only manage a weak wave.

“Uh, hello. I'm Winston.”

Emily finally turned away from him, and to Lena. “Amazing. You weren't lying about the gorilla scientist.”

“Wait, you told her about me?”

“Before the accident even. Oops.”

“You are a walking security risk.”

“Guilty.” Inhaling sharply, she looked down at the chronal accelerator. “So, shall we turn this thing on?”

“If you're ready.”

She grabbed Emily's hands and gently squeezed them, giving her a kiss on the cheek. “Now I'm ready.”

“You should take a few steps back, miss,” Winston warned.

Emily nodded and walked beside him. Lena pressed the buttons in the sequence Winston told her, and the center of the accelerator sparked to life with a faint blue glow. Seconds later, she felt a strange wave pulse through her body. At first, everything around her seemed to move it slow motion, then sped up even faster than normal. After a few more seconds, a pulse from the accelerator bathed the room in blue light. Lena looked at the device, then to Emily and Winston. The gorilla moved to a nearby terminal and started hitting buttons.

“Am I supposed to feel any different?”

“I don't know, but all the readouts seem good. Did you experience anything strange when you turned it on.”

“Like the real world acting like I hit rewind and fast forward on a movie?”

Winston grinned. “The blink and recall functions worked at start up! You're going to like those, but we can talk about them later. Now that you're stable, I'm sure Dr. Ziegler will want to run a few tests. You might have to follow her around, since your blood will be just as unstable as the rest of her, but it shouldn't take too long.”

“Fine, but first things first.” She threw her arms open. “Hug time!”

Emily ran over and fell into her arms. Winston turned away to give them privacy.

A second later, he heard Lena clear her throat. “Winston?”

He turned to see both Lena and Emily with their arms stretched out to him.

“Huh?”

“You're the one who brought her back,” Emily said. “So you're a part of this hug too.”

“But I--”

“You're my best friend, you big lug. So get over here before I drag you into it.”

With a smile, he walked over and gently wrapped his arms around the two. It would be the first of many he'd share with his new family.

* * *

She'd booked the trip only a week after the accelerator tests proved successful, though this time she let Emily in on their plans a little sooner.

“I decided maybe Ducasse wasn't really our speed,” she said as she showed Emily the plane tickets to Orlando.

“Not surprising me this time? You're losing your touch, Ms. Oxton.”

Silly Emily, underestimating her like that.

Getting her out of bed that morning proved the most daunting challenge, as Emily hit the snooze button at least five times before Lena finally gave up and pushed her off the side of the bed. A few beignets from the food court bought her forgiveness. Emily didn't even bat an eye as a private town car pulled up in front of their hotel and whisked them away to the park, long before the gates opened to the public.

“Commander Morrison knows some people,” Lena said, and Emily accepted it without question.

Save a few cast members, it was empty as they walked down through the gates and turned the corner. Lena didn't take her eyes off Emily's face as the castle revealed itself in the distance, framed by the shops of Main Street. Lena squeezed her hand softly.

“What do you think?”

“It's amazing!”

“We should get a picture, shouldn't we?” Lena said, and winked to the photographer behind her.

“Oh, of course!”

She never saw it coming, maybe because Lena just hugged her for the first two pictures. The photographer directed them for the next show, getting Emily in just the right position.

“And Ms. Oxton, I think you know your pose.”

She reached into her pocket, for the box she'd held onto since the day of the accident. She pulled it out just as she dropped to one knee and opened it to reveal the ring inside.

“Surprise,” she said with a sheepish grin.

The next picture was Emily answering that question with a kiss.