#me rereading some limited world events: hmm

[isekyaaa]

Inazuma and Sumeru have such huge problems, Liyue is dealing with their loss of a god, and then there's Mondstadt whose biggest social problem is alcoholism.

[twixtandshout]

Tagged by @pidgeonpostal! And not tagging anyone else because I have SOILED the original template (soiled it!!) in deference to my [brushes off skirt] mostly clean public-facing appearance.

...I’ve been making a lot of Spongebob memes lately for someone who has not seen Spongebob.

How many works do you have on AO3?

71!

What’s your total AO3 wordcount?

...306,834. Jesus.

How many fandoms have you written for and what are they?

Uh. Many! I do a lot of one-offs (and/or start long things I never finish) in many different places. My top three fandoms by fics written are RWBY (29), Undertale (25), Gravity Falls/Transcendence AU (4).

Bet you can’t tell where my hyperfixations have fallen. 

I’ve also got some Pokémon and Sonic the Hedgehog fics back on my ff.net account, or I think I still do, anyway, but let’s never go back there pls

What are your top 5 fics by kudos?

1. Sweeter Than Honey (Undertale): Taking a Completely unsurprising first place, with over 600 more kudos than the runner-up, the haphazard Underswap fic featuring a post-college self-insert I wrote just after high school! I shake my head some at how overblown and ridiculous the gap between this and all my other stuff is (c’mon, guys, I’ve written way better fics), but this is also the fic which prompted me (and at least one other person!) to start using they/them pronouns. I’ve gotten a lot of really sweet comments about how seen and appreciated it’s made people feel, so I can’t get down too far about it.

2. To Be A Hero (BNHA): I don’t count myself as part of the BNHA fandom, for a number of reasons, but for something that’s arguably the main motivation for the entire plot, Midoriya’s quirklessness is something I’ve never thought has been handled well. This fic marked the first time I (somewhat tentatively) claimed the disability label (thanks again to Sweeter Than for prompting that realization) to hold that lens over canon. It also really shot up my chart, dang! It’s the only thing here I’d consider “recent.”

3. Three-Sentence Shipping (Undertale): Self-explanatory.

4. Brothers Beyond Bonedaries (Undertale): Ah, the way-overcomplicated AU³ I got nowhere close to finishing. One of the things I really like about Undertale is the interface screw, how Toby Fox uses the medium of the video game to pull off crazy things and enhance his game, but most of the fic written for the fandom seems dedicated to explaining it away, grounding it, rather than taking it to the next step and messing with the medium of fanfiction when you keep the story going. I tried to do something cool like that here, playing with questions like narrator and authorship and breaking the fourth wall, even taking the “final boss” fight to a “totally separate” fic reached through the first by link – but, well, then I never finished it, which probably didn’t make anything less confusing for the poor folks who missed the intent.

5. Spirit and Such (Gravity Falls: Transcendence AU): A whole fic written to line out a particular image I had, which, naturally, never made it to the page. I consider it a bit of a cautionary tale for myself when it comes to writing (near-)original content; there’s a lot I look back on and cringe. I still love the characters, though – well, the important ones – and I think just stepping away from the tried-and-true Mizar formula nets it a star sticker here.

Do you respond to comments, why or why not?

>w>; I try, but a lot of the time I just don’t have anything to say? Like, oh, you liked it? Neat. There’s not much to respond to in comments like that, and then I’m weighing falling down on an ~obligation~ to respond to every message in my inbox vs annoying people with copy-paste fluff responses all down the page. Plus I know I make more of an effort to comment on things that didn’t get the attention I feel they deserve, so if I’m driving up my own comment count with nonsense, am I preventing myself from being in a position to receive more comments later? And then if I do comment, am I being too effusive or running people’s ears off explaining things they don’t actually need to know? Sometimes people just want to express interest or admiration and don’t necessarily want a whole peek and guided tour behind the curtain.

Can you tell I have anxiety? x3;

Anyway, I do respond when I can. And I keep most of the comments I’ve gotten to go back and reread. 

What’s the fic you’ve written with the angstiest ending?

Hm, hmm. Lots of stuff in the TQ Nonsense series would probably qualify! I’m thinking of Unfixable, Wolfsong, and Ethanol. And there’s Bursting Through A Blood-Red Sky (I Can Live, I Can Breathe), of course, but that was always intended to have a fix-it epilogue. It’s just that I wrote it in a couple of hours day-of, stared at it, and decided I didn’t wanna just then. But now that’s As Long As You’re Still Burning Bright (I’m Still Awake), and that’s probably the best romance I’ve written, so that one worked out.

Do you write crossovers? If so what is the craziest one you’ve ever written?

Now and then! When the urge strikes. Uhhh, I’ve got a series of Doctor Who x Undertale crossovers I actually made a whole dang verse for that never made it to print. Get a couple great comments on that every few months or so. I think the World Trigger x Undertale crossover is probably weirder, though, by virtue of WT being a very small fandom. My enthusiasm kinda sputtered out on that one.

Mostly I just daydream crossovers with whatever happens to catch my eye at any given moment. I have a lot!!!! Though odds are out on whether I manage to remember any of them once the initial thought’s passed, lol.

Have you ever received hate on a fic?

Gotten a couple eyebrow-raising comments, but I think mostly I’m just too small a writer to draw that kind of attention.

Have you ever had a fic stolen?

I don’t? think so? Think my tastes are a little niche for most people to bother ^^;

Have you ever had a fic translated?

I had someone apologize once for any language mistakes in their comment cause they had to run it through a translator! That’s not what you asked (the answer is no), but it’s very flattering to think that someone liked my fic enough to read and comment despite the language barrier.

Have you ever co-written a fic before?

Yes! :D @pidgeonpostal was gracious enough to agree to co-write Five Nights at Denny’s with me off an idea about shoes. This has fulfilled a long-held dream of mine (collabing with someone, not the shoes) and also introduced me to some lovely people.

What’s your all time favorite ship?

Who has time for just one? ;3c Honestly, I care more about the characters and how the relationship – any relationship – between them changes them than I do about ~A Ship~ as a solid, bounded noun-object. I’ve got characters I like more and less and feelings about who does and doesn’t have chemistry in which directions with whom, but finding anything that agrees with those preferences is hard, harder when you take alloromanticism into account. I’ll play in any sandbox with cool toys, especially if other folks have already built sick sandcastles there.

What’s a WIP that you want to finish but don’t think you ever will?

[kicks every single unfinished fic further under the bed] What nooo no WIPs here, everything on my account is either finished or does not exist

I’ve got a couple extra chapters of Sweeter Than floating around unposted, but 1. that fic’s a mess 2. high school Twixt and post-college Twixt are different people and trying to contort myself into three other me-shapes just cause people Like this fic is not something I’m super interested in 3. it’s headed for an emotional dip and I’d rather leave it where it is than post two chapters, stall out again, and leave folks with a bad end.

As for other fics... it’s looking more and more likely that v7 of my Yellow Brick Road AU will never actually make it out. >w>; I’ve got some really great ideas, but not enough to make me feel like I know what I’m doing, and that’s a big roadblock. Plus trying to engage with RT’s Atlas-Mantle worldbuilding in any serious capacity is... a headache. I can’t recommend the Happy Huntress Cinematic Universe enough, but it leaves some pretty big shoes to follow! And I’ve got small feet. <w<;

What are your writing strengths?

Dialogue’s fun, probably as an extension of characterization. I love tearing into what makes people tick, especially against the backdrop of their environment, the story they’re in, and the people they’re up against. Voice is a double-edged sword; I’ve been told my writing is really recognizable and individual, but on the other hand, I’ve been growing frustrated with with the limits of my narrative ability. There’s a strong rhythm I keep when I write (you might notice it here, even) but that leaves me feeling predictable and stale. I’m not sure I’m great at setting as a matter of course, but I’m pretty good at describing setpieces where the need comes up; that comes from my background in poetry, as does the fun I have with sublimating and abstracting complex imagery. And I think I bring some needed nuance to the universal. For good or ill, I don’t do what “everyone else” is doing.

What are your writing weaknesses?

Well, writing, for one thing. If I don’t know how something’s going to go and don’t have the urge to write it, it isn’t getting done, which means there’s a billion things that will never see the page and a few hundred more that are never getting finished. I lose momentum easily and have a hard time getting started, and I put way too much standing on finding a foothold with other people; as critical as I am of my work, I have high expectations for the stuff that passes muster, and it never seems to measure up. I’m also really uncreative. Yeah, I can mix up elements and extrapolate events, but coming up with things wholesale is really hard, which is why I avoid it wherever possible and steal/reskin stuff from other places instead.

What are your thoughts on writing dialogue in other languages in a fic?

Something along the lines of “Hoo boy, I am Not qualified for this but hopefully it’s decent anyway.” Maria’s Spanish lines haven’t been a big deal – I’ve used it sparingly and, as a Latin language, it should be easy for English-speaking audiences to pick up on the gist – but I’ve had a harder time with Tai’s Chinese, both because I have Even Less background there and because it is, of course, an entirely different language system. If I write it out in English or Romanized italics, am I colonizing it or changing the meaning? If I write it out in the presumed-original characters (presumed because it’s Google Translate and who knows if I’m even barking in the right forest), am I confusing or alienating my presumed-majority-English-speaking audience? Where should I put the translations? Should I put the translations? And for Frisk’s sign language, thinking back, are the brackets I used instead of quotes alienating/infantilizing? I like that different characters give the text between a different feel, but I’m not an ASL speaker – and I’m pretty sure the word is “speaker,” which would only reinforce that that demographic would rather I didn’t do that. It’s important for all these characters, I think, that they use non-English language where it makes sense; it’s part of who they are. But as a white monolingual English-speaker, I don’t think I can really weigh in.

What was the first fandom you ever wrote for?

Thaaaat’d be Pokémon, followed closely with Sonic the Hedgehog. Whether those fics are still on my ff.net account or not (pretty sure I’ve purged them, but you never know) I’ve still got a couple saved to a folder on my current laptop, ostensibly so I can look back and see how far I’ve come and more practically to allow for the possibility of furthering group cohesion through public shaming.

What’s your favorite fic you’ve written?

I still like the idea behind The Man Who Is Atlas, and Burning Bright (Still Awake) gets props for being my current fic, though it’s currently in that spot where I’m excited to get new chapters posted but also quietly marking everything up in red pen. I think Harbinger gets the crown here, at least for now.

[quintessence-sentimentalist]

quintessence-sentimentalist Takes on 30 Days of W.i.t.c.h.versary!: Week Two

Another week, another seven days of WITCHversary! Days 8-14 below the cut!

Day 8 Favorite extra/special

If I’ve read all or most of the specials, I can only remember like three of them... That said, of those three I have to go with W.i.t.c.h. On Stage. 

The artwork... isn’t my favorite, and my judgment is it takes place on the cusp between the Ragorlang and New Power arcs (or New Power and... whichever one comes next), which is a time period I largely ignore, but what can I say, it’s a fun special! I’m such a sucker for “let’s talk about our adventures in the form of a fictional story” narratives (part of why I love Will’s potential future as a writer in issue 50), so this special really hit on that with the girls creating a play about being Guardians. Even more fun is the existence of M.A.G.I.C. to be their stars, although it still would have been fun to see the girls play a fictionalized version of themselves.

But most of all, this special has a [ahem] special place in my heart because this was how I discovered that there were more issues after the Ragorlang arc ended the English translations. Even though, again, I largely ignore everything that happened after that arc, it was still such an exciting time to find out that my girls still had many many more adventures after things seemingly ended.

Day 9 Favorite Guardian uniform

Ok, I’m doing Top 3 (in no particular order) because this is difficult and my favorites are favorites for different reasons.

1) Will, classic Guardian design: This is absolutely where my obsession with bell sleeves began. Also really loved those boots. I generally preferred the uniform tops to be purple and the bottoms green, so this worked for me on multiple levels. Will’s was the uniform I would totally wear myself (sporty but still with some fun, girly aspects via the sleeves), so I’ve always adored it. I don’t particularly like how New Power updated it (with the exception of the long fingerless gloves), so this is my preference for Will.

2) Cornelia, classic Guardian design: I’m in love with that off-the-shoulder neckline and the pointy sleeve hem and that long, elegant skirt. Might not be the most practical design for fighting, but it’s just so pretty that I love it regardless.

3) Hay Lin, New Power: Vast improvement over the classic design (which was cute but, well, threadbare) while still capturing its essence and Hay’s as well (all the ribbons). I also adore Hay’s buns and the rest of the hair hanging free - the change from the pigtails really made it hit home that these girls have evolved and grown up (granted, not that the narrative will let them age) over the course of the series.

Day 10 Favorite world/planet

Hmm, well, at the risk of sounding boring, I still think I’m going with Earth. I do love the design and bits of world-building we get from the other worlds (primarily with Meridian), but I appreciate how the girls’ home was developed, considering quite a bit of action still happened there.

I enjoy how Heatherfield is still something of a larger city, but also has a... not necessarily small-town feel, but I guess more like a college town or a neighborhood off of a major city. Like you still get the city experience, but there are also cozy local hangouts that’ll become your usual haunts. There’s the diner, and the dance school, and the old bookstore... maybe I’ve just lived in a few too many of these types of places myself (where I can walk into one of my favorite little shops and the cashier recognizes me immediately), but that’s the vibe I get. Plus, Heatherfield is home to a few eclectic non-magical characters who largely make up the supporting cast, so that’s fun as well.

And it’s not just Heatherfield I like. Redstone was a cool change of pace, sending some of the girls to the other side of the world and to what I still think is an awesome campus. I also liked that we got at least a glimpse at/general idea of Fadden Hills with the visits to Kadma and the Year Before special, instead of just leaving it as mere spoken reference to Will’s old home. We even get to see Open Hill after Eric moves, so I think it’s pretty cool that things on Earth aren’t just limited to the girls’ hometown like it’s the only city that exists. 

Day 11 Something awesome

Oh, I’m so tempted to do another Top Three/Top Five, but most of the ones I’d cover I’ve either already reblogged from someone else (i.e. the comic transformation sequences, the final battle in Z is for Zenith, etc.) or waxed poetic about before (*cough* everything about animated Shagon). So I’m just going to go with the top most awesome thing I have in mind.

Listen. “We Are W.i.t.c.h.” is still by far the most played song in my music library. The first time I heard the full version waaaaayyy back when was on Radio Disney during a weird hour of the day, and from then on I had the radio on every moment I could so I could catch it again. (I never did, not until I got the CD.) I still get chills and a major throwback whenever I watch the US opening sequence. Long story short, I couldn’t ask for a more kickass theme song.

Day 12 Something that made you cry

It takes some effort to make me cry (or I’ll cry at the most unexpected things), so I’m not sure anything has actually made me burst out in physical tears. But here are a few things that just get me in the heart:

1) Dormouse’s death: In the retrospect of having lost a beloved pet over the last few years, this one is more painful than I can say. Especially so when you think about it and how it was basically used as tragedy fodder after things finally start looking up for Will. (Her father’s dropped the custody case! Things are actually alright with her mom for once! They’re going for a walk to celebrate! Really, can the poor girl’s happiness last for more than two seconds???) The US English translations (via the chapter books) ended with issue/book 26, and this event is omitted entirely, with the story ending on the happy note of Thomas dropping the case and then the back-end comic excerpts being replaced by a scrapbook-like section of the girls’ adventures.

2) Cedric’s death: At least this tragedy had some sort of impact on the narrative rather than just being senseless, but it’s still painful and some of the effects of his death (read: the writing-out of Orube) are uncalled for and hurt equally as much. 

3) That first reunion with Yan Lin in Kandrakar: Tears. Happy tears, but oh so many of them.

Day 13 Something heartwarming

Hrm, that’s a tough one. My immediate thought is “everything about animated Will/Matt,” but let’s go for some new material from me for once.

Oooh! My second thought was the issue about Anna Lair and her old friends and how she came to be in Irma’s life. We don’t often have focus on the girls’ parents and who they are outside of their daughters, and Anna is fascinating because we don’t even find out until issue 25 that - despite their near-identical appearances - she’s Irma’s step-mother and not her biological mother. That reveal is dropped in as hurtful words in an argument, and this detail is pretty much forgotten for three story arcs, until we finally get this issue on Anna’s past.

It’s heartwarming to me because it hits on so many tropes I love: (flashback) focus on a minor character, a different character (in this case, Irma) bringing back around something meaningful from the focus character’s past (fulfilling the pact Anna made with her two friends and reuniting them at the beach all these years later), and a tie-in to the main plotline via the W.i.t.c.h. girls promising that - should life take them in different directions - they’ll one day meet again in Heatherfield.

And now I really want to reread this issue, it’s one of my favorite standalones...

Day 14 Something that irks you

I think we’re all in agreement when I say this, but New Power Matt is the woooooorst. And I’m just going to leave it at that because I have tried to block it from my mind as much as possible, and if I start dredging things up and talking about it we will be here for a while.

Okay, maybe just a little bit...

It just makes no sense!!!! If they framed it like Matt’s memories of Kandrakar had been sealed the whole time or he was an emissary who’d been reincarnated as a normal Earth human, and he only got his true memories back “when the time was right,” that would at least explain some things! Like yeah, his behavior would still be downright dickish, but at least I could spin him as a more sympathetic character - one struggling with who he has been and who he used to be/now is again, and that’s why he’s behaving so erratically. (This is my area of expertise when it comes to fic. I could easily and enjoyably pick apart New Power Matt’s mind if we had this for context.)

But noooooo, we’re told that he’s known about Kandrakar the entire damn time, and he just... what, flat-out lied to Will and pretended to be surprised about everything related to Guardianship? Way to make both Will and the readers feel like fools. If this the story we’re supposed to believe, was comics Will/Matt a sham this whole time, just New Power Matt trying to weasel his way into the Guardians’ inner circle until he can finally play his true role? Ugh.

Like seriously, screw this entire plot point and just give me that New Power Eric idea I had a while back that actually made sense and would have worked so much better.

[kierongillen]

Writer Notes: The Wicked + the Divine 39

Spoilers, obv.

And we collapse forward on the keyboard and twitch a while. This has been nightmarishly hard. I suspect the last arc will be hard (as nothing in WicDiv is easy) but the things we were juggling here were something else.

Before we dive in, some top-level thinking. The advantage of the way WicDiv is constructed is that we know what we're doing. A friend was just rereading the first arc, and noted how certain elements and approaches simply changed as the tone of the book solidified – while also noting that every direction we did take was there from the off. We knew the What We Were Doing but not always the specific How.

(Not least, as I was a hot mess in 2014. I'm amazed the WicDiv scripts weren't just bahsjasjfaglagsfk.)

But the problem with knowing the direction of the book is you're tied to ideas you may wish you hadn't put in play. Because a five year book is enough time to change significantly in what you consider a good idea or not – and even if you still think it's a good idea in the abstract, it doesn't mean it's an idea you would necessarily want to do any more.

At this point, there's various things flying around. Firstly, Laura has rejected her godhood. That's great. That's clearly the arc of the book. Secondly, Ananke is running her own eternal scheme with its eternal rules. I don't think it's a spoiler to say that Ananke (and I'm using “Ananke” for “Ananke and Minerva” here) is significantly deceiving people on some key matters, and using the holes in their knowledge to her advantage. At this point in the story the same thing happens to her. We see that her own perception is also incomplete.

So – what's the thing she's missing?

I fell upon Maiden/Mother/Crone as a structure to create a relationship between Ananke/Persephone/Minerva. What action would Ananke buy?

It has to be archetypal and mythic. Cheaty postmodernism doesn't work. Myth is brutal and basic and ugly and wrong.

So – if the Mother archetype has a child, Ananke's doomed forever. It breaks the little eternal circle and Ananke thinks herself trapped in that sensory void forever.

There's nothing in the above specifically and individually which worries me too much. It's how they intersect with the rest of the plot, and how we can chart a line between them all without saying anything we don't want to say, or without causing undue emotional distress in a way we're uncomfortable with.

We end up with our solution, which is merely our best solution, which means it's far from perfect. We do as much as we can, and try and touch on stuff as gently as we can to avoid any fair misreading of the story. Even so, there's resonances in there I dislike.

There's a sentence that is said all the time in writing room situations: “This is the bad version.” It's said when people are brainstorming, and asking the audience to know this isn't good, but they are good enough writers to make it better – it's just a structure of the sort of things that the narrative could delineate.

It's easy to imagine The Bad Version of this plot. Laura finding out she has to have a kid to save the world! Baal and Baphomet fighting over who's the father! An issue cliffhanger where you think Laura's own choice has doomed the world! I shudder. Like, someone with a different aesthetic to me would have done all of the above.

Instead, what we try to do is what we have to do to make the story work, and do it in the safest way possible. It's the guiding aesthetic of most of this issue, in terms of separating the two key threads – namely not confusing Laura's choice to have an abortion and Laura's choice to reject godhood.

But still – I spent four years trying to think of something that Ananke would buy, based on our implicit story, which wasn't this, and failed. I'd rather not have gone this way. I'm happy with the issue, but it was a heartbreaking amount of work as I take all of this intensely seriously.

So, to return to the opening, the problem with being as structured as WicDiv is means that you are tied to decisions you made years ago, without which the story simply breaks.

DIE (aka Project Spangly New Thing) rejects this kind of plotting. It's just as messy emotionally as WicDiv (hell, even more so) but leaves the characters a lot more narrative freedom. I'd have done it anyway (because I hate to repeat myself) but the experience on arcs like this certainly feeds into it.

Anyway – I'll be talking some specifics in this as we go through, as I suspect it may be useful for people thinking about the impact of choices.

Jamie's Cover: Ananke in her cavewoman chic. That means 2 “persephone”, 2 “minerva” and 2 “Ananke” covers for this arc. The symmetry seems fun.

Phil Jimenez's Cover: I first saw Phil's work in his pop-thrill issues of The Invisibles, an obviously influential work on yours truly. We worked together on Angela: Asgard's Assassin together, which was a thrill, and this glam-metal take on her. He's also very lovely. As such, Minerva in full-on catwalk mode is a great take. I love these kind of maximalist high-thrill ones. And LIZ's ‘When I rule the world’ has just come on my WicDiv shuffle at this point, which seems appropriate for Minerva stomping down a lightning-catwalk. Also, Dee Cunniffe (who has flatted nearly all of WicDiv) provides colours. Nice work, Dee.

Page 1-2

Black spaces. Like the opening of the arc – C's idea, I believe. Also, ensuring we get our page turns right. We dropped the recap for once. Normally we'd drop it in the mid-point of the issue instead of the first interstitial, but it would have broken the space.

Obviously mirroring the start of this arc.

The first obvious bit of delineation: this is ten days after the end of last issue. Laura stopped being Persephone 10 days ago. As such, anything that happens now is not connected to that.

The biggest reading we wanted to avoid: “Laura's abortion is the ritual by which she rejects and escapes the Persephone-Mother archetype”. Especially if people, either pro or anti choice, could make an argument we're saying we're saying the act is human sacrifice – a reading which seems especially possible in a story that already has human sacrifice in it.

Page 3-4-5-6

Reestablishing what folks have been up to in the gap – in short, bits and pieces, bits of information the characters should exchange, etc.

The Cass/Woden dialogue is stuff I'd have liked to get into issue 33, but was cut due to space and focus. It was Mimir's scene, and as he's been silent for the whole book, he gets to speak. The “He stole my life/I stole his” was all that was required. This is detail. Interesting detail, but detail. And, yes, loaded.

There's a lot of “starting other stuff” in this sequence – clearly the “ritual” is going to be important next arc.

I love what Jamie is doing quietly with Mimir and the boxes at the back of the room on page 4. Like, I wonder what's in each of those boxes, right? There's some horrible pure objectification here. Like, Pokémon. Got to catch them all.

You can tell that Woden is more chill with Minerva, right?

It was originally written with Minerva noting that mind-controlled-sex-is-rape at the end of page 4. That felt frankly aggressive, as if we were using it as a punchline. Instead, we soften it, and move it mid-panel, which changes the feeling around it, hopefully.

On page 6, I really like the “Hmm. You're learning.” It still makes me laugh.

Making the gun's controls REALLY VISUALLY OBVIOUS is not exactly subtle, but 100% needed to make sure the scene make sense.

Page 7-8-9

With a month gap between issues, it's possible that the reader may not have noticed that we've changed the issue structure from the rest of this arc. It's not “past stuff then present stuff” like the others. It's at least one reason why we didn't give a preview – that and that the first pages of the issue are entirely non-characteristic in terms of where the issue goes.

Anyway – first page is a pure repeat from issue 34, so a free page. This issue is a little longer than normal, due to normal cheats. It's actually 20 new pages long... plus one new panel.

Page 8 is very peak Jamie, plus Matt, for a certain mode. I never get bored of seeing what they do with blood together. Ananke's expression in panel 4 is just particularly well chosen. This isn't how Minerva feels last issue – that's after thousands of years of dwelling on it. This is first exposure. You don't go straight to AGRGRHRHRHRHH.

And back to the still angle on the third panel. Like, the static nature of these seems important in terms of mood.

I really hope Ananke isn't licking that knife.

Page 10

I spent the best part of a day trying to work out what to name this interstitial, after naming it a few things previously. That we end up with a very limited Bowie nod says everything. Anything else seemed to create resonances we were trying to avoid. Once more, the aim is to separate the two decisions from Laura as much as possible.

Page 11

I know drawing London kills Jamie, but I'll miss seeing stuff like this monthly when it's gone.

We don't know Laura's walked out of a clinic for a few pages, but it was important to just give her space here.

Researching locations in London, in terms of placing the events, the timing, what would be available, and Laura's condition after an abortion and trying to find a way to be sensitive to all of that as a writer. Ideally, I was looking for an option around Highbury & Islington, as I always prefer to reuse settings. In practise, this was best.

Page 12

I basically described Beth's crew as Valkyrie-plusses. As in, the mini-bosses in a videogame. Elite models for a basic troop type.

Toni pushes to the front, as he's always been the most talkative of the Other Two. Writing this I realised who he is here – he's basically “Imagine Marvel Boy, if Marvel Boy was a total idiotic dipshit.”

(Instead of the “mostly idiotic dipshit” he was in YA. Love you, Noh-Varr! KISSY FACE.)

I believe Jamie laughed at this a fair bit.

Page 13-14

I considered various captions for Laura here, but no matter what they did, they blurred the line between her abortion and her abandoned godhood. As such, the relative silence was considered more effective.

13-14-15-16

A lot is packed into this space. In an ideal world, I'd like another page for it, to extend Beth's choice to shoot or not, but it's all there.

Key delineations here: obvious restatement of the 10 days since she's been a god, to ensure it's clear. “Panel 3”; Beth never knowing (nor caring) where Laura has just been; Robin actually being human; Laura's privacy being respected; the “I've got more imminent problems” to separate her being shot from this; most importantly, Laura never knowing that this decision was important to Minerva, and never letting Minerva's mistaken beliefs impact her decision. Laura' abortion is her choice and doesn't need a bunch of mythic stuff attached to it for her.

The “shame” line resonates with another, more optimistic, line on the first page of Young Avengers. This speaks to the books, and the choices and the attached psychology.

Page 17

Oddly, the “no cameras in the bathroom” information we've set up allows this scene. Minerva isn't someone who would vocalise much if someone could have hear. You can imagine her looking in each booth to see if someone's around. I did consider moving to captions for a page, but Minerva getting captions for this one event seemed aesthetically off.

Page 18

Self-evident interstitial, and so long a bit of text I can hear designers wincing.

Page 19-20

Earliest scene so far in WicDiv. I did consider having it set after the murder, with the grandson coming back to hear her last words, but the “alive-dead-alive-dead-alive-dead” was getting a bit silly. A quietly magical breakfast conversation seemed the way to go.

I think the bleakest and darkly funniest thing in the issue is the “Eventually, we'll learn. It may take a thousand years, but someone will figure it out.” Oh, you total optimist, you.

I do like the mood of the colouring for this.

Okay – the key structural bit for safety-proofing this plot? The absolute minimisation of the gap between discovering the fourth rule, discovering Laura has had an abortion and then discovering that the fourth rule is just a lie. The longer it hangs, the more it is letting people live with an idea we find reprehensible. The thing I knew when starting this arc is all of this had to happen inside the same issue – the problem there being, that it also had to be foreshadowed enough to not come out of nowhere. And if you foreshadow too heavily, it's as same as saying “this is where it's going”.

Anyway – that wrapped up, we move towards the end...

Page 21-22-23-24-25

The continuation of last issue's end. Laura and her captions.

Some perfect McKelvie expressions, and some key beats. Like, this also adds shade to last issue – I forget if I mentioned that one of the key beats of the series (Laura rejecting her godhood) being dramatised by her swapping a SIM card seems absolutely key to where we are.

Two key expressions – the glance to camera with “I'm not a god” and “So what? So do you.” I could marry Jamie for these.

Matt working the blacks and the ochres here is fascinating.

Thought experiment: originally the layout on page 21 had two captions in panel 3 and two in panel 4. I moved the first from panel 4 to panel 3. Why? A single caption always has more weight in a given space. Having two in each was effectively giving no extra weight to any individual caption. Instead, three in one makes that the conversational beat and the one over the spiral-staircase means the latter just hangs there.

(In short: less dialogue/caption in any space makes the line more important. SPACE=MEANING is what I've been saying all along, usually with panel size. As in, “bigger panels read as more important.” But the same sort of thinking applies to lettering in terms of the space it is allowed to “control.”)

End of page 21 – a final restating of the two events being separate. Laura choosing to have an abortion is something she decided when starting to put her life back together. It's not a cause of her stopping being a god – if anything, it's something that's resulted from her new state of mind.

Lots in terms of mode in 22, but I love how Jamie has handled the nudity in the second panel. As in, she's a girl changing for bed, but she's never presented as something to be objectified, to looked at. Laura is always someone we're meant to be. We are meant to inhabit her, and her us.

The panel at the start of 23 is the extra panel we squeezed in. One panel for this amount of extra material, leading to the better reveal seemed a good choice.

Did I mention I lost a line I really liked last issue? The “At long last, I know what I'm not” was originally “I know what I am/and I know what I'm not.” Which is pretty and elegant, but also confusing with this ending – the “what I am” is “not a god” and what I'm not” is “a god”. Prettiness only goes so far, especially as it's not as if Laura's going to stop and explain that.

Lots of key bits of dialogue in these pages, obviously. “I distrust anyone who tells me who I am. Especially if I agree” and all that.

Obviously in storytelling choices, this is reprising, in an inverted way, the end of The Faust Act. Instead of a flash of light, fading into darkness, darkness emerging from light. Also, really strong choice of expression in that final panel.

26

Referencing ‘Dancing In the Dark’. Springsteen's is obviously great, but I'm thinking of the Downtown Boys' cover which is much closer to where WicDiv is coming from.

I choke up at all this scene. Been a long way to get here, Laura. Onwards.

The trade collection for Mothering Invention is out in October. We have two Specials before next arc, WicDiv: 1373 (out at the end of September) and WicDiv: The Funnies (out in November.)

We're then back in December, where we begin our final arc.

It's called – “Okay”. Including the quotation marks. Yes, we're going out on another Bowie reference.

Thanks for reading.