#that and detective comics. one of those chapters is where i got the art for the what we want banners

[sophiethewitch1]

what did you read/watch to get into the batfam? my only knowledge about them is from you and other fics

i mean i sorta just picked through most of the rebirth stuff at my leisure, but id definitely recommend reading/watching death in the family because its pretty crucial to the characters and their dynamics

[animalinvestigator]

any manga recommendations?

yessss oh my gosh always, gladly. so honored you would ask little ol me about such a thing... i haven't been reading much lately so here's just a little list of things ive picked up in the past few months or things i've liked for a long time..... all of them are on mangadex so just look em up... Im editing this to put them under the cut sorry i didn't do it before ive been on the clock for like 4 hours and im tired Lights cigarette

fool night yasuda kasumi !!! it's currently ongoing and i recently got caught up... if i had to describe it in two words.. "post-chainsawman." it's very similar in a lot of ways, but has very different priorities.. what i really like about it is that it has kind of a tighter focus on the "poverty and capitalism" angle that chainsawman definitely covers but doesn't really devote its full attention to. in a world where the sun no longer shines, plants can't grow, so humans are constantly at a deficit of oxygen... to combat this, government facilities offer a payout to desperate people who can't afford to live if they allow themselves to be "transflorated" -- basically fed on by a magical spiritual plant that will eventually kill them and release oxygen in their stead. one such desperate person undergoes the procedure only to find he has the special ability to communicate with transflorated bodies after theyve passed... and then he becomes a Plants Detective and shenanigans ensue. Super good it made me cry... art is beautiful..... definitely worth a read if youre looking to pick up something ongoing

babel no toshokan by tsubana - stumbled upon this after reading the artist's other work "wakusei closet" on a whim... this shorter story is much preferred and has engraved itself deeply on my heart. a girl with a strange set of beliefs about reality enters a strange relationship with a boy who can read everything that's ever been written just by touching an identical sheath of paper..... seriously so good. give it a go if you want something short and sweet

planet laika & scorched earth of love by mayuri yoshida, this is a short manga and one shot bundled with it that has been one of my favorites for like FOUR YEARS NOW!!! mayuri yoshida's sickly cute animal people + loving intricate lineart combine to create a really unique visual aesthetic. its about the titular laika , as in, the dog launched into space, who has since become the ruler of a planet of dogs, and her plot to take revenge on humanity. also she has a lesbian wife. the one shot is so good too SO DONT MISS IT!!!

anyone who has heard me talk about comics for the past year or so probably knows i've been trying to get Just yknow everybody on earth to read dead dead demon's dedededestruction by inio asano. nothing i could ever possibly say about it could do it justice it's seriously my favorite manga of all time. it's about being in love with your best friend and the end of the world and aliens and politics and the internet and stuff. asano's art is truly breathtaking and unlike anything else on earth, the characters are all infectiously lovable, and it's just like... endlessly life affirming and heals my heart in a way i have a hard time articulating.

and last one... not strictly manga but i have really enjoyed keeping up with wanan's webcomic no home recently... its a long one, but i read about 275 chapters of it in like 3 days, because it's that hard to put down, LOL... extremely inspiring character writing and also just insanely fun, eunyung became an all time favorite character of mine on impact and it has one of those casts where you can't help but have fun watching them be together in literally any situation. it's about a bunch of kids with shitty family situations trying to figure out to learn to live with eachother. its an extremely good example of mundane character drama being written so compellingly that it will make you start slamming your head on walls at work. Speaking from experience.

miscellany... everyone tells you to read witch hat atelier, do it its good... everyone tells you to read dungeon meshi do that its good... Chainsaw man part 2 is getting crazy right now ...... uhhh... i have a billion more so if none of those interest you let me know and i'll share more. thank yew so much for your interest in my opinions and i hope there's something here you can appreciate!!!~~

[omnitheist27]

@the-ravenclaw-werewolf and @purplemochi20055

The 40 - A traumatic revelation

Hey ya'll I'm back with the next fan comic I promise you all!

Oh ho, drawing this fan comic of The 40's reaction to the ending of Death Note was a challenging one due to the lack of motivation and anticipation of the final chapter of Main Character Syndrome. And I got to say, it came out pretty good...for the most part.

Now, oh my gosh, the ending to Death Note regarding Light getting shot by Matsuda and nearly killed was quite a dramatic climax when I first watched it back in middle or high school. Then, I stumbled upon The_Ravenclaw_Werewolf's fanfic and became hooked on the possible reactions to the forty chosen anime of the main characters. I have to tell ya, emotions would be flying high for many of our anime audience as they watched Light Yagami's descent into madness and saw him stoop to many lows unimaginable for them.

But the one low I really would like to see The 40's reaction to Light is how he calls his own deceased father a "fool" whose idealism would only be inefficient in his new world, where it might as well registered to any sane person's mind that Light is saying that Soichiro deserves to die even though that probably wasn't his intention. That particular moment would be the trigger for those in The 40 with really bad Daddy Issues and probably go as far as hallucinating themselves in Matsuda's shoes opening fire on Light afterward.

----

For L, I know that he's the world's greatest detective in Death Note and saw plenty of nasty crimes committed by the most heinous serial killers while growing up, along with him being very stoic and cool-headed as a result of his own "quirks" and the desensitization of seeing death bodies to deal with the obvious high stress that comes with the job. However, emotions are not rational and I wouldn't put it past him to have an anxiety attack from witnessing something really bad (e.g. his scared reaction upon the mention of Shinigami for the first time in the manga), and obviously, L would be triggered in his own way after witnessing his own death and Watari's, the growing hatred he'll gain for Light, and to his own surprise when seeing himself in Matsuda's place as a result of his emotional imbalance and frankly, having enough of Light's bullshit. When drawing the hallucination L, I looked up the character art from the bad ending of The Boogyman regarding Keith Baring aiming a gun at the villain with his blood as tears coming down his eyes, which represents Keith's unresolved grief and guilt from being unable to cry from the death of his son.

For Edward, it's very obvious that he's got a deep-seated grudge against Hohenheim for his abandonment of him, his brother, and their mother (even if it was for good reason). But Edward witnessed Light's madness and willingness to endanger his own family for his delusions of godhood will, not if, earned him a spot on his hatred and would override any hate he has for his estranged father. Also, Edward has shown a very humanist approach as a State Alchemist by refusing to kill others, and he'll likely advocate for Light's imprisonment despite his hatred for him. Of course, it would come as a shock for Edward to see himself in Matsuda's place shooting Light multiple times before being readied to execute him with a headshot, showing that he's not ok, and ironically, jump-starting his resolve to reconcile with Hohenheim. When drawing the hallucination of Edward, I just included his tendency for dramatic facial expressions.

For Tohru, oh bless her kind heart, but I had to draw her reaction for the finale to Death Note. I don't know much about Fruits Basket but I have read the broad strokes from the TV Tropes page of it. Apparently, in the past Tohru once had a hatred for her late father due to his death causing her mother to neglect her for a time and almost commit suicide, though even then she recognizes it's wrong to feel that way. Seeing Light's father dying due to Light's actions, even on the possibility that Light actually feels guilty about it, would slowly bring that part of Tohru's personality back to the surface and the obvious guilt that'll come with it, and god forbid her breaking point upon witnessing Light calling his late father an "idealistic fool". Never mind that Light Yagami is going to be one of the many people that even an all-loving girl like Tohru would hate with all her heart in my opinion. Also, there's the cultural significance of Tohru seeing herself wielding a gun against Light in Matsuda's place. In Japan, there are very, very strict laws regarding citizens owning firearms, with only the police and military being allowed to own them. For a minor to be seen as willing to hold a gun is unthinkable given the whole "children are innocent" angle in Japanese culture and how every child in Japan is expected to have obedient and quiet deferential behavior toward authority figures. Plus, in Japanese culture, killing someone, even in self-defense no matter how justified, will always be seen as "murder". So unlike L (a detective) and Edward (a soldier hailing from a culture similar to Germany), the hallucination!Tohru holding a gun and being readied to fire upon a now defenseless Light, even if he did deserve to die, would really highlight to a native Japanese audience just how bad Tohru's sanity has taken a dive and the obvious shock she would have to the core. When drawing the hallucination Tohru, I took inspiration from Winery's design as she pulls a gun at Scar upon overhearing that he murdered her parents, because it was just perfect in my opinion and there were obviously weren't many images of Tohru having a "mad face" that would be appropriate for the climatic moment in the Death Note viewing.

For Rin, it'll be obvious for him to also hate Light Yagami, especially with how his actions killed his father, who had always wished that his son isn't Kira. Upon seeing his hallucination, Rin would be shocked and horrified to see himself as a demonic shadowy being damning Light for taking to his father for granted and it'll be a foreshadowing of what's to come when The 40 will view Blue Exorcist. When drawing the hallucination of Rin, I just decided to go with a silhouette to represent a "shadow archetype" of Rin due to his troubled childhood of being perceived as a demon child, along with Rin not seeing what would happen to his adoptive father, Shiro, in the viewing yet.

----

In conclusion, what are your thoughts on this fan comic and how accurate do you believe I drew the character's reactions to the finale of Death Note?

P.S. The next fan comic I'll be planning for The 40 will be in celebration of the recent release of chapter 3 for Poppy Playtime and Suicide Squad: Kill the Justice League.

[apopcornkernel]

funnily enough im pretty sure i did read the actual comics before wfa. i vaguely remember reading utrh first? and then i either watched the movie next or read batman's whole robinjay run + aditf + alpod. and then wfa. i only read detective comics' robinjay after i finished wfa i think. i know i also spedran all of the post-crisis jason's death aftermath/appearances according to the reading list by dailyjasontodd. spedran his stuff post-resurrection too, minus countdown, 52, brothers in blood; i only realized I'd already read outsiders before when i reread it just now, though. which is really funny like the reason i remembered was because anissa and grace got together. that's how i knew I'd read the comic before. i was like oh i remember these gay bitches. i know there was a time after comics where i then dove into fandom and just immersed myself with art, fic, and posts. it was a little weird at first but i hadn't read enough for the other characters to know, and it's very easy to get drawn into fanon bc its satisfying to an extent, you know. ooh, i know i read three jokers early on. i was in love with that artist's jason and i found that one panel really funny (babs "he literally killed a man" bruce "you don't understand... jason's suffering"). i dont remember much about my first batman period. i do know it was all batman tho.

this is getting long.

my second batman period (more accurately termed batman/dc) was mostly me revisiting fics and remembering canon things that made me upset again. oh and also other robinjay stories that i hadn't read before like the cult, etc. but after some time i, and i dont know how this happened, got interested in hal jordan. i genuinely think it was just a fanart i saw of him with white temples. i thought it was hot and imagine my delight when i found out it was canon. and then i found out he turned villain and i was like WOAH I NEED TO GET ON THIS and tada, speedran parallax arc all the way to the spectre. tried reading rebirth and hated it so bad. stopped reading hal after that. somewhere along the way i found myself reading superman. then i dont know how this happened but i got interested in matrix/mae kent specifically and read up on her origin. afterwards i went to death of superman all the way to his resurrection and mae/lex breakup arc. i think this period fizzled out shortly after that. ooh, im checking my gallery rn, apparently i also read death metal and the return of bruce wayne. i dont remember anything about the latter. i remember being pissed at the former. i also read the damian resurrection arc and got really mad at an interview in one of the comics bc it was more of those "bruce feels more strongly for damian than his other kids bc damian is his Real Son" like bitch. No.

OH!! i also read the long halloween & dark victory during this time! this must have been when the batman came out. ALSO READ CONNOR!! i started at the time ollie died and went on until the time ollie came back but connor was now comatose (?). i remember a lot of screenshotting panels bc of how appalling the coloring was, connor's skin color was disrespected so much in this few issues 😭

ooh, interesting. after connor panels there's no more until this year, which would be my 3rd dc period. i reread the long halloween and dark victory, and then finished the last few chapters of the spectre. after that i started young justice but never finished. i reread utrh, and then funnily enough went straight to reading all about steph up to war games. after steph i read some other robin tim issues at random and then i finally read brothers in blood. quick break for batman year 100 and then right into batgirl (this was right after lee and i became mutuals). ooh, spirit world. and then ram v's the vigil. then i read rhato special? special? idk if that's the name but it was like a oneshot for rhato? or was it rhato #0? idk. i laughed the entire time. it was so bad. then i read gotham war, hated it. read some issues of black and white. three jokers again. finally read robins by seeley. robin year one. some pre-crisis jason esp the nocturna arc. tt #29. issues of gotham knights #43 something? + the interview about jason issue. actually i think that's all in the same arc. batman prodigal. pre-crisis talia. mandatory reread of batman #496. tried to start countdown, failed. the cult reread. BIRDS OF PREY!! cry of blood, and then a vichelena binge. the huntress cavalieri! the question o'neil! read a lot of huntress. tripped abruptly into hawk and dove, read a lot of cameos after their solos ended. read identity crisis after seeing the bruce tim panel. read jade (nguyen) in preparation for my comm critical essay. read superman again for the invisible mafia. started both superwoman 2016 and steelworks but never finished. read talia lexcorp arc and Never Recovered. tower of babel. redemption lost (ASS). rucka's wonder woman & the hiketeia. some titans bc of jade. more jade stuff. more huntress stuff (specifically nightwing cameos). read tom fucking taylor nightwing. started but did not finish dixon nightwing after that. started a reread of the spectre. started reading azrael + knightfall stuff but am not finished. was hit with the jli disease (lethal). then went back into superman comics but specifically the start of the lex luthor 2 arc + mae :). and now retracing post-rez pre-morrison jason comics

[kelmcdonald]

I'll Be at Emerald City This Weekend!

Crossposted from my newsletter.

Hey everyone! Hope you had a good February. I'll be at Emerald City Comic Con this weekend! Cautionary Fables and Fairytales will be at table 20815! There is a nice map up top (I took Kory Bing's image of our booth because I didn't have time to make my own.)

Emerald City is the big thing this month. But Failure to Launch is still crowdfunding! It goes until March 9th. Me, Spike, and Amanda will do a special Iron Circus Geekshow to close it out. That will be Thursday March 9th, at 6pm PST. Grab it while you still can!

My discord is still doing the full moon movie will be March 7th at 5pm PST. We will be watching the movie Cursed (2005). It's not a good movie but it is a fun movie. Anyone who wants to join, is free to sign up for my discord and join us.

As always I'll be streaming art on Twitch. My schedule is currently the following:

Tuesday 8pm-10pm PST

Wednesday 8pm-10pm PST

Thrusday 6pm-9pm PST (during the Iron Circus Geekshow)

Last month I was a guest on War Rocket Ajax. I was promoing Shards of Reflection and the Fame and Misfortune live reading. But really we mostly talked about videogames.

I also did a live reading on twitch of Fame and Misfortune. It was fun and I want to do more live readings. But it turned out my mic was broken. So I'm gonna redo it. You can give the first try a listen, but it will get auto-deleted in about a week.

I got a bad sinus infection last week. So I haven't really had time to work on Blue Moon. It's getting to the point where I think I might have to put You are the Chosen One on break again. I don't want to, but right now it's the comic that takes the most time (mostly because it's in color). I'm gonna see how much I get done this month when it comes to Blue Moon. Then I'll decide. If it goes on break, it will be after the current chapter is done posting (in July).

Getting sick really threw off my exercising. I'll get back to it after Emerald City. Kinda a double whammy of sickness and then con to mess up the routine. It's a shame because I was getting used to/forming a habit until I got sick.  But sick meant I watched more stuff. Last month this section was kinda long. Maybe I should post these on my blog more frequently and just link to those posts? Anyway here's what I watched and read:

Posthumous Education (book 8 in The Utterly Uniteresting and Unadventurous Tales of Fred the Vampire Accountant) by Drew Hayes - The vampire accountant series is one I always grab as soon as it comes out. It stood out to me because most urban fantasy books are about magic cops or magic detectives. The series as a whole are episodic short stories and I like that they are mostly small stake conflicts. Like this volume the main character is teaching a business class at a supernatural college. The first story is about him trying to convince students how important learning basic contract knowledge is, not just for dealing with humans but also the fae and really any supernatural that makes deals. The series as a whole has bit about how higher ups abuse these legal tricks to control the inexperienced. I'm definitely gonna keep up with the series because small scale stories like this are harder to find.

Woke - This is a hulu show that is loosely based off the K Chronicles by Keith Knight. I didn't know much going in and wanted to see how Keith's work was turned into a TV show. I ended up really enjoying it. The first season is about what an artist's responsibility to the world. Like if you have an audience, how much do you have to use it for talking about important topics vs using it for escapism? And then how does commerce tight into an artists work. It was very funny and clever. It also uses Keith Knight's hand letterer for all the captions, text messages, and another another thing that needs a pop up label. It gave the show a unique look that helps tie it more to the comic it is based off of.

Baby Driver - Another thing with a unique look was Baby Driver. I like Edgar Wright movies but never got around to see Baby Driver until now. Basically, when it came out I was only interested in it because Edgar Wright was the director. Like everything I heard about it made me think that it might not be for me. And my instincts were right. While Baby Driver was a very pretty/stylish movie, the story and characters kinda fell flat for me. I might revisit it if I want to mimic it's specific look in an illustration, but for now it just made me want to rewatch Hot Fuzz.

Puss in Boots: Last Wish - To continue the line of stuff that is stylish and looks interesting, Puss in Boots: Last Wish is much better than it has any right to be. I mostly saw it because everyone was telling me it was much better than you'd expect. That is 100% true. The usually Shrek style was dropped in favor of something that is more stylized like Into the Spiderverse. The whole cast is after a fallen star they can make a wish on is the main driver of the story. That's a simple plot that allows for a lot of cool action and slapstick humor. So they can put the new style to good use. Then since the plot is so simple, there is also room for the characters to grow and change. Which means, unlike Baby Driver, you have a very strong sense of who everyone is and why they are involved in the story. Maybe I like it so much because I had low expectations, but it was very surprising in how good it is.

The Banshees of Inisherin - My favorite stories are ones that are funny and sad at the same time. The Banshees of Inisherin is just that. I think it's also a great example of how you can make something that seems small feel like the most important thing in the world. If you don't know, it's about two men in a small Irish town that have been friends for years. The starting incident is one telling the other he doesn't want to be friends anymore. The other can't accept that. I like that while you watch these two men argue about whether or not they should be friends there is an underlying heart and sadness that isn't spelt out. The man who doesn't want to be friends says the other man is dull and he is wasting his life listening to the other guy. So he is clearly wrestling with how short his time is on earth. And for all his desire to do something "important" with his life, he is spending a lot of it arguing with this former friend now. And the other guy is so upset that he is bringing his donkey into his house. The donkey is making a mess of his house but it's something for him to cuddle while depressed and lonely. Both situations are a combo of sad and funny. This is a movie I'll probably think a lot a bit and will revisit.

Aggretsuko Season 5 - I have some mixed feelings about Aggretsuko's last season. I really liked the first 3 seasons, but the more the show pushed Retsuko and Haida as a couple the more I lost interest. So season 4 and now season 5 giving him more scene time made me lose interest in him. It seems like a shift to try and justify him as a love interest. Also Haida's brief bit of being homeless felt like something the show wasn't prepared to properly address. Like the show wasn't to be sympathetic, but gives reasons for why the homeless characters are "stuck" that way. So it wants to be sympathetic while blaming the homeless for their situation. And then that story line is kinda tossed aside for Retsuko to run for office. I like Retsuko running for office, but didn't really like that she was strong armed into it. She has been repeated pushed into important plots each season. I wish the last season changed that. It would have been a nice way to end a series of her being so passive. Like the whole show has been realizing her unhappiness with the system and seeing others also unhappy under it. I would have liked her to make an active choice to try and change the system. And then maybe tie the homeless plot line into that more. As is, the two plot lines don't mesh with each other super well.

I've also been listening to the podcast Mangasplaining. It reviews manga and guides people through a wide variety of series. It makes me want read more manga. But only so much time is in the day. Either way, there might be more manga in these write ups. I at the very least should reread Akira (it's been like 15 years). 

Thanks as always for your support this month. Have a good one everyone.

[squirrelkiln-art]

Unearthed Revision - Chapter 5 Notes

If you haven’t read Chapter 5 of the Unearthed Revision, read it here! This post is gonna have some behind the scenes details and minor spoilers for the chapter it’s about.

Today went by faster than it should have... But here I am now. Technical difficulties assured I couldn’t post earlier like I wanted to. Chapter 5 is light in notes because I wanted some art to be done already but surprise--technical difficulties. I’ll try and post this weekend about it, mostly some character art and a couple sneak peeks.

Minor spoilers ahead!

Chapter 5 was always intended to be a bit of a breather chapter as well, moreso for the characters than the readers. It also expands on some relationships and characterization as a bit of a buffer among the chaos of the story.

When I first wrote about describing Ben’s barrack I wanted to call back to what I believe is the Omniverse view of his room, though it might have been UAF, where things were disorderly but not dirty or anything along those lines.

His room’s cleanliness is also a reference to Ben’s ADHD/Autism/whatever I coded him as. Probably both. Cleanliness is needed to keep the mind sharper than not but is also incredibly difficult to maintain for ND people. Same goes for Ben.

The various photographs were initially going to be drawn by me (at least a few) when I first made this fic, but I hate drawing group photos.

Tech support, comic relief as they were, also purposely had short roles in this fic because... Well, I have a very iffy relationship with comic relief characters. These two aren’t my favorite comic relief overall.

Graymatter was also going to have a more prevalent role, but I liked the idea of having to go old-school detective on this situation instead of just hacking computers or something.

Like the original one, Chapter 5 is a bit... awkward in timing and word count. Initially all the chapters were, like, 1000 words minimum because that was a lot for me as a sprouting author. (Well, as a sprouting author in the way of actually sharing my works with others other than friends.) I kind of regret not considering repairing the pacing before starting the rewrite but I can’t say it particularly bothers me.

Chapter 5 is the chapter that has the most revisions done within the AO3 page itself. A few hundred words were added and a lot more tweaked, though nothing substantial.

The initial chapter 5, IIRC, never had Max put down the tray of food. It just kinda vanished from mentioning. I didn’t realize that until reworking the fic and it bothered me sooo bad. (In the revision, Max puts it down when he goes to fetch Kevin and Gwen. Problem solved!)

The grimace I mention whenever Tech Support is brought up to people is what I imagine the Ben 10 version of the “Excalibur Face” from Soul Eater is. Just extreme sense of, “oh god, why?” while still being comedic. 

As the top body text in this post mentions, I plan on posting some art for the characters. Nothing too groundbreaking but it’d be fun. Also working on some of the OC work for it as well. Hopefully it comes out well! Also, I’m excited to start sharing the cut diary entries. Thanks for reading if you got this far! (As of writing, I don’t think anyone has besides me. Oh well!)

[ygreczed-3]

The Walking Dead/Detroit Become Human AU

(so basically I was tempted to make a post to apologize about the mess my blog has become lately - feels like I’m posting AUs, artworks, sketches and comic updates in such a chaotic way… I’m really sorry about it ahaha 😅 Hopefully it will get better soon)

So this post is me drawing for hours and forgetting to eat on my break day (I finally did !!! Don’t worry ahaha) because I became obsessed with an idea again. Also I like to make concept arts and storyboards as if I was working on a professional project for a TV show/animation. I find it fascinating ! This time I don’t really have any plot or finished story, I just wanted to draw these scenes badly so… I just did.

I’d like to draw your attention to Connor’s curly hair and Hank’s design (strongly inspired by Kristoff from Frozen). I just LOVE these details.

⚠️Remember this is NOT a new series. Just me having fun with characters and a universe I like (aka The Walking Dead) ! 

Anyway, more ideas below 👀

*POW*

Hank open his eye again. The walker was shot in the head. Hank pushes the walker away, it falls dead on the concrete.

Looking up, he sees Connor with a gun.

Hank : Jesus… Thank you.  I thought I was…

Connor : I wouldn’t have wasted a bullet for you if it wasn’t for your kid back there. Your car, does it work? Hank : … Yeah… I just… I was looking for some gas when… well… Can I drive you somewhere? Connor : Not really, I’m looking for someone.

___________________________

Hank and Cole are walking in a gas station with jerricans and pour what’s left of gas from the pump.

Cole : Dad, that mister from earlier, do you think he’s gonna be okay ? Hank : I think, pumpkin. He was the one helping us. Cole : Being alone sounds dangerous… He should have come with us. Hank : …

___________________________

It’s nighttime, Cole is sleeping in the backseats with a blanket, Hank is sleeping in the driver seat. He wakes up brutally as he hears something tapping softly against the car window : the young man from earlier. He rolls the window down.

Hank : You ? Connor : I’ve looked around the whole city. Now it’s too dark… I need a safe place to have some sleep, I was thinking you could let me in. You owe me after all. Hank : … Yeah sure. Get in.

Connor gets in the car. He takes his bag off and keeps it by his side, out of Hank’s reach. He takes his coat off but keeps a gun near him. Hank stares at him with narrowed eyes.

Hank : … You’re safe here, really. You can trust me. Connor : Sorry, but I only trust myself.

___________________________

It’s dark outside, Hank can’t really sleep with the stranger next to him. His guts dictate him to stay alert. He watches carefully as Connor turns his head to him, half-opening his eyes.

Connor: Can’t sleep ? Hank : … Well you were right… I don’t know you. What about you ? Did you sleep a little ? Connor : … No. I’m too… cautious. My brain won’t let me sleep with a stranger next to me. Hank : … My name’s Hank. You ? Connor : What the hell are you doing ? Hank : We agreed we couldn’t sleep next to strangers. I’m introducing myself. Connor : It won’t make it any better… *after a silence* I’m Connor. Hank : Nice to meet you. Connor: … Where were you before ? You… you act like a newborn in this hell… Hank : … I had a neighbor with one of those bunkers… with tons of food, water, enough to live for months. We… We were hiding there with her until… until a few weeks. Connor : What happened ? Hank : She thought she had heard a chopper. Thought someone was out there to rescue us… she opened the hatch and she was… attacked by those things… Connor: … the kid… he’s yours? Hank : Yeah… Cole. Connor: … Where’s her mom ? Hank : He’s never known her. Connor: Sorry.  Hank : Don’t be.

*silence*

Hank : I think… I’m starting to relax… we should try to sleep huh ?

Connor is already sleeping.

___________________________

Connor takes his backpack as Hank and Cole take a breakfast with some fire.

Hank : You sure you don’t want to eat anything ? Connor : No thanks, I have my own stock. You should save your food for your kid. Hank : … Hey, if you ever need to find us… after you’ve found what  you’re looking for, I have a police radio. Frequency 58,7 kHz. Connor: I won’t need it but- thanks. Good luck.

Connor leaves.

___________________________

Cole : What should we do now? Hank : … We need to find more food… and weapons. I’ll go downtown today. You… You’ll stay here alright? Cole : No I… I want to stay with you… Hank : I know you’re scared Cole… But it’s too dangerous. You’ll be safe hidden in the car. Cole : You’ll be quick? Hank : Back before sunset, pinky swear.

___________________________

Hank finds an axe on a bar counter.

Suddenly : *BONG BONG BONG BONG*

Hank : What the-

He runs outside and hides against a wall as walkers pass nearby, heading to the source of the ringing.

He looks up and sees Connor climbing on a ladder but a Walker is trying to grab his leg.

Hank comes and kills the monster. Connor : You..! Follow me !

On the rooftop, they see the church. It’s an automatic bell, the walkers are massively getting around the building. There is something painted on the wall that says “Find Jericho” with black paint and scribbled under it “Find 9s”

Connor : Nines… Hank : What is Jericho ? Connor : … A safe place for survivors. It’s hidden… to keep the thieves and killers away. Hank : … The church. Connor : What ? Hank : Jericho, it has to do with the bible. The message is written on a church’s wall. It’s not a coincidence, there might be… a hint in there. Connor : … But we can’t get inside with those creeps around… Hank : … Maybe they leave when the church stops ringing the bells. Connor : Or maybe we should try to lead them away with… Hank : With what ? Connor : … Your car.

___________________________

Connor : So, let me get it straight. You drive around the town honking. It will attract the creeps away from the church. I get inside the church and look for any kind of hint. When the bells start ringing I get out before the creeps come back. And what do we do with Cole ?

Hank : He’s going with you. I don’t want to have him in the car with hundreds of undeads trying to get me. Connor : … I don’t- Hank : Don’t worry. He’s a smart kid. He will do as you say. Right Cole? Cole : …Hmm. Connor: … Fine. Let’s do it.

___________________________

Connor and Cole sneak into the church. Connor kills two of the Walkers still inside the church as Cole follows him cautiously. 

Cole : … Look. *he points out a book on the altar* Connor : … It’s a bible… The chapter about the Battle of Jericho… it can’t be a coincidence. *They look up and see something written with old blood on the wall behind the altar. It says “Rahab the harlot defied the King of Jericho. Here lies the key to the fortress.”* Cole : What’s a harlot? Connor : … You should… ask your father. Now… I have to read… and think. Cole : … We only have one hour left before the bells ring again… Connor : I know.

___________________________

Connor : … I don’t get it ! There must be something I’m missing ! Cole : … Connor, I found a map ! Connor : Not now Cole, I’m trying to focus… Cole : Connor, look ! Connor : Cole please I really need-…

Cole shows him the map… there is a “9s” written on it.

Connor : Nines ! Cole : Does it help ? Connor : … I don’t know-…

The bells ring suddenly.

Connor : Crap… we have to get out of here. Give me your hand, buddy.

___________________________

Hank is waiting for them : he has lit a fire and when Cole sees him, he lets go of Connor’s hand and runs to hug his dad.

Hank : I gotcha, pumpkin. *looking up at Connor* Did you find something ? Connor : I think…  Hank : You think ? Connor : I have this map my brother left for me inside the church… there was some kind of riddle on the wall, and it must have something to do with this but… there is nothing noted on it. Hank : What’s the riddle ? Connor : “Rahab the harlot defied the King of Jericho, here lies the key to the fortress.” Rahab was a prostitute, she helped Joshua by hiding spies he sent inside the city… and Joshua spared her when he took the fortress. But I… I don’t see the connection. Hank : … Let me see the map.

Connor gives it. Cole sits next to his father, near the fire, and soon falls asleep. After some time thinking and overthinking it, Hank finally points to a town on the map. A city called Defiance.

Hank : Look. Connor : Defiance… Of course. The key lies in Rahab’s defiance… Defiance is a town… Fuck- You’re a genius…! Hank : Man, I was feeling like a Detective again… felt nice for a moment. Connor: You were a Detective? Hank : A police Lieutenant, to be specific. But yeah. Detective works too. Connor : … I don’t think the treasure hunt is done yet. You’re gonna need your supercop sense again ! Hank : … It’s good to see you all excited. Feels like meeting the real Connor under the survivor’s shell. Connor: It’s nice… that Cole and you don’t have that shell yet… humanity is a rare thing to find down there. Hank : … So, who is “Nines” ? Connor : My little brother. We lived together, in the same group of survivors. Our camp was attacked… we got separated. Hank : Looks like he’s smart. He solved the riddle all by himself. It took the two of us to understand the hint. Connor : He’s always been a nerd. Hank : Pffft… Well we should try to get some sleep. We should be able to reach Stoneton, then we’ll have to find more gas.

Hank gets up and carries Cole to the car seats.

Connor: … Hank…? Hank : Yup ? Connor : Can I… Can I come with you two ? I could go to Defiance by myself but… if you’re heading there too, maybe we could… Hank : What the heck ? Of course you’re coming with us. With our two half-brains we’re gonna need each other’s help to find Jericho and your brother, don’t you think ? Connor *chuckles* : Right.

[the-bat-collector]

SUPERBAT Rec List!! AU NO POWERS ish PART 1

I love NO POWERS NO CAPES AUs but its been so hard to find them!! so decided to make this list to help y’all in your search  :D

The length varies, but I prefer long fics so most of these are 10-20k up to 200k 

Heart and Soul by Pandamomochan

E - 150,044

Clark Kent used to be a renowned composer who was said to be able to write masterpieces that were designed uniquely for each individual player. Famous musicians around the world would flock to him in hopes that he would write for them because his pieces were always said to bring out any player's crowning performance. That is, until one day Clark loses his wife in a tragic accident and decides never to write again.

Years later, Clark's son, Jon, gets admitted to the famous "Gotham School of Performing Arts". It is there that Clark meets Bruce Wayne, a strict, uptight, by the book piano instructor who is said to be able to craft the best musicians around the world.

this is one of my favorites. I'm not really into Hurt/Comfort but this is so beautiful!! highly recommended I'm biased cause I play the piano

Seeing Bruce Wayne by Evilpixie

E - 15,089

Clark Kent is the only male midwife working in Metropolis General. Bruce Wayne the residential pediatric surgeon.

I'm so into medicine/doctor AUs this is also one of my favorite fics!if you have to pick one from this list, pick this one!!!

On The Cusp by vesper_house

E - 47,378

Clark's life isn't going so well. He's in his thirties, he works at a coffee shop run by his old crush, his journalism career is going nowhere, and he's broke. It takes only one tall, dark and handsome stranger to change everything.

COFFE SHOP AU COFFESHOP AU!! We need more of these, the dynamic between Bruce and Clark is Great!!!!

A Game You Can't Win by NightFoliage

T - 78,328

Injustice is the hottest MMORPGs available to play! Set in a world where superpowers exist, players can become civilians, heroes, villains, and anybody in-between. Designed by Hiro “Toyman” Okamura, and Timothy Drake-Wayne, Injustice was created with the best Wayne Industries technology available and has the most human NPCs. The game is beyond it's time and is planned to be at the top of the charts for a while.

By accident, Clark finds himself pushed into the spotlight and new found fame. To him, Let’s Plays are a means to stay in touch with friends and to make money. He never got into LPing to become famous.

Bruce, who funded the game after Jason’s accident, is irritated (not jealous) that a video game player is such a big topic among the kids. After the nth time they mention him, Bruce decides to take matters into his own hands and see what all the fuss is about.

link to art

ONE OF MY FAVORITE SUPERBAT FICS OUT THERE!!!!!! this is great and fun and Clark is the best!

As We Grow by butterflyslinky

E - 23,451

Clark Kent is a farmer deep in debt to Lex Luthor.

Bruce Wayne is a billionaire with seven children and no luck in love.

But their families have a scheme to get them together and hopefully make life a little bit better.

Modern Medicine by BuckinghamAlice

G - 5,208

Pediatrician Dr. Clark Kent becomes beloved to his patients, the Wayne boys... as well as to their doting father Bruce.

ABSOLUTELY lovely and adorable, you get the feels!

Hellooooo, nurse! by weirdraccoon INCOMPLETE WIP

T - ?????

Clark enjoys his job at the Free Clinic. He loves helping people and tending injuries. Saving lives. But this man... Bruce Wayne is going to kill him if he doesn't get killed first.

Bruce is still Batman on this one but HERE ME OUT, Clark is a nurse! is incomplete but looking forward to the following chapters!!

Two Cities by EllenD

E - 96,152

Clark Kent, is simply Clark Kent, junior reporter for the Daily Planet who moved to Metropolis from Smallville with big dreams. Bruce Wayne is a billionaire playboy from Gotham, who also happens to be Batman. They meet, date, and fall in love, though not without hurdles because mild-mannered Clark is also socially awkward as heck. But when the most dangerous criminals in Gotham are gunning for Batman, Clark gets caught in the middle of it all. (He's basically Batman's Lois Lane) Meant to be set in the Dawn of Justice movie universe, but also draws inspiration from video games, comics, and those awesome Batman cartoons.

This is part of a series, but this is the main fic of it. Love this trope of Clark is just a civilian and Bruce is Batman. Warning this fic does contain disturbing topics so read the tags.

Here Comes the Sun by batsy_rocks

T - 18,815

Clark Kent is a kind-hearted reporter working in the big city. Bruce Wayne is a stressed dad of four with no idea of what he's doing.

Then they meet.

Seasons of Love by littlechinesedoll

G - 4,603

Clark Kent took over that farm at the edge of the Town of Smallville. He likes Smallville's resident doctor, Bruce Wayne.

The best gifts for Bruce are ginger ale, salad, coffee, and any kind of flowers. He hates gems, and bars of copper, silver, and gold.

Petals and Ink by drunkraiinbow

T - 12,976

With a new kid joining the family, Bruce tries a new tattoo artist to continue the tradition of adding them to his sleeve, but he won't trust just any artist. Clark manages to win him over with his incredible talent and his farm-boy friendly demeanor, and he may even have begun to win Bruce's heart. However, Clark might have a few things to learn first.

FLOWER SHOP TATTOO PARLOUR AU! what else is there to say, this is extremely cute and a fast read! :D

Faceless Killer by Batsymomma11

E - 51,519

Detective Bruce Wayne from the GCPD and detective Clark Kent from the MPD have been asked to create a joint task force in an effort to catch the John Doe Killer that has been ravaging their sister-cities. Aside from their long-standing animosity towards one another, it should be a breeze to work together. Besides, lives depend on them getting along.

They never expected they'd trip headlong into a romantic entanglement that feels a lot more serious than even the killer they're chasing.

The Tailor by maderi

E - 16,026

When Clark is assigned to cover the Wayne gala, he finds himself in need of a professionally tailored suit. His tailor though is drop dead gorgeous, which brings up a lot of awkward situations during their appointments.

Heroes of the Squared Circle by Mithen

M - 226,687

They've gone by many names: Billionaire Brucie, Country Clark, the Kryptonian, the Dark Knight. But no matter what their stage names are, one thing has always been true: Clark Kent and Bruce Wayne are the world's finest wrestlers.

Six's a crowd by Untoward INCOMPLETE/ABANDONED

G - 10,133

When Alfred has to make an emergency trip back to England, Bruce soon finds out he can't manage running a business and taking care of six kids all alone.

He turns to a nanny agency for help, and is astonished when he finds Clark Kent, who seems like he can handle anything.

Clark not only can take care of the kids incredibly well but seems to be breaking Bruce's walls down rather well too.

After Hours by ????

E - 3,175

At the end of a long semester Clark can't hide his attraction to Professor Wayne any longer. Grad School AU.

This is practically a one-shot, not really my type of fic but worth adding!! Haven't come across this professor trope in Superbat so if you got any recs, send them my way!

Wings and Fangs by DanielleN3

E - 17,224

Clark thought he could never fall in love with anyone, especially not after being alone for such a long time… but all of that changes when he encounters a sexy vampire in Gotham.

TECHNICALLY they both have powers in this one but there are soooo different from cannon that I think this fic still qualifies for this list

thirteen by CapnWinghead

T - 22,890

Drowning in student loans, Clark Kent takes a summer job as the Wayne family nanny.

OKAY. so this is not entirely NO POWERS, but I mean Clark is a NANNY so this is great! TRUST ME

Kiss me, take my breath away by J_Jubilee

E - 37,934

There were legends about Gotham Reef. Legends that said it was haunted by a beast of foul temper. Stories told of a ravenous sea beast that feasted on the flesh of men, and was said to be more hideous than Satan himself. Others told of a woman with eyes that glowed like gold to lead sailors to their death. Some even spoke of a witch that cursed men and wreck their ships, taking all their treasures with it. When Clark’s catamaran is wrecked by a terrible storm, he learns that the stories were oh so far from true.

Baby Bats by AlmondRose

G - 4,003

this is a short series of adorable and simple domestic fluff

------

Haven't read this one but heeey the art is sooo pretty soo decided to add it anyways

Dragon Heart by Hells Angel 921

T - 27,660

Kal wants to make up for his past.

Bruce tries to move on with his future.

They eventually meet in the middle.

link to art

I didn't know that Dragon/DragonSlayer was a thing but hey... apparently it is, so here it is.

----------------------

---------------------

hehe and so my rant ends here! let me know if you know fics that fit any of these tropes! I’m all ears

[fycarmensandiego]

A chat with author Melissa Wiley

In 1996, HarperCollins published six Carmen Sandiego chapter books, featuring VILE villains from the then-current "Deluxe"/"CD-ROM"/"Classic" generation of computer games and a new lineup of Acme agents, headed by a Black female Chief (Lynne Thigpen ha impact), and focusing on kid detectives Maya and Ben.

The series included two books each by two writing teams and one solo act, Melissa Peterson. I got in touch with Melissa, who now uses the pen name Melissa Wiley, and she graciously answered some questions about writing the Carmen books and beyond.

To get you caught up to my knowledge before the interview, here's Melissa's website, and here's her bio as printed in the two Carmen books (accompanied by the caricature above):

Melissa Peterson is the author of several books for young readers. Born in Alamogordo, New Mexico, she has lived in eight different states and visited Germany and France. She has never ridden a dolphin, but she did eat a great deal of sour cherry ice cream outside the cathedral in Cologne. [Note: These are both references to plot points in Hasta la Vista, Blarney.] Her research for Hasta la Vista, Blarney included many hours playing Where in the World Is Carmen Sandiego? An official ACME Master Detective, she lives in New York City with her husband and young daughter.

FYCS: Thanks so much for agreeing to this interview.

Melissa Wiley: What a fun blast from the past! The Carmen books were my first professional writing gig and I had so much fun working on them.

That's so exciting to hear! With that being the case, how did you get involved with the books?

I was an assistant editor at HarperCollins, working for the wonderful Stephanie Spinner. I started out as her editorial assistant at Random House right after grad school and moved to Harper with her a year later, shortly after [my husband] Scott and I got married. Stephanie knew that I wanted to be a writer, and she often sent in-house writing assignments my way (lots of cover copy). When I left Harper in 1995 to have a baby, Stephanie recommended me for several book assignments, including the two Carmen Sandiego novels. That project had been underway for several months—Harper was doing a tie-in with the game and TV show. There were six books in total; two were assigned to me and four went to other writing teams [Ellen Weiss and Mel Friedman, and Bonnie Bader and Tracey West]. I often joke that I got my first modem, my first baby, and my first book deal in the same month!

I loved working with my Carmen Sandiego editor, Kris Gilson. The two books were a blast to write and a great learning opportunity for me. Ellen Weiss remains a good friend of mine. She's a true gem of a person!

Have your experiences writing the Carmen books influenced your work since then?

With Carmen, I discovered how much I love writing humor. Before that (in grad school), my poems and stories were on the serious side. I had so much fun with the playful, sometimes goofy tone of the Carmen Sandiego books that I definitely shifted afterward to more of a focus on humor in my books. I still find writing from a place of playfulness to be my most satisfying kind of work.

Were you familiar with Carmen Sandiego before writing the books?

I loved the computer game! I'd seen several episodes of the show—it's all a bit blurry now and hard to say which I encountered first—and really enjoyed it, but I especially loved the game. Instant classic!

How much guidance did you receive from HarperCollins / Brøderbund? Were the plots your own, or were you given plot outlines?

We were given the basic descriptions for the two kid detectives, and I had a couple of meetings with the editors and the other writers to flesh out the characters a bit more—give them personalities. I don't think Mel was in the meetings, but Ellen was there, and Tracey and Bonnie.

Then I wrote outlines for my two books and the other writers outlined theirs. I was assigned one "Where in the World" mystery and one "Where in Time" mystery. I think I submitted several plot ideas for each—the big challenge was thinking up interesting objects for Carmen and her henchmen to steal. The Blarney Stone and cocoa beans were my favorite ideas and I was thrilled that they got picked!

How did you research the books?

Those were AOL days, and the web wasn't yet a place for intensive research, so I spent a lot of time in the library. For The Cocoa Commotion, I conducted phone interviews with staff members at the Hershey chocolate factory—lots of fun. But I never did get to visit the Blarney Stone!

What was your favorite part of working on the books?

Researching the history of chocolate! Naturally I had to do a lot of sampling in order to describe it properly. ;)

Your author bio in the books mentions that the scene in which Maya and Ben eat sour cherry ice cream in Cologne, Germany was inspired by an actual experience of yours. Did any other experiences of yours make it into the books? Have you had any other travel experiences that notable? (Note: I'm originally from Northern Michigan, so travel experiences involving tart cherries are a high bar to clear for me.)

Ohhh, that sour cherry ice cream! I hope I get to taste it again someday. Apart from eating a lot of chocolate, I can't remember any other personal experiences that informed the books. If I were to write one today, I'd make sure to set a scene in Barcelona. My husband and I spent a week there in 2008 and it was an incredible trip. The paella! The Gaudí buildings! Art on every corner! I'd love to go back someday.

The bio also features a caricature of you with your baby daughter...

That drawing was made by the brilliant comic book artist Rick Burchett, who was working with Scott on Batman comics at the time. Scott was an editor at DC Comics and Rick was one of his favorite artists to work with. When I needed a bio illustration for the Carmen Sandiego books, we commissioned Rick to draw it. I love that piece so much! The baby is my oldest, Kate, who was born right around the time I started working on the books. We still have the original art!

You've written over 20 children's books for a variety of ages, in a variety of genres. Do you have any favorites among them?

That's so hard to say—I'm fond of all of them and I dearly loved creating worlds and adventures for Charlotte and Martha in my Little House prequels—but The Prairie Thief and The Nerviest Girl in the World are extra-special to me. I grew up in Aurora, Colorado and had a summer job at a wildlife refuge on the prairie, a landscape that served as the setting for Prairie Thief. I loved getting to weave secrets into the prairie setting that means so much to me.

Your most recent book, The Nerviest Girl in the World, was published last August. Can you tell us a bit about why you wrote it?

I lived for 11 years in La Mesa, California, a small town just outside San Diego. While I was there, I learned that in the very early days of silent film, there had been a film studio in town. Eventually the studio moved to Santa Barbara, but it was exciting to discover that before Hollywood was the center of the American film industry, little old La Mesa was a moviemaking place. I began reading everything I could find about the studio, and when I learned that many of the cowboys in those early Westerns were real cowboys and ranchers, an idea for a book began to take shape—the story of an adventurous girl who stumbled into work as a daredevil film actress along with her cowboy brothers.

Of course, I'm legally compelled to ask the question that literally every interview currently includes: how has the pandemic changed your job?

LOL! Yes, it's the question right now, isn't it! Well, I've worked at home since the Carmen Sandiego days, and I homeschool my kids, so in the biggest ways our lives weren't hugely affected by the shutdown. But I used to do a lot of my writing in cafés, and I miss that like crazy! I had to think up all sorts of new strategies for staying focused at home this past year. I'm hoping to get back to the coffee shops this summer!

Something I found really interesting is that you have a Patreon, which you explain you started to help pay for medical bills. How has that experience affected your work as an author?

I've played with lots of kinds of content on Patreon and really enjoy having a space to share behind-the-scenes stories. It's a more intimate and personal space than social media, so I feel free to let my hair down and be really frank.

Thanks so much for these fantastic questions! I had so much fun reminiscing about the Carmen Sandiego adventure!

[minettestan]

Do you have a tag for games you recommend? I'm always looking for new games and my experience with point and click or 90s computer games is sorely lacking.

💕My favorite question💕 I took one of my old posts and updated it, so here!

💕 Personal Favorite

💀 Scary Content

👧 Female Protagonist

✨ Important to the genre’s history

📚 Tricky for new players, look up controls or a walkthrough to get started

❕  Difficult

👿 Potential insensitive content

The Colonel’s Bequest (1989) $5.99 💕✨👧💀❕📚

“It is the year 1925, and the roaring '20s are well underway. As Laura Bow, young college student, you've been invited to visit the Colonel's isolated estate. Watch as the Colonel announces his intention to bequeath his millions to all present!”

The classic Sierra murder mystery game, developed by the mother of the genre Roberta Williams. Laura Bow is a sorely overlooked female protagonist. The game works by navigating Laura and typing in commands, kinda of tricky at first. Tons of game overs are a hallmark of a Sierra adventure game so save often! If you play the GOG.com version you get the benefit of autosaves. This game runs a timer, the events of the night will unfold with or without you so stay on your toes and keep moving! The game can be found for free here, but imo the $5.99 is worth it for the easy of access.

The Dagger of Amon-Ra (1992) $5.99 👧✨❕📚👿💀

“Laura Bow, intrepid heroine of The Colonel's Bequest, is back! This time she's trapped in a huge, imposing museum in the dead of night, surrounded by socialites, miscreants, thieves...and a cold, relentless murderer.“

Roberta Williams is back! Iconic game, iconic heroine. It’s still a Sierra game so like TCB there are tons of (iconic) game overs, so save often. Solving puzzles in this one gives me a great serotonin rush. Unfortunately, this game has some racism issues, particularly with the characters Lo Fat and Ramses. While an important game in the genre take it with a huge grain of salt and maybe turn of the (kind of awful) voice acting and enable text-only mode and you’ll avoid some awful accents.

Sam & Max: Hit the Road (1993) $5.99 💕✨

“Sam (a canine shamus) and Max (a hyperkinetic rabbity thing) are hot on the trail of a runaway carnival bigfoot across America’s quirky underbelly in this deranged animated adventure!“

Sam & Max are truly my favorite characters in all of fiction. I have the box art to this game as my phone case. I have Sam & Max action figures, a plush Max on my bed, a print edition of Sam & Max Freeland Police Special #1 framed on my wall. From comics, to games, to cartoons I love these guys. Sam & Max: Hit the Road is a classic of the Lucasarts adventure games. That being said, it’s the least user-friendly of the Sam & Max adventure games and the slowest. I still love it to bits and it’s important to the genre’s history imo.  

Gabriel Knight: Sins of the Fathers (1993) $5.99 💕💀👿

“The adventure of Gabriel Knight starts with gathering materials for his new book, and ends up becoming a fight for his very soul. He must now face countless dangers in New Orleans, Africa and Germany, each bringing him ever closer to unraveling the mystery behind suspicious voodoo murders. Haunted by nightmares, he won't give up until he reveals the truth. “

Another Sierra game directed by a woman, Jane Jenson. Gabriel Knight, voiced by Tim Curry, is one of my favorite adventure game protagonists of all time. This game is scary and gory so enter at your own risk! I love the gameplay in this one, I love the narrator, I love the puzzles. But it seems Sierra games have some problems with the representation of minorities. The game is set in New Orleans and focuses on a voodoo cult. Which means consequently the game's major antagonists are all black. Unlike the Dagger of Amon Ra, Sins of the Fathers actually employed black actors to play black characters. There’s a lot to be said about the ways in which white media demonizes voodoo and those who practice it. If you play this one, remain critical. And for the love of god, don’t play the 20th anniversary version.

Day of the Tentacle: Remastered (1993/2016) $14.99 ✨👧❕

“Originally released by LucasArts in 1993 as a sequel to Ron Gilbert’s ground breaking Maniac Mansion, Day of the Tentacle is a mind-bending, time travel, cartoon puzzle adventure game in which three unlikely friends work together to prevent an evil mutated purple tentacle from taking over the world!“

Another classic LucasArts game! This was the first game co-headed by Tim Schaffer who would go on to make the outstanding Grim Fandango! This one is exceedingly wacky and the remastered version has made it more user-friendly than ever.

Toonstruck (1996) $9.99 💕

“Drew Blanc is a cartoon animator and the original creator of the Fluffy Fluffy Bun Bun Show.. Drew's boss, Sam Schmaltz, sets him the task of designing more bunnies to co-star in the Fluffy Fluffy Bun Bun Show by the next morning. However, the depressed animator soon nods off, suffering from acute artist's block. He wakes early the next morning to inexplicably find his television switched on, announcing the Fluffy Fluffy Bun Bun Show. Suddenly, Drew is mysteriously drawn into the television screen and transported to an idyllic two-dimensional cartoon world populated by his own creations, among many other cartoon characters.“

If you’re a fan of Who Framed Roger Rabbit? you’ll love this. Christopher Lloyd is Drew Blanc (ha) trying to save a cartoon world through inventory item puzzles. Truly wacky, zany, and ani-mainy. I played Toontown as a kid so I’m predisposed to like this one. This is also the only game with Full Motion Video I’m putting on the list because FMV games can be an acquired taste.

Grim Fandango (1996/2015) $14.99 💕✨

“Something's rotten in the land of the dead, and you're being played for a sucker. Meet Manny Calavera, travel agent at the Department of Death. He sells luxury packages to souls on their four-year journey to eternal rest. But there's trouble in paradise. Help Manny untangle himself from a conspiracy that threatens his very salvation.“

Yesssssssss! I LOVE Grim Fandango! The iconic game directed by Tim Schaffer has received the best remaster I’ve seen a point n’ click receive. I cannot recommend Grim Fandango enough! Stick with it through the forest section, trust me.

The Last Express (1997) $5.99 ❕ 📚

“Paris, 1914. The world is on the brink of war and this train could push it over the edge. You are Robert Cath, a young American urgently summoned by your old friend Tyler Whitney to join him aboard the Paris-Constantinople express, departing from the Gare de l'Est on July 24th. Arriving late, you discover something has gone terribly wrong. Now you must untangle a complex web of political intrigue, suspense, romance, and betrayal. Every move you make could bring you closer to the truth or your own demise. Bon voyage! “

Ooooh I love a murder on a train! This game features rotoscope animation, which I love. Like The Colonel’s Bequest this game runs in real time, meaning the events of the game will unfold with or without you, depending on where you are at what time you’ll receive different information or see/miss different events. Very replayable with several different outcomes.

Sam & Max Save the World (Remastered) $19.99 💕

“ Sam is a six-foot canine detective with a love of justice. Max is a hyperkinetic rabbity-thing with a taste for mayhem. Together, they're the Freelance Police. And they're about to save the world.”

Sam & Max Save the World, originally released in episodes from 2006-2008 has been remastered and looks AMAZING! After LucasArts was shut down their game devs formed Tell Tale Games and produced three seasons of Sam & Max sequel games, all of which are great. But TellTale was shut down (and screwed over their employees) in 2018. Since then some of their devs have formed Skunkape Games and are currently remastering all of Tell Tale’s Sam & Max series (I’m thrilled). They’ve also adjusted some aspects of the game to make the game more inclusive and less **offensive. So imo it’s worth it to wait for the release of the other seasons to experience Sam & Max in pristine condition. Save the World is the only season out now, but you can get the non-remastered versions of Beyond Time and Space, and In The Devil’s Playhouse, here and here.

 **I should note the “offensive” material in the original is not as egregious as say, The Dagger of Amon-Ra, but it’s just a nice change to see especially in a game I hold dear.

Emerald City Confidential (2009) $9.99 👧

“Explore the underbelly of Oz as Emerald City's most cunning detective! As Petra, you'll be lured deep into mysteries involving new foes and familiar faces; Scarecrow, Lion, and Toto included! This is Oz as you've never seen it before! Solve the mystery and unravel a conspiracy of magic and intrigue! Follow a case through five chapters full of puzzles, witnesses, suspects, and allies in this twist on a timeless classic! “

We’re moving out of the 1990s now. Emerald City Confidential is the Wizard of Oz meets film noir. I played this as 13 year old and have revisited it as an adult and I still eat it up. Wadjet Eye makes consistently good adventure games so check this one out!

The Blackwell Series (2006) $14.99 💕👧

“Meet Rosangela Blackwell, an embittered writer who just found out that she is a medium and that it’s her mission, whether she likes it or not, to assist tormented spirits and investigate other supernatural goings-on. She is assisted by the sardonic Joey Mallone, a ghost from the 1930s.”

Another Wadjet Eye game! I’ve seen these games recommended amoungst the Clue Crew before and I’ll just throw my own endorsement on the pile. Yeah I’m in love with Joey Mallone. What about it?

The Charnel House Trilogy (2015) $5.99 👧💀

“Witness The Charnel House Trilogy, the chronicle of one fateful night aboard a train bound for Augur Peak. Three thrilling, horrifying adventure games in one, from the depths of the Sepulchre.”

Plays like Blackwell, has a Blackwell reference at the beginning, okay you got me. This is a good, if kinda short, game. It’s very creepy, involves murder and has some gore/violence so watch out! I’m still waiting on the sequel Owl Cave!

Thimbleweed Park (2017) $19.99 👧

“A haunted hotel, an abandoned circus, a burnt-out pillow factory, a dead body pixelating under the bridge, toilets that run on vacuum tubes... you’ve never visited a place like this before.“

Made by Ron Gilbert and  Gary Winnick the creators of the classic games Maniac Mansion and Monkey Island Thimbleweed Park is a love letter to the classics of the point and click adventure genre. Features 5 different playable characters, ala Maniac Mansion, who and how many you play is up to you! This one also has stand alone DLCs!

Unavowed (2018) $14.99 👧

“ A demon possessed you one year ago. Since that day, you unwillingly tore a trail of bloodshed through New York City. Your salvation comes in the form of the Unavowed – an ancient society dedicated to stopping evil.”

Okay I haven’t actually played this one, but I want to. Its a Wadjet Eye so you know it’s good. From the reviews I’ve seen this is the Blackwell Series meets Dragon Age. A point and click that incorporates RPG elements, I love that.

I also have a love of the more, strange, and unusual adventure games that I can't necessarily recommend with good conscience. So if you want bizarre 90s and early 2000s games of dubious quality hit me up.

[charmedseoull]

Interview with sugamins about her work House of Cards (Ao3′s second most hit English work and most hit BTS work)

Before You Read the Interview

Archive of Our Own Transcript

Reddit Transcript Part 1 / Part 2

House of Cards is documented within the Top 50 Most Hit BTS Works on Archive of Our Own Project, otherwise known as T50BTS, by Charmedseoul. It is the second most hit English work on the Archive of Our Own platform, most hit BTS work, and 16th most hit work overall. It centers around the internationally popular K-Pop idol group BTS (Bangtan Sonyeondan) with the main characters being Park Jimin, Kim Taehyung, and Jeon Jungkook. This work is being documented for historical purposes for the Fanlore website with its own page. Charmedseoul is a BTS-focused anonymous historian who plans to eventually document each of the top 50 most hit BTS work on Ao3 as in depth as this one. If you are in contact with any of the authors of these works, please contact her on Twitter @charmedseoul or on Tumblr @charmedseoull.

Parts of this interview have been edited with links to Fanlore and Wikipedia pages for understanding. Any information in [brackets] serves for further clarity for readers and elaboration of information.

Disclaimers: This interview contains spoilers for the BTS Archive of Our Own work House of Cards. The story’s Archive of Our Own tags contain violence and gangster activity, along with discussion of prostitution and drug use. The full tag list is:

Alternate Universe - Gangsters

Gang Violence

Violence

Drugs

Drug Use

Explicit Sexual Content

Explicit Language

Blood and Gore

Blood and Torture

Gambling

Gunplay

Undercover

Disturbing Themes

Homophobic Language

Attempted Rape/Non-Con

Xenophobia

Dom/sub

Threesome - M/M/M

Drug Addiction

Dubious Consent

This interview discusses an 18+ mature work and Not Safe for Work topics. Please read this interview at your own discretion. You are responsible for the content you consume.

House of Cards by sugamins is a multi-chapter Archive of Our Own fanfiction that follows police officer Kim Taehyung’s undercover operation into the gangster world of Haedogje Pa. Jeon Jungkook, shrouded in an air of mystery and dubbed “The Boy,” is the heir to this crime empire. Park Jimin lives with him, acting as a lover of sorts in a high, pristine penthouse apartment. The story follows the three and their complicated relationship where sex, violence, and drugs surround them. Kim Taehyung tries to take down the empire as his moral lines of black and white begin blurring into gray. In this crime-ridden alternate reality to Seoul, everything from the structure of the gangster world to the trust between three lovers is as fragile as a house of cards.

Now presenting the interview with sugamins, author of Archive of Our Own’s second most hit English work and most hit BTS work, House of Cards:

How did you start writing?

How did you get into fanfiction?

How much writing experience did you have prior to House of Cards?

Do you have any literary or artistic inspirations? Any other authors or works that have inspired you to create anytime before or after House of Cards?

How did you become an ARMY [ARMY stands for Adorable Representative MC for the Youth. It is the fandom name for fans of BTS, otherwise known as Bangtan Sonyeondan]?

I started writing fanfiction in 2012. But before then, I used to enjoy writing stories as a child and young teenager. I used to write and illustrate my own stories. I even had a sketchbook filled with my own comic book, which was terrible! But I've always been creative. It started with art and then I moved onto writing when I discovered I was able to be much more creative with my words rather than my pencil.

I first got into fanfiction through my years spent on Tumblr. I had always known that it had existed, but I had never really gone looking for it because I hadn't belonged to a fandom at that point in my life. It was back in 2012 when I stumbled upon an EXO fanfic that a lot of people were talking about (Arbitrage, you can find it on Livejournal.) I read it and then thought...wow, so this is fanfiction! From that point, I started reading more and more, mostly Infinite fanfiction. And then I decided to start writing with the encouragement of an old online friend, and here I am!

In terms of writing experience, I have never formally received education. I stopped studying English Language and Literature when I was 16, instead focusing on Art, History, and Religious Education (purely because I wanted to learn about philosophy and quantum mechanics) for my final two years at high-school. The only experience I have is through writing fanfiction. I started back in 2012, and I've developed a lot since then. I started off small, writing horror short stories and little collections. Brotherhood was the first 'long fic' I created. I was shocked that it managed to get so big because I had never created a story of that size before. Writing helped me gain experience and figure out what worked and what didn't work, what I was good at writing, and where I was lacking and needed to learn. I don't think you can really experience an art form until you start doing it. You can learn all about the techniques and the conventions, but until you pick up a pen and start writing or drawing, you won't ever know what it means to create.

My literary inspiration has always been Stephen King. Which is funny, as he has described himself as 'having diarrhea of the typewriter.' I think that applies to me sometimes. I am a bit of a wordy writer, though I've started honing it down for certain stories. Sometimes, a story needs to be floral and descriptive, sometimes, it needs to be punchy and direct. So, King was my major inspiration, especially with horror. I also enjoy the works of Poe and Lovecraft (I acknowledge the problematic themes in the work of Lovercraft and seek not to praise him as a person. He was a terrible person for sure, but sadly, he had a way with cosmic horror that is hard to find.) I also enjoy Chuck Palahniuk and the dark, seedy and overall zany stories that he has created. I like his style a lot!

In terms of inspirations for House of Cards, I was obviously inspired by the films Infernal Affairs/The Departed. American Gangster and Training Day were also major inspirations (and also because I love Denzel Washington's performances in both films. I mean, who doesn't love him?) But I also drew inspiration from other sources that were less focused on gangs, more focused on the dark, nihilistic state of the world around us. I couldn't recommend the TV series True Detective hard enough. It is one of the best series I have ever watched. It handles dark and disturbing content so well, and its fractured, unreliable story-telling and philosophical musing is some of the best I've ever seen on screen. I highly recommend checking it out, but be sure to check the content warning and triggers because it certainly isn't suitable for younger audiences and those with triggers. In terms of real-life content, I think Ross Kemps' docu-series are very good. Particularly Extreme World and On Gangs. His docu-series show the dark and disturbing side of criminal activity, the drug trade and more. 

I became a fan of BTS [Bangtan Sonyeondan] back in 2013. I had already been a fan of K-Pop for some time by then, as I had started listening to various K-Pop and K-Rock artists back in 2009. I knew of their debut, but I had seen hundreds of new acts debut by the time that they broke into the scene, and so I didn't pay much heed. Someone I followed on Tumblr at the time kept posting about how much she loved them, especially Taehyung [BTS V/Kim Taehyung]. One day, I stumbled upon a gifset of Yoongi [BTS Suga/Min Yoongi] being sarcastic in one of their first interviews. I thought he was funny, so I decided to check them out. At the time, they had recently released We Are Bulletproof Pt. 2 [BTS’s second music video release with their debut album 2 Kool 4 Skool]. I followed them from that point, and their first comeback [A “comeback” refers to when a K-Pop idol group releases new music, usually done twice a year.] was also my first comeback. I liked their music [BTS released Boy In Luv and Just One Day in 2014, both music videos of songs from their Skool Luv Affair EP.], but I liked them even more as individuals. I loved watching their shows [Here is a link to BTS’s schedule during 2014 when they had their first comeback. You can find the shows and interviews they were on there.], even though they are incredibly embarrassing to look back on now. They just had so much energy and looked to be having so much fun that I was having fun just watching them. I was a fan, I liked a lot of their songs and followed their activities. But it wasn't until they released HYYH Part One [Hwa Yang Yeon Hwa Part 1 (Korean) = The Most Beautiful Moment in Life Pt. 1 (This is the title in English), released with the I Need U and Dope music videos.] that I really became a fan of their music. I had already created a couple of small horror stories for the fandom at that point. HYYH Part One [The Most Beautiful Moment in Life Pt. 1] inspired me so much that I created Brotherhood, my first 'long fic.' I joined AO3 [Archive of Our Own] and started posting there. I received so much support from fellow fans that I carried on writing, and the rest is history!

How has your experience being an ARMY [Adorable Representative MCs of the Youth, BTS’s global fan base name.] been? Did you ever leave the fandom then come back? How did you interact with others when you first got into the fandom and as you grew up?

How have you been since you wrote House of Cards? What have you been working on? 

Are you okay with talking about how old you are now and how old you were when you wrote House of Cards?

Before you even wrote House of Cards, what inspired it? Any TV shows? Music? Movies? Books? Ideas? It could be anything.

How did you start writing House of Cards? Did you finish the entire story then publish it or did you write it as you went? What was the writing process like?

Did you have any beta readers or editors? If you did, are you still in contact with them now? How did they feel about your work?

My experience being a fan has mostly been positive over the years. In the earlier days, back around when I first started writing for the fandom, it was certainly much more positive. I've received so much support over the years, not only in my writing but in my personal life from readers and fellow fans that being a fan of the boys [The members of BTS] really has changed my life. That's not an exaggeration. I doubt I would even be here now without those years having such a positive effect on my mental health. I've never really been the kind to interact with others and form cliques within the fandom, I just like being in my own space and interacting with everyone that comes my way, I guess?

These days, I'm not as active as a writer or in fandom spaces however. I feel like my time in the fandom has started to come up and I don't know how I feel about it just yet. I feel nostalgic for the time when I was first starting out in the fandom and I didn't really know much, but everything was fun. It doesn't feel so fun now, but I mostly contribute that to the effect that Twitter has had on shaping the fandom's growth. Twitter has never been a good place for creatives within fandoms because of issues with algorithms and such. Tumblr was always the better website for hosting artistic content for a variety of reasons. So, I think the fact that everything is on Twitter now has been partly responsible for my decline in engagement and overall enjoyment. I'm currently taking a break from Twitter. The next couple of months will be what makes me either stay or leave the fandom.

Since writing House of Cards, I've been an active writer in the fandom. Over the years, I've added quite a lot of stories to my AO3 accounts and various pseuds. My largest ongoing story is another gang story, set in the 1980s, called Valentino Summers. I actually started writing and publishing it on Ao3 just four or so months after I finished House of Cards—which is wild to think about. Finally finishing House of Cards seems like such a long time ago in my mind, and yet I'm still working on a story I created that same year! I like contributing horror stories to the fandom, especially in the Halloween period. I like publishing series in the month/upcoming weeks before Halloween—though I won't be doing so this year [2020].

When I started writing House of Cards, I would have just turned 22. It was inspired by the song 'Wires' by The Neighbourhood. I might be mistaken, but I believe that Jungkook [BTS Jungkook/Jeon Jungkook] posted a tweet with the song in it. [Jungkook did tweet about this song. Here is the English translation.] I had never heard of the band before, but my partner was a fan of their music. She sent the song to me and I was very interested in the lyrics, so I started discussing them with her. One thing led to the next, and then we had basically come up with the entire plot of the story. We just needed to create the characters. We spent a little while doing so, and then I started doing some research and started writing the story. There really isn't a grand backstory to House of Cards, it just happened so fast. We often come up with story ideas like that, and my partner is responsible for a huge amount of my stories. She has the creative visions, which I then turn into words. We make quite the team, haha~ The inspirations, I mentioned those in my previous answer regarding films and TV shows.

I published the story as I went, though I staggered the updates because I didn't want to post too frequently. I had the entire story planned out from the start——I didn't change a single aspect of the story no matter what I received in terms of feedback. I think a lot of readers assume that writers might tweak things if they sense the audience wants something to happen in terms of plot or relationships. Personally, I don't like doing that. I like sticking to my plans even if I know my vision might not be what the readers want. I think it's important for the story to be created the way I see it because my vision is what made me create it, if that makes sense.

The writing process was surprisingly smooth! You might not think it because the story is big and there are a lot of characters and plot threads to keep on top of, but it went smoothly for me. It flowed just as smoothly from start to finish as Brotherhood did. I never struggled once with writing the chapters, nor did I ever get stuck and wonder if I should change the content in order to make it easier to write. I'm surprised that I managed to complete it so easily because that's not the case with writing now! I tend to be a lot slower now, more deliberate and more open to changes in order to ease the process and the overall flow of the story. In a way, this change has been for the best. I do wonder what House of Cards would be like if I were to write it now, with my different approach to planning and writing. It would probably have a quicker flow, and the word count would either go down as a result of cuts, or go up because of additional scenes I would have likely included.

I didn't have any betas, which you can probably tell from the work. My stories are so big that I never wanted to put the burden of fixing them onto someone else. I know they are imperfect, oftentimes bloated things, but that's just what they are. I did try creating a story with another writer in the past, but it didn't go very well. She would often have conflicting opinions on things and would not have any leeway for anything I suggested, whereas I always had leeway to allow her to change things. Even to the point of completely changing the plot of the story that I had already started writing, and then allowing her to add graphic sexual content she didn't even want to be in the story. She actually stopped writing fanfiction randomly in the middle of us creating the story! She made a post about it being disgusting and nasty and then bowed out. I have no clue if she ever came back! So, my negative experience with attempting to work with someone else when creating a story kind of made me not want to have a beta. It's a wild story, I know!

House of Cards is praised for its realism and accuracy with weaponry, torture, sex, and violence. How did you research these things?

How did you come up with the gangster universe in House of Cards? How did you develop Haedogje Pa?

How did you name the original characters in House of Cards? Did any characters in particular take inspiration from existing characters in TV shows, anime, books, any type of media?

How did you decide on Vminkook as your main characters for the story? What do you see in their dynamic and them as characters?

Jimin is claimed to be one of the best written characters in the entire story. What was your thought process when characterizing him and developing him?

Taehyung is an especially dynamic character whose morals get tested time and time again in House of Cards. What was your thought process when characterizing him and developing him?

Jungkook is one of the characters that the readers spend the least amount of time getting a perspective from, but is incredibly well written in his character progression. What was your thought process when characterizing him and developing him?

When it came to various aspects in the story, I did do research. Most of it never really had an impact on the story itself. For example, I would be looking up gun models that are used by law enforcement agencies around the world and trying to find specs of them so I could learn how many bullets each gun held, or how much a magazine could hold. In action scenes, I didn't want my characters firing off 20+ bullets for a gun that—in reality—holds far less. That's a fact that doesn't really mean much to the average reader, but it meant something to me! I've always hated how many bullets fly through the air in action scenes in films and TV shows because I'm always wondering if it's possible with the firearms featured in the scene haha~ In terms of torture, I've come across the subject through various documentaries and TV shows about gangs, crime and serial killers. I didn't really do much additional research into the topic, beyond reading up on what I had come across to make sure it wasn't fictionalised for drama purposes. Obviously, there will be some lack of realism in my story because I couldn't possibly write a realistic portrayal of gang violence and torture when I have zero personal experience with it. My aim wasn't to give the story 'full' realism (I'll explain more about that in the next question) but to simply create a world that felt real, even if there were little aspects that had to be exaggerated for the sake of the story. Taehyung's behaviour when undercover certainly broke many procedures. The only thing working in his favour that allowed him to get away with it is that the crimes he committed couldn't be directly traced to him. But a real undercover agent would never do the things that he did on behalf of the gang. Basically, this means that the entire story is unrealistic! But of course, it wouldn't be very entertaining if Taehyung simply observed from the background and didn't dirty his hands. So, I had to bend and break the rules a little!

For the universe, I knew that I couldn't base it too much in reality. Because of basic Korean law, it would have been impossible for me to write the gang operating in the way they did in the story—especially with guns. Most Korean gangs tend to use other forms of violence and weapons in order to control their respective areas, rather than guns. My other story, Taste of Ink, has what I would consider a more realistic approach to gang activity—with the main weapons being knives, baseball bats, etc. and the main forms of violence being assault instead of flat-out murder. So, for the sake of allowing guns to appear in the story, I had to create a Neo-Seoul, so to speak. I took inspiration from Korean gangs, and mixed it with influences from other gang cultures in order to create 'Haedogje Pa.'

When it comes to naming original characters, I honestly don't put much thought into it. I like to use real names for inspiration. I often Google various Korean films I've watched and read the cast list in order to find interesting character and actor names. This is because I have a habit of reusing names sometimes. For example, readers of my stories might have come across a couple of Daesu and Goohee characters. Do you know where I got these names from? I picked Daesu from Oh Daesu - Choi Minsik's character in Oldboy. Goohee comes from the manhwa 'Let Dai' - he is the stubborn gang leader that actually has a good heart beneath his rough exterior. I ended up liking him the most by the end of the story, so his name is one that often comes to mind when I need to pick an original character name.

I never really consider real life dynamics when I'm writing because my stories are so detached from reality that it seems pointless including any inspiration from reality. I chose the three main characters simply because, at the time, they seemed to fit the character moulds the best. The other characters fit their respective characters so well (especially Namjoon [BTS RM/Kim Namjoon] and Yoongi) that I simply thought it was best to have Taehyung, Jimin [BTS Jimin/Park Jimin] and Jungkook as the three lead roles. I chose them more based on how I thought they could personally fit the characters, rather than focus on the dynamic. To use Taehyung as an example, I thought that he would fit the character of the informant in my story because in reality, he is intelligent and seemed like he would suit the role. For Jimin, I thought he would be a good choice for a character that some might think is vulnerable or even weak. He is actually very strong and the most important character for the plot progression. For Jungkook, I liked the thought of someone with such an innocent outer appearance hiding a dark secret.

I'm so glad that readers took to Jimin so positively on a whole. I know there are some that hated him, or that hated the fact I chose him for such a role (a 'negative' sex worker role). But Jimin is the most important character for the plot progression. It is through him that the entire plan finally culminates in the explosive finish. I wanted to treat him with care because I understood that his character could go very wrong if not handled correctly. It would have been easy for him to simply become nothing more than a sexual prop, should the story have focused too much on Taehyung and Jungkook as the key players. So, I decided to subvert it by giving Jimin the ultimate hand in the story and allowing him to have more control than Jungkook in the end. If Jimin had not decided to follow through with the plan, if he had decided to snitch or had simply refused to do his part in exposing the gang, the story would've ended drastically differently. But I also didn't want to write Jimin taking control of the entire situation at the end because it would've felt ingenuine. He is a character that has been deeply affected by a lifetime of trauma. I was worried that some might take my portrayal of his trauma the wrong way, and see him not as a character that has suffered immense mental damage but rather as an annoying, weak character that gets in the way of more 'interesting' dynamics. I'm sure there will be readers that think that. Mentally traumatized individuals are often seen in such negative light, be they fictional characters or real people. When writing his character, especially in the later scenes, I wanted to make sure the trauma he experienced would shape his behaviour. Writing the scene of him getting ready to leave, when he is taking his pills and he doesn't think he can do it, it was hard. It was hard getting into that headspace of feeling so powerless in the moment and knowing that freedom is in reach, but not knowing how to achieve it. He was a difficult character to write, but I think he turned out just right in the end.

Taehyung was probably the best character to write. I love characters that start off so morally upright and pristine, and by the end of the story, their backs are bending and close to breaking from the weight of their conscience and misdeeds. His character has many facets to him that made his perspectives so interesting to tackle. From his green days in the gang, where he is horrified by the violence he sees, to the changes in his psyche as he starts to become desensitized to it all. Fundamentally, Taehyung begins the story as a good man, a hero, but by the end, there is no black and white thinking. He has become grey, muddied from his time spent in the gang. Is he a hero for bringing them down? Would a hero do the things that he did in order to bring down the gang? He killed people. He tortured people. He threatened a man with a gun, a man he knew had a deepset fear of guns that would severely trigger him. I think it all depends on how the reader sees it. The hardest thing to write for his character was his troubled descent into the relationship between him, Jungkook and Jimin, and how it affects his thought processes and emotions. I didn't want House of Cards to be seen as a romantic story when I created it. If readers see it that way, they are more than entitled to their own interpretations. I cannot tell them how they can interpret my art, that is not my role as the creator. I don't know if I effectively portrayed the co-dependency between the three main characters as well as I would've liked. But I had never tackled such a story and themes before, and so it was all new to me.

I didn't know that Jungkook had the least perspective from the three main characters. Similarly, I never really put that much effort into creating and developing his character! Jungkook simply 'happened' in the moment. He would appear in the chapter, and then his character would basically take control of the scene. I never really knew what he was going to say or do beyond my rough plans for each scene. I just waited until he appeared and let the creative spirit flow through me. That's how he came to be! I've had that happen many times in the past with characters—they have a life of their own and I've no control over them. In my story, Brotherhood, Taehyung happened the same way. It was impossible to write his character in that story because he was so wild and free-spirited that it didn't feel right unless his behaviour was a total spur-of-the-moment reaction to the other characters and new plot points. But with Jungkook in House of Cards, I don't know why I didn't have him planned out like the others. It's interesting to think that he might've had a good progression when I never planned any of it in detail!

Were there any original characters you particularly liked writing or enjoyed?

When you wrote for the BTS hyung line, how did you determine their roles in the story and characterize each of them?

Is there a reason behind Namjoon saying “brother” or was it a consciously written character quirk?

When you handled more serious subject matter in House of Cards, how did you feel when writing it? Were you ever startled by your own work?

Was there any type of purposeful titling for the fanfiction chapters?

What was your reason for House of Cards’ open ending?

I liked writing Lim, the original informant that helped Taehyung join the gang. I like writing characters that come across as sleazy. In his case, the sleaze was all an act and wasn't true to his character; he was affecting it for the sake of creating a persona. But I enjoy writing absolute sleaze balls too—the kind of guys that have chest hair and wear gold chains and thick watches, who practically ooze oil. I just find them fun! Lim was a good teacher, even when he was rough around the edges. It was sad doing what I had to do to him for the sake of the plot. But I feel like Lim understood the game as well as everyone else, and so he knew he was running on borrowed time. 

Of course, I loved writing Bae Goohee too! He was an absolute bastard! I loved writing this figure that is spoken about throughout the story as a frightening man, one so brutal that the readers are already wary of him before he even appears in the story. I believe that Taehyung refers to him as a 'guard dog' at some point. I think Bae is the scariest character in the story for me because he is so ruthless and willing to do any order that the Jeon clan give to him. That kind of blind and unwavering devotion is frightening!

I also enjoyed writing Sungah and Jangmi. I think they're the only female characters in the story that have dialogue? Sungah has a great backstory that I unfortunately couldn't go into too much in the story, but it shaped her character a lot. I like how frank and intelligent she is—she holds her own even in a department filled with men that receive far more praise than she does simply because she is a woman. She also allowed me to add an angle about the unfair treatment of women in jobs that have power, drawing parallels with how Taehyung faces discrimination from his fellow officers when his sexuality is abruptly revealed during the investigation. As for Jangmi, I just liked writing about the wife of a mob boss! And not one that is simply a trophy wife, but actually has a lot of power and influence across the city. I wish I had been able to feature her more, alongside her husband, Jeon himself. But I like the scenes they appear in and I enjoyed writing them.

For the rest of the members, I had Namjoon and Hoseok [BTS J-Hope/Jung Hoseok]'s characters planned right from the start. I had also created plans for Yoongi and Seokjin [BTS Jin/Kim Seokjin], but I wasn't sure how much of a role they would play in the overall story. As I started writing them, I realised that Yoongi would play an important role in both Taehyung and Jimin's character development, and so he ended up featuring a lot more than I had expected. I planned their jobs and then let them influence how I would write them. Namjoon and Hoseok's characters came naturally. Yoongi's character completely took over his job role and basic description and became a really strong character that I'm proud of. Seokjin was a little trickier because he doesn't appear in too many scenes—but the scenes he does are integral to the plot. I needed to make sure that his character said everything he needed to in his limited scenes. He has quite the bombshell to drop after all! Seokjin was also tricky because I wanted him to have an air of mystery around him. I wanted him to be the kind of guy that not even Taehyung and his police connections would be able to unearth much about; a ghost in the system. I would've also liked for him to feature more in the story, but I feel like his character appeared in the essential scenes that the story needed. He was going to feature more in the planned sequel, being one of the first characters to appear alongside Yoongi. He was going to serve an important role, so I'm disappointed that I didn't get to show those scenes to readers.

With Namjoon, I wanted to portray him as a mature character, but not one that was conservative and stiff. I thought about having him say things like 'man' but that seemed too casual and didn't suit his character. 'Man' made him seem more like a surfer than a police officer. But when he said 'brother' in one of the scenes, I realised the word suited him better. It was fraternal, and it allowed him to show some affection towards the other characters without having to have physical contact with them. It's not the only Namjoon I've written that says 'brother' a lot. In Valentino Summers, Namjoon has experience with hippies in the neighbourhood that he lives in, so he also refers to other characters like Jimin as 'brother.' It just seems to suit him! I guess it's because I like creating Namjoon characters that are intelligent and mature, but still have a gentle and warm presence. I could picture him saying it in real life (I'm certain he already has!)

When writing serious subject matter, I'm surprised to admit that I was never shocked by what I was writing! I guess it's because I already knew that I was going to be handling dark themes. I wouldn't have tackled such subjects had I not felt comfortable doing so. Dark content isn't for everyone, and by that I don't simply mean consuming it. Creating it can be very difficult for some writers, and can even cause distress. It's not easy diving into a world that is filled with crime, pain and fear. It's even harder putting yourself into the shoes of a character that is suffering/has suffered. I was never writing in a desensitised state though. Far from it. I'm actually very sensitive to violence in reality. In fiction, it depends on the violence—but I'm usually not too affected by it. I've been a fan of horror since I was a child, and so I've seen a lot of nasty films filled with gore and 'shocking' deaths that never really had much of an effect on me. Unrealistic violence doesn't scare me. But when it comes to personal violence, that is always frightening to me. It's far scarier writing a scene where a character feels threatened by another character and doesn't know what is going to happen to them then, say, writing a scene of a character dying a bloody, ridiculous death in a horror story. Personal violence is much more realistic, therefore it is more unsettling to write. In House of Cards, the violence is very personal. It's in your face, it's inescapable for the characters that are involved in it. But at no point did I ever feel like I needed to stop writing because I was uncomfortable or scared by the content. If I had been uncomfortable, it would have been very reckless of me to continue writing the story.

My word of advice to fellow dark content writers: it's always important to recognise your own boundaries. There's nothing wrong with removing dark content from a story if you get a bad vibe or feel strange when writing/reviewing it. Always follow your gut instincts and never put out work that you don't like.

When writing stories, I vary between titling the chapters and leaving them blank. For House of Cards, I cannot remember the exact method for naming the chapters. Sometimes, the title comes to me when I am writing the plans and I have an idea that just suits the mood of the chapter. Other times, I have finished the entire chapter and I have to spend some time reviewing the content to decide that the title will be. In some cases, I have finished most of a whole story and I'm still not certain what to title it! I feel like with House of Cards, the titles came after the chapters were finished, or at least when they were works-in-progress.

There are some titles that really stand out to me. 'Nice Teeth' for example, is a really ridiculous title. Going into the chapter, I don't think many readers would've imagined what it could mean. 'Submachine Sodomy' is even funnier. I really can't believe I chose that as a title! I'll bet a lot of readers saw it and thought, "Oh no! Not another gunplay scene!" Luckily for them, it wasn't a reference to Jungkook's predilection for firearms in bed.

In terms of chapter titles that I really like: 'Delusions of Grandeur,' 'I Own This Fucking City,' 'Sleeping Dogs Bite' and 'Carpe-fucking-Diem.' I just feel like these titles are very well suited to the contents of the chapters. They are the kind of titles that have bite to them, that hint at action or an important plot point.

As for the open ending, there are a couple of reasons. First of all, I had planned to continue the story in a sequel that would pick up after the events of House of Cards, roughly a year on after the investigation. However, I did not pursue this sequel. I wanted House of Cards to end on an open note for the sequel to continue the story. When it comes to certain stories, I just feel that closed endings aren't always necessary. I often enjoy stories with open endings. With House of Cards, it didn't seem right just closing the book and saying it was over. There was still so much that needed to be explored. Unfortunately, I decided to not continue it. But I still think that House of Cards' ending fits the story.

Were there any scenes or moments or lines in House of Cards that you were particularly proud of or want to highlight?

If you were to write the Yoomin sequel to House of Cards, how would’ve that looked like?

How were readers’ reactions to your work in the beginning?

Did any reader comments stick with you in particular?

How did you take the criticisms and hatred towards House of Cards for its serious subject matter? When did those types of comments start appearing? Also, where did the hatred come from? Twitter? Tumblr? Ao3 comments? Did people harass you at all or hurt you? How did you heal from that?

House of Cards has a lot of scenes. I'm proud of most of them and I think I did the best I could when writing them. I do not really like the sex scenes, but that is because I wanted to write them in a dirty, sleazy way. If I could, I would change them. I like the action scenes, especially the Gold Monkey Casino and police raid scenes. Action scenes are hard to write! Fight scenes in particular are so tricky. I often sit there, choreographing the fights so I can describe them! I loved writing Yoongi's introduction to the story, when he walks into the scene wearing nothing but his underpants.

One scene that I really liked writing is the scene where Namjoon and Hoseok investigate the USB stick that Taehyung sends to them. I personally love Namjoon and Hoseok's characters. I always enjoyed writing them. In this scene, I liked getting to write them in a setting that was not the police department office. A scene where they got to relax and banter with each other, even though they were still working. They discover a horrifying crime ring in the city, but they are left with no choice but to keep it secret because they do not want to risk blowing Taehyung's cover. I do not know why I really like this scene, I just do.

In the sequel, which focused primarily on Jimin and Yoongi, the plans were to have them reunite through Seokjin—who has avoided jail time through a plea deal with the SMPA. They undergo a healing process together as they try to come to terms with what happened to them. Yoongi has a lot of unhealed trauma from his childhood, much like Jimin, which I only got to briefly touch upon in House of Cards. They grow closer from bonding over their traumatic experiences, and they become happier and healthier as a result. Taehyung and Seokjin were also going to be main characters, with Jungkook, Namjoon and Hoseok making supporting appearances over the duration of the story. It was going to be drastically different from House of Cards because it would be lacking in action and violence. It would have been much more intimate, with much more scenes of characters talking and discovering things about one another.

I cannot remember early reactions to the story, I just know they were positive. There was a lot of positive support from the start. As I updated and started to get more and more into the story, I received a lot of support on tumblr too. I started posting chapter previews there, as I used to get asks [On Tumblr, users are able to ask bloggers questions through an “Ask” function. This can be done anonymously or with their own blog username associated with the question.] requesting them. I got A LOT of asks on my original Tumblr from readers that wanted to discuss the characters and certain scenes. It was really interesting seeing just how much the readers were interested in the story, so much so that they wanted to learn even more about the characters and the universe I had created.

Through House of Cards, I have received comments and messages from readers that had addictions. They told me about how they recognised their own behaviors through Taehyung, and this helped them realise what was happening to them. Those comments stuck with me for obvious reasons. I have family members with addiction issues, and knowing that I could help some stranger I have never met before come to terms with their own addictive behaviours had a massive impact on me. Funnily enough, a negative comment stuck with me. It was not a bad comment, by no means meant to cause offence. It was a comment that was left on the story when I was posting the early chapters. I recall the reader asking when the story was going to pick up the pace because it was too slow. It stuck with me because, at this point in the story, Taehyung had already trained to become an undercover agent, had enrolled in the gang, had met and interacted with Jungkook, and had murdered a man. I was surprised that this amount of development had been seen as 'slow' by a reader, as I had thought the plot had been moving very fast.

I never really had any hate posted on the story when I was updating it. I got angry reactions when I had finished it. Because the story had not ended the way some readers had wanted, I think that was what caused the negative reactions. On my original Tumblr, I even got an ask about how an anon reader was going to write their own ending because my one was bad. I told them that I did not want them to take my story and change it like that. I have no idea if they ever posted the ending anywhere. The angry reactions were mostly from shippers, who were upset with the story not ending the way they had wanted. To them, I ask: what were you expecting from the story? I thought it was always obvious that Taehyung was going to do what he had set out to do from the start, so I do not think I misled readers at all. It was a story about an undercover agent taking down a gang—and that is what I wrote.

I know there was some animosity towards me on Twitter too. Twitter is a whirlpool of negativity, I am not surprised. Writing House of Cards made me appear problematic. My partner used to follow an author a long time back, who tweeted about me being problematic—despite having never interacted with me or admittedly read my stories. It was shocking to me that people were making assumptions of who I was as a person based on a story I created. I have never created stories with the aims of hurting or upsetting others. I am a very quiet and private person, and I hate the idea of hurting others. It was strange to me that people could assume me to be this cruel or even dangerous individual, intent on hurting others, because I created a fictional story. Do they think the same of script writers for television shows? Or film directors, who create films with dark subject matter? Do they think published authors are problematic people for writing dark and disturbing content? Do they think certain genres should not exist because they do not personally like them?

I do think it is strange that fan fiction writers are placed on these ridiculously high pedestals of moral absolutism. Fan fiction was created to be a space for creative outlet for marginalised individuals, particularly queer individuals. The heavy censorship of dark and unusual content is putting this entire ethos at danger. I understand not wanting to have certain topics included in stories because there is a risk that the content can be used for grooming or can be presented in a way that can negatively affect young consumers' perceptions (like pedophilia for example.) I certainly agree that there needs to be boundaries in place to stop the community from being flooded with such illegal content. But I think there is a difference between wanting to remove dangerous content, and wanting to get rid of content you do not like. Content can be problematic to you, but that does not make it dangerous, illegal, or bad. For some readers, the content they create is their way of dealing with trauma. Maybe this is not healthy for them. But that is their decision to make, not yours.

I orphaned the story because I did not want to handle the potential backlash. To put it simply, I do not handle negative criticism well. Not because I am stuck-up and think I am perfect, but because I am a very anxious person. Just reading angry comments makes me feel very uncomfortable, often nauseous. I know that House of Cards has received overwhelmingly positive feedback from readers, and for that I am thankful. But I had to distance myself for the sake of my own mental health. Since orphaning it, it exploded in popularity. I am thankful that I orphaned it because that amount of attention would frighten me a lot, haha~

What was your reaction to the fanfiction trailer by Sappiamur?

How did you come to the decision to reveal your real name in the end note of House of Cards?

How did you feel when you finished House of Cards?

How did you come to the decision to orphan House of Cards?

Did you ever anticipate the overwhelming fan reaction to House of Cards?

How do you feel knowing that House of Cards is one of the most read fanfictions on Ao3?

What do you want House of Cards to be remembered for?

What do you hope people take away from House of Cards?

Why do you think House of Cards became so popular?

I had to go back and watch it. It's been some time since I last have, and I'm still as amazed by it now as I was back then. The trailer is insane. I cannot imagine how much work went into making it. It's so good and it fits the vibes of the story to perfection. I think the first time I watched it, I was in shock. I must have repeated it at least 10 times in a row, just to make sure it was real and I wasn't imagining it. Then I think I screamed about it on my social media accounts, haha~ If you reading this have not watched the trailer, consider doing so. I promise you won't be disappointed.

Back when I first started posting fanfics, I used to get a lot of asks wanting to know my name, my pronouns, stuff like that. I thought by adding my name at the end of the stories, it would help cut down on these requests. But I also did so because I used to get a lot of asks referring to me as 'author-nim' and I didn't like being addressed by this honorific. I'm not Korean so I have no right to receive that honorific. So, I included my real name so readers could address me with it when sending me asks and interacting with me. I don't add my name at the end of my stories now, but my name is in my Twitter bio for those that want to know.

When I finished it, I felt relieved! I was so calm in the moment! Looking back on it, I can't remember much. But I do remember finishing House of Cards without any issues. The final chapters flowed smoothly, it all clicked into place, and I had a great time writing them.

I came to the decision to orphan the story after several nights of contemplation. I was considering deleting the story, along with a few others, but my partner and some friends told me I shouldn't do so. They suggested orphaning it instead. So, I did so. I didn't want to delete it in case readers that had started it had not gotten to finish it yet. I would've felt very mean robbing them of the opportunity to finish the story like that. I don't regret orphaning it instead of deleting it. I didn't want to destroy the story, I just needed some distance between me and the story.

I didn't anticipate it, and I still don't understand it! I'm shocked that House of Cards got the reaction that it received. Do I think it's a good story? Yes, I think that I worked hard to create a story that is enjoyable to read. But did I ever think it would get the reaction it did? Not in a million years! I thought that it would be one of my more popular stories because a) the pairings and b) the content. Gang stories usually tend to get a lot of attention because it's a popular genre in fanfiction. I just didn't expect it to reach such a vast amount of hits, kudos and comments.

I'm in shock that it is one of the most read stories on AO3. I don't think I will ever be able to create another story that will garner that kind of attention and feedback. It's a once in a lifetime thing, so I'm immensely proud of myself for achieving such a feat. But really, it's all because of the readers that it achieved such a goal. I'm so thankful for every single one of them.

I just want it to be remembered for being enjoyable, I think. I don't have any grand and lofty ambitions for the story. I think so long as the readers enjoyed it, that is all that matters.

I'm not sure what I would like readers to take away from House of Cards. I guess I want them to reflect on the idea of morality and that not everything is black-and-white. Good people can do bad things, and bad things can happen to good people. It's hard to answer this question because House of Cards isn't a story that I consider to have deep messages in it? There are no messages about acceptance and love and healthy relationships and such, like some of my other stories.

Honestly? I don't know what made it get so popular. I assume it's because of the pairings or the setting of the story. I know that a lot of readers say they love the story because of how well it's written, but I can't comment on that as the creator, haha~ I can't say my story is well-written as I'm not consuming it from an outside perspective. What I can say is that I do think I created a story that has a lot of twists and turns and betrayals, which I think adds to the enjoyment factor.

How are you now in 2020? Are you writing professionally in real life at all? 

How do you feel BTS fanfiction has changed over time? Since you’ve been writing for it for so long. 

Do you have any messages for people who may read this interview in the future?

I'm not writing professionally. I have self-published two books via Amazon and Lulu. One was a basic re-branding of my story babes in the woods. The other was a total rewrite of Brotherhood, which I called 'Brothers,' featuring a whole new setting and roster of characters. I published them as readers showed an interest in reading original stories. I have been considering rewriting House of Cards as an original work in the future, but I can't say for certain that I will do so.

Since I started writing, I think there's been a lot of changes in the fandom—not only in fanfiction but in general. There's been popular trends that have come and gone (I was around for the explosion of social media and text-based AUs, which I personally am not a fan of) but there's also been a lot of push for more inclusive content. I'm really happy by the amount of inclusive content that I see these days. Despite some pushback from non-queer fans that sometimes have an issue with queer subject matter (for example, trans characters) I think it's wonderful that artists of all colours, genders and sexualities are now proudly creating content they want to see, and not simply just what is 'in demand' from the fandom.

The message that I would like to share with readers of this interview is: stay healthy, stay happy, and most importantly, stay you. I also want to take this moment to tell them this - if you are considering becoming a creator, but you are worried about reception to your work, or that it might not be good enough, stop right now! Stop doubting yourself and just give it a shot! I was once like you, scared that my weird and niche interests and writing would be ignored or even mocked by the fandom because no one would like it. Had I not decided to take the plunge, my life would be so drastically different. I've made so many friends, fallen in love, and completely changed my life by creating fan content. It can be scary, but once you take the leap, you will find your feet coming down on solid earth without any danger.

Thank you for reading this interview. Further below are reminders and information about this interview and Charmseoul’s Fanlore project.

sugamins is still writing on her sugamins Archive of Our Own account today if you are looking for her works. Charmedseoul will not be sharing the author’s social media or contact information.

This interview is a part of the Top 50 Most Hit BTS Archive of our Own Works Project by Charmedseoul. The project documents the works and authors of the top 50 most hit BTS works on Archive of Our Own. All work for this project is done through Fanlore, which is run by the Organization of Transformative Works. However, Charmedseoul herself is not associated with Fanlore or OTW directly. All information documented through this project is done with full transparency.

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This interview was conducted through email from September 23, 2020 to October 25th, 2020 with sugamins’ consent and protections under Fanlore’s Identity Protection policies. Unauthorized reposting of this interview is forbidden. Quotation and screenshot share of this interview is allowed.

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Thank you for reading. If you have any questions, please feel free to ask and I will do my best to answer them.

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[lacktastrophe]

Daisy MegaPost Pt1

Update: 3/7/2021

This one’s been in the shop for a couple of years now. I think I started this way back in 2019 but I just became just far too busy to work on huge posts again. I had anticipated to have all of Daisy written up during the break that BCB had, but I became in need of a break myself too. Part two was written up, but I never went further.

I had come back to this recently and made some changes. I wasn’t too happy with the way I used to write and I’ve been editing this over and over, until I noticed it wasn’t keeping them. I’ve published it now since there wasn’t any point just keeping it in drafts and it’s more or less done, just not in this state I’m perfectly happy with, but it seems to be keeping my changes now it’s in this state. I anticipate I’ll still be making some edits. Before I continue on with Part 2. As for part 3 and onwards, I can’t give a time frame.

With the webtoons version way ahead of the chapters here, I’ll probably make progressive updates and start using those over the old Volume 1 art, I’d anticipate the webtoons version is a retelling of the story and thus there might be some retcons, like how Kizuna was replaced with Stacy. I’d anticipate some changes might make different meanings for the future.

I still enjoy examining the story and characters. I still plan to do some introspections to the other characters I haven’t come to, but it’ll be far fewer and in-between than years ago. I have other projects and those need priority. 

But I’m happy that people still enjoy reading these.

---

We’re onto the main characters now, things are going to need to change with the way mega-posts are going to be published from this point forward. My previous mega-posts are usually just one long post, hence the name. Though they’re starting to become uncontrollable, and Tumblr is clamping down, or at least not really working with excessive word counts.

Uh oh. . .

Well, the old mega-posts can still be accessed but you’ll need a direct link, they won’t show up on the mainroll and I’d be surprised if they still show up these days, and I’d have to guess this has something to do with the anti-spam detection on Tumblr.

If you were interested in the previous mega-posts, they can be accessed on their own page from my blog’s front page. I just wouldn’t try reading some of the earlier ones on an app, it’ll struggle. 

The other problem was with the word count, even without the characters being the prime focus, they’re starting to get long. Abbey’s alone was a 16000  behemoth. This surprised me, as despite him being a secondary character there was an awful lot to discover and talk about. Augustus, despite being a character who appeared much more in-between chapters but much fewer than Abbey, was nearly 21000 words. If there was that much to talk about with the secondary characters, the same method of just dumping as much as I can into one post is clearly not going to work when we start approaching the main characters. I had to split both of them up for my own convenience.

The main change is to make these smaller so they’re friendlier on the app and the website; maybe aim for 2000-5000 words without focusing too heavily on trying to get through on as many chapters as possible and see how far we go. 

The plan from this point forward is to do a large collection of write ups but then deploy them progressively. That’ll also give anyone who’s keen a chance to give feedback or who wants to talk further about something. 

Sound good?

Me too! So without further ado, let’s get a move on and have a look at Daisy.

----

So, our first protagonist, where do we start with  Daisy?

How you’re first introduced to Daisy really depends on whether you read the book or followed the comic through the site. The book’s opening chapter, ‘Like a Bittersweet Candy Bowl’ introduces you to Daisy as a massive bookworm who does well in school. She’s pretty smart!

Book in hand, we’d pretty much believe that right off the bat. She appears like the most studious in this group of friends. And we’d be right! She even puts the ever-perfect Mike to shame. She’s nothing less than a perfect student. 

‘Perfect’ could be an understatement, Daisy is a literal freak of nature when it comes to her academics; as when Daisy and the kids transition to Roseville high, we find her already in classes well advanced than her peers.

Daisy is just that incredible!

Through the website, ‘Simple Pleasures’ aims to introduce the kids in much the same way, but there is far less in the way of monologuing and we’re introduced as the characters interact. In much the same way as the introduction chapter in volume 1, we learn that Daisy is quite the bookworm and school-obsessed student, even during weekends. But that’s not the only thing dominating her thoughts, as when Lucy goes out on her walk, the first person she runs into is Daisy who is looking for someone else in particular!

You guessed it!

Oh GOD, does Daisy like boys! Can you guess who she’s got her eye on?

Of course it’s Mike. Are you surprised she’s got a deep crush on the boy who seems very perfect himself? Everywhere that Mike goes, you can be sure that there’s a shadow in the shape of Daisy not too far behind. . .

Wherever he goes. . .

Daisy doesn’t shy from showing her interest in him when the convenience calls for it. Ah, young love.

Eventually, Daisy would find love, though it wouldn’t be with Mike. It would however be the second longest running relationship in the comic if you consider Mike and Sandy, with an admirer of hers. 

Still, suffice to say, even after every attempt gets shot down in the most spectacular way, Daisy bounces back -- Like a daisy. Her shining ray of positivity follows her everywhere.  It’s all in the name, after all. Daisy still manages to rise up with her sunny disposition. 

But not every time.

As the story progresses, little by little, we start seeing that there’s more to Daisy. We start to see that not everything is bright and happy like her name-sake despite appearances. Things would be far from perfect, and underneath that smiling face is a character suffering with low self-esteem in that very same area; her appearance; believing their Ragamuffin/Selkirk-Rex heritage is letting them down and putting them in misery. This tends to be particularly true on rainy days, when all the hours she spends of a morning brushing down her fur become undone when the droplets causes it to fluff up and the curls start showing. Daisy attributes these traits to the reason she isn’t quite as easily noticed by the boys as the other girls, setting up for a number of stories involving her in Volume1, and opening her to be taken advantage of in the pursuit of attention and affection.

Not all the characters gain admirers or attention and for most of these characters, this is fine. But Daisy is not one of those and this above all things has an enormous impact on her. She wants to be noticed and receive affection, particularly from Mike, and others to a degree. 

It’s when faced with multiple rejections from her dream boyfriend we also progressively discover a side of her shown to be more envious if not resentful of a few others who have it so easy, particularly with one such character inside her friend circle.

As you can imagine, these weaknesses will eventually put Daisy in danger as she tries her best to come up with ways to cope and make changes in order to improve her life, especially if the means are at the cost of logical reasoning like taking advice from the seediest boy in the school to attain her goals. She isn’t infallible; Intelligence doesn’t necessarily mean smarts. Even with someone who does as well in school as Daisy does, there’s always room to grow. 

But until that happens, Daisy often finds herself in trouble when her personal feelings, ambitions and dreams do the talking for them on pursuit of happiness, for herself and others.

And oh boy, doesn’t Daisy make more than her own fair share of mistakes.

Let’s move onto the story, it starts with Simple pleasures, the first chapter.

This chapter serves to introduce us to the main group of characters central to the story and so features the aloof and prickly Lucy, the playboy Paulo, the ever-perfect Mike and the bookworm Daisy. It starts with Lucy on a morning walk and progressively running into each of them. With Daisy specifically, it starts with Daisy coming across her first and greeting her by shouting ‘Hey’ behind her.

Except...Lucy ignores her, and we don’t know why -- Is Lucy doing this intentionally? She’s in a world of her own at the moment with her singing. Are they friends? Is she just so aloof she doesn’t realise she’s there?

Well, Daisy isn’t going to let herself be ignored so easily and she really needs Lucy for something. So she goes to get her attention by impulsively grabbing onto Lucy’s tail. This would turn out to be a very critical mistake that one of the other protagonists just can’t stop helping himself from doing, and because of that we notice that Lucy isn’t as aloof as she seems, and reciprocates by twisting around and kicking her in the face.

Only to find that the person she was expecting was actually Daisy, much to her surprise. There’s a reason she never noticed her.

The first chapter has a number of objectives, it serves to set up the tone of the comic by showing the dynamic between the main group of friends, but also displays their characteristics. We already learn a couple of things from Daisy and Lucy’s interaction here. We learn that Lucy has a short fuse when it comes to unwanted contact. She appears aloof, but the main reason for Lucy not acknowledging Daisy initially is through the understanding that she’s partially deaf, unable to hear out of her left ear in similar in characteristic with her breed, the Khao Manee. Many of the other characters will make this mistake too and often at times Lucy doesn’t make it obvious she can’t hear what’s going on around them and needs to ask about what transpired much later. Lucy’s aloofness will be questioned in time as we start seeing more of her.

Daisy had forgotten about Lucy’s disability because something else was more important. And naturally, we learn that Daisy has, no less; a bit of a crush on the forefront of her mind. And we learn here that crush is on Mike, one of their friends at school, and her reasoning for bothering Lucy is that she’s only looking for him. What we come to learn later is it’s a little known fact that wherever Lucy is, Mike is often not too far away. In fact Lucy is never off on her own by herself. 

Sadly for Daisy, Lucy doesn’t know where he is, so Daisy runs off in the opposite direction. That’s about as much of Daisy as we see until the next chapter. 

Before we move on, let’s talk more about their interaction. As brief as it was, the interaction gives off more in the subtext into the status of the relationships between these characters and the others. I anticipate as new readers many of the details of this interaction just fly over heads, accepting these two are friends and this is just how they are. But being as late into the comic as we are, I feel we’re already seeing some of the signs of what’s to come in the story through this short interaction. Not everything is as it seems.

Most of this payload of information is laid in the question that Daisy poses after Lucy asks her what she’s after. When Lucy states she hasn’t seen Mike, Daisy asks ‘Oh no, did you upset him?’ 

Immediately we’re given some insight into the triangle that exists between these characters and their relationship between one another, and insight into the state of these relationships.

Starting with Mike and Lucy’s relationship as the question is directed about the two of them, we learn that the friendship isn’t without it’s issues, and we’d be quick to pass this off initially as something that happens from time to time. Fight’s happen, it’s a fact of life, and it happens more so when you’re a kid and figuring things out, yourself and life.  Reading through the story, we would find the two inseparable in the later chapters and we never look at Daisy’s question again. But reading through BCB again from as late in the comic as we are, we have to wonder why this question specifically.

What we learn much later in the comic as we progress through is that Mike and Lucy’s relationship is much more complicated than what it appears to be. Much later, we see that the two do argue from time to time, until we get to the point where the plaster and apologies aren’t mending the cracks. The friendship isn’t quite as clean cut as it was made out to be and we start seeing some back stories into the characters. What appears to be a competitive rivalry through volume 1 between two friends is really something more sinister. By the time we reach Volume 4, we learn these two are really anything but friends.

For the moment, Daisy’s casual interaction gives off a sense of normality in their environment and understanding the answer to the question would actually help plan out her next move if we were to consider that maybe there was some intent behind the question. But we’ll get to the nature of it soon.

Without knowing too much about the kids as early in the story. I’d feel we’d put our trust in the kids to tell the story for us, and Daisy does come off as being quite perceptive and trustworthy immediately being the positive bookkeeper she is, she would be the expert for us until such a time as we become the experts. 

One thing we’d discover much later on our own is that the Mike and Lucy are inseparable. In one way or another, they will find each other and act like close friends again. And Daisy knows this too without specifically pointing it out. Already suggesting that they’ve fought, it would only be a matter of time before they made up again, whether that takes minutes or hours. No matter how big the town is again, so long as they’ve got each other in their thoughts, they’ll stumble upon each other in no time, almost like a six sense.

It could be said that this is for the sake of convenience in the story in getting them to interact faster in the comic and resolve disputes, and that would be right. But BCB takes this and turns it into a running gag between just these two characters. There are more than a few jokes that exist in Volume 1 to make this seem like these two are made for each other in the way that they will eventually run into each other no matter how big the town is. One such joke is seen in Volume 1 through Mike’s inability to surprise Lucy on her Birthday. It’s so powerful, even Lucy’s auditory disability doesn’t stop her from catching him just before he can do it, even if the hiding spot isn’t obvious.

We’ve only seen this fail once, and that was in ‘Its all in the mind’ when Mike does sneak up on her, but Lucy has very much moved on from Mike at this point, so we’d have to wonder if this is something to do with them both being in Sync, we might not know.

-

The question Daisy asks doesn’t just pertain to Mike and Lucy’s relationship however, it also begs the question to Lucy and Daisy’s relationship at the same time. In fact, if it wasn’t for Daisy’s sunny disposition and Lucy’s stone-faced responses, the entire interaction would appear quite rude; Daisy’s question isn’t whether or not she’s seen him, only if she’s upset him, shedding some poor light on Lucy’s personality.

It’s important to remember that while these two are friends at our current point in the comic, they did not start out as friends, especially when you consider Confrontation, as we’re coming up to. Daisy, while she was amicable around Lucy and quite hospitable to her in the friend group, has to contend with her as being this roadblock to getting to Mike. Lucy seemed more aloof around her, but there’s more than enough to suggest that Lucy had other mutual feelings.

Understanding now that there is a rivalry between the two (or a one-sided rivalry, take your pick), we can understand why that particular question had been asked. Its tent though is to give more reason to Daisy’s next move: If Lucy did divulge she had fought with him; then it would only be a matter of time before Mike showed up, as Mike would feel the need to apologise and through their innate ability, would find each other, it would just be a matter of time. If she hadn’t; then Mike could be just about anywhere. 

It turns out to be the later. And too infatuated with Mike (or not interested in hanging out with Lucy, take your pick), Daisy does not simply stay with her to wait and runs off in the opposite direction, hoping to find him first. 

It’s when Daisy is no longer in the focus, we can see that Lucy isn’t exactly as stonewalled as she initially appeared to be, blushing from the interaction.

As possible that Lucy is only reacting because of her stupid head-over-heels attitude for that other idiot, as Lucy is yet to realise her feelings for Mike, we could wonder if it might not also be because Daisy has rudely pointed at the elephant in the room in Lucy and Mike’s relationship. Who’s to say?

(2021 edit -- The webtoon has this piece of dialogue changed. This time Daisy asks ‘Awww, are you both fighting still?’, which makes this even more pronounced that things aren’t all quite sunshine already. )

Finally, Daisy and Mike. Now that Lucy’s interaction with Daisy is done, Daisy is running around town looking for Mike, for whatever reason it just can’t wait until school. 

Ah love. I’m sure it won’t be a problem in the future, right? 

Mike is a real nice guy; lending Daisy his math workbook to Daisy.

We really need to look a bit deeper into this. We know much later in the story we that Daisy is well in advance of her peers in her studies. When she starts Roseville high, we find her in no more than two ahead of the others in her grade, with the juniors, and Tess.

And in the first few chapters of volume 1, we learn that Daisy often tutors Mike, so there’s no way Daisy even needs that book.

Unless...

O---Oh. It wasn’t for Math after all.

We’d come to learn that boy troubles are generally the source for all of Daisy’s grief. We’ll find that Daisy’s crazed obsession over Mike is used to justify a lot of the actions she’ll take in the future and we don’t know how bad this is until the much later volumes. Volume one step over this lightly as just a girl wanting her crush’ affection. But it becomes more pronounced in the much later volumes, especially when Abbey makes a point out of it when Daisy is less inhibited to keep her real feelings secret after getting drunk off Alcohol at Rachel’s party in a very late chapter.

Getting back to the current chapter, Lucy will notice that Mike eventually did find Mike, but she’s not with him. So maybe that was all she really wanted.

We’d be saps for thinking that.

But without anything concrete, we can only presume that was it. So thanks for returning Mike’s book, Daisy.

Daisy appears again in Merry Snow Day, the following chapter. This is a very short chapter where the kids are going to school after Lucy (begrudgingly) accepts schools not out, and walks with Mike to school. Daisy appears not long after and the first order of the day is to talk about homework, including offering to tutor him. She’d do anything if it meant helping her fellow students.

It’s at this part we’re introduced to the subtle idea of the rivalry for Mike’s affection between Daisy and Lucy. It’s subtle since it’s very one-sided and Lucy and Daisy don’t directly interact with one another or show that they’re fighting. Their interactions for most of the early chapters happen through Mike like you can see above when Lucy adds herself into the conversation. We’d have reason despite Lucy’s aloofness that such a rivalry does exist subconsciously and there are some reasons to believe this we’ll touch on. But for the moment, we can be sure that Lucy doesn’t consider Daisy a threat for one main reason: Mike will come back, so there’s no problem.

Daisy wouldn’t make a point of the rivalry either but Daisy would take advantage of the convenience of Lucy being out of the picture to seek attention from Mike, as she does when Lucy continues to school, and Daisy directly copies what happened just seconds ago when Lucy was about to fall on the ice, and Mike catches her.

Nice.

This chapter also introduces Yashy, Lucy’s pet Lizard and her surrogate daughter into the story line. The earlier chapters of Bittersweet Candy Bowl are ripe with slap-stick humour, and Yashy is the general source of this with her outspokenness and wise-ass personality. She’s there to rile up the others and break all the ice with her innocent demeanour. This will be the case up until the kids go to Highschool when the comedy starts being turned down in place of focusing on the rifts coming between the kids.

Unlike the other pets, Yashy is integral to the plot involving Lucy and Mike’s relationship, as she’s partly the reason for the friendship going on as long as it has. Having known Yashy for as long as Lucy, Mike takes on the role of the surrogate dad in Yashy’s life and this ends up having Yashy taking on the belief that Mike and Lucy are an established couple. But this isn’t true, and it plagues Mike as this is anything further than the truth. But with Yashy’s innocence, he can’t find the means to break this to her.

Yashy’s insistence of Mike and Lucy’s eventual destiny of being husband and wife comes at Daisy’s expense, as despite Lucy not necessarily seeing reason to stop Daisy’s attempts at trying for seek Mike’s affection, it’s Yashy who perceives her as a real threat and will shout obscenities at her when she doesn’t get her way, with a particular choice of word in mind. Though it doesn’t stop Daisy. But we can’t help but wonder much later if those words Yashy chooses to throw don’t have some kind of an effect on her much later.

That completes this chapter. Daisy doesn’t have much of an impact in Unfit for Education, appearing more to just be a participant in Sue’s obsessive thoughts game. But she gets a larger role to play in the following chapter; Burden of Parenthood. 

This chapter has the kids going through sex ed. and being given the responsibility of raising a robotic baby, which they will be graded on based on their performance. This chapter starts off quite unexpectedly, as when the teacher begins pairing off the students, Yashy’s expectations that Michael and Lucy will be paired together, doesn’t actually happen for a change.

This time, Daisy is paired up with Mike, and Lucy is paired up with Paulo.

As you could guess, Yashy isn’t thrilled in the least bit. But neither is Lucy particularly when she spots Paulo pleased at the results himself.

Again I still don’t think Yashy’s abuse is really doing much for Daisy, I can’t help but wonder what that will do for her self-esteem?

Oh, I bet she’ll be fine, she’s like a Daisy, remember?

It’s during lunch we find Daisy is positively happy with the result when she confronts Mike with their baby. Although there’s just one problem. The baby is a glaring defect, a very...interesting feature about it that has Mike freaking out.

And he’s not playing ball because of it. Even Lucy is having a hard time with the baby’s smile.

But Daisy, Daisy couldn’t care; it’s Mike’s child.

The Daisy x Mike compatibility really doesn’t take off as Mike wants absolutely nothing to do with the newly-named Alegria, which Daisy is quick to point out after keenly watching a maternally-skilled Lucy teach a very clumsy Paulo how to properly hold a child, something she learned when raising Yashy. Daisy is by all means entranced by the romantic exchange.

But where’s hers?

Trying to get Mike jealous by thrusting her baby in Paulo’s arms, and Paulo taking to the baby. Mike sees his chance and gets Lucy to ditch the two and work as a team again.

There is a momentary issue when the teacher discovers the pairs do not have their correctly assigned baby, and through a quick suggestion they were giving a realistic portrayal of divorce and custody, get extra marks on their assignments.

You’d think Daisy would be quite depressed with her chance to work with Mike not going the way she planned and the opportunity going out the window. But to receive additional credit on their work, she’s actually more than ecstatic at the results!

It’s fine, there’ll be more chances. There’s still 4 more years of school!

And in the meantime, Daisy x Paulo was born. One would have to wonder if it would bear fruits.

...Nah.

Daisy has a role to play in the next chapter; Prom Preparation. She’s tasked with organising the 8th grade prom.

The first order of the day is to survey the music selection for the evening, starting with genres. Daisy gets ideas from a number of the students, almost forgetting she hadn’t asked Mike yet.

Apparently Mike doesn’t have a favourite genre of music that comes to mind. Not being a fan of new music, Daisy fills the gap and suggests he’s into much older stuff which she tries to bond over, infuriating Yashy. 

When Daisy asks Lucy for her favourite music genre. Lucy wonders why she should bother since she’s not planning on going. . .

Leaving Mikie easy pickings for the evening. Daisy sees her chance for a bit of romance that evening, and Yashy is not at all pleased about this.

It’s worth talking about Yashy at this point, as even though we’re technically focusing on Daisy, there’s something we might be able to gain from both Yashy and Lucy that might give more insight into Daisy and Lucy’s relationship. You might notice, (2021 -- Especially in the Webtoons version), during each outburst by Yashy we can see Lucy blushing as her child unleashes hell upon Daisy, and we’d have to wonder why that is, because Lucy doesn’t seem to be initially the kind of person to care too much about anything going on around them, right?

But what if Yashy was this mouthpiece of Lucy’s impulsive thoughts that she doesn’t act on, and that’s why Lucy appears to blush from embarrassment? Yashy’s impulses are not something she’s able to control, only her own through her own inhibitions. Later in the story we start seeing hints that Lucy’s stonewall-straight faced demeanour is very much a facade and she’s actually quite sensitive, but when she’s fighting her emotions inside and she doesn’t have the answer, a blank expression is all you get so she can’t be hurt in one way or another.

But having been raised by Lucy, we could assume that Yashy is very much Lucy’s child and we can expect that having been raised by Lucy, much like every other kid out there, sometimes kids pick up traits from their parents.

(2021 -- The problem of Yashy’s language was also bought up in the more recent chapter, Dinner time, when Lucy’s mum points this out as Lucy and Jordan are fighting. While the person who was called out for this was Jordan. Can’t help but think that despite Jordan pointing out something embarrassing about why Mike might not be over more, Lucy is instead more blushing over the problem with Yashy, as Yashy is still embarrassed at being called out over it too. It’s hard to imagine the problem is just Jordan as Lucy has quite opinionated language as well, and lastly, because Yashy spends more of her time with her. There’s just an awful lot of body language going on in that scene and it’s hard to tell.)

Yashy is quite innocent in the story as she is one of the fewer characters who meets with rejection and doesn’t undergo the same hardships that Lucy underwent in her youth, so where this language and outspokenness has come from, you’d have to wonder if it’s just a quirk, or something deeper at this stage. Like as if Yashy is actually Lucy without the inhibitions.

Daisy doesn’t back down from Yashy when the golden opportunity arises even despite the name-calling. It’s when Mike believes both girls are fighting over him for Lucy to set the record straight -- she isn’t; Yashy and Daisy were and makes a point out of it. This causes Mike to walk off embarrassed since Lucy doesn’t reciprocate the same feelings. It’s only a little later towards the end when Daisy is turned down along with several other girls who learn of Mike’s availability. That ends that chapter. No romance for Daisy.

The next chapter is Helping hands, this chapter stars Daisy and Paulo who appear to have become closer friends since their pairing together in Burden of Parenthood. The chapter begins with Daisy and Paulo walking through the street, with Daisy talking about how Katie had a sleep-over the previous weekend but wasn’t invited, she was sure she must have misplaced it.

Though why missing out on Katie’s sleepover is the highlight of Daisy’s weekend is anyone’s best guess, right?

Daisy screams out suddenly as she points out an injured bird on the road, appearing heartbroken at the events. Paulo points out an arriving car that is about to put it out of its misery causing Daisy to become further distraught by this. At the very last minute, Paulo saves the bird, almost putting his own life in danger.

Expecting her to be elated, Daisy is not at all pleased in Paulo’s recklessness and scolds him, before being otherwise thankful he did it to save the bird.

But the next question is, now what?

With a hospital being too far away, Daisy suggests instead to take it to Lucy’s house as a last resort. Bringing up Paulo’s crush however, garners a reaction from Paulo that, well. . . Daisy’s not to pleased at seeing.

Oh, we’re going to see more of that. 

Daisy thinks about whether or not Lucy would end up adopting the bird as she has quite a number of pets herself. Daisy would herself although her mother wouldn’t allow it.

Suggesting Paulo could with how well Paulo did at looking after Alegria, Paulo finds the talk far too embarrassing for his ever-masculine personality. Daisy tries to persuade him that girls are into boys who can be shown to have a caring attitude. Sadly, Paulo thinks he’s already at this level.

Oh, how Paulo x Daisy is teased so.

The weather starts to take a turn for the worst and threatens to rain down much to Daisy’s horror, as we learn something interesting about how her fur reacts to the rain. Paulo tries not not to give this away but Daisy then realises and starts showing how self conscious she is about her fur, a fact we learn more of in an intermission, where Daisy spends quite a number of hours brushing it down. When Daisy asks whether he’s grossed out by her curls, he avoids the question by telling them they have to hurry, or the bird won’t make it!

Unfortunately for Daisy, Paulo isn’t the last person when they arrive at Lucy’s house. Leaving the bird in her care, Daisy immediately runs into the bathroom only to run into Mike, it’s an absolute nightmare scenario.

Feeling devastated, Paulo comes in with some saving words and tells her if Mike was really worth her time, he’d wouldn’t care no matter how she looked. Which does wonders for her esteem.

Lucy arrives down shortly thereafter and lets the two know the bird will make it, having only been attacked by another creature and not so much struck by a car. Lucy will nurse it until its better, much to the joy of Daisy and Paulo.

At that point, the conversation switches as that matter is taken care of. Noticing that Mike is at Lucy’s house studying with her. Daisy tries to invite herself to stay over and help out too.

It turns out, simply asking means you’re outstaying your hospitality.

Yeah, they’re not really tight friends are they?

On the Monday, Daisy and Paulo ask Lucy about the bird, first mistaking what Lucy says meaning that the bird passed away, it healed over the weekend and left the following day.

But not before giving them a gift.

After all, they’d need it for their baby. The bird seems to think they’d make a good couple. Ah, PauloxDaisy again. If only they both felt that way about each other.

Daisy appears in show and tell, in this chapter we are introduced to the specific breeds the characters are.

Naturally, Yashy is not at all pleased about Daisy when she arrives.

When it comes to Daisy’s turn, we find she’s Selkirk Rex cross Ragamuffin.

Which would explain a lot of Daisy’s features, Selkirk and Ragamuffins are both very people-oriented and akin to Teddy Bears. Both breeds can get along with nearly everybody.

And, well that’s true for Daisy.

Daisy appears in Pep Rally, a chapter focusing on the sports carnival. Daisy appears as one of the school’s cheerleaders next to Amaya, Stacy, and her rival, Katie, who is not at all happy that she’s not the captain. Daisy is not about to give up being the center of attention.

This chapter has more to do with Mike’s super sensitive hearing than anything else. Even so, Daisy is more than capable of being able to amp up the crowd, especially when Mike lands a win.

Daisy appears in the next chapter ‘Off to the Movies’, when Mike invites Lucy to the movies, only for Paulo, David and Daisy to show up at the same time and suggest they all go see a movie together (Lucy reluctantly agreeing). When it comes to selecting their preferences for movies, Daisy goes for the mushiest movie that’s available. Paulo and David wanting horror, Mike wanting comedy and Lucy. . .well, she wants to see a love story. It seems like they all can’t decide, but Lucy chooses the jack of all trades movie as a compromise; the ‘epic suspensful, romance thriller with lots of jokes’.

Win-win, right?

Daisy’s in heaven when the seating arrangements are chosen, right next to her crush, she couldn’t be more optimistic.

A number of things happen during the movie, but nothing got by Daisy when the movie ends as she notices Paulo on the brink of tears following its conclusion. Daisy offers to forget that she ever saw it, on the condition he explains his phobia to barking, something else that happened earlier when Paulo tried to steal David’s popcorn. 

Predictably, Paulo is far too masculine to talk about his feelings.

Eventually Paulo balks to the peer pressure (from Daisy) and explains what happened. When the others make fun of Paulo over it, Daisy leaps to his defense and tells them off. There’s a lovely moment between the two as Daisy reassures Paulo that she appreciates his forwardness and openness to the things that bothers him. And Paulo decides to talk about everything.

The PauloxDaisy content just keeps coming.

But it’ll never work. I--I swear it won’t.

By the very end, the kids all say their farewells to each other and go their separate ways.

Daisy appears in the next chapter ‘Puppy Love’. Mike finds a love letter in his locker from a secret admirer (It’s Stacy). Mike chastises Lucy who finds the whole thing hilarious and reads the poem aloud. Mike wants to find the person responsible. Suddenly, and out from nowhere, Daisy appears suggesting they do some detective work, all in the name of romance. But Mike reveals he just simply wants to reject them.

With much similarity to Prom Night, this chapter is more to point out with how much of the school has an interest in dating Mike. It’s not just Daisy, but also Sue, Amaya, Katie, those three random girls. The only exception is dear old Lucy. 

The next chapter is Confrontation. This chapter opens with Mike and Lucy doing what they do best when something unfortunate happens; they argue, with Lucy blaming Mike for having them miss their stop. Daisy begs Paulo to get them to stop, and they do, albiet, for a short few seconds before they start arguing again.

With no sign of it ending, Daisy and Paulo day-dream of a better alternate reality where they both get their desires. Mike and Lucy are just awful for each other. Things would work out better if it was just Mike and Daisy, and Paulo and Lucy, Just think of the romance. What could go wrong?

The kids get off at the next station which unfortunately for them turns out to be a bad idea as they end up in the roughest neighbourhood a few towns over from Roseville. With Lucy suggesting they find a phone to call their parents, they go out in search of an open store. With Mike and Lucy still at each other’s throats, Daisy tries to take advantage of the situtation by suggesting that Mike could in fact stay over at her place seeing as how late it was, especially if his house is a bit too far. hoping that Lucy having been quite bitter to him will cause him to think about coming around to her advances. But Mike rejects her advance. When Daisy becomes fed up enough to suggest he’d go to Lucy’s house despite their fighting, he agrees it likely would happen, frustrating her even more.

She loses her temper, exploding about Mike and Lucy’s friendship being just horrible and suggests any investment would never be returns. Prompting a reaction from Mike for a short moment, until Mike twists that around and tells her to stop chasing the same stupid feelings, walking ahead and leaving Daisy to sulk to herself.

She’s joined shortly after when Paulo’s escapade in trying to woo Lucy goes as well as anyone would expect. Daisy, frustrated in how Mike always seems to show some compromise with Lucy, argues with him over his bad taste in women too.

Daisy’s thorns are on full display here as she starts to openly show her resentment towards Lucy who has it all so easy with both Paulo and Mike due to her looks. Daisy’s frustrated that despite her best efforts to be more appealing in every other way; Lucy has the looks, and that’s all that matters.

With Daisy being too frustrated from being inhibited from displaying this side of her, it’s clear neither she nor Lucy are good friends at all. Daisy has shown such a low opinion of her because of her attitude, knowing full well that often times Mike gets beaten up by her. Lucy’s aloofness could be confused with disinterest and both of them suggest that Lucy wouldn’t really care if either of them suddenly caught alight.

But Mike overhears this thanks to his superhearing and tells them there’s more to her than what they know. But neither of them take the comment seriously.

Lucy also overhears, and is a little distraught at how the others think of her.

The kids find a bar and Sue manages to call ther mother to come pick them up. Problems arise when Mike takes on a dare to eat as many liqueur chocolates from a stranger, and is quite positively drunk out of his mind. Lucy comments on this having watched on and Daisy chastises her for letting him do it.

She might have wished she had done something about it, as Mike is all over her, uninhibited from telling her how he feels about her looks.

And that does nothing for Daisy who sucks at all the attention Lucy’s getting. The world’s just unfair.

Though, Mike notices Daisy’s state, and goes over to give her attention too. What would be a dream for Daisy is sadly shortlived, as Mike’s attention switches to ice-cream truck music, and suddenly takes off towards it.

The kids are find themselves backed into an alley, as the stranger who Mike took the bet from comes to get his money back. 

The ordeal is quite terrifying to Daisy. Paulo tries to defend her. But he gets a little too in over his head, not realising these two were the people who created his phobia of barking .

When Paulo is kicked aside, Daisy goes to him and asks if he knows the two. But Paulo doesn’t recognise them.

Not considering herself a fighter, Daisy is only able to come to her friends’ comfort as each one is assaulted one by one. Paulo first, then Sue when she cops an arm to the nose.

She can only watch when Mike tries to defend them, actually having some martial arts experience, but being too drunk to be effective.

And finally Lucy, as capable as she was finds herself unable to fend off Alejandro. Daisy calls out, but Lucy tells her to be quiet, or to hide as Lucy bears the brunt of the assault.

Mike regains consciousness at the very last moment and saves her before both team up in a last stand against Alejandro. Alejandro realises he’s bitten off more than he can chew and runs away. Daisy watches on as Lucy breaks down having realised how close they all were to having someone lose their life.

Sue’s mother arrives and all the kids are on their way back to Roseville. Paulo can’t help but notice that Daisy is really in the dumps over the night. Lucy did something completely unexpected in coming to their aid at the last minute  — the ever uncaring Lucy put herself on the line so no one else would get hurt. And she feels awful knowing she was wrong  — about Lucy and what she said about her to Mike.

Paulo tries to reassure her that Mike probably doesn’t remember what she said, and that turns out to be true as Mike is willing to accept her apology the next day.

Things are back to normal it seems, luckily for Daisy. 

Or are they?

-

I figure we’ll stop here and resume next week. Look at that! We covered 12 chapters of 127! There’s a lot more of Daisy to come!

[davidmann95]

Comics this week (1/27/2021)?

X-Men #17: I guess Hickman told his editors “yeah this issue’s relatively filler and is pretty much here to set up a single straightforward Checkov’s Gun for later, so I guess you can put whoever needs to work on it” so that’s how that happened.

Shang-Chi #5: A nice little mini, but I’m happy Yang’s moving on to my boys.

Avengers #41 (got this late from last week): That patented Aaron-brand Avengers nonsense I love, how I missed you.

Daredevil #26: ...huh. Don’t take that as a condemnation on my part, that’s simply my plain reaction to the developments of an issue of comics I enjoyed. Huh.

Stillwater #5 (ditto): SO THERE’S SOME REAL SHIT FOR OUR TIMES

The Department of Truth #5: Love me that looooore, baybeeeee

We Only Find Them When They’re Dead #5: I did have to stop a few pages in to refresh myself on a few names, but gosh can I not wait for acts two and three.

Future State: Aquaman #1: I figured this one could go either way since I’ve read some work by Brandon Thomas I vibed with and one or two that baffled me, so happy to say this one worked out really well. And very happy to be getting Sampere on Action soon.

Future State: Batman/Superman #1: I’ve seen folks unsurprisingly let down by this as a pretty straightforward World’s Finest teamup for Yang’s debut that for the most part could have just as easily taken place now, but the more I sit on this one the more it grows on me. There’s a sense of melancholy knowing this is probably Clark and Bruce’s last adventure together like this before what’s about to happen to each of them in this timeline, a tension they don’t know exists even as we can see their friendship start to fray that crucial bit - not because they’re at moral loggerheads, but because the changes in their lives are driving them in such different directions. I like the idea of a little slice of a ‘future’ event like this having a chapter set just long enough from now that the changes in motion are irreversible, but not far enough out yet to have visibly shaken things up permanently, and how that changes the tone of the characters’ adventures at the unknowing last point where they’re still recognizable. Anyway, high-falutin’ aside, it’s Yang and Oliver, of course it’s a very readable superhero comic even sans context.

Future State: Dark Detective #2: Very much enjoyed the fleshing-out here of Bruce’s new means and methods of operation, and the Red Hood backup works surprisingly well too (between this and DCeased, is DC making Jason Todd and Rose Wilson a thing?). My confidence in the upcoming Tamaki Detective increases accordingly.

Future State: Superman vs. Imperious Lex #1: This is gonna disappoint a lot of folks, not because it’s anything less than really good, but because it’s ‘merely’ really good when it’s the Flintstones team reuniting for their big, basically continuity-free crack at Superman. Probably that’s in no small part because it feels like Russell modulating his voice a bit to prove he can play nice with the other books in the same way as his Sinestro one-shot awhile back. Still fine with me and still one of Future State’s better offerings, but not the clear home run it seemed at announcement.

Future State: Legion of Superheroes #1: Well THAT’S not who I was expecting the much-advertised traitor to be. Lots of cool details here I’m looking forward to seeing play out when the book proper returns.

Strange Adventures #8: I want Gerads on a Flash book and Shaner drawing as many forest landscapes as possible going forward.

Batman: The Adventures Continue #8: Pretty standalone after how #1-7 formed a loose arc, but this taps the best of BTAS’s treatment of its villains and is a nice little epilogue.

Batman: Black and White #2: 

* The King/Gerads Batman story is an extremely King/Gerads Batman story, in the best way.

* The Campbell Batman and Catwoman story plays with the format, such as it is, in the most amusing way of this mini so far or any of the preceding Batman: Black and White books I recall.

* The Hardman/Bechko joint is pretty and perfectly serviceable.

* The Weaver story I don’t even kind of get but it sure is lovely.

* The Aja story doesn’t live up to its art or its unique format, but it’s still David Aja drawing Batman so it’s fine.

* Love the Villalobos pinup, glad he’s still got the occasional DC gig even if he’s making his main comics home elsewhere these days.

The Other History of the DC Universe #2: It doesn’t blow the doors down in the same way as #1, but I don’t know that it could - it isn’t introducing the concept, and it’s juggling two characters with I believe much less defining history than the singular lead of the debut. Still a great comic, and it’s with this issue it hits me that in following B- and C-list characters specifically rather than your Green Lanterns or Cyborgs, the book gets to have its cake and eat it too by conveying a superheroic POV while still making them spectators to the biggest developments both world-shaking and culturally significant. And yes, very much looking forward to what Ridley will do with Superman in Red and Blue after the balancing act he continues to strike here, I feel like he could be to All-Star Superman what Snyder was to Morrison’s Batman in presenting what those books were getting at in a way the general audience can latch onto this time (though in this case probably with something a little more on the prestige side rather than a summer crossover).

[arecomicsevengood]

Kim Deitch

I read some early Kim Deitch comics for the first time recently. He had an underground series called Corn Fed Comics that released two issues I was able to track down, and then I found a cheap copy of his Beyond The Pale collection that Fantagraphics put out in 1989. Deitch mostly sidesteps the transgressive aspects of underground comics that people are uncomfortable with; I was kind of surprised to see panels depicting blowjobs in a few stories in issue 1 of Corn Fed Comics. Those stories weren’t reprinted in the collection, probably due to the cultural climate in 1989, when what was de rigeur in underground comics sold at head shops would get a comic shop busted by the cops. This tameness is probably a big part of what enabled him to make the transition to the book-market-friendly graphic novel era: The Boulevard Of Broken Dreams, collecting a story that began in the second volume of Raw, was published by Pantheon, as was its follow-up, Alias The Cat.

I read the comics in Alias The Cat in a three-issue series called The Stuff Of Dreams, which I originally investigated due to Jog’s placing one issue high on his list of the best comics of the year. For a long time, Kim Deitch was an artist I wanted to like more than I actually did. There’s something old-fashioned about his drawing, and a lot of the time his storytelling is committed to building out this ornate mythology. For instance, he’s got a strip in Kramer’s Ergot 7 about “Sunshine Soda,” an ill-fated attempt to produce and market a soda with LSD in it, that then is a part of a story he tells in Deitch’s Pictorama, which has a character who’s expanded on in his Katherine Whaley book. The latter two books are more illustrated prose than comics, and so were ignored by a bunch of readers, and that Kramers was the big expensive one, so people might not even know about that narrative thread. He’s better known for his Waldo character, who figures prominently in a bunch of books, including a few that are long out of print that I’ve never read. Reading these earlier stories, where he establishes himself as just a storyteller, he feels more focused, but also more wide-ranging in what he’s willing to let a story encompass. There’s giant monsters in these early stories of Miles Microft, Psychic Detective, but later stories, prominently featuring Kim Deitch as their protagonist, ostensibly take place in the real world, with the strangeness pitched to the reader as rare history being unearthed. (The first Deitch piece I read was a thing in the issue of McSweeney’s edited by Chris Ware, a rare work of graphic journalism Deitch undertook that seems to have set a precedent for the plausibility of his latter efforts.)

It’s interesting to discover Kim Deitch is one of those artists whose work you appreciate more if you’ve read the earlier stuff, especially since there doesn’t seem to be any real interest in keeping any of it in print. While his work looks old-fashioned visually, the farther back in time you go, the more evident it is how ahead of the curve he was compared to his contemporaries. While The Boulevard Of Broken Dreams might seem old-fashioned compared to the other books Pantheon was putting out in the early aughts, like Jimmy Corrigan and David Boring, that initial chapter that ran in Raw did so because Art Spiegelman’s belief, that many cartoonists were sitting on long narrative literary material, was largely untrue, except for Deitch. And of course, Deitch’s last book for Fantagraphics, Reincarnation Stories, totally rips, and includes stories that Sammy Harkham ran in the last few installments of Kramers Ergot, where he didn’t seem remotely out of place.

[northoftheroad]

The Robin 80th Anniversary Special

It's not a secret that I'm first and foremost a Dick Grayson fan, whether he comes dressed as Robin, Nightwing, Batman or something else. But I try to be charitable and be happy for fans of the other Robins that they got a pice of the birthday cake, i. e. the Robin 80th Anniversary Special.

For your enjoyment (?), here are my thoughts about the book. Spoilers ahead, obviously – don't like, don't read!

I honestly thought almost all of the stories were ok – but pretty forgettable. Marv Wolfman's spin on Dick leaving to become Nightwing, in "A little nudge" (art by Tom Grummett and Scott Hanna), is probably the only one I will remember and reference in the future. I don't know if or how it is supposed to fit into the (any?) continuity, but as far as I can see, it works nicely in the current setting.

Dick's parting from Robin and Bruce was successively portrayed as more and more hostile. When he originally left Robin to become Nightwing (1983–1984), the two still had a good relationship. This changed in comics to, first, that Bruce decided to retire Robin, and then to that Bruce outright fired Dick and kicked him out of the cave. This lead to that their relationship was portrayed as poor, antagonistic even, for a good many comics years.

The bad mood was picked up by Batman The Animated Series, where Dick left being resentful of Bruce and his methods.

I don't have a lot of good things to say about what has happened to the Bat-family after Flashpoint. But from what we've seen from scattered panels, Dick was the one who decided he wanted to leave Robin. You can read Marv Wolfman's story as confirmation of that. Which is nice.

Bruce is only a little bit of a jerk in this story, being utterly rigid about that Robin has to follow orders. Dick, however, chooses to stay with a kid that had been shot instead of following the criminals.

Dick has had it with Bruce's rules and leaves the cave, but he says "later" rather than "goodbye".

It's made clear that those strict rules were Bruce's way to say, "I know you've grown up, and you should move on; I'll be fine without you."

Batman # 408, where Bruce decides to retire Robin because he got scared when the Joker shot Dick, is firmly established in my mind as the "correct" leaving story in my mind. It was the only one I had read and knew of for many years, and the two still part on decent terms. But Marv Wolfman's 80th Anniversary version has a lot going for it.

On to the rest of the stories...

"Aftershocks" By Chuck Dixon, art Scott McDaniel and Rob Hunter.

Set during Cataclysm (a storyline from 1998) where Dick lived in Blüdhaven before he moved back to Gotham and became Batman. It's an action-filled story where (fingerstripe) Nightwing comes to Gotham after an earthquake has hit the city.

It's interesting to read this, living through the corona crisis that is going on right now. I don't know how it is where you live, but where I am, people are setting up networks to help people who can't go out to shop or walk the dog, University students are helping kids do their math lessons with the help of Facebook, people make masks for health workers etc. But when Chuck Dixon writes what happens after a catastrophe, Dick has to fight his way through masked thugs who are trying to rob an ambulance of "painkillers and tranks" when he tries to save a cab from falling with a damaged bridge. A woman is giving birth inside the car, and the story ends with that the mother wants to name the boy after Nightwing.

"Well...Robin works, right", he says.

"Team building" by Devin Grayson, art Dan Jurgens and Norm Rapund.

Well, I'll always soak up everything that has to do with Dick and the Titans – Teen Titans, New Teen Titans, Titans, any Titans...

Devin Grayson wrote The Titans 1999–2000, which is the setting of this story. Most of it takes place inside a H.I.V.E. locale, where an exasperated boss (Damien Darkh) chews out his soldiers after a fight with the Titans. But Darkh decides not to kill the lot of them, because they did distract the Titans while he stole a red crystal/power source. Of course, it turns out Dick is the soldier who has kept his helmet on; he takes the crystal with him and gives Darkh a bit of advice on team-building on his way out.

"Generally speaking, fear of execution isn't a great motivator. I've found basic team-building and morale-boosting to be much more effective. Like, I'm just spitballing here, but... You ever consider a pizza night?"

Well, it did keep me amused, and it shows us that Dick is a good leader and strategist, (and a great acrobat who manages to get out of the H.I.V.E. uniform with one hand, on the way out), although it isn't exactly a surprise that Dick was in the building when you get near the end.

"The Lesson Plan" by Tom King and Tim Seeley, art Mikel Janín.

Now, I do like some things about the Grayson run, but with a bit of distance, I've realized it was mostly the art. The sexualization of Dick and how King and Seely wrote him as a guy who jumps first and plans never got tiresome. This story is in-character for Grayson; Dick is accompanied by a girl (Paris) from St Hadrian's on a mission, and on the way, he remembers the lessons Batman gave him and imparts his own interpretation of them to Paris. As is Batman says, "plan everything", and Dick says "Improvise. Leap first... figure it all out on the way down." Ergo, classic King and Seeley. Also, it is possibly implied Dick made out with a beautiful girl that turned out to be gorilla in disguise...? Yep, vintage King and Seeley.

Other than that, I don't have a big problem with the story. Some things ring true to me – as when Dick remembers Batman saying, "At their core, people are cowardly and self-serving. Trust no one until you know them. And even then, never completely". And what Dick says is, "Give the benefit of the doubt until you gotta knock 'em out."

For my own peace of mind, I'm reading this as Dick is half-joking with his advice. It's not like we've never seen him make plans and be suspicious post-Flashpoint.

On a side note, one of the best characterizations of Dick Grayson to my mind is a panel from Black Mirror. When Dick explains he had injected James Gordon Jr with a subdermal tracer, and says about himself, "I am a softie. And I do try to see the best in people... but that doesn't mean I'm stupid."

Detective Comics # 881. By Scott Snyder, art Jock and Francesco Francavilla.  

"More Time" by Judd Winnick, art Dustin Nguyen.

Jason has a cute story about him repairing Thomas Wayne's watch as a present to Bruce. He started the work as a tiny Robin (too tiny, in my opinion, but with Dustin Nguyen on art it probably couldn't turn out any other way) and finished the work as Red Hood. Jason delivers the present to Bruce on his birthday, placing it on the Batmobile while it is parked in a Gotham alley.

"Extra Credit" by Adam Beechen, art Freddie E. Williams II.

Tim has an appointment with the guidance counsellor at Gotham City High School. Tim sees a future in law enforcement (that's the first I've heard of that, but I'm no expert on Tim) and he's adopted (again, something I haven't seen post-Flashpoint). But the counsellor doubts that Tim will be admitted because he has nothing to show when it comes to extracurricular activities. It's kind of a fun few pages where the counsellor suggests things that Tim could do, and Tim thinks about what he does as Robin on his spare time.

"Boy Wonders" by James Tynion IV, art Javier Fernandez.

Tim, Red Robin, is unsure what he wants to do with his life and goes to his brothers? fellow Robins? for advice.

I know emotions have been running high because Dick tells Tim that he is "demonstrably smarter" than he is, which makes it sound as if Dick is not really smart at all.

Again, for my peace of mind, I choose to read this as I want: that "big brother" Dick is encouraging, he has always thought highly of Tim, he has no ego to preserve. This doesn't make Dick a reliable narrator on the subject, and the page ends with that Tim thinks "He was the first. He's the best. He's always going to be the role model. "So, two brothers who admire each other.

Tim also talks to Jason and Tim, and the story ends with that he tells Batman he wants to start Gotham Knights protocol, the team in Detective Comics (Rebirth.) 2016-2018.

"Fitting In" by Amy Wolfram, art Damion Scott.

Stephanie, as Robin has problems because Tim's Robin suit doesn't fit her female body. But at the end of the day, Bruce gives Stephanie her own "changing room" in the Bat-cave, because she's female.

...are Bruce and Alfred idiots? Did Dick, Jason and Tim have exactly the same body type when they were Robin? Stephanie deserved a story worth being told, not this one.

"My Best Friend" by Peter J. Tomasi, art Jorge Jimenez.

Jonathan Kent writes a school essay about his best friend, Damian. As he writes the words on his laptop at home, they are illustrated with pcitures of the two as both Robin and Superboy, and as Damian and Jon in civvies. Tomasi and Jimenez worked with Super Sons (2017–2019), and though I didn't read that, I'm pretty sure this story is an extra chapter in that series.

"Bat and Mouse" by Robbie Thompson, art Ramon Villalobos.

It's not the worst story in the book, but somehow the one I disliked the most. It is part of what is going on in Teen Titans and Bat-titles right now; we see Alfred's tombstone and how Batman and Robin have a strained relationship and difficulties in communicating. I'm not keeping up with what is going on with Damian and Bruce in detail, so I really can't say whether this story is consistent with how things have been going lately. I'll let Bruce-and-Damian fans take that ball.

To be honest, my reaction to "Bat and Mouse" is probably due to that I really, really don't like what's happened in the Bat titles lately. I firmly hope that the current situation will be changed and Alfred will be alive again, and I wish I could go back and re-read this book years from now without being reminded of this very dark time when DC seemingly doesn't want any money from me for new comics...

Being who I am, I probably take it waaaaay too seriously to try to understand where/if these stories fit in the DC continuity... The writers have probably (rightly) thought more about writing a good story than making it consistent with any grand plan for a timeline for all of the DC universe. But whatever.

The Grayson story clearly happens in a post-Flashpoint universe, as does Damian's and Tim's stories. But Tim says he's adopted, which I believe has never been said outright post-Flashpoint. And Stephanie has as far as I know not been Robin in this continuity. Chuck Dixon's Nightwing story is explicitly set during Cataclysm (a storyline from 1998) where Dick lived in Blüdhaven before he moved back to Gotham and became Batman. Post-Flashpoint, he moves to Blüdhaven for the first time in Nightwing vol 4., so Dixon's story should take place in the old continuity.

On the other hand. The last pages of the book are made to look like profile overviews in the Bat-computer and use pictures from different Robin runs. If the snippets of information are supposed to be the current continuity for the Robins, a lot from the pre-Flashpoint universe is back in canon.

Shortly, Dick was adopted (that's the word they use), formed the Teen Titans, moved to Blüdhaven and was Agent 37 for a while. Blüdhaven comes before Agent 37, but it's not explicitly stated when he first moved there. Because if Dick was in Blüdhaven before his time with Spyral, it is inconsistent with parts of Rebirth Nightwing. (Which I can live with...)

Jason's story starts as the street kid who tries to steal the tires of the Batmobile, his stint as Robin was short, and today, Red Hood has formed a tenuous alliance with Batman. Tim uncovered Batman's secret and made a bid to become the new Robin – and his new moniker "Drake" is acknowledged. Stephanie was Robin for a very short while. Damian was created with genetic material that Talia stole after a romantic tryst with Bruce, and he was bred to be an assassin.

Personally, of course, I think that Dick Grayson was worth more of an effort from DC on his 80th anniversary. But on the whole, the things we got were decent, "A little nudge" gave me something I will keep with me, and several of the covers are great.

(The cover photo is still pinched from Dan Jurgens' Twitter – I haven't bought all of the variant covers.)

[aion-rsa]

How Dead by Daylight Gave Slasher Horror Icons The Game They Deserved

https://ift.tt/35lPcEi

If you grew up a gamer in the ‘80s and ‘90s, buying a bad licensed game was a rite of passage. Sure, even young gamers could detect a bomb like Home Improvement: Power Tool Pursuit! for the SNES from a mile away, but at a time before game reviews were easy to find online, it was natural to hope that the new X-Men game might just be good enough to take a chance on.

The situation was especially rough for horror movie fans. I owned the Nightmare on Elm Street and Friday the 13th adaptations for the NES and at least tried to finish them. It’s not that I thought they were good, but at a time when licensed horror games (not to mention major console horror games) were few and far between, the opportunity to face off against my favorite movie slasher was too enticing to ignore. 

The industry eventually learned to embrace horror in a meaningful way that resulted in some all-time great gaming experiences, but the slasher movie icons of the day remained tragically underutilized. While original horror series like Silent Hill and Resident Evil expanded the storytelling potential of the medium, Chucky was reduced to starring in a Temple Run knock-off. 

In the minds of many horror fans, the hope for a great game starring Micheal Myers, Freddy Krueger, or Leatherface lingered even as passable adaptations of those characters eluded us for decades. Where was the disconnect?

“I think it probably extends from the fact that they are two very, very different mediums and two very, very different ways of telling stories,” says Mathieu Coté, director of Behaviour Interactive’s hit slasher multiplayer game Dead by Daylight. “The reasons why slasher movies are so successful, and why they make you feel the way that they do, are extremely difficult to translate into gameplay mechanics. I think that probably that’s the root of it.”

The earliest examples of slasher movie games certainly support that theory. In 1983, adaptations of The Texas Chainsaw Massacre and Halloween were released for the Atari 2600. They offered wildly different experiences (Texas Chainsaw Massacre saw you mow down victims for points while Halloween was all about evading Michael Myers), but each was so bad that you’d sooner be caught smoking weed while having sex at Camp Crystal Lake than playing either for more than a few minutes. 

Even as technology and game design advanced past what was possible on the Atari and NES, slasher icons were still being butchered in ways that would make these killers proud.

“It often felt as if [licenses] were either tacked onto an existing product that didn’t fit or it was just shovelware where the attitude is ‘make a thing and put the name on it,’” Coté says. “Oftentimes the people holding the licenses, and again it’s a matter of those two mediums being so different, but the people holding the licenses to the movies, they know about movies. They don’t know about games. That can make things difficult.”

With Dead by Daylight, Coté’s team sought to capture the essence of the slasher movie and translate that into fun gameplay that actually made sense for the genre. The asymmetrical multiplayer title sees one player assume the role of a killer tasked with eliminating four player-controlled survivors trying to escape the terrifying scenario. Since its release in 2016, Dead by Daylight has been embraced as the definitive horror multiplayer experience. 

Given how difficult it has historically been to make a slasher title, much less one featuring licensed characters, perhaps it should come as no surprise that Dead by Daylight’s origins can be traced to a much simpler concept that didn’t even start out as horror.

“There was a designer working in basically a silo somewhere making little prototypes, and one prototype that he made at some point was literally hide and seek,” Coté remembers. “It was one character that’s trying to accomplish a goal and there was another character that was very powerful. If he touched you, you’re dead.”

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An equally simple tweak would reveal the prototype’s incredible horror potential.

“We put cardboard in between [split screens] and went ‘Oh, my God. This is super fun,” Coté recalls. “The idea of creating a game in which you could play the fantasy of being the villain in a horror movie, that’s a longstanding one…if we put that with the fantasy of a villain in a horror movie, we have a winner.”

The idea of pairing the basic structure of hide and seek with a horror movie villain shows team’s vital understanding of what makes the slasher genre so entertaining in the first place. 

“A lot of effort is put into these [villains], so of course they’re more appealing,” says Dead by Daylight creative director Dave Richard. “I think that’s why we started rooting for them, and we have this enjoyment and guilty pleasure of rooting for the villain. I think that we all have this inside of us at different levels. We’re embracing this macabre thing.”

The team’s fascination with the macabre would slowly turn their experiment into a fully-fledged horror game. 

“The original prototypes showed survivors as literally beheaded silhouettes wearing different colored t-shirts with phrases like virgin, stoner, and jock,” Coté explains. “That’s something that Cabin in the Woods did very, very well, and the early prototype was based on those tropes.”

While Coté and Richard reference meta-horror movies like Cabin in the Woods and mockumentary Behind the Mask: The Rise of Leslie Vernon as early inspirations that helped them contextualize the genre’s key elements, they ultimately turned to foundational films such as Halloween, Nightmare on Elm Street, Friday the 13th, and The Texas Chainsaw Massacre when crafting the game’s environments, characters, and other design elements. In those early days, though, few believed that Dead by Daylight would eventually host some of the stars of those films. 

“There were dreams and ambitions, but I don’t think there were thoughts,” Coté says. “We barely expected it to break even after a couple of months. When it started to really explode in the first month or so, we started looking for opportunities.”

The earliest of those opportunities happened to involve arguably the most important slasher of all-time: Michael Myers.

“We were lucky enough to get in contact with some very nice people who are the owners of the original version of Michael Meyers,” Coté explains. “Being able to get the rights to bring in that character and the original Laurie Strode into Dead by Daylight was kind of a big deal. It set the stage because it legitimized us in a certain way.”

For anyone who has followed the history of licensing rights and copyright law (not to mention the aforementioned history of slashers in games), the fact that the team was able to add Michael Myers as a playable killer must conjure an image of a developer clawing their way out of licensing hell with one hand while holding on to Myers with the other. Yet, it sounds like the process wasn’t all that complicated.

“I wouldn’t call it [licensing] hell,” Coté says. “Most of it is actually super interesting, and most of the licenses that we have…we’re dealing with people who get what we’re trying to do. The people who are, as I was saying earlier, more into movies than into video games, tend to trust us to do the right thing.”

Securing Michael Myers was one thing, but now that they had him, the team was faced with the same dilemma that had ruined even noble attempts at building games around these characters in the past.

“We first had to ask ‘What is the fantasy around that character and what is so interesting and unique about these characters?’” Richard recalls. “Of course, most of them have a weapon and they kill, but what’s their special sauce?”

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As Richard explains, Freddy Krueger has a “dream world” and a “fantasy that’s easier to get.” By comparison, Michael Myers is often portrayed as a guy with a mask and a knife. How do you translate that into a game in a way that makes him feel unique?

The answer to that question came in what Coté rightfully describes as a “stroke of genius.” 

“I remember that meeting where we were talking about Halloween and how to make [Michael Myers] unique,” Coté explains. “They pitched us the idea of a killer that would just watch you. We’re like, ‘What?’ They’re like, ‘Yeah, he’s just going to stand there and watch you,’ because that’s what Myers does in the movies. That’s what he does, but it’s an action game. People want to chase each other…We all thought, ‘Oh, you’re an idiot.’”

Yet, when Coté got the chance to actually play an early build of Dead By Daylight with Myers as the killer, he immediately understood what the team was aspiring to achieve.

“The very, very first version of the prototype I remember playing and repairing a generator and looking over my shoulder, and I see him standing on a hill and just watching me, and I go, ‘This is the creepiest thing I’ve ever experienced in this game,’” Coté says. “It’s super creepy, especially knowing it’s an actual other player right there. He could attack me right now, but he chooses to just watch me…that kind of thing made me realize the liberties we could take with the gameplay mechanics to really create something that would be unique and special.”

For the next few years, that’s exactly what the team did. They bent the rules of the game to incorporate other famous slashers. Freddy Krueger dragged Dead by Daylight players to dream world while Saw’s Amanda Young turned the game’s traps into a gambling proposition. Leatherface’s devastating attacks impacted a survivor’s ability to carry on and Ghost Face’s playfulness and humor distinguishes him from one of his major inspirations, Michael Myers himself. Through it all, the team’s goal was to stay true to the legacy of these characters and give them a proper home. 

“I love Mortal Kombat, but whenever a character gets imported to Mortal Kombat, they all turn into martial artists,” Coté says. “When you put Jason in Mortal Kombat, he becomes a martial artist and he hacks people, and then he does a finishing move and it’s awesome, but that’s it. When you take Michael Myers and put him in Dead by Daylight, he’s Michael Myers.”

Of course, Dead by Daylight’s roster of killers doesn’t just include an array of adaptations. At launch, the game boasted three original killers: The Trapper, The Wraith, and The Hillbilly. The Trapper was, by the team’s admission, based on Jason Vorhees and The Hillbilly certainly resembled Leatherface. It was in The Wraith, a desperate figure whose pursuit of a job saw him become an unwilling executioner, that the team found their first truly great original creation.

“For us, it was important that one of the killers was inspired by more of a cultural idea, and that was The Wraith,” Richard notes. “You don’t see The Wraith archetype in movies. It really comes from horror culture and cultural monsters more than movies.”

That desire to explore every corner of horror rather than just retread film successes is a big part of the reason why Dead by Daylight’s original killers are among its most popular. In fact, the team draws inspiration from such a wide array of sources that it’s possible some players may feel the impact of these original creations more intensely than others. 

“The Huntress is heavily inspired by Eastern European folklore and mythology,” Coté says. “For some of our players, especially Russian and Ukrainian players, they were immediately, completely freaked out because she’s humming a song that their mothers sang to them when they were a kid. It was really like it hit way too close for some of them, and it was great. It made them feel things, but for Japanese players or Brazilian players who had no cultural link to that, it was still an impressive and terrifying character because what scares people is visceral and universal”

While Dead by Daylight’s original killers stand tall against horror’s heavyweights, the game’s most impressive contribution to the slasher genre may just be its emphasis on the personalities and attributes of its survivors. Early builds of the premise portrayed survivors as Merrily We Roll Along rejects wearing self-identifying sweaters, but the game eventually began treating survivors with the same reverence as killers. 

“Survivors have been the learning experience, to say the least,” Richard confesses. “When we created the original characters, we wanted them to have real stories and personalities, but also to be relatable. I’m going to say a word I don’t like so much, but it’s almost like they’re shells that the players can identify with and easily become.”

Dead by Daylight’s emphasis on the unique qualities of its survivors helped it outlive (pun proudly intended) other asymmetrical multiplayer games, but even Behaviour Interactive found itself having to reckon with some of the stereotypes that plague even the best slasher movies. 

“The fact is that a lot of those [early character designs] are stereotypes that convey, let’s say, cultural tropes that don’t need to continue to exist in today’s society,” Coté admits. “For us, it was more interesting to create characters that feel like someone you could stand behind in a coffee shop and not blink because they’re regular people. They’re people you can relate to.”

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While Dead by Daylight’s roster of survivors features a few imports (such as Halloween’s Laurie Strode and Evil Dead’s Ash), the team reveals that “licensed survivors are much harder to find than killers,” largely because they still want the game’s survivor’s to feel overwhelmed by the stalkers. Coté specifically notes that it wouldn’t make sense for someone like John Wick or Arnold Schwarzenegger to be hanging helplessly from a hook. Yet, they also don’t feel like the legacy and value of a horror hero should be defined by their ability to play offense. 

“All of them are serial survivors,” Coté says of the game’s characters. “They continue to win, which is impressive, given the challenges they face.”

Besides, as millions of fans who have shouted at the screen at a horror film can attest to, the fates of Dead by Daylight’s survivors really come down to the players themselves.

“We always wanted to make it so that if you die in Dead by Daylight, it’s because you did something dumb or you panicked and didn’t stick to the plan,” Coté says. “Obviously the killers are extremely powerful, but most of the time [survivors lose] because someone panicked or was careless and got cocky and didn’t make good decisions.”

The ability to test your mettle against a slasher legend is one of Dead by Daylight’s more interesting examples of meta brilliance, but its most notable meta mechanic is the presence of The Entity, the invisible hand that pulls characters from different horror universes into the game. It’s a subtle, yet vital, story component inspired by another horror legend. 

“The main inspiration for The Entity was actually The Dark Tower,” Richard recalls. “Many of us on the team are fans of the work of Stephen King, and when we deep dove into The Dark Tower, it was a favorite. The way every book in the Stephen King universe links together and is tied up with The Dark Tower was the inception of the idea of The Entity.”

The Entity is the core component of the game’s surprisingly strong lore, which not only offers compelling backstories for nearly every survivor, setting, and killer but even adds a few new chapters for licensed universes like the Scream series. 

In many other multiplayer games, that lore would be little more than an easter egg debated over on Wiki pages and fan forums. But in Dead by Daylight, the commitment to meaningful storytelling is a core component of the ambition which defines Behaviour Interactive’s mission. 

“Every time we create more of our lore, we solidify what Dead by Daylight is and the universe around it,” Coté explains. “It’s not just to be able to bring in anything, but to be able to create a universe into which all of these things can exist and make sense.”

While the team’s commitment to lore may help bolster their pitches to rights holders, their commitment to ensuring that Dead by Daylight’s growth adheres to an internal logic also speaks to the team’s confidence that they can give nearly any slasher a home. 

“I’d say that a few [killers] still elude our grasp, and it’s mostly due to the fact that someone thinks they can make a standalone game for them, or they are working on one,” Coté says. “Anybody who’s got a little bit of experience in video games can tell you that recreating the magic of Dead by Daylight and that sort of balanced chaos is a terrifying prospect. It’s certainly not a simple thing to recreate.”

There’s a sincerity to that statement which encapsulates so many of the reasons why Dead by Daylight was not only able to secure slashers and survivors who could easily star in their own games but do justice to them within the framework of an experience that wasn’t designed to accommodate those legends in the first place.

After all, if the bad old days of slasher games and adaptations were defined by limitations and indifference, then Dead by Daylight succeeds because it takes nothing for granted. Its team carefully crafted a scenario that invoked the pure pleasure of the slasher genre and then spent years studying the ins and outs of these characters and worlds in order to better understand what makes them work beyond the superficial pleasure of their mere presence. It’s an involved process that doesn’t work for everyone.

“We’ve had a couple of cases of people on the development team that, maybe after a year or something, they go, ‘You know what? I think I’ve had enough.’” Coté admits. “Especially 3D artists who keep looking at references of grizzly things all the time, and most of them, they’re just having a blast…but I’m thinking of one or two examples of people who were like ‘You know what? I need to go and work on something with unicorns and kittens.’ That’s fair. That’s absolutely fair.”

The amount of work that goes into a game like Dead by Daylight may ultimately scare off other developers who would dare give legendary slashers their own games, but as long as we have Dead by Daylight, at least a few horror icons will always have a home. 

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“It used to be that we were hoping that people who hold the licenses to these legends would allow us to bring them into our world,” Coté says. “Nowadays, the conversations oftentimes revolve around asking them if they’re big enough to make it into the hall of fame that is Dead by Daylight…It’s the place for horror to come by and live.”

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