#the world generally favors and creates a lot of room for the general concept of a white boy's joy even if it hasn't for yours specifically

[rhythmic-idealist]

Stop saying "this is good boys will be boys" I am tired of it. I am TIRED of it. It's hard to outline this feeling without sounding really heavyhanded about something that's a very small slight, but I'm going to try. You're gendering the shit I'm not expected/allowed/supposed to be again. You're celebrating the idea that this is how boys are by virtue of being boys, you're like a preschool parent talking about how grateful they are to have boys because boys can roughhouse! You're not funny you're just boring and annoying, and acting like this is a boy thing isn't "positive masculinity" it is LOWKEY a boys club/making it out like there's something special that boys have that is more wild and adventurous and silly and goofy than girls. It's elevating boys to being able to be cool in ways that are off-limits to girls and it IS doing that genuinely and it's not okay with me. I'm experiencing elementary school as an adult.

Celebrate boys who are fun and funky people for being fun and funky PEOPLE; celebrate boys without constantly needing that celebration to be in OPPOSITION to masculinity but don't make a new gendered way of being good and fun and funky and cool; it hurts girls and it sucks and I hate it here. I think some of you are going to—I struggle to phrase this in the way I prefer to, a way that talks about actions people to and not types of people—become the preschool parents who act like that about having boys as opposed to girls, and I think that it might happen to you without you wanting it to because in trying to deconstruct gender you made a binary to celebrate again. Stop it

[voxxisms]

vague wishlist thread ideas sorted by character (types?) i have some thoughts sometimes about things i wanna do with vox, plots && ideas. some of these are vague or more specific, && some are just settings or aus. putting a cut for dashboard sake. might link in pinned, will tag appropriately. might add more later.

general interactions / with anyone

vox at the hotel in either seeking redemption or as an investor

vox being injured or your muse fighting him in some capacity

vox stepping in to protect your muse with the goal of taking advantage of the dynamic. soul contract / employment or even just general favor owing

redeemed vox in heaven?? hello?

overpowered au content. this post sorta explains the vibes. he's super paranoid, very powerful, but surprisingly easy to be chill with if you behave well.

role swap vox with anyone literally. the only real one ive considered is alastor, in depth. he's an old - fashioned box head, perfectly modern inside for efficiency but looks like he belongs in the decades he lived in. very gentle, very empathetic && sweet. contracted to lilith (mine unless someone else wants to contract him) && helps the hotel.

vox being contracted to someone else.

arranged marriages / marriages of convenience

human verse stuff!! from either when vox was alive (1898-1945) or i'm happy to play with timelines in aus

bridgerton au, vox is george taylor, a wildly sickly man with too much money && a rake mostly. a lord by blood.

hanahaki. unrequited love that gives them diseases, any ending.

his self - punishment room being discovered.

vox in therapy lmaoo

fake dating.

with valentino

valentino having to fix vox

their toxic / possibly sweet relationship when they're on

vox being jealous / possessive

a break up?? if they're on / off it feels like something that happens a lot, i find them fun to write

marry each other smh tax benefits or domestic, either

valentino saving vox / vox saving valentino

with velvette

vox saving her in any way

her having to fix him post a fight or something else

vox modeling for her

ship stuff is fine, just as like, qpr stuff or mentorships

vox being over protective even if he really shouldnt be

with charlie

vox investing in the hotel for any reason (be it her askance, his own idea, or someone else's, or even seeking redemption ). might be genuine, probably more for info gathering

vox offering to personally assist in repairing the hotel

vox saving charlie from danger for fun bc its always good to have someone owe him something

with husk

knowing husk in his overlord times ( pre show / au )

vox having invested in husk's casino

vox being husk's contract holder for some reason?? could be fun

vox n husk fake dating for any reason i saw art for it once listen

with lucifer

vox seeking lucifer's creation expertise in early years (he was an entrepreneur once)

vox doing work / helping with lulu world being created as resident like, electronics man

vox making a deal with lucifer in some capacity, not necessarily Big Deal but you know

with angel

vox protecting him

vox saving him from valentino's ire (on acccident or otherwise)

vox having to step in for valentino on set lmaooo

angel && vox bonding over their similar experiences with val

vox caring for angel post a valentino encounter

angel for some reason being under contract with vox (different work/different expectations)

with rosie

the two having been close during vox's active relationship with alastor?

vox doing business with rosie / i.e. providing her with bodies or people from his territory in exchange for allyship

him investing in cannibal town somehow. owning property / providing funds for rennovation

tea parties?? him cooking for her?? her teaching him how to make cannibal - based food??

with alastor

alastor having been a mentor to early - hell vox

au in which the two have always remained working together, i love the concept. very media husbands coded but also not necessary to be romantic.

all the backstory, their friendship pre - show, especially the event that actually led them to split. i like to hc that they several things that slowly pushed them apart until vox invited him to the vee's right before alastor disappeared (this is dependent of course on the alastor / those hcs but)

au where alastor actually joined the vee's

au where vox offered alastor his soul in exchange for them remaining "friends". does not have to be a very sweet dynamic ofc

vox cooking for alastor / other vaguely domestic things

generally reconciling bc yknow

vox dying!! in alastor's arms!! or the other way around!! (not necessarily permanent but yknow)

RadioStatic of all flavors, unrequited/unspoken/QPR/exes/anything.

the role swap from above.

with other vox's i love duplicate interactions

the girls are fighting

playing into the doubling && working together

vox trying to help the other vox get back home properly

other vox (or himself) being a clone on purpose

upgrading / fixing each other

protecting each other

left brain right brain vibes???

au swaps? a role reversal vox meeting a regular vox? timeline swaps? one vox is from the 70's one vox is from modern times? one vox who is still friends with alastor && the other who isn't?

[themollyzone]

what is a clean girl?

Being a woman on the internet these days involves parsing a glut of aesthetic micro-trends that crop up on social media. These fashion, beauty and lifestyle inclinations are powered by TikTok, written up by the three or four 'culture' websites we have left, then mocked or glorified accordingly on Twitter and beyond. Examples: cottagecore (wearing a peasant dress in a garden), dark academia (wearing a tweed blazer in a library), and night luxe (wearing a little black dress at a fancy restaurant).

The current one I am seeing bubbling up is something called "clean girl" aesthetic, which to my increasingly geriatric eye appears as young women aiming for a certain kind of effortless-looking but secretly fussy minimalism in their clothing, makeup, and home decor. One of the names of the Alcoholics Anonymous groups that David Foster Wallace details in Infinite Jest is called "Advanced Basics," and this is also how I would describe my impression of the whole "clean girl" thing.

A girl sits at home with an artful latte or glass of wine, her room immaculate, her hair straight and shiny, her clothing patternless and neutral-colored. She is aware that the concept of turning your life into a Pinterest board seems silly to outsiders, but is nevertheless committed to the lifestyle. Because the clean girl lifestyle is a panacea for this modern girl: the required organization eases her mind, and the visual appeal garners her account many likes and follows, which are extremely valuable currency.

I'm inclined to roll my eyes at any trend that requires a great deal of time, money and effort to look effortless and appealing. Ah shit, I think, yet another way to capitalize on the insecurities of The Youth so that companies selling garbage can print money. But the more I think about it, it seems less like a cynical top-down corporate cash grab, and more like a self-soothing lifestyle for a particularly crappy-feeling time in history.

I worked at a wellness website for several years as the girlboss era was reaching its zenith, and a lot of the subtext of what the wellness world was selling back then was "do a 10-step skincare routine, buy an expensive yoga mat, line your windowsill with crystals and regularly cleanse your air with sage and drink a reishi latte every day and then you will feel fulfilled and sleep better and be less anxious." And I'd create content with this subtext in mind, knowing full well that a much better way to combat the stress, anxiety, and fatigue plaguing the wellness-seeking women of the day would be something like giving everyone universal healthcare.

So: "clean girl" is obviously catnip for the TikTok algorithms that favor young thin zitless white women dancing to music, and soon it will also get shoveled like coal into the outrage furnace of Twitter. But I want to look at it with at least some kind of sense of empathy, because I think a lot of these aesthetic micro-trends are the current young generation's attempt to feel some kind of control in an out-of-control world, at an out-of-control time in personal and social development. (The flip-side of "clean girl" is probably the "feral club rat," skulking around at night in broken PVC heels, grasping a dollar slice and a nip of Cuervo, making up for lost Covid time, foregoing any sense of control in favor of Dionysian abandon.)

I don't think there's anything wrong with having a penchant for bullet journaling and plain gold jewelry and making sense of oneself through that kind of consumption and presentation. It's just too bad that these mimetic aesthetics require public posting, and therefore public feedback and public backlash, and then it all just turns into grist for someone else's content mill. Once upon a time I adhered to regimes dictated to me by teen magazines: 10-day ab challenges, back-to-school countdowns that had specific instructions on when to shave your armpits. But I did it all in my room alone and no one saw me do it. God, what would I do if I were young now? How many third parties would profit off my quest for beauty and coherence?

[splathousefiction]

SH Cosmology: The Council

Oh shit, I did say I’d write another of these didn’t I? Hey, to be fair, I said it would be when I got around to it. Which is now apparently as insomnia strikes me again tonight. 

Welcome back to Splathouse Cosmology, where I attempt (again, infrequently!) to explain some of the ongoing lore surrounding this rather lengthy narrative in a more digestible form. If you missed our last entry, you can catch it in the collection here. 

This time, I thought it was pertinent to both explain The Council (RIP) and explain why they’ve been disbanded and (in some cases literally) buried. Let’s go. 

In The Void, The Lady Was Lonely…

During Heavenfall, the acts are broken up by Gospels spoken by none other than Micheal the archangel of War himself. The purpose for this was twofold: One, to flesh out Micheal and his motivations for doing things a lot more. But also to give weight and merit to an idea that had felt toothless for a while. The Council of Wizards was a longstanding idea I’d had, and had attempted to implement the year before when Baphomet approached Jack in “Jack’s Birthday Burning”. But why have a council at all? Why should I-someone who has vocally spoken about being an anarchist-institute any form of government, tribunal or authoritarian body in my fiction? 

Let’s start with the hard, real, world-of-meat reality reasons: 

I needed and wanted the world to be bigger than just the office. Introducing Jenazebelle into the lore helped, but the boys more or less hadn’t left the office unless it was for comedic purposes (Notably, Jack gets tossed through a window at an unnamed bar and drunkenly yells at the owner). There’s constant mentions of things beyond the office-going out for beer, getting pizza-but the boys never leave. I wanted to give them a legitimate reason-and that meant expanding my scope for the narrative beyond this dilapidated farmhouse in the middle of nowhere. It meant helping Jack realize he wasn’t the only one gifted in the craft.

There’s entire years of Splathouse Audio where it’s two guys in a room with a recording booth, just taking requests from the audience and haphazardly slapping something together. It’s fun, it’s goofy, vibrant and silly. A few of those audios still have my absolute best, queerest lines in them. But as the scope of SH itself grew for me, so too did what I wanted for the boys. If the council accomplished absolutely nothing else as a narrative device except freeing them from that room, then I can say with full faith I’m glad I did it and I have no regrets.

Likewise in a very western american-brain rot way, it was the next logical step in “what does the spinning gears of this world look like”. Growing up in the rural south, we had the phrase “god and country” drilled into us every single day of our lives. At school, at boy scouts (Surprise! I was a great boy scout!), at church and more. But always in that cadence. God first, country second, and boy howdy you better not question either of them. If The Lady was first, the world she made would need people in charge of it second.

In no way, shape, or form does being appointed, favored, gifted or otherwise noticed by the lady mean you’re a good person however. Just like in real life, people can be appointed to positions and absolutely, whole heartedly not be qualified. Greed, generalized corruption and more can warp the best of hearts and souls like a vice. It’s a tale older than anyone reading this, and with these concepts in mind I set forth to create a foundational government for the SH cosmology-that of the angelic, the legion of beasts, the church, and the grand performer.

(Less Than) Intelligent Design

It was incredibly important to me that “The Council” not be some sort of monolithic, obfuscated thing. Not a singular identity, but independent heads convening as a whole with conflicting ideals, wants and desires. Simply put, a government at war with itself is way more interesting to read/write/perform about than a dictatorship. “We kill everyone who opposes us” is a child’s supervillain ideation (in fiction. In real life, I can personally confirm it’s horrifically terrifying). 

Plus, it gave an opportunity for some of the biggest power-players in the narrative to change. Characters would have the opportunity to be elected to a seat, usurp it through violence and more. This dynamic, though it hasn’t changed a whole lot, means there’s risk associated with everything in SH from the top down. If a voice speaks to you in the dark, are you sure it isn’t some kind of trick or boon from a council member?

I chose four different seats based on the four cardinal directions:

 “Up/North” was the domain of ‘Heaven’, and the Angelic-a horrifying, multi-eyed birdlike(?) people with a propensity for righteousness, purifying burning light and strength. Their numbers are very limited, and rumor has it just seeing one can make you go mad. Most angels have a domain or calling they occupy, such as “the Angel of War”, “the Angel of Mercy” and “the Angel of the DMV Line”. As of this writing, very few mortal souls have ascended to heaven, and even fewer became angels. In the entire history of Splathouse, only one canonical angel has appeared-Lord Micheal, Angel of War, with their wings a whirling storm of bullets, blades and gunsmoke. The gates to this realm are currently closed, and nobody knows why…

 “Down/South '' was the domain of Hell, and populated by the Nephilim, a multicultural group of cloven hoofed, horned people who asexually reproduced by plunging the souls of mortals taken there into their massive brood pits. There’s 666 different lineages of demons in hell, with the most well known for our audience being the Infernalus, marked by their red or blue hair, shaggy legs, sapphire skin and kind demeanors. Given the circumstances of “rebirth” in hell, a large number of mortals find their way here to begin another life when they die. In particular, the Infernalus are well known for aiding the trans community.  Currently, Hell is being led by Lord Asmodeus Infernalus, heir apparent to the Legion of Beasts and assumed patriarch of the Infernalus clan.

“West/Left '' was The Church, a theocratic organization devoted to study of The Lady and her teachings. As a mortal-ran group, this unfortunately means getting quite a lot lost in translation from Her original intent. While several multiverses feature The Church as an altruistic and morally “good” organization, this isn’t a universal constant. In our universe in particular, this culminated into The Church Of The Infinite Grin, a collective and maddening hivemind that inspires its members with euphoric mania that often leads to violence. The Lady’s teachings of love and boundless empathy was something TCOTIG thought should be spread at the end of a knife and with fear. After all, the entire world needed to learn to smile. 

The Church was formally run by Primarch, an insane octogenarian with the powers of precognition, divination and a propensity for slipping mind-controlling slugs in the ears of anyone that would listen. Hilariously, the one thing he didn’t see coming was Jack slipping The Vorpal Blade right through his heart. Given the by-laws of TCOTIG (“Whoever kills the leader becomes the leader”), the current head of the Church is…well, Jack. Jack however thought that would be super lame, and has encouraged its members to “go out into the real world, get to know people, be nice to each other”. The last known gathering of members was for Jack’s carnival in Heavenfall. They haven’t been heard from since, and are considered disbanded in our reality. 

And at last, we have “The Sorceress” or “The Grand Performer” to the “east/right”. This seat fills a dual role depending on the needs of a particular universe. Sometimes the world needs magic in a metaphysical/spiritual sense, or needs that magic to be a spectacle. In either case? The sorceress/TGP tends to be the voice of the common denizens of earth, and often is some sort of folk hero. Sometimes, in the case of twins or loving long term partners, the seat is offered to both parties.

This is also the only council seat to require a unanimous vote from all other active chairs before it’s offered to a potential suitor. That suitor can reject it of course, but usually accepts. While absolutely any talented magician has the potential to take the seat, it’s not uncommon for certain high magic families to be carefully considered or be kept under watch by the council for a suitable candidate. 

With regards to our story, The LaCroix family was one such group. Merle LaCroix, Jack’s father and mentor, had a propensity for magic he kept hidden until they met each other again in Limbo briefly. While it was strong enough to wield the Vorpal Blade, it wasn’t enough to fill the seat. That wouldn’t occur until Jack himself displayed his talent at the age of twelve for bending reality. The Council (Then led by Primarch and Baphomet as the only active seats) decided to keep a close eye on the boy, with Baphomet later offering Jack the seat in person. Jack refused-at first, then later took the seat when pressed. 

As the current chair member, Jack has eschewed all responsibilities to his seat and had the audacity to get into a fight with another chair member. Can you believe he sent them both hurtling through the void? Gods, what an idiot! 

However,

He wasn’t the first person to take that seat in our story.

Crowmother, Daughter of Odin, And Other Names…

Yaga is perhaps the most intriguing villain in SH lore, and also was a former council member. Her shift from that to her other names and titles was the result of a chaotic life and creative process. 

Before there was a council, before I dared to bring The Lady into my fiction, there was Yaga. Inspired by the myth of Baba Yaga and classical crones, Yaga lived within a dense forest in a chicken-footed hut. She would lure people there with her incredible beauty-then pin them down with her prehensile hair and rip out their hearts. Which she would eat. Because hey, metaphors about obsessive lovers or something. 

Yaga’s original lore served a solitary purpose: To give Jack an adversary, and perhaps one that the audience would lust after. I know how much you all enjoy powerful women. Then the audio work took off, and Yaga took a back seat in my brain for a long time. As the boys finally left that recording room, Yaga came hurtling back to the forefront of my head. She was my first Big Bad Evil Villain after all, and hey! I could do fem voices now! Why not bring her back, right? 

However, just having some evil witch show up, targeting Jack felt kinda silly and lame. I was also afraid at the time that without a solid motive and reason for what she did, Yaga would appear to be a sexist portrayal of a trope. The Big, Evil Woman is coming to take our (male) hero down, oh no!  I sat back, and really turned over what I wanted Yaga to be and represent before bringing her back. 

As The Council had just been introduced, I decided to seize the opportunity by making her formerly a part of it. Doing so would give the Council legitimacy in-universe while also giving Yaga herself something she lacked from the onset-a verifiable, real reason to be angry, to be evil. There were elements of her character I wanted to keep-her affinity for crows, the fact she ripped out and ate hearts. But why did she do these things, and more importantly-to whom?

The lore (and current canon) I came up with was this: 

Yaga was formerly known as The Sorceress, answering to the title only. A nature witch, she was revered by people all over the world for feeding them and ensuring their crops were bountiful. Electing her to the council was a natural choice carried out at the direct wish of The Lady. Soon after joining the Council, Yaga would befriend one of the original Grand Performers-a fellow who wore a smiling mask, an enormous top hat and a long tailed black coat. She didn’t know his name, his true one. But neither did he. 

That didn’t stop them from falling in love. Not even a little bit. In time, the names didn’t matter as much as their work, their deeds-and their boundless, endless love for each other. The Lady approved their union, and soon the two were never seen without the other. The Performer would always ensure The Sorceress had a grand entrance (sure to trounce even his own), and Yaga would always surround her husband's lapels in vibrant wildflowers. She brought color to his life, and he joy to hers. 

What a shame the smiles they bore were wholly their own. This angered Primarch, who couldn’t fathom a world where joy sprang from WITHIN ourselves instead of his holy seat. As Baphomet was distracted with some silly thing the humans called The Crusades, Primarch decided to seize an opportunity to send a message to The Sorceress. He crept towards her home while she was away, slew her husband and burned her house and field of flowers. Upon her return, Yaga saw the face of her husband carved into a hideous grin. She held him, even as the fires raged and the world they built together burned.

It’s said that the wildfire chucked enough ash into the sky to paint the entire world over in a dark, gray pallor. Gone was the birdsong, the bountiful harvests, and the verdant green. In their place came the carrion eaters, the scavengers-the swarming, endless murders of Crows. It was a puzzlement to people who had formally dwelt in such a beautiful, colorful place-even more so to Primarch himself. He knew there would be fallout-but nothing quite like this…

How could any of them know, though? How could a single one of them know that their beloved Sorceress learned her craft in another world, under a different name and guise entirely? How could they even begin to guess that the being who now held such a seat of power was none other than a child of a death god?

Long before she held the title that replaced her name, Yaga had another-Crowmother, daughter of Odin, successor to the throne of Asgard in the event her father ever truly, actually died. A title she seized once more as she vowed to rend the hearts of all that opposed her, just as she herself had experienced. 

Her vengeance engulfed entire worlds and rendered them to ash. In her rage though, she began to notice odd synchronicities-there was always a council, always those same seats. What’s more, someone that always reminded her of the crooked smile of her beloved.

But they never were him. Just a pale imitation, a ghost that was repulsed utterly by her. Their hats weren’t right, their masks horrific instead of joyful. That is, until she came to our particular section of reality.

The rest is pretty well known to most of you now-instead of fighting her, Jack heard Yaga out. He sought vengeance on her behalf towards Primarch, upending the council and angering Baphomet. Yaga was utterly befuddled by this, as it was the first time anyone tried for her since her husband. Yaga would return to Asgard, not to be seen or heard from again until The Jarl And The Thief.

So why do I mention any of this? It’s important, I swear. Yeah, I know this entry is getting long, but I promise we’re almost done…

Titles matter. They always have been, ever since the first upload. They can indicate everything from moral alignment to a profession to a talent-and it’s common for beings with titles to hold council seats. Jack himself held the title of “the Warlock” long before he became a council member in any way (or, what’s more, a vessel for a god in the sense we traditionally think about warlocks from DnD and such). Odin’s introduction was via his names (“the spear shaker”, etc) before he ever mentioned his name. If a character gets a title, however informal, it carries weight, significance and magic of its own. The logical reason for this is simple-it’s easier for an audience to remember a character if a nickname reflects what they do in the narrative. The creative and canon choice for this is that titles inspire a sense of belief in a being, an association and connotation with their abilities that wasn’t there before. 

If anyone gets a title in an audio or narrative, pay attention. It’s going to matter later, even if it seems insignificant. Beedleboop, the grand master of the breeding pits in hell and Asmodeus uncle, is the entire reason the Infernalus bloodline experienced a revival at all. Asmodeus asked him because nobody else had the kind of mastery necessary to aid so many souls. 

When Yaga was The Sorceress, she was a champion of people like me and you. When she was Crowmother, she was the scourge of all, a sure sign death was near. And now…

Well.

I suppose we’ll see just what she goes by now at some point, won’t we?

Empty Seats, And Filling Them

So!

The Council, which originally played a pretty big part in our story, is mostly non-existent now. Baphomet was revealed to be Micheal in hiding, and his whereabouts are unknown. Primarch is dead. Yaga is currently chilling in a hut in Asgard. Jack just got home, and oh god, there’s this alternative being popping up.

Where does that leave our council? 

Wholly empty, their seats gathering dust. 

As the creator, I can’t firmly say the Council won’t reform at some point. Perhaps with way, way better people. Nicer folks at least. From a narrative standpoint, I would like reintroducing such a thing would be a negative sign-something has gone horribly wrong, and these powerful, conflicting bodies decided to unite to stop it. Heavenfall already showed such a thing wasn’t necessary. Given that Jack has started a new magical awakening in our universe though, it’s hard to say if a few people with “bright ideas” won’t emerge to claim those titles once more…

And that’s all you’re getting for now ;)

Have a good one folks. 

Next time, we’ll probably either talk about the concept of multiverses in our cosmology, or a random neat thing like The Vorpal blade. I’d also like to talk about how and why the SCP organization has shown up in my fiction at all. But! We’ll go where the spirit leads us, meaning hey leave a comment down below. 

-j

[bridgeside60]

The Lazy Man's Guide To Minecraft

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[phoenixyfriend]

Vader Tries to Help

People encouraged me to share the dead dove concept! Yay! It’s a horrible concept with an undertone of comedic absurdity in the sense that you keep waiting to see what awful, incredibly stupid thing Vader is going to do next. Like it’s horrifying but it’s also very dumb.

By moving forward into the fic, you acknowledge that this is intended to be dark and liable to be upsetting, and that you are taking responsibility for your own engagement with the material.

This AU was helped along on discord by several parties but tbh I’m not sure how many of them actually want to be named.

Warnings: Mutual Extremely Dubious Consent (forced by a third party), drugging, irrational behavior (Vader), nonconsensual body modification, forced pregnancy, imprisonment, threatened torture of a child (not followed through on)

----------

Vader captures Obi-Wan a few years into the Empire. Because Vader is Anakin, but even worse on the emotional bullshit, he decides that he needs to keep Obi-Wan safe but harmless. Vader also got Luke in the whole 'capturing Kenobi' situation, so part of what Vader's thinking about all this is that Obi-Wan tried to protect The Baby and so Vader kind of owes him, obviously.

Palpatine lets him keep Obi-Wan "safe," because threatening Obi-Wan is a convenient way to make Vader shut up and do what he's told. Palpatine can kind of tell that threatening the toddler would make Vader lose his shit and attempt to kill good ol' Palps, so threatening the middle-aged depressed alcoholic being kept in Vader's guest room with Force-nullifying cuffs is pretty good. It's an additional layer of emotional torture on top of the electrocution of Vader himself!

Vader has Obi-Wan taking care of Luke, mostly, because Vader has Obligations and A Job, and Obi-Wan wouldn't hurt Luke, duh. He might try to escape with the kid, but he won't be successful, and Obi-Wan will definitely put Luke's safety first, so that probably won't happen.

This is all fairly normal for a variety of AUs, granted, and not very dark.

But see, Obi-Wan behaves. He's aware of how tenuous the situation is for him and his charge, so he plays nice. And Vader decides to reward that.

By giving him Cody.

There's an implied thought process there that Obi-Wan was fond of Cody, and Cody was fond back, and now that the Jedi aren't around, they can follow through instead of worrying about some silly Code. Vader's nullified the orders to kill all the Jedi, of course, possibly dosed their food with an aphrodisiac so they don't try to talk themselves out of What They Obviously Want.

Now, we’re going to make it a little darker, because why not make things worse by having Vader try to make things better?

Vader somehow twisted himself around to encouraging them to have a baby. This is accomplished through a combination of Sith Magic and nonconsensual surgery, and lots of questionable drugs.

Obi-Wan just wakes up in a hospital bed with a womb one morning, and is informed of the surgery then and there, after it’s already happened. The droid telling him about it is just like "in the Lord Vader's infinite kindness--" and Obi-Wan just.

Anakin.

What the fuck.

What in the actual fuck made you think this was a good idea.

(The Sith Chemicals, probably.)

I feel like Palpatine would maybe even order the pregnancy induction just to torture them by proxy because that's like eight levels of Fuck No and he barely has to do anything except tell Vader that he'd like to see what kind of children a Jedi Master like Obi-Wan has.

Luke needs friends, doesn't he?

Obi-Wan is having some very complicated emotions about all of this because Vader is, in his own absolutely insane way, trying to help.

Anakin wanted babies and Padme wanted babies so clearly, if Obi-Wan and Cody are in love, then they also want babies!

Cody and Obi-Wan very well might not be in love. Anakin definitely could have misinterpreted. It’s probably more angsty if they're just friends who ended up in this bullshit together.

(He's taking baby fever to new and somewhat horrifying heights, because... he would adore Obi's kids.)

(His family button is suprisingly large for a mass murderer.)

Vader Kindly Informs Bail That Obi-Wan Is Alive And Unharmed. Bail was a friend of Obi-Wan's, telling him this is only helpful and will keep Alderaan from getting more rebellious out of personal insult. Obviously.

Vader is almost offended when Bail implies he might hurt Obi-Wan. He kept his son safe, he owes him. Speaking of, don’t you have a child? How old is she, again? It would be Good for her to make friends, wouldn’t it? :)

Palpatine is just like... sitting back and eating evil popcorn as Vader runs around, ruining people's lives by trying to be less of The Worst than before.

Palps barely has to do anything, Anakin's fucking it up on his own!

Could have been just a sly "Kenobi is so attached to young Luke, but now that you've been reunited with your son, perhaps he'd be happier with a child of his own?" Come at it from both "make Obi-Wan happy" and "protect your relationship with Luke" angles.

Vader: I can't have babies anymore due to what you did to me on Mustafar. Obi-Wan: So you're punishing me by forcing me to have them instead? Vader: No! Children are a gift that you have been cruelly denied by the Order that held us in its chains! Obi-Wan: ...oh, right, you're insane. Forgot about that. Somehow.

Big dramatic speech about how the Jedi Order spent so long making them take lives, he’s giving Obi-Wan a chance to create it! To put something good and bright into the world!

Poor Cody is like. "General, I am very fond of you but I'm having a million panic attacks at the same time because of the mind control, and also Vader is under the impression that we're in love and I need to be your stud? I wasn't aware you could have children--" "I can't. Or at least, I couldn't, but Anakin is... creative." "...what."

I don't want to actually objectify Cody in the narrative past the point that Obi-Wan himself is, because nnnnngh racism and clone stuff, so I'm going to say Cody was in love with Obi-Wan, and would have been okay with at least discussing the whole baby schtick if not for the absolutely horrible circumstances.

Like if the war had ended normally, and Obi-Wan had expressed a desire to retire, unlikely as that was, then Cody may have suggested a dinner, and they could have gotten married and then eventually adoption...

(Cody had a lot of fantasies he didn’t let himself think about too hard.)

But no. It's this... weird Vader-inspired bullshit.

I'm just so invested in Vader trying to help but making things legitimately a million times worse.

He wants to help :) Oh god, he wants to help.

Why aren't people more appreciative of how hard I'm helping them? - the Anakin Skywalker story

With less time to stew and also getting handed what he wants, Vader could absolutely flip on a dime the second he saw Luke being protected, and go from “I hate you” to remembering that Obi-Wan said he loved him, and now he must keep Obi-Wan safe out of debt and he just... he’s playing house. 

Vader throws Obi-Wan a baby shower after the pregnancy is confirmed. Bail is invited, because Obi-Wan doesn't have a lot of friends still alive. Vader decides Bail is top of the Obi-Wan’s Friends List.

This is the first time they've seen each other in two years. Obi-Wan is heavily pregnant despite Bail knowing full well he didn't have the plumbing for that before the Empire rose. Cody is there and emotionally exhausted but more lucid than most troopers. Luke is running up to Leia because New Friend!!!

....there may be MORE of the 212th and 501st at the baby shower, with “kill all Jedi” orders revoked, of course. But it will keep the children safe!! And Cody and Obi-Wan can see their surviving friends!!

Cody: I'd be much happier to see my surviving troopers if they didn't all still have chips in their heads. Obi-Wan: I feel much the same. Vader: [404 error]

Bail and his family might be there at blaster point, but aren't you happy to see them, Obi-Wan??

Obi-Wan's endless trauma is honestly somewhat curtailed by the incessant need to facepalm at Vader’s bullshit

Obi-Wan and Cody both outwardly have a very "there are much worse people I could be stuck with in this situation but obviously I wish I'd had a choice, no hard feelings" attitude at each other.

Internally, Cody is suffering because this is NOT how he wanted his crush to be realized, and Obi-Wan is just suffering, period.

Cody: How did he even choose which of us ends up pregnant? Obi-Wan: He thinks I need to be protected, and that he needs to keep me safe. Cody: ...he does realize that you're better at-- Obi-Wan: Cody, he's completely lost it. No! He doesn't realize!

I feel like over the course of the year or two this plot unravels towards Palpatine getting murder-deposed and Anakin getting locked down, part of the driving force to Vader not being Vader anymore is that Luke actually really loves Uncle Obi and always starts fussing and going "Ben's sad" whenever Vader dismisses what Obi-Wan wants in favor of what Vader thinks Obi-Wan wants, and Vader can't deny his child anything.

Luke cries because Palpatine Feels Wrong like, once or twice, and Anakin goes “oh, okay, assassination time.”

[meruz]

once again i am answering asks in a big compilation post. included is... gotham, patrick stump, tips about drawing backgrounds, tips about drawing in general, links to my faq, and infinity train

like.... the tv series? No... I’ve drawn dc comics fanart before, though. But it’s been years since I’ve been really into it. I like jumped ship like 10 years ago when the New 52 happened LOL.

AFJHDSLKGH I’m sorry I (probably) won’t do it again??

Actually full disclosure I have a truly cringe amount of p stump drawings/photo studies in my sketchbook right now LOL. He’s just fun to draw... hats, glasses, guitar, a good shape... but I don’t think I’ll rly post those until I can hide them in another big sketchbook pdf.. probably Jan 2022. Stay tuned........ (ominous) 

(ominous preview)

These are all sort of related to backgrounds/painting so I grouped them together even though they’re pretty much entirely separate questions.... ANYWAYS

a) How is it working as a BG artist? Is it hard? What show are you drawing for?

I think you’re the first person to ever ask me about my job! Being a background artist is great. It’s definitely labor intensive but I think that could describe pretty much any art job (If something were rote or easy to automate, you wouldn’t hire an artist to do it) and I hesitate to say whether its harder or easier than any other role in the animation pipeline. Plus, so much of what truly makes a job difficult varies from one production to the next, schedule, working environment, co-workers etc. But I will say that I think while BGs are generally a lot of work on the upfront, I think they’re subject to less scrutiny/revisions than something like character/props/effects design and you don’t have to pitch them to a room like boards. So I guess it’s good if you don’t like to talk to people? LOL

A lot of my previous projects + the show I’ve worked on the longest aren’t public yet so I can’t talk about em (but I assure you if/when the news does break I won’t shut up about it). But I’m currently working on Archer Season 12 LOL. I’m like 90% sure I’m allowed to say that.

b) ~~~THANK YOU!! ~~~

c) What exactly do you like to draw most [in a background]?

@kaitomiury​ Lots of stuff! I really like to draw clutter! Because it’s a great opportunity for environmental storytelling and also you can be kind of messy with it because the sheer mass will supersede any details LOL. 

I like to draw clouds... I like to draw grass but not trees lol,,, I like to draw anything that sells perspective really easily like tiled floors and ceilings, shelves, lamp posts on a street etc.

d) Do you have any tips on how to paint (observational)?

god there’s so much to say. painting is really a whole ass discipline like someone can paint their whole life and still discover new things about it. I guess if you’re really just starting out my best advice is that habit is more important than product. especially with traditional plein air painting, I find that the procedure of going outside and setting up your paints is almost harder than the actual painting. There’s a lot of artists who say “I want to do plein air sometime!!” and then never actually get around to doing it. A lot of people just end up working from google streetview or photos on their computer.

But going outside to paint is a really good challenge because it forces you to make and commit to lighting and composition decisions really quickly. And to work through your mistakes instead of against them via undo button.

My last tip is to check out James Gurney’s youtube channel because hes probably the best and most consistent resource on observational painting out there rn. There’s lots other artists doing the same thing (off the top of my head I know a lot of the Warrior Painters group has people regularly posting plein air stuff and lightbox expo had a Jesse Schmidt lecture abt it last year) but Gurney’s probably the most prolific poster and one of the best at explaining the more technical stuff - his books are great too.

e) Do you have tips for drawing cleanly on heavypaint?

@marigoldfool​ UMM LOL I LIKE ONLY USE THE FILL TOOL so maybe use the fill tool? Fill and rectangle are good for edge control as opposed to the rest of the heavy paint tools which can get sort of muddles. And also I use a stylus so maybe if you’re using your finger, find a stylus that works with your device instead. That’s all I’ve got, frankly I don’t think my drawings are particularly clean lol.

f) Tips on improving backgrounds/scenes making them more dynamic practicing etc?

Ive given some tips about backgrounds/scenes before so I’m not gonna re-tread those but here’s another thing that might be helpful...

I think a good way to approach backgrounds is to think of the specific story or even mood you want to convey with the background first. Thinking “I just need to put something behind this character” is going to lead you to drawing like... a green screen tourist photo backdrop. But if you think “I need this bg to make the characters feel small” or “I need this bg to make the world feel colorful” then it gives you requirements and cues to work off of.

If I know a character needs to feel overwhelmed and small, then I know I need to create environment elements that will cage them in and corner them. If a character needs to feel triumphant/on top of the world then I know I need to let the environment open up around them. etc. If I know my focal point/ where I want to draw attention, I can build the background around that.

Also, backgrounds like figure compositions will have focal points of their own and you can draw attention to it/ the relationship the characters have with the bg element via scale or directionality or color, any number of cues. I think of it almost as a second/third character in a scene.

Not every composition is gonna have something so obvious like this but it helps me to think about these because then the characters feel connected and integrated with the environment.

Some more general art questions

a) Do you have any process/tips to start drawing character/bodies/heads?

I tried to kind of draw something to answer this but honestly this is difficult for me to answer because I don’t think I’m that great at drawing characters LOL. Ok, I think I have two tips.

1) flip your canvas often. A lot about what makes human bodies look correct and believable is symmetry and balance. Even if someone has asymmetrical features, the body will often pull and push in a way to counterbalance it. we often have inherent biases to one side or another like dominant hands dominant eyes etc. you know how right-handed artists will often favor drawing characters facing 45 degrees facing (the artist’s) left? that’s part of it. so viewing your drawing flipped even just to evaluate it helps compensate for that bias and makes you more aware of balance.

2) draw the whole figure often. I feel like a lot of beginner artists (myself included for a long time) defer to just drawing headshots or busts because it’s easier, you dont have to think about posing limbs etc. But drawing a full body allows you to better gauge proportion, perspective, body language, everything that makes a character look believable and grounded.

Like if you (me) have that issue where you draw the head too big and then have to resize it to fit the proportions of the rest of the body, it’s probably because you (I) drew the head first and are treating the body as an afterthought/attachment. Sketching out the whole figure first or even just quick drawing guides for it will help you think of it more holistically. I learned this figure drawing in charcoal at art school LOL.

oh. third mini tip - try to draw people from life often! its the best study. if you can get into a figure drawing/nude drawing class EVEN BETTER and if you have a local college/art space/museum that hosts those for free TREASURE IT AND TAKE ADVANTAGE OF IT, that’s a huge boon that a lot of artists (me again) wish they had. though if youre not so lucky and youre sitting in a park trying to creeper draw people and they keep moving.. don’t let that stop you! that’s good practice because it’s forcing you to work fast to get the important stuff down LOL. its a challenge!

b) I’ve been pretty out of energy and have had no inspiration to draw but I have the desire to. Any advice?

Dude, take a walk or something.... Or a nap? Low energy is going to effect everything else so you gotta hit that problem at its source.

If you’re looking for inspiration though, I’d recommend stuff like watching a movie, reading a book, playing video games etc. Fill up your idea bank with content and then give yourself time/space to gestate it into new concepts. Sometimes looking at other art works but sometimes it can work against you because it’s too close. 

Also something that helps me is remembering that art doesn’t always have to be groundbreaking... like it’s okay to make something shitty and stupid that you don’t post online and only show to your friend. That’s all part of the process imo. If you want to hit a home run you gotta warm up first, right? Sports.

I should probably compile everytime i give tips on stuff like this but that’s getting dangerously close to being a social media artist who makes stupid boiled down art tutorials for clout which is the last thing i want to be... the thing I want to stress is that art is a whole visual language and there are widely agreed upon rules and customs but they exist in large part to be broken. Like there's an infinite number of ways to reach an infinite number of solutions and that’s actually what makes it really cool and personal for both the artist and the viewer. So when you make work you like or you find someone else’s work you like, take a step back and ask yourself what about it speaks for you, what about it works for you, what makes it effective, how to recreate that effect and how to break that effect completely, etc. And have a good time with it or else what’s the point.

for the first 2, I direct you to my FAQ

For the last one, I don’t actually believe I’ve ever addressed artwork as insp for stories/rp but I’ll say here and now yeah go ahead! As long as you’re not making profit or taking credit for my work then I’m normally ok with it. Especially anything thats private and purely recreational, that’s generally 100% green light go. I only ask that if you post it anywhere public that you please credit me.

(and I reserve the right to ask you to take it down if I see it and don’t approve of it’s use but I think that case is pretty rare.)

a) @lemuelzero101 Thank you!!! I haven’t played Life is Strange but actually  that series’ vis dev artist Edouard Caplain is one of my bigger art inspirations lately so that’s a really high compliment lol. And yeah I hope we get 5-8 too...!

b) Thank you for sticking around! I’ve been thinking about Digimon and Infinity Train in tandem lately, actually. They’re a little similar? Enter a dangerous alternate world and have wacky adventures with monsters/inanimate objects that have weird powers... there’s like weird engineers and mechanisms behind the scenes... also frontier literally starts with them getting on a train. Anyways if anyone else followed me for digimon... maybe you’d like Infinity Train? LOL

c) @king-wens-king I’M GLAD MY ART JUST HAS PINOY VIBES LOL I hope you are having a good day too :^)

a, b, c, d) yessss my Watch Infinity Train agenda is working....

e) aw thank you!! i think you should watch infinity train :)

[iamanartichoke]

(This post was inspired by a recent post by @kayura-sanada​ that I was going to reblog, but my own addition became so long and, frankly, off-topic to the original post’s content that I figured it was fairer to create my own post. But theOP I’m referring to can be found here and is a good read.)

Okay, so: this is a wonderful analysis of Tony Stark, @kayura-sanada​, and I agree that it’s concerning seeing this written by a psychologist (although I think there has to be a little wiggle room in the fact that said psychologist is basing their diagnosis on their own interpretation, and - I would hope - it would probably change if Tony Stark were a real person who was their patient. I gotta hope that).

I agree with all of your overall points regarding Tony, but I wanted to reblog this specifically because this post is such a perfect example of a larger problem within fandom and fandom wank. The problem is that fictional characters can be interpreted any way you want, sure, but there’s a line between supporting your interpretation with evidence from the source, and supporting your interpretation with stuff you just kinda made up. There is a right and a wrong interpretation. 

Here’s what I saw happen with this post: your response to the OP is lengthy because it dissects the OP bit-by-bit; it responds to the claims made in those bits with evidence from the films that supports a completely opposite interpretation of the character. And the response you got largely ignores all of that evidence and analysis in favor of a surface-deep response about open interpretations and how it’s “all just fiction anyway.”

And I see the same pattern repeat itself over and over in fandom:

“Character A is Trait B and that’s why they do Actions C, D, and E.”

“Actually, character A is more Trait F, and examples of Trait F are shown in Action G, H, and I.”

“Okay, but when they do Action H, they’re responding to Event J, but with Actions C and E, they clearly demonstrate Trait B, along with Trait K and L.”

“Well, but, saying they are/have Trait K is kind of a reach, and when they did Action H it was out of character, because in the same situation in previous films, they responded to Event J in a different way. For example, .....” (long post)

“I’m not reading all of that, it’s open to interpretation, and it’s just fiction anyway.”

Later, rinse, repeat.

And it’s like, look, yes, you can interpret the characters however you want. Fandom is supposed to be a fun, engaging space where fans are inspired to create new works and discuss all aspects of the source. Headcanons exists because of open character interpretation. Shipping exists because of open character interpretation. Rarepairs and alternate universes and ‘there was only one bed!’ and lots of tropes exist because of open character interpretation. 

Without that open freedom to engage with the source/characters in whatever way makes you happy, fandom wouldn’t be what it is, and I would never want to discourage that. 

That all said, it is possible that someone’s interpretation is wrong. That the way they imagine the character or the way they’re interpreting the character’s words and actions is a contrast to what’s really supposed to be going on in the scene or with the overall arc. The wrongness can come from any number of things - interpreation being colored by personal experience, preferences, projection, whatever.

In the case above, the psychiatrist is viewing Tony Stark through a lens of what they already decided the character is: a case of Narcissistic Personality Disorder. They took that lens and picked out (vague) examples of how the character portrays those traits.

This is fine. If that person wants to think Tony is a narcissist and that’s how they want to engage with the character and subsequent works (pretending that this was a meta post instead of a published article), then that’s their prerogative.

But upon closer analysis, the original interpretation kinda falls apart. The contrasting analysis takes a deeper look at the material and says, I don’t think what you’re saying is going on here is actually what’s going on here, and this is why.

But people don’t want to be told they’re wrong, especially in a fandom space, especially with something they hold dear to them (as interpretations can be intensely personal, and I know this). When the two interpretations clash, and one interpretation doesn’t really hold up to closer analysis, then suddenly, being critical of the source equates to disliking the source, and analysis is reduced to people just being negative and wanting to find things wrong with the source. Disagreeing with someone’s interpretation is taken as a personal attack. People get offended personally. The discussion devolves into ugly rhetoric, insults, or simply dismissiveness (”that’s nice but whatever,” “it’s just fiction,” etc).

And you might say, well, if you think someone’s interpretation is wrong, why are you trying to rain on their parade? Why are you trying to prove them wrong? Let people enjoy things! Let people fandom how they want! Let people write and create and be inspired in their own way!

To which I say, absolutely! Please, continue to enjoy the Thing and your interpretation of it. Continue to create through the lens of that interpretation. Create what makes you happy, fandom however you want to. I am a big proponent of “fandom and let fandom.” What other people like and dislike makes very little difference to me, and I’m certainly not under any illusion that everyone must see things the way that I see them or else they are Doing it Wrong. Nor do I take it personally if someone doesn’t agree with my take. 

None of that is my point. My point is that it becomes an issue that splinters and fractures fandom spaces when criticism and discussion are discouraged, when long analysis posts are mocked, when threads are hijacked, when it gets to a point where disagreeing with someone’s take on a Thing cancels them - to you - as a person. Because you miss out. You miss out on discussion, and on engaging with creative fanworks, and widening your fandom circle.

Instead, the circle just narrows, and there’s an underlying sense of hostility that colors every interaction you have. And it makes it not fun for anyone.

People need to be more open to the idea that there is, in fact, a right and a wrong side to most arguments. They need to be willing to defend their argument in a way that holds up and, if they don’t want to defend their interpretation, that’s fine - more power to you - but they need to then stop making fun of and being generally shitty to those who disagree.

People need to stop pretending that analysis and critical thinking don’t matter. They need to stop pretending that “fiction” is this vague concept that has no bearing on the real world and shouldn’t be taken seriously. Fiction shapes our world, and art imitates life. Being unable to think critically about fiction indicates a larger issue of being unable to think critically about the things that do matter in the real world, like science and poltiics. 

Just look at what this country has become. Each side believes it is the correct side, the “winning” side, but one of them is supported with verifiable facts and evidence and one isn’t, and when the one that isn’t is confronted with the fact that they are wrong, they either dismiss the argument entirely or go and find “alternative facts” from unreliable sources they can point to and say, see? A, B, C, D, and E may say I’m wrong, but F says I’m right, so fuck you.

I’m certainly not saying that fandom should be taken as seriously as politics, but I am saying that if people were more amenable to changing their minds or even just recognizing that criticism isn’t an attack and it’s not personal if someone dislikes a Thing that you feel passionate about - or vice versa - then maybe we’d have a better fandom space for all to enjoy. 

And I do try not to be a hypocrite. I am open to changing my mind on positions I’ve taken in fandom - if the analysis and the evidence convince me that there’s another way to look at it. If someone is telling me I’m wrong, and they tell me why it’s wrong (yes, in detail), then I’m more than happy to take a second look. Maybe it will change my mind; maybe it will simply be something I’m cognizant of while I continue to enjoy the material in the way that’s most fun for me. Either way, I’m not trying to hold fandom as a whole to any kind of standard I wouldn’t also expect myself to meet. 

That being said, this post is 90% me venting. Ironically, I don’t expect this to change anyone’s mind. I’m not saying there’s any one solution that will work for everybody or even that everyone sees a problem that needs solving. I’m just saying that I don’t enjoy fandom as much as I used to, and this particular pattern of "wank” (for lack of a better word) is the reason why. 

[maxwell-grant]

So, any thoughts on The Green Lama (who unexpectedly became one of my faves), the Pulp Hero who is also a Superhero?

Much like other pulp heroes of the time, The Green Lama had multiple secret identities and a massive supporting cast aiding him in his quest for justice. Unlike his contemporaries, The Green Lama eschewed guns in favor of radioactive salts, magic, and sleight of hand. He rarely, if ever, killed his enemies. His tales also had an advanced sense of continuity, with characters growing and changing over time, plot points introduced in one story paying off several tales later. The Green Lama is a character of contradictions, driven forward by a faith he is forced to betray. It makes him flawed and imperfect, and in that way, one of the most human of all pulp heroes - The Green Lama: Scions

While not the "only" example of a pulp hero who is a superhero, The Green Lama is arguably the one who leans the most into the superhero aspect out of all the classic 30s pulp heroes that usually get brought up. I would argue that The Green Lama is the most direct answer to the question "what happens when you combine The Shadow and Superman together", considering he was modeled extensively after both in his forays into pulp, radio and comic books, and has also grown into his own character.

He's got the unique skills bordering on superpowers (that eventually became outright superpowers). He's got pretty much The Spectre's costume, except of course he came first. He's an urban costumed crimefighter wh deals with gangsters and criminal masterminds, and yet has an extremely strong stance against killing and carrying guns under any circumstance, even saying they would make him no better than the criminals he fights, which makes him by default the pulp hero that Batman would get along best with. The comics took it way further even turning the “Om Ma-ne Pad-me Hum” chant into a Shazam! transformation cry (Shazam came first, although the two debuted in the same year).

He's got a suitably punchy and dramatic origin: guy spends 10 years in Tibet and returns to America intend on spreading Buddhism's pacifist doutrine, only to witness the murder of children at the hands of mobsters the literal second he steps off the boat, and after spending restless days in the police station to see if they would find the culprit, he sees the killer walk out of the commissioner's office free, which convinces him he needs to take up crimefighting because the police are useless, and he outright calls the police "incompetent" in a letter to the papers that he uses to introduce himself to the world, which is not something you find often in 30s/40s fiction even if's an implicit part of the pulp hero/superhero fantasy.

He had a stronger sense of continuity than most pulp heroes were usually afforded. He has a lot of the pulp hero stock and trade like the assistants and the pseudo-science and the odd radio gadgets and of course the Orientalism that we'll get into, but remixed in a pretty cool way that allows him to stand out from his inspiration. He's got incredibly weird aspects to him like the fact that he gets enhanced abilities from crystallized salt or even becoming radioactive (which could be interesting to explore considering "radiation" became the go-to origin for superpowers in the 60s). He's got an allright supporting cast and Magga, while ultimately a deus ex machina, is a very interesting addition to it and I wish her mystery was played up more often in subsequent stories past the original run. There's a lot about The Green Lama that really works, he was incredibly successful at the time and he's managed to thrive over the years lot more than most of his contemporaries

Despite all the powers he wielded he felt impotent, nothing more than a rich boy playing the games of gods. He had chosen the path of the Bodhisattva, sacrificing himself for the good of all sentient beings, but even so the weight of responsibility, the lives of so many in his hands, threatened to crush him. It was tempting to turn away, to deny his calling, but the life of a Bodhisattva demanded more; and it was only recently that he had begun to realize how much it truly required.

The main problem with The Green Lama, and by problem I mean "the character works fine for his time but this is seriously holding him back from becoming sustainable again", is the fact that he's a white rich man who fights crime by going as hard into Orientalism tropes as possible, which is inescapably baked into the premise.

Now, I will argue that The Green Lama was, for his time, a progressive character. The Buddhist aspects of his character weren't just backstory fodder or an excuse for his superpowers as they were to pretty much every other character at the time, Jethro was a practicing Buddhist, who fought crime informed by his beliefs, trying to respect them (and not exactly succeeding) and offering a wholly positive perspective of Buddhism. Nowadays, it creates a problem, but at the time, it made the character stand out from every other hero who had "traveled to Tibet" checked out, because Tibet and Buddhism were heavily incorporated into the character. The Lama may have been born merely out of a desire to cash in on The Shadow's newfound radio popularity, but Crossen took it much more seriously than his contemporaries and made it an effort to instill admiration in his readers towards what he was referencing, which he was pulling from books about the subject and the Pali language. Is research the bare minimum? Yes. But it’s a bare minimum that even today’s writers don’t do even having an infinitely bigger wealth of information at their disposal. 

To further cement my point: There's a particular Green Lama comic story called The Four Freedoms, which is about the Lama receiving a letter from a fan in the army who's worried about a racist private who keeps insulting the black privates while crowing about racial superiority, and so the Lama kidnaps the private and takes him on a tour through Germany so he can witness firsthand how his talk aligns with Nazi ideology, even specifically referring to Jim Crow's laws, criticizing how easily Americans fall for racial war rhetoric, and pointing out the idea of racism as a tool of tyrants to divide and conquer. It's not my place to champion this as some great representation and that's not what I'm doing, but if this all seems passe or simplistic or even problematic to you, trust me, this was still the era of Slap-A-Jap Superman, stories like this were absolutely not the norm at the time, even in other stories where superheroes dealt with racial discrimination.

He even caps off the story by stating that punching or ending Hitler is not the solution (although he lets Jones take a couple of swings) because Hitler is just one part of a much bigger problem that needs to be fought on all of it's forms. It's all very much afterschool special/anti-racism PSA, sure, but it's easier to mock those in our time. You find me a Golden Age superhero comic that shits on Jim Crow specifically while the hero tells the reader that Hitler is not the ultimate evil but merely "a cog in the wheel", part of a problem that's deeply entrenched in America's own shores (really, do, I'm genuinely curious if more of them did anything like this).

Does any part of what I said negates the fact that, at the end of the day, he's still a white man using Orientalism mysticism to fight crime? No, it doesn't. And if Iron Fist can't get away with it, if Dr Strange only just barely does, the Green Lama sure as hell can't. And you cannot downplay those aspects either lest you end up with a completely different character. It's a bit of a conundrum that makes the character tricky to approach from a revival perspective.

I completely agree with what you said here, Green Lama would benefit from a Legacy Hero approach very strongly. And Green Lama: Scions opens up an interesting possibility of Jethro Dumont not being quite what he seems, backed up by the fact that he wore disguise make-up in the original stories:

They had a lot of names for him in the papers—the Verdant Avenger, the Mysterious Man of Strength—but Reynolds had always been partial to “Buddhist Bastard.” No one had ever seen his face or, at the very least, the same face. Seemed like everyone had a different story. The Green Lama was white, he was black, he was asian, he was old, and he was young. You could fill a room of witnesses and no two would describe the same person.

Really I think if you just got rid of that one thing that holds the Lama back the most from catching on in modern times, I think he's the kind of character that lends itself a lot to long-term sustainability. He's already fairly popular as is, definitely an indispensable inclusion of any shared pulp hero or Golden Age superhero universe and definitely one of my favorites among the 30s American pulp heroes. And there’s ways to make the concept more interesting and workable.

Maybe The Green Lama is just a title that's been going on for generations, with Jethro being one of many to fill in. Maybe Magga used to be it, maybe the tulku that instructed Jethro did, maybe there's a new character with it. Maybe Jethro is just an identity used by an Asian-American adventurer to operate safely in the US, or maybe Jethro has a sort of Lamont Cranston arrangement going on. Maybe he's part of the reason why Tibet was the superpower capital of the world in the 30s or 40s, or part of the reason why radiation started granting so many heroes superpowers in the 60s.

The character's skillset has been fairly "anything goes" ever since his author made him a flying superman for the comics, and really he already started out being able to deliver electric shocks through his fingers by guzzling radioactive salts. He's a very weird character, and I will always argue that weird is what works best for the pulp heroes.

[sunqyu]

If you don't mind, could you explain the meaning behind each members message in be your own king? I've seen everyone talk about the greatness behind the message but as a new fan who's still learning about the boys' personality and stereotypes I don't think I fully understand everything 😅

I don’t think they’ve shared official meanings anywhere so it’s pretty much all up to our own interpretation. For me personally, I connected most of the scenes to things they’ve said in the identity films. Here are six of them because it took me longer than expected, I’ll do the other five tomorrow! (:

Let’s start with Hyunjae who said ‘Make your own air.’, here’s his identity film. 

This one was a little less obvious to me but I’ve always seen Hyunjae as someone who speaks up when necessary. In the identity film he also mentions this, how he speaks up when he feels like everyone wants to but no one does. He talks about how strong his moral compass is and how he can’t stand injustice but this makes people see him as blunt. Eventhough he doesn’t want people to see him as blunt he’d rather speak up because keeping it in will be more toxic for him. I think with ‘Make your own air.’ and him being underwater in his scene he’s creating a metaphor. Air being a feeling of freedom, openness, justice, something along those lines. In a world where people are too afraid to speak up (wether it’s for themselves or for someone else) someone like Hyunjae could feel suffocated, as if he is underwater. By making his own air, creating a space by speaking up and giving other people the motivation to do so too, he lets himself breathe. Instead of letting himself drown in the injustice that others are trying to ignore, he creates air.

Next up is Juyeon, who said ‘Make your own character.’, here’s his identity film.

So Juyeon has a lot of different sides to his personality and to the way he comes across. He’s one of the more quiet or shy members which leads to a certain reputation. He went viral a few times which enforced this “first impression”-reputation even more among the general public but also among the fans. He used to be seen as a very pure and nice person. In the identity film he explains how this isn’t always true and to him the boundaries of being a good person are blurry. It was difficult for him to always be seen as just that nice guy. With more recent comebacks (Reveal, The Stealer, Breaking Dawn) we’ve seen a huuuge change in the way he comes across and he really got the opportunity to break out of that reputation. He also mentions that he wants to keep showing new charms. To me this means he enjoys figuring out who he is and playing with ways to influence his reputation. He has the power to create his own character, not fitting into one specific box or be a certain type and stick with that, but always changing and evolving.

My everything Changmin said ‘Make your own stage.’, here’s his identity film.

I could talk about this one for AGES but I’ll try to zoom in on a few points. Aside from Changmin being a born performer and how clearly we can see his biggest passion is being on stage, I think there’s more behind his message than that. He is one of the biggest perfectionists in the industry and is the strictest with himself. He also struggles with depression and in his identity film he talks about how honesty isn’t always the best move and how he rarely talks about his feelings. To me that sounds like he has a lot on his mind but chooses not to be honest about it in order to keep his relationships happy and to not make people worry. I speak from personal experience here but sometimes telling other people what you’re dealing with can only make the problem feel bigger. Sometimes it’s nice to not tell anyone so hanging out with them is a distraction from what’s bothering you. Like he says in the film, when someone shares their struggles you’ll only feel down together. He also talks about how he always tries to give positive energy to others even when he isn’t happy himself. (I could keep going but I’ll get to the point now). By making his own stage I think he means making a life and a side of himself that focusses on the good things. When he’s not on stage he’s down and struggling but instead of taking that with him into the rest of his life he created this stage. This stage is his escape from the negative thoughts, the stage has his friends who he has fun with, it has the music he loves and het gets to move around and indulge himself in his passions. The actual stage is where he is happiest and I feel like he created another layer of stage where he is kind of inbetween the way he is when he is dancing and the way he is when he’s caught up in negative thoughts. This metaphorical stage gives him the opportunity to enjoy life without the worries ruining the happy moments.

Next up is our Haknyeon, he said ‘Make your own romance.’, here’s his identity film.

The thing I love and admire most about Haknyeon is his confidence. This is something I noticed about him back when I saw him on Produce 101 and something that’s still very clear now. In the identity film he talks about how he has a hard time reading the room and considering everyone who’s there before speaking. This leads to miscommunications or annoyances that weren’t necessary. It must be so frustrating to him, trying his best but others misunderstanding him and taking his honesty the wrong way. Maybe he feels dilemma’s about being himself or giving that up in favor of the group. With ‘Make your own romance.’ my first idea was that he meant self-love. While others don’t always understand him, he has himself and he knows his worth. Even when others disagree or don’t see it, he knows that he’s a warmhearted and loving person. He’s proud of who he is and wants to show us that just because other don’t see it or disagree, doesn’t mean your romance and idealism aren’t there.

I loved Kevin’s part, he said ‘Make your own fantasy.’, here’s his identity film.

I could talk for HOURS about Kevin’s identity film. The first time I watched it I cried because of how much I related and how much I’ve struggled with the same things. How I see it, fantasy has two meanings here. First up the whole Peter Pan theme is a clear reference to Kevin wanting to always be a kid at heart no matter how old he gets. This also relates to the fantasy as in having a wide imagination to build that fantasy on. The second meaning I think is about the creating of the fantasy. He’s a social chameleon so he acts different based on the people he’s with to the point where he sometimes loses track of who he really is. To me (as someone who has a similar problem) making your own fantasy stands for taking control over your life and your image of yourself. It’s not about finding who you are but about creating who you are. Kevin has a very clear image of who and where he wants to be but struggles with questioning himself and pretty much everything. Make your own fantasy is a statement that focusses on taking back the reigns and making your own fantasy instead of it staying a fantasy. 

Moving on to Sunwoo who said ‘Make your own vibe.’, here’s his identity film.

Another one which, to me, seems to encapsulate a lot of different meanings. Sunwoo is one of the moodmakers in the group and tends to stand out pretty quickly to newer fans. His personality is something I personally haven’t seen often in kpop. He’s a mix between cute and playful while also being mature and intriguing, so his vibes are pretty unique. In the identity film he mentions how much he compares himself to others and how he has a hard time accepting that he’s not where he expected to be. He doesn’t give any names but I think it’s safe to say he means other idolgroups with bigger fanbases or different concepts. With ‘Make your own vibe.’ I feel like he’s focusing less on the comparison with others and more about what makes him unique and how he can use it to his advantage. Instead of running after others he makes his own path for people to follow. I’ve noticed how he seems to feel more and more comfortable being himself on camera. He seems happier and more at ease, like he doesn’t feel pressured to keep up that tough rapper persona anymore. Now that unique vibe really shines through and I hope ‘Make your own vibe.’ means that he’s aware of how special he is and how much potential he has to work with.

[felassan]

Insights into DAI’s development from Blood, Sweat, and Pixels

The book is by game industry journalist Jason Schreier (it’s an interesting read and well-written, I recommend it). This is the cliff notes version of the DAI chapter. This info isn’t new as the book is from 2017 (I finally got around to buying it). Some insight into DAO, DA2 and cancelled DA projects is also given. Cut for length.

BW hoped that DA would become the LotR of video games. DAO’s development was “a hellish seven-year slog”

The DAI team are compared to a chaotic “pirate ship”, which is what they called themselves internally. “It’ll get where it needs to go, but it’s going to go all over the place. Sail over here. Drink some rum. Go over here. Do something else. That’s how Mark Darrah likes to run his team.” An alternative take from someone else who worked on the game: “It was compared to a pirate ship because it was chaotic and the loudest voice in the room usually set the direction. I think they smartly adopted the name and morphed it into something better.”

A game about the Inquisition and the large-scale political conflicts it solves across Thedas, where the PC was the Inquisitor, was originally the vision for ‘DA2′. Plans had to change when SW:TOR’s development kept stalling and slipping. Frustrated EA execs wanted a new product from BW to bolster quarterly sales targets, and decided that DA would have to fill the gap. BW agreed to deliver DA2 within 16 months. “Basically, DA2 exists to fill that hole. That was the inception. It was always intended to be a game made to fit in that”

BW wanted to call it DA: Exodus, but EA’s marketing execs insisted on DA2, no matter what that name implied

DAO’s scope (Origin stories, that amount of big areas, variables, reactivity) was just not doable in a year, even if everyone worked overtime. To solve this problem, BW shelved the Inquisition idea and made a risky call: DA2 would be set in one city over time, allowing locations to be recycled and months to be shaved off dev time. They also axed DAO features like customizing party members’ equipment. These were the best calls they were able to make on a tight line

Many at BW are still proud of DA2. Those that worked on it grew closer from all being in it together

In certain dark accounting corners of EA, despite fan response to DA2 and its lower sales compared to DAO, DA2 is considered a wild success

By summer 2011 BW decided to cancel DA2′s expansion Exalted March in favor of a totally new game. They needed to get away from the stigma of DA2, reboot the franchise and show they could make triple-A quality good games. 

DAI was going to be the most ambitious game BW had ever made and had a lot to prove (that BW could return to form, that EA wasn’t crippling the studio, that BW could make an ‘open-world’ RPG with big environments). There was a bit of a tone around the industry that there were essentially 2 tiers of BW, the ME team and then everyone else, and the DA team had a scrappy desire to fight back against that

DAI was behind schedule early on due to unfamiliar new technology; the new engine Frostbite was very technically challenging and required more work than anyone had expected. Even before finishing DA2 BW were looking for a new engine for the next game. Eclipse was creaky, obsolete, not fully-featured, graphically lacking. The ME team used Unreal, which made inter-team collab difficult. “Our tech strategy was just a mess. Every time we’d start a new game, people would say, ‘Oh, we should just pick a new engine’.”

After meeting with an EA exec BW decided on Frostbite. Nobody had ever used it to make an RPG, but EA owned FB dev studio DICE, and the engine was powerful and had good graphic capabilities & visual effects. If BW started making all its games on FB, it could share tech with sister studios and borrow tools when they learned cool new tricks. 

For a while they worked on a prototype called Blackfoot, to get a feel for FB and to make a free-to-play DA MP game. It fizzled as the team was too small, which doesn’t lend itself well to working with FB, and was cancelled

BW resurfaced the old Inquisition idea. What might a DA3 look like on FB? Their plan by 2012 was to make an open-world RPG heavily inspired by Skyrim that hit all the beats DA2 couldn’t. “My secret mission was to shock and awe the players with the massive amounts of content.” People complained there wasn’t enough in DA2. “At the end of DAI, I actually want people to go, ‘Oh god, not [another] level’.”

It was originally called Dragon Age 3: Inquisition

BW wanted to launch on next-gen consoles only but EA’s profit forecasters were caught up in the rise of iPad and iPhone gaming and were worried the next-gen consoles wouldn’t sell well. As a safeguard EA insist it also ship on current-gen. Most games at that time followed this strategy. Shipping on 5 platforms at once would be a first for BW

Ambitions were piling up. This was to be BW’s first 3D open-world game, and their first game on Frostbite, an engine that had never been used to make RPGs. It needed to be made in roughly two years, it needed to ship on 5 platforms, and, oh yeah, it needed to restore the reputation of a studio that had been beaten up pretty badly. “Basically we had to do new consoles, a new engine, new gameplay, build the hugest game that we’ve ever made, and build it to a higher standard than we ever did. With tools that don’t exist.”

FB didn’t have RPG stats, a visible PC, spells, save systems, a party of 4 people, the same kind of cutscenes etc and couldn’t create any of those things. BW had to create these on top of it. BW initially underestimated how much work this would be. BW were the FB guinea pigs. Early on in DAI’s development, even the most basic tasks were excruciating, and this impacted even fundamental aspects of game design and dev. When FB’s tools did function they were finicky and difficult. DICE’s team supported them but had limited resources and were 8 hours ahead. Since creating new content in FB was so difficult, trying to evaluate its quality became impossible. FB engine updates made things even more challenging. After every one, BW had to manually merge and test it; this was debilitating, and there were times when the build didn’t work for a month or was really unstable.

Meanwhile the art department were having a blast. FB was great for big beautiful environments. For months they made as much as possible, taking educated guesses when they didn’t know yet what the designers needed. “For a long time there was a joke on the project that we’d made a fantastic-looking screenshot generator, because you could walk around these levels with nothing to do. You could take great pictures.”

The concept of DAI as open-world was stymying the story/writers and gameplay/designers teams. What were players going to do in these big landscapes? How could BW ensure exploring remained fun after many hours? Their teams didn’t have time for system designers to envision, iterate and test a good “core gameplay loop” (quests, encounters, activities etc). FB wouldn’t allow it. Designers couldn’t test new ideas or answer questions because basic features were missing or didn’t exist yet. 

EA’s CEO told BW they should have the ability to ride dragons and that this would make DAI sell 10 million copies. BW didn’t take this idea very seriously

BW had an abstract idea that the player would roam the world solving problems and building up power or influence they could use. But how would that look/work like in-game? This could have used refinement and testing but instead they decided to build some levels and hope they could figure it out as they went.

One day in late 2012, after a year of strained development on DAI, Mark Darrah asked Mike Laidlaw to go to lunch. “We’re walking out to his car,” Laidlaw said, “and I think he might have had a bit of a script in his head. [Darrah] said, ‘All right, I don’t actually know how to approach this, so I’m just going to say it. On a scale of one to apocalyptic... how upset would you be if I said [the player] could be, I dunno, a Qunari Inquisitor?’” 

Laidlaw was baffled. They’d decided that the player could be only a human in DAI. Adding other playable races like Darrah was asking for would mean they’d need to quadruple their budget for animation, voice acting, and scripting.

“I went, ‘I think we could make that work’,” Laidlaw said, asking Darrah if he could have more budget for dialogue. 

Darrah answered that if Laidlaw could make playable races happen, he couldn’t just have more dialogue. He could have an entire year of production.

Laidlaw was thrilled. “Fuck yeah, OK,” he recalled saying.

MD had actually already realized at this point it’d be impossible to finish DAI in 2013. They needed at least a year’s delay and adding the other playable races was part of a plan/planned pitch to secure this. He was in the process of putting together a pitch to EA: let BW delay the game, and in exchange it’d be bigger and better that anyone at EA had envisioned. These new marketing points included playable races, mounts and a new tactical camera. If EA wouldn’t let them delay, they would have had to cut things. Going into that BW were confident but nervous, especially in the wake of EA’s recent turmoil where they’d just parted ways with their CEO and had recruited a new board member while they hunted for a new one. They didn’t know how the new board member would react, and the delay would affect EA’s projections for that fiscal year. Maybe it was the convincing pitch, or the exec turmoil, or the specter of DA2, or maybe EA didn’t like being called “The Worst Company in America”. Winning that award 2 years in a row had had a tangible impact on the execs and led to feisty internal meetings on how to repair EA’s image. Whatever the reasons, EA greenlit the delay.

The PAX Crestwood demo was beautiful but almost entirely fake. By fall 2013, BW had implemented many of FB’s ‘parts’, but still didn’t know what kind of ‘car’ they were making. ML and team scripted the PAX demo by hand, entirely based on what BW thought would be in the game. The level & art assets were real but the gameplay wasn’t. “Part of what we had to do is go out early and try to be transparent because of DA2. And just say, ‘Look, here, it’s the game, it’s running live, it’s at PAX.’ Because we wanted to make that statement that we’re here for fans.”

DA2 hung on the team like a shadow. There was insecurity, uncertainty, they had trouble sticking to one vision. Which DA2 things were due to the short dev time and which were bad calls? What stuff should they reinvent? There were debates over combat (DAO-style vs DA2-style) and arguments over how to populate the wilderness.

In the months after that demo, BW cut much of what they’d shown in it. Even small features went through many permutations. DAI had no proper preproduction phase (important for testing and discarding things), so leads were stretched thin and had to make impulsive decisions.

By the end of 2013, DAI had 200+ people working on it, and dozens of additional outsourced artists in Russia and China. Coordinating all the work across various departments was challenging and a full-time job for several people. At this sheer scale of game dev, there are many complexities and inter-dependencies. Work finally became significantly less tedious and more doable when BW and DICE added more features to FB. Time was running out though, and another delay was a no.

The team spent many hours in November and December piecing together a “narrative playable” version of the game to be the holiday period’s game build for BW staff to test that year. Feedback on the demo was bad. There were big complaints on story, that it didn’t make sense and was illogical. Originally the PC became Inquisitor and sealed the breach in the prologue, which removed a sense of urgency. In response the writers embarked on Operation Sledgehammer (breaking a bone to set it right), radically revising the entire first act.

The other big piece of negative feedback was that battles weren’t fun. Daniel Kading, who had recently joined BW and brought with him a rigorous new method for testing combat in games, went to BW leadership with a proposal: give him authority to open his own little lab with the other designers and call up the entire team for mandatory play sessions for test purposes. They agreed and he used this experiment to get test feedback and specifically pinpoint where problems were. Morale took a turn for the better that week, DK’s team made several tweaks, and through these sessions feedback ratings went from 1.2 to 8.8 four weeks later.

Many on the team wished they didn’t have to ship for old consoles (clunky, less powerful). BW leadership decided not to add features to the next-gen versions that wouldn’t be possible on the older ones, so that both versions of the game played the same. This limited things and meant the team had to find creative solutions. “I probably should’ve tried harder to kill [the last-gen] version of the game”, said Aaryn Flynn. In the end the next-gen consoles sold very well and only 10% of DAI sales were on last-gen.

“A lot of what we do is well-intentioned fakery,” said Patrick Weekes, pointing to a late quest called “Here Lies The Abyss”. “When you assault the fortress, you have a big cut scene that has a lot of Inquisition soldiers and a lot of Grey Wardens on the walls. And then anyone paying attention or looking for it as you’re fighting through the fortress will go, ‘Wow, I’m only actually fighting three to four guys at a time.’ Because in order for that to work [on old gen], you couldn’t have too many different character types on screen.”

Parts of DAI were still way behind schedule because it was so big and complex, and because some tools hadn’t started functioning until late on. Some basic features weren’t able to be implemented til the last minute (they were 8 months from ship before they could get all party members in the squad. At one point PW was playtesting to check if Iron Bull’s banter was firing, and realized there was no way to even recruit IB) and some flaws couldn’t be identified til the last few months. Trying to determine flow and pacing was rough.

They couldn’t disappoint fans again. They needed to take the time to revise and polish every aspect of DAI. “I think DAI is a direct response to DA2,” said Cameron Lee. “DAI was bigger than it needed to be. It had everything but the kitchen sink in it, to the point that we went too far... I think that having to deal with DA2 and the negative feedback we got on some parts of that was driving the team to want to put everything in and try to address every little problem or perceived problem.”

At this point they had 2 options: settle for an incomplete game, which would disappoint fans especially post-DA2, or crunch. They opted to crunch. It was the worst period of extended overtime in DAI’s development yet and was really rough: late nights, weekends, lost family time, 12-14 hour days, stress, mental health impacts.

During 2014′s crunch, they finally finished off features they wished they’d nailed down in year 1. They completed the Power (influence) system and added side quests, hidden treasures and puzzles. Things that weren’t working like destructible environments were promptly removed. The writers rewrote the prologue at least 6 times, but didn’t have enough time to pay such attention to the ending. Just a few months before launch pivotal features like jumping were added.

By summer BW had bumped back release by another 6 weeks for polish. DAI had about 99,000 bugs in it (qualitative and quantitative; things like “I was bored here” are a bug). “The number of bugs on an open-world game, I’ve never seen anything like it. But they’re all so easy to fix, so keep filing these bugs and we’ll keep fixing them.” For BW it was harder to discover them, and the QA team had to do creative experimentation and spend endless late nights testing things. PW would take builds home to let their 9 year old son play around. Their son was obsessed with mounting and dismounting the horse and accidentally discovered a bug where if you dismounted in the wrong place, all your companions’ gear would vanish. “It was because my son liked the horse so much more than anyone else ever had or will ever like the horse.”

MD had a knack for prioritizing which bugs should be fixed, like the one where you could get to inaccessible areas by jumping on Varric’s head. “Muscle memory is incredibly influential at this point. Through the hellfire which is game development, we’re forged into a unit, in that we know what everyone’s thinking and we understand everyone’s expectations.”

At launch they still didn’t have all their tools working, they only had their tools working enough.

DAI became the best-selling DA game, beating EA’s sales expectations in just a few weeks. If you look closely you can see the lingering remnants of its chaotic development, like the “garbage quests” in the Hinterlands. Some players didn’t realize they could leave the area and others got caught in a “weird, compulsive gratification loop”. Internet commentators rushed to blame “those damn lazy devs” but really, these were the natural consequences of DAI’s struggles. Maybe things would have been different if they’d miraculously received another year of dev time, or if they’d had years before starting development to build FB’s tools first.

“The challenge of the Hinterlands and what it represented to the opening 10 hours of DAI is exactly the struggle of learning to build open-world gameplay and mechanisms when you are a linear narrative story studio,” said Aaryn Flynn.

“DA2 was the product of a remarkable time-line challenge,” said Mike Laidlaw, “DAI was the product of a remarkable technical challenge. But it had enough time to cook, and as a result it was a much better game.”

Read the chapter for full details of course!

[uomo-accattivante]

Great comprehensive interview with Elvira on the making of The Letter Room and filmmaking, in general. One interesting tidbit mentioned: she is currently developing a podcast about sex. 👀🤔

For most of her creative life, Elvira Lind has been behind the the lens compassionately capturing true stories as a documentary filmmaker. Her debut feature, Songs for Alexis, observes two young lovebirds navigating a long distance relationship and challenging views on gender identity in the modern age. While her sophomore feature, Bobbi Jenne, explores the life of a famous dancer fighting for her own creative and personal independence.

Despite her prolific doc work, a story that couldn't simply be told in its raw form kept circulating in her head: a dark prison comedy about the secret life of a correctional officer trying to bring humanity to the prison system. When he gets transferred to a job in the letter room, he finds himself a little too involved in the private lives of the inmates.

Far along in her second pregnancy, and with the support of an incredible team of collaborators, Elvira took on the challenge of writing and directing her first narrative short, "The Letter Room." The film stars Oscar Isaac and Alia Shawkat, and has had an all-star festival run, screening at Telluride, Tribeca, and the Palm Springs International Film Festival. Here, Elvira reflects on the joys and challenges of creating your first short film—putting empathy first, reshaping the tropes around pregnancy, and screening in the COVID era.

FTW: How did you become a filmmaker?

Elvira Lind: I’ve always loved film. I was very drawn to documentaries because it felt like you were entering something that was really happening. You opened a door and were already inside the film. You’re just trying to keep up with what’s being thrown at you. As opposed to fiction where you have to conjure it up from nowhere. I loved imagining and writing stories when I was little, but I didn’t have the confidence to pursue it.

I didn’t come from a family of filmmakers. And I came from a time when people had a little shitty camcorder that you borrowed from someone’s uncle, and buying film was expensive. Things opened up and changed a lot when cameras became more accessible.

I could only afford one year of film school in Cape Town, where I met some amazing people and learned about so many different ways of storytelling. I came back to Denmark and found myself working for free a lot for other filmmakers while doing a side job. The paid work was very hard to get, but I’d rather work for free with filmmakers that I loved and have more responsibilities than have access to nothing. It wasn’t easy to find my way in, but it’s so worth it. 

And now you live in New York. How does this global background affect your general filmmaking style and approach?

I definitely bring a lot of Danish documentary traditions with me and hold it very dear. There are a lot of kick ass female documentary filmmakers in Denmark that have taught me a lot. There’s a good support system for women there. It’s an incredibly privileged place in that there’s funding from the government to make films. You can make things that, in my opinion, are often far more interesting because it’s not reliant on how it’s going to make money in the box office.

You’ve shot many of your documentaries in the past. So what was it like this time to be working with a cinematographer?

I always wanted to work with a cinematographer on my documentaries; we just couldn’t afford it. Now for “The Letter Room”, I worked with Sam Chase, who has got such a brilliant eye and it was wonderful to have someone to work with on composing the look of the film because I’m usually doing it by myself. It is kind of like a marriage. I work with the same editor on all my projects as well. You enter this symbiotic sort of dance together. For me, it also means you have to fight about things and disagree and then make up and hear each other out. My editor, Adam Nielsen, is the kind of guy who just comes up with genius ideas while in the shower or on the way home from work on his bicycle. You have to find these key people in your life where you can bounce ideas back and forth with.

Where did the idea for “The Letter Room” come from?

It was a story that was brewing in my head for a long time, but I wasn’t sure how to put a narrative film together. I just started to write it down and then it kept developing.

There was a podcast that I listened to that really inspired me. It told the story of different men who were all unknowingly writing love letters to the same woman. She started to ask for money and help with rent, but the letters she wrote were so wonderful and all these men were very in love with her. These very lonely men felt like magic had entered their lives. They all eventually found out that the woman was actually a man writing to different people trying to get their money. They were all heartbroken, but one of the men said that the worst part was losing these letters and that the fantasy was gone. He wished they could just keep writing to each other. So much of life is fantasy and trying to live through other people’s lives. I’m very drawn to stories of loneliness and bottled up feelings.

And then I am firmly against the American prison system. It’s heartbreaking, frustrating, and I can’t make sense of it. How do you even begin to explain this system to a child?

It’s a society that doesn’t care about humanity. I wanted to show the monotony, the repetition, the sadness. I don’t see the bigger goal or purpose of locking people away for countless years  and taking away all the things that makes you feel human, that makes life joyous. I really believe that we can all change and this system teaches people nothing. “The Letter Room'' is the combination of these two concepts that I’m very passionate about.

And then I got pregnant for the second time and I hadn’t made a film between the two. It was a crazy feeling to be taken over again by pregnancy. A wonderful friend of mine, Sofia Sondervan-Bild, came to me and said, “I think you should make this film and I’ll make it with you.” Initially, I freaked out and thought I didn’t know how to do fiction and doubted how I could make a film in a prison, but she inspired me and told me to do it. She’s just one of these incredibly powerful people that you want to go on an adventure with. She made me feel like my pregnancy wasn’t going to stand in the way of me making this film. We ended up shooting while I was far along in my pregnancy in a prison in the middle of a summer heat wave. It was crazy, but it was the best thing that I could’ve done at the time.

When you were directing on set at that stage of pregnancy, did you feel like you were reshaping tropes of what women are capable of? 

It was insane. The funny thing was that the crew was like, “we can’t complain that we are tired because she is extremely pregnant and still running around.” I was so high off of that experience. When we finished, I collapsed. I fell straight onto the couch and then I have a two and a half year old screaming my name. That was more work for me than directing the short. I edited the film right before I gave birth actually, and then I gave birth and did sound right after. I was pumping breast milk in the corner in the darkness during the sound edit.

I’ve learned a lot from surpassing whatever I thought was physically possible with being pregnant. I learned that being in a creative process gives you so much energy that it allows you to be in whatever shape, size, form, mental space you can. People are ready to give you their support, if you choose the right people. I’m really grateful that I chose such wonderful collaborators who supported me through it all. Even when people were questioning my choice to direct a film while being pregnant in a prison. Why not? Women get pregnant and then we still need to be supported so that we can continue to make the things we want to do.

What was your experience with getting “The Letter Room” funded?

It’s really hard, let’s be honest. There aren’t a lot of people sitting around waiting to fund a short film. We ended up working with Topic, which is a part of First Look Media. They are just incredible and really support filmmakers with whatever their vision is. I’ve had great experiences and some really bad experiences with funding, so I know this was an ideal scenario.

Having a short that is over 30 minutes long seems like a feat. At what stage in the process did you know this was going to be a longer piece? And how did that decision affect the shoot in both positive and difficult ways?

It was way too long at first, and when I shortened it, it was still 32 minutes. We could only afford five days of shooting, and a lot of it is shot on active prison grounds, which have an insane amount of protocol. We almost used everything we shot.

I’m not used to being able to have different angles to choose from in my doc work, so I think I just knew exactly what I wanted. I know that my producers were worried that I wasn’t getting enough, but to me, I was like, I’m getting double of what I usually get on a documentary! Everyone was quietly concerned, but everything worked out when we got to the edit.

The short’s length hasn’t done any favors for me so far, but you need to breathe as an audience, you need to pace it out. If I cut out certain minutes, it would’ve felt rushed and you wouldn’t have believed the arcs that the characters had.

I loved the concept of placing a very empathetic character in a setting that is contrary to that personality type. You included so many details that made the world feel so three dimensional and cared for. Can you talk about those decisions to create that feeling?

It means so much to me that it made you feel that way. What frustrates me about the prison system is that it lacks any empathy or understanding of human nature and nurture and who we are. What we need to become better people. It takes all of that away.

I spoke to people who have spent a lot of time in prison and they told me that you have to hide your feelings and that showing any signs of weakness will be a disaster. It’s the worst possible scenario you can imagine yourself in. Being robbed of every privacy, anything that makes you happy, anything that makes you feel like yourself. I imagined the character of a caregiver in this setting who wants to help and finds a silly way to do so. I was very inspired by that story of the love letters that I talked about earlier. What does it mean to lie if you’re making someone else happy?

It’s the morning of your first day of the shoot — how do you feel?

I was very nervous. I had never said ‘action’ before. I’ve been on a lot of sets, but I didn’t want to seem like I didn’t know what I was doing, but it’s also okay not to know. Mistakes are going to happen, and sometimes they become gifts. At the same time, I was very excited. You come in and there are all these people there with you who are there to make this thing you’ve written come to life.

What are some things you would do on set to create a safe space and vulnerable environment?

We did everything we could to make the set a safe space. It was very difficult and stressful to shoot in an active prison, but we made sure to actively ask our crew if everyone’s feeling okay and if we can do anything to make the situation better. I’m very vulnerable and encourage all of my crew to be vulnerable with me. Mistakes are welcome.

It's a short film, people come and work on this not because they’re making a million dollars, but because they want to be there and are being incredibly generous with their time and energy. It was such a good environment that even when challenging things came up, it was still a lot of fun.

What was it like working with actors for the first time?

That was one of the biggest challenges for me. I’ve heard so many different stories in passing of the least helpful note or worst thing to say to an actor. You want to be respectful and actors have their way of working. Ultimately, they are all really talented actors and all of them came with so much energy and a lot of ideas.

I spent time with each of them talking about their character. Those 1 on 1 conversations helped me a lot in the writing process as well because you’re bouncing ideas off of each other and they’re asking you questions about how they would respond to a certain situation.

I had always imagined Alia Shawkat as Rosita and she ended up wanting to do it and came from LA to film it. I had tears in my eyes when we were filming the scene of her and Oscar. They were excited to do the scene together. It was all a dream.

What was the experience of working creatively alongside your partner like?

We were joking a lot about it before because there was already the stress of being so pregnant and we have a 2 year old at home, and now I was putting us in another highly intense and demanding situation. Either it was going to be great OR we would drive each other nuts. But we had so much fun. It was wonderful to work together. I was so happy to be on set and make my film and he’s just so talented and fun to be around. Those little moments where you know each other so well—I’d give him notes and he just kept surprising me and was so respectful of my directions.

He found this photo for him to connect to the character and it became very fundamental to me. It was this incredible black and white photo from the 70s of a prison guard. I had always imagined that he would have this inner salsa soundtrack playing in his soul and we would play Rubén Blades and 70s salsa music and Oscar just morphed that into music into everything and created this unique character. 

And he was wearing a fat suit the entire shoot and I was pregnant and Alia Shawkat had her pregnant belly on. The three of us—it was so funny.

It seems like the perfect first experience of going into narrative with people that you really trust and support you.

Definitely! Find the people that you can team up with that really believe in your vision and who will push you to do exactly what you had in mind. People who never try to push you into these conventional routes. Our creative voices are so fragile. You want to be on the same page so that they see what you’re trying to do and want to bring that out of you. Where they’re treating your film as a sacred thing that you’re creating together.

How do you know when a film is done?

Fiction is very different from documentaries. With documentaries, it never feels like it’s done because there are so many options. That’s also why I love fiction so much; It’s so much faster. It’s a whole different beast to tame a documentary with hundreds of hours of footage where you’re reinventing the wheel every day.

How have you built up your own confidence as a director and your unique voice?

Stubbornness. I’ve had many experiences working with people who didn’t believe in my project. You have to stick to your guns and trust your instincts. Once you find your voice, you find people that want to go on that ride with you and find your vision interesting. It’s a miracle when any of us gets a project made, so your confidence can’t come from how much money your movie made. It has to come from somewhere else. Did you do justice to the people you portrayed in your story? Did anyone walk away feeling like something had changed within them?

What is a good director to you?

Someone who is driven with passion without letting that passion take over and become any source of frustration that’s taken out on other people. It should feel like a collaborative effort. And having gratitude every day that you’re making something with other people who are donating their time. You’d be nowhere without them. One of the most important things is making sure that your crew is treating everyone equally. It depends on the size of the production, but having someone who can sense what’s happening in all different departments and having department heads that are there to protect everyone. Listen to each other, and make sure everyone feels safe and is in the best place to be creative.

With COVID, what has the adjustment been like to being in an online space for this festival run? 

I’m really deeply saddened by not having the human interaction aspect of it. It feels so crucial to be in the room together, to meet and see each other's projects and share the experience, to cry and laugh next to people you don’t know. I’m grieving to be honest. We just gotta get through this time. It reminds us of how sacred it is for us to gather and how that feels, and I hope that all of that will come back after this and that cinemas will survive. We really need them.

What’s next for you?

Right now I’m writing more fiction and working on a new documentary feature that I am kind of researching and shooting at the same time. I am also creating a podcast about sex, called “The List” with my friend, writer and photographer Kirra Cheers, based on a book and play she wrote. My husband and I just started a production company together, Mad Gene Media, in order to develop and produce our own material. So. lots of exciting things to continue with in the new year.

Born in 1981 in Copenhagen, Elvira Lind graduated from School of Media and Creative Arts in Cape Town in 2006 majoring in documentary film where she received two awards for her final year achievements. She has worked within that field since directing and shooting documentaries of various lengths for TV, cinema and web on 4 different continents.​In 2020 she premiered her first fiction project, a 32 min short film she wrote and directed. The film was sold to Topic and was invited to various festivals including Telluride and Tribeca FF. Elvira's feature doc BOBBI JENE premiered at Tribeca Film Festival in 2017 where it won all awards in its category including Best Feature documentary, best editing and best Cinematography. The film had theatrical release in US, Spain and Scandinavia.​Elvira's first documentary feature Songs for Alexis premiered at Toronto HOT DOCS in 2014 and screened and competed at a long list of international festivals. Her 8 part documentary TV series "Twiz and Tuck" was bought by VICELAND and launched in 2017. Elvira now lives and works out of New York.

###

[merakiui]

So you know that subtle rivalry hinted between Theo and Nine, like especially about the piano and stuff? I've seen their mini rivalry in personal stories too, but like I think it's pretty funny, cause the calm, peaceful Nine with the cool and collected Theo. What things do you think they would "fight" over? If you do small stories, like maybe a small story over it??

(Absolutely! Their relationship on the AFTER L!FE website says both of them believe the other has “ulterior motives,” which is definitely interesting. I ended up writing a small story/oneshot for this, and I hope it was good enough in terms of what they would “fight over.” Theo and Nine are so fun to write for when it’s in this format.)

Cake (Nine and Theo)

The manager is like cake, Theo thinks as he walks down the hall, a few documents held securely in his gloved hands. Everyone wants a piece of their time, but there’s only so much to go around. I guess it makes sense. They’ve always been sweet when it comes to the Reapers in the 14th Department.

Cake has an expiration date, as does any food. Along with that, it’s messy. Perfect frosting, fondant flowers, and a moist sponge that gets all over silverware and on clothes. Nevertheless, it’s a dessert for any celebratory occasion. Theo knows a lot of the Reapers can be compared to cake. Take innocent Ell and his happy-go-lucky personality for example. If he were a cake, he’d be the most overbearing slice of sugar. Such a simple cake is an insult, though. If you’re going to indulge in something unhealthy, at least make it overly presentable so you won’t have to fuss over the consequences of such a treat in the near future.

But Theo isn’t interested in cakes that have basic layers. He’s much more intrigued by those that have stacks of unique combinations, such as pineapple, vanilla, and even coconut. Each layer can be carefully picked apart, and every flavor dissected before his blue eyes. People are like cake. They’re either sickeningly sweet or spoiled with a rotten attitude, and they fall victim to their own natural expiration dates with the course of time. They can be broken down and devoured as easily as one does to a slice when they’re hungry. More importantly, their ingredients are always different. Opposing backgrounds, conflicting lifestyles, and even the people with whom they associate. When mixed together, it creates a person who holds their own morals, judgements, and rules based on the cards they have been dealt.

Perhaps that’s why children are so territorial when it comes to snacks; they believe it’s their right to be granted the best treat. In a group of three, who is most entitled to the last slice of cake? The two warring sides or the one unknowingly trapped in the middle? Sharing is cast aside in favor of getting the final piece. No one wants one-third of something. You can’t have one-third of a person. But Theo’s not of that age where you assume the world will be given to you on a silver platter. He knows when to choose his battles and when to surrender.

He knows when to savor every bite of cake he can get.

Theo almost drops the files he’s holding when he hears the upbeat staccato being played in rhythmic succession on the piano. That piano. The piano he should’ve found with the manager. If only they’d asked for his help. If only Nine hadn’t ruined it by impressing them with his dexterous talent. If only—

“You’re amazing, Nine!” the manager praises, a grin on their face. “I wonder if the other Soul Reapers have any sort of musical talent, too.”

“It’s nothing special,” he says, politely deflecting the compliment as easily as one discards a slice of moldy cake. “But I’m pleased you enjoy it, Manager.”

Of course, Theo thinks bitterly, drawing his lips into a thin line. Nine’s playing for them again.

“Can I try?”

Nine nods, sliding over on the bench to make room for (Name). While they tap certain keys at random intervals, sheepishly attempting to knit a comprehensive melody, Theo looks on in dissatisfaction. It’s Nine who senses the presence of a third individual, and he cranes his neck to confirm his suspicions.

“Oh, Mr. Theo. A pleasant surprise seeing you here.”

“You’ve been playing a lot lately. Won’t Nyang Lead Manager get angry if he catches you slacking off?”

“He doesn’t have to know,” (Name) says, rescuing Nine from any criticism Theo might have at the ready. “Besides, the day’s been slow enough.”

His heart sinks when he notices the bento boxes, evidence of two meals that have been thoroughly consumed. One for (Name) and one for Nine... They ate lunch together, and now they’re on the piano—the one he should be playing—acting completely chummy. Why? he thinks, his mind attempting to wrap itself around the concept of work relationships. Why are they so close?

His instincts tell him it’s all part of Nine’s master plan to have you to himself—to take all of the cake and leave nothing but crumbs for the others. It’s so selfishly enraging. Luckily, Theo has reason to stay in the spotless storage room. He sets the files on the lid of the piano, nearly swiping the bento boxes out of the way. There was more than enough room, and Nine doesn’t miss the calculated abruptness in Theo’s actions.

“Hm? What’s all of this?”

“Reports from this week’s patrol shifts,” he explains in a matter-of-fact tone. “I was told to bring these to you for review.”

“Right! I forgot about that. Thanks, Theo. What would I do without you?”

Just as fast as it sank, that familiar cardiovascular muscle skips a beat. Sneakily, he eyes Nine to gauge his reaction. The calm Noctu Reaper is staring right back, a partial smile gathering at the corners of his lips. If a pastry chef adds poison to the meringue of his cream horn and it incapacitates an unsuspecting customer, is he at fault? Does the issue lie with who sold him the poison? Were his intentions outlandishly harmful or driven purely by revenge? In this situation, who would be the chef? Theo’s certain it must be Nine. After all, he’s infecting you with a skill that should be reserved only for him. Playing the piano has always been his speciality. Nine is just a copycat baker whisking all sorts of notes in hopes that it produces a suitable tune.

His talent is poisoning the chances Theo has of impressing (Name) with his flawless playing.

Like a garden that’s been infested with weeds, stripping its sprouts of their needed sunlight, Nine has planted ugly hemlock.

“Is everything all right?” Nine questions, seeming concerned at Theo’s stretched silence. “Mr. Theo?”

“Everything’s fine. I’m flattered you’d worry about me.” Despite the fact that Nine’s older and that Theo ought to respect his seniors, he can’t bring himself to willingly trust the Reaper who’s been stealing the manager’s heart with his dexterity.

(Name) pops up from the seat at once, startled to have caught sight of the time. “Sorry, Nine. I've got to supervise Day and Kati’s cleaning shift. You can never be too careful with those two...” As they grab their empty bento box and the pile of documents, exchanging serene farewells with Nine, Theo opens his mouth to say something.

I’ll go with you, he wants to add, and yet the words evade him.

The manager turns to address Theo, a radiant beam in their expression—the sight of a flower that has wilted once and sprung back to life with a little bit of water and sunlight. “There’s a book I found that I think you’ll like. I’ll lend it to you if you’re interested. Let’s talk more next time, okay?”

His heart just about flips into cardiac arrest. How can his manager be so mindful and generous despite the minimal conversation they’ve shared? Such a gesture is sweeter than any cake the other Reapers may resemble.

“Let’s,” he echoes, watching as they make a swift exit. And suddenly the once dusty, overcrowded storage room becomes a haven. Observing it from his angle, he realizes just how much work the manager and Nine have done in terms of cleaning. That could’ve been a task suited to him. Now it’s as though you and Nine have started meeting up periodically in this room.

Nine rises from his spot on the bench, gingerly closing the lid over the piano keys. “Is there something on your mind?”

Theo raises a brow. “Nothing in particular. Why do you ask?”

“I was only curious. You seemed quite attached to the manager’s reactions. Though that’s just a speculation of mine. Please forgive me if I assumed incorrectly.”

“Well, I don’t want them to disapprove of my work.”

“I understand. You always do your best, Mr. Theo, so don’t let the pressure of appeasing Manager weigh you down.”

“I won’t. Thank you for your concern.” His words are hollow—lacking a soul—but he delivers them anyway. A faux cake needs no decorations if it’s role is not to be enjoyed. It’s merely a placeholder in his acquaintanceship with Nine. Stale enough to be recycled for future use, but also courteous in case of an emergency. “Then, I’ll be taking my leave now.”

Nine bids him a professional goodbye, friendly against the powerful tide of passive-aggressive distrust Theo’s built up. The disarming Soul Reaper closes the lid of his bento box, listening to Theo’s even footsteps as they grow distant with each passing second. He isn’t a fool, and neither is the picture-perfect Reaper in the Day Team. Something’s amiss. Anyone would be able to recognize the tense atmosphere that has ensnared the storage room in its vicious maw. Nine isn’t a stranger to formulated schedules. Ever since (Name) asked to meet him in the storage room for a few coveted minutes of listening to him play, Theo’s been in the distance, looming like a shadow in a child’s nightmare.

His finger taps at the colorful plastic while the gears in his brain turn. Nine doesn’t know Theo well enough to make any rash claims, and he certainly wouldn’t say any of that outright. Perhaps he just doesn’t know how to approach others, or he might want a chance to practice on the piano. If that’s the case, it would justify his lingering near the storage room. Nine has noticed the pattern, though. Theo’s always there when the manager observes his skillful fingers dancing across the keys. He’s never there for anyone else.

“I suppose anyone would think it’s an ulterior motive,” Nine murmurs to the empty air. “I’m not too sure.”

Green-eyed monsters don’t have blue eyes, so what does that make Theo?

Said Soul Reaper waits outside the door of the storage room, pressed against the wall with his ears alert and his mouth shut. To be blunt, Nine’s taken too much of the cake, and Theo’s not going to allow that. Crumbs are messy, and he despises messes. For a moment, the darker side of his thoughts conjure other messes. Crimson messes. Accidents that involve choice words and measured actions. Everything should be exemplary for a delicious result. But there won’t be any cake if he’s lacking the ingredients. The only recipe that makes is regret with a side of loss.

Theo slips away from the wall, quietly moving in the other direction. There are many layers to Nine that he must separate for intense study. The closer he gets to the center, the more personal he’ll get. And if the perfect cake involves a book, a piano, and the layers of a certain someone, he’s willing to forsake cleanliness.

Nine is there in the doorway wearing a faint smile as he witnesses Theo leave for a second time.

Something is definitely amiss with Mr. Theo.

[tlbodine]

Literary vs Genre Fiction

The divide between literary and genre fiction is one of those topics that gets endlessly debated in writer circles. You’ll see it making the rounds on social media every time a book gets some buzz for busting out of its category. You’ll hear it in MFA programs across the country. But what even is literary fiction? How is it actually different from genre fiction? Is one better than the other? Why does anybody care?

A lot of smart people before me have thrown their hat in this particular ring, but I’m going to try tackling this one anyway. 

First Off: What Do We Mean When We Say “Literary Fiction”? 

Defining the thing is almost the hardest part of this whole discussion, and that may be part of the reason why people argue so endlessly about the literary vs genre divide -- if you don’t have a clear definition of the categories, that divide can be drawn up just about anywhere. 

So before we dig into characteristics of literary fiction, let’s look at some clear examples. The Booker Prize is a literary award specifically given to works of literary fiction, so it stands to reason that winners of that award would be the best examples of the category, right? Here are some recent Booker Prize winners (as pulled from Powell’s bookstore): 

Margaret Atwood - The Testaments The sequel to A Handmaid's Tale, told as testaments from three female narrators in Gilead, a dystopian setting where women have been stripped of their rights.

Bernardine Evaristo - Girl, Woman, Other Twelve central characters, mostly black British women, lead intersecting lives with struggles of identity, race, sexuality, class, etc.

Anna Burns - Milkman A girl identified as "middle sister" catches the unwanted attention of "the milkman," a local paramilitary, and has to deal with the threat of violence and spread of rumors.

George Saunders - Lincoln in the Bardo A father-and-son story about Abraham Lincoln and the 11-year-old son who died of illness in the midst of the civil war, leading to them both struggling in a type of purgatory.

Paul Beatty - The Sellout A satire about an isolated young man who ends up at a Supreme Court race trial after trying to reinstate slavery and segregate the local high school in an attempt to put his town back on the map.

One thing becomes immediately clear about literary fiction when skimming through the titles and summaries of these award-winning books: These novels are well-nigh impossible to summarize in a way that actually sounds enticing. 

So okay. What are some genre fiction books, for comparison? There are genre fiction awards, like for example the Hugo award for Sci-Fi/Fantasy: 

Mary Robinette Kowal - The Calculating Stars A cataclysmic meteor collision in 1952 causes an accelerated effort to colonize space, leading to a woman fighting to join the astronaut team in this alternate-history book.

N. K. Jemisin - The Stone Sky The third in a trilogy of post-apocalyptic novels about two women with the power to avert destruction of mankind.

Cixin Liu - The Three-Body Problem Against the backdrop of China's Cultural Revolution, a secret military project makes contact with aliens whose civilization is on the brink of destruction, leading them to plan a takeover of earth.

There’s also the Edgar Award, which is given to mystery fiction (it’s named after Edgar Allan Poe): 

James A McLaughlin - Bearskin A man on the run takes a job as a park ranger, but runs the risk of being found by the men he's hiding from when he tries to expose some poachers.

Walter Mosley - Down the River Unto the Sea After spending a decade in prison for a crime he was framed for, former-detective King works as a private investigator whose investigation of his own frame-up leads him to cross paths of a journalist with a similar story.

Sujata Massey - Widows of Malabar Hill In 1920s India, Bombay's only female lawyer investigates a suspicious will on behalf of three Muslim widows, a case that takes a murderous turn.

These aren’t the best summaries in the world, but there does seem to be a stronger sense of both plot and character in the story concepts. At least, when someone asks, “What’s that book you’re reading about?” the genre fiction ones will have a somewhat easier time explaining it. 

So What REALLY Separates Literary From Genre Fiction? 

There are a lot of battle lines drawn between genre and literary fiction. I’ve heard it argued that literary is about character while genre is about plot; that literary is about the quality of the prose while genre is about the story; that literary is about experimenting while genre is about adhering to formulas. That literary is about expanding horizons while genre is about escapism and comfort. That literary is about realism and genre fiction is about fabulism. 

I think there’s a nugget of truth in all of these, but I’m not really happy with any of them. 

So I’m going to toss out my own hypothesis: I think the difference between literary and genre fiction is the way tropes are employed. 

“Okay, great, but what are tropes?” 

I’m so glad you asked. Fiction tropes are a type of shorthand. They are things that we the audience have seen before, so we know immediately what they mean. Tropes exist in characters, plot points, settings, concepts -- you name it. Here’s a sampling of tropes you might be familiar with: 

The tough lady-cop whose dad was a police officer 

Thanks to a mix-up, two people with hidden romantic feelings book the last available room at a hotel but there’s only one bed 

A man goes on a quest for vengeance but destroys himself in the process

The wise old man who teaches the young hero valuable lessons but then dies before the pivotal battle

And so on, and so forth. Every genre has its own tropes -- a formula, if you will. In that sense, genre fiction is formulaic, but that doesn’t make it easier to write; actually, a big part of the challenge is in giving fresh twists to familiar tropes. Readers of genre stories demand certain tropes; the author has to deliver on those demands in a fresh way.

By comparison, I would argue that literary fiction does not rely upon tropes. There certainly are tropes and conventions that emerge in literary fiction -- a middle-aged academic struggling through divorce, for example -- but these tropes are more often than not met with irritation, not delight. Readers of literary fiction are looking for fresh insights and innovations, not familiarity. 

Tropes are powerful tools. They are the mythic seed of storytelling. They are the archetypes that pass down through generations. They are a sacred backbone of mythology and folklore. Genre fiction, at the end of the day, carries the torch for storytelling in a long and (ha, ha) storied tradition from our prehistoric days huddled around a campfire. 

Literary fiction, on the other hand, eschews tropes -- with their agreed-upon meanings -- in favor of assigning fresh meanings to things. Literary fiction is chock full of metaphors, but it’s the author, not convention, that determines what those metaphors mean and how they’re employed. Literary fiction reinvents the wheel. When it succeeds, it hits on depth and emotional resonance that can be life-changing for the reader. When it fails, it comes off like so much navel-gazing nonsense. So it goes. 

Fiction Wars and Gatekeeping

The problem with the literary vs genre fiction divide is that it never stops with “This is how these categories are defined.” The problem is that people will insist on ascribing moral significance and hierarchy to them. 

Literary fiction is viewed as being smarter, deeper, more meaningful or more valuable than genre fiction. If a genre fiction story manages to break out and gain wider appeal, suddenly people will start ascribing to it literary attributes (whether or not the book and many others in the genre had them all along). And that is all a bunch of nonsense. 

It’s the exact same thing that happens in horror fiction -- when a horror story goes mainstream, suddenly it becomes a “psychological thriller” or a “dark drama” or anything other than horror, because “horror” is an inferior genre. 

The fact of the matter is that literary fiction gets elevated over genre fiction for systemic reasons: 

Most MFA programs focus on writing literary fiction, which means that a lot of lit-fic authors come out of those programs, which means that literary fiction is often the domain of upper-middle-class, frequently white, people who can afford to graduate from those programs

A focus on dense prose and “difficult” writing means lit-fic books must be analyzed and interpreted; it’s hard to read, making it exclusionist to people who lack formal education 

Lit-fic dominates awards, gets pushed heavily onto book clubs, is talked about more often on daytime TV and so forth (because it is perceived as being better/more important, thus creating the ongoing cycle)

Basically, lit-fic gets held up as an example of Fine Culture. And any time something is designated as Fine Culture and High Art, it is subject to a completely arbitrary classist distinction meant primarily to keep out an undesirable element (women, BIPOC, poor people, you name it). 

That’s not a problem endemic to lit-fic itself. It’s really a problem of the culture surrounding it, and attempts to hold it to a higher esteem than genre work. 

Cross-Pollination Is Inevitable and Desirable 

How do tropes get made? 

Someone comes up with a new metaphor, concept, character, or idea that resonates so deeply that others who follow borrow that same thing and its meaning, and it gets repeated enough times that it becomes a stock trope. 

In other words, every single piece of genre fiction exists because someone writing in some other established tradition decided to experiment and go off on a tangent to create something really fresh and new -- and knocked it so far out of the park that people were compelled to follow. 

People like to pretend that the overlap and blurred lines between genre and literary fiction are somehow a new trend, but the fact is that this has been the trajectory of fiction-writing for the whole history of storytelling. 

Literary agents have a term for this: Upmarket fiction. Books that “transcend” genre definitions to appeal to readers on either side of the aisle. And those are highly sought-after books, because they have the potential of bringing in double the readers. 

So, snobby gatekeeping aside, is there any real reason to argue about the definition of literary vs genre fiction? 

I’d say...no. Not even a little bit. I’ve got a mix of both on my shelves. I incorporate a mix of both in my writing. And I don’t see that changing any time soon. 

A Final Note 

I mentioned above that lit-fic tends to be written by people in MFA programs, and I wanted to touch on that again as an MFA drop-out and someone who was once warned by a teacher not to bring “any more of that genre nonsense” into the classroom. 

I can understand, from a teaching perspective, why writer’s workshops would want to focus on lit-fic. From the perspective of learning how to write, forcing writers to derive stories from their experiences, to dig deep into themselves and ascribe unique meaning to things, to develop their own metaphors and hone their craft at the sentence level -- all of that makes a lot of sense. Banning genre tropes is a way to force writers to hone their craft without leaning on the work of generations of storytellers before them, and as a teaching tool I think that’s actually really valuable. 

But I think it’s pretty important that we keep that in context. The lit-fic focus in writing classes should be a teaching tool first and foremost. It should not be the end-all and be-all of writing classes.

This post topic was voted on by my Patreon subscribers. If you would like to vote for future posts and get early access to posts before they go live on tumblr, you can become a patron here: https://www.patreon.com/tlbodine

[self-loving-vampire]

Ultima V: Warriors of Destiny (1988)

Summary

Ultima 5 is what you could call Ultima 4′s edgier but “cooler” sibling. The gameplay has gained in complexity, dialogue has been greatly expanded, and the ground-breaking system of virtues and morality from the previous game has been twisted by the tyrannical Lord Blackthorn following the disappearance of Lord British.

Ultima 5 also introduces more of a day/night cycle to the proceedings with the introduction of NPC schedules, enabling a level of world simulation that was very new at the time of release. It goes on to make good use of this system by casting the player in the role of an outlaw fighting against the new government, meeting with members of the resistance in the shadows, and going around the martial law that has been imposed.

Freedom

Just like in Ultima 4, you are dropped into an open world right from the beginning, and your tools to explore the world have been expanded. 

The inclusion of more complex systems also enhance the feeling of being able to interact with the world with less barriers, as there is now furniture you can use, barrels you can search, etc.

Like with Ultima 4, there is only one way to win and a list of absolutely required steps that must be taken to reach that victory, but the order in which these steps can be taken is rather flexible, allowing players to create more of a personal narrative as they follow clues they picked up on wherever their instincts or whims took them first.

It is worth noting that there are actually some optional quests dungeons this time around, which is always nice.

Character Creation/Customization

While it is very nice that you can import your character from Ultima 4 into this game, I would say that this aspect of the game has taken a step back in a sense even as it has made progress in other ways.

The eight classes of the previous games have been reduced to four: The standard Fighter/Mage/Rogue Bard trio plus the Avatar class the main character belongs to, which is an all-rounder. As before, there is not really any customization beyond equipment either.

However, the positive of this is that equipment has been greatly expanded from the previous game. While in Ultima 4 you were limited to merely choosing your character’s weapon and armor set from a very short list, Ultima 5 not only enlarges the list but also allows for equipping multiple armor parts (such as a helm or amulet) while also providing a secondary hand slot.

What this means is that two-handed weapons now also give you a trade-off between their big damage and the option to use a shield in your other hand, or even dual-wield.

This greater variety of equipment allows a greater degree of specialization for your party members, though by modern standards this still isn’t much. The supremacy of ranged weapons also continues here, as magic axes are undoubtedly what you should be equipping everyone with later in the game, and now that class does not restrict equipment every single one of your party members will end up in plate with a magic axe.

Story/Setting

This is, in my opinions, one of the most interesting things about the game. Ultima 5 takes all of the virtues from the former game and turns a corrupted form of them into the law.

The game is pretty explicit about this too. Early in the game, in the town closest to the shack you start in, you can find a man in the stocks together with his son. The man is being punished for failing to donate enough of his income to charity as the Law of Sacrifice demands, while his son (who is barely breathing at this point) is being tortured for not reporting his father to the authorities.

Throughout your travels, you meet many kinds of people. From victims, to resistance fighters, to supporters of the regime and everything in between. Throughout your interactions with these groups you will have to discern who can be trusted (generally easier than it should be since the bad guys tend to be meaner or even cartoonishly evil at times) and learn how to fight Lord Blackthorn and the Shadowlords who corrupted him.

The Shadowlords are, incidentally, the part of the story that I don’t quite enjoy. Fantasy is full of one-dimensional ancient evils and dark overlords. By making the events of the game the result of an unambiguously malevolent supernatural force rather than human failings of the type that are not uncommon in real life, the game makes those events feel more distant and less complex.

This very series already has had plenty of “Defeat this one evil force and everything will be fine” plots. They are generally devoid of the moral complexity that the series is now aiming to explore and I want to know what this game would have looked like without the Shadowlords.

Fortunately, however, this effect is not too pronounced. Blackthorn remains a misguided man with good intentions. He admires you a lot, actually, and seeks avatarhood himself. He has such a positive view of the virtues that he sought to enforce them by law.

(Then again, his actual plans for the shrines make this apparent idolization feel dishonest, or at least inconsistent.)

And there is a real type of authoritarianism that functions a lot like this. Even on this site there are many who would be in favor of things like surveillance, police brutality, and harsher punishments. Even on this site there’s a whole lot of people who seek to punish others over stupid things like shipping the wrong fictional characters.

The people I grew up with even went as far as yearning for a dictator who would unleash death squads to execute all the “bad” people. This is a wish that I still see in many people, even those who grew up outside of the circumstances of my country of birth.

This is not an error that humans need supernatural corruption to fall into.

Other than that, I find the dark twist on the existing setting from the previous game to make for a spicier world to explore. 

This is also the section where I should point out that Ultima 5 introduces a rather large and dangerous “Underworld” map that is easy to get lost in. While it is mostly barren, you do have to visit various parts of it as part of the main quest, and I just find the concept of a massive dark world beneath the earth to be a super interesting one (I mean, I have even run D&D campaigns based primarily in the Underdark).

I kinda wish there was more to it other than some items and a companion to collect. Something like a town would have been interesting.

Immersion

This is one area where the jump from Ultima 4 to Ultima 5 was massive thanks to the day/night cycles, NPC schedules, expanded dialogue, and even the addition of words of power to the magic system.

But the best thing I can say about it is really that it calls on you to actually roleplay and engage in the world as if you were actually there, at least to a degree, and it does so through a combination of atmosphere and gameplay.

You will not only want to be careful with your words when talking to certain people to avoid being reported to the regime, but you can also learn the resistance password and use it to get help and information from other members.

While these systems are all still pretty rough here, they still come together well enough to make this a lot more immersive than the average JRPG.

One thing that does feel really off is that the guards are not only superhumanly tough but you also lose karma for attacking them. They also behave strangely in that even though you are a wanted outlaw they don’t actually hunt you on sight, only trying to arrest or kill you if you refuse to pay tribute (as if they didn’t recognize you or your companions at all). This despite wanted posters.

So there’s definitely some rough aspects to the crime system in this game.

Gameplay

Massive improvements have been made in this area, and I don’t just mean the above-mentioned expansion of items and the addition of NPC schedules.

For one, enemies now drop things other than gold, such as food and armor pieces. The magic system has also been improved so that you can now mix multiples of a spell at once instead of having to do it manually every single time.

Additionally, spells are now cast using a consistent language of magic composed of several words of power, which you can chain together to produce effects.

But I would say that the single most significant improvement in the gameplay is the simple fact that most NPCs now have significantly more keywords that they react to in dialogue, including many that do not come up through normal conversation with them. The system is still not perfect, but you can have more of a conversation with characters now and switch from topic to topic relatively easily.

In terms of combat, you can attack diagonally now (only monsters could do that in Ultima 4) and random overworld encounters are much easier to avoid now, cutting down on what eventually starts to feel kind of like padding in the previous game (but see below).

Despite the fact that the material rewards from combat have been increased and items are much cheaper now, Ultima 5 is actually significantly more difficult than Ultima 4. Not only do you have less health, enemies also seem to do more damage.

Dragons and daemons in particular are a nightmare, as they can summon more daemons (who can posses party members) and are extremely durable. A single dragon is a very tough challenge for an unprepared mid-level party, and even after giving most characters magic axes they still prove tough to take down while also being extremely damaging. Trying to fight multiple ones at once without blowing powerful spells or glass swords is costly at best and foolish at worst. Dragons are best thought of as boss-level enemies probably.

I am pleased to report that the dungeon crawling is better in many significant ways. Not only are the graphics more pleasant and immersive but also fully cleared rooms no longer respawn endlessly the moment you step out of them (in fact, they may not respawn at all).

It is not all positive however. The descend and ascend spells seem to be nearly useless this time around and the spell to instantly exit a dungeon is gone entirely. This can make getting out of the underworld such a pain at times that you might even prefer to literally kill yourself in-game and lose some XP instead of doing that. Fortunately you can now dig up and bury moon stones, so you can create moongates down there to quickly escape that way.

There is one problem in terms of balance though. While obtaining gear is significantly less of a problem now due to many enemies dropping tons of torches, gems, and keys, your experience will lag far behind your itemization and your quest progress. This means that to actually reach the 8th level and unlock all of the ultimate spells you will need to either explore all the dungeons thoroughly while focusing XP on one character, or otherwise just grind a lot.

Enemies just don’t give enough XP for a smooth progression otherwise. This would have been solved entirely by making significant main quest events (such as finding the artifacts of Lord British or destroying the Shadowlords) grant experience, but no such luck.

This makes for a strange endgame where you’ll have so much money that you run out of worthwhile things to spend it on while at the same time still feeling forced to grind out enemies, even if you imported your Ultima 4 character for an XP boost.

You do want to have access to these 8th-level spells too, as the final dungeon can be brutal without them or items that replicate their effects.

Adding to the experience issue is the fact that you can’t level up at will in this game. You have to camp and hope that an apparition of Lord British will appear and level you up (if you have enough experience). He does not always show up, and as far as I can tell he does not appear at all if you sleep on a bed or camp inside a dungeon. It has to be out in the wild in the overworld (and possibly also in the underworld).

I wish leveling up was just not tied to him at all.

Aesthetics

As is often the case for this series, the game looks and sounds really good for its age. The jump from Ultima 4 is particularly notable, as the level of detail is on a whole other level, particularly within the dungeons.

As with the previous game, the aesthetic core of the Ultima series (after the first trilogy) lies in the virtues. While there is still a karma system involved, it is much simpler than having to maximize eight different virtues. The karma system determines how much XP you lose on death and how much shops charge you, encouraging players to behave (or at least atone for their misbehavior).

But the biggest impact on the feel of the game is the above-mentioned corruption and tyranny affecting the land. Some of my favorite moments were early on, when I was just starting to get involved with the resistance and investigating what was happening around the overworld.

That said, I think that if the guards did actually recognize you on sight and hounded you more aggressively after spotting you the atmosphere could be even better (assuming they were balanced a bit better).

I think some of the music some versions of the game have is quite good too.

Accessibility

This game manages to up the complexity from Ultima 4 while not being any harder to play. Chances are that if you’re importing your Ultima 4 character you will need only a little bit of adaptation to do fine in Ultima 5.

As before, you will need to take many notes throughout the game. More so than in Ultima 4 due to the greater size and density of content. However, if you played Ultima 4 and took notes for it, this is somewhat alleviated. The mantras for the shrines remain the same, and the world’s geography should be mostly familiar (though there have been changes there as well).

You will also still need to consult the manuals and map frequently, at least early on.

The difficulty has also increased dramatically. You will likely end the game with about 200-ish HP rather than 800 and every enemy is much more deadly. Both the early game and the final dungeon will challenge the improvident.

For these reasons, the game is not that easy for newcomers to pick up but I would not call it obscure or complex.

Conclusion

I would say that the positives definitely outweigh the negatives on this one. The story and setting are interesting even if I don’t agree with all of the decisions made in crafting it, and the rest of the game is usually tolerable at worst. Nothing nearly as annoying as Ultima 4′s Reaper and Balron sleep spam (in fact, a plot-relevant item you can find renders Reapers pretty much helpless).

My primary complaint about the game is that the balance is poor. You will end the game loaded with all the items you could ever want while struggling to reach level 8 with even a single character even after doing nearly everything you need to do before the final dungeon.

I know there is a remake of this game made using Dungeon Siege, which I have not played. I think this is a good thing and I’d hope that it fixes some of these issues, but even apart from that I wish there were games that set out to achieve the core concept of this game.

What I am talking about is an open world RPG in which you play an outlaw who must hide from the state and meet other rebels in the darkness, but with complex and mechanically-competent systems to enable all the interesting possibilities this should enable.

I do not assign numerical ratings to games with these reviews, but I can definitely say that I liked Ultima 5 better than Ultima 4. I think it is worth trying even today despite the late game grind.

[themurphyzone]

3, 4, 13, 26, 27, & 34!

Thanks for the ask @plutonis! I’m sorry this is gonna be long cause I’m gonna rant about a WIP concept that may not ever come to fruition. 

3. What do you think makes your writing stand out from other works?

I honestly don’t know. I think it’s just easier for my work to be noticed in a small fandom than a larger one. 

4. Are there any writers that inspire you?

I borrowed a lot from skimmingsurfaces and SylviaW1991. I was inspired to write my first PatB story last year from their works. 

Pluto listens to me scream about torturing mice, plus her works are always great if you like that bittersweet/downright tragic vibe. 

@deez-art for kickstarting the PatB Disney AU trend. 

Big shout out to everyone in Air Mice Nyoom for the mutual support!

13. First fandom you ever wrote for?

My first posted fic was for Phineas and Ferb way back in 8th grade, but I did fill up quite a few notebooks with Pokemon stories. My writing has improved a lot over the years, mostly because I never attempted to post my Phineas and Ferb/Sonic Underground crossover on the net. I was in middle school and we were all dumb at that age XD

That one still haunts me...I think I still have it somewhere in a notebook. 

27. What’s the nicest comment you’ve ever received?

Can’t say. Everybody in this fandom is so nice and I love hearing what people love about my stories.  

34. Copy and paste an excerpt you’re particularly fond of.

From the ending of Eurydice:

"Just say narf, just say narf.

We're alright, we're okay, so let's say narf.

You and I will have tomorrow nights again.

No matter what happens, I'm always your friend…"

I’m proud of my happy ending okay they needed it.

26. Is there anything you’ve wanted to write, but you’ve been too scared to try?

I have a WIP concept for a 101 Mice based off 101 Dalmatians, which would’ve involved a number of OCs (yes, including a group of OC Brinky kids.), but it might not get anywhere tbh. Mostly because I don’t really deal in OCs unless they’re minor characters.

The concept: The villain would’ve been an OC named Malicia de Vil, who’s a niece to the original Cruella. Basically she’s an eccentric rich woman who became interested in breeding mice to create fur trimmings for accessories and dresses (since the story takes place in southern California, an entire fur coat would be impractical), and ACME Labs took the generous funding they were given by her to create Project Gloss, which would’ve raised hundreds of baby mice to adulthood until their fur was ready for collection.

To accomplish this, the gene splicer from the failed Project BRAIN would be reconfigured to splice genes that favor long, lush fur, and sentience was just a throwaway side effect this time around. However, the mice subjected to this experiment were much younger than the ones used in Project BRAIN, and many didn’t survive.

Brain is in the middle of his usual plans of world domination when someone brings in 2 survivors of Project Gloss just after the gene splicing. They’re left in a different cage across the room and are squeaking from hunger and cold. Pinky is immediately drawn to the babies since he’s got a bad case of Empty Nest Syndrome since Romy left home, and so does Brain but it’s not like he’ll admit it. Brain warns about getting attached, but nope these are Pinky’s babies now, so Brain unlocks the cages for his friend so he can go care for the babies.

Still trying to salvage the plan, Brain goes into the gene splicer room to obtain a few spare parts for his machine...then he hears a tiny, weak squeak, and discovers a small, barely alive, gene-spliced mouse baby. Brain tries to steel himself against it and tries to gather what he needs first then retrieve the baby immediately afterward, but the squeaking suddenly stops and Brain panics, immediately dropping the plan in favor of warming up and reviving the baby. Thankfully, she survives.

Pinky is confused when Brain shows him the 3rd baby, but he quickly accepts her along with the other two. Brain is highly emotional at this point and just plops against Pinky, and he finds that Pinky has already named the two babies he was taking care of Colby Jack and Pepper Jack.

Pinky asks what Brain named the baby he’d brought in, and Brain tells Pinky he can name her if he wants, but Pinky says it’s only fair if they get to name 2 kids each, and Brain’s only named Romy so far.

So Brain concedes and after some deliberation, settles for calling the infant Amygdala (nicknamed Amy for everyday use), after the portion of the brain that controls memories and emotions. Pinky accepts the name and they sleep the rest of the night.

Brain researches the details of Project Gloss soon after the babies’ adoption and realizes that their new charges will be raised only for their fur and will be killed for it once they’re grown. So the mouse family stow away with a young intern couple who are essentially this AU’s versions of Roger and Anita so the babies can be protected. The interns, while they don’t speak mouse, care deeply enough to allow the mice to hide in a purse so they can be smuggled out of the lab and into their home. A hidden camera catches them at this though, and Malicia de Vil is highly displeased and orders the interns’ positions terminated, though neither of them are particularly upset about this.

3 months later, Colby, Pepper, and Amy are thriving, and their big bro Romy even drops in for a visit every now and then, much to Pinky and yes, even Brain’s delight. While Pinky loves his family, he also craves a date night with Brain, and they go out to dinner. Romy is having a movie night with Bunny at their own place. The babies are tucked in and asleep, and the interns are just cuddling on the couch.

Then somebody breaks in, non-fatally injures the human couple, and steals the mouse kiddos. Halfway through their dinner, Pinky is overcome by panic and thinks something is terribly wrong. Brain tries to reassure him the kids are just asleep, but Pinky won’t listen and rushes out the door in the direction of home, so fast that Brain can’t keep up. Brain stays behind to get the half-eaten meals boxed up and paid for, annoyed with Pinky for breaking the date night. 

By the time Brain gets back, Pinky is a complete mess, the humans are just calling 911 to report a break-in and injuries, and the kids are nowhere to be found. 

Eventually Brain finds a lead that points to the de Vil mansion, and the two set out to rescue their kids. They also recruit Romy and Pharfignewton’s help in the journey. 

This took way too long to type lol XD