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nutty1005 · 1 month

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Xiao Zhan | The simpler is more complex

Original Article: https://mp.weixin.qq.com/s/Zkps0vHvP89ZrMWQIUZ3NA Original Author: JIAWEI This article was originally published on 10 August 2024 on ELLE’s Weixin Official Account 世界时装之苑ELLE.

Xiao Zhan believed that truth brings simplicity. But in performance, he is starting to like multi-sided and complex characters more, or rather, this is the true and real state of human existence. At a time when everything is being simplified, to be willing to admit the difference between people, to seek the possibility of communication, to be sensitive and defend complexity, this definitely requires passion, as well as courage.

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Two black curtains reached the top of the studio ridge, neatly separating the shooting area from the surroundings, there was a need to go through a maze of them to enter the small core space. Pure white, plenty of air conditioning, and the camera shutter sound was high-frequency and continuous.

Xiao Zhan wore black clothes and rarely made any unnecessary movements. For a while, the lights broke down and photography was suspended, so he maintained standing in the dark with one foot on the wooden box; when the staff and the photographer were discussing the photographs, adjusting the styling, he stood alone in front of the display screen, and the weak screen light enveloped his body. Very occasionally, he swayed slightly to the background music, his legs lean but muscular.

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#01 I’m afraid of becoming dull

After entering the entertainment industry, these things quickly became part of his daily life – cameras, spotlights, monitors, and barriers. Because of his career and popularity, he had fissioned into countless “Xiao Zhans”, such as giant portraits on the facades of high-end shopping malls, the projections of an astonishing number of fans, or the appearance of characters in successive movies and TV series.

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Currently, in the dressing room after the shooting, Xiao Zhan was carrying his box of whole grain salad, vividly imitating the scene of meeting director Zheng Xiaolong.

“I was a little bit hesitant, so I asked the director if he wanted me to be thinner or stronger? He said, thin, of course thinner, so good looking, sharp.” After a while, Zheng Xiaolong saw him again while taking final costuming photographs, “He said, hey, you’ve done well.” From then till now, he has lost more than five kilograms.

Xiao Zhan, the source of all of this fission, was presentable and relaxed, to him the glamor seen by the outside world was a supplementary value. Sometimes he even forgot about it and said, “No one really cares about you.” Then he continued to talk about his work.

Recently completed was the 5-month filming of “The Legend of Zang Hai” in Hengdian. The previous film, also shot for 5 months, was the film “The Legend of the Condor Heroes: The Great Hero” directed by Tsui Hark. This was often the case for large-scale movies and long-running television dramas, it took four or five months once you joined the group. In 2022, his filming work was mainly “Where Dreams Begin / The Youth Memories” and “Sunshine By My Side”, in 2021 it was “The Longest Promise”, in 2020 it was “Ace Troops”, in 2019 it was “Douluo Continent” and “The Oath of Love”.

Endless filming appointments. Hence, it was sometimes impossible to decide whether the interval between filming should be lengthened or shortened.

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In the second half of 2019, during the filming of “The Oath of Love”, Xiao Zhan was filming during the day and recording the variety show “Our Song” at night. Both sides were very challenging. The former was his first time playing the male lead in an urban drama, so he had little experience and was under great pressure; the difficulty of the latter lies in the harmonizing, “I had to memorize all the harmonizing that were different from the song’s tone, and not to be led astray. “

“Then, I thought it didn’t matter. I slept for an hour or two and woke up a good man again. But now, while my mind says it doesn’t matter, my body will make some protests.”

This year he was filming in Hengdian. Later, one day, he discovered that his tonsils were inflamed and it was painful to swallow, but he went to work as usual. Until the director came over and asked him, what happened to your eyes? Only then did he see his own swollen eyes in the mirror, held on until the afternoon, “completely like a frog.”

He had to go to the hospital, the symptoms themselves were very common and could be stopped by taking medicine. What can’t be done was exactly what doctors advised the most: you need to rest.

More importantly, “Perception will become dull. I am really afraid of this, afraid of becoming very mechanical and formulaic.” When saying this, the emphasis was on the word “really”. When he chatted with seniors, “They also said that you have to live life, you need to experience life.”

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The fact is that the life in the limelight is somewhat contrary to the life of ordinary people, but the profession of an actor requires him to be in touch with as many folds of life as possible.

A while ago, he watched a one-man show on a variety show, describing the current workplace situation of contemporary young people. Xiao Zhan had opened a studio and worked before entering the entertainment industry. He could understand the gloom caused by going to work, but the new vocabulary and tools that appeared in the workplace made his sense of resonance weaken. He found himself gradually uncoupling to a certain extent.

#02 The flavor of life lies in the details

In early June, Xiao Zhan took a short vacation and returned to his hometown of Chongqing. He loved walking very much, and one night he walked for several hours, visiting old streets, People’s Liberation Monument, and even around the place where he used to work.

In 2014, the 23-year-old Xiao Zhan graduated from university and worked as a designer in a design studio. Every weekday morning, he transferred from Line 2 to Line 3 at Niujiaituo Station, pushing through the crowds and squeezing onto the light rail, and several times he had been squeezed so hard that his face was pressed against the glass windows.

He simply stuck against the glass and looked at the Jialing River below, seeing the strange rocks exposed in the dry season and various people, including winter swimmers, joggers and fishermen, with a rather optimistic spirit.

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He still loved to observe the people around him——

“Why are you still here so late?”

“People walking in a hurry must be people who have just gotten off work and are rushing back, their behavior is just like when I was trying to catch the subway, when it’s the last train and you want to run, in a panic. Some food delivery guys are rush forward undauntedly. There are also some very leisurely people, sitting there drinking beer, then going home and starting a new day.”

“Everyone has an exciting story happening, and it is everyone’s life that makes up our society. So it is wondrous, everyone is the protagonist, we are all filming our own biographies, how will tomorrow’s story develop?”

At that moment, mixed in, he was like all those who have been busy working in a foreign land for a long time and finally had the time to go home, and discovered that “it had been a long time since I came here, and there had been quite a lot of changes.” “Actually, I’m not particularly happy or have any other feelings. I’m living, that’s all.”

Two and a half days later, Xiao Zhan left Chongqing and returned to Beijing due to work, then rushed to Shanghai, and then in turn to France. This time he brought his parents too. This was a long in coming family trip, within a week, they traveled from France to Switzerland and back to France. Every detail of the trip was magnified, they were happy, bickering, or just walking for a while, “it was all very vivid.”

On the day they parted, they had dinner at a restaurant in the south of France, the car to pick him up arrived and he had to leave first. Before leaving, his mother hugged him and told him to take care of himself. In a rare move, his father also hugged him awkwardly.

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The flavor of life lies in the details.

“I used to think that work was everything and life was not that important, it was nothing more than having a place to sleep, then getting up, going to work, finishing work, and resting. But now, when my parents have grown older, and I have not been with them for a long time, you will feel as if each other’s lives, even your family’s, would become further and further apart. “He especially did not want this to happen.

The way to avoid suspension and regain the real sense of life is not difficult. “When you have time, go out and see more. The important thing is to feel life and feel the world. Even if some of the things are bad and cruel, they are all life, and will burst out with energy when you need it.”

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#03 Stay innocent, stay complex

Halfway through the interview, Xiao Zhan suddenly said that he was ambivalent about long interviews. On the one hand, he was worried that he had not grown up enough and would show ignorance in the conversation, but on the other hand, he wanted to explore some subtle feelings through the conversation because he felt that he was not good at using words to record them.

Observation, feeling, understanding and expression are the essentials of why actors can bring creativity.

“Dialogue is also muscle memory.” Xiao Zhan said, “Although I am very introverted, I am not antisocial. Because I think actors need to learn to express, express your inner thoughts, and digest the content conveyed to you by the other party.”

Before the filming of “Sunshine By My Side” started, he met with the main creators and held several script meetings to deepen his understanding of one another and the characters. In the early stages of “The Legend of Zang Hai”, the producer also mentioned that he would discuss the script in detail and talk about a scene with a lot of his own understanding.

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Xiao Zhan is not an actor with a professional background, when he first entered the industry and filmed “Battle Through the Heavens” and “The Wolf”, he had strong doubts and asked himself, am I suitable? The constant negativity and self-refuting made him lose self-confidence.

Sometimes he would be asked what he would be doing now if he had not participated in the talent show, debuted, or entered the entertainment industry at the age of 23. He had thought about it, but did not look back.

If he was not good at acting, then he needed to spend extra time taking acting classes, review more in the monitors, and ask more advice from his seniors. He put his head down stubbornly, and with hard work, he slowly found the knack.

Later the filming of “Where Dreams Being / The Youth Memories” started, Xiao Zhan played Xiao Chunsheng, a young man from the military courtyard in Beijing, who was completely different from him, and even his accent was completely distinct. He felt insecure. Before filming started for many scenes, director Fu Ning would run over and whisper to him, “Don’t be afraid Zhanzhan, just speak bravely, if you feel it, just say it, the audience actually can feel your emotions and what you want to express.” .

He also gradually gained more self-awareness: “Techniques may not be my area of expertise, I rely more on feelings. Only when I feel it myself then I can have the confidence to interpret it. If I rely solely on some techniques, I don’t think it is sufficiently moving.”

It had been 8 years since Xiao Zhan first acted, and his resume included leading male roles in films and television dramas of various themes. But he still felt that he is a newcomer and hopes to cooperate with more experienced production teams if there is an opportunity in the future.

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He would not think too much, he actually did not know his work plan divided by year. He only cared about the work arrangements for the next stage, rather than “asking about things that are too far away.”

“I still feel like a child now, but in fact I am not anymore. It seems like I am still in high school, but in fact I have grown up.” The nature of a child means curiosity, desire to explore, and power of imagination.

He placed the curiosity and desire to explore into his characters, “I mean, for myself, when I dig into the character’s background and past, I explore the complexity and contradiction of the character as a person, and present it. Only in this way can some of his choices and motivations be understood by the audience, and the work may then be good, and only then can you have the audience you have now, right?”

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#(Q&A)

ELLE: During the break, will you think about anything on the set? Xiao Zhan: Of course, I remember that just a few days after filming was completed, I was still dreaming that I was still filming, and the director and I were still discussing how to say that phrase on set? How to handle that scene?

ELLE: Do you actually miss the atmosphere on the set? Xiao Zhan: I like it very much, because I like the feeling of everyone creating together and working together to get something done.

ELLE: When you first entered the entertainment industry and your popularity grew very quickly, you said you felt it was a bit unreal and magical, but now you seem to be quite relaxed. How did this change occur? Xiao Zhan: Rather than being unreal or magical, after so many years, I feel that I hadn’t had time to adapt to such a fast pace at that time, so when I woke up from sleep, I was like where am I today? What am I doing? I think it is a process, just like when you first enter the workplace, you will be very excited, “Work here I come, please take good care of me”, “My highness is here, everyone get out of the way”, “I can do it, I will do it”. (Laughs) But after experiencing a lot of things, you will feel that it seems that everything needs to be considered in the long term.

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ELLE: In several interviews, you mentioned that you like to play roles that “can convey energy.” Why do you have such a preference? Xiao Zhan: Because I think this is the life of the character. The kind of energy I’m talking about is not just a single, generally understood positive energy, I’m talking about nourishment that can subtly influence and moisturize. I believe that every character has a complete storyline inside, this is what I like very much, and as long as you dig deep, you can move people. I don’t really like to call the villain a “villain”, as it seems to be a bad character from the beginning, but in fact it is not, he may have his own difficulties.

ELLE: It sounds like “transmitting energy” is just a general term, but is it actually about understanding different people through performance? Xiao Zhan: Yes, if you break it down to each character, what they convey is different. But if you want to talk about “good people” and “bad people”, then I don’t think it’s interesting.

ELLE: So do you think performance is a form of communication? Xiao Zhan: Yes, you can say that, I think it’s great to say that, (performance) is a bridge to communicate with the audience. Just like when a drama is broadcasting, I will read some of the audience’s comments and impressions after watching it, and I feel that they have a very rich feelings about the work. When I see some comments that are exactly the same as my thoughts during the filming, I will feel very amazed, as if the bridge is really connected, we don’t know each other in life and have never communicated with each other, but he suddenly understands my thoughts then, I’ll just feel that, oh, acting is a beautiful and magical thing.

ELLE: Do you watch some science fiction movies, TV series, and literary works? Xiao Zhan: Yes, I used to like watching “The Three-Body Problem”, I have actually watched some science fiction movies recently, the American drama “Constellation”, and recently I am watching “Dark Matter”, which is about infinite flow and parallel time and space. Because I think maybe there really is a parallel time and space. Every choice you make will split out a different parallel time and space.

ELLE: Then will you imagine Xiao Zhan in parallel time and space? Xiao Zhan: I will really wonder, for example, is he still an actor? Maybe yes, but is he still filming now? Is he still singing now? Or is he also a designer? Is he an employee or is he his own boss? (Laughs) Really, I will.

ELLE: As for the future, what do you think it will be like? Xiao Zhan: Wow, I feel that the world may return to its original nature when the time comes instead, maybe the world will become a better place, and people will return to very essential communication.

ELLE: This is very interesting. Why do you think so? Xiao Zhan: Anyway, at least now I have a little aversion with this kind of ubiquitous Internet, when we were young, there were no mobile phones, everyone just chatted during meals, my friends would all come downstairs to play, hide and seek, and play various games, I feel that that time was very precious instead.

ELLE: Will there still be an actor career by then? Xiao Zhan: I think there will be. I believe that as long as life goes on, drama will continue. Because everyone needs an outlet, emotional resonance and sustenance, be it images or sounds. So I feel that even if the world is destroyed, as long as there are still people, drama will definitely exist.

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#xiao zhan #xiaozhan #肖战 #sean xiao

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playertale-au · 5 months

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[NOTICE] Thank you for the 300+ followers. To celebrate, bits of PLAYER!Tale AU concept( regarding Player) is shared

Reposting because Tumblr decided to post instead of saving it in drafts when I'm not even finished. Love you tumblr! (╯ᐛ）╯︵ ┻━┻

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A/N:

Oh, wow! We actually reach 300+ (as of now 310) followers!

⸜(｡˃ ᵕ ˂ )⸝♡

Thank you very much from the bottom of my heart, I’m glad all of you enjoyed the story despite my art not being that good. I actually wanted to draw for 250 followers but I didn’t realised we passed that milestone.

Anyways! To celebrate, I wanted to share some concepts regarding the Player based on my memories, though sorry if there is like a black blotched in the drawing as that is considered as spoilers.

To start off, I began creating this AU maybe 5/6 years ago, on and off, (re-writing or removing some stuff along the way) I had loads of concept art and drawings back in 2019 but sadly those old arts were, ummm, forcedly deleted after a disagreement with someone I trusted, haha. The pain for a FT user in ibis paint. ｡ﾟ(TヮT)ﾟ

Then 2023, I wanted to move forward. So I decided to give it a shot and start drawing again. I wanted to share my AU (better late than ever),＼＼\(۶•̀ᴗ•́)۶//／／ and also I thought it will help overcome my fear of drawing and start liking to draw again.

Anyway, here we have Player’s design concept (+ explanation):

Version 1:

Player actually does not inhibit Frisk’s body, as they are not trap in the game, instead, they have their own “Avatar” basing on the data and sprites of Frisk and Chara. (The situation is more towards VR? AR? I’m not sure what to call it) The Player has their memories intact.

The story is just Player goofing around in Undertale, until plot happens, but I didn’t really like the idea as I have no clue how to progress the story forward, so the whole story was re-written.

Player mostly hack codes, while Frisk has the Reset/Reload button.

Initially, their eyes didn’t change colour when using abilities. But I wanted to distinguish what and when the abilities are used.

Version 2:

This is where, I decided that the Player actually inhibits Frisk body, though they are not amnesiac. Frisk is like a ghost (narrator?) here. The image above is post-skip version to maybe 1 year trapped in Undertale. This idea was scrap and rewritten due “Chara” ‘s story and I wanted to involved Gaster in the story. (Also, because I didn’t want to draw this version hairstyle anymore, hahaha ( ≧ᗜ≦))

Player has both the hacking and reset/reload abilities.

This version of Player is more uptight and serious.

Version 3:

I think this is like 2nd or 3rd version of the finalise concept.

Our current Player. I made the hairstyle simpler.

This Player inhibits Frisk body and is amnesiac. The personality shifted so it’s easier for the player to act consistent. This version is more carefree than ver 2, they are similar to ver 1.

First design of the Player (ver 3).

Despite being ver 3, I wanted to keep a bit of the ver 1 and 2 hairstyle but decided not to. Again, I wanted a simpler hairstyle.

This personality is just them being stress and filled with anxiety. A nervous wreck and a crybaby. Cries a lot at the first arc until they pull themselves together. But I didn’t wanna make them cry all throughout the story, if I continued to write them like that, I might ended up smacking Player myself hahaha. I ended up toning down the personality.

Gaster would have replace Frisk as the ghost (narrator?). But I decided not doing it, because it conflict with the plot. That, and the story would be over much quicker with him around.

Side note: I had to change the relationship between Sans and the Player(hate, confuse, no interaction, chill, idk? etc), a lot of times, but in the end I decided to make him not trust the Player.

Previously in most iteration, he just hates Player. I planned to have him to kill the Player the first time they exited the ruins, but decided to go against it as it doesn’t really fit his style. Also, the story would go very differently if he did commit to it. Maybe one day I can make him kill them. In an alternate timeline maybe. ꉂ (´∀｀)ʱªʱªʱª

Extras: Player in different outfits (loosely)based on the other fallen humans in this AU. (+ ruin outfit)

There is a reason, why the Player had worn some of these outfits in chapter 3 and 4.

Don’t worry, it’s not originally the clothes worn by the other children, Toriel made them. She has spares. (Sorry, to the one that find it creepy, when it was first shown, hahahaha)

And, that’s all for now I am able to share, I wanted to show more, but I’m afraid, that’s already in the spoiler territory.

Anyways-! Thank you again for the follow, each and every one of you are the best! And I hope you enjoyed the upcoming story!

#PLAYER!Tale AU #Thank you all so much #no seriously #Spoilers? Maybe #PLAYER!Tale AU concept

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buckleylove · 3 months

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9-1-1 Character Birthdays

Okay, so I’ve been going through all of 9-1-1 to create a timeline of when episodes were set etc - I have no intentions to post that tbh, it’s purely for myself like my brain fully latched onto this idea and wouldn’t let me rest until I figured it out.

However, this does mean I’ve found a fair bit of information on birthdates/years of main/side characters so I thought I’d post that here as a kinda comprehensive list with all the evidence I’ve found that supports (or even directly contradicts) these dates for anyone that's interested. This doesn’t include all of the main/side characters, because with some of them there is literally nothing to go from and I wanted to try to stick to the facts we’ve been given instead of just guessing random years from nowhere.

Before I get into it, I just want to emphasise that whilst there are a few moments where the date of certain episodes is clear, a lot of what I’ve had to go off of is when characters reference past events by how many weeks/months/years it’s been. And when a character says “x months since..”, they may be rounding up, rounding down, or they may just have an awful concept of time. So, just take it all with a pinch of salt because even though I’ve narrowed it down as best as I can, I may still be a few months out.

So, here’s what I found in a table format, and then below is all of my explanations/workings for each of them!

Athena - March 22nd 1967/68

Okay, so Athena’s birthdate is one of the simpler ones, because Athena says she was born on March 22nd in 6x08.

“Can you read his handwriting? Because my birthday is 3/22-“ [6x08 at 20:45]

Now, Athena didn’t say the year she was born in, but in 1x09 she says that she is 50.

“I’m figuring out how to be single at 50.” [1x09 at 37:15]

1x09 is set in March 2018. The way I worked this out involves a lot of working backwards, but I’m going to list it below for anyone who’s interested.

Firstly, we know 1x09 isn’t set an earlier than March 2018 because 1x06 is the Valentines episode (so February 14th 2018), and 1x07 shows dispatch call logs from February 28th 2018. Now that we know it’s set in at least March 2018, we need to check if there’s been any time jumps that would result in 1x09 being set later in 2018.

So, here’s how I confirmed that there has been minimal time jumps between 1x07 and 1x10:

In 6x15 at 09:45, we see Shannon’s grave and find out that she died on May 6th 2018.

Shannon died in 2x17, so this episode must’ve been set on May 6th 2018.

In 2x18, after Shannon’s funeral (so not long after 2x17), Eddie says his probationary year is nearly over and at the end of the episode, his probationary period ends. So, 2x18 is still set in May, with the episode likely ending around June 2019.

Therefore, 2x01 (when Eddie starts his probationary period) would likely be set in June 2018.

In 2x01, Bobby and Athena have been together for “almost 4 months”. [2x01 at 26:31]

This means that 1x10 is set 3/nearly 4 months before 2x01, which would mean 1x10 is set in late February/early March.

We know that it can’t be set in late February because of 1x07 being set on the last day of February, so 1x08-1x10 must all set in March 2018.

Personally, I think it is more likely that 1x09 is set in early march. This would mean that because Athena’s birthday is on March 22nd, she’d be turning 51 that year, which would make her birthdate March 22nd 1967.

However, there’s no official confirmation of this, and it’s still possible that 1x09 is set later on in March, which would mean she turned 50 in 2018, so her birthdate would be March 22nd 1968.

So, Athena’s birthdate is March 22nd 1967/68 (with a higher likelihood of it being 1967 in my opinion).

Bobby Nash - between late March 1965 and early March 1966

Okay, so Bobby is one of the characters in 9-1-1 that has had his age mentioned/shown more than once but both times contradict each other.

In 1x01, Bobby outright says he’s 50.

“I’m 50 years old, I’m taking the elevator”. [1x01 at 11:21]

1x01 is set in January 2018, so if Bobby is already 50 at this point, he either:

Already had his birthday that year, so turned 50 in January 2018 (born January 1968), or;

He’s turning 51 that year, so was born February-December 1967.

However, this is all made redundant because his dating profile in 1x10 says he’s 52 [1x10 at 08:19]. This might’ve been an honest mistake when they made his dating profile because it’s on screen for like two seconds and they may not have thought too deeply about it, but I’m more inclined to believe this as canon than his comment in 1x01. This is mainly because 1x01 is obviously a pilot episode, and a lot of things in shows get changed after a pilot. Normally, I would believe what a character says over something like a dating profile that’s shown for 2 seconds so may not have been fully thought through/fact checked, but in this case I’m gonna believe the dating profile.

We already know 1x10 is set around March 2018 (from what I wrote about Athena’s birthdate, I’m not going to torture everyone by writing it all out again). Therefore, Bobby either:

Turned 52 in January-early March 2018, meaning his birthdate would be January-early March 1966, or;

Is turning 53 in late March-December 2018, making his birthdate late March-December 1965.

Therefore, Bobby’s birthdate is between late March 1965 - early March 1966.

Chimney - October 20th 1977 but also April??

Chimney is another character that has two mentions of his birthday that contradict each other.

Firstly, we see his ID in 2x10 [at 42:47], which says his birthdate is October 20th 1977.

However, we actually see Chimney celebrate his birthday in 3x11. There’s no mention of how old he turned in this episode, but we can deduce that this episode is set around April 2020. We know 3x11 is set around April 2020 because 3x10 was the Christmas 2019 episode and in this episode, Karen makes an appointment on January 3rd for her and Hen to start the fostering process. In 3x11, they foster Nia “after 3 months of paperwork”. So, this brings us to April 2020 for 3x11.

Therefore, Chimney’s birthday would be in April.

(Not gonna lie, this is hilarious to me because they’ve given us two months that are 6 months apart which is literally the furthest apart you can be in a year lmao)

If I was to guess, I’d probably say he was born in April 1977, which is a mix of the two dates they gave us. It’s hard to deny that he was born in April when we literally witnessed him having his birthday in an episode (something we haven’t seen with any other main character). Also, the ID is similar to Bobby’s dating profile in that it could just be something that wasn’t 100% thought through or fact checked.

Hen Wilson - September 1979 to September 1980

Compared to other main characters, there’s very little to go off of with Hen’s birthdate. The only thing I could find was from 4x03, which is set towards the end of 2020.

In 4x03 [at 34:50], Hen says “I’m a Black lesbian that joined the fire department at 30, that started med school at 40”. If Hen is 40 at this point, she either:

Turned 40 pre-September 2020, so was born pre-September 1980, or;

Is turning 41 post-September 2020, so was born post-September 1979.

So, Hen was born between September 1979 to September 1980.

Buck - March 1991 to October 1991

With Buck, I came across three times where they’ve mentioned his age, so I’ve narrowed it down from there.

Firstly, in 1x09 [at 23:56] Buck says he is 26. Therefore, he either:

Turned 26 in January to March 2018, meaning his birthdate would be January to March 1992, or;

He is turning 27 in March to December 2018, meaning his birthdate would be March to December 1991.

In 3x01, Maddie says “Buck is 28 and I still have my hands full.” [3x01 at 35:10].

3x01 is set around October 2019 because in this episode, Buck says he has been fighting for five months to get his job back [3x01 at 22:35], and his leg was pinned by the ladder truck in 2x18 in May 2019.

So, if Buck is 28 in October 2019, he either:

Turned 28 in January to October 2019, which means he was born January to October 1991, or;

He is turning 29 in October to December 2019, so was born October to December 1990.

Therefore, looking at these two separate statements, the only months that overlap are March to October 1991. If he was born in any other month/year, only one of the statements could be true - this is the only way both statements can be true.

Another time that his age is mentioned is in 4x05 [at 10:42] when Buck says it’s been 29 years. 4x05 is set late 2020, so if Buck is 29 at this point, this supports the theory that he was born March to October 1991.

Considering that Oliver was born on June 27th 1991, they seem to be sticking pretty close to that for Buck.

Maddie - 1982 or 1983

A lot of the information we have on Maddie’s age is given to us around Buck Begins - so 4x04 and 4x05.

In 4x04, Maddie says she promised her parents she’d keep Daniel a secret, and Chimney said that she made this promise when she was 9.

“I promised my parents-” “-when you were 9!” [4x04 at 04:06]

So, the year Daniel died, Maddie was 9.

From 4x05, we know that Daniel died in 1992, because he died when Buck was 1, and Buck was born in 1991.

“He was seven when you were born. He was gone a year later.” [4x05 at 01:54]

Therefore, Maddie was 9 in 1992. This means she was born in either 1982 or 1983. This would make Maddie 37/38 in season 4 (2020) when she is pregnant, which is supported by Phillip saying she’s a high risk pregnancy (over 35).

Eddie Diaz - September 1st 1992 to August 31st 1993

Eddie’s birthdate is an estimate purely based off of Shannon’s. We see from Shannon’s grave in 6x15 [at 09:45] that she was born on October 16th 1992.

In 6x17, it’s revealed that Eddie and Shannon were in the same grade at school.

“Weren’t you guys in the 12th grade when you met?” “8th, then we lost touch and reconnected in 12th.” [6x17 at 14:22]

So, to be in the same grade as Shannon, Eddie would be born between September 1st 1992 and August 31st 1993.

This means that in canon he is definitely younger than Buck which is insane to me and I might just choose to ignore it lmao.

Christopher Diaz - January 2011 to April 2011

Eddie Begins [3x15] outright tells us that Christopher was born in 2011 from a flashback of Shannon giving birth in 2011.

There’s a few other mentions of Christopher’s age that helps to narrow down the months.

In 2x02, Christopher is 7. [2x02 at 16:31]

2x02 follows on from 2x01, which is set in June 2018. So, if Christopher is 7 in June 2018, we know he was born in 2011 so that means he has already has his birthday this year. (If he hadn’t had his birthday, he’d be 8 in 2018 which would mean he was born in 2010, which we know isn’t true.)

So, Christopher would’ve been born between January and June 2011.

In 3x03, Buck says Christopher is 8 when he’s searching for him.

“I’m looking for an eight-year-old boy” [3x03 at 12:36].

3x03 is set in October 2019, so using similar logic to before, Christopher has already had his birthday that year. So, this supports the idea that he was born between January and June 2011.

So, ‘Eddie Begins’ does actually make things slightly confusing when Eddie’s helicopter goes down. We’re shown that this happens in 2015, and then the next flashback says ‘El Paso, Texas, three months later’. So this flashback is either still in 2015 or in early 2016 at the latest. Now, this is all fine until in the flashback, Eddie says “And you immediately want me to get into a car and drive 800 miles with a six year old” [3x15 at 29:31]. This flashback can’t be set any later than early 2016, which means Christopher can’t be 6. At most, he’d be 5. I guess he could’ve turned 5 in January 2016 and Eddie is rounding up, but who would round up their kid’s age by nearly a whole year when it would’ve only been a couple of months maximum since his 5th birthday?? I’m inclined to believe that this is just a result of them messing up the year that Eddie’s helicopter went down, because the next flashback is in 2017 and Helena implies that Christopher is 6, so we’re back to the correct timeline.

In 3x16, Christopher is hosting his first sleepover, and Eddie doesn’t outright say Christopher is 9, but it is heavily implied.

“Celebrate with a bunch of nine-year-olds” [3x16 at 07:39].

3x17 is set May 4th 2020, so 3x16 is likely in April 2020. Therefore, if Christopher is 9 at this point, he would have been born between January and April 2011. Christopher still could’ve been born in May or June 2011 and Eddie could have meant that Christopher is nearly 9, which would have made sense for Eddie to round up because it would’ve been only a few months until he would have been 9. However, I’m trying not to make too many assumptions, so I’ll stick with the January to April 2011 estimate until they do something else in canon.

May Grant - December 29th 2001

In 6x08 [at 20:37], we find out that May’s birthday is December 29th from Bobby’s lucky numbers.

In 3x02, May is 17. 3x02 is set in October 2019, so that means she will be 18 that year. Therefore, she was born in 2001.

This is directly contradicted in 4x10 [at 36:56] when May listens to the 9-1-1 call that Athena made in 1x02 where May overdoses. In this call, Athena says May is 14. But 1x02 is set in January 2018, which means she would’ve been 16 (turning 17 on December 29th 2018).

Harry Grant - February 7th 2010

Ah, a nice and simple one with no contradictions (so far).

In 6x08 [at 20:34], we find out that Harry’s birthday is February 7th from Bobby’s lucky numbers.

In 3x13, Michael says Harry is 10. 3x13 is set in April 2020, so Harry has already had his birthday that year. This means he was born in 2010.

Albert - mid/late April 1999 to early/mid April 2000

Chimney makes it easier by saying that Albert is 20 when he makes his first appearance in 3x11. 3x11 is set in April 2020, so Albert was born between mid/late April 1999 and early/mid April 2000.

He’s either turning 21 April-December 2020, so was born in 1999, or;

He already turned 20 in January-April 2020, so was born in 2000

Jee-Yun - January 2021 to March 2021

Before I get into Jee’s birthday, it’s important to remember that she was born in season 4, and season 4’s timeline is weird. Most of early season 4 I have written down as ‘late 2020’, which makes it harder to narrow down Jee’s birth month. A lot of the confusion comes because they messed up the timeline by making covid/lockdown canon for season 4, but they seemingly forgot that they’d already reached May 2020 by the end of season 3. For example, 4x01 has a title card saying it’s September 2020, but they also say it’s been 6 months since Athena was attacked, which was on May 4th 2020?? And 6 months would make it November 2020?? And they say lockdown happened in March 2020, but this would’ve been mid season 3 in 9-1-1?? So, straight away season 4’s timeline is weird.

Luckily for us, Jee-Yun was born in 4x09, and in the episode before this, it’s revealed that Nia has been with Hen and Karen for nearly a year. Hen and Karen started fostering Nia in 3x11, which was set in April 2020. So, this means that 4x08 and subsequently 4x09 are set close to April 2021.

Therefore, I’d say that Jee is likely born between January and March 2021.

Denny - October 2009/2010

In the crossover episode, which is set between 4x03 and 4x04, Hen says Denny is 10. 4x03 and 4x04 are set towards the end of 2020, so Denny was born in 2009 or 2010.

In 6x09, it’s Denny’s birthday.

“It’s your birthday. We can do whatever you want today” [6x09 at 08:51]

6x09 is set in October 2022. I found this out because this is the same episode that Wendall dies, and we see in 6x12 that he purchased a camera on the same week he died, and the transaction was on October 19th 2022.

“A $300 purchase to an electronics website. Same week he died.” [6x12 at 08:52]

So, Wendall died towards the end of October 2022.

Therefore, Denny’s birthday is in October, but he could still be born in either 2009 or 2010.

Mara - mid 2014 to early 2015

In 7x07 [at 14:03], we find out that Mara is 9. 7x07 is set some time after April 2024.

Therefore, Mara either:

Already had her birthday in early 2024, meaning she turned 9 in 2024, making her birthdate early 2015, or;

She is turning 10 in 2024 and hasn’t had her birthday yet, so was born in mid to late 2014.

Therefore, Mara was born between mid 2014 and early 2015.

That's all!

And that's all of the information I found! I may have missed some important bits of info, but I did go through transcripts of each episode and skim through each episode too (looking for stuff like calendars on fridges and call logs lmao). So, I'm hoping I didn't miss too much!

#i have a headache #911 on abc #athena grant #bobby nash #chimney han #evan buckley #eddie diaz #hen wilson #christopher diaz #denny wilson #mara driskell #albert han #maddie buckley #maddie han #athena grant nash #may grant #harry grant #jee yun buckley han #911 abc

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cryssyboo · 2 months

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I love Tokusatsu (And it's time to make it your problem.)

Ok, This is something I finished writing like a month ago. It's basically a whole essay on what Toku is and some of it's elements. It's a long read, but if anyone ends up reading this I hope you enjoy it!

I am really, REALLY interested in Tokusatsu. (I’m not very subtle about it.) What is Toku? Toku is a genre of media that essentially translates to “special effects”. There are 5 major shows/franchises that fall into this category: Godzilla, Ultraman, Kamen Rider, Super Sentai, and Power Rangers. Now, personally, I’m not really a fan of Godzilla or Ultraman, but I am VERY into the other 3. There are also some other series that I’ll talk about. Now, someone reading this might be asking themselves: “Crystal, what the hell is a Kamen Rider or a Super Sentai? It all just looks like Power Rangers to me.”. That’s what I’m gonna answer here.

Kamen Rider began airing its very first show over 50 years ago, in 1971. The basic premise of any rider series is 1 or multiple people transforming into heroes know as ‘Kamen Riders’ using either a belt, a gun, a wrist mounted changer or a sword, along with various gimmick items (such as the Lockseeds from 2013’s Kamen Rider Gaim, or the Progrise Keys from 2019’s Kamen Rider Zero One) to fight an overarching villain. A typical Rider show lasts around 50 episodes, and ends in around August to September, with a new one almost immediately following it. The 2022-2023 series, ‘Kamen Rider Geats’, came to a close on August 27th, 2023, with the 2023-2024 series, ‘Kamen Rider Gotchard’, beginning on September 3rd, 2023. The 2024-2025 series, ‘Kamen Rider Gavv’, has been trademarked as of writing this. A rider typically has power ups that they get throughout the season, things like Kamen Rider Zero One’s Metal Cluster Hopper, Ex-Aid’s Hyper Muteki Gamer, Geats’ Boost Mark IX, or Gotchard’s Rainbow Gotchard form. Secondary Riders also get upgrade forms, like Tycoon’s Bujin Sword Raise Buckle, or Buffa’s Plosion Rage Raise Buckle. They also get a movie each summer, which typically has a cameo with the upcoming Rider show in it. There’s also sometimes side series’ and specials throughout the year, like Kamen Rider Outsiders, Tycoon meet Shinobi, and the Kamen Rider Legend special.

Super Sentai is a yearly team hero series about 3-5 people transforming into heroes to save the world, sometimes with gimmicks (like Zenkaiger’s Sentai Gears, Donbrother’s Avataro Gears, or most notably, Kaizoku Sentai Gokaiger’s Ranger Keys), sometimes without (like KingOhger’s OhgerCalibur or Kiramager’s KirameiChanger). The team also can gain more heroes throughout the show. For base teams of 5, the number of extra heroes typically ranges from 1-2, although we rarely get 7th rangers anymore. For base teams of 3, the number of extra heroes is typically capped at 1-2, upping the team to 5 members. The only exceptions I can think of are Ninpuu Sentai Hurricaneger, and Engine Sentai Go-Onger. Now, what makes this different from Rider? Well, for one, the suit designs are all standardized, and fit in with each other. But the bigger thing is, well, the giant ass robots each team pilot. The mecha, which I will be calling a Megazord from here on out (because it’s more recognizable), gets other auxiliary mecha (Zords from here on out) throughout the season the main team can use to increase the Megazord’s power. The 6th ranger (or any other extra ranger) typically gets their own separate Zord when they’re introduced. This Zord can also transform into a standalone Megazord, and can later on combine with the core team’s Megazord to create a more powerful Megazord. Towards the end of the season, the 2 or more Megazords combine with the auxiliary Zords to create one final combination, which I’ll be calling an Ultrazord for simplicity. Sometimes the Ultrazords are simpler, other times they’re what the community likes to call Clusterfucks. Some examples of this would be Samurai Ha-Oh, or God KingOhger. An example of the simpler ones would be something like ToraDora Onitaijin Kiwami. The main Red/White ranger (the color can vary, or sometimes even the whole team can use the power up.), and sometimes the 6th ranger also gets a power up midway/toward the end of the season (and even sometimes long after the show has ended, in the case of Gokai Red’s Gokai Galleon Armor). Some examples of this are Gokai Silver’s Gold Mode, The ToQger’s Hyper Resha, Super Zenkaiser and Super Twokaiser, or the Donbrother’s Omikoshi Phoenix. The previous sentai that was on air was OhSama Sentai Kingohger, and currently airing sentai is Bakuage Sentai Boonboomger. In recent years, sentai has deviated a bit from the norm, with Avataro Sentai Donbrothers being pretty much nothing but filler, with not much story tied into it, and 2023’s OhSama Sentai KingOhger not having many filler episodes, and being almost entirely story focused. However, Boonboomger seems to be a bit of a return to form for sentai.

Now, moving onto Power Rangers. This is the one most people reading this should know about. Power Rangers is a yearly team hero series about 3-5 people transforming into heroes to save the world, sometimes with gimmicks, sometimes without. The team also can gain more heroes throughout the show. Sound familiar? That’s because, with some notable exceptions, Power Rangers pulls all of its suits and most of its action and Zord footage from Super Sentai! The show pulls suits and stock footage from a Sentai season of the team’s choice, and adapts it for an American audience. Mighty Morphin Power Rangers (MMPR) aired its first episode on August 28th, 1993. However, the idea existed long before that. Power Rangers was an idea dreamt up by a man named Haim Saban during a trip to Japan in the 80s. He wanted to bring Super Sentai to the states, and put his own spin on it. The first series he tried to bring over was the 1984 series Choudenshi Bioman. It wouldn’t have been called Power Rangers, though. Saban was just going to call the show Bioman. He put together a pilot for the show (which sadly is still lost to this day), but no children’s network programs would pick up the show. He kept trying to pitch Bioman for a while, before eventually he went back to the drawing board. He tried again a few more times, with another series, 1991’s Choujin Sentai Jetman, before settling on 1992’s Kyoryu Sentai Zyuranger. He also made a pilot for this show (which was officially called MMPR by this point), and to his surprise, Fox Kids picked the show up. The show began airing in 1993 and blew up almost instantly. Nearly every kid who grew up in the 90s watched at least some form of Power Rangers. MMPR Ran for 3 seasons, all pulling different Zord and monster footage from either Zyuranger, Gosei Sentai Dairanger, or even some brand new Zyuranger footage Saban commissioned Toei to film for him. MMPR was followed by a miniseries called Mighty Morphin Alien Rangers, which was adapted from Ninja Sentai Kakuranger. In 1996, a new season of Power Rangers started: Power Rangers Zeo. The show dropped the Mighty Morphin, switched suits and power sets yearly, and up through In Space it kept a consistent cast, with the occasional switch out. After In Space, however, it swapped cast every year, with new characters each year. That’s how it's been ever since. However, the PR franchise itself has switched hands a number of times. Saban had the franchise from 1993 to 2001, when Disney acquired it as part of a larger buyout. Disney made, frankly, some of the best seasons of the franchise, despite the fact that they hated the brand and did not want it. Seasons like Dino Thunder, RPM, Jungle Fury. Disney continued to make new seasons up until Power Rangers RPM in 2009. In 2011, Saban bought the franchise back, and in 2011 Power Rangers Samurai went on air as the first show in what the fans call the Neo-Saban era (fun fact about samurai, the writers had to scramble to get a new season out after the buy back, so samurai is pretty much just a bad remake of Samurai Sentai Shinkenger). This era housed some of the worst shows in the franchise’s 30 year history. Shows like Super Megaforce and Ninja Steel. In 2018, Hasbro ended up buying the franchise from Saban, with Power Ranger Beast Morphers going on air in 2019 as the 26th season of Power Rangers. In 2021, Power Rangers Dino Fury began, and its cast will be the first since MMPR to stick around 3 whole seasons, as they returned as the main cast of the 30th season, Power Rangers Cosmic Fury, on September 29th, 2023. Cosmic Fury is also the first since MMPR to use just Zord footage from a sentai show (the show will be adapting Megazords from Uchuu Sentai Kyuranger), as the show uses completely original suits. Unfortunately, rumors suggest that Cosmic Fury is the last traditional season of the show, as it seems Hasbro has plans for a reboot of the franchise sometime soon. (post cosmic fury amendment: the franchise is dead. very dead.)

Power Rangers wasn’t the only show Saban made, though. He made a number of other shows using the PR formula. Those shows were Big Bad Beetleborgs (Alongside Beetleborgs Metallix), VR Troopers, and Masked Rider. Beetleborgs and VR Troopers were made using a mix of footage from different shows in the now dormant Metal Heroes franchise, with a mix of American footage, same as PR. Masked Rider followed that same formula, but instead was an adaptation of 1987’s Kamen Rider Black RX. While Masked Rider was a failure, Beetleborgs and VR Troopers actually did really well. The only reason they ended when they did was because the straight up ran out of footage to use. Older fans of Power Rangers probably remember at least Beetleborgs and VR Troopers.

When it comes to other shows in the genre, I’m not the most knowledgeable on them. There’s Godzilla (which most people probably know, it has a big presence outside of Japan, unlike most things talked about here), Ultraman, the aforementioned Metal Heroes, and Spiderman. No, that wasn’t a typo. Spiderman is genuinely a part of this rabbit hole. In the late 70s, a partnership was made between Marvel and Toei that allowed the 2 to use each other's properties. Spiderman (スパイダマン) was a result of this. Aside from some powers and his outfit, the show didn’t resemble our Spiderman at all. His suit was stored in a brace on his wrist, he shot literal fucking guns, and the biggest difference of all was that he had a giant robot. It’s name was Leopardon, and it’s the entire reason that Super Sentai has mecha in the first place. The first 2 shows, Himitsu Sentai Gorenger (not Goranger oh my lord) and J.A.K.Q. Dengekitai didn’t have mecha. It was the success of Leopardon that gave Toei the idea to bring one to the 3rd Sentai, Battle Fever J (fun fact, Battle Fever was also a part of the Marvel x Toei deal! It evolved from a japanese version of Captain America), and they’ve been a major part of the franchise ever since.

There are also some sudo-toku shows out there. Toku itself is limited to live action, but that hasn’t stopped various anime and cartoons from imitating the genre. Some of the ones I can name off the top of my head are Yo-Kai Watch Jam: Y School Heros, which is a clear toku parody, and Fuuto PI, which is an animated sequel to 2009’s ‘Kamen Rider Double’.

But we’re not done yet. It’s time to move into one of the biggest parts of this genre.. The Toylines! Yeah, if you haven’t figured out, these shows, while super cool, double as big toy commercials. Nearly every gadget they use gets a toy in the real world. From the base transformation device, to the gimmick, to the Megazords, it almost always gets a toy. The toy version of the changers and weapons are almost always smaller than the on-screen prop, but they get the job done. Megazords can vary in quality. Up until Donbrothers, Megazords have always been bricks, pretty much, Barely any articulation, and can barely move in the first place. However, starting with Donbrothers, Sentai Megazords have had decent articulation. (Boonboom amendment: Boonboomger Robo took away the articulation. Damn you Bandai.) The gimmick lines are typically released in multiple ways: Candy Toy, Deluxe, and Gashapon. The candy toy release is self explanatory. It comes with a little piece of candy. The deluxe format is the best version of the toy (although sometimes all formats are basically identical), and the Gashapon format can vary. Sometimes it’s really good, other times it’s the gashapon release of Gokaiger’s Ranger Keys. Speaking of Ranger Keys: Ranger Keys! This is probably the best part of any toyline these franchises have made over the decades. It began in 2011 with the release of Kaizoku Sentai Gokaiger, and, as the name suggests, were tiny little figures of the previous 34 sentai teams that could turn into keys to be used in the Gokaiger’s changer. These little toys were wildly successful, more than Toei or Bandai could have ever predicted. Now, over 10 years later, minus a few breaks here and there, the line is still going strong. We’re still getting Ranger Key sets through Premium Bandai pretty much every year now. Now, what exactly is Premium Bandai? It’s the bane of every Toku fan’s existence, that’s what it is. Many things go up there, like certain Kamen Rider Drivers, certain Sentai Changers, extra gimmick sets, action figures, unnecessary rereleases (cough PREMIUM DELUXE I AM LOOKING AT YOU.). Sometimes things are reasonably priced, but often the stuff that goes on to Premium Bandai is pretty expensive. Recent drivers like the Vision and Zillion Driver’s, some Villain Changers from Sentai like the Ninjark Sword or OhgerCalibur ZERO have been pretty expensive (for toys that is). Even some main series gimmick items like the Fantasy and Bujin Sword Raise Buckles have been PB items (Personally I think they should’ve just been retail items). There’s also the Memorial line, which is bigger and more show accurate versions of Sentai Changers. They’re expensive, but most of the time I think they’re worth it. If you’re a hardcore collector, it’s not worth buying the Deluxe Changers anymore, since they’re pretty much guaranteed to get a Memorial Edition when the show ends. Also, replica clothes sometimes go up there. Most of the Gokaigers outfits got replicas, so did Zenkaiser’s main jacket, along with the DGP jacket from Geats.

Now, this next part is still toyline related, but I wanted to separate it from the Japanese toylines, because the Power Rangers toyline is a fucking mess. The toys are almost always lower quality. There was a time where Bandai America, the original holder of the toy license, would import the original toy’s from Japan or just use the same molds, but those times are long gone. The toys were pretty decent up until the late Disney and Neo-Saban eras. Over time, Bandai’s Power Rangers toys got worse in both quality and detail. The toys were tiny, they were missing detail, and sometimes they were just pure dogshit, like with the Ninja Stars from Power Rangers Ninja Steel. While Bandai did get some good toy lines under their belt in the Neo Saban era, like the Dino Charge toyline and bits of the Samurai and Megaforce toy lines, Ninja Steel was the last toyline they made before Hasbro bought up the toy license, and then bought the entire brand from Saban. Hasbro had a decently strong start with Beast Morphers, the show still had a lot of the stupid Neo Saban regulations, but it’s not that bad. That's about all I can say for the toyline too, it wasn’t that bad. They came up with an original gimmick, which was cool, but they also made Beans Morphers Gold’s morpher a NERF Gun and never even released some things. For Dino Fury, the show was actually really good in my opinion, and the toy line was a lot better than Beast Morphers’ if you ask me. And Cosmic Fury? As a show, it wasn’t too bad. Not as good as its last 2 seasons, but it also had a crunched episode limit so it gets a pass. However, the toy line does not. We got 3 toys released in this line. A repainted roleplay set, the Cosmic Fury Morpher, and the Cosmic Fury Megazord. That’s it. But toywise, where Hasbro really shined was the Power Ranger’s Lightning Collection. It was a standardized 6 inch figure line that began in 2019, and lasted until 2023. Well, technically it’s on pause until… well, we don’t know. But still. Figures came with Head Sculpts, well chosen (for the most part) accessories, good paint, and absolutely NO QC ISSUES!! ….oh yeah, did i mention it had heavy QC issues during the later years of the line? Yeah, they were awful. It ranged from paint mishaps to literal missing accessories or wrong head sculpts. Sometimes the figures were just built bad, like Time Force Blue, and the packaging shift didn’t help with this at all. In fact, the removal of the plastic window made the QC issues more prevalent because no one could actively see the figure to get around them. Eventually it toned back down, but even then there were still heavy issues, with mold changes and all that. The drop down hips were almost always loose and the pinless figures were always fragile. As of now, the lightning collection is on pause. Why, you may ask? Well, because the entire franchise is on pause. There's no new content outside of the comics releasing. The reboot has moved from Netflix to looking for a new home, Hasbro signed a toy deal with Playmates, there’s the occasional merch drop or acknowledgement of the brand by Hasbro, and that’s really about it. They bought it because the CEO at the time really did care for the brand, but now that he’s no longer the CEO, Hasbro doesn’t really know what to do with Power Rangers. They’re trying to do things, and they have people on the team that care, but the higher ups don’t really care about the brand. And until either the reboot comes to fruition, or the production rights are sold off to someone who actually cares and wants the best for the brand, I think that’s how Power Rangers is gonna stay. It’s in a constant state of limbo, and I don’t see that changing anytime soon. So, yeah. A bit of a sad conclusion to such a long running franchise, but it is what it is. In its current state, Power Rangers is essentially dead until someone who cares gets their hands on it. I hope you at least semi-enjoyed reading this stupid essay of mine, and maybe you learned a thing or two from it!

#toku #tokusatsu #ultraman #kamen rider #kamenrider #supersentai #super sentai #power rangers #hasbro #bandai #toei #austism #saban #disney

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fizzingwizard · 7 months

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Four: the one about the Groke

Short one... because her time is short

Who's that lurking down a frosty path... it's the Groke!

Her vibe is awesome and running from her was one of my favorite parts of the game. In fact, I liked it so much that when she turned out to be a good guy I was disappointed. Like, of course I expected it, I just expected the Groke to be a Thing in the game and stick around longer, so the reveal that she's actually "harmless" would come later...

Frozen Snufkin popsicle looks all kinds of dead and horrific. Me likey

The whole scene had the best vibe. Creepy and exciting. This isn't really a complaint but I just can't help feeling the game didn't save the best for last! After this most of the quests are very light-hearted. Especially after seeing Moomintroll, even though he's imprisoned, you don't feel the same pressure that you do in the first part of the game when everything is unknown, Moomintroll's whereabouts are completely unknown, AND there's the Groke and forest fires... The story was told backwards, at least emotionally, in my opinion.

That being said, this scene where Snufkin approaches the police with the frickin GROKE following him is metal as hell

And I was about to shake my first when everyone congratulated Snufkin for putting out the fires, but fortunately he gave credit where credit was due haha. I do wonder what... exactly... Snufkin was supposed to be doing during the fire? Like... was he really running through the flames? Is that hat of his fireproof bahahaha. I'd have liked some coughing animation or some such I guess.

The characterization of the Groke is very friendly and sympathetic. I prefer a more legitimately frightening Groke - not malicious, but focused on her own desire. She seeks light and warmth, only to put it out. But if someone sees her, and reaches out within the boundaries that exist - Moomintroll on the beach swinging the lantern every night without fail, but never getting close enough to touch - idk it seemed symbolic of depression or other familiar dark emotions to me which are difficult but important to accept. (To me anyway - not sure how others read it.) The game goes for a simpler angle like in Moominvalley 2019 and I do get it. I would have loved for the Groke to have been more central to the storyline but I'm not surprised. I still really loved her appearance and gameplay

eta: oh and yeah "The Groke just wants some friends" thing fits in with the whole "loners should make more friends!" vibe. Sorry, but I am wondering... what, does she not freeze people immediately on touch anymore? lol I'm glad she has friends but how does this work and why didn't it before? Moomintroll made friends with her but... didn't tell anyone all they had to do was decide she's not that bad and it'll be fine...?

#moomin #snufkin #snufkin spoilers #snufkin melody of moominvalley #snufkin melody of moominvalley spoilers

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genopaint · 24 days

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WEEK 33, LET'S GO WEEK 33

As always you can follow me on twitter where they’re posted daily

And read more info on each of them below the cut

Daily Dragon #224 - Tankamat

Highly destructive dragons that have developed incredibly thick armor to better protect themselves when battling. They are HIGHLY aggressive and will often start fights with other monsters just for fun.

Another redraw from Fakeathon 2019!!

Daily Dragon #225 - Greenie

Another Green for the challenge! I have too many sonas!! This one is my Kirbysona! She gives the Spark power, and can fire out a large energy beam when she and Spark Kirby work together!

I have a lot of old sonas and self insert designs I've wanted to go through and update recently. And I figured this one slots in nicely with the daily dragon challenge: My Kirbysona!! Green is an electric dragon who gives Kirby the Spark ability when eaten!

Here's the original from around 2019 I think? It uses the old wildberry poptart color scheme!! Weird to think how recently I stopped using that color scheme for my sonas lol

I actually don't play a TON of kirby though I do enjoy the series. I imagine in Right Back At Yeah she's like an artist who shows up in some episodes rather than being a monster from NME

Daily Dragon #226 - Chimney Dragon

Between smoke breath from the top head and flame breath from the belly head, the Chimney Dragon can be deadly encounter! The bottom head's teeth are actually so big and far out that it can't chew, and has to burn food to swallow it.

this is yet ANOTHER redraw, this one being from around 2017 I believe? I just remember drawing it in highschool and a classmate suggesting I should make it a chimney thing with 2 heads, and I liked that idea a lot! So here we are!

I tried to make it look less like charizard for the redesign though lol

Daily Dragon #227 - Aquamentus

Since I beat a Zelda game for the first time this year I should probably mark the occasion by doing a Zelda dragon. And I know TP had its own dragon but for some reason (its simpler) I just kept thinking of doing this thing instead! So here it is!

Daily Dragon #228 - Rightysaur

And to catch myself up heres another dragon that's nothing too specific, but is more of a challenge. I drew this one entirely with my right hand! Which turned out to be a lot more difficult that I thought it would be

Daily Dragon #229 - Amoebodon

Tiny slimy dragons that are filled with odd organs covered in dirt and hair. An eyeball and a heart is all these creatures need to survive, and most outside elements can't kill them.

Daily Dragon #230 - Haredrusaur

Vicious, carnivorous rabbits that live in dark forests and mountains. They might look cute from a distance, but if you see that scaly tail, you better run!

#dragon #dragons #daily dragon challenge

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uwabbittuwabbit · 4 months

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Colors of…the Repsol Honda Team

At the announcement that every team is dropping a vintage livery come Silverstone, I am taking it upon myself to dig into the history of each team’s liveries. We shall start with Repsol Honda, the much storied, and nowadays much troubled manufacturer. The HRC official colors of red, white and blue purportedly represent passion (red), purity (white) and calm (blue), qualities that can be ascribed to winning riders, to paraphrase. In fact, the origin of these colors is much simpler: the colors debuted on the bike of one Morio Sumiya, who participated in the 24 Hours of Le Mans representing Honda. Little imagination is required then, to conclude as to why these colors were used.

Repsol’s current brand image is the work of the Wolff Olins consultation, only slightly altered in the passage of time. The change was brought on by the corporatization of Repsol, which as such needed something more commercially recognizable—an R encased in concentric circles just wouldn’t do anymore. The result is the orange and red sun motif with the white strike-through, which embody such ideas like that of “energy”, “professionalism”, “stability”, “strength” etc. Take of that what you will.

Nebulous brand concepts aside, what can be said definitively is that the bikes of the Repsol Honda team have become cornerstones of the grid, easily identifiable in their trademark orange (fun fact: they were the first team to paint the inside of their tires). Seeing as the Repsol partnership is due to end after this season, this may not be the case in the future. But we are concerned about the prospects of the past, so let’s round it up:

500cc Era Liveries

Pre Repsol

Not much explaining needed on my part because these are liveries that largely feature the HRC colors with a few other accents. This was probably their most experimental era as evidenced by the variation presented below:

From left to right, top down: Freddie Spencer circa 1983, Wayne Gardner circa 1990, Mick Doohan circa 1994, Wayne Gardner circa 1980 (exact date not sure)

Post Repsol

Back when Honda first partnered with Repsol their newly minted logo was in its first iteration, featuring a kind of teal color and some additional “speed” lines added on the bottom of the sun. All of Mick Doohan’s championship wins from 1995 onwards would be with some variation of the giant Repsol sun stamped on the side of his bike, the teal color permeating the rest of the cladding in an evocation of the sky. His last season in MotoGP would be spent with this livery too.

Top to bottom, left to right: Mick Doohan 1995, 1996, 1997, 1998

Honorable mention goes to Valentino Rossi’s Nastro Azzurro Honda! He wasn’t in Repsol Honda yet but I feel it would be remiss not to mention and certainly not hard to miss, considering that shade of yellow…

Valentino Rossi, 2000 and 2001

A special shoutout to the 2001 Hawaiian print bike!

MotoGP Era

For all of Valentino’s short tenure at Repsol Honda, he sure had as much fun as he could. Two championships aside, this did not apply equally to the livery—unfortunately, it should be seen at this point that the team already had a penchant for the same old thing.

Valentino Rossi 2002 and 2003

2003, running a special livery farewelling Honda

Honda would continue their successes with a retinue of talented riders, the likes of Nicky Hayden, Dani Pedrosa, Andrea Dovizioso, Casey Stoner and Marc Marquez all donning Repsol orange. Unlike their prodigies the livery had largely calcified into a fixed form, which saw no substantial changes in appearance aside from a scant few special livery runs. Iconic or not? Certainly for some it is not a sight for sore eyes.

Top to bottom, left to right: Nicky Hayden 2007, Dani Pedrosa 2008, Casey Stoner 2011, Andrea Dovizioso 2011, Marc Marquez 2019

Bonus: Mom I’m a star! Dani Pedrosa and Casey Stoner share the podium, Aragón 2011

⭐️⭐️⭐️⭐️⭐️

Sources: On Honda // On Repsol (1) // On Repsol (2)

#eternarchives #motogp #colors of…

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weaselandfriends · 1 year

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The Making Of: Cleveland Quixotic

I. Context

After I finished Chicago in 2019, a powerful and persistent fatigue gripped me: the fabled "burnout." The next two years would be the least productive of my literate life. As one day ebbed into the next, I wondered if I would ever be able to write again. I thought of Andrew Hussie, who, after years of feverish activity on Homestuck, seemed now capable of only short spurts of creation, heavily assisted by amanuenses.

It wasn't an issue of knowing what to write. I had been developing the idea for Cockatiel x Chameleon since 2015. I knew its plot, characters, scenes, themes. But when I tried to manifest it into reality I felt drained. What I managed to scrawl was junk, far below my standards. Goaded by a lurking terror of infinite lassitude, I forced myself to blurt 60,000 words of an initial draft; loathing it, I scrapped it entirely.

That was when I got the idea to write a "fun" story.

My vision for Cockatiel x Chameleon was technically complex and emotionally demanding. Maybe something simpler, a straightforward adventure, would be a stepping stone to recovery. I thought back to Fargo, which I had written (unlike most of my works) with relative ease and minimal forethought. How could I emulate that experience? What made Fargo so easy compared to Chicago and Cockatiel x Chameleon?

After reflection, I concluded that Fargo was, at its core, a revenge story. Revenge stories are older than dinosaur dirt. They are fundamental to human experience, easily understood, all structure inherent in their premise. The hero, wronged, seeks revenge on the villain. From that sentence alone you understand the protagonist's motivation and the plot's direction: trending inexorably toward final confrontation. With such a powerful core, it'd been easy to add details and complications to Fargo as they popped into my head, without warping the story's innate trajectory.

If I wanted another "easy" writing experience, I decided, I needed a similar type of story. Something with a clear premise that removes the burden of planning. A "template plot," where beginning/middle/end is fundamentally present and the writer merely adds their own spin. It took little time to think of such a story type. After all, it had been ubiquitous in Japanese media for the past decade. Not only was it popular with readers, it was appealing to amateur authors; many of its biggest examples originated as web fiction.

I decided I would write an isekai.

II. The Isekai Genre

A person from the real world is transported to a fantasy world.

Not quite as old as the revenge story. Nonetheless, this narrative concept has existed for over 100 years. The premise immediately informs the challenges the protagonist will encounter. They will adapt to a world they know little about, introduce knowledge from modern Earth society, and rise in power and prominence. Toss in a Demon King hellbent on world domination and you get a clear narrative climax. The details can be changed nearly any way without issue.

(Or so I thought.)

In retrospect, I myself was being transported to a new world. If we ignore The Chronicles of Narnia or The Pagemaster or Digimon Adventure and focus solely on the contemporary isekai genre (say 2012 on), which is what I intended to emulate, my experience extended to only the following titles:

1. Sword Art Online

2. Log Horizon

3. No Game No Life

4. The Saga of Tanya the Evil (or Youjo Senki)

5. KonoSuba

This is not only a pitiful sample size, but a specifically poor representation of the genre. Sword Art Online and Log Horizon exist in their own subgenre—trapped in a video game—and have many oddities unseen in more traditional isekai. No Game No Life and Tanya the Evil are "real" isekais, but both have unique worlds that eschew most traditional fantasy elements (especially in Tanya's case). And KonoSuba is a parody.

Nonetheless, I felt that, via cultural osmosis, I "understood" the isekai genre. Based on a few video essays I once watched that roasted dreck like Trapped in Another World with a Smartphone, and reverse engineering KonoSuba's parody, I conceived an impression of isekai as wish fulfillment: A loser gets another chance at life, often with some boon to ensure they don't muck it up this time. They become the hero, triumph with their strength and modern intelligence, and meet lots of attractive women.

I smirked. Heh, I thought. What if I made an isekai... that wasn't wish fulfillment! Truly novel. Let us take the premise of KonoSuba—a benevolent god gives a loser a second chance in a fantasy world—and turn it on its head. Instead of a benevolent god, what if the main character was sent by... a devil? The loser protagonist makes a Faustian bargain to become a hero. They get exactly what they wish for, except they're still a loser at heart, and inevitably bungle everything due to their own social incompetence.

That was the flashpoint. Ideas came together quickly, exactly as I hoped. Soon I had a narrative. It went like this:

III. The Original Idea

Our protagonist is a bumbling failure who lives with his mother. One day he sees an advertisement for a devil's wish-granting service. Being a fan of isekai anime, he goes to the devil and wishes to be sent to another world, one where he'll be the most powerful person. The devil, a sleek and professional businesswoman, agrees to the unusual wish, but pushes the work of actually creating the world to an overstressed, chain-smoking intern. The intern cobbles the world together in a matter of hours and our protagonist embarks on his journey.

He arrives to find the human kingdom besieged by the Demon King's army. The humans are outnumbered; total defeat is imminent. Just as he wished, though, the protagonist possesses incredible power. He charges into the fray, destroys the demon army singlehandedly in instants, and slays the Demon King himself soon after. The protagonist enters the human kingdom hailed as a hero.

Soon, the Human King emerges from his castle to express his immense gratitude. He offers the hero anything, including his daughter's hand in marriage. The hero takes one look at the princess―named either Mayfair or Viviendre, I wasn't sure which―sees she is exceedingly beautiful, and eagerly agrees. He's gotten exactly what he always wanted!

Unbeknownst to him, the king is a schemer. Advised by two strange beings—the rotund fairy Tetzel and the living plant Tintoretto—the king believes the hero is too popular; the people would side with him if he sought the throne. The king offers his daughter not in goodwill but to tie the hero to his side. His ultimate goal is to control the hero's power to imperialistically expand his kingdom.

Meanwhile, the princess has her own schemes. She's a lesbian and has zero intention of sleeping with the hero. In a comic scene, she gives the hero excuse after excuse why they can't sleep in the same bed despite being married; the hero naively buys it. Eventually he catches on, but while he's upset by the situation, he's too morally upstanding to do anything but accept it. (This would be a recurring theme: The hero could use his strength to force people to do what he wanted, but constantly shirks from doing so because he refuses to act in a way unbecoming of a hero. His morality and desires exist in a constant state of push and pull.)

Eventually, the hero and his wife compete for the affections of various female characters, with the wife always winning. Temporary the elf was part of this subplot: A dimwitted ambassador to be competitively wooed. To keep the hero sated, his wife buys him a female slave to use "as he likes." The hero, possessed of modern anti-slavery sensibilities, is appalled. He instantly frees the slave girl and enters a crusade to abolish slavery in the kingdom. Unfortunately, because he is not particularly smart, when he debates the slaveowners over the evils of slavery they routinely trounce him (using many arguments real-world slaveowners once used). Again, he could use his incredible power to kill the slaveowners, but they're law-abiding members of society. Murdering them would be "immoral" in the hero's eyes despite his staunch belief in the immorality of their actions.

Around this time, the hero finally uses his power for something good and sends gold back home to his financially poor mother. Unfortunately, this charitable act also goes awry when his sister, an IRS agent, thinks his disappearance is a ploy to evade taxes. She gathers a posse: her coworker boyfriend, his two friends (I called them Aaron Van Zandt and Allen Van Langevelde, envisioning an American Psycho vibe), and a private detective. Using security camera footage they track the protagonist's last known movements to a dingy apartment building, where they find the overworked devil intern who created the world and force him to send them there too.

They roll out in a huge SUV: Five people plus the hapless intern, armed with guns and equipment. The king, not wishing to lose the hero, decides he must intercept them before the hero learns of their existence. In a big setpiece-style scene reminiscent of Children of Men, a horde of knights ambush the SUV on a forest road. Arrows fly through the front windshield, killing the boyfriend (passenger seat) with an arrow to the neck and wounding Aaron Van Zandt (driver). The SUV crashes into a tree and the sister flees on foot, followed by Allen Van Langevelde, who has barely spoken before then but who now reveals themselves to be a badass marksman as they dispatch knight after knight with efficient hunting rifle shots. The private detective is wounded in the leg and forced to remain behind, while the devil intern cowers in the backseat. Aaron Van Zandt limps out of the driver's seat and attempts to follow Van Langevelde, but a knight on horseback rushes past him and knocks him down a steep incline, where he smashes his head on a rock and seemingly dies.

The knights surround the vehicle. The private detective fights back, but is overwhelmed and killed. The devil intern is captured to be burned at the stake later. The sister and Van Langevelde escape on foot, but without the intern, they can't leave the world. They need to rescue him before he is executed. Meanwhile, Van Zandt, clinging to life, is discovered by fairies and brought to their court.

And then...

IV. The Problem

And then I got stuck.

First, it should be clear by now that I did not actually have a plot. I had a series of incidents, loosely organized. Vaguely I knew the main character would work to overcome his social ineptitude and ultimately truly succeed, accomplishing the character growth his get-rich-quick Faustian bargain could never provide. But nothing came together in a coherent structure. Despite my intention to stick to a template plot, I instantly destroyed the template by killing the Demon King in the first chapter. I still had character conflicts and ideas to pursue, but no actual story.

Plus, the main character being a loser made him—well, a loser. Even if he eventually grew, he still ate shit again and again before vanishing entirely from the big action setpiece.

So my original idea of quickly and easily constructing an isekai plot hit a roadblock. Luckily, it was now 2021. After two idle years my fatigue seeped slowly out of me. Finally I regained my energy; I no longer needed to write a "fun" story. I decided to shelve the isekai, potentially permanently, and worked on Cockatiel x Chameleon in earnest.

This time, the draft of Cockatiel x Chameleon―which would be the final draft―progressed acceptably. It consumed my entire focus and I might not have thought about the isekai at all if not for two hiccups. First, though I now had the mental willpower to technically execute my ideas, the emotionally intense material of Cockatiel x Chameleon still left me sometimes wistfully longing for a story not quite so bleak and harrowing. Second, I revisited the isekai genre.

V. The Isekai Genre, Part 2

The anime analysis YouTuber Ygg Studio (formerly known as Digibro) posted a video called Is Mushoku Tensei The Most Influential Isekai? (History of Isekai) that outlined the isekai genre's chronology in Japanese pop media. Watching the video, I discovered some surprising origins to the "contemporary" isekai genre. Though there were many isekai stories―even popular ones―before, the current isekai craze seemingly began in 2012 on a Japanese webfic site called syosetsu.com, where several popular isekai were written in close temporal proximity to one another.

The main titles of note were Re:Zero and Mushoku Tensei—followed by KonoSuba, which was specifically a parody of Mushoku Tensei, instead of (as I once believed) a general cultural conception of isekai. In fact, it was these three works that created the current cultural conception, establishing many now obligatory tropes.

So, I decided to watch Re:Zero and Mushoku Tensei.

I was shocked! As it turned out, my clever and subversive idea―treating the hero as the loser he was instead of as a wish fulfillment badass―had not only already been done, it was foundational to the genre! Both works feature loser protagonists whose social ineptitude constantly causes problems for them despite their cheat mode powers. Both protagonists are forced to develop as people rather than rely on their advantages, and the development of their relationships with the other characters is a crucial consideration of both works.

As it turned out, Trapped in Another World with a Smartphone (which I also haven't seen) wasn't the beginning and end of the genre. I had underestimated isekai. In retrospect, the languid existence of my 2019 and 2020 led to me ironically attempting the same cheap wish fulfillment of my imagined isekai protagonist. I wanted a "fun," "quick," "easy" story and intended to use isekai for that purpose, the same way an isekai protagonist assumes being sent to another world is an easy way to becoming a hero.

It was time to return to the planning stage. This time, I wouldn't take things for granted.

VI. The Original Idea, Part 2

First, I revisited my protagonist. Originally an afterthought: a punching bag who failed whenever he exhibited any agency. I decided on another direction. My hero wouldn't be a loser by incompetence, but by choice. He would be clever and intelligent, but unwilling to apply himself. He wanted a new world because the original didn't seem worth it; too rigid, too structured, too immune to change. His journey would be discovering it wasn't the world holding him back, but himself. Believing nothing could be changed, he stopped himself from changing. Thus, Jay Waringcrane came into existence.

Earlier ideas were remixed around this new protagonist. I merged the devil boss lady and the devil intern into a single character, a semi-hapless sort for Jay to outwit. That was Perfidia Bal Berith. The hero's sister, whose subplot originally lacked any connection to him, now became a foil to his ideology. She exhibited utter faith in the "real world"—its mechanisms, its processes—and applied herself diligently to maintenance of its status quo. That was Shannon Waringcrane.

Still needed a plot. Since my hero was no longer a social bumbler, I discarded the original beginning where he annihilates the Demon King's army and toyed with a new idea. The human kingdom, besieged by the Demon King's army, becomes aware via prophecy that a hero is about to appear in their world. The king sends a party led by the gallant prince to find the hero and bring him safely to the kingdom. When Jay arrives, he meets the prince and his crew, but they are immediately beset by demons, who kill most of the party and grievously wound the prince. Jay, the dying prince, and the sole other survivor―a taciturn, dark-skinned mage named Viviendre who is secretly the prince's lover―barely escape. The prince succumbs to his wounds shortly afterward, leading to an emotionally-charged moment in which Viviendre laments his death and blames Jay for causing it. Leading to an adversarial relationship between Jay and Viviendre that, after much character development, would eventually turn into romance.

Then Jay would lead the kingdom against the Demon King, constituting the main plot.

This idea improved on the previous in several ways: exciting start, high drama, and a long-term goal. However, as I became more engrossed in this project, I came to dislike the "default fantasy world" I'd used as my setting thus far. When my goal was "quick and easy," the Dragon Quest-inspired medieval fantasy tropes sufficed. Now, they struck me as banal. In particular, a generic "Demon King" villain disinterested me (which was why I summarily disposed of them in the idea's first iteration), so even if it outlined a clear direction, it wasn't a direction that enthralled. I realized that to continue, I needed to do some worldbuilding.

VII. Worldbuilding

I dislike worldbuilding.

I prefer the real world―or the real world distorted by urban fantasy and surrealism―to an entirely fictitious fantasy world. In writing an isekai, I had wanted to maintain the connection between the real world and fantasy world (hence why one of my earliest ideas was for Shannon and her cadre to follow Jay in a modern vehicle with modern weapons). But by relying on stock fantasy tropes, I only exacerbated the core issue. I decided to think deeply about my setting and design it to both stand out and clearly relate to our world.

To determine a deeper connection between fantasy and related, I pondered the historical development of the fantasy genre, from chivalric romance to Tolkien. (I collected my thoughts into this essay.) Tracing this lineage, I considered writing a fantasy world modeled on Arthurian and Carolingian romance. Then I took the idea deeper. Much of the early modern fantasy genre, up to and even to an extent including Tolkien, was rooted in nostalgia for an imagined and idealized past. Many pre-Tolkien fantasy works were born out of Victorian fascination with medieval Europe, as evidenced by the Waverley novels by Sir Walter Scott, the Arthurian poems of Lord Tennyson, and the paintings of the Pre-Raphaelite Brotherhood. The original isekai, Mark Twain's A Connecticut Yankee in King Arthur's Court, parodied this idealized medievalism (Twain blaming Walter Scott specifically for the genteel Southern culture that propagated slavery and rendered the Civil War inevitable).

Then I realized that, 200 years before this nineteenth-century craze, there was another major literary work that parodied excessive love of chivalric romance: Don Quixote.

As soon as I made that connection, everything clicked. Rather than Perfidia whipping up a new fantasy world on demand, she would reuse one she created in the 1600s for a Don Quixote-esque figure. Rather than Spanish, my Don Quixote would be British, a royalist in the English Civil War seeking escapism in face of the collapse of monarchy. Pursuing standard chivalric romance activities, he would overthrow a corrupt Catholic church analog, slay a few dragons, and war against a Pagan nation that he later converted to Christianity.

What happened to this world 400 years after Don Quixote used it as his playground? I imagined the ex-Pagan nation a vassal to the Christian nation, while secretly plotting an uprising. Don Quixote's descendants, legitimate or illegitimate, grasping to maintain control in face of their weakening bloodline. Dragons hunted to extinction. A stasis that prevented sweeping change without the intercession of a true human, yet gripped by slow decay. Prayers cast for a new hero to save them from this stupor.

I also wondered how the Christians of this world reckoned with a Christianity whose foundational text is clearly meant for a different world entirely. While Don Quixote's scion, still ruler, promoted the religion uncritically to maintain their grip on the culture, underground grew a nihilist cult that believed nobody in their world was saved, that Christ died on Earth and thus only cleansed Earth's sins. All of this intermixed with the same historical devolutionary forces that ended feudalism and gave rise to mercantile oligarchy.

That was the world Jay Waringcrane entered. A world rife with thematic potential. Finally, a plot was forming.

VIII. Starting the Story

This last stretch of planning happened quickly. (Evidenced by traces of the earlier idea remaining in Cockatiel x Chameleon, specifically in the brief descriptions of the in-universe isekai from which Temporary the elf hails.) Rather than fight a Demon King, Jay's mission would be more chivalric in nature; he would rescue a princess from the evil wizard who led the heretical cult. Liking my earlier idea about the princess who first seemed like an ordinary damsel but turned out to ulterior motives, I decided for an end-of-arc twist where the princess secretly worked with the cult all along. Thus, Princess Mayfair came into existence. For the evil wizard, I reused one of the original king's advisors, the living plant.

The gallant prince and his secret lover from the second iteration returned as Jay's companions, although I changed the lover from a mage to a ranger. Shannon would still pursue Jay, but I merged Van Zandt and Van Langevelde into a single character named Wendell Noh and cut the private detective entirely, giving the sleuthing job to Shannon's boyfriend, Dalt Swaino. I rearranged the big action setpiece where Shannon's group meets disaster: Instead of fighting knights, they would fight a dragon, and this time, Jay would be involved.

After that, keeping with the chivalric romance aesthetic, I threw some faeries into the mix (I love faeries): the obnoxious Olliebollen, who would play off the more sullen Jay, and Flanz-le-Flore, a mid-arc complication. I also decided to make the cult members monstrous demi-humans with magic powers; the Christian anathema against magic must necessarily make it actively corrupting in this world run on Christian precepts.

On top of these plans, several long-term ideas already bubbled: The eventual introduction of the devil world, Sansaime's pregnancy, Viviendre, a battle with elves, Mayfair uniting the two worlds. The ideas flowed one after another now that I established a solid base. Sketchy outlines of the full story stood limned in the distance. I was ready to write.

I decided the work would be published serially at a one-chapter-per-week pace, identical to Fargo and Chicago. That decision was baked directly into my original desire to write a "fun" story. With a serial work, there is less burden of technical execution; the focus is on a fluid pace with regular updates instead of unimpeachable prose. Furthermore, serial writing lends itself to story speculation as readers comment every week, turning the work into a collaborative experience. Some readers of Chicago have told me that the reviews on fanfiction.net are an integral part of the experience, for instance.

When I post serial works, I first build up a "backlog." Essentially, that means I write several chapters ahead of what I'm posting online. The backlog ensures I can regularly post chapters even if one chapter takes longer to write than usual. (I can generally write a 6,000- to 7,000-word chapter in one week.) For this work, I decided to complete four chapters before posting the first. This generous backlog allowed me to post the entire first arc weekly, without a break prior to the climactic chapter that took two weeks to write.

When establishing the backlog, I also gave myself more time than usual to edit, which allowed me to polish the beginning for a better first impression. I meticulously pruned the first chapter to make the dialogue between Perfidia and Jay as snappy as possible while also minimizing exposition. (Originally, Perfidia explained the Seven Princes and their increased quotas in an internal monologue, since I knew they would become important much later in the story, but I cut it for streamlining purposes.) Additionally, I spent a long time deciding when Chapter 2 would end and Chapter 3 would begin; originally, the scene at the beginning of Chapter 3 was at the end of Chapter 2, but I moved it because it better matched the tone and scope of the third chapter. Olliebollen was originally far more in-your-face obnoxious; I toned them down. Lastly, I added the part in Chapter 4 where Jay remembers being beat up by Shannon's past boyfriend, which not only hinted at a soon-to-be-introduced major character, but gave Jay a reasonable chip on his shoulder to cause friction between him and Makepeace.

With four chapters completed, I was ready to post. Almost. I still needed a title. The entire time I operated only thinking of the story as "my isekai story." Thinking long and hard, I came up with titles such as American Isekai, The Waringcranes, 144k Angels, and—my personal favorite—Hellbrowned, the last of which I was strongly advised not to use by every single person I know.

(Side note: Setting the story in Cleveland had been an easy decision. It's such a funny city, taking Detroit's tragic Rust Belt decay and removing all grandeur. The Jon Bois video The Browns Live in Hell and the famous Hastily Made Cleveland Tourism Video sum it up neatly. Setting the story in 2017, the same year the Browns infamously went winless, was also a snap decision.)

Finally, I thought back to Don Quixote, the impetus for much of the worldbuilding, and the title revealed itself.

IX. Writing the Story

Because of my fast-paced schedule, I lacked the luxury to make major changes to my plans as I wrote. I started with a plan for the first arc and scattered ideas for the future. As I wrote the first arc, I planned the second, and as I wrote the second, I planned the third.

Room remained for tweaks, though. Each time I write a story, I try to do at least one thing outside my technical repertoire. This time, I wanted more flexibility in my characters. I usually only introduce the bare minimum necessary, and aggressively cut or merge characters to reduce the total number. In Cockatiel x Chameleon, however, some commentators criticized how the Consortium's limited number of characters gave the impression it was as dead and empty as Harper's real life. While that impression doesn't necessarily conflict with the story, it did expose limitations to my economical approach.

I dislike having limitations. (Unfortunately I have many.) Thus, I decided to write more characters whose storylines were not plotted from the onset, characters I would develop spontaneously as the story progressed.

An example is Lalum. I introduced Lalum in Chapter 5 as an enemy with a unique power for Jay to fight. Zero subsequent intent for her at the time. Then I realized her power would interact well with Flanz-le-Flore's, so I kept her around for that fight as well. When Lalum is attacked in the Flanz-le-Flore fight, I was 50/50 on whether she would live or die. However, a friend reading the story really liked her and wanted her to live, and I realized it might streamline the plot if someone was around to point Shannon and her crew in Jay's direction.

Having spared Lalum from death twice, and also conceptualizing more concretely the second arc—including Viviendre's role in it—I decided I had a use for Lalum after all. I conceived of Viviendre and Lalum being foils, envisioning their eventual confrontation in the last arc. Thus, Lalum went from monster-of-the-week to major character. To a lesser extent, characters like Theovora were introduced offhandedly, and while they did not become major characters, I found small uses for them later.

Speaking of Viviendre, that was another challenge for myself. With her, I wrote something I wouldn't normally: A romance. Cockatiel x Chameleon, believe it or not, was originally intended to be a straightforward romance, but I found myself incapable of writing one and pivoted to its current direction. Nestled within the sprawling undertaking of Cleveland Quixotic, the romance between Viviendre and Jay was my attempt to write two people who genuinely liked each other. Their three-chapter mini-arc in the middle of the story moves at a more lax pace than usual, but allowed me to develop a relationship I otherwise wouldn't have been able to.

In general, Cleveland Quixotic is larger than my other works. More characters, more plot threads, more locations, more everything. Though Fargo and Chicago are also large, they operate in a more enclosed and linear space. My thought process with Cleveland Quixotic was to open up and express that feeling of world-spanning storytelling the fantasy genre is so known for. It pushed my limits, but I accomplished that goal more than in any previous work.

The real challenge is, once you go big, how do you reel it back? So many of the isekai I mentioned remain ongoing, proceeding through arc after arc without end in sight. Today's most notable ongoing fantasy literature, George R. R. Martin's A Song of Ice and Fire, is likewise mired in endless expansion the author seems incapable of curtailing. On RoyalRoad, it's easy to find million-word works with early reviews uniformly positive, but recent reviews expressing a new sentiment: "Dropped after nothing happened for the past 200 chapters."

Above all else, I wanted to avoid that trap. My solution resided in the second arc's climax, which I developed midway into writing the first arc. Uniting the two worlds made it natural for all the distinct groups of characters to join up for the finale, tying every plot thread together. As such, I cultivated multiple storylines in the long and less immediately plot-focused second arc, secure in my knowledge of how it all eventually connected.

Even so, at times it grew overwhelming herding so many characters. Many characters wound up less prominent than I initially intended, sacrificed for the good of the overall pacing. Fortunately, few characters wound up utterly vestigial, and those that did were minor. (There's no worse feeling than a character given loads of screentime and dialogue only for them to end up inconsequential when the curtains finally close. Homestuck reeks of it.)

A few miscellaneous changes that occurred while writing:

I intended for Viviendre's brother, the "mad king" of California, to appear in the final arc, wielding ten relics for an epic duel with Jay. Given the large amount of characters already prominent in the story, I cut him.

I intended for Sansaime to die at the end of the second arc and for Avery to live. This was mainly because I wanted Jay and Shannon to have a cathartic moment with Avery in the final arc (Avery still would have died afterward). I realized that, using Pandaemonium, I could have that cathartic moment anyway, and Avery wound up saving Sansaime's life both outside and inside the story.

On the flip side, I originally intended for Mallory to die at the end of the second arc, but decided I wanted her and Mayfair to have a climactic conflict, which could only be done if Mallory were still alive.

I intended to kill off the minor character Gonzago of Meretryce the entire story, probably by having him jump in front of Shannon to take some attack or another. I never found a way to work it in, and I feel like the actual use I got out of him in the climactic fight, though minor, was far more unique. I likewise considered killing Mademerry by having her take an attack for Mayfair, but I prefer her current ending. I did not intend to kill Pythette, but found at the last moment it would be more convenient if she died.

Beyond that, I wrote the story generally according to plan. Leaving aspects of my plans malleable meant I could write quickly without needing absolute certainty in the precision of every line and action. Only in Chapter 45, the climactic chapter with Beelzebub and Moloch, did I sit down and carefully outline what each character would do at each moment in the chapter. (The chapter's seven-minute time limit made such meticulousness essential.) Otherwise, even in other climactic fights, I relied only on general ideas about what should happen and when.

Ultimately, I successfully completed the longest story, with the largest number of characters, I'd ever written. It pushed my limits, but in a way that didn't leave me gasping for air. Instead, I feel ready and eager for my next story. What'll it be? I have an idea and I've already begun research. I hope to start writing it by the end of the year, and publish it by mid-2024. I'll let you know more as things become more concrete.

X. Names

Before I end this post, a few name origins.

Perfidia Bal Berith: As mentioned in the story itself, "Bal Berith" (or Balberith, Baalberith, et cetera) is a false idol mentioned in the Bible. It is also a demon of the Ars Goetia. My familiarity with the name primarily comes from a weapon used in Fire Emblem: Radiant Dawn.

Olliebollen is based on oliebollen, a Dutch pastry.

Mayfair is the name of a character in Shining Force: The Sword of Hajya, the first video game I ever played. Her middle name, Lyonesse, is a character from Arthurian legend.

Makepeace came from an attempt to make a name that would pair well with Mayfair. My primary knowledge of the name comes from British author William Makepeace Thackeray. His middle name, Gaheris, is an Arthurian knight.

John Coke's name was modeled on the character Wicks Cherrycoke in Thomas Pynchon's Mason & Dixon. I only found out after I posted the first chapter that John Coke was the actual name of a person involved in the English Civil War notable enough for a Wikipedia page. I was more than happy to pretend this incredible serendipity was actually my plan all along.

Sansaime's name was modeled on the characters Sansloi ("without law"), Sansfoi ("without faith"), and Sansjoi ("without joy") in Edmund Spenser's The Faerie Queene, which was the primary inspiration for the romance elements of Whitecrosse. "Without love" is also a notable phrase in the visual novel Umineko When They Cry.

Whitecrosse's name also comes from The Faerie Queene, being modeled on the Redcrosse Knight, an allegorical representation of England (with its red cross flag).

Many names in Cleveland Quixotic have an "allegorical" sense, being words that suggest a clear, often moral meaning. Charm, Charisma, Mayfair, Makepeace, Mademerry, Theovora ("god eater"), Condemnation, Obedience, Tricia (short for "patrician"), Meretryce ("meretricious"), Mordac ("mordacious"), Malleus ("malleable"), Astrophicus ("space plant"), Viviendre ("life ender"), Perfidia ("perfidy"), and so forth. These allegorical names are a play on The Faerie Queene being an allegory, although many of the names in Cleveland Quixotic are not an accurate representation of their character, indicating the breakdown of allegory and thus clear moral meaning.

California is the name of a location in Amadís de Gaula, Don Quixote's favorite romance.

Dalton Swaino is the real name of a semi-pro League of Legends player.

Wendell Noh's surname comes from a professional League of Legends player. His given name is the name of a character in Fire Emblem: Shadow Dragon and the Blade of Light.

Kedeshah is a Hebrew word that possibly refers to sacred or temple prostitutes.

Ubiquitous is an ordinary word with a clear meaning, but its abbreviation, Ubik, is a Philip K. Dick novel that was also the name of one of the demons in Berserk.

The Seven Princes, rather than refer to the traditional Ars Goetia representations of the Seven Deadly Sins, are pulled from John Milton's Paradise Lost, which was the primary inspiration for most devil theology.

Flanz-le-Flore is a corruption of Blanchefleur, a name that appears in a few romance legends.

Lalum is an alternate translation of Larum, a character in Fire Emblem: The Binding Blade.

Pluxie is a feminization of a semi-pro League of Legends player's screen name.

Tintzel is a corruption of the character's original name, mentioned earlier, which was taken from historical corrupt priest Johann Tetzel.

Jreige is the surname of a semi-pro League of Legends player.

Justin "Just" Vance is a play on J.D. Vance, an Ohio politician.

Temporary, one of the earliest names that persisted into the final form of the story, is modeled on the elves in No Game No Life, who have names like "Think" and "Feel."

The other names in the story do not have any particular meaning or genesis.

XI. Conclusion

I believe that covers the generation of Cleveland Quixotic from beginning to end. If I missed anything, or if there's anything you want to know more about, please send me an ask and I'll be certain to answer. Thank you again for reading and stay tuned for my next work!

#cleveland quixotic #cq #bavitz #writing #the making of #isekai #fantasy

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