#this one is more rambly than cohesive but hopefully its still interesting?

[gg-selvish]

half-baked georgenap analysis re: banter and expressing remorse

im talking to my friend about this and i wanna go into a little bit more about the banter episode and sapnap's constant berating of george for how he treats people because i think i understand his frustration but i also understand why these situations happen and where the dissonance is and distrust stems from

sapnap has known george for a long time and he's one of george's best friends. it's pretty safe to assume he's around the number 2 slot, yeah? dream is first but sapnap is easily top 5 if not number 2 when it comes to george's friendships. they've been close for years, with a lot of quality time together (note: most intimate of which alone) to learn each other and the way they behave in reaction to different things. the issue is that the majority of this learning was online only where they were with friends or one on one and that can really warp one's perception of how a loved one can behave in reaction to negativity

i said this in my last post: george is incredibly multi-facetted and i dared to say multi-faced. there's a different george for every situation he finds himself in because he's quite versatile and adaptable perhaps because he can be a bit of a people pleaser but also because he just doesn't take things too seriously. he goes with the flow and has his set ways of acting but it's constantly changing and shifting depending on the stimulus (people, places, etc) around him

i think sapnap hates this. this is where i think the issue is.

sapnap is kind of stuck. i haven't really watched his solo content as much as i have with george but from my understanding of sapnap he's pretty much the way he seems: kindhearted, polite, excitable, a little shy, a little easy to rile up, but he's always pretty much the same person and vibe. whereas george behaves differently constantly. i don't want to be too repetitive of my other post but this is drawn from how other ccs have spoken about him so vastly: 'george is a sweetheart' vs 'george is a menace' vs 'george is just a guy'

sapnap has a favourite george. the one who talks to him quietly in comfychat about feelings and speaks for him when he's anxious and lets him carry him around at home and goes out with him to get food or just wander around whereever they are because they're together and their quality is really important to him. the george he's with alone who has the volume turned down is a george he feels comfortable with and understands, right?

so then we get sapnap now witnessing george and how he interacts with others, and we're going to focus on karl with the moped accident. something bad happened to someone they both care deeply about, and they, as two very different people, handle things like this differently.

george expresses guilt through expressions and quietly watching to make sure they're okay. he feels the remorse so heavily but he can't articulate how to make it better so he just shows it

but sapnap says sorry and helps people back on their feet. so he sees george react in his normal way and it pisses him off because he would have handled it differently. and the thing is they both care about karl A LOT. so george is drowning in guilt, sapnap is pissed that he's not expressing it 'correctly', and karl is just bleeding on the ground trying to explain to them that he can process george's remorse regardless of the outward expression sapnap needs to process it, and that just makes sapnap even more angry i think.

because george is always a different george, and other people can read through him when he lets them so he doesn't need to use his words because the other ways he expresses it may be more subtle, but people make the effort to meet him halfway and forgive him regardless of the lack of outright apology

but sapnap is always sapnap. his whole life he's stepped up to help and said sorry and proved that he feels guilty with words of affirmation and acts of service, while george just makes faces and gets stuck in his murky head of bad feelings. he just wants it to go away and be happy george again, so he doesn't apologize or dwell on the issue, he wants to move on and make it up to that person with something he's more acquainted with: jokes, smiles, sunshine stuff

maybe the way sapnap sees it is this: he grovels, and george doesn't, and no matter what they're both forgiven in the end. from his perspective he does more than george to earn forgiveness, and this is a fact in his life that frustrates him. i think it warps in his head that george isnt doing enough, instead of doing it differently. so he gets mad and wants george to do the sapnap thing instead of the george thing but that's never gonna happen. because george is george and sapnap is sapnap and as we all know they're incredibly different in all aspects of their personality and self (it's one of the reasons i like smashing them together like barbie dolls so much)

cool blue and burnt orangey-red, two very different colours for two very different people. george is passive in pain and sapnap is assertive and maybe even aggressive in his comfort for whatever the pain is that was caused, it's just a matter of them learning that their feelings are the same and thats why their forgiveness is the same. but it looks so different in progress and i think george is unwilling to change while sapnap is being a little short-sighted. an immovable object vs an unstoppable force.

[fandom-zoomer]

I think I may have come up with the best worst tma time travel “fix-it” au (imho)

Inspired by Ketakoshka's 'dread spawn' idea in their dread child jon series, Dribbledscribbles' origin story for the dread powers and extinction entity interpretation in their extinction!jon fic (and some more of the latter in their post-eyepocalypse fic too), as well as my own love for making unholy (aka fun) fusions of things and sandboxing eldritch interactions with the 'mundane' . . .

. . . I have created a post-canon, Somewhere Else, time travel ""fix-it"" story that I think might be unique (at least I've never seen any fics like it– but if I'm wrong then please please share the link!! or dm me if it's your own work hehe but no pressure!!)

(mag 160+ spoilers after this point!)

(i'm about to wax poetics here (hopefully coherently)—so you can read the story-ramble OR you can scroll to the TL;DR at the bottom to skip it & spoilers to read the nutshell & see if you're interested :3)

so get this...

The big Change happens right? But this time the Extinction is a bigger player in the game than canon, and ultimately deeply marks Jon throughout the eyepocalypse.

So when the finale happens, since Jon is now connected to the epicenter of the whole show, his 'death' and the panopticon's destruction has the simultaneous effect of baiting the Dread Powers into the Hole (via his voice in the spools of tape)– and also killing everyone trapped by the Dread Powers in the world via Jon the walking detonator thanks to being entrenched in the Extinction's influence. —Combining both his best and worst plans and realizing his worst nightmare: killing everyone and spreading the Powers to an unknown number of worlds to wreak even more havoc.

How did this happen?

Simple—but first some backstory for context.

The Extinction was more of a 'lurker', much less "outgoing" than its 'siblings'. And when it was "grandiose", well. . . it tended to leave no survivors. Thus its unrecognition by those like Robert Smirke or Jürgen Leitner.

To go back even further, the Dread entities were originally one cohesive entity with many faces and limbs. Its faces reflected the same developmental complexity as the sources of their manifestation. So those with the most diverse species feeding them held the widest capacities. Namely: the Hunt, End, and Extinction. But being a singular entity, it didn't mean much.

But as human species' family lines develop and grow more complex cognitive ability, more esoteric Dreads developed, and more faces become more complex. And the Extinction was right there from the beginning as more species died out one by one. Quietly. (...maybe? 👀)

Over time humans discovered the Powers and bonded with them, then started to classify them. From here, the Dread entity fragmented into Dread entities.

They developed their own 'consciousnesses' distinct from the hive 'mind' they once were. And, eventually, sapience. Self-awareness. Desires. Personalities. But they were still connected, part of the 'system'.

The Extinction and the Web (newer, but always sapient) are a quirky pair, the Web seeking control over everything and the Extinction seeking ultimate entropy and change upon its catastrophe.

It's hard to distinguish the Extinction exactly, its work misidentified for others with few under its own unique umbrella. Things 'unique' to it get missed due to being a misnomer and not getting clocked. (But that is the nature of the Dread Powers after all.. being a fragmentation of their original singular mass.)

...

The Extinction represents the fear of disaster that will bring about the end of everything—everything you know, love, need to survive. Everything you built, worked for, hoped for. The destruction of stories and of life, of the very history written by your land—your home.

Your community. Your society. Your species.

You.

Annihilated in totality.

The Extinction represents the fear of those that come after you to replace you—worse than you, different from you. Leaving you and your history and stories (the driver of your continued existence) forgotten forever. The fear of life moving on after you, ignorant and apathetic. Your story meaningless, irrelevant.

Your community's story. Your society's story. Your species' story.

Your story.

Erased and written over.

The Web represents the fear of being controlled, fate being out of your hands—by malevolent authorities out of reach, by abusive companions or relatives, by invisible forces far beyond the human comprehension. Spinning, winding, twisting, pulling each decision in your life made for you. Until destruction of the self by your own hand.

Your struggle for change futile. Your feet following the same path. Your fate determined for you.

You forfeit control—your feet march you to your bitter demise.

The Web represents the fear of being conspired against. Scheming, plotting, planning your downfall. The loss of everything you hold dear, worked for, bled for. Spinning, twisting, scripting lies about you. Your credibility falls to pieces, your world shatters, and your story distorts.

You are kept alive by the spreading of your story. And the people have decided to trust the manufactured tale.

You are forgotten—twisted into an image of something wrong.

...

Sometimes they're at odds. Where one seeks to manipulate the threads of everything endlessly, the other seeks to destroy it all so thoroughly, with such finality, as to mutate it– the schemes, the pawns, the gameboard itself.

Sometimes they're complementary. Where you watch as you lose everyone you cared for one by one, spiraling down a path darker into entropy, the irreversible nightmare, and wondering if you ever really had free will in the first place– if anyone did.

What if the end for you really was just another game to them? What if this wasn't their first round? What if you're just the next step in the grand scheme, larger than even your own universe?

Alright, now with that out of the way, let's bring back the question.

How did the Extinction change Jon, and how did this cause the altered result of the finale?

The Web has been there since the near beginning, pulling Jon along and guiding him to his next milestone in the plot. She had known the world would come to an end one way or another, and wanted to bring it about on her own terms so that she—they all—could escape it.

So when the Web saw what the Eye was doing, she had an idea. So she aided their acolytes, seeing her sibling as the perfect way to bring all of them together for the final step. And the Web set her own card onto the board: Jon.

Jon had a natural disposition for the Eye; from stubborn curiosity to the reckless pursuit for answers to even the coldest cases. Whether he knows it or not, his mind is a gaping maw for horrible knowledge—chasing after experiences disguised as answers to his burning questions so dreadful they leave scars on him like sigils of a looming doom.

While he has no affinity for the Web's machinations, he is still hers. She has no issue with guiding agents from across the court, she knows how to share. Especially when it benefits her. Jon archives each event, every little detail, with such care and readiness that he makes the perfect vessel to pull them in—to guide them out. He'd flourish best as her tool in the Watcher's sphere.

After the Watcher's Crown and the Dread Powers came into the world, the Extinction started to make its presence known. It seeped into other Domains and fed on the people's dread for permanent catastrophic change, on their fear of ruin and total desctruction. And as Jon traversed them and lived through their fear, so was he marked by the Extinction.

It seeped into his skin like oil and burned through his veins like acid. It tainted his trails with the radioactivity of human hubris and greed, twisting and mutating both the mundane and Dreadful as he passed. It closed its grasp on him with the tightness plastic rings and infected his Perceived routes with the stench of mountainous landfill and the thickness of city smog.

The Web and the Extinction had a complex relationship, but in this moment they guided the Archivist in synchronous song like a soldier being led to his final mission: dropping the nuclear bomb.

Did Jon know?

...

No.

The twines of manipulation layer labyrinthine over everything, above and below and through every angle and dimension. Even the Nigh-Omniscient Antichrist and his All-Knowing God will never fathom its depths.

He might never know that he helped start the Extinction's ritual: Raze the Earth.

Or that both the Web and the Eye knew and did nothing. (honestly, the latter's only there for the show)

So when Martin stabbed Jon and Melanie lit the gas mainline, the threads around the world snapped and the glowing light of humanity's greatest sins exploded over everything—

—and they prayed—

—and they wept—

—and the Dreads rushed out torrentially. (pulling a few strays with them)

Now for the part you were all waiting for (well I was)—the Heart of this AU

The Dread Powers and the ones who were dragged with them were transported Somewhere Else– a parallel world in a parallel universe. But they were. . . Changed from their previous/original selves.

The tag-alongs—Martin & Jon of course, but also Annabelle Cane, Oliver Banks, Simon Fairchild, and Arthur Nolan—replaced their parallels at birth, and gained partial or full amnesia to their past lives. But their personalities are altered, reflecting some aspects of their pre-finale personalities.

Except for Jon. Jon, the Pupil of the Eye, the Warhead of the Extinction, the Spools of the Web, the Archive of the Dreads and linchpin to their escape. . . was significantly destroyed in the center of the storm. He got it and so much worse—a stick so short its existence was inverted.

While they did get reach the new universe, they had to reconstruct their linchpin/Archive that they're still connected to so that his total destruction doesn't tear them apart as well (being an Extinction avatar that's now deeply connected with them, he's capable of "taking them down with him").

When Jon was reborn, he was literally thrown into the world like a meteorite, landing with an explosive blast that rendered the surrounding area a lifeless wasteland in moments. High radioactivity and a deathly curse left few flora or fauna returning before wasting away soon after. Those that 'survived' did so by being infected by the Extinction or Corruption.

It would permanently remain uninhabitable, and it would take months before the withered stillborn spawn of the sapient eldritch Dread Entities would crawl out of the jagged crater on its own, none the wiser to its tragedies.

TL;DR

The Web manipulated Jon's attempt to put a stop to the Entities' reign, utilizing the Eye's easy influence to help the Dreads escape the world and into a fresh new one before they were also destroyed in the Extinction's "Raze the Earth" ritual (set up by using Jon to weave toxic-filled veins throughout the world he was traversing that'll explode at once 'grand finale' style).

Jon, now deeply binded to the Entities' purest forms and still an Extinction time-bomb, was mostly destroyed during the trip to Somewhere Else and the Entities had to reconstruct him so his death wouldn't destroy them too. This led to Jon being reborn a near completely different being (with some of him preserved) as functionally the direct spawn of the Dread Powers, replacing his parallel counterpart from the new world.

[phantomofthepairofdice]

Double Features 2: Splatter, Splicer, Slander, Slasher

Considering the fact that we’re locked down and most folks aren’t going out much, why not settle in on a weekend with double feature. As part of a series of articles, I’ve decided to suggest some titles that would make for an interesting pair. It’s a time commitment like binging a few episodes of a TV show, and hopefully these double features are linked in interesting enough ways that it has a similar sense of cohesion. They also can be watched on separate occasions, but the lesser the distance between them, the more the similarities show. Do it however you want, really. I’m merely a guy on the internet, and that qualifies me for absolutely nothing! Enjoy at your own risk.

This template is back! I wanted to suggest a few more double features, but this time keep them in a specific genre: horror. I love horror movies, and I realized that I hadn’t really given them their due on this here blog, so I wanted to remedy that by showing a lot of love across a lot of different movies. I’ve put together some international movies, some classics, some that are silly, some that are serious, and even a bonus suggestion hidden in one of these blurbs. So without any more ramble in the preamble, here are four new suggested double features.

Note: The pairs are listed in the order I think best serves them being seen.

Hausu & Evil Dead II:

Hausu aka House (not to be confused with 1985 American horror film of the same name) has sort of transcended cult movie status to become a staple of off-center horror-comedy. Directed by recently deceased Nobuhiko Obayashi, the film shows his roots in advertisements with every shot designed for maximum effect, a (still) cutting edge approach in the edit, and a joyous, playful approach to special effects. It’s a gauzy and dreamy romp about a group of schoolgirls who head to the countryside on vacation. While staying at one of their aunts’ house, the supernatural hauntings begin, and heads start to roll (as well as bite people on the butt). It’s the type of movie where the main cast of characters are named Gorgeous, Kung Fu, Melody, Prof, Mac, Sweet, and Fantasy and they each have corresponding character traits. I was lucky enough to catch this at a rep screening at the Museum of Fine Arts a few years ago (further proof that this has gone beyond the cult curio status), and this is absolutely a movie that benefits from having a crowd cheer and laugh along - but it’s fairly easy to find and still has lots of pleasures to be enjoyed on solo watch. I’m pretty much willing to guarantee that if you enjoy it on first watch, you’ll want to share it with others. Now, where does one start when talking about Evil Dead II? Sam Raimi is rightfully as well known for his start in the hair-brained splatter genre fare as he is for his genre-defining Spider-man films. The influence of the Evil Dead movies is nearly unquantifiable, apparent in the work of directors like Edgar Wright, Peter Jackson, Quentin Tarantino, and the Korean New Wave filmmakers like Bong Joon-ho and Park Chan-wook. There’s a reason that the second film of his Evil Dead odyssey is the one that people hold in highest esteem, though. There is an overwhelming gleeful creativity, anything goes, Looney Tunes approach to it that makes the blood geysers, laughing moose heads, and chainsaw hands extend beyond gore and shock into pleasure. It’s been noted over and over by critics and Raimi himself that the Three Stooges are probably the biggest influence on the film, and by golly, it shows. Evil Dead II and Hausu are pure in a way that few other movies can be. Both of these movies are an absolute delight of knowing camp, innovative special effects, and a general attitude of excitement from the filmmakers permeating through every frame. They’re a total blast and, in my mind, stand as the standard-bearers for horror-comedy and haunted house movies.

Total Runtime: 88 minutes + 84 minutes = 172 minutes aka 2 hours and 52 minutes

The Thing (1982) & The Fly (1986):

Feel free to roll your eyes as I explain the plots of two very famous movies. The Thing is John Carpenter’s body horror reimagining of Howard Hawks’ The Thing from Another World and the story that was adapted from, “Who Goes There?” by John W. Campbell Jr. The film is centered around a group of men in an arctic outpost who welcome in a cosmic force of shape-shifting annihilation. What ensues is a terrifically scary, nihilistic, paranoid attempt to find who isn’t who they say they are before everyone is replaced with the alien’s version of them. The film is a masterpiece of tone in no small part due to Dean Cundey’s photography and Ennio Morricone’s uncharacteristically restrained score. The real showstopper here, though, is the creature effects designed by Rob Bottin with an assist from Stan Winston – two titans of their industry. There may not be a more mind-blowing practical effects sequence in all of movies than Norris’ defibrillation – which I won’t dare spoil for anyone who hasn’t seen it. The story is so much about human nature and behaviors, that it’s good news that the cast is all top-notch – anchored by Kurt Russell, Keith David, and Wilford Brimley. While The Thing is shocking and certainly not for anyone opposed to viscera, David Cronenberg’s The Fly is the best example of a movie not to watch while eating. Quite frankly, it’s got some of the most disgusting things I’ve ever seen on film. Chris Walas and Stephen Dupuis’ makeup effects are shocking, but the terror is amplified because this builds such a strong foundation of romance in its opening stretch between Jeff Goldblum and Geena Davis in what might be their career-best work. The story is simple: a scientist creates a teleportation device that he tries out himself, but unknowingly does so with a fly in the chamber with him. When he reatomizes on the other end, his DNA has been integrated with the fly. Slowly his body begins to deteriorate, and he transforms into a human-fly hybrid. While this is first and foremost a science-fiction horror film, it’s truly one of the most potent love stories at its center. The tragedy is that the love, like the flesh, is mutated and disintegrated by the hubris of Goldblum’s Seth Brundle. Here are two remakes that – clutch your pearls – outdo the original. They both serve as great examples of what a great artist can bring by reinterpreting the source material to tell their version of that story. The critical respect for Carpenter and Cronenberg is undeniable now, but both of these movies make the case that there are real artists working with allegory and stunning craft in less respected genre fare. It doesn’t take a lot of effort to transpose the thematic weight of the then-new AIDS crisis onto both films, but they both have a hefty anti-authority streak running through them in a time where American Exceptionalism was at an all-time high. If you want to get a real roll going, fire up the ’78 Invasion of the Body Snatchers first to get a triple dose of auteur remakes that reflect the social anxieties of the time and chart from generalized anxiety to individualistic dread to romantic fatalism.

Total Runtime: 109 minutes + 96 minutes = 205 minutes aka 3 hours and 25 minutes

Theatre of Blood & The Abominable Dr. Phibes

That old Klingon proverb that Khan tells Kirk about revenge being a dish best served cold is challenged by these two Vincent Price tales of the macabre. They posit that revenge is best served in extremely convoluted and thematically appropriate predecessors to the Saw franchise. Where Saw trades in shock and extremity, though, these classic horror tales offer an air of panache and self-satisfied literacy. In Theatre of Blood, Price plays a disgraced and thought-dead stage actor who gets revenge on the critics who gave him negative reviews with Shakespeare-themed murder. There’s good fun in seeing how inventive the vengeful killings are (and in some cases how far the writers bend over backwards to explain and make sense of them). It’s a little rumpled and ragged in moments, but Price is, of course, a tremendous pleasure to see in action as he chews through the Shakespeare monologues. Imagine the Queen’s corgis with a chainsaw and you’re on track. Phibes came first and, frankly, is the better of the two. The story is about a musician who seeks to kill the doctors who he believes were responsible for his wife’s death during a botched surgery. The elaborate angle he takes here is to inflict the ten plagues from the Old Testament. I hesitate to use a word that will probably make me come across as an over-eager schmuck, but it really feels best described as phantasmagorical. It’s got this bright, art deco, pop art sensibility to it that’s intoxicating. It also has a terrifically dark sense of drollery - it knows that you can see the strings on the bat as it flies toward the camera. Aesthetically, it feels adjacent to the ’66 Batman show. The music is great and the indelible image of his tinker toy robot band, The Clockwork Wizards, is a personal obsession of mine. Both Theatre of Blood and The Abominable Dr. Phibes feature great supporting turns from Diana Rigg and Joseph Cotton, respectively. Settle in for a devilishly good time and enjoy one of cinema’s greatest vicarious pleasures: getting back at those of criticized or hurt you.

Total Runtime: 104 minutes + 94 minutes = 198 minutes aka 3 hours and 18 minutes

Blood and Black Lace  & The Bird with the Crystal Plumage

The final pairing comes from beyond American borders and, to some, beyond the borders of good taste. Mario Bava and Dario Argento are likely the two biggest names in Italian horror, and that’s for very good reason. Bava, who started as a cinematographer, has made loads of movies (even the film which gave Ozzy Osbourne and crew the name their band name) that have tremendous visuals and terrific sense of mood. Argento, probably most famous now for Suspiria, emerged onto the Italian film scene a handful of years later and picked up that baton from Bava to crystallize the dreamy logic puzzles cloaked in hyper-saturated colors. These two films are regarded as quintessential in the giallo genre – named for the yellow covers of the pulp crime fictions that inspired them. As someone who loves the flair that can be applied to make a slasher film stand out amongst their formulaic brethren, I found that the giallo made for a smooth transition into international horror. Blood and Black Lace is a murder mystery that’s as tawdry and titillating as its title suggests. Set in an insular world of a fashion house in Rome, models are being murdered. The plot feels like a necessity in order to create a delivery system for the stunning set pieces that revolve around a secret diary. Bava puts sex right next to violence and cranks up the saturation to create something thrillingly lurid. Six years later, Argento made his first film which has often been credited for popularizing the giallo genre and already is playing around with some of his pet themes like voyeurism and reinterpretation. Built around an early set piece (that stacks up as one of the best in thrillers) in which a man is trapped but witnesses a murder, the film sees said man trying to find the piece of evidence that will make the traumatic killing make sense. Like Bava, it blends sex and violence with tons of flair, including a score by the aforementioned Ennio Morricone. The film is absolutely on a continuum between Hitchcock and De Palma. If you’re looking for a pair of exciting horror/thrillers, or even an entry point to foreign genre cinema, this is an accessible and enjoyable place to start.

88 minutes + 96 minutes = 184 minutes aka 3 hours and 4 minutes

Well, there you have it. Eight movies, and hours of entertainment curated by some guy with no real qualifications. If you’re interested in some more suggestions (in horror and other genres), stay tuned for the next entry in this Double Features series. And if you’re looking for a way to watch these movies, I highly recommend the app/website JustWatch where you can search a title and see where it’s available for streaming or rental. Happy viewing.

Thanks for reading.

[secondhand-trash]

Dead Romantics

A/N: The idea came before the plot and I’m just writing this because this is a theme I really want to write about but don’t have the outlet for lol Hopefully starting a series out of this

(au masterlist)

Pairing: modern necromancer!Shinsou HItoshi x reader

Description: The young necromancer spent his entire life being all by himself, and now he had no idea what to do when an enthusiatic classmate went out of thier way to be his friend.

Word count: 2618 

Playlist:

Apocalypse//Cigarettes After Sex

Your Heart Is As Dark As Night//Melody Gardot

Cherry Wine//Hozier

-

Shinsou Hitoshi was the first and only necromancer to enroll in UA since its establishment many, many moons ago.

For an institution that pride itself in offering inclusive education to both human and magical children alike, the board of staff sure panicked when they read the boy’s application form. Shinsou remembered the slight awkwardness on the teacher’s face when they stiffly said that there was no curriculum or support for necromancers because, frankly, there never was one. And honestly, he was used to that look, he had got reactions way worse than a brief seconds of silence. Necromancers pretty much isolated themselves from the rest of society and for a good reason. Even after cohesion between humans and the nocturnal had made such progress in the past decades, many still saw those who interfere with spirits as taboo. His parents’ decision to let him go to a ‘normal’ school instead of receiving private tutoring caused quite the conflict in his family, whose bloodline traced all the way back to the first generation of those who communicated with the dead.

Shinsou grew up hearing kids whispering things behind his back like he wasn’t there but the worst part was always the look in their eyes when they knew that he heard everything. It was the look of fear, one that his parents warned him before letting him into the wide world filled with people. Just because he was warned doesn’t mean it hurt any less. There was a time when he would try so hard to fit into other kids, and spent night after night sobbing under his blanket when they still avoided him like the plague. But after many years, he had accepted the fact that people simply don’t want to befriend necromancers, and he had grown to enjoy being alone.

Which was why Shinsou Hitoshi had no idea, absolutely no idea why you were being so nice to him.

You were pretty much a normal average human who did not dabble in magic of any sorts and even if you sat right in front of him, he never expected to come in contact with you in any ways. In all honesty, he did not expect to come in contact with anyone in his class in any ways. He made the effort to occupy the seat far at the back in the corner, that way he could avoid being surrounded by people when they get into groups during break. It was a way of living he adapted, self-alienating was actually pretty pleasant once you get used to it.

So no, he wasn’t even sure why he’s still listening to you rambling on about some weird encounter you had with a ghost in the empty classroom when the rest of the class had gone to the canteen. As he watched your hands flailing in the air while reenacting the whole scenario, he wondered why he even responded to you the first time you turned around and tried to get him to talk.

“Shinsou? Shinsou!” you waved your hand in front of his face, bringing him back to reality. “Are you even listening?” you leaned forward, “you look even more dead inside than usual. Did you even sleep last night?”

Shinsou ran his hand through his untamed hair and sighed, he would have been napping by now if you weren’t here. “No, stayed up all night for some ritual.”

He tried to search your eyes for any signs of disgust, any signal of fear but he saw nothing. If anything, you always looked intrigued every time he nonchalantly brought up his family business to see if it would finally scare you into leaving him alone. “Ah, necromancy!” you tilted your head, “so it’s true that it could only happen at night?”

He only nodded. No one had ever asked him about that, how was he supposed to say that it was mostly for aesthetic purposes nowadays when you looked so impressed?

“You should definitely show me how it works one day.”

“What?” Shinsou choked out in disbelief. He knew that you had no idea how dangerous his field of practice could be but he definitely underestimated your lack of alert.

“It’s almost Halloween and my friend is an actual necromancer, we should have a séance or something. It’s festive!” you said, your excitement completely contrasting to the baffled expression of your friend.

“We’re not... Never mind,” Shinsou was about to reflectively say that he wasn’t your friend when his words were caught at the back of his throat. Something about your genuine goodness made him feel bad for pushing you away, which was strange because he never asked for any of this. He wasn’t going to lie, having an accepting person around for a change did feel nice. “Having a séance without a purpose is dangerous and necromancy is pretty much a ‘no outsider’ type business so there’s no way I’m letting you in on that.”

You let out a dramatic sigh and pouted. Shinsou rolled his eyes and you chuckled. Somehow, he wasn’t as annoyed as he tried to be and it confuses him to no end. He was trying to get you to stop bothering him, why was he still here entertaining you when he could be off doing something else?

Shinsou took a breath and tried to sound as stern as he possibly could, “If you’re not a client or another necromancer and I let you see anything, I’ll either have to kill you or marry you.”

You only shrugged, “Sounds good either way.”

He snorted. And as convincing as he tried to be, he could not even convince himself to ignore that fluster in his stomach.

“Just because you’re a necromancer, doesn’t mean you have a free pass to dig up graves.”

“Actually, it does, it’s in the law. (It actually is.)” He silently cursed himself for being foolish enough to fall for your whines and let you tag alone. To be fair, when you heard that he had ‘somewhere to go afterschool’, you really wasn’t expecting to end up in the middle of a graveyard but a normal person would have left at this point and you were still poking your head around him curiously as he looked around. “Why are you still here? For the last time-”

“Stop trying to convince me that we’re not friends,” you crossed your arms in front of your chest and smirked as you knew exactly what he was about to say, “I’ve been to your house and your parents recognizes me, your cat purrs when it sees me, I still have that book you lent me on my shelf, I actually managed to make you laugh once and I’m literally here to dig a grave with you, we are friends.”

Shinsou groaned and you knew that you had won. He would try to argue that you went to his house because he took a sick leave that day and the teacher asked you to since you were the only person he actually talked to in the whole class. His parents still remembered you because they were shocked when they answer the door to someone looking for their son who said that he had no interests in making friends with people from school. Till now, they would still ask Shinsou if ‘the nice kid he met at school’ would like to come over for dinner or not and he would always give an indifferent mumble to brush it off. The house cat purrs at anyone and the only reason he lent you that one book was because you kept bugging him about it and he wanted a bit of peace. He was only laughing at you because you tripped yourself on a flat ground. Finally, he did not ask you to come to the graveyard with him.

Now that he thought about it, he had been spending an awful lot of time with you recently.

“Fine.”

You gave him a wide grin, seeing that it was the first time he ever admitted it out loud. He tried to ignore you and turned around to look for the items he was looking for, not picking up on the heat concentrating on the tip of his ears. He wasn’t actually digging up a grave this time, a little bit of dirt from the ground was enough for what he had in mind.

“What are you doing with that?” you asked as he kneel down to scoop up a small pile of soil next to a tombstone and put it in a small velvet bag.

“Trying to contact a spirit of some sorts,” he said, carefully choosing his wording, “there are questions I want to ask.”

You nodded and didn’t pry any further. He let out a relieved sigh, because he had no idea how he was supposed to answer your questions like it was nothing when everything he wanted answers for had to do with you.

The clock strike midnight and Shinsou sucked in a deep breath as he stared at everything that was laid out in front of him. He had done this many times and he knew that he would not fail, but some part of him was still nervous to see if this would actually help the million thoughts swimming in his mind at all.

Dusting the soil in a trail to form a circle, he lighted a candle and placed it inside the circle. Closing his eyes, he could feel the way his blood flow in his veins and the sudden chills that spread from his back all the way to the tip of his fingeres. As the numbness retreat and he felt the air circulating around the room, his slowly opened his eyes to see a blurry shadow.

Focusing his gaze on the silvery shadow, the figure slowly morphed and twisted like a stream of smoke before coming to form the image of a man. The man was dressed in a sharp suit with a silk bow and held a top hat in hand, old-fashioned but extravagant no less. His hair was carefully styled and every little detail on his coat was delicately crafted.

Ah great, a romantic.

“You called upon the spirits to get answers on the future I assume. Is that right, young boy?” the syllables rolled off the man’s tongue in a way that sounded tiresome to Shinsou’s modern ears.

“Well, yes, but I might have make a mistake.” This was stupid, how sad was it that he was looking for advice on his own feelings and he could only turn to people who had been dead for decades.

“Oh, a mistake you say?” the spirit looked amused by the clear distress on the necromancer’s face, “We both know that a ritual of that sort summons only the spirit that could respond to the deepest yearning of your heart. So why did you call me here, prey tell?”

“I need help,” he said though his teeth, “with this friend of mine.”

“Is it a friend or is it a someone more?”

Stupid ghosts and their instincts. “The thing is, I don’t know how I feel about them.”

“Ah!” The dandy yelped in excitement, “the dilemma of love and friendship, the problem every young gentleman must face!”

Shinsou paled at the ghost who was so excited in the face of his struggle. “It’s not a dilemma. I just, I don’t know if I even feel for them that way or I’m just getting attached to the first person who showed me a hint of kindness. Because I was still annoyed by them the last time I remember and all of a sudden I don’t even mind being around them and it doesn’t make sense-”

“Sounds like you fell in love.”

“But if that’s so then I’m just messing things up, wouldn’t it?”

The spirit raised a brow, “How is that so?”

“Well,” Shinsou tried to gather his thoughts, “there’s no way someone like them would want to get too close with someone like me.”

The spirit stayed silent for a while and it was like it could stare a hole into the boy standing in front of him, “But they already did, haven’t they?”

“What?”

“From what you said, it sounded like that person actually want to be close to you. Why are you so convinced that they wouldn’t?”

For a while, Shinsou was lost with words. There were many, many reasons he could think of on top of his head on why people wouldn’t want to be close to him. He didn’t talk much, he looked like he hadn’t sleep in 300 years, he went looking for relationship advice from a dead romantic, many, many of them. But as he went through the many reasoning, none of them seemed like they would have work with you.

“Don’t mind me because I’m just a dead old man from the 19th century but perhaps you spent so long wallowing in self-loathing that you ignore all signs of said person fancying you as much you might hope them to be?”

It was nothing new but Shinsou stayed up all night thinking about what the spirit said to him. At heart, he still found it pretty pathetic that he got lectured by a ghost but what he said makes sense and for the first time since he gave up on trying to fit in, he felt extremely anxious while sitting through his many classes at school, knowing that you would most likely be around him for lunch.

As expected, you turned your chair to the back and sat down facing him once the bell for lunch break rang and people started to clear out of the room. “So, any success with the questions you wanted to ask?”

“Yeah, sort of.” he only uttered a quick response and you knitted your brow together.

“Is something wrong?” you asked, slightly concerned.

“Why weren’t you afraid of me?”

He looked right at you in the eyes and it almost pained you to think of what he had gone through to even feel the need to ask that. You could guess that he didn’t have the easiest time around people from how closed off he was before you annoyed him into letting his guard down but you wasn’t expecting the standard treatment he got to be fear.

You gently said, “Why would I be?”

He chuckled and you weren’t sure why it sounded to gut wrenching to you. “Everybody else is.”

“I like being around you.”

His eyes slightly widened, the leaping in his chest speeding up at your earnest. His brain went hay wired when you tentatively reached for his hand and rubbed soothing circles at the back of his hand. He wasn’t even aware that he wanted the contact so badly until his body acted upon him and held your hand in his.

A rush of warmth washed through you as the boy initiated any affection towards you for the first time. He brought his hold on your hand to his lips and placed a soft kiss at the back of your hand, sending a mad blush to your face. You would be lying if you say you never wanted this to happen when you brought up the bravery to talk to the gloomy kid sitting at the back of the room for the first time.

He quietly said in the most genuine tone you had ever heard from him, “Thank you.”

He smiled, and that sight alone made your heart melt.

[the-light-followed]

THE LIGHT FANTASTIC (1986) [DISC. #2; RINCEWIND #2]

“What shall we do?’ said Twoflower. ‘Panic?’ said Rincewind hopefully. He always held that panic was the best means of survival; back in the olden days, his theory went, people faced with hungry sabre-toothed tigers could be divided very simply into those who panicked and those who stood there saying ‘What a magnificent brute!’ and ‘Here, pussy.”

Rating: 5/10

Standalone Okay: No

Read First: ABSOLUTELY NO.

Discworld Books Masterpost: [x]

* * * * * * * * * *

If The Colour of Magic is a bad place to start reading Discworld, The Light Fantastic is 100% worse.  Not because it’s bad, because it’s absolutely an improvement on its predecessor.  It’s just that The Colour of Magic ends on a cliffhanger (only in the metaphorical sense; in the literal sense, Rincewind has just fallen off the cliff).  The Light Fantastic picks up exactly where it left off, with only a little exposition or explanation to soften the shift from one to the next.  I tend to think of The Light Fantastic as more like The Colour of Magic: Part 2, Now We’re Getting Somewhere, because, well, now we’re getting somewhere.

Folks, we finally have a cohesive, over-arching plot! We have stakes greater than “let’s not get killed by this latest thing that wants us dead!”  We have purpose, and drive, and successful barbarian heroes so old they lack teeth and have to make dentures out of diamond, and I love absolutely every bit of it!

In what will quickly become obvious is the norm for him, Rincewind’s life continues to be a series of upsetting things happening one after the other.  Some highlights from The Light Fantastic include:

Being forcibly teleported (back) onto the Disc by the parasitically-attached Great Spell living in his brain, after falling over the Rimfall.  Reality is completely rewritten to do this, but everything remains exactly the same except Rincewind’s new position clinging to the top of a pine tree.  (Twoflower gets dropped back onto the Disc as well, but that seems mostly incidental.)

Going to the land of Death while still alive, picking up his mostly-dead friend, and running right back out to the land of the living.

Camping in the mouth of a giant troll the size of a mountain, while being held captive by mercenaries.  Somehow only the mercenaries end up dead.

Being attacked by wizards and Things from the Dungeon Dimensions, and fighting said wizards and Things in life-or-death battles.

Using the most powerful magical book on the Disc, possibly the most magical item full-stop, and then afterwards, allowing said item to be eaten by the carnivorous sentient Luggage for safekeeping.  Rincewind ends up owning the Luggage before the end of the story—so technically, he still has this wildly dangerous book.

Oh, and saving the world, of course.  He also does that.

I love, love, love the way Pratchett writes ‘heroes’ vs. how he writes his protagonists.  Absolutely none of his protagonists are the stereotypical hero, and his stories are better for it.

Quick sidetrack to define terms: when I say ‘stereotypical hero,’ I’m talking about the kind of lawful good protagonists you see in most high fantasy adventure stories or superhero comics, the stuff with worldwide or even cosmic stakes.  They’re typically well-trained or have some kind of special skills, or they acquire special training/skills along the way.  They almost always set out specifically to save the world, and typically do not have any ulterior motives beyond it being ‘the right thing to do.’  Usually, they’re strong and rugged manly men with impressive jawlines.  I’m talking Aragorn from Lord of the Rings.  I’m talking Captain America and Superman.  I’m talking the real Boy Scout types.

Truth, justice, and apple pie—or whatever the regional-specific pastry of choice might be!

Pratchett’s heroes are not that.  They’re cowards.  They’re scared or confused or unprepared, or making the whole thing up as they go along.  They’re fools, alcoholics, con men.  They’re salty old ladies and know-it-all young girls.  If there is a stereotypical hero-type character, they’re going to be a foil for the actual main character, and they won’t stay perfectly pure and uncomplicated for long—I’m thinking specifically Carrot, though we’ll talk about him later when we get to the City Watch books.  

Here, what we get is Rincewind.  And he is as far from a stereotypical hero as it is possible to be, probably because he would have started sprinting full-speed away from the thought before anyone finished saying it out loud.  Rincewind doesn’t save the world because he suddenly found his courage, or developed bonus superpowers, or found some kind of magical sword to do the fighting for him.  (He actually found the sword back in The Colour of Magic, hated every second of it, and got rid of it as soon as possible.  Goodbye and good riddance to Kring the magic sword.)  He hasn’t secretly had the courage inside of himself all along.

Rincewind saves the world because he’s got nowhere left to run, and that’s excellent.

I’m going to save a lot of my rambling about Pratchett’s deconstruction of the concept of ‘heroes’ for when I get to Guards! Guards! and later City Watch books, since Carrot is, like I said, both the main example and the central thesis.  But it is very important for everyone to understand: for me, nothing is more satisfying from a literary perspective than knowing that, at the end of the Discworld series, coward and hero-only-by-accident-or-mistake Rincewind is one of the two people in contention for the spot as ‘ultimate savior of the world, the universe, and all of existence.’  The other is a teenage girl.

Honestly, the only reason I think Rincewind might edge her out for the title is because he technically saved a slightly larger slice of reality with this whole escapade.  In Tiffany’s defense, I’m 98% sure she hadn’t been born yet when this whole thing went down, so we really can’t blame her for not solving it first.  If she were there, she’d have it handled, and that’s just objective truth.

But Rincewind.  Rincewind.  At the end of The Light Fantastic, the dude’s spent two whole books screaming and running whenever something tries to kill/maim/eat/threaten him.  The audience has absolutely figured out by this point that while he’s smart and sarcastic and surprisingly speedy, he’s totally useless in a conflict.  His priority is saving his own skin, not dashing feats of derring-do or whatever it is heroes are supposed to do.

And yet with the end of the world looming, his back against the wall, and no real place left to run, when the Big Baddie demands that he give up the last Great Spell, the one last thing preventing the immediate destruction of everything and everyone, we get this from Rincewind:

“If it stops anywhere, it stops here, thought Rincewind. ‘You’ll have to take it,’ he said. ‘I won’t give it to you.’”

And that’s it.  That’s what saves the world.  Not a stereotypical hero, not a hero of legend, not a mythic champion showing up for a final glorious battle—it’s a Pratchett hero.  It’s an everyday guy, a coward and a failure, dragged in by accident and against his will.  It’s an average person, nothing really special, who looks at something that he knows is wrong and that he’s sure will hurt him for disobeying.  And yet he still says no.  It stops here.

Even rats fight back, as Rincewind himself says.

This is the moment that really sells me on Rincewind’s character, every time.  Even before Pratchett was really taking Rincewind or the Discworld seriously, even while the whole thing is still one massive joke more often than not, he’s still given the readers a POV character who feels believably real.  He’s scared shitless, he’s tired, he’s sarcastic, and he doesn’t want to be there.  But that’s too damn bad, because he’s the one there, and if he doesn’t do this, no one else will.

And maybe Rincewind’s not Superman, but he still does it. He succeeds, he saves the day, and—despite everything—he’s somehow the hero of this story.  Screaming all the way, maybe, but he still gets it done.

[Paul Kidby does incredible Discworld art, including some of the amazing cover art for the books.  You can find a lot of it on his website— www.paulkidby.com.  This one,The Colour of Magic, stars Rincewind, Twoflower, and their dramatic escape from the Wyrmberg.]

While we’re on the subject of heroes, we can’t skip over Cohen the Barbarian, who makes his debut here in The Light Fantastic. Now, Cohen is technically a hero, but this is still not in the ‘stereotypical hero’ sense—it’s literally his job.  It’s the thing he writes in the little box marked ‘Occupation’ on his tax forms, or at least it would be if he actually paid any taxes.  Or if he actually wrote things down.  

For Cohen, being a hero is how he makes a profit and pays the bills, and he is very, very good at it.  That’s 100% objective truth, and I know that for sure, because the man is old as the hills and still gets into life-or-death fights about twice a day, and that’s the sort of thing that gets you dead very quickly if you aren’t very good at what you do.

But Cohen still isn’t a stereotypical hero.  He does a lot of looting and pillaging, and his body count over the Rincewind books is—wow, it’s up there.  It’s a real doozy.  It’s hard to call his work heroism when it’s hardly a smidge to the left of repeated, outright murder.  I’ll probably circle back around to this in Interesting Times and The Last Hero, because there are some really interesting points made there about the ways that Cohen and his contemporaries play at heroes and villains like they’re a sort of performance they’re putting on rather than a moral act or a choice made out of necessity. But I will say now that putting Cohen in the same storylines as Rincewind really does put both characters into a more complex and interesting light.  Rincewind, the coward-not-hero, and Cohen, the fearless warrior, can kind of play off of each other.

It just goes to show Pratchett’s grasp of people as people, and not unidimensional cardboard cutouts.  Nobody’s always right.  Nobody is always wrong.  And real people don’t always stand up to perfect, pure concepts of what we think they should be.

Also, since Cohen is about a billion years old, we get little gems like his toothless lisp before he picks up some dentures, a concept that Twoflower brings with him from the Counterweight Continent.  (Or, as Cohen calls them, dine chewers.  That, friends, is a pune, or a play on words.)  Also, because he’s Cohen and therefore a dramatic bastard, the dentures are solid diamond.  It’s not as if the man can’t afford it, I guess?

I do want to take a little side trip into some other new details that pop up in The Light Fantastic, specifically the more in-depth stuff about Unseen University and the wizards.  The wizards are a lot of fun in the early Discworld books, specifically if you’re really bloodthirsty, because up until Ridcully arrives in Moving Pictures there’s quite a lot of turnover in Unseen University staff. The wizards are backstabbing bastards early on, and it’s almost jarring to compare the shifty, power-hungry jerks in The Light Fantastic and Sourcery to the fat, lazy hedonists they’ll become. We do get an impression of them as a collective that will stay pretty consistent as we move forward: their values, their skills, the way they do magic.

This is important not only because it establishes a lot of lasting detail for stories involving Rincewind, the University, and the city of Ankh-Morpork, but also because we’re about to get our first glimpse of the witches.  (Hey-o, here comes Equal Rites!)  With a lot of this stuff mapped out in advance, it makes it easier to run a compare-and-contrast of what’s going on with the two main schools of magic users on the Disc, what’s different between them, what’s the same—and the positives and negatives in them both.  (Again, hey-o, Equal Rites!  That all is about to be the whole damn point.)

I think it’s also fun to note that The Light Fantastic features the brief run of Galder Weatherwax as Archchancellor of the Unseen University, A.K.A. He Who Dies So Granny Weatherwax Can Have His Frankly Excellent Name.  Granny Weatherwax is the steel-souled spine of the witches, and the driving force of their run of books, and it’s kind of hilarious to think that Terry Pratchett did the writer’s equivalent of digging through a graveyard to give her a name.  This theft is later lampshaded and then ignored; Granny says something briefly about Galder Weatherwax being a distant cousin she barely knew, and the whole thing is never mentioned again from then on out. I can’t exactly remember where, and it might even have been in a short story or one of the side books Pratchett eventually put together, not in a novel.  Honestly, who cares—Granny Weatherwax is such a force of nature that it only takes a few minutes to forget that her name ever could have belonged to anyone but herself.

But Granny Weatherwax is not a discussion for The Light Fantastic.  It’s time to move on to Equal Rites!

* * * * * * * * * *

Side Notes:

This is the book where the Unseen University Librarian is changed into an orangutan.  It happens early on in a magical accident, as the grimoire containing the Eight Great Spells attempts to save Rincewind and the spell trapped in his mind, and he is never reverted to human form.  

He is referenced but does not appear in The Colour of Magic.  

At no point anywhere in the Discworld does he appear in human form.  At no point does he have lines in human language.  He is never named.  At no point is he described as he was prior to this change, except that the orangutan he becomes is initially said to look “like the head librarian,” so presumably he was already a bit orangutan-ish. 

For something as weird as this is, and for something with such long-lasting repercussions, it is treated in the moment as a thing of very little importance—except, of course, that now he has to be paid in bananas.  I find this absolutely delightful.

Tim Curry plays the wizard Trymon in the BBC miniseries The Colour of Magic, which combines The Colour of Magic and The Light Fantastic.  Trymon only appears in The Light Fantastic in the books, and I can’t read it anymore without picturing Tim Curry in his ridiculous robes and shoes, with his ridiculous overdramatic murder plots, working his way up to the top just to die a ridiculous death.

No, really. Look at this hat.  Look at this goatee.  Only Tim Curry has the acting chops to pull this off.

Death once again appears, and this time we also get to see his house and his daughter, Ysabell!  I can see why it didn’t take long to go from here to Mort: the concept is way too good to leave to little snatches and side appearances.

Krysoprase the troll shows up for the first time in this book.  Later, he’ll be known as Chrysoprase, and will make appearances in several other Discworld novels: Feet of Clay, Wyrd Sisters, and, notably, Thud.  There’s also a troll named Breccia in The Light Fantastic; Breccia will become the name of Chrysoprase’s gang in Ankh-Morpork.

While going through my copy of The Light Fantastic to work on this post, I glanced at the cover and briefly thought I was losing my mind.  At the bottom, there’s a blurb talking about beloved Discworld character “Conan the Barbarian”—but up until that moment I was 100% certain the beloved barbarian on the Disc was named “Cohen.”  Turns out I’m not crazy, it’s just that the literal cover of the book decides to make a reference to the character that Cohen is parodying rather than to Cohen himself.  And this is the 2008 print edition, not an early run or a badly-assembled e-reader edition, which means it’s being released by a professional publishing company a full 22 years after the original novel came out.  It’s not like nobody’s had time to look over the material and do some copy-editing.

* * * * * * * * * *

Favorite Quotes:

“The important thing about having lots of things to remember is that you’ve got to go somewhere afterwards where you can remember them, you see? You’ve got to stop. You haven’t really been anywhere until you’ve got back home.”

“Do you think there’s anything to eat in this forest?” “Yes,” said the wizard bitterly, “us.”

“Not for the first time she reflected that there were many drawbacks to being a swordswoman, not least of which was that men didn't take you seriously until you'd actually killed them, by which time it didn't really matter anyway.”

“Are you a hero, actually?” “Um, no. Not as such. Not at all, really. Even less than that, in fact.”

“What shall we do?’ said Twoflower. ‘Panic?’ said Rincewind hopefully. He always held that panic was the best means of survival; back in the olden days, his theory went, people faced with hungry sabre-toothed tigers could be divided very simply into those who panicked and those who stood there saying ‘What a magnificent brute!’ and ‘Here, pussy.”

[topweeklyupdate]

TØP Weekly Update #54: COVER ME (7/13/2018)

Finally, after months of solid drought, the barren wasteland known as the TØP fanbase has finally been blessed with rain. And not just a gentle sprinkle; it’s been a consistent heavy downpour, a veritable flood. Even before new music, this week gave us new content from the group every single day. There will probably be something new out by the time you’re done reading this. So let’s not waste any time! Here’s your week in Twenty One Pilots news.

This Week’s TØPics:

Your Band Is Back: Trench Coming This October

“Jumpsuit” and “Nico” Released

New Logo/Theming/Everything

Josh Speaks

And SO. MUCH. MORE.

Major News and Announcements:

This time last week, I was certain that we would be getting new music on the 6th because it was my birthday. Turns out, myself and many others in the Clique read a little too deeply into Clancy’s promise that “everything would be different” by morning. We did not receive new music on that date, which, for the record, was way earlier than most reports had pegged. The fanbase wanted music ASAP and interpreted the letter to fit that, and anyone who said the band lied about when music was coming was just not being honest with themselves. 

Things were different starting last Friday. On the one-year anniversary of their departure, Twenty One Pilots directly reached out to their fans for the first time, not through the wide platform of social media, but with an email message to their mailing list.

The message only consisted of the subject line “ARE YOU STILL SLEEPING?” and a gif of an opening yellow eye, with images fitting the iconography of the Dema site flashing under the eyelid. The Clique basically lost their minds at this direct contact, so much so that major publications like Billboard finally started to report on the long gestating speculation. Everyone was excited to see the eye open over the course of the day, bringing everything full circle and culminating (presumably) with new music.

That... didn’t happen. Rather, dmaorg.info was restored after being down for only a few hours, and this gif of torches was added onto the site. This indicated that Clancy had escaped Dema, and the Clique promptly set about assuming that the next day would mark the band’s full return. Further, the name of the gif, “they_ca_ntseeFCE300″, seemed to confirm what people would be speculating ever since Josh dyed his hair nearly two years ago: the next era’s color would be yellow (specifically, FCE300) to symbolize hope and light pushing back against the dark.

The next day brought with it another update from Clancy (and the general concession among the Clique to stop expecting new music every night and just go to bed). In one of my favorite bits of attention to detail so far, Clancy’s latest journal was messily handwritten on a scrap of paper, due to the fact that he had successfully escaped Dema and was now traveling through- big shock- a region called “Trench”. The writing itself is kinda rambly and generic (so I can relate), with Tyler Clancy marveling at how much he loves being in the trees being alone out in nature. That said, I do love that there is a definite story being presented, with Clancy experiencing changes, taking action, and going on a real journey through this world that Tyler’s created.

On the back of the paper, however, is something much more interesting: a blown-out image that, when reversed, revealed a dead body. That was creepy enough as is; far more creepy was the Clique’s CSI-level discovery that this ripped photo fit with several other dmaorg.info images in a giant puzzle. Who was this man? Was this a random poster that Clancy grabbed as he escaped, or are we supposed to take it as a metaphor? Was it a random citizen of Dema? A bishop? Clancy himself? Blurryface? So many questions.

Twenty One Pilots truly made their mainstream return on July 9th, when they posted a second video of a half-opened eye, not just for hardcore fans, but on all of their social media platforms. This return was accompanied by a total overhaul of the band’s general branding: a new yellow-and-black ||-// logo was revealed for the new era, while the old “silence” banners and even the website subscription box were covered up by bright yellow tape. Billboards featuring the logo on this yellow tape aesthetic sprang up in cities all around the world, from London to Toronto, Berlin to Melbourne, even an entire building in São Paolo. The boys were back.

On Tuesday, Twenty One Pilots again returned to social media to post a second video. The eye, now about 3/4 open, depicted even more of this medieval battle, now with the addition of the Watchers on the cliff throwing... something (rocks? rose petals?) into the air. Instead of generic white noise, this clip was scored by a muffled but still obviously crunchy bass line. As radio stations across the country began to tweet about a major alternative release coming Wednesday morning (with a few even mentioning they were from Columbus), we finally knew that we were going to be ok....

New Releases:

And then I was not okay.

Early Wednesday morning, Twenty One Pilots dropped two singles and announced the names and dates for the next album, Trench, and tour, Bandito. My prediction from last week was 100% correct, and you all may thank and validate me in the comments below like and subscribe. “Jumpsuit” is our main single with a full cinematic music video, while “Nico and the Niners” is the more lore-heavy low-key song for the fans. I’m going to pull back from fully going in on picking apart every sonic and thematic element of both songs and save that for (hopefully) a less busy week, but you know I gotta write about their first new music in two years. Cause that’s what I do: I write too much.

Guys, “Jumpsuit” is a straight-up banger. Featuring a killer driving bassline, some of Tyler’s most impassioned screams, and a truly devastating bridge, I have not tired of this song one bit in the last few days. It takes me on a complete emotional journey in just four minutes every time, and it does so mainly through its soundscape (there’s only the hook, three couplet verses, and that damn bridge). It’s so, so, so, so good, potentially (dare I say it) the best sonically arranged and produced song the band has ever released.

So... what’s “Jumpsuit” about? Well, a lot of things, but in a word: pressure. Again, the lyrics are super vague, I think deliberately so. Clearly the song is about the singer feeling pressured by others into taking a path that he does not want to travel down. That bridge, delivered in an eerie detached falsetto, shows Tyler pushing back even at his weakest point, stating that he will not submit to what others want him to do unless they “grab him by the throat, tie him down, and break his hands.” Certainly you can argue that this is about the music industry. The “breaking his hands” line is killer in that context, as it signifies that the industry can’t control him without taking away the things that makes him valuable to them in the first place, his artistic ability and freedom. You can also say that it’s just playing straight into the concept, with Clancy breaking away from the bishops’ control. But the deliberate vagueness of the lyrics means that the audience can apply the message- and the empowerment of that killer bassline- to whatever struggle they are facing. That’s pretty darn rad.

The music video, directed by “Heathens” and “Heavydirtysoul”’s Andrew Donoho, is sick. Tyler (looking extra fly in his new yellow hooded jumpsuit) attempts to flee from this creepy Red Riding Hood old dude on a white horse (Nico?) through what is certainly a Game of Thrones filming location while other figures in yellow duct tape jumpsuits look on from the cliffs above. Tyler is captured by the bishop, who “smears” him by putting the black Blurryface makeup on his neck. Tyler is freed briefly from the bishop’s control when the other yellow-clad figures throw yellow petals down on him, but he is chased down knocked out or killed. The others flee the scene, save for one very handsome looking drummer boy... Oh, and there’s a bunch of intercut clips of Tyler on the car from “Heavydirtysoul” for some reason.

Besides those “Heavydirtysoul” scenes, which truthfully don’t connect much to the story of the video beyond artificially welding it onto the end of the Blurryface Era, this is one of the band’s best videos yet. It totally fulfilled all of my expectations of a more epic scope for this era, from the gorgeous Iceland setting to the dope as hell costumes to the implication that the story might continue on from this point. And there are tons of little Easter eggs, from brief flashes of the nine bishops to possible cameos from the Josephs and Duns. We don’t really know for sure if Tyler is playing Clancy or if the red dude is Nico, but it will certainly be fun to continue to fill in the blanks as we move forward and (hopefully) hear more from Tyler directly.

“Nico and the Niners” is a weird track, but one that I still absolutely love. In some ways, it’s a more traditional tøp track, with some of the raggae elements found on Blurryface and a rap verse to fit all of Tyler’s lyrics in. But in other significant ways, it’s a totally different path for them. For starters, just look at that title: it’s very explicitly about this album’s concept from top to bottom, with Tyler singing about fleeing Dema and its bishops’ control and even heavily referencing “Jumpsuit”; there’s clearly going to be a great deal of thematic cohesion in this project. But there’s also just the general vibe of it: just as “Jumpsuit” was a heavier rock song than anything we’d yet seen from the band, "Nico” is way more laid back, its repeated references to being high and even its visualizer of assorted shrubbery making it a potential stoner anthem (whether that was Tyler’s intention or not). Regardless, the song is brimming with character and hooks, and it’s already grown on me significantly in just a few days.

Oh, and one more thing: this song lives up to its Dema-referencing title and content by being cryptic af. The track is littered with reversed audio in the instrumental bits, including the “we are banditos” snippet from dmaorg.info and another sample of someone who sounds a lot like Josh saying “We will leave Dema at true east, renounce Vialism [the bishops’ ruling philosophy, alluded to be Clancy in an earlier journal].” I swear, if all it takes for Tyler to make all this stuff is a year break, he should do this after every album.

With all that new music, the fact that we finally have a name for Album 5 almost got lost in the shuffle. Trench was a popular guess over the last few days thanks to dmaorg.info, but it’s good to finally know for sure. Graphic designer Brandon Rike from the Blurryface Era is back again, revealing a cover featuring a badass-looking vulture/falcon/whatever, some new logos (including the return of FPE!), and some more yellow tape that appears to be covering the names of the rest of the album’s songs. Not too much else to say at this point; we’ll just have to wait until some of that tape gets peeled off between now and October 5th.

Finally, let’s talk about the Bandito Tour. It bears mentioning that, amidst the otherwise overwhelmingly positive positive atmosphere of the band’s return, this tour name received the most general opposition from fans and non-fans alike. The fact that “bandito” was probably going to turn up in a lyric from two decidedly white dudes was already enough to put some folks on edge, but the idea of an entire tour of predominantly non-Hispanic tweens flooding arenas and calling themselves banditos was enough to turn a few people against the band. And look, I get it- I hear “bandito” and the first things I think of are John Wayne Westerns and Speedy Gonzalez, and I get why a lot of fans might feel uncomfortable with that. But, to be fair, the band hasn’t used any of those stereotypes and banditos is a word for outlaw used in a number of Romance languages. Perhaps most interestingly, there’s not yet any evidence that the word even appears in the album itself. So far, the only appearance of “bandito” is in a coded message on dmaorg.info and in reversed audio in “Nico”. If this does turn out to be a name meant to only make sense to the most hardcore of fans, it is almost redeemed (I mean, I still think the name is a little silly, but I’m already in presale).

So, with that out of the way, let’s actually talk about the tour itself. It will be an international arena tour- even if the band’s sound is not going in a pop direction, they still clearly feel confident that the Clique will show up wherever they go. The first show will be hosted in Nashville (their first arena concert in that market) on October 16, not even two weeks after the release of the full album. What a baller move, and much preferred to the Blurryface rollout where we didn’t hear most of the songs on the record until nearly two months after the album release and they didn’t play near me for even longer. The boys will tour the U.S. until November 21, even playing arenas in a few markets that they’ve never played large venues in before, and then hit up Australia and New Zealand in December.

The most objectively interesting leg will be in Europe from January through March. Not only will the band play their first arena shows in markets like Moscow, Oslo, Stockholm, Copenhagen, Central Poland, and Manchester, they will return to markets like Dublin and Glasgow they’ve been absent from for years. Most exciting, Twenty One Pilots will play their first shows in Bologna and Stuttgart and venture into the countries of Ukraine, Switzerland, Spain, and Portugal for the first time ever. Needless to say, the rabid fanbases of all of these regions are super excited, and I’m super excited for them!

Other Shenanigans:

While Tyler has continued to stay silent (much as he has since mid-Blurryface Era), Josh immediately jumped back on Twitter with a standard Josh joke and even resumed his morning workout Snapchats. On Thursday, Josh even called into BBC Radio One with Annie Mac to give a quick interview about the new era. He didn’t provide a ton of information, but it was just a delight to hear our kid’s voice again. A few tidbits of info:

Josh reported that he was calling from Trench, I hate him.

The sick bass riff on “Jumpsuit” was born from soundchecks toward the end of Emotional Roadshow. He says that, as a result, it sounds closest to the Blurryface sound, serving as a good transition into the new era. (If this is what he thinks is close to Blurryface on Trench, this album’s gonna be nutter butters.)

Both Josh and Tyler are really nervous about the elaborate rollout, both out of the usual fear that no one stuck around and out of wariness of severely disappointing people when they hear the actual music (so far, so good...)

Trench continues to have the “diverse” sound of the previous records and also was designed to be played live.

Josh also tuned into Apple Music’s Beats 1 for an interview with Hanuman Welch. This conversation was less about the new album and more about the “hiatus”. More tidbits: 

The band views collaboration as a “sacred” thing, and while they’re not against it in the future, it has to be done in a context that makes sense and not merely for marketing purposes.

The band has never used the word hiatus because they’ve been working. They drew back from the spotlight to allow themselves some time to recharge, but also because they were worried of oversaturation (particularly after the Grammys pushed them into that next-level pop culture sphere). Rather than make a bunch of social media posts that didn’t mean anything just to stay relevant, the band decided to draw back, focus on music, and in the process “thin the weeds” of fans who weren’t the diehards.

For the last few albums, the music has come from a specific personal place the band was at while write, whether it be a spiritual journey with Vessel or tackling insecurities on Blurryface. Josh says the same remains true with Trench, but notes that there will be a little more fleshing out themes by working on a specific story with this one (he still says it’s not really a concept album, but ok).

Believe it or not, we are not done. While the boys were blazing a brave new path forward, another bit of content reminded us of where the band came from. Greg Wells, the producer who made Vessel the masterpiece it was, gave an hour-long interview to Billboard’s Pop Shop Podcast. He mainly speaks about getting started in the industry back in the 90s and working on the mega-blockbuster Greatest Showman soundtrack, but he does talk about Vessel for a bit approximately forty minutes into the interview. I won’t give the exact time-code, not because I’m lazy, but because the entire interview is worth listening to. Greg just seems like a rad dude. His laid-back nature and the seriousness he takes with his craft really shine through; he and Tyler must have gotten along just fine.

Community Spotlight:

The Clique took some heavy losses over the last year, as a great deal of old fans moved on to greener pastures. But that just left room for a whole host of new fans to rise to the occasion and help us get through that long drought. Today, I wanted to give a shout-out to GingerSheep and Stolen Potential, two Clique vloggers that have really kept the fanbase informed and uplifted and have been working their butts off reporting on the daily content. I know how long it takes me just to research and write one of these- I can’t imagine the work that then goes into filming and editing on top of that nearly every day. Hats off to you, good sirs. Make sure you all check out their channels if you haven’t already! But, you know, don’t stop reading these. I have bills to pay with all the Tumblr money I’m not making.

Well, that wasn’t too much, was it? If you made it all the way to the end, mad props. See you next week for a slightly tamer week (probably).

Power to the local dreamer.

|-/

[shenanigumi]

Miscellaneous announcements

Hopefully the last one for awhile, because recent events have pulled me out of hiatus! Just a couple things to say…

The first is that I’m actually both on and off hiatus. I know I just said I was out of it, but bear with me here. Hiatus Mode will be the new normal, because my first class (Japanese!) starts today, and periods of change always make me anxious and antisocial. However, I will once again be open to more personal interactions on the weekends [Friday through Sunday], so if any of you have questions, comments, or anything that requires a direct answer (which includes reference questions, e.g. clarifications on canon), that’d be the time to do it.

The second is that although this is not intended to be a direct response to the latest, ah, review of my story, their repeated insistence that I shouldn’t be doing x y or z according to my own alleged logic because it isn’t Canon™ did get me thinking about my exact boundaries (once I got over laughing at their literality). So naturally, I wrote an essay about them, which I’m putting under the cut since some of you may not care about my potentially redundant ramblings. Still, since I know my view on the subject can come across as decisive to the point of aggressive, any clarification is good clarification.

First of all, my definition of canon is basically “the source material and its official translations”, although some of it is more significant than others in my eyes—see the link for specifications. Contradicting versions of canon establish themselves as separate continuities in my mind, so I also accept the existence of multiple versions of canon. For example, Stories, Kyoto Winds, and the anime are all separate but parallel timelines in my mind because certain events play out differently or not at all depending on the material. Thus, none of them can coexist cohesively.

Coming with me on this? Good. Now, based on that definition, all fanwork, including my own, is non-canon just by virtue of being fanmade. I have always preferred to use canon as a base for my fanfiction, as in my KazaSen story using Heisuke’s route as a starting point and diverging from there, but to limit myself entirely to what has already been given me is an affront to the capabilities of my own imagination. Furthermore, I strongly believe in everyone’s freedom to write, draw, or otherwise create whatever they want.

While I personally prefer to adhere to canon events—whether I’m filling in missing moments or just using it as a platform for a plot of my own invention—there are exceptions if I find a concept interesting enough to pursue outside of those lines. For instance, the question that sparked my KazaSen story was “I know Sen said she didn’t want to, but what if they had to get married anyway?”. Essentially, I see canon as a set of guidelines, not the end-all be-all of a story. Canon may be important to me for the purposes of establishing the foundation of my stories, but that doesn’t mean I’m not allowed to build on that. Canon has already revealed the basic plot; there is no point in just retelling it. Even my Truth or Truths, held in a context meant to resemble canon as closely as possible, are not themselves canon.

Our job as content creators is to fill in the blanks or develop our own stories however we see fit; it is up to each of us how much of our work is based on canon—not only in general, but creation to creation. Thus, while canon-compliance is a personal preference of mine, not everything I do is related to canon, nor do I claim it is. And if you need any kind of proof that I can and do step out of my usual territory, see the blatantly AU Texts From Bakumatsu, in which HaraShira is apparently a thing, and Chizuru and Sen often gossip about their sex lives. In fact, one of my pet peeves is actually when people claim things are canon or canon-based when they’re not… which is part of why I feel the need to make this distinction as regards my own behavior, just to avoid any misconceptions involving hypocrisy.

Basically, I don’t care whether fanmade material is rooted in canon or not—whether my own or anyone else’s—as long as it’s labeled correctly. And anyway, my love is more for accurate characterization than it is for the original material itself. The two are closely intertwined, since canon is our window into a character’s heart (and cause-and-effect is obviously a factor in shaping personality), but ultimately, my need for accuracy relates more to the character than the exact context. If a story is AU and acknowledges itself as AU, yet also manages to capture the essence of the characters, I’ll love it just as much as any canon-based work.

TL;DR: Everyone has their own taste when it comes to both creation and consumption of fanmade material, as well as the formulation of opinions. Mine usually involves a lot of consideration for canon, but not always, and yours needn’t either. That’s how it’s always been, and that’s how it will always be. Not everyone has to share my own perspective on the matter; that’s what makes a fandom and its content diverse.

[fontasticcrablettes]

Hey. I'm sorry to bother you, but I was wondering if you have any tips on how you usually get from the "broad idea" stage of a story to actually figuring out the events and how things go from point a to b to c? I get ideas all the time and I want to try actually writing some of them, but I always get stuck at actually going from "wouldn't this be cool" to "how does this plot actually go down as a story"...

Ok so this got pretty dang long because I am forever loquacious and suck at brevity.  And it’s 4am so excuse typos, lol.  And also, writing is very personal and everyone has different methods and things that work for them, so this isn’t like the One True Way to block out a story.  It’s just how I do things.  

Part One is about narrowing your broad idea and defining the shape of the story.

So, the most important things to keep in mind when trying to figure out how the story actually goes are A) Who are my characters? and B) What is the message?  

The first thing is characters.  Who are you characters and what do they want?  The very simplest plot outline is that you have a protagonist who wants something, and an antagonist who stands in the way of the character getting that thing.  

When you know what your characters want, and you know their personality, think about what they woud logically do to achieve that.  What is your main character trying to do? That’s your story.      

Second, the message.  Almost every story I write has a message.  The ones that don’t are some of the self-indulgent Goretober ones, or really quick fluffy ones.  These aren’t grand, life-changing messages or things I’m trying to change the world with, but just a basic theme.  I’m sure you’ve all learned about themes in your literature class so I’m sorry to turn this into school, but themes are important.  The theme defines the basic voice of the story.  It’s what it’s about.  For Want of a Nail is about evil twins and a serial killer, but it’s about how circumstances and environment can alter a personality and that goodness is a choice, not a trait.    

Knowing what your story is about helps to give it a cohesive shape.  When deciding what direction the plot should go, the overall theme gives you direction.  If you know your story is ultimate about “enforcing one’s justice”, you’ll choose your plot points based on “how does this contirbute to the idea of enforcing one’s justice?”.   Not every single thing, but enough to give it that structure.  Like, I knew For Want of a Nail was about choice, so I knew that the strongest ending would be giving Alter-Flynn a choice rather than just killing him.

It doesn’t have to be a positive moral, or even a clear message, though.  Still is about sanity and how fragile it can be - no message there, just exploring the concept.  As the Sparks Fly is about religion and faith, and 3 different conclusions are reached by the end.  Heck, at its core, Under the Ice was based around a song lyric from Into the Woods (”Sometimes people leave you/halfway through the woods.”)  If you’re stumped, focus in on what the most important aspect fo the story is (maybe it’s a relationship, maybe it’s a characters personal growth, maybe it’s an existential idea like death or lonliness).  Sometimes, a moral-style theme will naturally come through while you’re writing and you can pretend you’re a genius who thought of it.  

So when trying to narrow down your story from a broad idea, answer these questions: Who is my protagonist?  What do they want?  Who is standing in the way of them getting that?  What is this story ultimately about?

Once you know these things, you should have some structure to the story.  The trick thing now is to fill in all the blanks.  So Part 2 is about how to fill in all that empty space that appears once you have the vague shape of a story defined.   

I find it helpful to talk it over with someone.  Often, ideas will be stagnant until I start typing them out, and once it gets flowing it’s easier to keep that momentum going.  Explaining ideas to someone else is good for this, because it gives you an excuse to type it out, you’ll find yourself adding more details on the spot as you realize your friend is going to ask about that plothole, and depending on where you have the conversation, you’ll probably have a transcript of all your ideas to look back on.  It’s even better if the friend is also interested in the idea, and can throw ideas back at you.  A lot of my stories came to form through conversations with Daffy, Hoskky, Nurse Friend, or Lynx.  

And if you don’t have a friend to talk to, I seriously love talking about stories with people.  There are few things I enjoy more than plotting stories so I am 100% up to talk to anyone about their fic ideas. 

But other than just sitting down and throwing ideas around, here are some things I do.  I am a big history fan and I base a lot of my stories on history, either explicitly inspirationally.  Like, N’oubliez pas is clearly based on the French Revolution, but there are aspects of history in a lot of my stories.  For Want of a Nail was partly based on Jack the Ripper, for example.  So when I have a broad idea of something, I start doing research and read about similar scenarios in real life.  Like, right now I’m plotting a sequel to The Uninvited, so I’ve been watching documentaries and reading up on real-life victims of kidnap.    I’ve talked about this before when asked about research, but research and inspriation gathering is often the same.  Bits and pieces of real life get added to my list of “scenes that would be interesting.”  

I’ll look at other fiction, too.  Other stories with a similar premise.  What has already been done effectively, and why did it work?  How can I twist that in mine? I pick up plot elements from my older, abandoned ideas, too.  I often try to combine a bunch of rejected ideas into one big one, to get them all taken care of at once.  

Think about the characters.  Like I said in the beginning, think about what your characters want and what they would do to achieve that.  The antagonist has something they want, so they make a move to reach it.  Then the protagonist reacts to that and makes a move in response to them.  Then the protagonist makes a move toward what they want, and the antagonist reacts to them (try not to have your antagonist to all the proactive things; entirely reactive protagonists tend to be boring).  Plotting becomes a chain of figuring out what each character would do in reaction to the others, or independantly toward their goal.

The goal here is to create a list of scenes or plot points you want in your story.  These are all pieces of a jigsaw puzzle and now your task is to try to put them together.  Start listing the scenes in chronological order.  Look for connections between plot points, which things could lead to which other events.  If you have a good idea, don’t worry about whether you know how to get there yet.  Quite often, during the explaining to a friend stage, the conversation is like

Me: And then THIS happens!

Friend: But how?

Me: ¯\_(ツ)_/¯ Magic.  I’ll figure it out later.  

Jump around.  Throw in conclusions you want and trust that you’ll find the connection to get there eventually.  You might not, but don’t disregard it until you try.  Just start shuffling things around until the connect-the-dots start forming a cohesive picture.  I find I work better with pencil and paper at this stage, and draw lots of arrows and circles and squiggly lines to connect points and add notes.  The danger in this messy part of planning is you might change something near the beginning that makes what you planned for the end impossible, so stay aware of that and try to catch this issues before you start writing.  

And when you’re stumped and don’t know how to get from a to b, I don’t have anything to suggest but to lie face down on your bed and think.  I can’t really help you there; ultimately you’ve just gotta fish them from your brain.  If it’s a bland or dumb idea, just go with it for now and hopefully something more inspiring will come to you later.  At least you have the foundation down for now.  

Ok that’s all I can think of for now.  It’s really late so I hope my sleepy rambling made sense.  The best TL;DR I can give is that working out a story is like gradually whittling down a piece of wood and giving shape to the creation beneath.  It’s gonna be blobby and ill-formed for a while, and there will be mis-steps and bad ideas you’ll eventually drop, but just keep the core of the story you’re trying to find and the characters moving it in mind and chip away at it until it takes form.