This was meant to be a quick doodle for chapter three of my fic, but it was so much fun to draw so I just went ham! 🧡🍔

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Today I’m going absolutely bonkers thinking about stories where the medium itself becomes so interwoven with the narrative that the two are inseparable and the story borderline unadaptable into other formats.

Lately I’ve been playing a lot of Portal and listening to the Malevolent podcast for perhaps the third time, and as any slightly obsessive fan who desperately wishes for more when I run out of story I find myself thinking ‘man someone should adapt this into a movie/tv show/novel/etc’. And then I stop and think, ‘wait a minute, how?’

How could you possibly adapt the puzzle aspect of Portal into anything other than a game? Sure you could make some cool action sequences out of it, but that would get old quick, and you never get any chance to solve the puzzles yourself. And how could you adapt it without them, when the tests are a deeply intrinsic part of the narrative? You would end up with a vastly different story.

And Malevolent. Malevolent! Rarely have I experienced a story that so masterfully not only gets around the limitations of its medium, but uses them to their full advantage. How do you explain your lead constantly speaking out loud to themself (since the dialogue-only format doesn’t allow for internal monologue)? Why, put a possessing entity into their head, so that they’re literally never without a conversational partner! How do you fit visual descriptors into the story, since characters explaining their surroundings out loud would be weird? Make one of them blind and the one possessing him his seeing-eye entity, of course!

How could you possibly adapt any of that into, say, a movie? Having the entity describe visuals the viewer can already see would be distracting, but having him not do it would break suspension of disbelief because why is Arthur not constantly bumping into things? Of course, you could remove the blindness, but aside from being a shitty thing to do it would also remove the delicate balance of power between him and the entity that forces the two to co-operate.

I’m thinking about these two stories especially because it’s where my obsession lies right now, but there are lots of examples of similarly interwoven narratives and medium. Think of epistolary books, webcomics with animated images and music, webnovels so adapted for a digital format with links and gifs and layout that actually printing them would take away from the experience (everyone go read What Football Will Look Like in the Future and An Unauthorised Fan Treatise right now, you can thank me later), or other podcasts that give their narrator an intrinsic reason to speak and describe everything aloud, such as The Magnus Archives and The Mistholme Museum (which I need to catch up with, by the way). It drives me insane! The medium is the message!

Feeling very violent rn so here's a very controversial opinion:

Everything after season one of Young Justice sucked.

Look, I know I'm obsessed with the show but that doesn't mean it's good, it means that I'm too deep into it at this point to get out. There are good moments within the other seasons but in general? They were not good.

I'm sorry. I understand that they wanted to be creative and have a neat narrative and deep lore and all that. And they do! The narrative and lore is extremely deep.

But the plot? The characters??

Season one was an actual functional show that balanced character development, plot and dialogue with world building, lore and messaging.

The other seasons do not do that.

Season two bounced back and forth between like 16 characters. We got some development for some characters but even that was minimal compared to the character development in S1. And this isn't me complaining that the og group wasn't in S2 enough. That's not my issue. I would've loved to focus on a new group and I think that Jaime, Bart, Ed and Gar would've been super cool to focus on. I loved what character development they did have and I craved more.

But the problem? The problem is when you have 16 fucking characters that you are trying to develop and shove into a coherent plot and have actual meaningful scenes. There just wasn't enough focus on S2. Imo, S2 was meh because the characters got left by the wayside. The plot, dialogue, world building, lore and messaging was fine, there just seemed to be a lack of heart/warmth in the show because of the characters. It's hard to get invested.

Then holy shit. S3 introduced more characters. And the plot got more contrived and 'big picture' to the point that it started to abstract. It felt like nothing mattered. There were no stakes, you were just watching things happen. There was 50 fucking things happening an episode and 80% of it was lore/world building. It felt like I was studying for a fictional history exam.

I'm pretty sure the main character in S3 was earth 16. Just the entire universe. Because goddamn. We checked in on almost every living being and EVERYTHING was a plot point. Most of it wasn't even relevant to anything happening in the season. Man it was.... it was bad.

And at that point it just wasn't enjoyable at all to watch. I probably should've stopped watching but at that point the sunk cost fallacy had already kicked in. I knew it could be good. Maybe it could be good again. And people were constantly praising it as cinematic genius so I was like 'okay well maybe I'm missing the point? Maybe you aren't supposed to enjoy shows? Maybe this is fine?'

But season four broke me.

The creators heard that people were frustrated by the lack of character focus and the episodes following 72 characters and the episodes switching between 50 different subplots every episode and their solution? Their solution was to take allllllll the different unconnected plots and, instead of evenly spreading them throughout the season, jam them all into 'arcs'. So you had a bunch of mini seasons consisting of 3-5 episodes dedicated to a cast of ~5-8 characters (some of them new). And each of these episodes had unconnected a plots, b plots and c plots.

THAT IS NOT A SOLUTION

Holy shit that is not a solution.

Not to mention the overarching plot of the season, in which we had no fucking clue what was happening until the final episodes where everything became a speedrun to wrap everything up. We literally had no idea what the main plot was until it was ending.

Good god it was bad. It's bad writing!

I know people liked it and good for them. You should like what you like and you don't have to justify it. But for me it was insanity. I'm sorry I actually don't want a season long subplot where Beast Boy is depressed and sleeps all day. I would be cool with it if it had anything to do with the larger story but, surprisingly, spending five minutes watching Beast Boy sleep every episode didn't make for compelling storytelling.

I'm still not over how we didn't even know who the main villain was until the end of the season. And then all of a sudden he does a villain monologue to tell everyone his evil plan and his motives. Super cool actually. I love it when I have no idea what the stakes are for the majority of a show. It's incredibly good storytelling when you leave the audience in the dark about a major player in the plot for all of the plot. And then doing an info dump evil monologue in the final episodes to rush through the explanation??? Fucking fantastic and not a sign of terrible pacing at all.

I'm just so frustrated. The show isn't about being a show anymore. The show is an entire cinematic universe shoved into 20 something episodes. It's desperate to tell every single story at once, audience, pacing and good writing be damned.

I'm so tired of the constant praising of Greg. His whole 'i don't write endings because life doesn't have endings' and 'i don't write cliffhangers, I just leave things open ended' thing is pretentious bullshit. I'm tired of pretending it's not. A good story has an ending. Stories are not life! Some of the best shows I've ever watched had planned endings. And oh my god. The cliffhanger thing... that's just semantics my guy. Greg you write cliffhangers. You can insist they aren't but I'm going to call a spade a spade.

It's also.... I'm fine with explaining things, in fact I love it because it's an excuse to talk about the stuff I love, and I have a fairly decent knowledge of comic book lore. So, I could not only understand what was happening in the show but I was also super enthusiastic about explaining it to people. But hey Greg? Hey buddy? If 90% of your audience doesn't know what the fuck is going on and needs to be familiar with super specific obscure comic characters from the 70's then you might have a problem.

I think I realized halfway through s4 that the most enjoyment I got from an episode was when an obscure comic character would cameo in it. But then I realized that a) they generally weren't explained at all and b) 50% of the time they weren't just hanging out in the background and they were vital to the plot. So to understand who the fuck they were and what the fuck was happening you had to be familiar with... well all of DC comics actually.

Anyway this rant is getting long and unhinged and I don't think there's a point so I'm going to cut myself off even though I have so much more to say on the topic. I think my general point is just that I didn't enjoy watching the later seasons and it's chill if you did and we should all respect each other's opinions ✌️

the fact that joker needs batman more than he needs joker is a very interesting factor of batjokes, makes me bitter as fuck (pardon my language), but still, a very interesting part of their relationship.

never have i thought that batman and joker's relationship would hit so close to home for me. in one of your posts ive seen someone mention that joker loves but hates batman for that exact reason and man. why did they make joker so damn relatable.

Yeah, it's definitely a conflict on Joker's part, which tends to get a bit overlooked in fandom. Joker is obsessed with, and in love, with Batman -- but he doesn't always like it. He's been trying to kill the guy and telling him he hates him, almost as frequently as he's told him he loves him. But yeah, both me and @lankylordoflevity have discussed this somewhere in my asks before.

But you know, while Joker does undoubtedly need Bruce more... his love for Bruce is a lifeline in many ways. His obsession with Batman gave him a purpose, kept him alive after he fell into the acid vat; his love is everything he has that matters, but it's so all-encompassing because he's got absolutely nothing else. Joker doesn't have a family, or any kind of moral rules, or anything that important to him. While Joker is conflicted about his dependence on Batman's existence, at the end of the day, to him... this love gives much more than it takes away.

But Bruce stands to lose so much. His inability to let Joker go has caused so much harm already. He's made some very questionable choices over time, among which him nearly killing Jason at the end of UtRH to save Joker's life is probably the biggest. His relationship with Jason suffered as a result; all of his relationships suffer from it, one way or another. After being shot in the spine, Barbara had to hear that Batman was seen laughing together with the man who shot her. Over the years, she had to watch Bruce go out of his way to save Joker's life, even when she asked him not to, even when it wouldn't have contradicted Bruce's rules to let Joker die. His relationship with Joker was a big obstacle even in his relationship with Selina; that's kind of the plot of Batman/Catwoman. And this is something Snyder saw too -- how difficult this pattern of Bruce's is to overlook, and how hard the Batfamily avoids addressing it. Death of the Family is literally about the impact of Bruce's selfish and reckless actions regarding Joker on the Family, and the understandable rift that follows when they can't help but realize Joker wasn't wrong. Because the reality is, Bruce has saved Joker's life so many times and in such ridiculous conditions at this point that it's baffling. And what Joker keeps doing after is more murder, more destruction, and worst of all: he keeps being a danger to all the people Bruce loves. Yet Bruce can't find it in him to genuinely let him die.

I guess, what I mean is, Bruce is the one to suffer the biggest consequences for his side of things. Hundreds of deaths, untold destruction, the eternal possibility of Joker crossing another line and killing more of his Family. Joker may need Batman more because he's got nothing else... but how many more excuses can Bruce come up with, to himself and to others, for the fact he keeps risking so much to keep Joker alive? In the end, what's crazier? Needing someone so badly that loving them is barely a choice, or choosing someone again and again no matter the costs while claiming you don't love them?

Don't know if that helps with the bitterness, Anon. Kind of ended up going off with my own thoughts about this. But for me a fascinating part of Batjokes is Bruce's own side of things, that often gets dismissed as him not reciprocating, or him being less invested. Joker is loud and vocal about his love, and it's easy to take him on his word; when actually, Joker would be the first to balk at the idea of a relationship that involved anything other than violence. Bruce is vocal about his hatred for Joker and his wish that Joker would die, but his actions contradict that time and time again; when he's the one to reach out and the one to keep Joker alive, even when Joker himself is trying his damndest to die. As the villain, if someone else murders him, or if Bruce snaps and kills him, Joker... wins. It's what he wants. But Bruce loses when he keeps Joker alive, and he'd lose himself if he finally murdered Joker.

One way or the other, Bruce always loses.

MITCHELL AKUTAGAWA EPISODE!!!!!!!!!!

SOOOOOO hard to go through everyday life trying to ignore the never-ending feeling that im just irreparably fucked up and therefore should just give up on everything

doing things outside of your usual is such a humbling experience...

crack theory: what if the abyss twin isn't a descender because they're an ascender?

I THINK THE WORST PART IS THAT TILL OPENED HIS FUCKING EYES AND HE REALIZED. HE UNDERSTOOD. HE KNEW. AND AS SOON AS HE DID. THERE WE WENT. GONE.

Okay okay so. Thinking.

I've mapped out how I want to pay off my credit cards, which means I'll only be getting new stuff pretty sporadically, which means I need to appreciate the zero cost things in my life, like:

- the 2.5 foot tall stack of unread books I have

- the violin I might finally actually pick up again

- the 500+ drawing prompts I've been hoarding

- the list of anime I still need to watch

- the 3000+ songs in my watch later playlist

- the stickers I've been neglecting to cut

- yarn??? I have a lot of yarn

- all the pink fabric leftover from moth cosplay

- the candles and incense I also already have

In short, time to actually use the stuff that I have 😭

barry s4e4........... bill hader i'm in your walls!!!!!!!!!

on a more positive note: I got the day after the Crystal Steel gig off of work without having to ask for it, how cool is that??? I can stay and chat with other concert goers and maybe the band themselves as long as I want!! (at least until I gotta get the last train home)

Someone come kick me before I try to write a new fic

oh sick! I love Frankenstein!! read it last year for school and wrote sooo many essays on it it was fabulous

It's incredibly sick! It's diseased and unhealthy! It's downright unwell!

My school for all it's benefits is a little bit horrible at exposing us to the classics so I'm taking it upon myself to read them on my own time, and the Frankenstein emails are just add a little fun to it all! It's nice to get to see others' thought and to supplement my own conclusions and thinking with that from others. Maybe I should join a book club hmm.

Anyway, I will not be writing any essays for any classes over Frankenstein--unless it comes up in a later college class, but for now I will be enjoying the experience :)