crying screaming crying

Have you seen the Webtoon "Working with an Editor" Video? I feel like this explains a lot of how the platform's Originals end up in the states that they do. Based on that vid, it seems their editors are less the developmental or copy types, and more acquisitions and managerial focused. Which explains how some series have "an editor" for editorial oversight, while not being what readers would consider "edited".

oh there are... definitely things about the editors I can tell you based on what I've read and even been told directly by some Originals creators (obviously their names are going to remain anonymous here lol) Before I go into it, every editor and every contract is different, I have no way of actually knowing what goes on behind the scenes due to not being an Originals creator myself, so please take what I'm about to say with mountains of salt as much of it was either learned secondhand through creator AMA's and at best, firsthand through anonymous Originals creators who I've communicated directly with. Ultimately you should be getting your facts from the creators who actually speak up on this matter, not me.

1.) WT has a VERY small pool of editors who are currently being stretched incredibly thin. Bre Boswell, as an example, currently oversees 20+ comics, including Lore Olympus (though not anymore haha), Nevermore, The Kiss Bet, Down to Earth, and Castle Swimmer. She is not the only one with this big of a workload. Obviously with one person having to oversee this many series at once, it's virtually impossible for them to do the actual "editing" part of their jobs, even if they genuinely want to.

2.) The role of WT editor isn't the same as a traditional editor - many of them are simply liasons between creators and Webtoons, meaning any questions creators have about their schedules, salaries, etc. are directed to their editors who then contact WT on their behalf and relay the response back to the creators. The bare minimum requirement for their job seems to be just making sure that creators are following terms of services. The traditional role of editing - proofreading, offering advice and storytelling tweaks, etc. - seems to be entirely optional and dependent on how much time the editor can devote to the series (see #1) + how much creative input the creator is willing to accept.

3.) With how low WT's standards are and how overworked a lot of editors have become, many editors actually stop reading their respective comics after the first few episodes once they're confident that the creator can handle the series on their own without needing check-ups that they're following ToS. So in that respect they truly do just become messenger owls between the creators and WT (and IIRC creators send their episodes to their editors to upload, they don't do it manually themselves). This is also why there are webtoons that share the same editor but differ greatly in quality of writing and art - how well a webtoon is written and drawn is often entirely dependent on the creators making it (it's why Nevermore manages to be so consistently good despite having the same editor as Lore Olympus which is consistently awful lmao).

As an added little thing, I will not say who, but there is a specific editor who... often gets a looot of special treatment from WT, from what I've been told and heard. A lot of their series get away with way more than what others do and get a lot more advertising privileges.

(and no, it's actually not Bre LOL from what I've been told Bre is actually a very sweet person who's very chill to work with haha)

I’m seeing a lot of modern comic book writers make the same big mistake, and it didn’t really occur to me just how detrimental that mistake was to the entire comic book run until I read Superboy 1994 Issue 85 (which, as you can imagine, does not make the mistake).

What’s worse is that I know exactly why modern writers are making the mistake and why they think the mistake “must” be made, and I want to caution all future writers from making the same mistake.

The mistake: Telling your entire character’s backstory or telling the audience too much information about your character on the first few pages.

It’s natural for DC, the business, to assume that reintroducing your characters is going to generate more readers and revenue, especially for long running series, but it only works if a) you are telling the readers information they do not already know and has never been revealed before, b) correcting information made in past issues, eg. retconning for the better, or c) revealing new information that puts old information in a new perspective.

However, what they don’t understand is that, if it doesn’t fall under those three categories, then it’s an example of bad storytelling. It’s called an infodump. And if the infodump starts at the beginning of a work, it’s because the writer is only using it as a means to prop up a character they don’t believe can otherwise stand on their own. Or to prop up a story, or prop up a world. It’s weak writing and comes from a place of insecurity.

For a really egregious example, let’s look at the first issue of Robin 2021:

It starts with everyone but Robin. And everyone is directly telling the audience who Robin is. It’s literally a ‘writer speaking through the characters’ sort of situation. It speaks from the inherit lack of confidence the writer and DC has for Robin V. He is literally prevented from standing on his own: everyone else in the narrative has to prop him up.

And what we do understand of the real Robin based purely on that very last two-page spread is that he, apparently, likes to fight for sport. The absolute worst introduction for any character even if it was by itself. It’s a clear indicator that this writer has no idea how to introduce audiences to this character.

Batman vs Robin has exactly the same problem. The fact that these are written by two separate writers and both are about the character of Damian Wayne just goes to show that no one at DC believes their audience could love Damian. Hence, the clunky introductions that span three pages.

For comparison, here’s the first two pages of Superboy 1994 Issue 0.

See how quickly the story jumps straight into the action? See how much it tells us about Superboy?

Another quick comparison, Superboy 1994 Issue 1.

No boxes. Just dialogue and immediately it’s straight into the story.

The first page of Superboy 1994 Issue 85.

Dialogue. Glorious, funny dialogue that tells you everything you need to know about these two characters and their relationship with each other. (Honestly, this is the best example here.)

All three of the above introductions tells us something fundamental about Superboy’s character: he’s a hero who wants to have fun. (That last example is so magical that it literally sucked me in, and I was just picking them at random.)

The mistake of rehashing these old stories stems, of course, from the reboot. Writers aren’t sure what’s canon so they have to reinvent the wheel in order to get audiences invested. And it doesn’t work because the originals were so much better. In other words, this writing choice is a direct result of basic business assumptions.

The assumption: Audiences don’t know who our characters are so we must tell them directly who our characters are--every chance we get. 

They are correct: we don’t know who these characters are. But we can figure out who they are from context clues throughout the story. However, this assumption is how DC writers went from jumping right into the story to 2-3 pages explaining backstory or characters, which is rapidly becoming my newfound metric for determining whether a comic book is good or bad. DC needs to understand: explaining them to us does not endear us to the characters.

Here’s a modern example of good storytelling in DC:

This is the very first page of Task Force Z Issue 1, and it throws you right in. If you know Man-Bat is supposed to be dead in universe, it hooks you. If you don’t, the mystery of why the creature is attacking this weird guy hooks you. It’s extremely good writing.

For comparison to yet another good (not great) modern introduction, see what happened to Damian in Robin: Son of Batman Issue 1.

It jumps straight into the story. (Arguably, not a great introduction either since this part of the story literally serves only to introduce Damian and his bond with Goliath--not the plot of the rest of the run. Damn, Damian’s just getting the shaft all over the place. He needs better comics. :/)

I want to make it clear that the writers who do bad introductions aren’t necessarily bad writers--they are uncomfortable writing characters they don’t understand. It’s insecurity about characters which leads to bad writing. Specifically, insecurity about how well the character is going to be received. It’s a lack of confidence in the final product.

No writer should worry too much about introducing the character. Just introduce us to the story. Why? Because it’s more interesting to see characters act in the here and now, in new stories, then it is to hear their life’s backstory or see the conclusion of another adventure before being thrust into an adventure that promises to be as boring and tired as the introduction. It is setting the run up for failure.

TL;DR: If a comic introduces the characters first, it’s a bad story. But if a comic introduces the main story first, it’s a good story.

If you could choose any author/illustrator to take over a soul eater sequel/prequel/spin-off/ect, who would you choose? Maybe the creator of full metal alchemist?

When I got this question, I thought there wasn't anyone who could fill the role.

For another Soul Eater series to work, it would need a creator who has not only the strengths of the original creator but also his weaknesses--as weird as that sounds. As much as I despise what Ohkubo has done in this series, I think that, without those flaws, it wouldn't be the same series.

This is one reason why I think a fan creator would be the best bet. I'm not interested in naming which fan creators out there I would recommend: they are already creating these stories, so there area range of options of excellent fan creators who have shown they can craft stories far better than what we get in Soul Eater. But those creators largely avoid Ohkubo's flaws--so, weirdly, I'm not sure they would fit in the same way making an official Soul Eater project.

(This is also why I cringe at how fanfic-y some more recent works in pop culture feel, because those franchises are now written by fanfic writers who, sorry, feel like they are stuck on the worldbuilding and predictable storytelling tropes, rather than doing something groundbreaking. I don't mean "this fanfic writer now made an original work and that is no good"--the _original_ content is great, it's when some fanfic creators are now handling official projects from the stuff they were already writing fanfics for that come off as derivative to me personally.)

(And my remarks are about the writers more than the illustrators. I would have more confident in a creator who was illustrating a Soul Eater story, seeing as there are numerous directions you can go with a style.)

So, if I am a little apprehensive about a fanfic creator handling an official Soul Eater project, who would I want? As I said, it should be someone who can embody both the strengths and flaws of Ohkubo--and the creator of FMA, Hiromu Arakawa, has such a different style, including different strengths and flaws, that I don't think she would be as good of a fit.

I would want someone with a similar background and approach as Ohkubo. Think how Stan Sakai and Jeff Smith have similar roots in independent comics publishing--so of course Sakai taking a shot at Smith's Bone makes sense, narrative-wise and visually.

So, if I wanted someone to try making a Soul Eater story, it would be Aidalro (Iro and Aida). Their Toilet-Bound Hanako-kun has the same strengths and flaws as Soul Eater. Unsettling settings? Check. Halloween vibe? Check. Beautifully-animated adaptation? Check. Vibrant characters with memorable designs and larger-than-life personalities? Check. Complexities in the plot? Well, I think Aidalro is better at that than Ohkubo, so, that's an improvement over Ohkubo. But also, problematic content when it comes to cracking jokes about the main girl character for being seemingly unappealing romantically? Unfortunately, check.

Hello!

I've been using tumblr for a long time, but only recently I've felt confident enough in my english to actually try to join communities and make friends. 

A little introduction... That is actually kinda really long and I’m not gonna subject y’all to it unless you want to, so here’s the tldr:

I’m an acearo, bi, cis girl (🇺🇸 she/her — 🇧🇷 ela/a).

White latina from Brazil.

I’m disabled and neurodivergent

I love sitcoms, comedy is my fav genre of fiction

and cats

and The Sims

and Turma da Mônica

and hairstyling, braids, make up

and Jane Austen

and Taylor Swift

If you like any of it, follow me!! I’ll definetely follow back. If your curious, read bellow.

I’m a 23 year old college student who is majoring in History. I’m kind of a huge nerd, I love subjects like History (duh), Literature, Politics, Philosophy, Psychology, Religion, but also Comedy (i find fascinating to analyze it, even if that kinda defeats the purpose, sue me). I kinda only watch sitcoms, actually, maybe because of how obsessed I am with the genre (more on that later). 

Being Brazilian I may reblog/talk about Brazillian issues/stuff and most definetely will reblog things about Turma da Mônica (brazil’s most beloved comic book series that shaped the childhood’s of at least 3 generations now since the 60s/70s), my longest autistic special interest. Oh, yeah, I’m also neurodivergent, AuDHD and also have persistent depressive disorder (dysthymia gang rise up! or dont, ik its hard and tiresome) and fibromyalgia.

Another special interest I’m unhinged about is The Sims, I use Tumblr mostly bc of it, so I’ll definitely reblog stuff about it, maybe if everythings works out I will even create a side simblr, who knows. I love historic/fantasy gameplay, would be cool to share with people.

Idk if its a SI or just regular cat owner thing, but I’m definitely obsessed with these little guys. Speaking of cat lover, I love Taylor Swift. Like, I’m very casual about most music I consume, but she is the exception, I just... feel SO MUCH with her songs. Idk, idk... She also makes me feel things on a sapphic way, though I’m no g*ylor or hetl*r (rlly dont care about who she dates, just here for the art). But not in a wow I wanna bang this celebrity I have a crush on, cuz I dont wanna bang no one, cuz I’m acearo. Just, dont swing that way (or any way, really /hj cuz i'm actually gray-bi-romantic but its very rare, so i'm usually not swinging at all lmao).

I really like to read, but it has been tough to keep the habit with depression and disabled adult life knocking at my door and kicking my ass... currently I’m finishing reading all Jane Austen’s work (i love her sense of humor and analyses of human psychology) in portuguese, but I plan to eventually read the original stuff in english. I just really love stories and storytelling as an art form, maybe that’s why I love to write. I’m obsessed with fanfictions, actually, been writing since I was 11, never anything in english, but who knows, actually creating and participating in tumblr may be the first step. I mostly write about tv shows I’m obsessed about (though I did write some Turma da Mônica Jovem fanfiction...... thank god I deleted, it was terrible, tho in my defense I was still a preteen) and I mostly watch sitcoms so.... About that...

My favorite sitcom ever is probably How I Met Your Mother (it was literally what i needed when i was going through a really rough patch) and BoJack Horseman (yes, cartoon sitcoms totally count, shut up). I’d say my first sitcom love was The Simpsons, my biodad had a lot of dvds and tapes from the golden seasons and the fondest memories of my childhood were us watching together and laughing like two idiots. My first fandom was iCarly (i was a preteen okay), but I wasnt a big fan of the revival/reboot (yes I was team seddie, no it has nothing to do with it, I gave it a shot, but just didnt vibe with it). I also love The Office, That 70′s Show, Never Have I Ever, Community, Our Flag Means Death, The Sex Lifes of College Girls, One Day at a Time and The Good Place.

I’m pretty sure the only other shows that I got obsessed with that weren’t sitcoms were Once Upon a Time and Lucifer, two shows that were quite humorous with its wacky premises (fairytales in real life???? the devil taking a vacation in LA??? i mean, c’mon!!). I’m loving the Percy Jackson disney adaptation, it was my favorite YA book series and it always bummed me that the movie adaptation was so terrible, I'm glad we finally have a great adaptation and can't wait for more seasons to come!!!

I’m very talkative (you dont say?? 😮 /s) and a total extroverted that really loves to make friends, but my communication difficulties really do shine on long distance conversation... be phone calls, video calls, emails, text messages etc... So, although I’d love if you shoot me a message, bc I love to make friends, I also am not the best texter, so dont expect someone who always immediately answers you right back cuz they are online — please dont take it personal, it has nothing to do with who is messaging me and everything to do with my disability mkay? And yes, I am trying to work this shit out in therapy, but you know... growth aint linear. When shit hits the fan, the first thing that I lose is the ability to answer text messages 😭 idk i just stare at them, they stare at me, i combust and die, the end. 

Dont know how to end this text, so, I’ll just show a pic of my cat, cuz shes everything. Bye!! 

Fish Upon the Sky Episode 1-7 (The Problems with Walls; An analysis on Duen and Pi)

I swear, if I could just settle down, stop running away and actually analyse FUTS the way I usually do. I would have so many essays by now on how authentic and deep this show can get with some of its characterisations. As I  write this FUTS essay that has constantly been plaguing me and making me frustrated that no one else is seeing these themes, I realise again sadly how this director has sadly failed to show the vision of what he wanted for the series.  An essay on how DuenMeen and MorkPi mirror each other so much with their themes, it sounds crazy to think that they do because their storylines on the surface seem different at times. Still, also their love interests act differently towards them, and they have different dynamics with them. But that's what's so great about meta and mirroring in TV, especially in shows that aren't meant to be seen as deep or purposely filled with hints and clues to break down. Fish upon the Sky is one of those shows. It struggles to find a balance between wanting to be more profound and showing exciting themes vs pleasing and appealing to the audience, using humour and other exaggerated performances/narratives to do so. However, the writer of Fish upon the sky novel has always had her works struggle with these issues and themes. Jittirain always writes emotional stories about unrequited love, with different lessons, ideas, or characterisations that people fail to understand or truly value because the meta/depth of their personalities is hidden or misunderstood by their own directors. This is what happened in  2gether; this is what also happened in Theory of Love.

A Misunderstood Duo

In order to really understand how grand the narrative the show is failing to truly flesh out is, you need to understand that Pi and Duen (the two main characters of the show) are the narrators of both their own stories. Pi's is Fish upon the sky whilst Duen is Leech upon the sky (😂😂) but what's great is that you can already see the mirroring/similarities just by their titles. Even though their insecurities and worries seem different, it's the same theme for them;  both struggle with love because they secretly have a lot of self-deprecation and hesitancy from how people have treated them. It's not as noticeable when you see Duen's characterisation/storyline, but if you truly focus on the themes of his narrative without being distracted by the loud comedic routine he has, you'd see that his biggest insecurity, that he tries to be defensive and act like he doesn't care about is his dumbness. He genuinely feels weaker/inferior because he's known as being dumb to everyone around him. He struggles to process anything that is complex and requires more depth or thought.  It's played for laughs because he relishes in the idea that people feel exasperated by his actions. He acts like he doesn't get bothered by how people perceive him because he's still seen as socially acceptable, unlike Pi, who's actually bullied and alienated from society because of his own 'flaws'.

But you can see that it's all a façade when it comes to Duen, just like with how Pi handles his own insecurities and trauma to do with his perceived flaws. It's why Duen chooses to lie to Meen that he's a dentist. He didn't want him to see him the same way others do. This already should show that he doesn't actually enjoy being seen as dumb, but he has walls up to make it seem like he doesn't care. He knows he's constantly being compared to others, but he can't change who he is (just like Pi didn't also want to change how he looked or acted to please people at first). So he jokes and tries to see a positive in being that way; he starts to want to slack off and cheat off others when it comes to work. He stops taking University seriously and repeats classes constantly because he always fails. That is until Meen shows up, and then he starts to want Meen to believe he's something more. Why?

But in case I haven't repeated it enough, Duen is like Pi, whose insecurity is easier to see since we watched him get attacked and bullied for it immediately in the first episode. It's Pi's true thoughts and opinions we see in the show as the audience, whilst Duen's story is hidden with comic relief and unseriousness. They both try to act like they're okay with what they are being judged by in society. Thus, they act confident, they're both loud, they're selfish, acting like they don't care how people see them. Preventing others from getting to hurt them by making it look like they are in control of what they have and use that to their own advantage with others.

They both stay heavily in denial about their true feelings in general, but primarily with the critical focus; the people who make them question everything about their flaws that come into their life and frighten them the most. The ones that break down those facades; make them automatically want to run away whilst being unable to stop showing and escaping their true feelings whenever they're in their presence.

The Use of Humour and Sarcasm 

So what we end up with is a narrative with two incredibly annoying and flawed characters who are seen in the audience as exaggerated caricatures for comic relief and shallow storytelling. And it's brilliant because both their unlikable/loud, selfish personalities are just fake walls built, so they don't crumble and get affected by how society views them or wants them to act. So you see, there's the issue that people keep misunderstanding about these two stories, especially about these two brothers. They're realistic; they're flawed because they've been affected by society and the environment around them. They're acting like how anyone who's been hurt before would act, they have built up walls, and they've decided to just stay by themselves and let that guide them in everything. They deal with their issues with sarcasm and humour to reduce the seriousness of the situation, so they don't appear weak or let anything hurt them.  

That's why I love this narrative of FUTS, it's meta and more profound than people think, but because the director doesn't do the best to show it, it can get lost in all the exaggerated humour. For example, with Pi, because he's socially anxious and always overthinks how people think of him (due to his past experiences of being abused and hurt by being ignorant of how people thought of him), his world is wildly exaggerated in his head. The way he narrates the story is played for laughs and is a very telling and realistic representation of how overthinking is expressed in his mind; it's overdone, loud and nonsensical at times. That's what social anxiety does; it makes you cry about one stare, one laugh, one action someone does, it makes you panic over the most minor things, and Pi does that with panic and boisterous, sarcastic humour from the start of the show.

Hence his story also has exaggerated humour because he deals with his issues with that fake jokes and sarcasm. So the show also exaggerated humour too when we are in his perspective.  This is actually similar to Duen's breaking the 4th wall narrative style of his storyline. As with Duen, whose narrator of his story mocks and laughs at his actions ironically. When really that is just literally himself fighting with his inner voice about his true feelings about Meen. He breaks the 4th wall because he's internalising his own emotions and dealing with them as a skit; the narrator is his true self ridiculing him for not accepting that he has feelings for Meen and that he's not as bright/cool as he thinks he is. So if we understand this and notice that the narrator makes fun of him constantly and jokes about his actions, you'll realise that Duen sees himself that way too; he sees himself as a joke. He doesn't see himself as suave and carefree; he actually mocks himself internally for being dumb and being gross.

Pi: The Need for Protection and Avoidance 

So already, just from breaking it down with this point of view, Duen and Pi mirror each other so well, and their narratives because of this focus on the same themes and ideas of self-discovery. Both are flawed characters with a lot of vulnerabilities and pain that they refuse to deal with properly. An id ego defence mechanism catalysed because of their past experiences and protection of their mental space. They both stay in denial, hurting who they love by refusing to let them get to see them without the walls down and more. Pi hates that he loses control with Mork and refuses to let Mork have his heart because he believes Mork is too good for someone like him secretly.  He knows he'll be the one damaged. Hence the choice to intentionally misinterpret his brother's metaphor on the vaccine analogy and view it as the complication with getting with Mork. Let me try and use this to break down his mindset with why he chose to still choose Nan even though he knows (he does know) that he wants to be with Mork romantically. Listen to the analogy his brother uses. He mentions the iatrogenic vaccine, a vaccine intended for a patient that starts helping the patient be well but actually causes more harm than good. The end result is because of the incompatibility of the vaccine and the time it takes for those results to show up in the patient and make their lives affected in a negative conclusion.

 A vaccine ironically is meant to be an antidote, something that saves people, that helps and makes them feel better. And that's what Mork says he wants to be for Pi, it's romantic, but once his brother announces a different version of a vaccine, Pi jumps with that analogy and believes that's the truth about Mork and him that makes sense to him, than seeing it positively. So with this analogy, we can break it down this way:

The Iatrogenic vaccine was too different and incompatible with the patient. Which is what Pi believes about Mork. Remember, Pi doesn't think  (because of what people have told him) that he deserves loyalty and love from people better looking/capable than him. He sees Mork in this light from the start; he views Mork as a rival because Mork is good looking, popular, strong and cool, basically things that are not associated with Pi to others.  So Mork and him are incompatible in Pi's mind.  This is why Pi constantly asks Mork why he wants to be close to him. He just doesn't understand it.  

Second, the Iatrogenic vaccine starts off good but causes damages in an irreparable way to the patient. It's the patient that ends up being affected by this vaccine interaction, not the vaccine that caused it. Before Wan starts this vaccine conversation, he discusses how people around his hospital are patients primarily because of heartbreak; they come in with damaged mindsets, broken hearts and self-harming injuries because of being hurt by love and letting themselves be vulnerable to that. All Pi hears is people hurt themselves over the pain of heartbreak and being abandoned. That's the complication if he does finally trust Mork. Especially after Mork and him get to be close, it'd be just like with everyone who has gotten to know him in the past, who stayed by his side as 'friends', once they learnt about him, what they said is that he wasn't worth being loyal to. So many people used and deserted him, and it almost broke him. This is why Pi grow the walls he has now. Even though Pi is chasing after Nan, he's not expecting an answer from Nan that's positive; Nan is a fantasy, something he can use as a goal to want to keep chasing and distracting himself from that singleness and loneliness he felt at the start of the show. This is why he's doing all of this; he just wants a distraction from the mess of his life. But to Pi, Mork? Mork is real. He's serious; he's someone who Pi actually truly will be damaged by if he's hurt and left by him; he's someone who Pi truly loves and is real to Pi, it's terrifying, and so he rather just avoid that because of the risk of a complication. To be that patient tricked by the vaccine and left to deal with those consequences all alone? Yeh, no, he can't do that.  Pi sees him as a friend and doesn’t want to end that because that's the first thing in a while that has made him feel actually happy being himself and accepted. Being friends with Mork makes him feel safe. So again, it's selfish, but it’s all about him preserving what he already has with Mork rather than damaging it.

Those complications are exactly that result if he lets Mork in romantically and Mork sees his true self and leaves like everyone; it’s not Mork who’d be hurt. It’s Pi who’d have nothing more to believe in if he lets himself be that vulnerable. Again Pi is thinking with his head when it comes to Mork; there’s a massive risk if someone takes the wrong vaccine, that person is damaged because of it. Pis journey with Mork is the same thought process that friends to lovers have. The fear of losing each other if they cross that line, of taking things too far and ruining the foundation they had that made them safe. The fear of the love being false as it always has been from others.  Pi thinks he likes Mork because how can he not? However, Mork is always there, making it hard for him to think. He associates Mork with niceness and protectiveness, but that doesn’t mean he has to accept him romantically, and Mork sees right through him and is fond of breaking down those walls he put so high up to ensure he doesn't get hurt again. Mork is the one pushing Pi further away from him the more he clings because Pi doesn’t like losing control. Same as Duen. And Mork doesn’t let him just figure it out without manipulating everything; the more he does that, the more Pi feels manipulated and tricked into wanting Mork as a partner, and that's too scary for Pi. This is why it’ll be massive when he finds out who Mork truly is on his phone as the guy from nearby faculty.

Duen: The Need for Nonchalance and Ignorance

Duen is the inversion with his storyline; he tries to look cool and better to Meen,  refusing Meen to see him when he's worried, anxious or insecure because he himself shuts off those emotions whenever Meen triggers them. He doesn't want to face the truth, that he hates being seen as dumb and not being seen as a hero to Meen. He lies to Meen because he's trying to keep him by his side without actually letting him see his true self. After all, if he does, he also may judge or leave him too (guess what same as Pi's worries with Mork. Mirroring!).  Duen tries to act unaffected just like Pi does with Mork because again, they both know once they break down and give in, there's no turning back, they will be exposed, and the' truth' about them (which they believe and see about themselves) will push the people they truly want by their sides away.

So instead, they grapple for control by faking lack of care and feelings for their partner; they refuse to apologise quickly and refuse to give in easily to them to further their relationships, increase their trust and let them in. They refuse to let go of their fake personas and fake masks and walls they've built and try hard to hold onto the facade, which hurts Meen and Mork in the end. They both push and pull and show signs of vulnerability and romance only when they're alone with no one else around (like the tent scene with MeenDuen and the after school night scene with MorkPi outside). They show worry, devotion, and they show that they want them by their side. And these are the moments when we actually get to truly see who they are without their walls, their fake personas unshed, and their niceness, their care and protectiveness over them exposed.

Wan: The Comparison and Norm

When we're first introduced to the show, Wan is mentioned almost immediately as we see Pi's struggles. Because of Wan's reputation, people choose to crowd around Pi, and it's sad, but I also think Duen also had this same issue, just a bit different. With Pi, it's about his outer appearance, his beauty standards vs society's. It's exposed to him he lacks those, but it's his intelligence similar to Wan that makes people stay by his side at first.  He also studies dentistry as Wan studied Medicine, viewed by societal standards as impressive and praiseworthy. Pi is used by people who want to both get to Wan and want to profit from his brain and abilities. Duen is the inverted version of this; he is seen as handsome and cool and aloof, a bit messy, but the reason why Meen first leaches onto him is his street smarts and survival skills with social interactions, he knows the right people, he is seen as cool by others including Pi, but he's also seen as dumb. He's failed repeatedly, unlike his brothers at trying to obtain a degree.  So he has the outer appearance but lacks the next valuable thing in society's opinion; brains and the ability to increase your status by your talents and skills. Duen lacks that; he doesn't have any specific things about himself that he can fully be proud of. He's not highly talented, he's not intelligent, and he's also not viewed by women as extremely attractive or awe-worthy. He nonchalantly takes on this persona; he chooses to block any worries about things being serious because he lacks the smarts to think of things deeply or ponder about life's questions.

He's insecure, however, about this, and you see it when he tries to join in with Wan and Pi when they discuss vaccines and love. As Pi transforms for Nan, his lie is that he's well of without other people in his life like Mork; he pretends he's okay being seen as loud, not friendly, selfish etc.  Duen's own lie to Meen is that he is a version of Wan, of what people think Wan is; intelligent, put together and reliable. Because what Duen wants from Meen all the time (he doesn't realise he already has this devotion from Meen for just being himself when he's not trying) is for Meen to want to rely on him since that's precisely what Meen keeps telling him he likes about him, or wants to learn from him; street smarts etc. Duen likes being seen as a protector, a hero, a helper etc., to Meen. And that's why he stays adamant with his lie and refuses to let Meen truly see him below the surface.

Like Pi, he also doesn't want to admit what he knows and has fought to accept, which is, he loves Meen and wants him by his side. It's the fear of losing what he has with Meen that makes him do what he does, which is the same reason Pi also keeps rejecting Mork; it's the fear of losing him. And that's the ironic thing about Pi and Duen, they're ironically trying to preserve what they love, but because of scars, insecurities and walls, they're hurting the ones they love by just refusing to be their authentic selves. It's ironic because they think being themselves is the worst option. Yet, on the surface, they act like they're fine with who they are, they're loud about being carefree of what others think of them, they're okay if these two leave them, but in reality, their worst fears are admitting that they agree with what people see in them as flaws, that they also hate themselves for that. That's heartbreaking because they fought so hard to keep loving themselves, to keep believing in their worth, but society made them genuinely think that they're wrong. And it's painful but realistic.

Again they're all similar and mirror each other. I just want people to understand that FUTS is a deep show; I know the director doesn't do the best job with what he's been trying to show, but it is deep; there is thought at times put to it in the profound moments. In the moments where both Pi and Duen aren't being fake and are their true selves, you'll notice that the jokes and humour slowly reduce whenever they are true; the narrator also reduces for Duen because he doesn't struggle as much with his feelings for Meen like he did at the first time. All the stuff that happens in the show is on purpose, even if done messily and poorly. People love to hate on the show. It has a lot of flaws, I know, but it's not the worst thing; it has deep characters that are incredibly flawed and hurt (even Mork, who we still hope will get to understand his story) it has people that act one way on the surface but hold deep scars and pains below whilst wearing a mask. The characters are unlikable because they are realistic to how people with self-sabotaging habits and deprecation act. That's why I like this show. And I'm sad I wasn't writing out more all about the meta and moments I've enjoyed so far. Anyway, I'm grateful this show has been shown this year; it definitely made me ponder my own ideas about how I view myself and if I have walls up around the people I love. I think many people do relate to Pi or Duen somehow, and it's unfortunate that the director doesn't help us feel the same way about the narrative when it's actually a great BL story to unravel and watch.

LGBTQ Manga Review – Yuri Is My Job Vol. 1-5

Yuri is a genre deeply rooted in its history and traditions. Dating back over a century, many of the scenes and situations from early "Class S" literature still predominate Yuri titles today. Common elements include senpai-kohai relationships between a bright and cheerful younger girl and an older, more assertive upper-classman. The bonds between the two were not the romantic and sexual love of lesbian narratives, but more sate or "pure" relationships often devoid of lesbian identity or attraction. The presence of S elements ebbed and rose over the past century, but they experienced a surge at the end of the 20th century. Contemporary S literature dominated the Yuri scene for at least a decade, and even now, its effects are still seen in many works today.

Naturally, as with any genre that becomes too entrenched with tropes or clichés, Class S literature became the subject of parody, commentary, and deliberate defiance. And while numerous works have repeated, twisted, rejected, and exaggerated tropes, perhaps none have done so quite as masterfully or as enjoyably as Miman's Yuri Is My Job! The series uses S Yuri's ideas uniquely and masterfully weaves a narrative in and out of them with a layered setting and great characters. The constant balance between and integration of reference, humor, and a strong core narrative had me gleefully enthralled and thoughtfully pouring over every page. I ravenously consumed the series, not just because of the cute cakes and elegant young women, but because I was so invested in the story and intrigued by the manga's premise.

Breaking down every reference is far too daunting a task that frankly deserves its own dedicated article. Still, to briefly overview, Yuri Is My Job! is set primarily at a café themed after an all-girls mission school, Liebe Grils Academy. The servers of the café act as the elite students of the fictitious academy and offer outside visitors, patrons of the establishment, a glimpse into their forbidden world of elegance and sisterly love. The series follows high school student Hime after she starts working at Liebe after accidentally injuring the manager, Mai. The series takes off from there, with Hime participating in the various themed events and navigating challenging relationships with coworkers, including her hostile schwester, the upperclassman who mentors her, and, in the world of the café, partners her.

Yuri Is My Job! is much more enjoyable with an understanding of S literature and themes, as references can slip by readers otherwise. However, particularly after the first volume, the series opens up a little more with an overarching plot that dips in and out of the thematic S material. Even without a grasp of S tropes, readers can enjoy watching server Kanoko struggle with her hidden affection for Hime or get caught up in the excitement and scheming during a popularity competition between the staff.

Throughout the first five volumes, multiple shorter narratives, such as the cook getting sick or Hime learning how to serve guests, are interwoven with the overarching character and relationship-driven story. Although almost every character has plenty of time to shine and distinguish themselves, the main plot revolves around three characters, Hime, Yano, and Kanoko.

Hime, the protagonist, maintains a constant facade of the sweet and beloved princess. However, her adorable and charming act is just that, and only two people in her life know her secret, Yano, and Kanoko. Inside the café, Yano acts as Hime's "onee-sama", holding her close and praising her to the delight of Liebe's patrons. However, she is terse and often angry with the girl, unable to move beyond a misunderstanding in their shared past and her insecurities about Hime's true feelings. Kanoko however, acts as a foil to Yano. She relishes Hime's facade, specifically in that she is one of the few privy to the truth, and harbors an attraction to her; she hides these feelings rather than wear them on her sleeve as Yano does. The dynamic between these three drives much of the "action" in the manga.

The more I read Yuri Is My Job! The more I was able to see and appreciate the distinct patterns of storytelling and how the main plot is woven between three layers. The first, and most prominent, is inside the café, in a world dominated by S tropes. Here, characters play politics and plot against each other using their performance and the audience's reaction. For example, thinking how they will get votes for themselves or others during a contest, or else Hime acting cute and loving around Yano, forcing her to return the affection to maintain their roles as schewstern. Outside the fictional world of the café, elements of the story alternate between more grounded drama and thematic moments featuring Yuri tropes. Miman beautifully navigates the relationship between the plot and the parody, weaving a delightful story in and out of different classic Yuri scenarios.

Miman matches this creative story and setting with excellent artwork. Character designs are distinctive and well constructed. So much, that when characters say something "off-screen", a small sketch of their eyes and mouth in the speech bubble is more than sufficient to identify the speaker. Of course, the robust and developed personalities also assist here, as most lines are easily attributable thanks to solid writing and strong personality. The art also features very creative paneling, with almost every page having an entirely different layout. However, the order is still easy to follow and reads naturally.

Not only is the art pleasing to look at, but it also adds to the manga's setting and parody of Yuri tropes. Panels feature the girls holding each other in dramatic and literally flowery poses, like a shot straight out of Strawberry Panic, complete with a backdrop of lilies. Appropriately, these fantasy-inspired poses occur in the café, often to the pleasure of adoring patrons screaming in celebration (thus mirroring my reactions). Like the other Yuri tropes, these artistic presentations occasionally jump outside of the café in more emotional or poignant moments. However, in a few crucial scenes, those more related to the narrative when it steps outside the boundaries of Class S, feature more grounded, although still dramatic, art. A particular shot in Volume 4 where Kanoko confides her hidden feelings to her senior, Sumika, and is comforted, sticks out in my mind just for this reason. It is a perfect example of art assisting the themes of the narrative and changing to suit the situation.

Yuri Is My Job! focuses mainly on Class S style storytelling, and thus, while it has plenty of traditional Yuri imagery, there is a starkly limited amount of lesbian content. Sure, readers can enjoy a decent number of illustrations featuring girls holding each other in a dramatic pose, but this is the act put on for the cafe, which is copying the "practice" relationships of S literature, themselves devoid of lesbian attraction. It is an imitation of an imitation, not queer content. Of course, this is by design, but it does mean that if readers want a grounded lesbian romance, they will find the series lacking. A bit of lesbian content does exist, Kanoko's crush on Hime exists outside the boundaries of work and S tropes, a relationship told in a flashback was, at least to one of the characters, "real," and there are signs of an eventual romance. However, the lack of lesbian identity should not be a reason to avoid this excellent manga.

Yuri Is My Job! is one of the most brilliant and exciting Yuri works out there. The ways Miman plays with the tropes and expectations of the genre are hilarious, complex, and exceptionally compelling. The characters are exciting and watching their stories weave through different classic Yuri scenes and tropes is as breathtaking as it is enjoyable. My sincere thanks to Diana Taylor, and Jennifer Skarupa and editor Haruko Hashimoto, for so deftly translating this series and preserving the S ties. I cannot wait to visit the students, or rather employees, of Liebe Girls Academy, in Volume 6.

Ratings: Story – 10 Characters – 8 Art – 9 LGBTQ – 3 (Yuri 10) Sexual Content – 1 Final – 9

Review copies provided by Kodansha Comics

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What I Thought About “Separate Tides” from The Owl House

Salutations, random people on the internet who most likely won’t read this! I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

...>A-hem< F**KING CALLED IT!

I said that the earliest that The Owl House would return would be late June and early July. And some of YYYOOOUUU sons of witches doubted me by saying it would be fall or winter. Well, guess what! "Separate Tides'' has come and gone, the show is back and better than ever, and we are all happy about it! You see how it pays to be optimistic, you persistent PACK OF PESSIMISTS!

...Sorry. Got a little hot there. I'm just so happy it's BACK!

10 MONTHS! It's been nearly 10 months since this show began its hiatus, large in part because of the pandemic. It was painful. BOY, was it painful. But I can already tell that the new season is going to be well worth the wait just by this episode alone.

But beware you mangey sea dogs! Thar be spoilers ahead when discussing such a premier.

And I swear to you that it's only spoilers for "Separate Tides." I haven't seen "Escaping Expulsion" either, and I promise you will be safe from anybody ruining it for you. But maybe don't read any responses from this post. Thar may be d**ks in these waters. So let's review, shall we!

WHAT I LIKE

Mirroring Season One’s Opening Scene: First off, this is a neat callback to what is the perfect first impression of the series. That scene perfectly introduces us to the type of show The Owl House is, while this one acts as a reintroduction to the world we left for way too long.

Second, this is also a well-hidden character moment. Luz is finally living the life she dreamed of, but it isn't exactly all that she expected. It's a great showcase that despite literally running away to a fantasy world, Luz is still getting a regular dose of reality. And I still love the irony in all of that.

(Plus, King eating the bounty is just funny).

The Recap Recording: This is a smart way to recap events from the season finale. It might be weird that Luz says things that the audience already knows, but she's not talking to us. She's talking to her mom. So she's going to explain all that she can in a way for Camila to fully understand. Besides, not every fan had repeatedly watched The Owl House Season One over and over again like a bunch of frickin' lunatics...You know who you are.

Plus, as an upside, Luz gets to explain new events and concepts for how she and the rest of the Owl House are making a living. In no way does it feel like forced exposition because, again, she's trying to describe as much as she can to her mother. It's a reasonable and natural way to talk to the audience in order to catch them up while also showing what's been happening since we've last left this show.

Luz Can’t Send Texts to Her Mom: ...Well, Texts to Home, it was fun while it lasted, but the current canon has decided that you're done. I'll miss you and appreciate all that you've done for me, but, yeah, this is the end. Sorry.

Alright, now that I got my jokes out of the way, allow me to explain how this is really a heartbreaking moment. Because the fact that Luz is forever cut off from her mother, even through texts, is an idea that just twists the knife in your heart when you really sit down to think about it. Luz's little goodbye at the end of her video does nothing but makes it worse.

On the upside, we get some solid character development as Luz doesn't even hesitate to send the video to Camila, learning her lesson from "Enchanted Grom Fright" about being more honest. She finally faced her fear, even if it was a fruitless effort.

They’re Doing Odd Jobs Now: This is a smart workaround for how the Owl House residents are making money. Some fans guessed that maybe Eda had so much junk piled up that they wouldn’t worry, but this seems more of a logical direction. Even if Eda had enough garbage to sell, she’ll can and will eventually run out at some point, meaning that they will all have to take the odd jobs anyway. So I appreciate the writers used that plot point sooner rather than later, as a fun romp as bounty hunters is something you want to do early in the season instead of later on. Especially with how Dana Terrace confirmed that s**t’s gonna go down in the future.

Lilith: ...I'm still willing to hold off--What the f**k did I say his name was? *looks up past review* Frederick Ulis--Frederick Ulisinsburg!

I am willing to hold off Frederick Ulisinsburg, for now, because Lilith is...sort of on the right track. I mean, I don't like how quick she was to playfully mock Eda or rudely yell at Hooty. But I do think that there is potential for her character. She feels genuine guilt for what she's done, and there's a chance that the new season will explore that further if the writers are smart (which they are). On top of that, there's a possibility that every time Lilith tries to act cocky or full of herself, she will be treated as a proverbial punching bag because of it. Like how her poster got burned down after boasting how impressive she looks. Or how Golden Guard's poster magically sealed itself to her face when Lilith tried to throw it away. It's the latter that primarily got me cackling like a madman due to how deservingly hilarious it was.

And, well...she happily clapped like a schoolgirl! Which was adorable! I can't hate characters who have the potential to be adorable! It's not in my nature!

So, while I am a little hesitant in liking her, I think there's a chance for improvement in her character in the future that I look forward to. We just have to wait and see if the writers pull it off.

(By the way, to the person that came up with Lilith wearing a "battery low" shirt...you're a genius in visual gags/storytelling.)

Greg’s List: Have I ever mentioned that this show is funny?

Who's Greg? Why does he organize a list of perfect bounties?

I don't know, but the idea of some random person in the Boiling Isles is putting it on himself to set up a list to make bounties...I'm sorry, but that's funny to me. It's also probably for how Craig's List was made, but when you really think about it, Craig's List is a funny idea as well.

Eda Isn’t Feared Anymore: I sort of guessed that this would happen, but seeing it is a whole different level of sympathy to feel for the character. Eda's main schtick was being the most powerful witch on the Isles, and that's gone now. She's forced to adapt to this new normal, which she's quick to do, but still. Tt's got to be a rough kick to the ego now that no one even cares about who she is anymore.

It's a low moment for her character that hopefully sets up her own arc for the rest of the season.

Luz Feels Like She’s a Burden: I will demolish her with love and kindness if she even CONSIDERS talking so poorly about herself again! Because Luz is not a burden. She is a beam of light that literally brightens up the lives of nearly everyone she meets. Eda already explains how her life is better because of Luz (through a heart-tugging speech that almost got to me, by the way), but it's not just Eda.

King now has his first real friend who admires him and treats him like the king he wants to be.

Willow has become much more confident and cheerful because Luz was always in her corner.

Gus learns more about the humans he appreciates with his whole heart while also having a friend that treats him like an equal rather than a kid.

And do I even have to say ANYTHING about Amity?

The Boiling Isles wouldn't be better off without Luz. It's better because of her. And shame on this girl for thinking otherwise...even though I fully understand where she's coming from.

I'm about to get personal for a second, so strap in. Because I am a twenty-somthing-year-old who is currently living with his mom. It's as pathetic as it sounds. But it's because I'm still attending college, and she says school comes first and jobs and apartments come second. Despite that, I feel like trash for just...living here as she still takes care of me and pays for the food I can't afford. She says that I shouldn't worry about it, but I still wait for the day I can finally pay her back for everything. Not some things, but everything. And that's Luz's mentality in this episode. The overwhelming guilt she's feeling for thinking she's inconveniencing Eda's life is something that hits really hard for me. It doesn't matter if it's true, but that she believes it's true. It's a heartbreaking character arc she's forced into for this episode that also adds more to why she's one of the many characters I heavily relate to.

Lulu and Hootstipher: Whoever thought of this idea...I f**king love you.

This is similar to when Noah and Owen became friends in Total Drama World Tour. Seemingly one-sided at first, you see a cute friendship that you would have never expected, but it works! Hooty is this happy and naive character who hardly understands what's going on half the time, and Lilith is...Lilith. Their chemistry is instantly fun as their dynamic is quick to understand.

This also shines with potential for character growth, for it could give Lilith a chance to be more caring and Hooty a chance to be more than just the comic relief. If you were to tell me that this is what was going to happen when the season premiered, I would have thought you were crazy. But now, after seeing it in action, I'm genuinely excited to see where this cute friendship between these two goes.

(As long as it doesn't involve fans shipping them. Because Hooty can do better)

Luz Getting Better with Her Magic: Our little bisexual princess is growing up! And, man, is it awesome to see. Luz going from just barely knowing how to do magic to full-on using her spells like second nature just warms my heart with all the character growth it presents. Now, some people might want an explanation for how she's able to do said spells, to which I say: "Who the f**k cares?"

If you ask me, Luz's magic is one of those things that doesn't need a direct answer because it doesn't matter as much. But if you're going to be a baby about it, here's what I can offer: As far as I can tell, it's equal parts having the glyph and mentally picturing what the spell should do. It's much like how Willow draws a spell circle and can either make giant jungle vines or a patch of flowers to land on. Luz's glyphs are her own spell circles. As long as she concentrates hard enough, she can make the glyph do whatever she wants it to.

There. You have your explanation. Now let's just all appreciate the fact that Luz can now throw fireballs and make vine whips like the superpowered teenager she most likely fantasized of being. Ok? Ok.

A Pirate Losing His Head...Literally: ...And I'm gonna go ahead and add that to the list.

I mean, for f**k's sake, WE SEE BONE! He puts his head back on, but we still see the bone!

Eda in a Pirate Outfit: ...That is all.

The Golden Guard: This guy shows up for only a few minutes, and I'm already beginning to like him. He seems just as threatening as Belos while also coming across as a guy who loves his job and being a ton of fun to watch because of it. I adore villains that find that balance of being funny and terrifying. The result is a character who makes me laugh on top of making me scared of what they could do to our protagonists. So far, that's the Golden Guard in a nutshell, and I can't wait to see what the rest of the season has in store with him. Whether it involves seeing him play with food as he did with Eda and Luz in this episode or seeing him getting kicked in the crotch like a little punk like him deserves, I am all for it.

(Bonus points if it's Amity who does the crotch kicking if he ever makes an advancement on Luz)

Eda Wanting to Protect the Selkidomus: I love this. It plays into the idea that Eda cares about things being wild and free and despises how Emperor Belos would want to control everything, including the most insignificant of animals. It shows just how kind Eda really is rather than someone motivated by greed...even if she does end up filthy rich in the end.

Emperor Belos’ Brief Cameo: Yup, still terrifying!

And if it turns out that Belos can see the Scrying Potion that Lilith made...we're going to have some problems.

Much like the actual problems that I have with this episode!

(Like that transition?)

WHAT I DISLIKE

King Being Stupid: King has two different personalities in this series. Either he's a pathetic wannabe ruler who seems intelligent or an idiotic Disney comedic sidekick. That latter version of King is what we get in "Separate Tides," and I don't like it (obviously). I don't care how cute it is to see him cling onto Luz's leg and exclaim how he won't let her leave. The same character who helped Luz break into a prison to save Eda shouldn't be the same one who falls asleep when a sheet covers him like a dumbass parrot! King's at his best when he's as intelligent as the rest of the characters. And not as dumb as someone like Hooty.

Eda Being Too Nice Around Lilith: This one bothers me the most. After being cursed for thirty years and having her life ruined by the person she thought she could trust the most, Eda is still all smiley and jokey when talking to Lilith. Yeah, sorry, but I don't buy that. No one in their right mind would be that cool with a person who did all of what Lilith did. It's a major misstep that squanders what could have been a fantastic overarching story of Eda learning to forgive her sister and Lilith trying to earn it. We'll at least get Lilith's guilt, but as is, I feel Eda showing genuine anger towards her would elevate that story by a lot.

IN CONCLUSION

But that's about all the bad things I have to say about "Separate Tides." As is, it is a well-earned, solid A of a season premiere. It introduces new concepts and characters I can't wait to see more of, continues old storylines and character development instead of ignoring them, and still proves that The Owl House is as charming and funny as it always was. Maybe the rest of the season could continue to be great, or maybe things might get worse. Time can only tell. For now, all I can tell you is that "Separate Tides" is a great and fun episode that makes me excited as we set sail to this new season.

(And Scared. Mostly scared)

Hawkeye: Kate Bishop #1

Hawkeye: Kate Bishop #1 Marvel Comics 2021 Written by Marieke Nijkamp Pencilled by Enid Balám Inked by Oren Junior Coloured by Brittany Peer Lettered by VC’s Joe Caramagna    Kate’s heading home! Or at least, back to New York. And as much as she wants to go back to where her friends – her chosen family – are, she’s changed since she was last on the East Coast. So she’s picked up a pit stop case first. A confidence-booster, to prove to herself she’s making the right decision and not going to backslide into her past just by changing time zones. Besides, the case is perfect: Swanky resort? Check. Jewel heist? Check. Almost definitely 100% a trap? Check.    This is everything I could have possibly hoped for and oh so much more!  I love everything about this issue and I was screaming YASSS Queen when it was over.  So the gay side won out obviously.  I’ll be honest it’s been a while since I have been this excited over a book, let alone a Marvel book.  So with that in mind seeing Kate get her own mini-series (boo we want a monthly) that starts off this strong and with the organisation behind the trap semi-revealed I’m thinking the next three issues are going to blow my socks off.      I am a huge fan of the way that this is being told.  The story & plot development that we see through how the sequence of events unfold as well as how the reader learns information are presented exceptionally well.  The character development we see through the narration, the dialogue, the character interaction as well as how we see them act and react to the situations and circumstances which they encounter does a magnificent job in establishing their personalities.  The pacing is excellent and as it takes us through the pages introducing us to the cast of characters, the story itself and where it’s set, all we want by the last page is more.    I’m super appreciative of the way that we see this being structured and how the layers within the story begin to emerge and grow.  I am also very much liking how we see said layers opening up new avenues to be explored.  Whether or not they will be explored they all add this great depth, dimension and complexity to the story.  The unexpected familiar face and the backstory that accompanies this is handled exceptionally well.  How we see everything working together to create the story’s ebb & flow as well as how it moves the story forward are impeccably handled.    I wasn’t sure what to expect from the interiors here but I have to say I am more than pleasantly surprised by them.  The linework is clean, crisp and sharp and how we see the varying weights and techniques involved in bringing out the detail within the work that we see is extremely well rendered.  I’m impressed with the amount of backgrounds we see being utilised throughout and how they expand and enhance the moments as well as work within the composition of the panels to bring out the depth perception, sense of scale and the overall sense of size and scope to the story.  The utilisation of the page layouts and how we see the angles and perspective in the panels shows a talented eye for storytelling.  The various hues and tones within the colours being utilised to create the shading, highlights and shadow work show a solid eye for how colour works.   ​    While the interiors give off a more teen plus vibe to them the story is anything but.  Then again with Kate’s background being what it is that comes as no surprise to me.  I think this is starting out to be a perfect vehicle for Kate right now to showcase who she is and where she is in life and how she manages to merge the worlds of P.I. and Superhero beautifully.  This has some strong, interesting writing and solid characterisation alongside some superb interiors making us cheer for joy that Kate’s back in the spotlight.  

Do you think if they ever reboot ATLA they would make Zutara canon? Reboots have changed quite a few things(the new She-Ra is vastly different from the original) especially with all the support Zutara got post-series

Hmmm, an interesting question. It depends on many things I think, not the least of which being who the showrunners are and the tone they want to set. We may get to see our reboot soon, actually, since there’s a live action Netflix series in the works (they haven’t started production yet though, so don’t get too excited). As far as I know, Bryke is at the forefront, and while that’s great news since it means another abomination hopefully won't happen, it does mean that a Zutara relationship probably isn’t likely since they’re big fans of the Katara/Aang relationship.

That being said, I think it would be a missed opportunity if they didn’t, and I’ll explain why. (Disclaimer for any non-Zutara fans reading this, being a Zutara shipper is not my main motivation for thinking or wanting it to be canon). First things first, the audience. I don’t know if post-series Zutara support would have much of an effect on Bryke, but it’s possible that the producers or Netflix would notice and try to factor it in. However, I don’t think pandering should be the reason they include Zutara--far from it. The original audience that watched Avatar has grown up at this point. Many of us are in our twenties, give or take. We’ve matured, and it would be foolish of the showrunners for ignoring this fact. If there’s a reboot of Avatar, live action or animation, the majority of the audience will be those that grew up with the show, not kids the same age as the audience of the animation. I think that’s evident enough with the release of Avatar on Netflix (notice how many people are rewatching and falling back into their love for the show?) and the comics. Ah, the comics. Some things they did well, others...not. What they did do well is writing the storytelling more maturely than the show. I don’t mean to bash the original show as it obviously had no problems including the dark effects of a war story in bite size, easy-to-swallow chunks for kids (a good thing). However, they treat the audience more seriously, knowing that not everything needs to be spelled out. You see the same in Korra. And to me, that’s part of what makes the Zutara relationship so captivating and intriguing--it’s mature. It’s not easy, and it has faults. It’s not “hero gets the girl after saving the world”. It’s complex. 

I’ll say this now: there’s a difference between a relationship being canon and being endgame, and it’s an important difference. I definitely think Zutara should be canon, if not endgame, in any reboot they do.

Personally, I’m excited for a live action version if they ever get around to it. It brings many new factors to the table, and the majority of them have to do with adaptation. (I’ll mainly be talking about a live action version for a little bit, excuse the art student that shows). Adaptation, especially between mediums, is tricky to execute. You see many book-movie adaptations that succeed, and some that miserably fail, and others in between. This goes for other forms as well, ex: book to comic, book to animation, animation to film, etc. With any medium adaptation, the story will inherently change. You can't hear a character's inner dialogue or prose written in a book in a film, so changes have to be made or the filmmaker must write or use film language to substitute for it. With adaptation, changes must happen, that's a fact. To me, more often than not those adaptations succeed when the creator embraces that fact and uses the medium to their advantage. Sometimes this changes the story, and sometimes that change enhances it for the better. Take Game of Thrones or Harry Potter. The former deals with many characters and worldbuilding that is extremely complex, and they did an excellent job in getting you attached to those characters. However, they did have to change some things from the books, and while some weren’t as successful, others did remarkably. (Before anyone starts raging, I’m specifically talking about the seasons where they still had books to go off of). For Harry Potter, we have eight movies to analyze, which I will not be doing, but I will say that the weakest films storywise were the fifth and seventh, simply because they tried to do both too much and too little, if that makes sense.

How would this apply to a live action ATLA? Well, it wouldn’t be like the animation, most likely. It’s a medium adaptation, meaning that the approach they had in the animation won’t work the same in live action. Think about it--you don’t watch animation, especially 2d, the same way you watch live action, psychologically and subconsciously. There’s a separation there between their world and ours. It lessens with 3d animation, but it’s much much smaller when it’s live action since it looks like our world, more or less. Would GOT beheading and other violence (you know what I mean) have had the same effect if it were 2d animation? No, probably not. Yes, I know that anime has its fair share of gore that can be extremely realistic and gross, but it still doesn’t have the same impact it would if it appeared on your screen with quality vfx. Now, these are extreme examples. I really doubt that they’ll make the violence that intense or realistic in the show, as they’ll more than likely want to keep it family friendly (there’s still kids that watch the original). Another disclaimer (ik there’s a lot of them, but people can misunderstand this kind of critique as bashing, which it’s not): I am not saying that the original animation of ATLA is not impactful, absolutely not. I have no trouble getting attached to animated characters, laughing or crying with them, etc, especially if the writing is good. However, it was a kids show, and it was written with that in mind. This is apparent to me as I’m rewatching the show now. There’s some dark stuff that happens, as is the nature of a war story, and the animation handles it excellently. But think of how different it will be seeing the ruins of the Southern Air Temple, practically a garden of bones, Gyatso’s included, in live action. Show us all the nitty-gritty of the lower rings of Ba Sing Se, and the corruption up top. Let this affect the characters. Bring this moral ambiguity into light, as it was done in the show. I think that if they’re going to tackle a show in this way, not a movie or series of movies, it would be smart of them to lean into these darker themes, not shy away from them. Like I said earlier, the audience has matured, and there’s so much more to explore with these stories and themes. I’ll say with confidence that they’ll definitely do this, and possibly add a story or two. Otherwise, it will just be a rehashing of the original, word for word dialogue. Not that the original is bad (obv not), but I don’t think we should want that. There’s a lot of potential in a live action series, and I think they’ve learned lessons from the abomination that already tripped over itself. It was an example of adaptation done badly. However, you can change a story without destroying it, but it’s a delicate operation. That’s why having the original showrunners on gives me a bit more confidence. To be clear, I don’t think they’ll go full PG-13 or higher. It’s still possible to have family/kid friendly media without shying away from the darker parts. ATLA is a great example of that. If you want a live action example of a show that balances humor, heartache, and violence beautifully, look at Merlin (bbc). 

I think you bring up an interesting point with She-Ra and it’s divergence from the original. I haven’t seen the original animation, but I can say that the new one was successful in telling a new and fresh story in the same universe. The act almost as parallel stories in that universe. How To Train Your Dragon is the same way--the book and movie have very very little in common story wise, but it’s a beautiful trilogy nonetheless. Would this work with ATLA? Possibly, though I doubt they’d want to stray away from the original’s core themes. Though, you can fight me on this, Zutara does align with those themes, but that’s another post (this one is long enough). However, it’s such a complicated question because it inherently considers countless possibilities, so there’s no definite answer. It’s a beloved show that’s already been butchered once, so how much would they be willing to change?

Now, how does Zutara factor in? (getting to the point now). For many of the reasons above, I think it should be canon. Their dynamic, their rocky relationship, the journey of trust and acceptance, the connection they have, all of it is ripe for exploration, especially in a revamped, inherently more mature story. Instead of a predictable relationship where there was never any real conflict (Katara was always loyal to Aang, and their fights were never truly consequential), you have a relationship coming from a difficult, seemingly impossible place, one that requires time to establish. Like I said, it’s not an easy relationship. Part of it is strengthened by Zuko’s wonderful redemption arc. He needs to build a foundation of trust before almost any of the Gaang trust him (Aang, the angel, is willing to give him a chance almost immediately in Book 1, and though she didn’t care one way or the other at first, he did accidentally burn Toph’s feet). What would a Book 4 have brought us? Despite what Bryke say about it being a false rumor, Ehasz, a co-producer, said that it was at least discussed, plus Book 3 definitely had more to give, so I take it with several grains of salt. Anyways, even wondering about it hypothetically produces interesting theories. We see at the end of Book 2 in the cave that Katara, once she overcomes her immediate, and warrented, repulsion of Zuko, she’s able to connect and see a bit of his heart underneath the layers and layers of angst and anguish obscuring it. This scene is popular in the Zutara fandom for a reason. However, I think that making changes to characters, especially in Zuko’s case should be done extremely selectively and purposefully. His arc is one of the most fantastic accomplishments of the show, and I think very little should be changed. For example, he should still make that doomed, yet inevitable choice in that cave to join Azula, but perhaps they’ll include his mother as a more forefront character, especially when he goes back to the Fire Nation. By all means, give Ty Lee and Mai more than just a conversation to supply their backstory. Thoroughly explore the swampbenders and the Freedom Fighters. Show more of the original airbenders in Aang’s memories! There’s room for exploration without dismantling the world or characters like the M. Night film did. For Zutara, I think that expanding Book 3 and giving the characters more time with each other would be invaluable. Think of how quickly Katara and Zuko grew close, from Katara threatening to off him first time he even hinted at being a threat, to becoming one of the most instinctual and formidable teams in the Gaang, to saving each other’s lives in the final battle. That’s not even mentioning the Southern Raiders.  The conflict over the entire show as the backdrop for a relationship like that, romantic or platonic, is incredibly suitable for a reboot. If it was explored, the outcome would be so powerful. 

I said before that there’s a difference between canon and endgame relationships. This just means that a relationship can be confirmed and explored without being the outcome. If Bryke include Zutara at all, that’s most likely how they’ll do it: adding a love triangle that ends up with Katara and Aang getting together. Honestly, it would be a method of making K/A a more interesting relationship and a way to have the characters grow a bit. However, this has the awful potential of just shitting on Zutara and turning it into a toxic relationship, which I’d rather not see.

But if it wasn’t Bryke running it? Absolutely, I think Zutara would, and should, be canon. Adaptation should take risks and be willing to explore, and I think Zutara is the type of dynamic we should see.  

We are in an interesting point in time when the three major Spidey love interests each have solo books.

Amazing Mary Jane by Leah Williams, which is currently up to issue #6

Gwen Stacy by Christos Gage, which is currently up to issue #2

And Black Cat by Jed MacKay, which is currently up to issue #10

In the case of Gwen Stacy it could be argued she in fact has two titles if we include Ghost-Spider by Seanen Maguire, which is currently up to issue #9

I’ve finally caught up with all 4 titles so I thought I’d sort of evaluate them.

In terms of artwork all the titles have decent-great art. Gwen Stacy is the clear winner here but she’s only had two issues so there hasn’t yet been time for new artists to do fill-in issues or pages. Black Cat’s art was serviceable at best at first but between the annual and the artist on the latest storyline it’s stepped up big time. In ontrast I feel Ghost-Spider’s art is perhaps the weakest exempting Black Cat’s initial artist. I can rarely call out art as good or bad so this is 100% subjective. But for my money Todd Nauck’s work is my absolute favourite closely followed by Carlos Gomez on AMJ. Cover art is a whole other kettle of fish. Black Cat and Gwen Stacy win this for me because Adam Hughs is a god-tier artist and J. Scott Campbell is a guilty pleasure for me.

In terms of writing things are far more clear cut.

Black Cat is by leagues and bounds the best title. Once it warmed up in the first 5 issues it’s slapped hard. It’s characterization of Felicia is superb. She’s fun, flirty, confident, but fully capable of making mistakes. She’s well rounded when all is said and done. Maybe she could be moreso, but it’s absolutely a-okay for now. The book’s concept is fun and has a real direction that allows for variety in the storytelling. We can be at the Baxter Building, the Sanctum Sanctorum or Madirpoor and it will never feel jarring. And honestly Felicia was long overdue a spin-off. She is simply the most obvious character to be spun-off from Spider-Man.

In second place I’d put Gwen Stacy and no one is more surprised by that than me. The plotting of the book has thus far been good exempting one kind of major detail. It uses continuity well and does add detail to Gwen and George Stacy and gives us a rare chance to glimpse Jean DeWolff back in action. It’s so far proved to be an intriguing police/crime story. Where it falters is in it’s characterization and it’s relevance. I know I just said the book adds detail to Gwen and George but let me explain what I mean. This book doesn’t go into Gwen’s head, it fills in details we didn’t know about her. How and when did she meet Harry and Norman Osborn? When did her Dad get injured? Who was her boyfriend in high school? When did her mother die? Oh and I guess she cooked for her Dad which I always presumed but I guess it’s nice to have that confirmed.

And whilst it’s…nice I suppose to find this stuff out…it just doesn’t matter. At all. Whilst not as problematic, this book has one of the major problems Sins Past had. Sins Past actually made Gwen Stacy a better character retroactively (and also kind of a worse character but that’s another discussion). But there was simply no point in doing that. She was dead. She wasn’t coming back. Nobody wanted her to come back. Her role was defined  through the fact that she died and would always be like that so long as she remained dead. Sins Past in developing Gwen retroactively at least had a little bearing upon the then-present stories.

Gwen’s affair in theory could’ve been an emotional scar for Peter to bear and add an extra layer to his duels with the Goblin. Not that we needed anymore of those, but theoretically it could’ve served that purpose. This absolutely doesn’t. It doesn’t matter what Gwen was like before she met Peter because Peter himself never knew her back then. Fleshing out MJ in this manner or Mysterio or even the Shocker would hold relevance because those characters appear alive in the present, they interact with Spider-Man. Similarly Untold Tales of Spider-Man gave Peter more villains he could duel in the future, plug in plot holes of his continuous narrative and flesh him out a bit more. That matters because again…he’s not dead.  Even fleshing out Uncle Ben could possibly have a purpose as he’s Peter’s role model and enduring motivation. Peter strives to be Ben as a man so knowing who Ben Parker the man was can add substance to those moments. But knowing when George Stacy injured his leg or that Gwen ran for class President just doesn’t. It retroactively adds slightly more substance to like 3 issues from 1971. Maybe that’d be an okay back-up story…but a solo-title dedicated to that shit? It’s just pointless, there is no creatively justifiable reason for it to exist.

And that’s before you get to the problem of characterization. As I expected, Gage’s Gwen is total revisionism of the character. Maybe no one is explicitly putting her on a pedestal but literally the only people who don’t think she’s wholly likable are two creepy football players and the explicit villains of the story. Gwen herself beyond this is flawless. Even things we might argue as flaws (her endangering of herself and her friends) is never framed as a flaw, but instead a mark of her bravery and her desire to seek out justice.

It doesn’t help that this is a comic obviously made by and for the Cult of Gwen that never needed to be fed anything else at this point. Their precious Martyr Princess is the star of her own title, she is the super hero in it, the guy she died to motivate instead died to motivate her. Then that version got to appear in 2 cartoons and a movie. THEY WON already, what more do they really need? So whilst the plot is good, the characterization has problems and just on principle the book shouldn’t exist.

Ghost-Spider is similar yet different, ironically mirroring the protagonists of the titles. Ghost-Spider in concept was always very strong. I never disagreed with the title existing. It’s just that Latour and Maguire’s execution is problem riddled. Continuity and characterization is borked. And the current status quo moronic. Gwen visits 616 for school…why? How is that relevant? How is anything she learns going to qualify her for a job in her universe. Even if the skills are practical there would never be any proof of her qualifications, no records. And that’s not even considering how a character who doesn’t goddam live in 616 is embroiled in a 616 event crossover.

Finally there is Amazing Mary Jane. I’ve spoken far too much about this title. I never had a problem with this as a mini-series…but as an ongoing it removes MJ from Peter’s narrative which is asinine. Why remove the best supporting character from Peter’s story? It’s not like she didn’t have subplots of her own when that wasn’t the case. So on principle this shouldn’t have been an ongoing. And in terms of execution…holy shit.

It’s aggressively bad. The plot is nonsense. The characterization is inconsistent within itself let alone when you consider the history of the characters. The best way I can sum this up is that issue #6 is about MJ going into witness protection because she’s a valuable witness to a murder case…where the guy wore a mask…so she couldn’t ID him no matter what…And the guy knows  that.

It’s just so bad I want this book to be put out of it’s misery.

What upsets me most is that Marvel CLEARLY put more effort into Gwen’s solo than MJ’s or Felicia’s. The superior characters get less effort (and one of them gets a far worse title) than the worse character who instead gets more effort and 2 titles just to herself.

Can you see why I hate the cult of Gwen?

If You Don’t Like My Story, Write Your Own - Watchmen (TV Series) blog

(SPOILER WARNING: The following is an in-depth critical analysis. if you haven’t seen this episode yet, you may want to before reading this review)

If You Don’t Like My Story, Write Your Own feels like a tale of two episodes. One has well written characters, emotive storytelling and exciting possibilities, whereas the other contains ham-fisted, painfully obvious subtext and annoyingly long infodumps told to the audience with all the grace and subtlety of a brick to the face. 

Let’s start with the positives. At the beginning of the episode, we’re introduced to the character of Lady Trieu, played by Hong Chau, who buys a farmhouse from an Oklahoma couple by offering them a genetically engineered baby. I love this scene so much. It’s by far the most tightly written and engaging scene so far this series, and serves as a perfect introduction to a genuinely interesting character.

Lady Trieu is a Vietnamese born trillionaire industrialist who absorbed Adrian Veidt’s company after his disappearance and seems to take heavy inspiration from him, even going so far as to have a gold statue of him in her complex. It’s unclear whether she knows about his involvement with the squid (how could she possibly know?), but she clearly shares his vision of making the world better. 

Or... does she?

That’s precisely what I love about this character. Trieu is clearly the secret mastermind behind whatever is going on here (more on that later) and it would have been easy to just simply have her be a carbon copy of Veidt, but she isn’t. There’s a subtle, but clear distinction between the two. In my review of Look Upon My Works, Ye Mighty, I talked about the paradox of a liberal capitalist and how it’s often not enough for Ozymandias to simply save the world. He needs to be seen to be saving the world. He wants something with spectacle in order to appeal to his own vanity. This is true of Trieu as well, except, despite all his flaws, Ozymandias clearly at least wanted to help people, albeit in an incredibly flashy way for his own aggrandisement. Trieu doesn’t even want that. She just wants the attention and the good will. 

The opening scene is a perfect illustration of this. Giving that married couple their own DIY baby was one thing, but all the crap with the hourglass and the silly monologue and everything, there was no need for any of that. And lets not forget, she didn’t give this couple a baby out of the goodness of her heart. She did it solely because she wanted their land so she could claim a fallen object from space. The same is true of this Millennium Clock she’s building. I’m pretty sure its purpose isn’t just to tell the time, but that’s not the point. It’s described by her daughter as not the Eighth Wonder of the World, but rather as the First Wonder of the New World. Plus, of course, she is a trillionaire. If she just handed out even a small portion of her vast wealth, it would make a huge difference, but then there would be nothing in it for her. Nothing to gain. Unlike Veidt, Trieu is a character driven by pure cynicism. She has no interest in saving the world, but rather the attention and adoration of the world around her. She wants the world and the people around her to rely on her to save them. Basically if Ozymandias is an altruist tempered with narcissism, then Lady Trieu is a narcissist tempered with altruism. It’s a beautifully realised character and one I’m most excited to see more of in the episodes to come.

I also like the connection she has with Angela. Both were born and raised in Vietnam, except Trieu’s mother was a native to Vietnam before the US invaded and absorbed the country, turning it into the fifty first state. This puts Angela in an interesting position. Being an African American, her family obviously has history of being the victims of colonial oppression, but in this alternate history where Vietnam is part of America, Angela is also now in the role as one of the colonial oppressors. A settler in a country stolen and plundered from the natives. It’s an interesting position for her character to be in and I’m very curious to see where the show takes this.

After taking a backseat in the previous episode, Angela mercifully gets to take the lead again this time around and she’s great. With the FBI breathing down her neck, Angela continues to get to the bottom of the mystery involving her grandfather, the murder of Judd Crawford, and the Seventh Kavalry, and I really like where this is taking her character. She privately confides in Wade about what she has learned, even asking him to hide Judd’s Klan robe. This is the kind of character stuff I wanted to see in the previous episode during the funeral. How do you react to the knowledge that one of your closest friends was a hateful bigot? And from the looks of things, it seems as though Angela is doing her level best to protect Judd’s memory, at least until she gets to the bottom of what the fuck is going on here. I love this because it feels totally believable.There’s still a part of her that doesn’t want to accept Judd’s racist ties to white supremacy and clinging onto the idea that he might be misunderstood or that there’s something else going on underneath. This is an excellent internal conflict that has so far been handled exceptionally well. You don’t think less of Angela for not wanting to accept the truth because it’s totally understandable and believable.

Also I just want to briefly talk about what we learn about Wade, aka Looking Glass, in this episode. The man’s a doomsday prepper, living in a bunker in his back garden, preparing for another squid attack. I LOVE this so much. It makes total sense in the context of Watchmen and, like with Lady Trieu, it serves as a really nice inversion of an existing character. Like Rorschach, Looking Glass is a paranoid conspiracy nut, but unlike Rorschach, there’s actually some truth and logic behind his paranoia. Again, it’s a subtle distinction, but it’s enough to allow the character to go off in his own direction.

Here’s the thing. The bits I like about this episode, I really like. Unfortunately the bits I don’t like, I really don’t like.

Let’s begin with Laurie. What is she even doing here? Not only is she so utterly divorced from the character in the graphic novel, she doesn’t even contribute anything meaningful to the plot, other than to bicker constantly with Angela (which, considering this is the first time in Watchmen that we’ve had two female characters together interacting with each other, it feels immensely disappointing that this is the best the writers can come up with) or to spout gratuitous fanwank and pop psychology. The pop psychology in particular irritates me because it simply doesn’t gel with the tone and themes of Watchmen. I’m really hoping all that stuff about trauma and wearing a mask to hide the pain doesn’t in fact apply to Sister Night, otherwise I’m going to be extremely annoyed. Not only is that cliched beyond belief, it also stands directly against the whole point of Watchmen as a concept. Alan Moore’s intent was to scrutinise the reasons behind why someone would put a costume on and fight crime. Some just want the attention, others want to compensate for their own inadequacies, and some just want to live out their own violent, hedonistic fantasies. Only Rorschach fits the trauma model proposed by Laurie, and even then it’s not really accurate. Rorschach uses his trauma more as an excuse than a motivation. Watchmen serves as a deconstruction and criticism of superhero archetypes, so to potentially give Sister Night an obligatory tragic backstory would feel like a grave disservice to the source material.

The pop psychology also represents another problem this episode has. It seems to spend an awful lot of time telling its audience about its themes and commentaries rather than just showing them. One of the things I loved so much about the second episode was that it respected the audience’s intelligence. The connections it was making between the police and mob psychology, the superhero genre and its roots in US propaganda, and the KKK and the moral absolutism of most comic book heroes were apparent in the episode’s visual language and symbolism. It didn’t try to highlight them in fifty foot high neon lettering, instead trusting the audience to make the connections themselves. Here, however, completely the opposite. At numerous points, it feels as though the episode is sitting me down like a naughty school child and straight up telling me the plot, rather than trust that I’m a grown man who is perfectly capable of following this by himself, I pinky promise.

Take the whole subplot with Adrian Veidt for example. By watching the previous episodes, you can deduce that he’s trapped in a prison of his own making and is trying to escape (although admittedly it turns out that the clones aren’t in fact his creations, which is a pity because I think that’s less interesting, but still). Awesome idea. Love it. But showrunner Damon Lindelof is clearly worried that the idiots sitting at the back of the class didn’t get this, so Adrian spends his limited screen time here just explaining his subplot to the audience. It’s really annoying.

Or what about the Millennium Clock? The Seventh Cavalry are clearly in league with Trieu for some unknown reason, and in their video message to the police in the first episode, they say ‘tick, tock’ a lot, which is clearly a reference to the Clock. All a bit goofy, granted, but do you know what’s even goofier? Will getting up out of his wheelchair, staring dramatically into camera and saying ‘tick, tock’ for no fucking reason whatsoever other than to spell out the connection for the slow people in the audience who didn’t make the link. Dude, I promise you, we are following this. It was just pointless. But not nearly as pointless as...

Good God, do I hate Lube Man!

Don’t get me wrong, I’m not against there being humour in Watchmen. The original graphic novel had moments of dark humour, but there’s a time and a place. It just feels weird and kooky just for the sake of being weird and kooky. And again, it serves as a less than subtle reminder to the audience of the themes of the show. The police are abusing their powers and letting smaller crimes fall by the wayside, but rather than let that come up naturally in the story, we get a random excerpt from the Silver Slider here. All I can say is Lube Man had better play a vital role in the episodes to come, otherwise I’ll be pissed.

See, when Good Lindelof is writing the scripts, I’m enjoying this show immensely. When Bad Lindelof takes a turn at the keyboard, however, that’s when I start to get worried. 

It’s wonderful how you love reading people’s words about almost anything and attend to their words, being able to sense their feelings behind it. And I agree, it’s so lovely when you can sense a person’s joy through their words, as you said! Here I am once again, feeling special, thanks to you 💛 You’re a darling! And I’ll try my best to send long asks whenever possible!! (1/11)

Ahh, it’s going to be a while before I actually feel comfortable doing chart readings! But you know what? I would be happy to read your astrology chart for free, if you want! It would be great practice for me and it would give me a chance to grow my confidence. Though only if you want, let me know! ☺️ I’m so happy to know you’re learning and grasping everything perfectly! The way you believe in me astrology-wise makes my heart all warm 💓 (2/11)

I’m sorry your summer courses got cancelled btw, especially since you were on track to graduate. Hopefully, this gives you time for yourself though. I wish I can say I enjoy being active too, but it’s not something I do often tbh. Though I do love walking, as well as dancing (but it’s been a while). I need to find more activities that can get me moving 😔 Ah I see, what solo activities do you like doing to stay active? (I fall on the introverted side, I tend to favor being alone too) (3/11)

I’m on the same boat as you + your family. I haven’t been outside since mid-March and being at home until now has made me a bit antsy. It probably added to the weird headspace I was in too. Though that’s gone now, I’m feeling much better + less stressed thankfully. The semester is still in session for me, I’ve got about until mid-May until it’s over. Though I’m glad that school will be over before my birthday, so that’s a blessing I’m super thankful for! I can enjoy my day in peace, aha. (4/11)

Manipulation can be associated with a few other signs too actually, but Scorpio is definitely up there in the top three! And it is definitely true that that as you get older, you can either grow more into your sign’s archetype or some traits lessen over time. Rather than it being some traits disappearing, it’s more likely due to other planetary energies in certain signs coming into play and becoming more prominent. (5/11)

There’s also this point in everyone’s chart, the midheaven. It’s been said that whatever sign a person’s midheaven is in, that person shows more of that energy as they get older. Which brings me to how you got the impression that I’m a Libra! My midheaven is in Libra, which is probably why you felt that more than Taurus. It’s fascinating, especially since we’re just interacting through messages. Didn’t know my Libra energy was showing that strongly but it’s nice being aware of that now! (‪6/11‬)

I will definitely let you know if any of my guesses change when I do a rewatch of the whole series! (P.S. did you hear the announcement that A:TLA will be on Netflix ‪on May 15th‬?!) And to make it more fun, I’ll assess the other characters as well and share what signs I believe they could possibly be! I’ll consider it my mini summer project 😋 But oh my gosh, soft Zuko in the comics? 🤧 Maybe I should read the comics too then, since it might give me more material to work with. (‪7/11‬)

Your questions made sense, it’s all good! I think the best thing to refer to and see how Yue’s Venus energy influences Zuko’s Cancer side is that conversation in chapter 22 of Limerence, where Zuko told Yue that if having a family meant having a family with her, then that’s all he could ever want. Of course, he loves her, so there’s no doubt about them having a family together eventually. (‪8/11‬)

Though this is highlighted more with Yue’s Venus + Zuko’s Cancer energy because those energies meshing creates a soft/tender vibe, which makes coming together and creating a family highly ideal. Because Venus carries this loving energy which reinforces Cancer’s love for being domestic. As for the dynamic of Yue’s Libra and Zuko’s Aries, I feel that it’s one of the things that sets the overall tone for their relationship. (‪9/11‬)  

With Aries/Libra, it’s kind of a classic case of Venus & Mars, so Yue being the affectionate/gentle one while Zuko being the intense/bold one, that paints the picture of their Aries/Libra dynamic. All that Libra/Scorpio energy in your sister’s family though, wow!! There are some common patterns in astrology that can occur with family, and one of those patterns can manifest as a certain sign or two being strong in the family. I guess that’s completely true for your sister! (‪10/11‬)

I’ll wrap all of this up by saying that chapter 33 of Limerence is completely enthralling! With every single chapter, I’m just in love with your storytelling. You’re such a fantastic writer! And also, it’s very enjoyable talking to you every time! Thank you for showing such warm energy always, it’s refreshing 💜 -  🌻 (‪11/11‬)

AHHHH – my lovely 🌻-anon~! 🥰🥰🥰

How long have you been studying astrology, and how long does it usually take for one to gain the confidence and skills to provide a service? I’m just so curious – but I never had anyone to ask these questions and learn. I’m sorry if these queries sound silly 😅

BUT BABE.

I would love a reading – but I’ll have to give you something. I refuse to not pay or give something back (even if small!). Plus, I need to say thank you for indulging me and letting me bother you non-stop with my questions 😂 But, seriously – you should be confident. You have literally not only captured my interest but a lot of others too!

Honestly, as sucky as it is to not graduate, I’m doing exactly that – taking the time for myself. I’ve been going for walks as of late while listening to some tunes! I live near conservation, so I’m lucky that I have a huge forest with lakes and a beach to unwind. But before I got hurt, I used to do cross-country, high-jump, and shotput (I miss those days 😭).

But, if you enjoy dancing – I encourage Zumba💃

I know it seems random, but it’s something super fun to do by yourself (or with someone else, I usually do it with my mom) and it just gets you moving. I’ve been doing Zumba almost every day because sitting on the couch is starting to get to me. It’s totally random – but it’s a fun way to get active in the comforts of your home, and you got some fun music to listen to. I’m glad to hear you’ve gotten out of that weird headspace though – I relate a lot to you in that aspect. It can take a while to get out of it, but the important part is that you did it! And I wish you the best with school, you’re almost done.

Also, happy Taurus season, babe~! 😘😘

Ouu, so what other signs associate with manipulation? I always hear Scorpio, so you’ve piqued my interest. And, I’m going to be honest, I’m still in shock that you’re a Taurus LOOL. I don’t know why, but the way you write reminds me of some of my friends/family who are Libras. You just have this diplomacy when you write? Do I sound crazy – probably 😂😂. I’ve never heard about the midheaven, but now that you told me that, it does make a lot of sense. Like you know how Zuko screams Mars? You scream Libra for me😋

YES I DID HEAR. Okay, so I’m from Canada, so ATLA is already here for us to watch – but my best friend (he lives in the States) literally called me screaming in excitement. We’re planning binge-watching dates for us to video chat and watch together. So I think I can safely assume you shall be binge-watching ATLA starting May 15 😉😉

Soft Zuko.

I swear, I fangirled soooooooo damn hard.

My heart – gone.

Soul – snatched.

Zuko is just such a cutie, like a teddy bear – with that smile of his and I just ajsdksadjksjdkasdksd My body can’t handle this level of cuteness. Like he has his kick-ass moments, but getting to see that other side of him was beautiful. My favourite moment was he gives Kiyi a piggy-back ride and tucks her into bed. If you end up reading the comics – you gotta let me know. I’m dying to know what you think of it!

It was also neat seeing Katara’s and Aang’s relationship develop in the comics (and Toph). Like the comics captured the essence of an awkward teenage romance (Katara and Aang) blooming into a long-lasting relationship. Like my friends said they cringed so hard during some ‘romantic’ moments between them, and they’re like it made us cringe not because it was bad, but because that was us when we were teenagers with our partners.

Oh wow – thank you for the examples! Honestly, it makes sense now about the domestic aspects with Zuko’s Cancer and Yue’s Venus. I just needed to make sure I was understanding it, I need to know these facts👏👏 But I swear – I feel like their whole relationship is the definition of chaotic neutral 😂😂

Is there a reason why certain signs have a strong presence in certain families (like you mentioned how you have a lot of ‘me’s’ in yours lol). Or is just random?

But I’m glad you enjoyed chapter 33, love! It feels so nice to get back into a writing routine – I was going nuts, not able to write consistently. I need to channel my chaotic energy into my stories LOOL

But I hope you’re taking care of yourself (family and friends included) in these times! It’s nice engaging in these long chats, it makes so happy (can you tell 😂).

I can’t wait till I hear from you again🌻~! 💜💜💜

I wanna know everything

WHERE DO I BEGIN, VULPES????

Okay okay, I’m just gonna list off the things that I’ve already written for this AU and hope I don’t get into spoilers for the Undercut DJ. To make things clear, this AU is like a mix of canon divergence/fix-it since I’ve been taking the time to rewatch VLD and analyze the story as a whole. So let’s start at the beginning~

Voltron 2020: A canon divergence/fix-it AU based on the 2016 VLD series. I only call it Voltron 2020 since the stories I’ve written/drawn for it so far wouldn’t be out in the public until next year haha.

Where does it start?

V2020 (I’m just shorten it to this) keeps S1 and S2 in canon and kicks off in S3. There’s only one small change I would make to S1 but I’ll get into that when I talk about Shiro in this AU.

These haircuts??? Explain please???

Haha, yes I’m a fan of the idea of Keith, Lance and Allura (yeah you heard me) having shorter haircuts. More so Lance because compared to the rest of the cast’s original designs, his hair maybe be simple but lacks a bit of flair. Lance is the one who get’s his undercut first and the story behind how it happens is covered in a fan comic called undercut that’s slated for release this year.

How Keith and Allura get their haircuts are part of the story as well but doesn’t come until maybe S4 or after (I have to figure out the details on that). But for now, I just wanted to see how Keith looked with short hair and it looks pretty good! 

Keith is in BP suit and Lance is in RP suit?

Yup, one of the things that drove me bonkers in VLD was how they didn’t match their lions. This is more of an OCD thing because I prefer matched colors over mix-match. However, once again changing their suits also has a reason behind it in the story. You can sort of call it…truly stepping into their new roles in the Paladin team. For Keith, becoming the leader Shiro always saw in him. For Lance, becoming the right-hand man and gaining confidence in his skills as a pilot (also becoming Keith’s rock haha).

Okay the real question: Does Shiro die in this AU?

Here’s where things get…a bit interesting? I have two versions of this AU where Shiro does die in his battle with Zarkon and the other where he does not die. So a divergent…within a divergent haha. I have to preface this with I don’t hate Shiro by any means and love his character with all my heart, which is why I made a version where he doesn’t die. Shiro as a disabled, LGBT and PoC character has so much potential that killing him off would be a waste for storytelling. Since the AU takes off in S3 where it was implied that he died, that’s where I took the story and started writing how his death affected the team, mainly Keith. The main point I want to get across is that Shiro needs to lose his connection to Black Lion in order for Keith, Lance and Allura to grow as characters.

In the case I choose to have Shiro die….

As per usual, Keith reluctantly becomes the Black Paladin, Lance becoming the Red Paladin and Allura is the Blue Paladin. We see how Keith is struggling with his loss of Shiro and how he feels incompetent being the leader of Voltron. This would then lead to into the undercut comic and spark a more genuine, supportive friendship between Keith and Lance. I would also keep how Shiro’s conscience remains in the Black Lion, which only Keith knows about cause he’s BP now. This would be great thread to connect Keith and Allura who have lost someone dear to them and rely on technology to keep them alive (when in reality they will always live in their hearts). 

I would also keep the Kuron idea but instead of him joining team Voltron, Honerva and Zakron use the Shiro clones and make their own version of Voltron with the Robeasts we see in S7-8. That way, we could keep The Black Paladins fight since that’s a very emotional and groundbreaking moment for Keith having to face someone cares deeply for. 

In the case I choose to have Shiro live….

I wouldn’t have him be BP again since that prevents Keith from growing into a leader, which then prevent Lance growing as a character and then prevents Allura from growing as a character. If anyone has noticed after watching the series, the character development kind of gets wonky when they decided to bring Shiro back as BP. If anything, it really hindered Keith, Lance and Allura’s character development since S3 focused so much on the dynamics in team Voltron shifted (which would have been super interesting to see as time went on). Since this idea is fairly still new I haven’t quite figured out how I would write the story if I went this route. But, I’m not opposed of having Shiro being involved with the Altean colony…again gotta workshop some stuff here but killing off Shiro is such a waste of potential!

ALSO, if Shiro stays alive, then we need to address Adam in S1 E1. It can be simple like when everyone is at Keith’s shack and Adam’s name gets dropped casually like this:

Shiro: How did you get all this information? This is classified stuff from the Garrison…

Keith: I had someone help me.

Shiro: Someone….?

Keith: …it was Adam.

Shiro: Oh…

Not exact but my point is that could have been a great moment to tell the audience Shiro and Keith have a connection with Adam (more so Shiro because we all didn’t know he was gay until much much later in the series). But lemme move on before I get too into Adam cause so much needs to be written out before I spill it all haha.

Next big question: which ships are canon?

Y’all don’t burn me at the stake but….

Allura and Lotor. 

I KNOW I KNOW! BUT WHAT ABOUT KLANCE!?!?!?!?!??!

Y’all know I will ship Klance until the end of time but right now I haven’t gotten to a point in the story where confirming Klance as a romantic relationship feels natural and right yet. If anything, in V2020 I really want to build Keith and Lance’s relationship as friends and teammates which in turn can lead into something more. But the groundwork needs to be done in order for that to happen.

But yeah Allura and Lotor are confirmed in V2020 cause that feels right and Lotor deserves so much more than what we saw in the show. I’ll leave it at that for now.

Is the ending the same?

HA. NOPE. FAR FROM IT!

This is probably biggest change I made in V2020 but when VLD did this it made me worried for the show as a whole:

Zarkon remains as the main villain and final boss for the entire series.

I would have not killed off Zarkon as early as they did in VLD simply because Zarkon was made out to be such a big threat in the beginning. Don’t get me wrong, Honerva and the war factions are a cool idea as opposing forces but they could have happened first and left Zarkon for last. 

Honevra regaining her memories and going on her rampage could have happened first. Lotor could have found out that she was his mother  and had to confront his abuser. Allura would have to face the fact someone of her own kind was doing horrible things and that evil isn’t determined by (alien) race. All of that could have been presented before killing Zarkon and would have pushed Allura and Lotor’s character development. Also, having Honevra written off first would give Zarkon even more incentive to do what he’s doing cause well, that’s his wife and love makes you do crazy things. ¯\_(ツ)_/¯

The war factions could have happened after Honerva and that’s where we learn more about the Galra empire and society. Where are there are cracks in the system? How are half breeds like Keith and Lotor viewed? How do factions like the Blade come into play and help team Voltron? All of that could have been explored! Honestly, the war factions arc(?) is an opportunity to further develop Keith and Lotor characters and their relationship since they are both half-Galra. 

As for the final battle and ending of it all, Allura doesn’t die and Voltron (the robot) is the one to be sacrificed.

I wrote a whole theory on it after watching S8, so if you wanna read yet another long post you can check it out here haha.

The point of keeping Zarkon as the main (and final) villain in V2020 is to keep the overarching story simple. Think of ATLA, the story as a whole is really simple: 4 nations based on elemental powers are under the tyrannical rule of a dictator and only one person can stop him and save the world. By keeping the objective of the story simple, there’s room for character development and world-building. Instead of a dark, broody space epic (if that’s what you wanna call it), V2020 focuses more on the characters and world-building that are affected by the main opposing force known as Zarkon. A lot of the stories I have in mind are more episodic but I think that works best for a show where the stage is as grand as space haha.

Pidge and Hunk??

As for Pidge, she kind of….gets everything she wants in the show?? There isn’t really anything drastic I would change since the show fixed her issues…

As for Hunk my baby boy sweet cinnamon roll, don’t worry. I’m making sure he’s more than just a scaredy cat who loves food. I really liked how in the show Hunk learned about Galra diplomacy so maybe I can work with that! 

___

Yeah, I think….that’s everything I can tell you about this AU and I’m so sorry, Vulpes, that I made this answer so long! ^^; Thank you showing interest in my AU!

Documentary

November of 2018 I decided that I wanted to return back to school/TAFE/Uni. I have spent a large part of my life trying to find a creative outlet for the ton of idea's that race around my brain daily and not having the means or the confidence to release that creativity. I mean this is before we are even talking about life and health issues getting in the way which eventually leads to a Doctor give me the name of the website and the documentary that is incoming. I had thought about and still think about dabbling with it all. I wanted to be a pro wrestler as I love the industry and its unique way in which melds physical storytelling with verbal and more traditional storytelling, these days because of my medical issues, I now think of how creatively or any other job bar being a wrestler I could get involved with wrestling. I even thought about being and still do think about being a stand up comic again for their unique way of storytelling and how they can make that humorous. I have thought about acting, voice acting, radio, audiobooks, making old school type radio shows, podcasting, heck I even wrote 5 hip hop songs, etc the lot you name it I have thought about it, dabbled a bit into it then for one reason or another be it health, cost, life or the fact that while I portray someone that is confident there is none their, while not worried what people think of me, I am worried about feeding them material. I decide that I want to go to university so I can do a film course as I want to be a director while waiting for offers, one of my medical issues come up and I end up in the hospital. I end up getting an offer come through that I had been accepted on a Thursday morning it stated that I had to enroll tomorrow and that classes started Monday, so I was already under the pump as I only had the weekend to recover and when I re-read my offer I discovered it was a course that wasn't for film and media it was digital technologies which are for graphic design, animation, and video editing. I thought about it for a while and saw it as a chance to develop some new skills and maybe find a passion or an interest in something that I didn't have before. I lasted to partway into the second semester when I made up my mind to leave and apply for the film course at another TAFE/University, I got accepted and basically had 4-5 months to sort myself out and think about what I was gonna film/shoot, etc. My anticipation and vigor to get into this course was something that I hadn't for a while, I spent some much time in and out of hospital and not able to do much of anything that it had killed my passion for a lot of things. This however stoked a fire that hadn't been but needed to be stoked for a long time, my creativity. I have always had a creative mind whatever that creativity maybe from writing stories to writing songs to wrestling, to stand up comedy to making film/tv and the one essential to all my creativity is the storytelling. While never having done any of them as a full-on career, or more than occasional bases or jokingly with mates or even not at all, I have always appreciated the art forms and wanted it to be one of the fields I entered, it has always been my confidence that I have struggled with. Not that many people that know me would believe it but it has always been that which has held me back. The course starts and like most of us in the early days of a new course, I'm off to a flyer. I have stories and idea's coming out my mind left, right, and center. I can barely keep up with my own thoughts most of the time, we are given a task that we are to write and produce a web series. I got a general idea of how and what I want to do and start aiming to achieve that goal. I conduct the research I need to do, continue developing my idea and then the world decides that a global pandemic is happening. I am certainly not questioning the seriousness of the pandemic nor making light of it as people have lost their lives and that is truly horrible, I am only going to be referring to it about my situation concerning the course. What happens, of course, is a situation we are all in worldwide, everything shuts down and we are all required to stay home and social distance.  Classes start being online through zoom and ideas now have to change. We may not be able to hire or use actors, we may not be able to use filming equipment. So discussions with the lecturers lead to them suggesting me to do the one thing I really don't wanna do, they suggest I make a documentary about myself and my family during Covid-19. I joined this course to tell stories and make film/tv and I wanted if anything to make modern Hitchcock/noir-like films, I even wanted to make documentaries but about subjects out in the world probably to do with wrestling or sports or anything, anything that is except Ilario. I don't and didn't want to make a story about myself and certainly not about my personal life, I would have happily made a mockumentary or even fiction with everyone else in the family acting out parts but apparently, I'm and my story is interesting. I have thought about this long and hard, I have also changed my mind about 25 times in the two weeks since it been suggested, I have decided to accept the suggestion and make a documentary about myself. Even though I find it wanky and pretentious the situation I'm in has meant some home movie footage, family photos and 3 smartphones are going to film this documentary. The next bit came up having decided to make the documentary and working out how I'm going to shoot it now came the bit that is rather important, what will this documentary be about. Was it just going to be my life? Was it going to be about my family during Covid-19? Was I just going to hit record and pray a story come out of nothing? Truth be told I thought about and was stuck on one of those 3 but I knew that it wouldn't be good enough, so discussion with lecture gave me some clarity. It will be all 3 of those things plus this lovely bit here because essentially it is my life limitations physically and mentally plus the current pandemic that has left me in this situation, so I can keep having a moan about it or I can finally take the plunge and make the best thing with what I got, so who knows' this could be the worst thing ever or the best thing ever. I will be happy with just a good solid film and then take that knowledge forward and make interesting stories, the thing I wanted to do in the first place.

How much research is done in creating dishes for the manga?

Yūto Tsukuda: Every week, the three of us meet together—myself, Saeki, and our chief editor—and it's always explicitly for research. We talk about a lot of dishes, so we can have an in-stock library of options that we all keep with us. Depending on the storyline, we would go into the materials we had stocked and say "oh yeah, that dish would match this character or that storyline, let's use this one, let's use that one." So sometimes the dishes we have planned for an upcoming story have been in our stock for a year already, and sometimes it'll be something someone found two or three days ago.

ANN: As a producer, what do you think is the most important factor to consider when translating Food Wars!' appeal from manga into anime? What have you learned through that process that you plan to bring to season four?

Noriko Dohi: I believe that the appeal of this show really comes from the culinary battles and the comedy. It's that difference between the serious battles and the comedic side that forms the story's biggest appeal. During the creative process for the anime, I think it's most important to emphasize those two cornerstones. Usually when you're cooking, there isn't anything action-packed about it. You don't see vibrant and lively movements from everyone working on the food, so we really wanted to emphasize that difference in the anime series through the art. For the comedy, we always want to emphasize how cute and cool the characters are, so their sense of humor comes through. Those are the two most important aspects of Food Wars! as an anime. What I've learned from working on this series for a very long time is that the theme of culinary art, or even just food in general, is a major draw for a lot of people all over the world. So I really want to keep going with that energy for this new season too.

What was your mindset heading into the final arc of the manga, and what were some of the challenges you faced when deciding how to end it?

Tsukuda: Of course there's always the concern of "Is it really okay that I did this? Are the readers going to be satisfied with this sort of ending?" What I'm going to talk about now is really spoilery, so I hope everyone has already read through to the end. I've always wanted to end the series with Soma and Erina getting hitched, but it was difficult for me to get to that point naturally in the story. So I had to rewrite it over and over before I could revise it to an ending that I liked. I really hope that all the fans are satisfied with the sort of ending that I reached.

Is there any character in Food Wars! that you wish you could have spent more time with?

Tsukuda: Rindo is a character that I really wanted to explore more deeply. I didn't know she was going to be so popular! To be honest, I really want to write a version of the story where Rindo was the main character, where she's the one battling her way to the top and beating all these other chefs. But obviously, Soma was already the main character, so that kind of storyline wouldn't have been possible at that point.

Soma has a unique confidence that allows him to make connections outside of his social standing. What was the inspiration behind this aspect of his character?

Tsukuda: First of all, I really wanted to create a character that would be a good match for Saeki-sensei's art, the kind of character who could excite women with his culinary skills. I thought that a cool character who girls like would not be all over them, he would be kind of a cool tough boy who does his own thing. I wanted to depict him as someone who's serious about his art. He's focused on cooking instead of being easily distracted by girls. So his cavalier attitude was a result of wanting to make him the kind of character that girls would find appealing.

What was your inspiration behind the creation of the last group of colorful combatants Soma faces in Food Wars?

Tsukuda: In a shonen series, the final group of enemies is a major familiar trope for writers and readers. There is a popular older cooking manga called Chuuka Ichiban! In that series, there are many unbelievable chefs with superhuman powers. For instance, one character uses an ice-knife for his dishes, and if you touch it, it will give you frostbite. So I wanted to save that superhuman style of character for this important arc.

Soma has been consistently popular in our Anime Trending manga polls, and he even won most popular character of the year. What were your reactions to Soma becoming so popular abroad?

Tsukuda: That's amazing. I've often heard people make comparisons between Goku and Soma. I understand it in that they both aren't afraid to challenge foes who are much stronger than them.

Dohi: I believe Soma's character is the key to the success of this series, just because he's so easy to watch and keeps things lighthearted. Oftentimes, when things get too serious in stories, readers and viewers can be overwhelmed by that heaviness. But with Soma in the mix, it becomes much easier to relax while enjoying the story.

Has creating Food Wars! inspired you to cook more often or with more theatrical flair?

Shun Saeki: I've always enjoyed cooking myself. When I was a student in university, I cooked all the time. But I don't cook at all anymore.

Tsukuda: It's the same for me too. Back when the series was first serialized, I did cook for myself. But when I started getting really busy with the manga, most times I did not want to cook at all or even think about cooking. These days, I'm thinking maybe I should pick it up again!

Dohi: I actually cook for myself often, and when the first season started airing, I would cook each dish that was featured each time and put them on social media. I saw that many fans were loving it, even overseas, and that was really exciting. But when there was an episode about bear meat, for example, that sort of thing I couldn't do.

Tsukuda: It's impressive, because sometimes I had my doubts that any of these dishes could actually be made.

ANN: So did you start this project with the peanut butter and octopus combo?

Dohi: I did indeed.

ANN: Was it edible?

Dohi: It was edible, and I even had Matsuoka-san, the voice of Yukihira Soma, eat it for me.

Tsukuda: I've had the dish as well, and I think the key to the recipe is the peanut butter. The peanut butter you use determines whether it will taste good or not. So long as the peanut butter you choose is not too sweet, it will turn out alright. The texture doesn't make as much difference, but I think the smooth peanut butter would be best.

ANN: When it comes to illustrating "the ecstasy of food" and how good something should taste, what was the greatest challenge you faced in translating a dish into manga?

Saeki: It's really difficult to describe the taste of food purely through drawings and dialogue in manga. This is especially true in terms of spicy flavors, so I would make sure that a character's body language conveyed that detail, emphasizing the sweat breaking out on their face while they described what they were tasting. There are times when I don't even focus on emphasizing the specific taste or flavor of a dish at all, and I'm more interested in the comedic effect that it has on the character as they eat. We really want the readers to laugh at those reactions.

Do you have a favorite reaction scene?

Saeki: Yes, it's Magical Cabbage.

Dohi: Yes, you could ask all of us, and it will always be Magical Cabbage.

Tsukuda: It was modeled after Sailor Moon or especially Precure, and that was all Saeki-sensei's idea. I wanted to show Dojima as a magical girl, and he said "Then let's have five of them!"

Saeki: I've always enjoyed watching transformation sequences in series like Sailor Moon, so I knew that to have a sequence of that striking caliber, we needed several beautiful women. The only problem is that there's a muscular man right in the middle.

ANN: That's gap appeal.

Tsukuda: Yes, exactly. Thank you for appreciating the gap.

Usually, separating the writer and artist is something more associated with Western-style comic books. Is that style of collaboration becoming more common in Japan, and what was the dynamic between the two of you like?

Tsukuda: That's definitely becoming more common now. In the past, it was more common for duos working on manga to be separate rather than working close together, but nowadays, as we have a lot of titles on the market, this type of closer collaboration is becoming more common, with The Promised Neverland and Dr. Stone being other examples. My motivation throughout this whole project came from wanting to demonstrate the greatness of Saeki-sensei's art. That was actually the main point of our project at the outset, so it was always my greatest motivation.

Saeki: For me, I don't have the storytelling power that Tsukuda-sensei has, so it was like this chemical reaction of our good aspects coming together to bring this story to life.

Like a Maillard reaction, when you fry something and it creates a new flavor?

Tsukuda: Definitely like that.

What does the other person in this collaboration do that drives you nuts sometimes?

Tsukuda: I think Saeki-sensei would get pissed off when I'm slow with material.

Saeki: No no, never! There isn't anything that really gets me annoyed with Tsukuda-sensei, because we both have a strong goal of creating something great together. We can always talk to each other because of that passion, and we aren't afraid of letting each other know what we want to do and how we want to do things. That comes from our desire to work as a team and create something worthwhile together.

Was Food Wars! the first time you had collaborated?

Tsukuda: This was the first time we had formally worked together, but I knew about Saeki-sensei from the past because he was my senpai in university. He's always given me pointers and been clear about his goals, because he's a very logical individual. I know that whenever he critiques something or points out a problem that needs to be fixed, it's coming from a logical place and not an emotional perspective. So I take his critiques seriously and understand that they're something I need to work on.

Are you planning on collaborating together again soon?

(Tsukuda and Saeki high five.)

Tsukuda: Yeah, we've been talking about our future plans on this trip.

We'll be looking forward to it. If you could have any of Food Wars!' characters as your personal chef, who would you pick?

Tsukuda: Megumi. Her cuisine is based around home cooking, so it's very peaceful and kind in its flavors. That way, even when I get much older, I don't have to worry about her dishes being too spicy or weird or anything. If I eat something that the other chefs make when I get old, I might die from too much excitement.

Saeki: I actually want more excitement in my life, so maybe Rindo! She will find ways to cook something that I've never had before. I'll actually live longer, because I'll be excited all the time.

Dohi: I would definitely want Kojiro Shinomiya. For one thing, his dishes would be healthy. His food is based heavily in French cuisine, and he uses a lot of vegetables. But for another thing, he's a very sadistic character, so to be able to make him do what I want would be extra-fun for me.

ANN: I feel like that's a very fitting answer for a producer.

Tsukuda: (laughs) Well, no matter who you are, if you hire a personal chef, you would have to tell them very directly what you want.

Saeki: If I can have one more answer, I would also want Mimasaka Subaru. That way, if I'm at a restaurant and I try something I really like, I can just tell him that this is what I want, and he could whip up something just like it on the spot.

Tsukuda: Damn, I didn't think of that.

How do you feel about the series, which is unique in the world of cooking manga, being popular all over the world?

Saeki: I think its popularity is mostly due to Tsukuda's amazing writing skills and character building, but another thing that's important to note is that, compared to many cooking manga that have come and gone, Food Wars! really emphasizes the battle aspect of shonen series, which I think is a unique point in its favor.

Tsukuda: In terms of genre, there are many modern culinary manga for more mature audiences, not shonen but seinen titles. Many of them are enjoyed just to kill time, with very passive storytelling that's meant to be read on the train or while waiting around. But going into the history of culinary manga, there are many shonen titles as well, like Shouta no Sushi, and because this unchanging base of cooking stories in shonen is so easy to access and reference, I think people are still drawn to the concept of dramatic cooking manga.

Dohi: In Japan, it's very common to find culinary manga, so I believe that people will keep loving this kind of story even twenty or thirty years from now.

It stands out to me that the cast of Food Wars is very international.

Tsukuda: That was very important to me. I wanted the younger readers experiencing this manga to learn about different types of food and culture from different countries. I thought it would be great if kids reading the manga could grow up, travel the world, see unique dishes and remember, "I saw that in Food Wars! when I was a kid."

Kind of like how Slam Dunk influenced basketball?

Tsukuda: Definitely. Kids in Japan didn't even know the rules of basketball before Slam Dunk. I think it's really important for kids to learn something through manga when they're reading it.

Saeki: Because of Slam Dunk, I actually joined the basketball team in my elementary school. Obviously, I didn't stay with it, though.

Tsukuda: I didn't know that!

Saeki: I also played ping pong, and even competed in a regional event.

Has anyone told you that their life has changed or that they look at food differently because of your manga?

Tsukuda: I have gotten letters from fans saying that they wanted to become a chef after reading Food Wars!, and even some letters saying that they had become a chef! It makes me really happy.

What was your favorite recipe in the series and why?

Dohi: I actually asked this of the creative team around the studio, because I knew you guys were probably going to ask that question. From the director to the art director to all around the staff, everyone was excited about rice dishes in particular—we are Japanese, so that's always going to be a point of interest—and out of all the rice dishes, the omurice with the curry risotto inside was definitely one of our favorites to demonstrate in the anime. Of course you can't smell anything from the screen, but to be able to depict the smell bursting out from the omurice when the spoon cuts in was rewarding. That moment was shocking for all of us when we first read it, so we wanted to give it a lively and energetic presentation in the anime.

Tsukuda: For me, it was definitely the midnight laksa curry, the dark and stinky curry made from kusaya, which is a very traditional Japanese dish. I really want to try it myself, to experience that contrast between its overwhelming stinkiness and being so delicious when you actually eat it. Seeing the smell just permeating throughout the hall was interesting.

Saeki: My pick has not appeared in the anime yet, but it's the dish made by Somei Saito, a ruby sushi made of mabuho and tuna. That would definitely be delicious. Just thinking about it now makes me salivate. I love sushi.

ANN: Now that the manga is coming to a close, and the anime isn't far behind, what have been your most memorable experiences along the way?

Tsukuda: You know, now that I think about it, this trip might be the most freeing and fun experience I've had since beginning Food Wars! For seven years now, since starting the project, every single moment of my life, no matter what else I'm doing, I'm always thinking about the manga in the back of my head. So now, it's like I'm trying to remember "What was fun about it?"

Saeki: For me, being serialized in Jump was my ultimate dream. Just knowing that I was able to create a work that continued on for such a long time was a dream come true for me, every single day that Food Wars! was in serialization. So that has become my fondest memory, every day that I got to have a hit in Shonen Jump. It was the second time for Tsukuda, but the first time for me.

Tsukuda: Well, the first time I got serialized in Jump, my manga was cut in 15 weeks, so this was a much better experience. Food Wars! is my first real success.

Dohi: It's a little hard for me to think about memories at this stage, because unlike these two that are done with the project, the anime is still in the heat of production, so I get to go back to Japan after this trip, and there's going to be hell waiting for me. So I can't think of any memories just yet.

Tsukuda: I'm so sorry.

ANN: In that case, what are you most looking forward to sharing with fans in season four?

Dohi: For the fourth season, it will be a direct continuation of the arc from the third season, so we're hoping that fans will appreciate how the characters have all grown since then.

Is there someone special in your life who inspired your love of cooking?

Dohi: My parents. My father is a chef. I would just watch my father's back as he cooked for us every time, and I grew to appreciate the happiness that comes from making something for others and sharing it with them.

Tsukuda: I didn't know your father was a chef, either! What did he specialize in?

Dohi: French-style cuisine.

Tsukuda: I'm learning so many new things in this interview.

Saeki: For me, it was my father as well. Many parents like to cook things that are simple for their kids that they can easily enjoy, like hamburg steak, but when I was a kid, my father was really into cooking with unusual ingredients, like sea urchin. He liked to cook things that paired well with alcohol, since he would drink with his dinner, and when I was little, he would give me a taste of these more grown-up dishes he'd made for himself. So my father had a big impact on my love of diverse foods and wanting to try different kinds of flavors.

Tsukuda: I lived in a small town in Fukuoka prefecture as a child, until I was in high school. When I went to university in Osaka, it was my first time living in a big city, so there were many types of different food to experience, and the variety came as a shock to me. It allowed me to realize that my mom's home cooking was truly unique, as a meal only she could create that was enjoyed exclusively in my own home. It helped me realize a difference in my palate and the tastes and flavors I could enjoy.