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TOP 10 WRITERS OF 2019′s REVIEWS

It is very hard to pick the best artists of the year, especially when you know in advance, they will not match anyone else’s list. And I say this because this list is based in all the reviews that scored a perfect 10 during 2019. And these reviews go from 1935 to 2020, so it is definitely not going to match anyone else’s.

There were other writers I would have loved to include in this list but they weren’t as prominent in my reviews as the one here. Those writers that are worth mentioning are: Bub Burden, Carl Potts, Denny O’Neil, Grant Morrison, Harlan Ellison, Jim Lawson, Jim Starlin, John Ostrander, Paul Dini, Peter Laird, Sam Humphries, Stan Sakai, Steve Darnall, Steve Murphy and Tom Taylor. To all of them, thank you for your work!

NUMBER TEN JAMES ROBINSON / JAMES TYNION IV

James Robinson (1963 - present) has been writing for three decades, with an early comics work, "Grendel: The Devil's Whisper", appearing in the 1989 series of the British anthology A1. The series for which he is arguably most renowned is the DC Comics series Starman, where he took the aging Golden Age character of the same name and revitalized both the character and all those who had used the name over the decades, weaving them into an interconnected whole. In 1997, Robinson's work on the title garnered him an Eisner Award for "Best Serialized Story".

He is also known for his The Golden Age limited series, which, despite being an Elseworlds story, established much of the backstory he would later use in Starman. He has written the Batman: Legends of the Dark Knight series, and served as a consultant and co-writer in the first year of JSA and its subsequent spin-off Hawkman.

James Tynion IV was born December 14, 1987, and grew up in Milwaukee, Wisconsin, where he attended Marquette University High School. While studying creative writing at Sarah Lawrence College, Tynion met and began studying under Scott Snyder, in the nascent years of his comic book writing career. Following school, he became an intern for the Vertigo imprint of DC Comics, working under Editor Shelly Bond, among others.

After a few years working in advertising, Scott Snyder asked Tynion to co-write the back-up features for the New 52 relaunch of Batman, in the midst of the acclaimed "Night of the Owls" comic book storyline, starting with Batman #8. In this comic, he tied the Court of Owls mythology to Alfred Pennyworth's father, Jarvis Pennyworth, working with noted American Vampire artist, Rafael Albuquerque.

James Tynion IV is openly bisexual.

These two writers are sharing the number ten spot because they have pretty much the same “rank” in the list of the year. Robinson made it in the list because of his work in “Starman”, and Tynion IV made it because of his work with the “Witching Hour” crossover.

NUMBER NINE SEAN MURPHY (1980 - PRESENT)

Sean Gordon Murphy is an American comic book creator known for work on books such as Joe the Barbarian with Grant Morrison, Chrononauts with Mark Millar, American Vampire: Survival of the Fittest and The Wake with Scott Snyder, and Tokyo Ghost with Rick Remender. He has also written and drawn the miniseries Punk Rock Jesus, as well as Batman: White Knight and its sequel Curse of the White Knight.

Sean Gordon Murphy was born in Nashua, New Hampshire in 1980. He showed an interest in comics during grade school. In Salem he apprenticed to local painter and cartoonist, Leslie Swank. He graduated from Pinkerton Academy high school in 1999, and attended Massachusetts College of Art in Boston, and then Savannah College of Art and Design.

Murphy lives in Portland, Maine with his wife Colleen, having moved there from Brooklyn in 2016. Murphy was raised a Catholic, but is now an atheist.

The reason Sean Murphy made it into the list was “Batman: White Knight”, which is an elseworld story loosely based in the Batman Animated Series.

NUMBER EIGHT FRANK MILLER (1957 - PRESENT)

Frank Miller (born January 27, 1957) is an American comic book writer, penciller and inker, novelist, screenwriter, film director, and producer best known for his comic book stories and graphic novels such as Ronin, Daredevil: Born Again, The Dark Knight Returns, Batman: Year One, Sin City, and 300.

He also directed the film version of The Spirit, shared directing duties with Robert Rodriguez on Sin City and Sin City: A Dame to Kill For, and produced the film 300. His film Sin City earned a Palme d'Or nomination, and he has received every major comic book industry award. In 2015, Miller was inducted into the Will Eisner Award Hall of Fame.

He created the comic book characters Elektra for Marvel Comics' Daredevil series, and a female version of the Robin character, Carrie Kelley, for DC Comics.

Miller is noted for combining film noir and manga influences in his comic art creations. "I realized when I started Sin City that I found American and English comics be too wordy, too constipated, and Japanese comics to be too empty. So I was attempting to do a hybrid".

Miller was raised in Montpelier, Vermont, the fifth of seven children of a nurse mother and a carpenter/electrician father. His family was Irish Catholic.

Miller was married to colorist Lynn Varley from 1986 to 2005; she colored many of his most acclaimed works (from Ronin in 1984 through 300 in 1998), and the backgrounds to the 2007 movie 300.

Miller has since been romantically linked to New York-based Shakespearean scholar Kimberly Halliburton Cox, who had a cameo in The Spirit (2008).

You can think many different things about Frank Miller, especially on his political views. But his work includes some pieces that really changed the industry. In this case, he made it into the list because of “Ronin” and “The Dark Knight Returns”, both have been influencing comics until our days (with “Ronin” being one of the many influences of the “Teenage Mutant Ninja Turtles”).

NUMBER SEVEN MIKE W. BARR (1952 - PRESENT)

Mike W. Barr (born May 30, 1952) is an American writer of comic books, mystery novels, and science fiction novels.

Barr's debut as a comics professional came in DC Comics' Detective Comics #444 (Dec. 1974-Jan. 1975), for which he wrote an eight-page back-up mystery feature starring the Elongated Man. Another Elongated Man story followed in Detective Comics #453 (Nov. 1975). He wrote text articles and editorial replies in letter columns for the next few years. By mid-1980 he was writing regularly for both DC and Marvel, including stories for Mystery in Space, Green Lantern, The Brave and the Bold, Marvel Team-Up, and a Spider-Man/Scarlet Witch team-up in Marvel Fanfare #6.

Legion of Super-Heroes #277 (July 1981) saw him take on editorial duties at DC, a position he would hold until 1987. In December 1982, he and artist Brian Bolland began Camelot 3000, a 12 issue limited series that was one of DC Comics' first direct market projects. Barr and artist Trevor Von Eeden produced the first Green Arrow limited series in 1983. When the long running The Brave and the Bold series came to its conclusion with issue #200 (July 1983), it featured a preview of a new Batman series, Batman and the Outsiders by Barr and artist Jim Aparo, which would be described by DC Comics writer and executive Paul Levitz as being "a team series more fashionable to 1980s audiences." The Masters of Disaster were among the supervillains created by Barr and Aparo for the series. Barr wrote every issue of the original series, and its Baxter paper spinoff, The Outsiders that did not include Batman and introduced Looker. After the series' cancellation in February 1988, it was revived in November 1993 by Barr and artist Paul Pelletier.

He was one of the contributors to the DC Challenge limited series in 1986 and wrote the "Batman: Year Two" storyline in Detective Comics #575-578 (June-Sept. 1987) which followed up on Frank Miller's "Batman: Year One". Barr introduced the Reaper in Detective Comics #575 (June 1987) and returned to the character in the Batman: Full Circle one-shot in 1991. Another project from 1987 was the Batman: Son of the Demon graphic novel which was drawn by Jerry Bingham, proceeds from which reputedly "restored DC Comics to first place in sales after fifteen years." This title, and Barr's work on Batman with artist Alan Davis have been cited by Grant Morrison as key inspirations for his own run on the Batman title. Barr's sequel, Batman: Bride of The Demon, was published in 1991.

Mike W. Barr has been only of the earliest comic-book writers I knew about, and he made it into this list because of his work in “Camelot 3000″ and “Batman and the Outsiders”.

NUMBER SIX CHRIS CLAREMONT, WITH JOHN BYRNE (1950 - PRESENT)

Christopher S. Claremont (born November 25, 1950) is a British-born American comic book writer and novelist, known for his 1975–1991 stint on Uncanny X-Men, far longer than that of any other writer, during which he is credited with developing strong female characters as well as introducing complex literary themes into superhero narratives, turning the once underachieving comic into one of Marvel's most popular series.

During his tenure at Marvel, Claremont co-created numerous X-Men characters, such as Rogue, Psylocke, Kitty Pryde/Shadowcat, Phoenix, The Brood, Lockheed, Shi'ar, Shi'ar Imperial Guard, Mystique, Destiny, Selene, Reverend William Stryker, Lady Mastermind, Emma Frost, Tessa, Siryn, Jubilee, Rachel Summers, Madelyne Pryor, Moira MacTaggert, Lilandra, Shadow King, Cannonball, Warpath, Mirage, Wolfsbane, Karma, Cypher, Sabretooth, Empath, Sebastian Shaw, Donald Pierce, Avalanche, Pyro, Legion, Nimrod, Gateway, Strong Guy, Proteus, Mister Sinister, Marauders, Purifiers, Captain Britain, Sunspot, Forge and Gambit. Claremont scripted many classic stories, including "The Dark Phoenix Saga" and "Days of Future Past", on which he collaborated with John Byrne. He developed the character of Wolverine into a fan favorite. X-Men #1, the 1991 spinoff series premiere that Claremont co-wrote with Jim Lee, remains the best-selling comic book of all time, according to Guinness World Records. In 2015, Claremont and his X-Men collaborator John Byrne were entered into the Will Eisner Award Hall of Fame.

Claremont was born in London, England. His father was an internist and his mother was a pilot and caterer. Claremont is Jewish on his mother's side, and lived in a kibbutz in Israel during his youth. His family moved to the United States when he was three, and he was raised primarily on Long Island. Alienated by the sports-oriented suburbs, his grandmother purchased for him a subscription to Eagle when he was a child, and he grew up reading Dan Dare, finding them more exciting than the Batman and Superman comics of the 1950s and early 1960s. He read works by science fiction writers such as Robert Heinlein, as well as writers of other genres such as Rudyard Kipling and C. S. Forester.

In the mid-1970s, Claremont was married to Bonnie Wilford. Following the dissolution of that marriage, he married Beth Fleisher, with whom Claremont co-authored Dragon Moon. Fleisher is the cousin (through marriage) of editor Dan Raspler, who was the editor on JLA during the six-issue "Tenth Circle" story arc Claremont and John Byrne wrote in 2004. Claremont and Fleisher have twin sons.

So why not John Byrne? Well, the reason Claremont made it into this list was mostly the Dark Phoenix Saga, but also the Wolverine mini-series. It is hard to separate them from their work in X-Men, but in the end, it is his dialogue that we read. I still think it is worth mentioning Byrne in this spot, as we wouldn’t have one without the other. Perhaps Wolverine solo mini-series wouldn’t be possible without the work of Byrne with the character, but there is more influence from Miller in that one. I am pretty sure Byrne will be in the top 10 next year anyway ;)

NUMBER FIVE NEIL GAIMAN (1960 - PRESENT)

Neil Richard MacKinnon Gaiman (born Neil Richard Gaiman, 10 November 1960) is an English author of short fiction, novels, comic books, graphic novels, nonfiction, audio theatre, and films. His works include the comic book series The Sandman and novels Stardust, American Gods, Coraline, and The Graveyard Book. He has won numerous awards, including the Hugo, Nebula, and Bram Stoker awards, as well as the Newbery and Carnegie medals. He is the first author to win both the Newbery and the Carnegie medals for the same work, The Graveyard Book (2008). In 2013, The Ocean at the End of the Lane was voted Book of the Year in the British National Book Awards.

Gaiman's family is of Polish Jewish and other Eastern European Jewish origins. His great-grandfather emigrated from Antwerp, Belgium, to the UK before 1914 and his grandfather eventually settled in the south of England in the Hampshire city of Portsmouth and established a chain of grocery stores. Gaiman's grandfather changed his original family name of Chaiman to Gaiman. His father, David Bernard Gaiman, worked in the same chain of stores; his mother, Sheila Gaiman (née Goldman), was a pharmacist. He has two younger sisters, Claire and Lizzy.

After living for a period in the nearby town of Portchester, Hampshire, where Neil was born in 1960, the Gaimans moved in 1965 to the West Sussex town of East Grinstead, where his parents studied Dianetics at the Scientology centre in the town; one of Gaiman's sisters works for the Church of Scientology in Los Angeles. His other sister, Lizzy Calcioli, has said, "Most of our social activities were involved with Scientology or our Jewish family. It would get very confusing when people would ask my religion as a kid. I'd say, 'I'm a Jewish Scientologist.'" Gaiman says that he is not a Scientologist, and that like Judaism, Scientology is his family's religion. About his personal views, Gaiman has stated, "I think we can say that God exists in the DC Universe. I would not stand up and beat the drum for the existence of God in this universe. I don't know, I think there's probably a 50/50 chance. It doesn't really matter to me."

Gaiman was able to read at the age of four. He said, "I was a reader. I loved reading. Reading things gave me pleasure. I was very good at most subjects in school, not because I had any particular aptitude in them, but because normally on the first day of school they'd hand out schoolbooks, and I'd read them—which would mean that I'd know what was coming up, because I'd read it." When he was about ten years old, he read his way through the works of Dennis Wheatley, where especially The Ka of Gifford Hillary and The Haunting of Toby Jugg made an impact on him. One work that made a particular impression on him was J. R. R. Tolkien's The Lord of the Rings from his school library, although it only had the first two volumes of the novel. He consistently took them out and read them. He would later win the school English prize and the school reading prize, enabling him to finally acquire the third volume.

For his seventh birthday, Gaiman received C. S. Lewis's The Chronicles of Narnia series. He later recalled that "I admired his use of parenthetical statements to the reader, where he would just talk to you ... I'd think, 'Oh, my gosh, that is so cool! I want to do that! When I become an author, I want to be able to do things in parentheses.' I liked the power of putting things in brackets." Narnia also introduced him to literary awards, specifically the 1956 Carnegie Medal won by the concluding volume. When Gaiman won the 2010 Medal himself, the press reported him recalling, "it had to be the most important literary award there ever was" and observing, "if you can make yourself aged seven happy, you're really doing well – it's like writing a letter to yourself aged seven."

Gaiman attended Ardingly College in Ardingly, West Sussex Lewis Carroll's Alice's Adventures in Wonderland was another childhood favourite, and "a favourite forever. Alice was default reading to the point where I knew it by heart." He also enjoyed Batman comics as a child.

Gaiman was educated at several Church of England schools, including Fonthill School in East Grinstead, Ardingly College (1970–74), and Whitgift School in Croydon (1974–77). His father's position as a public relations official of the Church of Scientology was the cause of the seven-year-old Gaiman being forced to withdraw from Fonthill School and remain at the school that he had previously been attending. He lived in East Grinstead for many years, from 1965 to 1980 and again from 1984 to 1987. He met his first wife, Mary McGrath, while she was studying Scientology and living in a house in East Grinstead that was owned by his father. The couple were married in 1985 after having their first child, Michael.

As a child and a teenager, Gaiman read the works of C. S. Lewis, J. R. R. Tolkien, Lewis Carroll, Mary Shelley, Rudyard Kipling, Edgar Allan Poe, Michael Moorcock, Alan Moore, Steve Ditko, Will Eisner, Ursula K. Le Guin, Harlan Ellison, Lord Dunsany and G. K. Chesterton. A lifetime fan of the Monty Python comedy troupe, as a teenager he owned a copy of Monty Python's Big Red Book. When he was 19–20 years old, he contacted his favourite science fiction writer, R. A. Lafferty, whom he discovered when he was nine, and asked for advice on becoming an author along with a Lafferty pastiche he had written. The writer sent Gaiman an encouraging and informative letter back, along with literary advice.

In the early 1980s, Gaiman pursued journalism, conducting interviews and writing book reviews, as a means to learn about the world and to make connections that he hoped would later assist him in getting published. He wrote and reviewed extensively for the British Fantasy Society. His first professional short story publication was "Featherquest", a fantasy story, in Imagine Magazine in May 1984.

When waiting for a train at London's Victoria Station in 1984, Gaiman noticed a copy of Swamp Thing written by Alan Moore, and carefully read it. Moore's fresh and vigorous approach to comics had such an impact on Gaiman that he would later write "that was the final straw, what was left of my resistance crumbled. I proceeded to make regular and frequent visits to London's Forbidden Planet shop to buy comics".

In 1984, he wrote his first book, a biography of the band Duran Duran, as well as Ghastly Beyond Belief, a book of quotations, with Kim Newman. Even though Gaiman thought he had done a terrible job, the book's first edition sold out very quickly. When he went to relinquish his rights to the book, he discovered the publisher had gone bankrupt. After this, he was offered a job by Penthouse. He refused the offer.

He also wrote interviews and articles for many British magazines, including Knave. During this he sometimes wrote under pseudonyms, including Gerry Musgrave, Richard Grey, and "a couple of house names". Gaiman has said he ended his journalism career in 1987 because British newspapers regularly publish untruths as fact. In the late 1980s, he wrote Don't Panic: The Official Hitchhiker's Guide to the Galaxy Companion in what he calls a "classic English humour" style. Following this he wrote the opening of what would become his collaboration with fellow English author Terry Pratchett on the comic novel Good Omens, about the impending apocalypse.

After forming a friendship with comic-book writer Alan Moore, Gaiman started writing comic books, picking up Miracleman after Moore finished his run on the series. Gaiman and artist Mark Buckingham collaborated on several issues of the series before its publisher, Eclipse Comics, collapsed, leaving the series unfinished. His first published comic strips were four short Future Shocks for 2000 AD in 1986–87. He wrote three graphic novels with his favourite collaborator and long-time friend Dave McKean: Violent Cases, Signal to Noise, and The Tragical Comedy or Comical Tragedy of Mr. Punch. Impressed with his work, DC Comics hired him in February 1987, and he wrote the limited series Black Orchid. Karen Berger, who later became head of DC Comics's Vertigo, read Black Orchid and offered Gaiman a job: to re-write an old character, The Sandman, but to put his own spin on him.

The Sandman tells the tale of the ageless, anthropomorphic personification of Dream that is known by many names, including Morpheus. The series began in January 1989 and concluded in March 1996. In the eighth issue of The Sandman, Gaiman and artist Mike Dringenberg introduced Death, the older sister of Dream, who would become as popular as the series' title character. The limited series Death: The High Cost of Living launched DC's Vertigo line in 1993. The 75 issues of the regular series, along with an illustrated prose text and a special containing seven short stories, have been collected into 12 volumes that remain in print. The series became one of DC's top selling titles, eclipsing even Batman and Superman. Comics historian Les Daniels called Gaiman's work "astonishing" and noted that The Sandman was "a mixture of fantasy, horror, and ironic humor such as comic books had never seen before". DC Comics writer and executive Paul Levitz observed that "The Sandman became the first extraordinary success as a series of graphic novel collections, reaching out and converting new readers to the medium, particularly young women on college campuses, and making Gaiman himself into an iconic cultural figure."

Gaiman has lived near Menomonie, Wisconsin, since 1992. Gaiman moved there to be close to the family of his then-wife, Mary McGrath, with whom he has three children. As of 2013, Gaiman also resides in Cambridge, Massachusetts. In 2014, he took up a five-year appointment as professor in the arts at Bard College, in Annandale-on-Hudson, New York.

Gaiman is married to songwriter and performer Amanda Palmer, with whom he has an open marriage. The couple announced that they were dating in June 2009, and announced their engagement on Twitter on 1 January 2010. On 16 November 2010, Palmer hosted a non-legally binding flash mob wedding for Gaiman's birthday in New Orleans. They were legally married on 2 January 2011. The wedding took place in the parlour of writers Ayelet Waldman and Michael Chabon. On marrying Palmer, he took her middle name, MacKinnon, as one of his names. In September 2015 they had a son.

I am sure Gaiman will make it to next year’s list as well, but in this year in particular, the main reason he made it was “The Sandman”, which had so much quality, almost all the issues I reviewed scored a 10.

NUMBER FOUR MARK MILLAR (1969 - PRESENT)

Mark Millar MBE is a Scottish comic book writer, best known for his work on The Authority, The Ultimates, Marvel Knights Spider-Man, Ultimate Fantastic Four, Civil War, Kingsman: The Secret Service, Wanted, Chrononauts, Superior and Kick-Ass, the latter seven of which have been, or are planned to be, adapted into feature films.

Millar was born 24 December 1969 in Coatbridge, Scotland. His parents were also born in Coatbridge, and Millar spent the first half of his life in the town's Townhead area, attending St Ambrose High. He has four older brothers, and one older sister, who are 22, 20, 18, 16 and 14 years older than him, respectively. His brother Bobby, who today works at a special needs school, introduced him to comics at age 4 while attending university by taking him to shops and purchasing them for him. Still learning to read, Millar's first comic was the seminal The Amazing Spider-Man #121 (1973), which featured the death of Gwen Stacy. He purchased a Superman comic that day as well. Black and white reprinted comics purchased by his brothers for him would follow, cementing his interest in the medium so much that Millar drew a spider web across his face with indelible marker that his parents were unable to scrub off in time for his First Communion photo a week later. Millar has named Alan Moore and Frank Miller as the two biggest influences on his career, characterizing them as "my Mum and Dad." Other writers he names as influences include Grant Morrison, Peter Milligan, Warren Ellis and Garth Ennis. More recent writers that have impressed him include Jason Aaron and Scott Snyder.

Millar's mother died of a heart attack at age 64, when Millar was 14, and his father died four years later, aged 65. Although Millar enjoyed drawing comics, he was not permitted to go to art school because his family frowned upon such endeavours as a waste of time for the academic Millar, who studied subjects like chemistry, physics and advanced maths. He initially planned to be a doctor, and subsequently decided that becoming an economist would be a viable alternate plan, but later decided that he "couldn't quite hack it" in that occupation. He attended Glasgow University to study politics and economics, but dropped out after his father's death left him without the money to pay his living expenses.

When Millar was 18, he interviewed writer Grant Morrison, who was doing his first major American work on Animal Man, for a fanzine. When he told Morrison that he wanted to be both a writer and an artist, Morrison suggested that he focus on one of those career paths, as it was very hard to be successful at both, which Millar cites as the best advice he has received.

Millar's first job as a comic book writer came when he was still in high school, writing Trident's Saviour with Daniel Vallely providing art. Saviour combined elements of religion, satire and superhero action. During the 1990s, Millar worked on titles such as 2000 AD, Sonic the Comic and Crisis. In 1993, Millar, Grant Morrison and John Smith created a controversial eight-week run on 2000 AD called The Summer Offensive. It was during this run that Millar and Morrison wrote their first major story together, Big Dave.

Millar's British work brought him to the attention of DC Comics, and in 1994 he started working on his first American comic, Swamp Thing. The first four issues of Millar's run were co-written by Grant Morrison, allowing Millar to settle into the title. Although his work brought some critical acclaim to the ailing title, the book's sales were still low enough to warrant cancellation by the publisher. From there, Millar spent time working on various DC titles, often co-writing with or under the patronage of Morrison as in the cases of his work on JLA, The Flash and Aztek: The Ultimate Man, and working on unsuccessful pitches for the publisher.

In 2000, Millar replaced Warren Ellis on The Authority for DC's Wildstorm imprint. Millar announced his resignation from DC in 2001, though his miniseries Superman: Red Son was printed in 2003.

In 2001, Millar launched Ultimate X-Men for Marvel Comics' Ultimate Marvel imprint. The following year he collaborated with illustrator Bryan Hitch on The Ultimates, the Ultimate imprint's equivalent of The Avengers. Millar's work on The Ultimates was later adapted into two Marvel Animated Features and the subsequent 2012 Hollywood box office smash Marvel's The Avengers.

In 2006, Millar, joined by artist Steve McNiven, began writing the Marvel miniseries Civil War a seven-issue limited series revolving around the passing of Superhuman Registration Act as a result of the death and destruction unintentionally caused by superheroes and turned Captain America and Iron Man onto opposing sides, the book formed the basis for the film Captain America: Civil War. In 2009 Millar wrote the dystopian "Old Man Logan" storyline, which appeared in the Wolverine series, and was set in a possible future in which Wolverine, having been traumatized by his murder of the X-Men (an event prompted by Mysterio's illusions), became a recluse, after which the United States government collapsed, and the country fell under the control of various supervillain enclaves. Needing rent money for his family's farm, Wolverine comes out of retirement when called upon by Hawkeye.

Millar supports British withdrawal from the European Union.

While Millar is usually not my cup of tea, mostly because of his toxic depictions of masculinity in his stories (this may or may not be on purpose), he did write a lot of sophisticated comics in the reviews I did this year (”The Ultimates” and “Marvel Knights: Spider-man”).

NUMBER THREE GEOFF JOHNS (1973 - PRESENT)

Geoffrey Johns (born January 25, 1973) is an American comic book writer, screenwriter and film and television producer. He served as the President and Chief Creative Officer (CCO) of DC Entertainment from 2016 to 2018 after his initial appointment as CCO in 2010. Some of his most notable work has used the DC Comics characters Green Lantern, Aquaman, Flash and Superman.

In 2018, he stepped down from his executive role at DC Entertainment to open a production company, Mad Ghost Productions, to focus on writing and producing film, television and comic book titles based on DC properties. Some of his work in television includes the series Blade, Smallville, Arrow and The Flash. He was a co-producer on the film Green Lantern (2011) and a producer on Justice League (2017). He co-wrote the story for Aquaman (2018) and the screenplay for Wonder Woman 1984 (2020).

Geoff Johns was born in Detroit, Michigan, the son of Barbara and Fred Johns. He is of half Lebanese ancestry and grew up in the suburbs of Grosse Pointe and Clarkston. As a child, Johns and his brother first discovered comics through an old box of comics they found in their grandmother's attic, which included copies of The Flash, Superman, Green Lantern, and Batman from the 1960s and 1970s. Johns eventually began to patronize a comics shop in Traverse City, recalling that the first new comics he bought were Crisis on Infinite Earths #3 or 4 and The Flash #348 or 349, as the latter was his favorite character. As Johns continued collecting comics, he gravitated toward DC Comics and later Vertigo, and drew comics. After graduating from Clarkston High School in 1991, he studied media arts, screenwriting, film production and film theory at Michigan State University. He graduated from Michigan State in 1995, and then moved to Los Angeles, California.

In Los Angeles, Johns cold-called the office of director Richard Donner looking for an internship, and while Johns was being transferred to various people, Donner picked up the phone by accident, leading to a conversation and the internship. Johns started off copying scripts, and after about two months, was hired as a production assistant for Donner, whom Johns regards as his mentor.

While working on production of Donner's 1997 film Conspiracy Theory, Johns visited New York City, where he met DC Comics personnel such as Eddie Berganza, reigniting his childhood interest in comics.

Berganza invited Johns to tour the DC Comics offices, and offered Johns the opportunity to suggest ideas, which led to Johns pitching Stars and S.T.R.I.P.E., a series based on the second Star-Spangled Kid and her stepfather, to editor Chuck Kim a year later. Johns expected to write comics "on the side", until he met David Goyer and James Robinson, who were working on JSA. After looking at Stars and S.T.R.I.P.E., Robinson offered Johns co-writing duties on JSA in 2000, and Johns credits both him and Mike Carlin with shepherding him into the comics industry. That same year, Johns became the regular writer on The Flash ongoing series with issue 164. John's work on The Flash represents one example of his modeling of various elements in his stories after aspects of his birth town, explaining, "When I wrote The Flash, I turned Keystone City into Detroit, made it a car town. I make a lot of my characters from Detroit. I think self-made, blue-collar heroes represent Detroit. Wally West's Flash was like that. I took the inspiration of the city and the people there and used it in the books." John's Flash run concluded with #225.

His younger sister, Courtney, was a victim of the TWA Flight 800 crash. The DC Comics character Courtney Whitmore, whom Johns created, is based on her.

In a 2010 interview, Johns named Steve McNiven as an artist he would like to collaborate with, J. Michael Straczynski's run on Thor as his then-favorite ongoing comic book, and The Flash as his favorite of all time, stating that he owns every issue of it. He credits reading James Robinson's The Golden Age as the book responsible for his love of the characters featured in the book, and for his decision to accept writing duties on JSA. He is also a comic book retailer who co-owns Earth-2 Comics in Northridge, California, with Carr D'Angelo and Jud Meyers.

There are plenty of reasons for Geoff Johns to be in this list, this year. But the main ones are his Justice League and Shazam Origin. At the moment of this writing, Doomsday Clock is not included in these reviews, but his writing there is also very, very good.

NUMBER TWO MARV WOLFMAN, WITH GEORGE PEREZ (1946 - PRESENT)

Marvin Arthur Wolfman (born May 13, 1946) is an American comic book and novelization writer. He worked on Marvel Comics's The Tomb of Dracula, for which he and artist Gene Colan created the vampire-slayer Blade, and DC Comics's The New Teen Titans and the Crisis on Infinite Earths limited series with George Pérez.

Marv Wolfman was born in Brooklyn, New York City, the son of police officer Abe and housewife Fay. He has a sister, Harriet, 12 years older. When Wolfman was 13, his family moved to Flushing, Queens, in New York City, where he attended junior high school. He went on to New York's High School of Art and Design, in Manhattan, hoping to become a cartoonist. Wolfman is Jewish.

Marvin Wolfman was active in fandom before he began his professional comics career at DC Comics in 1968. Wolfman was one of the first to publish Stephen King, with "In A Half-World of Terror" in Wolfman's horror fanzine Stories of Suspense No. 2 (1965). This was a revised version of King's first published story, "I Was a Teenage Grave Robber", which had been serialized over four issues (three published and one unpublished) of the fanzine Comics Review that same year.

Wolfman's first published work for DC Comics appeared in Blackhawk No. 242 (Aug.–Sept. 1968). He and longtime friend Len Wein created the character Jonny Double in Showcase No. 78 (Nov. 1968) scripted by Wolfman. The two co-wrote "Eye of the Beholder" in Teen Titans No. 18 (Dec. 1968), which would be Wein's first professional comics credit. Neal Adams was called upon to rewrite and redraw a Teen Titans story which had been written by Wein and Wolfman. The story, titled "Titans Fit the Battle of Jericho!", would have introduced DC's first African American superhero, but was rejected by publisher Carmine Infantino. The revised story appeared in Teen Titans No. 20 (March–April 1969). Wolfman and Gil Kane created an origin for Wonder Girl in Teen Titans No. 22 (July–Aug. 1969) which introduced the character's new costume.

Wolfman is married to Noel Watkins. Wolfman was previously married to Michele Wolfman, for many years a colorist in the comics industry. They have a daughter, Jessica Morgan.

There are also many reasons for Wolfman to be in this list. Among them there is: “Man and Superman”, “New Teen Titans”, “Tales of the Teen Titans”, “The Judas Contract”, “Vigilante” and “Crisis on Infinite Earths”. Many of these, were collaborations with George Pérez and that is why he gets a mention in this space (don’t worry, he is in another TOP 10 this year). Not only he destroyed a multiverse and created one of the most stable runs of DC Continuity ever, he also “created” Nightwing and Vigilante and finally published “Man and Superman” this year.

NUMBER ONE ALAN MOORE (1953 - PRESENT)

Alan Moore (born 18 November 1953) is an English writer known primarily for his work in comic books including Watchmen, V for Vendetta, The Ballad of Halo Jones, Swamp Thing, Batman: The Killing Joke and From Hell. Regarded by some as the best comics writer in the English language, he is widely recognized among his peers and critics. He has occasionally used such pseudonyms as Curt Vile, Jill de Ray, and Translucia Baboon; also, reprints of some of his work have been credited to The Original Writer when Moore requested that his name be removed.

Moore started writing for British underground and alternative fanzines in the late 1970s before achieving success publishing comic strips in such magazines as 2000 AD and Warrior. He was subsequently picked up by the American DC Comics, and as "the first comics writer living in Britain to do prominent work in America", he worked on major characters such as Batman (Batman: The Killing Joke) and Superman (Whatever Happened to the Man of Tomorrow?), substantially developed the character Swamp Thing, and penned original titles such as Watchmen. During that decade, Moore helped to bring about greater social respectability for comics in the United States and United Kingdom. He prefers the term "comic" to "graphic novel". In the late 1980s and early 1990s he left the comic industry mainstream and went independent for a while, working on experimental work such as the epic From Hell and the prose novel Voice of the Fire. He subsequently returned to the mainstream later in the 1990s, working for Image Comics, before developing America's Best Comics, an imprint through which he published works such as The League of Extraordinary Gentlemen and the occult-based Promethea. In 2016, he published Jerusalem: a 1266-page experimental novel set in his hometown of Northampton, UK.

Moore is an occultist, ceremonial magician, and anarchist, and has featured such themes in works including Promethea, From Hell, and V for Vendetta, as well as performing avant-garde spoken word occult "workings" with The Moon and Serpent Grand Egyptian Theatre of Marvels, some of which have been released on CD.

Despite his own personal objections, his works have provided the basis for a number of Hollywood films, including From Hell (2001), The League of Extraordinary Gentlemen (2003), V for Vendetta (2005), and Watchmen (2009). Moore has also been referenced in popular culture, and has been recognized as an influence on a variety of literary and television figures including Neil Gaiman, Joss Whedon, and Damon Lindelof. He has lived a significant portion of his life in Northampton, England, and he has said in various interviews that his stories draw heavily from his experiences living there.

Abandoning his office job, he decided to instead take up both writing and illustrating his own comics. He had already produced a couple of strips for several alternative fanzines and magazines, such as Anon E. Mouse for the local paper Anon, and St. Pancras Panda, a parody of Paddington Bear, for the Oxford-based Back Street Bugle. His first paid work was for a few drawings that were printed in NME, and not long after he succeeded in getting a series about a private detective known as Roscoe Moscow published using the pseudonym of Curt Vile (a pun on the name of composer Kurt Weill) in the weekly music magazine Sounds, earning £35 a week. Alongside this, he and Phyllis, with their newborn daughter Leah, began claiming unemployment benefit to supplement this income. Not long after this, in 1979 he also began publishing a new comic strip known as Maxwell the Magic Cat in the Northants Post, under the pseudonym of Jill de Ray (a pun on the Medieval child murderer Gilles de Rais, something he found to be a "sardonic joke"). Earning a further £10 a week from this, he decided to sign off of social security, and would continue writing Maxwell the Magic Cat until 1986. Moore has stated that he would have been happy to continue Maxwell's adventures almost indefinitely, but ended the strip after the newspaper ran a negative editorial on the place of homosexuals in the community. Meanwhile, Moore decided to focus more fully on writing comics rather than both writing and drawing them, stating that "After I'd been doing [it] for a couple of years, I realised that I would never be able to draw well enough and/or quickly enough to actually make any kind of decent living as an artist."

To learn more about how to write a successful comic-book script, he asked advice from his friend, comic-book writer Steve Moore, whom he had known since he was fourteen. Interested in writing for 2000AD, one of Britain's most prominent comic magazines, Alan Moore then submitted a script for their long running and successful series Judge Dredd. While having no need for another writer on Judge Dredd, which was already being written by John Wagner, 2000AD's editor Alan Grant saw promise in Moore's work – later remarking that "this guy's a really fucking good writer" – and instead asked him to write some short stories for the publication's Future Shocks series. While the first few were rejected, Grant advised Moore on improvements, and eventually accepted the first of many. Meanwhile, Moore had also begun writing minor stories for Doctor Who Weekly, and later commented that "I really, really wanted a regular strip. I didn't want to do short stories ... But that wasn't what was being offered. I was being offered short four or five-page stories where everything had to be done in those five pages. And, looking back, it was the best possible education that I could have had in how to construct a story."

From 1980 through to 1984, Moore maintained his status as a freelance writer, and was offered a spate of work by a variety of comic book companies in Britain, namely Marvel UK, and the publishers of 2000AD and Warrior. He later remarked that "I remember that what was generally happening was that everybody wanted to give me work, for fear that I would just be given other work by their rivals. So everybody was offering me things." It was an era when comic books were increasing in popularity in Britain, and according to Lance Parkin, "the British comics scene was cohering as never before, and it was clear that the audience was sticking with the title as they grew up. Comics were no longer just for very small boys: teenagers – even A-level and university students – were reading them now."

During this three-year period, 2000AD would accept and publish over fifty of Moore's one-off stories for their Future Shocks and Time Twisters science fiction series. The editors at the magazine were impressed by Moore's work and decided to offer him a more permanent strip, starting with a story that they wanted to be vaguely based upon the hit film E.T. the Extra-Terrestrial. The result, Skizz, which was illustrated by Jim Baikie, told the story of the titular alien who crashes to Earth and is cared for by a teenager named Roxy, and Moore later noted that in his opinion, this work "owes far too much to Alan Bleasdale." Another series he produced for 2000AD was D.R. and Quinch, which was illustrated by Alan Davis. The story, which Moore described as "continuing the tradition of Dennis the Menace, but giving him a thermonuclear capacity", revolved around two delinquent aliens, and was a science-fiction take on National Lampoon's characters O.C. and Stiggs. The work widely considered to be the highlight of his 2000AD career, and that he himself described as "the one that worked best for me" was The Ballad of Halo Jones. Co-created with artist Ian Gibson, the series was set in the 50th century. The series was discontinued after three books due to a dispute between Moore and Fleetway, the magazine's publishers, over the intellectual property rights of the characters Moore and Gibson had co-created.

Another comic company to employ Moore was Marvel UK, who had formerly purchased a few of his one-off stories for Doctor Who Weekly and Star Wars Weekly. Aiming to get an older audience than 2000AD, their main rival, they employed Moore to write for the regular strip Captain Britain, "halfway through a storyline that he's neither inaugurated nor completely understood." He replaced the former writer Dave Thorpe, but maintained the original artist, Alan Davis, whom Moore described as "an artist whose love for the medium and whose sheer exultation upon finding himself gainfully employed within it shine from every line, every new costume design, each nuance of expression."

Guy Fawkes serves as physical and philosophical inspiration for the titular protagonist of V for Vendetta. The third comic company that Moore worked for in this period was Quality Communications, publishers of a new monthly magazine called Warrior. The magazine was founded by Dez Skinn, a former editor of both IPC (publishers of 2000 AD) and Marvel UK, and was designed to offer writers a greater degree of freedom over their artistic creations than was allowed by pre-existing companies. It was at Warrior that Moore "would start to reach his potential". Moore was initially given two ongoing strips in Warrior: Marvelman and V for Vendetta, both of which debuted in Warrior's first issue in March 1982. V for Vendetta was a dystopian thriller set in a future 1997 where a fascist government controlled Britain, opposed only by a lone anarchist dressed in a Guy Fawkes costume who turns to terrorism to topple the government. Illustrated by David Lloyd, Moore was influenced by his pessimistic feelings about the Thatcherite Conservative government, which he projected forward as a fascist state in which all ethnic and sexual minorities had been eliminated. It has been regarded as "among Moore's best work" and has maintained a cult following throughout subsequent decades.

Marvelman (later retitled Miracleman for legal reasons) was a series that originally had been published in Britain from 1954 through to 1963, based largely upon the American comic Captain Marvel. Upon resurrecting Marvelman, Moore "took a kitsch children's character and placed him within the real world of 1982". The work was drawn primarily by Garry Leach and Alan Davis. The third series that Moore produced for Warrior was The Bojeffries Saga, a comedy about a working-class English family of vampires and werewolves, drawn by Steve Parkhouse. Warrior closed before these stories were completed, but under new publishers both Miracleman and V for Vendetta were resumed by Moore, who finished both stories by 1989. Moore's biographer Lance Parkin remarked that "reading them through together throws up some interesting contrasts – in one the hero fights a fascist dictatorship based in London, in the other an Aryan superman imposes one."

Although Moore's work numbered amongst the most popular strips to appear in 2000 AD, Moore himself became increasingly concerned at the lack of creator's rights in British comics. In 1985, he talked to fanzine Arkensword, noting that he had stopped working for all British publishers bar IPC, "purely for the reason that IPC so far have avoided lying to me, cheating me or generally treating me like shit." He did join other creators in decrying the wholesale relinquishing of all rights, and in 1986 stopped writing for 2000 AD, leaving mooted future volumes of the Halo Jones story unstarted. Moore's outspoken opinions and principles, particularly on the subject of creator's rights and ownership, would see him burn bridges with a number of other publishers over the course of his career.

Meanwhile, during this same period, he – using the pseudonym of Translucia Baboon – became involved in the music scene, founding his own band, The Sinister Ducks, with David J (of goth band Bauhaus) and Alex Green, and in 1983 released a single, March of the Sinister Ducks, with sleeve art by illustrator Kevin O'Neill. In 1984, Moore and David J released a 12-inch single featuring a recording of "This Vicious Cabaret", a song featured in V for Vendetta, which was released on the Glass Records label. Moore would write the song "Leopardman at C&A" for David J, and it would be set to music by Mick Collins for the album We Have You Surrounded by Collins' group The Dirtbombs.

Moore's work in 2000 AD brought him to the attention of DC Comics editor Len Wein, who hired him in 1983 to write The Saga of the Swamp Thing, then a formulaic and poor-selling monster comic. Moore, with artists Stephen R. Bissette, Rick Veitch, and John Totleben, deconstructed and reimagined the character, writing a series of formally experimental stories that addressed environmental and social issues alongside the horror and fantasy, bolstered by research into the culture of Louisiana, where the series was set. For Swamp Thing he revived many of DC's neglected magical and supernatural characters, including the Spectre, the Demon, the Phantom Stranger, Deadman, and others, and introduced John Constantine, an English working-class magician based visually on the British musician Sting; Constantine later became the protagonist of the series Hellblazer, which became Vertigo's longest running series at 300 issues. Moore would continue writing Swamp Thing for almost four years, from issue No. 20 (January 1984) through to issue No. 64 (September 1987) with the exception of issues No. 59 and 62. Moore's run on Swamp Thing was successful both critically and commercially, and inspired DC to recruit British writers such as Grant Morrison, Jamie Delano, Peter Milligan, and Neil Gaiman to write comics in a similar vein, often involving radical revamps of obscure characters. These titles laid the foundation of what became the Vertigo line.

Moore began producing further stories for DC Comics, including a two-part story for Vigilante, which dealt with domestic abuse. He was eventually given the chance to write a story for one of DC's best-known superheroes, Superman, entitled "For the Man Who Has Everything", which was illustrated by Dave Gibbons and published in 1985. In this story, Wonder Woman, Batman, and Robin visit Superman on his birthday, only to find that he has been overcome by an alien organism and is hallucinating about his heart's desire. He followed this with another Superman story, "Whatever Happened to the Man of Tomorrow?", which was published in 1986. Illustrated by Curt Swan, it was designed as the last Superman story in the pre-Crisis on Infinite Earths DC Universe.

The threat of Nuclear war during the Cold War influenced the setting and tone of Watchmen. The limited series Watchmen, begun in 1986 and collected as a trade paperback in 1987, cemented Moore's reputation. Imagining what the world would be like if costumed heroes had really existed since the 1940s, Moore and artist Dave Gibbons created a Cold War mystery in which the shadow of nuclear war threatens the world. The heroes who are caught up in this escalating crisis either work for the US government or are outlawed, and are motivated to heroism by their various psychological hang-ups. Watchmen is non-linear and told from multiple points of view, and includes highly sophisticated self-references, ironies, and formal experiments such as the symmetrical design of issue 5, "Fearful Symmetry", where the last page is a near mirror-image of the first, the second-last of the second, and so on, and in this manner is an early example of Moore's interest in the human perception of time and its implications for free will. It is the only comic to win the Hugo Award, in a one-time category ("Best Other Form"). It is widely seen as Moore's best work, and has been regularly described as the greatest comic book ever written. Alongside roughly contemporary works such as Frank Miller's Batman: The Dark Knight Returns, Art Spiegelman's Maus, and Jaime and Gilbert Hernandez's Love and Rockets, Watchmen was part of a late 1980s trend in American comics towards more adult sensibilities. Comics historian Les Daniels noted that Watchmen "called into question the basic assumptions on which the super hero genre is formulated". DC Comics writer and executive Paul Levitz observed in 2010 that "As with The Dark Knight Returns, Watchmen set off a chain reaction of rethinking the nature of super heroes and heroism itself, and pushed the genre darker for more than a decade. The series won acclaim ... and would continue to be regarded as one of the most important literary works the field ever produced." Moore briefly became a media celebrity, and the resulting attention led to him withdrawing from fandom and no longer attending comics conventions (at one UKCAC in London he is said to have been followed into the toilet by eager autograph hunters).

Since his teenage years Moore has had long hair, and since early adulthood has also had a beard. He has taken to wearing a number of large rings on his hands, leading him to be described as a "cross between Hagrid and Danny from Withnail and I" who could be easily mistaken for "the village eccentric". Born and raised in Northampton, he continues to live in the town, and used its history as a basis for his novels Voice of the Fire and Jerusalem. His "unassuming terraced" Northampton home was described by an interviewer in 2001 as "something like an occult bookshop under permanent renovation, with records, videos, magical artifacts and comic-book figurines strewn among shelves of mystical tomes and piles of paper. The bathroom, with blue-and-gold décor and a generous sunken tub, is palatial; the rest of the house has possibly never seen a vacuum cleaner. This is clearly a man who spends little time on the material plane." He likes to live in his home town, feeling that it affords him a level of obscurity that he enjoys, remarking that "I never signed up to be a celebrity." He has spoken in praise of the town's former Radical MP, Charles Bradlaugh at the annual commemoration. He is also a vegetarian.

With his first wife Phyllis, whom he married in the early 1970s, he has two daughters, Leah and Amber. The couple also had a mutual lover, Deborah, although the relationship between the three ended in the early 1990s as Phyllis and Deborah left Moore, taking his daughters with them. On 12 May 2007, he married Melinda Gebbie, with whom he has worked on several comics, most notably Lost Girls.

It was pretty clear that Alan Moore was going to end up being in the Top 10 this year. Mostly because I read a lot of his material from DC. The reason he made it into the top 10 is “V for Vendetta” with David Lloyd, “Swamp Thing”, “Whatever Happened to the Man of Tomorrow?”, “Tom Strong”, Batman: The Killing Joke” and “Watchmen”.

Most of these writers have also done something good, not only for the comic-book industry, but also for the world. And this TOP 10 is a way of celebrating them, because their work really inspired most of the pop-culture we consume today.

#writers #comics #reviews #2019 #alan moore #marv wolfman #geoff johns #mark millar #neil gaiman #chris claremont #mike w barr #frank miller #sean murphy #james robinson #james tynion iv

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marypsue · 7 years

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@blogg-saron Just remember: you asked for it.

Reincarnation Blues (95,096 words, published April 2, 2015, completed September 26, 2015)

This fic was the product of an idea that absolutely would not leave me alone. I’ve mentioned before that originally Rosa was the centre of the piece, with Ian as a supporting player and partner in crime in her bid to take over the world by being adorable and popular. Rosa Darling, Taylor Swift’s Evil Twin, crawled fully-formed out of the first time I heard Delta Rae’s ‘I Will Never Die’, at least two months before I ever wrote a word of Reincarnation Blues.

Ian didn’t actually have a name until I decided to write a short fic based on these characters who just wouldn’t get out of my head; he was a generic, grinning-evil Devil Went Down To Georgia reference with a fiddle but no name playing backup in Rosa’s band and lending her supernatural firepower when necessary. As originally conceived, he knew exactly who he’d been and used it to his full advantage. I decided on 'Ian’ after considering ‘Liam’ as a name that referenced ‘William’, but not as obviously as a ‘Bill’ or ‘Will’, and then deciding that would give the game away too soon. I also just plain didn’t like the name ‘Liam’ as much. It was only later that I found out that the man responsible for the absolutely stunning art direction on Gravity Falls is named Ian. And I just found out now, looking up Delta Rae to see when ‘I Will Never Die’ was released, that one of the band members is named Ian. This is...typical of the experience of writing this fic.

Mira came into the picture after I gave up on finishing the fic I was working on at the time before giving the RB characters free rein on my imagination, and decided to write just a short one-shot, just to introduce them. (Hah.) I’m not sure, exactly, when or why I ended up deciding that Ian shouldn’t have any knowledge of his previous incarnation (I think it was somewhere between Brown Bird’s ‘Blood of Angels’ and the short burst of Alex!Bill popularity), but it ended up being a good decision. It would’ve been around that time that I decided I needed to put him into Alcor’s path in order for his previous incarnation to come out, and that the best way to do that was to put him into the orbit of a Mizar. Deciding to have them date was purely a ‘hey, wouldn’t it be funny if...’, with an added touch of ‘oh man, Dipper would hate that’. Mira basically started out as an amalgamation of Mabel traits and fashion that I like, and a lot of her arguments with Dipper came out of my trying to figure out just what the heck was going on in her head. (Also, her social media presence is a little bit based on Manzi, who Alex was dating at the time, because I followed her on here for a short while before realising we had practically no interests in common and she posted a LOT of stuff that wasn’t cosplay. )

And now that the stage is set:

Chapter One

This began life as a one-shot that was meant to exorcise these characters from my head. Ninety-six thousand words later, we can all see how that turned out.

I wrote a good chunk of this chapter from Mira’s perspective, but it just wasn’t working, and I realised around the point where Dipper flips out that if I wanted to keep it as a short, I needed the readers to know whether Ian was really evil and scheming like Dipper suspected, or if he was just as clueless as Mira was. Now, I think I might have stuck with my original plan and left that ambiguous, because that would be a nice, tight little horror story. On the other hand, ninety-six thousand words later...

Given the opportunity to do a complete rewrite, though, I would adjust Mira and Ian’s introduction as a couple. Their first interactions seem really, really stilted and forced to me now.

Chapter Two

I actually wrote a short fic for the TAU blog based on a prompt about Ian and Dipper learning to tolerate each other and Ian pitching a show based on Dipper and Mabel’s experiences in Gravity Falls before I decided I was going to expand the, at the time, one-shot into a full multichapter fanfiction novel. It actually was part of what convinced me that I still had a lot of stories to tell about these characters, and that it should be expanded. That short fic also introduced Ian’s prosthetic eye, which he didn’t, at that point in Reincarnation Blues, have. I got to answer a couple of asks with axolotl gifs and feel like a real creative mastermind.

There were a couple times while I was writing the climax that I actually considered killing Ian off, because it seemed more likely with the state of each of the characters and also just so that the Toby plot could still work, but because I had made this short fic of events taking place after the events of RB and Ian was still alive in it, I decided that meant I’d made a tacit promise that he’d survive. I didn’t really want to kill him off anyway, so it made a good excuse when I was weighing my narrative options and they all seemed to be sliding towards Death.

A lot of this chapter was influenced by the surge of human!Bills in the fandom at the time, and especially of human!Bills (and human-shaped!Bills) who had flashy, obvious, fire-based powersets. I felt like Bill Cipher’s real power lay in misdirection - the flash and the fire, in canon, always only distracted the main characters from Bill’s real objectives, and, arguably, what he was really getting out of their interactions. To my way of thinking, it was far more likely that a human Bill Cipher would have some kind of mentally-based powerset, if they had a ‘powerset’ at all, and weren’t merely very quick cogitators who could think big and put themselves one step ahead of everyone around them. At the time, there were precious few authors and illustrators who seemed to have come to the same conclusion - none that I ran across, anyway. (There still aren’t, but the flood of billdip-based Cool Human Bills With Fire Powers seems to have slowed to a trickle.)

It also came in response to Toby, who was invented by the Transcendence AU’s very own Mod Z and exploded in popularity almost instantly. He was a sweetheart, a genuinely good, kind, little kid, who was facing enormous cosmic retribution for a millennia-long previous lifetime as a liar, monster, and snappy dresser. Toby is great, his creator manages to milk all the hilarious irony out of the situation, and there are some authors who’ve done really good and clever things with him. I’ve just never been all that interested in purely Good characters who just keep getting kicked in the teeth by a cruel world, and it struck me that Toby was the perfect setup for Bill to sneak in close to Dipper and do...something vicious. (I don’t think, at this point, that I knew exactly what Bill was planning to use Ian for, but I definitely knew that Bill was planning something, and it was going to blow up spectacularly in everyone’s faces.)

With those things in mind, I tried to imagine some realistic flaws or weaknesses that a near-omniscient, immortal demon forcibly bound to a decaying, imperceptive meatsack might potentially develop. Ian’s anxiety and nihilism(-lite?) and self-destructive tendencies all come from there. I settled on the feelings of insignificance and impermanence as the two major issues Ian had to face mostly because those were two things that Bill had never had to consider, would never have had to consider if he hadn’t ended up human himself, and would never have been able to satisfactorily reconcile with his own omniscience and indelible influence on human history/trail of destruction across several dimensions. It was not long after I settled on this and really committed to it (I believe it was a few chapters later than this, though) that Alex did a twitter Q&A where he talked to a fan with anxiety and...basically laid out that he suffered from very similar fears, and had developed very similar coping mechanisms to the ones I’d decided to give Ian. I initially only made Ian look like Alex for the sake of the joke, but as the fic progressed it became more and more clear to me that, by writing a version of a character who Alex Hirsch had once gotten in a ‘which character are you’ online personality quiz, I had inadvertently tapped a vein of similarity that was only gonna get wider.

If you’re reading this, Mr. Hirsch: I am so sorry, and I swear that I did not and do not stalk you. I know my icon of cartoon Dana Terrace kinda makes this harder to believe, but still.

Chapter Three

The first Mira-POV scene! Also the first appearance of Rosa!

I think this was the chapter that really cemented for me that I was doing this, that this 'short one-shot' was now a fully-fledged multichaptered fic and I was in it for the long haul. This is the first chapter that starts to set the plot in motion, and the first chapter where I really knew that there WAS an overarching plot thread and where, in a more specific sense, it was going. I believe this is also the chapter where the fic got its title (the previous two oneshots had been posted without titles).

...her punk-bluegrass act, the Savage Peace...

Oh yeah! I never mentioned these guys again. This was the duo that Ian and Rosa played together in, before Ian left to go into animation and Rosa went solo. The name is a riff on the Civil Wars, another excellent bluegrass duo who split up due to differences of opinion on their future direction. I love the Civil Wars.

I searched last.fm for 'punk bluegrass' after this chapter, because I had a very specific idea about what Rosa's music sounded like (like Delta Rae but with more electric guitar and bass, pretty much) and I wanted to see if anyone else had made it a reality. I did not find what I was looking for, but I did find Wood Spider, a band that plays bluegrass music with screamo vocals. I recommend 'Is It Strange?' because it is a very, very Ian song.

In case you hadn't noticed yet, a lot of the making of this fic was heavily influenced by music. I really need to make another playlist for it at some point.

Also, there's been some confusion amongst TAU peeps regarding Rosa's hair. I intended it to look like P!nk's blonde fauxhawk. Word Of God has spoken.

"He knows what I like and don't like, what matters to me, even things I don't tell him. He pays attention to what I say and do, and he remembers. He just does nice things for me sometimes when I'm least expecting it, and it's always exactly what I didn't even know I wanted."

This line was meant to show how Bill's 'ALWAYS WATCHING!' shtick might, under a very different set of circumstances and put to a different use, actually be a good thing. Post-Escape From Reality and Mabeland, it also takes on a vicious irony which I really appreciate. Successfully predicting what'll be ironic in the most painfully angsty way before canon even gets there: The Mary P. Sue Advantage!

I think this scene is where Mira actually coalesces into her own character for me, rather than 'a Mizar who is dating an r!Bill'. This is where she gets to show some of her own strengths and values, and to oppose and conflict with Dipper on her own terms, rather than because of Ian. I made a conscious effort to make sure this fic passed the Bechdel test, but I feel like even though this was a conversation with a dude, it was equally important in giving Mira a voice and an interior life separate from the men (well, okay, man and demon) in it. It also shows off the two sides of her - she's picked up a lot from Dipper, as evidenced by her nonchalance about cult-busting, but she's also still empathetic and compassionate, as shown by how she handles the kids. She's stuck between Dipper and humanity, and this is the first place where that's really shown, rather than talked about. It's one of my favourite scenes in the fic for exactly those reasons.

The last scene in this chapter is also where Mira and Ian start really feeling real to me as a couple, too. I really think this is just the chapter where I found my stride and all the pieces started to come together.

Chapter Four

I don’t have a whole lot to say about this chapter. It mostly exists to set the scene for what comes later, to get the reader more familiar with the characters, to set the cogs in motion. I am very pleased with Ian and Rosa’s friendship in the first couple scenes, though - I think it’s pretty natural.

Rosa looked up at him, her expression completely neutral. “Beale, I am goin’ to steal your girl.”

At the time I was writing this, there had been - I remember it as several, but it really must’ve been like, three - Gideon reincarnations (and preincarnations) in TAU who had gotten weirdly possessive about Mizars and had caused All Of The Plot in their respective fics by trying to make her their own. We’d also - if I recall correctly - received an ask basically proposing that Gideon’s soul would always do that, any time it came into contact with a Mizar’s, no matter what else might be going on. I...wasn’t a fan of that idea. I believe I’ve mentioned in a previous thing-where-I-talked-too-much-about-RB that Reincarnation Blues’ major theme is determinism versus individual identity. That was why I felt like this was the perfect place to kind of deconstruct that idea that there could be no r!Gideon who wasn’t an epic jerk. Right from the beginning, I intended for Rosa to get fixated on Mira, to set events in motion by doing a bunch of stuff that was beyond the pale to try to ‘steal’ her from Ian, and then to have to face the consequences of her actions. The goal was to see if she could grab a clue, if knowing what was going on and what she had done would give her a chance to look at her life, look at her choices, and make better ones the next time.

That’s right. I was redeeming Gideon before it was canon cool.

(There’s a whole lot I could get into about what I’m meaning when I say ‘redemption’ versus ‘apologism’, but...I won’t, here. Suffice it to say that I wouldn’t have wanted any kind of redemption plot for Gideon - or, indeed, any character, anywhere - that didn’t acknowledge that they started out in the wrong, and, though I usually disagree, I completely understand people not wanting to see certain villainous characters get a second chance.)

“... So - noose joke. Think that can ride, or are the censors gonna flip?"

I made a Mistake here. I was referencing the cut storyboards from Scary-oke where Dipper finds Ford’s ‘Zombie Survival Kit’ and all that’s in it is a noose. It was a suicide joke. (Well, I mean, suicide wasn’t the joke, but - well, whatever.) I should have referred to it as a suicide joke, or chosen a different deadly weapon. Instead, I referred to it as a ‘noose joke’ and it became a meme on the TAU blog, that Ian would be hiding nooses in the backgrounds of scenes all the time.

It was only, like, a month into this that I realised what the noose has historically, in the States, been a symbol for, and that without the context of a cut storyboard presented at a con (which might not necessarily be widely known) and then taken out of the context of a scene where the character is making storyboards (thereby removing the storyboard reference link)...yeah. I have to apologise for this one. Nobody has said anything to me about it, but in hindsight and with some consideration, I would word this differently if I were to rewrite the fic today.

I had a loooot of fun writing sleep-deprived Bill-like Ian here, and I hope to do more of it at some point.

Chapter Five

The introduction of Sun-mi! Sun-mi was a last-minute addition because I realised Mira had no female friends and panicked, and also because NWHS came out and I fell even harder in love with the character of the Author, and figured that tossing an r!Author (we didn’t at the time know that he was named Ford) into the mix with an r!Bill would be fun. This...is why Sun-mi’s role is small (though, I think, still important enough to justify her inclusion) - it was added to the plot post-outlining.

While I was writing Sun-mi, I was thinking of her with a voice much like April on Parks & Rec. This is not particularly relevant information to anything, I just see her as being very deadpan in that same way.

“So, not that one. How about Tam Lin?”

The mention of Tam Lin - one of the Child Ballads, in which a girl rescues her fairy lover on the night his soul is to be sent to hell as a tithe, and restores him to humanity, by holding him fast, and fearing him not - was a blatant nod to how the fic was going to end, and nobody picked up on it. It is also just a great, classic fiddle tune, though, and apparently it's not widely known that it's in the same time and key as St. Anne's Reel and so the two can be played together?

(I also answered a question about what each of the characters would have on their iPods, and said that Mira would have the Kerli song ‘Chemical’ on hers. If anyone had looked it up, they would have found out that it’s got a refrain that goes ‘This love is more than chemical’, which also directly references how the fic ends. I took every opportunity to hide spoilers for this fic in plain sight. It was so much fun.)

Stamped into the starry void around them like an artificial horizon was a massive ring, parallel lines glowing red like gashes cut into the dream to reveal an inferno on the other side. And between those lines, all around the horizon, burned familiar symbols.

Most of Ian’s nightmare is based on what I thought Bill’s experience of the Mystery Shack, from the mindscape, must have been like. This bit, though, is based entirely on a nightmare I had which involved Bill Cipher. I was practically contractually obligated to include it here.

Chapter Six

I have to preface any comments I make about this chapter with a disclaimer. Normally, I loathe miscommunication plots, especially ones where characters who ostensibly love and trust each other just flat-out refuse to listen to the other's explanation of a situation that looks bad. However, that's...exactly what I've written here.

I feel like the saving grace of this first scene is that, one, it doesn't constitute the entire plot, and two, it's more of a symptom of larger, deeper problems that they're having, rather than manufactured drama so that there can be some conflict and a tearful reunion in the third act. Sure, things end up hinging on Mira and Dipper trusting one another, but things are already strained between them, and this one miscommunication isn't the only problem they face, it's just the straw that broke the camel's back. Clearing up this one particular misunderstanding also doesn't magically solve all of their problems. I could, of course, be totally wrong and this miscommunication plot could be exactly as painful as every one I've ever seen on a made-for-TV romcom.

Had this whole thing been a colossal waste of time?

And here we see the product of Rosa's machinations! My thinking behind her slightly-absurd recruiting of Sun-mi to investigate Ian's past lives in an earlier chapter was that she thought that, any negative information Sun-mi turned up, she would share with Mira, and it wouldn't look like Rosa herself had deliberately sabotaged Ian and Mira's relationship, so she'd still have a shot with Mira. Devious.

(It occurs to me that both of the two characters who were the initial inspiration for RB started out as evil masterminds in concept, but ended up being sympathetic characters who got redemption arcs in the actual fic. There's some kind of irony about this.)

Trying to work out how the historical record might represent the Shack so far in the future was also a lot of fun. I know that the worldbuilding on this fic isn't sufficient for something that's meant to take place a full thousand years in the future, that the rate of change is so rapid that the society - and even the landscape - of the world Ian and Mira live in ought to be near-completely unrecognisable. On the other hand, I just wanted to write a fun story about character interactions, and I couldn't really set it any earlier or I'd risk 1) Dipper still having a clear thread of niblings around to anchor him, 2) things not having progressed far enough to actually have something like preincarnation testing, and 3) it being too early for Bill to have recovered from his 'defeat'.

(Also, I'm pretty sure that this, here, is the first use of the word 'preincarnation' in the TAU.)

He was still himself, more or less, he wasn't like Bill - !

Dipper is a little (or a lot) less human in this fic than in some of my others, but the thing is, he isn't really aware of that. This is the scene where it gets hammered home. It was a lot of fun constructing the scene where he eats Ian's nightmare so that it could be deconstructed here, to put all of the pieces of his real motivation and plans on display and show just how much like Bill's his modus operandi has become. (It also explains how he's able to get into Ian's head to offer the deal he does right at the end of the fic.)

Chapter Seven

aka "Shit, Meet Fan".

If you asked Dipper what seeing the future was like, he'd probably say it was like a beach.

I lifted this metaphor from Terry Pratchett's The Carpet People, a book which I strongly suggest for anyone who is interested in high fantasy, slightly deconstructed, and set among a race of teeny-tiny people living in the hairs of a carpet. He wrote it at seventeen and then came back and edited it as an adult. The result is...not quite A Terry Pratchett Book, but also not your average Extruded Fantasy Product Tolkien knockoff. He deploys the metaphor a little differently, and I can't remember how exactly he phrased things, but the concept of seeing possible futures as grains of sand on a beach came from him initially.

"I'm Alcor and I was wrong

I'm singing the Alcor Wrong Song..."

Dipper's apology is, of course, based on the Stan Wrong Song, which I thought was a nice touch to show that he was still thinking of Mira in terms of his life with Mabel in Gravity Falls. You gotta give the boy credit, though, he's trying.

I also think that Dipper will never be over his fear of puppets, partly because of Sock Opera, but also partly because we never got the Labyrinth episode. Until Dipper and Mabel have a siblinghood-affirming adventure in a giant, glittery maze with a mess of Muppets and a David Bowie guy, Dipper Pines will forever fear all puppetry.

"Well, we're all going to die."

Ian is really, really, profoundly bad at being comforting. (Unless you're worried about having embarrassed yourself or messed up your future, in which case, your ultimate insignificance in an eternal and uncaring universe and the inevitable certainty of your eventual complete eradication can sometimes be comforting.)

Ian hummed along as he turned on the faucet. "Dream a little dream of me..."

Annnnd here we go.

I decided that Ian would like folk and bluegrass music, partly because of the initial character concept and the Rosa connection, partly because I thought it was a genre that would remain resistant to introducing synthesised music even in the hypothetical future, partly because then I could make 'The Devil Went Down To Georgia' jokes. I decided he should also be into jazz music mostly because of the incredible His Name Was Billy Mischief, which is probably one of my favourite GF fics of all time and also highly recommended for anybody who liked RB. The author's inclusion of 'Someone To Watch Over Me' was both inspired and led to me looking up more jazz music, which led to finding a surprising number of songs that could be easily read as referring to Bill. It's not jazz, but Alex's inclusion of 'We'll Meet Again' in the finale still made me kick my feet in vindicated glee.

This scene was in the works from chapter 2 onwards, and it's another of my favourites - I think with good reason. I've had a lot of feedback from people that this was the most viscerally effective scene in the whole fic, and somebody drew me fanart for it! It was a little challenging to get into initially, because I was so excited to write it and I had to restrain myself somewhat to keep it taut and tense and simmering, instead of just explosive from word one. I think - I hope - that it succeeded.

Chapter Eight

“I’ll be looking at the moon,

but I’ll be seeing...you!”

I found Billie Holiday's version of 'I'll Be Seeing You' somewhere around chapter three or four and I instantly knew I had to write this scene and use it as a backdrop. I'd love to see this on film; Mira looking through the empty apartment, the slight and subtle wrongnesses adding up as a sinister bass note slowly builds from under the song to nearly drown it out, only to vanish on the final line as the camera overlooks the sink abandoned in the middle of a task and the phone left docked on the wall, letting Billie's voice echo, alone, over the unnatural stillness, before the song ends and all is left in perfect, fragile, ominous silence -

Anyway. Sometimes my mind is unnecessarily cinematic, and sometimes I profoundly regret not being able to score and soundtrack my fics.

“Do y’all mind?” Rosa asked, holding her phone away from her head. “Can’t hear a word my friend’s sayin’.”

This scene was originally even longer and more obnoxious. I really wanted to give people a reason to like and root for Rosa. Okay, so I also thought it would be badass. Thankfully, I have long trained myself to sacrifice cool awesome character stuff when it needs to be sacrificed for the sake of the story.

Are you done laughing yet? No? Okay, I’ll give you a couple more minutes.

Please ignore literally everything I had to say about the wards, because it is all bullshit. I think I said that anything less than an SS-class demon would be bounced back from Mira's wards, and that Ian, once 'active', shattered one of them completely on his way out, but that Dipper could go past them without having any effect on them at all? Which would require him to, like, probably use his powers to recreate them after he passed through...? I don't know how any of that was supposed to work.

I am, however, very, very pleased about opening a scene with Dipper missing Mabel's absolute faith in him, and immediately taking it into Mira accusing Dipper of murdering her boyfriend because Dipper's just such a demon. Juxtaposition!

The 'highlight reel' is equally if not more bullshit than the wards. I think this chapter is where I just gave up on trying to give Dipper a balanced powerset and decided to just go with whatever best served the emotional, character-arc thread. Sometimes you just have to play to your strengths.

Dipper didn't like other people knowing things he didn't. ... If he wasn't that guy, then - well, what was he?

A good brother! A real scrapper with a heart of gold and a will of adamantium! A sarcastic little shit! Dipper's focus on being The Smart Guy getting deconstructed and his realising that that isn't the be-all end-all of who he is was a wonderful good awesome character arc, even if it ended up being kind of understated in comparison with some of the more in-your-face character development that, say, the Stans got. TAU kind of does a similar thing with Dipper's arc, giving him All The Knowledge but making it come at the price of his family, which makes him reconsider its value...but it doesn't address that particular thing in the same way as canon, so I can see Dipper still getting hung up on this even thousands of years later. (Also, there are a lot of interpretations that indicate he may be kind of mentally frozen at the age he 'died', which I kind of love and subscribe to.) Hence, this line!

(I bet Dipper haaaaaaates when, like, The Slang and memes change. He has all kinds of arcane knowledge, but just what exactly the kids are talking about when they say something that looks like a random combination of syllables is beyond even his eldritch comprehension, and he can't figure out the nuances of how the new words are used, and - argh.)

"I tried to set things up so you'd find out something awful about Ian and break up with him so I could date you instead!"

There was a beat.

"That's it?" Mira asked, carefully.

One, I personally still think this is hilarious.

Two, this is the thing about Gideon - in a world of supernatural, outsized threats, he's really quite mundane! His whole shtick is something that can and does happen in real life! And he's the second-worst antagonist in the whole show! I front-loaded the redemption arc in this fic and gave Rosa a little more self-awareness and a quicker leap to recognising that what she was doing was shitty, so how funny the mundanity of 'I want you to be my girlfriend and I don't care what you think' as compared to 'a literal demon is going to try to blow up the whole of reality' is can really shine, but, like...it's still terrible, and giving it outsized supernatural consequences doesn't make it worse or better than it is when it happens in reality. Do any of these words make sense? Who knows.

My one explicitly lesbian character in this fic being manipulative and predatory in her affections? Mmmmmmaybe not a choice I'd make again. But I do like how this storyline played out.

Chapter Nine

I'm still not entirely sure who knows what about Bill and why. That was another thing that I'd change, given a chance to do a rewrite - I'd solidly establish Bill's position in history, myth, and public consciousness in this particular future right up front. That way, it might actually make a lick of sense when the characters react to hearing his name when there's not...like...any evidence that they have any idea who the fuck he even is.

Don't set your stories in a future where magic has been real for a thousand years if you don't have a lot of experience or interest in worldbuilding, guys.

This is the chapter where Mira is just completely fucking done with absolutely everyone's shit, and I love it.

"...They used to have to take my pulse manually every time. ..."

I decided that Ian wreaks havoc with medical technology because his Ooo Weird Demon Soul Energy is, like, an actual electromagnetic weirdness that hangs around him. This is also why the viewscreen for the peephole goes all fuzzy on him in chapter seven and why, in some extracanonical material, he can't get his storyboard files from his tablet to talk to literally any other piece of technology. It's also why Rosa can tell his energy's 'weird' and why Mira's mom thinks his aura's like a hole.

"... Remember Paloma Heart?"

... "I don't."

I should have mentioned Paloma earlier. That's all.

Brown really did think that he had Ian figured out, that he knew Ian back to front, just because he knew Bill Cipher. ... He wasn't expecting Ian Thomas Beale.

Ian, here, is thinking he's making Brown nervous, making Brown think that he's up against some semi-omniscient, potentially-omnipotent extradimensional being who knows more than he does and can do more than he can, in hopes that Brown will get scared and angry and slip up, give away information that Ian doesn't actually have yet (like how Bill sent Ford that nightmare in the beginning of TLM that really had no purpose except to send Ford running scared for his defenses against Bill, and which also led to the brainwave-encryption machine being destroyed and Ford taking Dipper into his confidences and growing closer to him and ultimately seeding the rift between Dipper and Mabel that ends with Bill getting the rift...). Just how in control is Ian of his own actions here? Debatable, since what he ends up actually doing is getting Brown scared and angry enough and believing enough in Ian's 'powers' to, eventually, let Bill out. Oh, the irony.

Area 51! For someone who's never been big into aliens, I sure have put this dang place into a lot of fics.

(I also wanted to give Mira a chance to one-up Dipper in the Smart Guy department. And do something nice for Dipper. He deserves a bone thrown his way.)

Chapter Ten

Mira is one of the only people - if not THE only person - in this entire fic who has exactly zero ulterior motives. She does exactly what she means to, goes for exactly what she wants to, directly and without hesitation. I kind of love that about her, it's a breath of fresh air.

Here, however, it does probably make her immediate job a little harder.

"It just kills you, doesn't it?" he said ... "Not knowing?"

#getrektIan

I am unreasonably proud of the jet-skate Ladies of English Lit roller derby team as a method of mass destruction.

This scene originally had Dipper taunting Mira about killing mooks lead into the 'mooks' turning out to be magically mind-controlled people, which Mira found out very graphically and horribly when she wrenched the helmet off the guy who tried to choke her out to jam her fingers in his eyes and saw the sigil on his forehead - but that dragged me down a rabbit hole of Is Mira Actually A Good Person etc, and it was both too late to introduce this thread and would have muddled the plot. I might revisit the idea sometime, but then again, I might not.

Chapter Eleven

Janice!!! Janice is one of my favourite backgrounders and I almost wish I hadn't killed her off so quickly. Almost.

I have a boatload of headcanons about how the Society of the Blind Eye worked, how it was originally a secret society designed to stop Bill but Bill used Fiddleford to co-opt and disable it and then used Dipper to destroy it, most of which ended up finding a home in Raising Stakes. This is one of them. There's just no way, in-universe, that the Blind Eye is so deliberately similar to Bill's in design just by chance. (Out of universe, of course, it makes perfect sense for the gravi-team to maintain a consistent aesthetic, but still. My convoluted headcanons can still be supported by textual evidence!)

There was a circle in the middle of the room.

Goodbye, Ian. It was nice knowing you.

He squeezed his eyes shut, and his outstretched wings flickered with stars, surveillance footage, images of the fight that had just happened, an apple tree in a forest of pines, a blueprint, a wide-eyed alien-looking creature...

Dipper's wings flickering is meant to parallel Bill's face flickering in Dreamscaperers, and, like Bill's face flickering in Dreamscaperers, it contains spoilers! The surveillance footage refers to how he and Mira eventually find Ian (through the central control room, on a security tape), the apple tree in a forest of pines is a reference to Henry's antlers and his tree over his grave in Gravity Falls and also a metaphor for him being part of the Pines family, the blueprints refer to the wards on the structural components of the facility, and the alien's just a reference to the fact that it's Area Fifty-freakin'-one.

"For the love of - are you actually twelve?"

Nyahahaha.

I love the bounce castle. I love Mira and Dipper's dialogue immediately post-bounce-castle. I think I have Dipper rip the doors to the soul tree room off their hinges and then later have Mira say she should've closed them, whoops.

I have nothing particular to say about the last scene except that I'm very proud of how it turned out.

Chapter Twelve

The summer Ian had turned fourteen, one of the artists his mother represented had gone triple platinum, a record-breaking heatwave had hit the West Coast, and Ian had tried to kill himself.

I like this scene too. I like montages, bullshit experimental purpley prose, and expressing emotion through place. I also like that this nods to what they're trying to do to Ian - they can't bring Bill back proper, but they can dredge up all his memories, theoretically creating a powerless, more controllable human with all of Bill's borderline-infinite knowledge and no requirement of making a deal or dealing with demonic senses of humour to get at it. All of Ian's own memories bubbling to the surface is part flashback, part the spell dragging up something old and dead and long-buried and dislodging Ian's memories as it rises.

I also should've established Ian's father's death earlier, I think, though now that I'm staring it in the face again I don't dislike it as much as I did just considering it as a concept. I could've mentioned it more concretely earlier on, but bringing its full impact on Ian out here, where everything he's tried to forget is being dragged out of him and everything he is is being stripped bare, is not the worst narrative decision I've ever made.

The soul tree (or ‘tree of knowledge’, as Janice calls it, because haha, it bears apples and it’s a research project) is a product of me looking at what they’re doing to Ian and trying to work backwards, to see what kind of other things they might be doing to research souls, if this is how they decide to deal with Ian. It was also a nice opportunity for a great big hunk of angst, and a good excuse to give Dipper the powerup necessary for all the heavy magical lifting he’s going to have to do. Three for the price of one cool-looking plot device!

“We’re not going anywhere,” Brown said, taking his hand away from his earpiece. “We’ve still got -”

Janice gave him a pitying look. “It’s Alcor,” she said.

Janice is...probably a little bit of an Alcor fangirl. (Not the Twin Souls kind. The watches-doumentaries-about-serial-killers-on-her-days-off kind.) She is perfectly aware of, and starstruck by, the fact that he can kill her with barely a thought. She would just love to get him under a scalpel or energy blade of some description, but she’s also not a complete idiot. No one who’s ever tried to summon Alcor for anything like the kind of research she does has ever lived to tell the tale. She probably just has a wall of newspaper clippings all about Cool Shit Alcor Has Done.

“Wanna know what your future has in it?” ... He blinked, once, slowly, deliberately, and said, “Exactly three minutes!”

This is a self-fulfilling prophecy. It also probably wouldn’t have worked if Ian hadn’t already played at being Bill for Brown earlier. BAM. PLOT.

Ian glanced over at the timer as Brown brandished the tablet. The last few seconds drained away just as Brown pressed a finger down on the screen.

The house from Ian’s nightmares crashed down around him.

This is another one that I can see as a scene, animated or filmed; the room beyond, the ‘real world’ with the circle and the magitech and the terrified people suddenly vanishing from Ian’s viewpoint when a wall drops in front of it, no, slams down in front of it, shaking snowglobes and pine-tree trucker hats off the shelves and putting huge cracks between the boards, settling slowly into place like it was just dropped by a tornado even as blue light starts to spill up through the floorboards and the cracks start to widen as gravity fights for every board and nail...

Man, I wish I could make the moving pictures. (Though I guess if I’d put my time and energy into learning to make the moving pictures, maybe I would know less about making the words go. And, like, I’ve managed to just blither some seven thousand words about Making The Words Go. So I might actually have some modicum of skill at that by now.)

Chapter Thirteen

Mira hadn’t said anything since they’d left the room where Henry’s soul had been imprisoned, and Dipper was starting to worry.

TAU’s creator and Mod Z mentioned to me after this chapter was posted that I could’ve held off naming Henry as the owner of the soul until Dipper is forced to admit it, out loud, to Mira, and I’m still kicking myself that I didn’t think of that before posting the chapter because it’s a great suggestion and would have been very effective.

“See, at least we just kill people.”

Yeah, I’m glad I didn’t get into the ‘moral dilemma of Mizar’ aspect in this one any more than I did.

“You’re my best friend, you know? And I don’t want to lose that.” She glanced down the hall, back the way they’d come. “But if this is going to work, then sooner or later, you’re going to have to trust me.”

WHOOOOA THESIS STATEMENT

Everything from Mira and Dipper breaking into the control room straight through to Mira landing in the hospital was pretty much written in one straight shot, without stopping. This was the part I'd been itching to write since, like, chapter two, and it was GREAT to finally have it all fall together. The reactions I got to Bill's appearance - even though I think everybody was kind of expecting it by the time we got to this part - were all awesome and priceless.

I do want to make sure it's clear - the whole Bit in Area 51 was set up to approximate the circumstances under which Dipper became demonized. We had 1) an enormous, elaborate spell being worked, 2) ancient spells in the foundation of the building which had been in place for more than a thousand years, 3) all of which were destroyed, releasing all that pent-up power while 4) demonic energy and knowledge was being forced through and into a fragile puny human with an intrinsic tie to the physical plane.

It seemed like it made sense at the time, okay.

"AND PUBERTY! REMIND ME TO GIVE THE EVOLUTIONARY PROCESS THAT DREAMED THAT ONE UP A SWIFT KICK IN THE SURVIVAL OF THE FITTEST!"

I love writing dialogue for Bill. That is all. Most of my favourite lines did actually make their way into the fic, but I still ended up having to scrap some that I really liked, just because I couldn't make the dialogue work with the plot and the other characters. A shame.

I honestly don't think I could be happier with how the scene with Bill in the centre of the circles with Mira turned out. Choreographing it was a bitch, though.

"Give Ian back, you son of a -"

"AH AH AH, LANGUAGE!" Bill interrupted, with a wink. "TRYING TO PRESERVE THAT Y-7 RATING HERE!"

this is my favourite fucking joke in the entire fic

can you imagine how much funnier it would've been if I actually had kept the entire fic Y-7 rated

"Why does everyone keep forgetting I'm Mizar?"

#getrektbill

Chapter Fourteen

I really don't have anything more to say about the rest of the scene in Area 51. I think the writing actually says exactly what I want it to say, how I want to say it. It all flowed easily and beautifully, and I barely had to edit it at all. I was and still am pleased as punch about how it came out.

Everything was floating.

This fucking scene, on the other hand.

I rewrote this entire scene from scratch no less than three times (and it was probably actually four). This scene was a righteous pain in my ass. I had one goal with it - I had to get Dipper to offer Ian the deal that would remove all outsiders' memories of Ian being an r!Bill, in exchange for eating all of the Bill-memories left in Ian's head. Usually, that's a good thing. Usually, knowing the purpose of a scene makes it pretty easy and straightforward to write.

This motherfucker, though. This scene was like pulling teeth. I'd get about halfway through Dipper explaining the deal to Ian and why it was important, and then I would just stop. I couldn't go any farther. It was like I was on the end of an imaginary rubber band of Actual Ability To Make The Words Go that I could stretch only so far, but no farther, and only with a great amount of struggle, before I'd be snapped back to the beginning and have to try to start again from there in a direction where maybe I could make it to the next scene before I ran to the end of my rubber band again. I tried over and over and over with no luck, no success, and no small amount of frustration.

I don't know what tipped me off to the fact that, one, I had to actually deal with the demons I'd pulled out of Ian's head, and two, there was so much more I could do with the mindscape than the literary equivalent of talking head panels, but once it clicked into place, it was like that imaginary rubber band just vanished and I wrote the whole thing all the way through in forty-five minutes without stopping. It also required minimal editing, and it is now one of my favourite scenes in the entire fic.

A little while after I finished this chapter, I saw a quote (from Clickhole, so obviously fake, but) attributed to Haruki Murakami, which basically said, "If you can set a scene in the basket of a hot-air balloon, do." It was a joke, of course, but I also, since writing this, think it's genuinely excellent advice.

Also, I managed to sneak in references to used-car-salesman!human!Bill, stylised-skinny-smirky-pretty-boy!human!Bill and how I felt he was kind of a caricature and a lot of versions of him that looked like that also flattened out the depth of the character, and to the apocalypse tapestry, which I actually don't think I've seen mentioned anywhere in the fandom since Escape From Reality aired! Huh. Too bad, it was cool.

Chapter Fifteen

...and the forest outside with all of its eyes is burning, burning -

I just really like this line, I don't know.

The news story about the Nordwext group that's playing when Ian wakes up for the first time is, one, yes, a reference to the Northwest family, and two, a callback to the girls in the factory who Dipper hadn't been able to help back in chapter five. This is him trying to do something that will actually help them and make a difference in their lives, instead of just lighting people on fire from inside out and getting them in trouble for summoning demons.

"... another such facility located under the former Ellens Air Force Base in Idaho."

Ellens Air Force Base is entirely fictional. It was invented for an episode of the X-Files, Deep Throat, where Mulder actually sees a UFO up close and personal (before having it wiped from his mind by the government). I couldn't resist.

I actually researched eye removal for this chapter. It took a lot of psyching up and then realising I could probably start with Wikipedia and click though to their sources without ever having to brave the minefield of Google Suggested Images.

He'd never seen this ring of trees (aspen? Birch?) in his life...

When I wrote this, I had the clearing where Gideon first summons Bill in mind. I also deliberately used descriptors, when Ian looks over and sees he's holding hands with himself, that could apply to either Ian or Bill.

"Oh, demons ... We can deal with demons."

I love Mira's parents.

Guess whooo put in a Twin Peaks reference without knowing basically anything about Twin Peaks!...okay, I could not pass up the opportunity. Besides, you know Ian watched Twin Pines at a formative age, and nearly flipped when he found out they were resurrecting it as Twin Pines: The Returnening.

He’s also a big fan (and friend) of Lauren Mephistopheles, but there is absolutely nothing that will make him actually watch more than ten minutes of Friendship is Prestidigitation. Sorry, Lauren. Some things are too terrifying even for an ex-demon in human skin.

And here we have the culmination of the Rosa Darling Redemption Arc! Ian telling her that Bill played all of them is, as she correctly deduces, a test - if she took the out as offered, played off her own responsibility, he’d know that he really couldn’t trust her to recognise what she’d done wrong and try to fix it. At that point, he probably would’ve had to ask Dipper to remove her memories, too. It’s a lucky thing for both of them that she got a clue!

“State-of-the-art prosthetic.” Rosa clasped her hands behind her back. “This model’s so new it’s not even on the market yet. Which, uh, would mean that technically you’d be part of a clinical trial -”

“A guinea pig,” Ian said, softly.

Just like Bill made Dipper into! I’m a genius.

“You’re not my father,” Ian says at last.

Ian’s father shrugs. “Does it matter, if I’m right?” He puts his glasses back on, light hitting the lenses just so that Ian can’t see his eyes. “Does any of this matter?”

Ian thinks.

“Yes,” he says.

Hi, my name is Mary, and I love Terry Pratchett’s writing.

“You know what,” Ian said, still looking up at the ceiling, at the hoist that dangled over the bed and the dark bulb in the reading lamp, “it’s been - three days? Four days? A couple days since we narrowly escaped death and you haven’t kissed me even once.”

“You haven’t kissed me either,” Mira said, with an affronted look, but there was a hint of laughter in her voice.

Remember how I said they started out forced and stilted? Yeah. I think that was just inexperience and a lack of familiarity with the characters. Let this be a lesson unto me: write the whole damn thing, then go back and rewrite the first, like, until it starts sounding natural again.

“Mira, don’t call me nerdface,” Alcor grumbled, coalescing out of the dark and fussing with his cufflinks.

“Okay, dorkbreath,” Mira agreed, just to hear Alcor’s long-suffering sigh.

Case in point.

Epilogue

Toby!

Everybody loves Toby. I guess I’m no exception. I am a sucker. Also I really wanted to show how the whole Ian thing affected Dipper’s relationship with Toby, while not actually causing it to deviate at all from what had already been established as TAU canon.

“Fragile neurological attachment, huh?” Dipper said, under his breath, and then, loud enough to hear, “Well, now you’ve got me.”

That’s all, folks!

Some more RB-related song recs, before I go:

- The Garden, by July Talk (This ain’t Johnny Carson/I got thoughts that ain’t my own/I’m talkin’ black souls dressed in red and things that I shoulda never known)

- I Run Roulette, by Boots (I’ve been tricked into a thousand different ways/to slide myself away right down the drain)

- Better Not Wake The Baby, by the Decemberists (make your moan of your lot in life, split your mind half-crazy/gouge your eyes with a butter knife)

- Tic Toc, by Mother Mother (the Sandman told me, there’s no use in listening)

and because shush, it’s a great song and I had it on repeat for writing a decent chunk of the middle bits

- Out Of The Woods, by Taylor Swift (but the monsters turned out to be just trees/when the sun came up you were lookin’ at me)

#chatter #reincarnation blues #holy hell why am I so long-winded and opinionated #blogg-saron

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