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is there an oc who's design you've put the most thought into?

The most thought put into an OC... Huh, I never really stopped to consider what's the most I've ever invested into a design, partly because they all have a good while spent on them as to figuring out their details - but also because the artists deserve some big credit too, sprinkling in their own little details into the designs.

I can't really decide on one specific design that champions the rest as to invested input, but I can single out a handful that are kind of funny in retrospect.

Despite Cassidy Valent sticking out so much (in part because I want to make a Cool Story with her soon), she's ironically the one whose design kind of cemented from the rests of another: Tanner.

This design was done alongside a friend of mine @knifekeeper (thankyu so much still, she came out cute!) with the idea of having a slightly chubby scientist character with a geeky personality that worked at a big research facility. Things didn't quite click as to the story though, so it ultimately kind of just became a Cute Scientist For The Meantime...

Meanwhile, my brain latched a lot of interest onto My Hero Academia - specifically, a lot of the background details and worldbuilding regarding it. Something sparked in my head as to getting something off the ground for it as an alternative story: being set within the US amidst the Anarchy Age. A lot of interesting potential concepts in my head, but no proper concrete story... aside from one.

My friends hosting an MHA-themed tabletop campaign with the Mutants and Masterminds system helped me push for making a protagonist for said concept and that way kill two birds with one stone - but I'm also the kind of person that likes to have a design set for a token from the get-go, and I had all of the personality, details, backstory, and even the name prepared. I just needed a token design.

... And Tanner was right there. Put it through with an artist, described extra elements and details... and the rest is history.

[Funny how Oolong interpreted "chubby" as "give her much larger thighs"]

After that, and with input from some friends of mine, I'd eventually branch off her story with a completely separate setting from MHA (good thing I did too, that shit was going downhill Fast).

In a way, she's the character I fleshed out the most as to personality and story. I'm still feverishly excited to get her story told soon enough, and she's become one of the favourites out of the ones I've designed.

On a separate note, to close this ALREADY LONG-ASS POST AAUGHU, I personally really enjoyed getting Alta's design built alongside another friend of mine, @rivriderart. I'm totally blaming Ace Combat and Drakengard for getting my brainworms wriggling over new funky concepts, and eventually manifested her as a rival towards a hypothetical protag pilot. A lot of her details, like the scar, her personality expressed by the bottom right, or the strange zippers on the back were fun to think up: trying to convey the idea that she's got a funky past. Her manifestation would eventually branch off to creating the whole setting of Fraeternum overall, as a way to blend both the fantasy genre with the dogfighting action genre of Ace Combat. Yes, this actually means shit like griffins and Valkyrie knights going up against the equivalent of an F-22 Raptor.

I should've expected the possibility of her essentially having a proxy/persona element to her too. That just manifested out of nowhere, but I enjoy the funny circumstances that arise involving her proxy - often humorously indicated with a big white sign or some signature indicating "Remindo Proxy"

_____________________

There's more I could mention, because the general answer is that I enjoyed designing all of the characters in some way or another, but Cass and Alta generally stick out as the ones I had a lot of thought put into as to different details.

Do you have a robot master OC (of the eight plus Drum) that you’d say is your favorite? If you haven’t done an infodump for them yet then you should do that one next

i couldn't choose a favourite if i tried, i love them all, but since you mentioned drum i thought i'd give her some new art and a proper dedicated post too! infodrump [ayyy] under the cut

drum, serial number SWN-002, is my take on the popular [????? i'm still a bit of a mega man fandom newbie i don't know hjdfn] 'wily equivalent to roll' oc template! she keeps things running at the various castles and fortresses and hideouts and whatever else her dad holes up in, whether that's by doing housework, planning schemes, or dodging taxes. whenever wily is trying to take over the world, drum acts as his second-in-command, ensuring that everything goes according to plan and ordering around the latest group of robot masters

she's every bit the edgy mid-00s teenager she looks: sarcastic, apathetic, and always talking back to her dad. she's more obedient than bass is, but she doesn't care for her job at all and will resort to any flimsy excuse or act of malicious compliance she can come up with to slack off. due to her purpose as an organiser and commander, she's a bossy control freak who's quick to anger when things don't go exactly her way, although when she's off work the worst of these traits recede in favour of more conventional teenage apathy. she sees herself as above the time and effort it takes to go out of her way to be mean to people like wily and bass tend to do, but she's equally uninterested in being nice on purpose and her default attitude is squarely on the nastier side

when she doesn't have work to focus on - and sometimes when she does anyway - drum is the lead vocalist and guitarist in a garage band, of which she is [currently - a friend's ocs get involved later, but that's a whole different post] the only member. i'm not good with music terms but she's into whatever genre stuff like wake me up inside and crawling in my skin is [i know those aren't the names hdfjf it's just the words i know people will recognise]. the sort with the crunchy guitar and the very loud lyrics about being sad and/or angry. playing or blasting music helps her to calm down when she's in a bad mood, which is pretty much all the time. the first warning sign of a new wily plot is a spike in search popularity for my chemical romance

i haven't gotten around to designing it, but drum has a non-armoured form like most of the other more explicitly kid-like robots, which she mostly uses for loitering around malls when she has an excuse to not be at home. she rarely buys anything, just hangs out and radiates an aura that makes suburban white women hurry their three kids into the next shop. drum often ends up hanging out with like-minded teens in the same vague area of the goth/punk/emo venn diagram she occupies, and makes a bit of a game out of seeing how honest she can be about her life without revealing that she's one of the world's most wanted robots. she tells herself that it's just something she does out of boredom and curiosity towards humans, but it mostly stems from loneliness and the desire to have literally any friends that aren't her brother's dog

as a sort of contrast to the healthy and positive relationship between their lightbot counterparts, drum and bass absolutely DESPISE each other and make no secret of it. each of them thinks of the other as an insufferable prick and they'll get into petty arguments over just about anything, from whose turn it is on the xbox to who treble loves more. [for the record, it's drum. she lets him hang out in the kitchen while she's cooking and sneaks him food scraps when bass isn't looking. he's the only family member she has an even remotely positive relationship with.] pretty much the only thing that can get them to stop fighting is mutual hatred of a bigger prick, and so far the only person to consistently get them to put their differences aside like this is wily himself - as much as the wily kids hate each other, they hate their dad just a little more, and have a history of teaming up just to mess with him. sometimes mega man can spark that spiteful cooperation, but drum's total apathy towards the light-wily family rivalry means she usually sees him as not worth her time and just finds bass' obsession with beating him even more annoying

drum wasn't made for combat, and as such she doesn't have a signature weapon or any fancy tricks like the copy chip. usually she just orders other robots to do the fighting for her. however, she is equipped with a standard arm-mounted buster, and can hold her own in battle with a 'fight smarter, not harder' approach if she has to. she's also outfitted with the same treble adapter that bass has, so if she's backed into a corner she can call on him for a power boost. treble is capable of supporting both adapters simultaneously, so as an absolute last resort they can all combine into treble-boosted drum & bass, who theoretically has all the combat power of bass plus the strategic thinking from drum and the boost in power from treble. in practice, though, drum and bass are so at odds with each other that they can barely hold together in the same body without either fighting for control or outright splitting apart to argue harder. again, it takes a lot of spite to get them to work together, but if something draws their combined ire and convinces them to cooperate they're an utterly terrifying force to be reckoned with

the game idea i vaguely have in my mind would feature drum as the final-not-final boss before wily reveals he was the mastermind behind it all and surprises absolutely nobody. she was put in charge of the latest world domination attempt, probably as the result of a 'why don't YOU take over the world if you're so smart' conversation, and in true drum fashion she follows a standard wily plot outline to the letter - including the blatant flaws, like all eight of her chosen robot masters forming a rock-paper-scissors wheel just begging to be exploited by the copy chip, and making a clear path from just outside the death fortress to her base of operations. after she's defeated in combat, she sarcasically wonders aloud how mega man could have possibly bested her plan and then helpfully points rock directly to wily's castle. she didn't wanna do the stupid scheme in the first place

again, i love all my ocs too much to possibly choose a favourite, but i'd say drum was the most fun to come up with if only because i had the help of some mates in a discord server. someone was like 'hey if there's bass is there a roll equivalent called drum or something lol' and i SPRINTED to microsoft paint to rough out a character design and the next entire day was just a constant stream of all of us bouncing ideas off each other and creating the meanest girl in the universe. her design changed a little bit from the initial sketch, most notably she used to have the half-shaved hairstyle that every gay person tries at some point before that changed to a midpoint between phoenix wright and sonic the hedgehog, but overall everything about her as a character flowed really well from the start. while she's fallen mostly into my hands since the initial brainstorm, she absolutely wouldn't exist without those friends' input and i feel that that's important to mention!

i'm very tired and i've been working on this on and off for the past day so i'm gonna call the infodrump finished here - thanks for giving me the excuse to talk about her! unfiltered and transparent versions of the art below as always

The worst of Bangers - playlist

Spotify playlist: https://open.spotify.com/playlist/2ZZ3PEFfGCqNIVWUVpFt9t?si=4842722153114449 Intro Unbearable narcissist that I am, I was thrilled to see that Isaac Asimov’s Foundation was being adapted into a big budget straight-to-the-internet TV series not because I honestly thought it would be any good, but because I hoped it might finally vindicate one of Bangers’ most (perhaps unfairly?) maligned songs if a few more people consumed the source material that it was an extremely concise precis of. As it happens I’m proper enjoying the series, faithless as the adaptation is - incorporating both emotions and women (two of my favourite things) neither of which were really even hinted at in the books. This train of thought, the fact that Small Pleasures turned 10 earlier this year, and my realisation that I find most of the Bangers back catalogue to weigh heavily on my creative soul as well intentioned but badly executed trash, led me to create a Spotify playlist called The worst of Bangers and write this accompanying blog to revisit some of the most forgotten, dismissed and/or reviled deep cuts. Before I start, these songs are included for a variety of metrics, often because they have a noted down-turn of listens on Spotify compared their album position. That’s not a great metric for a band who split up before Spotify achieved the godlike ubiquity that it now enjoys, but c’est la pomme de la terre. If you can hum any of these songs just by reading their names then you’re doing better than me 3 hours ago. Asimov When Bird was released, I remember several people telling me that this song shouldn’t have made the cut. I got the impression that some people thought it was a joke that didn’t sit that well on an album that was mostly dwelling on depression and suicide, and some others thought it was just a bit shit. Exactly nobody told me that they understood what I was getting at, so for the sake of posterity I’ll explain what it meant to me. Foundation – as I see it – is a musing on humankind’s repeated inability to learn one of the most universal lessons. The story begins with the fall of the Galactic Empire, and each subsequent generation confronts a crisis which requires rejecting the philosophy of the previous generation. Each time, the ruling forces adamantly refuse to realise this – rigidly adhering to the most recent philosophy - until one character tricks them into it and saves the day, thus ushering in a new age. I find the prescience of this to be one of the most depressing facts of human existence, and something I was wallowing in at the time, hence the song. Listening back I think the chorus is great, and Andrew’s weird bass slide in the middle is a joy. Vibrate This song is undeniably cool, but every time we played it people stared at us like we were stupid. I think it’s the emotional pay-off for Bird, after such a miserable time it’s just an acceptance that probably the healthiest thing to do is to accept defeat and plod on ignoring all the glitzy wiff-waff and intriguing mysticism in the world. This is the Bangers song I still sing to myself when I’m doing really practical DIY like building shelves. The truth that I’m more of a practical ox of a guy than an ethereal waif has been one of the healthiest realisations of my life. Stressful Festival The only thing that I ever heard said about this song was that it sounded ‘like Bangers’ on an album that largely didn’t. I think that’s bullshit, Bangers very rarely played this kind of classic on-the-beat punk vibe. Two interesting facts about this song: 1. I remember writing all the guitar riffs in Berlin after playing with De Cracks in the Ramones Museum and their Ramones-core translating much better to acoustic guitar than any of Banger’s music did. 2. While recording I puked in my mouth singing “sick to death of every one of you” and swallowed it again before coming in for the last chorus. If you listen really hard you can hear it coming up. A Quite Different Coastline In amongst the fairly weird Crazy Fucking Dreams album, this song performs especially badly with people who aren’t in Bangers. I think it rips, but Spotify figures confirm a proper dip compared to the rest of this album. I just don’t know what’s wrong with people sometimes! Bad Jokes Someone in Austria told me to my face that this song was too boring, and we pretty much stopped playing it after that. I think it has a janky song structure, and the nearest thing to a chorus it has (none of the songs on Crazy Fucking Dreams really have a chorus) isn’t that catchy, but I think the song is OK. I can confirm that nobody ever shouted for us to play it live. The Nick of Time OK, here’s a proper deep-cut. It’s the first B-side from the Blind Hindsight single, and I couldn’t remember anything about it before listening today. I remember we cut it from Crazy Fucking Dreams because it didn’t sit well with the other songs, but on reflection it really carried the core message that I was trying to get across in that album. Namely that history forgets just about everybody, so why should we feel obligated to be interested in anything that’s mainstream enough to be remembered. I suspect that the lyrics are not that relatable, but they’re a good diary entry for me to remember the first person I ever watched die. Log Jam Second B-side. I believe we only ever had two B-sides. We recorded this in our practise room in Exeter, and I seem to remember we tracked it back to front with the piano first and drums last. Maybe Hamish was at work until late or something. This is the song to drag out if anyone tries to tell you Bangers were just a gruff punk band who sounded like The Menzingers. I think there’s a weird time signature change, and that’s probably not because we were trying to be clever if you know what I mean. A man like Jack McCall This is named after the guy who shot Wild Bill in Deadwood. I loved that show, but at the time I knew I was much more a drunken cowardly shit-heel than any of the heroic (or at least stoic) characters. It was on the Good Livin’ EP which I find mostly unlistenable because of some very sketchy guitar playing. This was the weird plodder at the end which we probably played live a handful of times and then realised that nobody really wanted to hear it and it wasn’t that fun to play. Every night’s a date night On the subject on not being fun to play, this song was always a pain. Something about the timing at the start just baffled Hamish, so we ditched playing it as soon as we had enough songs. However in my mind this is one of THE archetypal Bangers songs, it’s got that lolloping, on-the-push rhythm, not a normal power chord in sight, and three quite distinct sections without anything approaching a chorus. Small Pleasures is definitely our most listened to album on Spotify, but where some of those songs really defined how Bangers were perceived, this never really landed. The Love Nest I straight up laughed out loud today when I saw we’d called a song The Love Nest. I couldn’t remember anything about it until I listened to it today for the first time in years. We played this a lot when we were relevant to the DIY scene in about 2011, and I think people used to sing along. It’s included here because I fully forgot it existed. There was a positive vibe (when no one was left alive) + Walking on the ground These two songs make up the Last Songs EP (single?) that we just about managed to release in time for our last ever show. I think we’d decided to split up by the time we recorded them, but I wouldn’t put money on it. I don’t know if we ever played Positive Vibe live, which is a shame because both songs are great. I think the album that these songs were meant to become would have nailed a good mix of dirty pop that we were aiming at in that moment. We probably would have messed it up though. Outro After I put this playlist together I went and listened to Challenger – Give people what they want in lethal doses as a pallet cleanser. I heartily recommend you do the same. Go and support Andrew and Kay’s new doughnut shop Future Doughnuts in Bristol, and visit Hamish in Cambridge. I’m doing fine. Roo

About a week ago I finally finished bookbinding @airdeari‘s beautiful Zero Escape fic The First Nonary Game. It took about a month (between all the waiting for glue to dry and also several days each week when I was unable to work on it), and was so much fun! It’s so satisfying to just... hold this book in my hands. 

Details about how I made it, along with additional photos (and commentary) below the cut.

So I came across this post on Tumblr, which immediately inspired me to try bookbinding myself. I spent a few days watching so many tutorials from the youtube channel linked in the post (I’ll link the specific tutorials I used in this post), and googling how to actually manage to print pages so they form proper signatures, because the inbuilt booklet creator in Word doesn’t exist in my Word apparently so that’s fun.

Anyway, once I started, I asked @airdeari for permission to print and bind his fic, and he immediately said yes, so that was good. Then I spent a good couple of days copying the entire fic into a Word document, and fiddling with formatting so it would look like an actual book (section breaks, page numbers, headers with the fic title on the left page and chapter title on the right page (this took ages to work and I kept on stuffing it up), and making sure things just... looked nice. I added in the art After The War that @keycrash created specifically for the fic (third pic above), and an “afterword” containing credit and links and the author’s notes from AO3 (because even if I’m the only one who will ever see it, it still feels weird to not add the credit stuff in so it’s there).

I then saved the document as a PDF, and used CheapImposter to correctly shuffle (impose, hence “imposter”) the pages so when folded into signatures, each page would be in the correct order. This program was the first free one I could find, and was great because you could specify the number of sheets you want per signature, rather than stuck with a default. I chose to have 11 signatures of 6 sheets of paper, since that was the amount that would have the least blank pages and the end of the book. The file was 261 pages, so with two pages per side, and two sides per sheet, you divide the number of pages by 4 to get 66 sheets of paper

I then printed. There was only one (1) paper jam in the process, which was great. Unfortunately, I realised after I printed that one of the headers for one chapter was wrong (I hadn’t properly disconnected the two chapters), but fortunately that only involved reprinting 4 sheets of paper.

I used the following tutorials to make the books: DIY Textblock, a general “how to make a textblock” tutorial; DIY Kettle Stitch, a specific look at the stitching for a textblock, since the first tutorial doesn’t focus on this; DIY Book Cloth, since I chose to use fabric for my cover; and DIY Hardcover Book, how to put all those pieces together.

So then I started folding all the signatures. I was watching so much Brooklyn Nine-Nine during both the folding and stitching sections, since it was repetitive actions I didn’t need to concentrate on that lasted hours.

It was at this point that I sliced each signature one by one to make the end smoother and less pointy. In future I recommend not doing it at this point - wait until the very end. Instead, move straight onto stitching. 

I don’t have any photos of the stitching portion, since my phone died the morning I started the stitching, and I wasn’t able to replace it until after all the stitching was done. In fact, originally all the photos from before the stitching were lost too. It was only about two days ago that magically the My Photo Stream thing kicked in and brought back all the photos - if it had worked two weeks earlier I would’ve had more. As it is, all photos from September to January are gone forever, unfortunately. But that’s another discussion entirely.

The above is the first book photo on my new phone, so as you can see, all the stitching was completed, the spine was glued, and the purple paper attached. I couldn’t buy two A4 sheets, so instead I had to buy one A3 sheet and cut it in half. Which was difficult cycling home from the city with an A3 sheet that didn’t fit in my bag on account of being A3 and not A4, but oh well.

I don’t have a book press, so I used a pile of DND books and my brother’s weights instead, as shown below.

I then had to re-slice the book after this point bc my first go wasn’t even, on account of slicing each signature separately. Next time definitely I’ll just do it at the end like this. I then also sanded it to make it smoother. It’s still not perfect, but it’s something that’ll take practice and patience so.

Next I made the book cloth, which involves using appliqué sheets to combine cotton fabric and tissue paper. But first I want to talk about the fabric I chose for the cover, because I’m quite proud of it. I spent ages wandering around the shop, trying to find something that fit the feel of the book. Spoilers for the content of the fic if you haven’t read it yet, and also for the source material (999/Zero Escape). I was thinking about some sort of blue swirl thing, because of the Gigantic sinking. I found that, but hesitated because it didn’t fully fit, and my favourite colour is blue so I always pick blue. I also considered flames/fire because of the incinerator thing, but couldn’t find any. I can’t remember if I just couldn’t find any four leaf clover fabric, or if I’ve just since thought about that as a cover. But instead I chose the butterflies below. They fit in several subtle ways that I’m proud of. The colours of blue and pink(/red) matching the receiver and transmitter coding all throughout 999, as well as the moments of purple as well (I don’t think I need to get into that, I’m sure it was analysed to hell and back when the game first came out). The butterflies also point towards the butterfly effect, and in turn the different timelines present in the series. So together it just works. /spoilers over

It’s also just a pretty fabric.

Now the making of the book cloth. I had to make it twice, because I was too impatient the first time, so the iron was too hot and it steamed, which wrinkled and warped the tissue paper, so the fabric was all wrinkly too. The second time took ages and was a worse quality appliqué sheet, but worked well enough anyway.

(My parents: did you have the iron out? what were you ironing? you never iron)

And then I cut the book board to size, using the measurements from the tutorial video. I’ll repeat them here: front and back cover: width = width of textblock minus 3mm, and height = height of textblock plus 6mm, and spine width = width of textblock spine, spine height = same height as covers

I then glued the board onto the book cloth, and put it under the book press. The dnd books are not large enough to cover the whole thing, and also I really wanted the board to stay flat and not curl, so I grabbed way more dnd books and way more of my brother’s weights. I also accidentally started putting the glue on the wrong side of the board (bc one side is smooth and the other is rough), hence the colour difference as well.

The corners were cut and folded and glued over...

And then the textblock was glued in, and put in my book press for a whole weekend. I added a sheet of paper to absorb the glue so the pages wouldn’t become wrinkly, but instead the sheet I added was fine and every other page in the book is wrinkly. So I dunno what happened there. After the weekend I took it out and looked at it, and then put it back for another week to be sure.

And then the complete book is shown at the top of the post!

As I was starting I was talking a lot about it, like about the process I had to go through, or how I was going to obtain what I needed, etc. Mum asked if she could read the story. I froze, like a deer in the headlights... because this is a fanfic. She saw my fear and immediately backed down, explaining she only wanted to read it because if the story was that important to me that I was going to literally turn it into a book, she wanted to read it to yknow like know me better or something? Which makes sense. And when I got over my initial reaction, and remembered that indeed it was technically my dad who introduced me to fanfic, and thought about it more, I said okay. Because since the fic is technically a prequel to the first game, and most of the characters are technically OC’s (like, from the first game we know that all eighteen children must exist, but most of them don’t have names or anything so they are effectively OC’s), then knowledge of source material isn’t strictly necessary. This fic can probably be enjoyed on its own. I mean I’ll probably have to explain the concept of morphogenetic fields, and the last four chapters might not make sense? But I’m okay for my mum to read it. So when she’s less busy at work I’m going to download the epub onto her phone for her - we’ll see how it goes.

Anyway, this fic is a masterpiece, extremely well written and I highly recommend it. As said, most of the characters are effectively OC’s, and yet they are all given such rich histories and personalities. All of them have access to the morphogenetic field, so I’m just so glad that @airdeari​ explores nine unique relationships with the field - nine unique sibling dynamics, and esper powers and abilities. It’s just so good.

Best of Marvel: Week of January 22nd, 2020

Best of this Week: Amazing Spider-Man #38 (Legacy #839) - Nick Spencer, Iban Coello, Brian Reber and Joe Caramagna

I can read the headline now: Spider-Man vs. Fake News.

At least that's what it seems like this next Spider-Man arc will be about as the titular hero has to deal with his "biggest supporter," J. Jonah Jameson, and his new job as a clickbait hound in the age of modern online journalism. Who knows what hijinks will ensue?

This issue exemplified the kind of humor that Nick Spencer excels at: the hilarity of hypocrisy when it comes to some of Spider-Man’s supporting cast. This was best shown in Spencer’s hilarious Superior Foes of Spider-Man (2013) as Boomerang did everything in his power to create a new Sinister Six while selling them out at every turn and not learning from his actions as everyone in his sphere suffered the consequences of his betrayals. Spencer channels that same energy as Jameson has to face the fruits of his journalistic practices in the form of Norah Winters and the new Threats and Menaces blog office.

After Jonah launches into a (Boomer) rant about today's journalists, calling them soft, self-obsessed and lacking the edge that made him what he is, Norah tells her team to sound off about the stories they’re working on. Without missing a beat and with faces of malice, thanks to Coello, they tout their intentionally misleading headlines.

Norah explains that in the age of the 24-hour news cycle, they need to get those clicks by any means necessary and that Jameson was the inspiration for this because of his past headlines calling Spider-Man a menace usually without real evidence. She expects villains to repost it to their audiences and heroes to quote it with malice, giving them more clicks.

Everyone likes to take the piss of millennial journalists and can often come off as cringy, but somehow Spencer, Iban Coello and Brian Reber manage to really capture the essence of modern open architecture office spaces filled with young kids and their kooky hair colors. Coello draws a really good shot of this with the addition of a space for video games, two bright green vending machines and tables full of people either on desktops without dividing walls or on personal laptops. Of course, all of this comes after Jonah is nearly hit by a douchebag riding an electric scooter.

Reber colors everything in contrast to Jameson who wears a professional brown suit. The office itself is brightly lit, all of the freelancers and employees are given brighter clothes with striking reds, pinks, blues and purples. Even the basic Threats and Menaces banner is a bright red, kinda signalling how bad this company might be. It’s really fun to see how out of his element Jonah is among these kids and how much more awful they are in comparison to him… aside from creating supervillains.

As all of this is going on, Spider-Man is robbing a bank. One can see how this might be a problem as Jonah is doing his best to defend Spider-Man to Winters who wants him to write a smearing headline about the crime. Coello and Reber introduce us to the act with an amazingly dynamic splash page of Spidey zipping into the sky carrying bags of cash. The webs are slung so hard that they blur, laser gun blasts almost fly off the pages with vibrant red and orange colors and Spider-Man’s posing makes him look like he’s avoiding danger with ease.

We get a sidestory with Silver Sable trying to regain her strength with the help of (former?) Spider-Man villain, Foreigner, as the two are now lovers. After helping her, Foreigner goes to a secret casino where the use of superpowers is encouraged and there’s betting on the battles between superheroes, villains and everything in between.

Foreigner still maintains his supervillain connections, but he seems to be using it towards helping Sable. Minor supervillain and assassin, Chance, has set up the robbery and casino in order to place bets on Spidey's performance and potential property damage. Of course, he also rigs it so that surprise drones appear to make things harder. As things begin to get hectic, lo and behold we get the best shot in the entire book: J. Jonah Jameson riding in to save Spider-Man on an electric scooter.

Coello and Reber make Jonah look like an absolute mad lad as he rushes into danger without a second thought to save Spider-Man. Fiery explosions ring out behind him, his pose makes him look like he came straight out of a Tony Hawk game and Spider-Man is absolutely shocked at all of this. Legitimately, it’s a really badass panel and one that should go down as one of the best out of context shots in comic history. 

Spider-Man reacts as we would expect, chastising Jonah for putting himself in danger. Jonah retorts that he and Spider-Man were supposed to be a team after Jonah owned up to his some of his worst actions after a gang of supervillains confronted him and Spider-Man earlier in the series. Though he was supposed to keep it secret at the request of his sister, Teresa Parker, Spider-Man reveals to Jonah that the bank he robbed was a front for a criminal organization and that he needed to run because there were too many bad guys. As Jonah flees, he vows to Spider-Man that he’ll make his life easier one way or another.

Soon after, we get an amazing double page spread of Spider-Man taking down these nameless villains as Chance counts down. He thwips, kicks and smashes these clowns over the head with his signature Spidey style before Chance announces that the house wins after Spider-Man takes them all down.

As far as art showcasing goes, Coello, Reber and Joe Caramagna smash it out of the park here. The panels flow as the action moves between Spider-an acrobatic antics and Chance’s excited facial expressions. Colors are rich and switch between explosive oranges to dynamic blue skies. The lettering is truly amazing as every sound effect is emphasized and given proper placement for effect.

Spider-Man wins, but soon gets a call from Teresa, asking him if he knows what Top Secret means. He questions what’s going on and then sees the headline from J. Jonah Jameson exposing the plot and why Spider-Man is a hero for it, accompanied by Jonah raising his arms into the air with childlike excitement. This is gonna be a wacky adventure.

This book was a lot of fun and I’m glad Nick Spencer is writing it. He’s able to bring the funny and really works with his artists to give each issue and story its own identity. None of them feel exactly the same and that’s commendable. With much thanks to Chip Zdarsky, Nick Spencer continues to build on the relationships established in the Spectacular Spider-Man series with Jameson doing his best to repay Peter for all the times he’s called him a menace after revealing his identity to his former biggest antagonist. At the same time, it’s nice that Peter’s also keeping in contact with his sister Teresa, a character that absolutely has a lot more going on that people might expect.

Iban Coello is an amazing artist and makes every page look so dynamic and fun, combined with Brian Reber’s coloring, this is an awesome looking Spider-Man book. Joe Caramagna as always does a stellar job by placing each balloon so that the dialogue is easy to follow without cluttering up the pages, emphasizing words to give every character a unique voice and placing sound effects so that one can almost hear the pages as they turn. I enjoyed all of this immensely.

If there's any criticism I could level at this book, it would be the drawing out of the eventual conflict between Spider-Man and Kindred. I know Nick Spencer is playing the long game and he's very good at it, making me anticipate it with every issue the creepy villain appears in, but there has to be substantial storytelling in the mean time. Hunted was an amazing story from start to finish, but the 2099 crossover left a lot to be desired.

In between, there hasn't been much to rave about. Even the Absolute Carnage crossover and the Sinister Syndicate storyline have been on the lower levels of Spencer's stories during his time on Spider-Man. Sure they were fun, but unlike the absolute hilarity that is the storyline with Boomerang, they feel a bit disjointed from the rest of the stellar story that Spencer is telling. I get a similar feeling from this issue despite how fun it was.

But don’t let my impatience stop you from buying this book!

Bismuth

Steven Universe is a show about solving problems with healthy communication instead of violence. It’s also a show so centered around fighting that our main characters have signature weapons that act as literal extensions of themselves. 

Not every episode has an action sequence, and not every action sequence is a fight, but this series is no stranger to glamorizing combat. For all its talk about how true strength means more than physical might, the use of physical might to hurt others isn’t always frowned upon, even by our peaceful hero. To compensate for this dissonance, fights that would normally leave fatal wounds instead end in a process so harmless that they called it “poofing.” 

Our ninety-eighth episode begins not with a title card, but a dramatic-looking scene that’s soon revealed to have no stakes, capped with Steven bemoaning that “dying a bunch in video games is emotionally exhausting.” The temporary nature of death is ingrained in his life—his very existence involved his mother not quite dying, but becoming half of him—and while the show at this point has acknowledged that violence can scar the body and soul, the only permanent consequences we’ve seen precede Steven’s existence. Shattering, the Cluster, and Corruption are ancient history, and were actions taken by the villains our heroes rebelled against. We’ve never had to deal with the moral implications of ending a life, and because this is a kid’s show there’s a chance we never would have, because the game isn’t quite as fun once permanent consequences are in play.

After a comedic foray into Lion’s mane, Steven pops a mysterious bubble we saw all the way back in Lion 3, flies back into his room, and shouts that he’s made a horrible mistake. And after the initial reaction from the other Crystal Gems, we linger in the room to get one last message from his television screen before he jumps back in:

Game Over.

“We are the Crystal Gems!”

I love everything about the title reveal of this episode. I love that we have to wait for it, so we’re forced to pay extra attention when it arrives. I love the not-quite-still shot of our two leads sizing each other up as the name of our episode and new character slowly fades in. And I love the chill but chilling music that sets the stage for the life-changing story ahead of our hero. 

Aivi and Surasshu give characters distinct instrumentation, Peter and the Wolf style, but folks like Rose, Greg, Connie, Lapis, Peridot, and even Lion also have distinct motifs (sometimes a few, in the case of Rose and Lapis) using these instruments. The four main Crystal Gems are unique in that they’re defined mainly by their sound: Garnet is the bass holding everything together, Amethyst is the drumkit keeping up the tempo, Pearl is the piano accompanying others, and Steven subs out a traditional main instrument for chiptunes (many people have pointed this out, but I think this video does the best job of exploring it). Garnet as a concept eventually gets a motif that largely appears when fusion is involved, but the principle of associating these four main characters primarily through instruments holds true throughout the series.

Bismuth is a Crystal Gem, too. And whether it’s intentional or not, I love that this is shown by her lack of a distinct theme song, leaving her represented by her instrument in the same way as our big four. And the instrument we get for a heavy metal stuck in the past is a reverse electric guitar.

On the subject of sound, we just started and I've already waited too long to talk about Uzo Aduba. Bismuth is beautifully animated and has a stunning design, and the extra large crew for this two-parter did wonders on her facial expressions and body language to breathe life into the character, but all of it would've fallen short without a magnificent voice actor tying it together. This is a complicated and ambiguous figure, who laughs hard and burns hot but knows how to keep quiet, and Aduba hits every emotional beat with ease. 

Aduba is especially talented in humanizing Bismuth’s rage, balancing loud shouts with twinges of sadness and jolly war stories with drops of venom. Her monologue in the Forge is one of many examples of Aduba’s greatness: after building up fervent momentum as she works with burning lava, she lowers her voice to a triumphant but menacing whisper when revealing that she chose to create weaponry. Aduba made a splash by finding a real person in a character reduced to the nickname “Crazy Eyes” on Orange is the New Black, and while Bismuth might not be as extreme of a role, she’s made great by an actress who refuses to dumb down angry women.

Bismuth is a zealot, but why wouldn’t she be? She faced the same oppression that drove the other Crystal Gems to rebel, and is mentally right in the thick of it while Garnet and Pearl have had thousands of years to move on. The leader that inspired and encouraged her to build weapons not only refused to use the Breaking Point, but fought her, bubbled her, and lied about it. We see it in Bismuth’s face the moment Rose is first mentioned around her, and even though this could be read as concern over her leader’s whereabouts, our knowledge that Rose’s version of events clashes with Bismuth’s hiding place sets off early warning bells. 

Bismuth’s wordplay here is perfect for a character who often means multiple things at once: “Rose really is something else” works as a commentary on how strange Rose was, as a reference to her physically becoming something else, and as another hint of Bismuth’s true feelings about her leader’s betrayal. Her clever use of language soon becomes ingrained as a character trait: we obviously get the triple pun on her name (not three puns, but the same pun three times), but I’m a bigger sucker for the phrase “upper crust” playing off her disdain of Gem elites with geological terminology. It’s great to see such cleverness when characters with massive frames and aggressive attitudes are so rarely graced with wit.

Bismuth is angry, but she’s more than her anger. It’s balanced by (and caused by) her huge heart. She gets along famously with Garnet and Pearl, and cares deeply for her fallen friends, but she’s just as warm with Amethyst and Steven. An underrated element of Bismuth is that it doesn’t forget that Amethyst is in the middle of a major arc: even though she’s not the focus of the episode, she’s still reeling from her fight with Jasper and is uncomfortable around another huge interloper in her life, this time someone whose existence furthers the notion that Amethyst isn’t a “proper” Crystal Gem. So Amethyst is awkward at first, then sows seeds of suspicion when Steven is entranced. It speaks well of Bismuth that she treats Amethyst as an equal worthy of respect without question, and Amethyst soon comes around when Bismuth praises and upgrades her whip. This giant-sized episode is the clear product of long-term planning and collaboration, but it still remembers to tell a quick Amethyst story to keep us invested in her ongoing development.

But it’s Bismuth’s relationship with Steven that makes up the bulk of the plot, and as dumb as it might sound, the character she reminds me of most is Tim Curry’s version of Long John Silver from legitimate classic film Muppet Treasure Island; yes, Long John Silver in general works for this analogy, but Tim Curry is the definitive version, fight me. Bismuth isn’t as treacherous as old Long John, but they share the tightrope act of being at odds with young protagonists that they earnestly like. There’s nothing fake about their moments of bonding and pseudo-parental advice, and while both are angling to convert a child hero to a questionable cause, it’s done in part to maintain a friendly relationship. Again, Silver is more of an outright villain—his lust for gold lacks the nuance of Bismuth’s well-intentioned justification of extreme violence—but these are gregarious antagonists that our heroes build meaningful connections with, and ultimately learn lasting lessons from. 

Steven is all in on Bismuth’s ardor at first, grinning with shared passion after she rallies the team to keep fighting Homeworld. He’s a little less on board upon seeing Amethyst’s weapon upgrade, and his unease grows during the sparring session, but for all her intensity, Bismuth is fine with him not wanting to fight. She welcomes his own “rituals” with glee, and even though our first look at this sees her spiking a birdie into the sand so hard that the beach explodes, the montage otherwise shows her fitting right in. Even the foreshadowing of Bismuth’s views on weapon lethality during Lonely Blade is lighthearted, with the bonus of showing us how far Pearl has come in regards to fiction since Steven the Sword Fighter.

It all comes together in a poignant discussion about Rose. This is the last time she’s ever spoken of in a purely positive light before the story of her shattering Pink Diamond comes out; not every conversation about her is negative after this reveal, it’s never quite the same. We focus on Rose as a champion of differences: this is the Rose who said a servile pearl could be a warrior, who accepted a new fusion when nobody else would, who told a runty amethyst she was perfect the way she was. Bismuth is telling us what we already know, but personalizes it, showing how inspired she was by it, and Steven reacts to this umpteenth version of the Rose Was Great speech by admitting his fears of not measuring up for the second episode in a row.

Bismuth’s response sums up the entire lesson of Steven’s original series arc, and it’s such a moving affirmation when paired with Change Your Mind:

“You are different. That’s what’s so exciting. You don’t have to be like Rose Quartz, you can be someone even better. You can be you.”

The tragedy is that this hopeful message is undercut by Bismuth’s idea that a “better” Steven is one who uses deadly force. And the speech as a whole is further marred by a subtle hint of Rose’s mendacity: Bismuth mentions that she was “just another quartz soldier, made right here in the dirt,” but even before the Pink Diamond reveal, we already know Rose is from Homeworld from earlier episodes like Rose’s Scabbard. Retrospect enhances the sensation, tinging the uplifting speech with the kind of gray that we’re going to see a lot more of in the future.

There’s an awful inevitability to the ensuing fight as our heroes descend into the Forge, coming right of the heels of Bismuth telling Steven they need an alternative to fighting fair. Steven repeats his progression of reactions towards Bismuth all at once: first confused, then super excited, then gradually realizing something isn’t sitting right. But this time we can’t end with a day at the beach.

(The mood is ruined a little by the adorable commercial transition, and the summarization of the scene upon cutting back from commercials in a way this eleven minute show has never dealt with, but fortunately the bulk of the scene goes uninterrupted.)

Steven obviously isn’t going to use the Breaking Point, and we get a prolonged shot of them standing at odds in mirrored positions from their title card encounter before Bismuth’s hand tightens into a fist. To her, this isn’t a fight with Steven, but a continuation of her fight with Rose, and her anger at her deception is fueled further by the not unreasonable assumption that Rose is still lying as Steven. In Bismuth’s mind she isn’t attacking a child, but a veteran warrior who for some reason took the form of a small human, so she goes all-out.

Steven has been called “Rose” plenty of times by Jasper, and this will continue in our very next episodes, but it’s gotta sting harder when the person doing it just told him that Steven was enough. And the fight itself is no joke, which is a relief after the brawl in Steven vs. Amethyst was all joke. The hits land just as hard, and we get the same awesome choreography showcasing Steven’s floaty powers and spiky bubble in action, but Bismuth isn’t kidding and Steven is on the ropes. His sandal melting away is as graphic as we’re gonna get, but it’s still a great sign of what will happen to him if he falls. His shoelessness also allows for a neat reversal of Bismuth closing her fist to begin the fight: after limping on the other foot to avoid the heat, the first we see of him after the second bubble of the episode pops is a close-up of his bare foot steaming on the ground. He’s forced to hurt both himself and Bismuth to end the fight.

We’re on the cusp of learning the “truth” about Pink Diamond, but the beginning of Rose’s souring portrayal is right here. If you squint hard enough, Rose’s actions in the past could have been justified by her not wanting to shatter anybody, and by Bismuth being an extremist who left her with no choice. But as she stands impaled by the sword she once forged, Bismuth’s rage can no longer hide her grief. Even if Rose was right, and that’s hardly a sure thing, it’s twisted and terrible that she never told the other Crystal Gems the truth. It doesn’t matter that we eventually learn that this was a lot more complicated than it seemed because Rose was Pink Diamond, because in the moment, the person who just tried to kill Steven is saying that Steven’s mother did an awful thing, and despite everything the show has told us until this moment, she’s making a good point. Steven has no time to dwell on it before the other shoe drops (hopefully not into more lava), but it’s telling that Bismuth only acknowledges Steven as himself again when he says he’ll be honest.

When Bismuth gave Steven his pep talk in the living room, the audience didn’t know her full story, but she did, so she still loved Rose despite everything. She was hurt by her, and was willing to fight her, but she looked up to her leader despite it all. So it’s a real turn when she uses same language that encouraged Steven moments ago to make a new point: he could be better than her because of his potential to be spectacular, but also because she set the bar low by doing horrible things. Bismuth is all about that wordplay.

I’ve got a lot to say about my problems with Bismuth’s story after Bismuth (or rather the lack of one) that I’m including in my giant-sized features section below, because a giant-sized episode merits giant-sized features. But within the episode itself, I think silence after the fight is the right choice. Steven has been in danger before, but this is the hardest a person has ever tried to kill him, and it was one of his friends. A new friend, but a friend.

Bismuth marks the beginning of the end of this era of the show, an era when Steven’s series-long arc to fulfill his mother’s legacy was relatively straightforward. In yet another example of Bismuth’s wordplay, his life story swivels around a Breaking Point. The core of Steven Universe may not change in the way it does in Bubble Buddies and Mirror Gem and Catch and Release, but the core of Steven Universe is forever affected. His imminent guilt complex begins with stabbing Bismuth, and despite the hardships to come, he becomes a better person for surviving it.

But at least he doesn’t shatter her. That would really do a number on the guy. Can’t imagine how guilty he’d be if he one day did shatter an imposing zealot from the Gem War days with a history of confusing him for Rose Quartz...

Future Vision!

This is normally a section that lists small bits Fragments of foreshadowing, but because Bismuth is a double episode with tremendous impact on the shape of things to come in ways I already talked about in the review proper, I want to use this space to talk about the elegance of Steven Universe’s structure. I’ve referred to the fifty-odd episode chunks that make up the story on numerous occasions, but I think it’s about time I buck up and call them Acts. 

Act I of Steven Universe is the first season, Act II is the second and third season, and Act III is the fourth and fifth season (with the movie and Steven Universe Future as epilogues), and I think viewing the series through this lens really makes the structure shine. There are many examples of repeating themes and moments that this interpretation makes clear, and as an example, I want to talk about how a recurring phrase signifies a turning point towards the endgame of each act. 

In Act I, the slow-burning mystery of where the Gems came from begins at the midpoint, Mirror Gem, and escalates in Warp Tour with the introduction of Peridot. But we’re still doing regular episodes throughout, because Steven’s life is bigger than his past and there’s no pressing need to address his alien heritage when it isn’t directly affecting his life. It’s not until Marble Madness when this story ramps up, with Peridot's discovery of our heroes hurtling us towards a finale that sees Steven come into his own to defend his friends against old foes from beyond the stars who thought them long dead. The turning point is marked by Pearl taking a stand to proudly declare:

“We are the Crystal Gems! We're still alive, and we're still the guardians of this planet and all its living creatures!”

Jumping to Act III, the slow-burning mystery of what Rose did to Pink Diamond is actually solved with some time to spare. Things seem to be wrapping up at Garnet’s wedding in Reunited, especially because we’ve reached the same episode count of the other two acts. But then Blue and Yellow Diamond crash the party, bringing together the entire main cast in opposition. As in Act I, this shifts us onto the path towards the finale, this time one that sees Steven bringing the Diamonds together to heal the damage they did on Earth. This turning point was a bit less subtle:

“This is our home! Our planet! Our friends and family! We are the Crystal Gems!”

Act II is more stable than I or III, chronicling the period after Steven becomes a competent Crystal Gem but before everything is turned upside-down. He has adventures befitting his role and helps his friends and family as he grows more comfortable with his mother’s legacy, but unbeknownst to him, it’s the calm before the storm. Through it all, that legacy and that group are the bedrock of Steven’s life, and Bismuth begins to unravel his sense of security, leading to a finale that destroys our hero’s comfort zone. The turning point comes as Bismuth shatters not an elite Gem, but the fake image of one, and roars a battle cry that shows that there are some missing pages in the story of Steven’s happy family:

“Listen up, you Homeworld upper crusts...”

“We are the Crystal Gems!”

If every pork chop were perfect, we wouldn’t have inconsistencies…

Likewise, this is normally a section that lists plot elements that don’t add up, and I can’t imagine reviewing Bismuth with addressing Bismuth’s treatment as the show continues. There aren’t many other places to write about it until Made of Honor, as the most notable element of this discussion is her absence, but it’s a flaw beyond this episode itself, so it’s going here.

First, I understand from a storytelling perspective why Bismuth is bubbled again. She’s a major new element that couldn’t realistically be sent to the barn like Peridot and Lapis, and is so at odds with our heroes that it would mess with the direction of the series. In particular, the reveal that Rose shattered Pink Diamond would go from being a story about Steven coping to a story about Steven and Bismuth coping, because Rose shattering someone goes against the whole reason she fought Bismuth in the first place. The simplest solution to not having Bismuth dominate the upcoming story is putting her away until the plot demands. And we do eventually get some lip service to why she was bubbled again for so long: she did, after all, try to shatter Steven with the Breaking Point at the end of their fight. She seems cool with it, and it’s not as if she was suffering in there, popping back out as if no time had passed and integrating well with the team afterwards.

But it is baffling that there isn’t any conversation about trying to talk with her instead of keeping her locked away. We don’t need a proper trial, but the idea that this team wouldn’t allow Bismuth to make her case and wouldn’t try to help her work towards a mutual understanding is not only cruel, but cruel in a way that makes no sense for these characters. I’ve called the underuse of Malachite the show’s greatest blunder, and I stand by it because Bismuth’s treatment is much more than a “whoops.” Communication is everything to this series, and the idea that Bismuth was too dangerous to be reasoned with is, to me, Steven Universe’s greatest sin. 

Garnet and Pearl in particular never mention any alternatives, or even bring her up to a meaningful degree. This is supposed to be one of their best friends. And after we learn about Pink Diamond’s shattering, it’s bewildering that Steven doesn’t consider the Bismuth of it all outside of her factoring into his guilt complex in Mindful Education and a brief mention in Storm in the Room. On both an emotional and logical level there’s no reason to not include her more in Act III. Like, let’s say in the worst case scenario she’s freed and furiously attacks Steven: he already defended himself by himself against her, in a lava-filled arena where she had a huge advantage, so obviously with the other Gems he’d be safe. And let’s say Steven is traumatized by nearly getting killed. Understandable. Even if Pearl also nearly got him killed a few times, it was never with murderous intent. Except that if that’s the rationale, I feel like Bismuth deserves to have that explained by him at some point during her imprisonment. He could tell the Gems, he could confide in Connie, whatever, this is something that needs to be said out loud. If we’re going to have her locked away indefinitely, there needs to be more than stone cold silence about why the Crystal Gems came to such an extreme solution, seemingly without a second thought. There was more discussion about the ethics of bubbling Peridot than Bismuth, and Peridot was a full-blown opponent at the time. There was more discussion about the ethics of rehabilitating the Centipeetle, a being corrupted into what seemed to be an unthinking monster, than a fully sentient ally who did a bad thing.

I’m not gonna knock this episode down any pegs for this in my rankings, because it’s not really the fault of this episode. Yes, it could have included Steven’s conversation with the other Gems, but this story was already full to the gills and there was plenty of time in future episodes, particularly episodes after the shattering story comes to light, to address it. Bismuth works fine on its own, but demanded further stories that it never got. Made of Honor does a decent job of bringing Bismuth back, but that’s after over fifty episodes of a misguided but heroic and loyal friend being imprisoned without any attempt at mediation.

I get that it would’ve been a lot of work, and that the bubble method was more convenient. But making a character this great only to treat her this way is a disservice to both Bismuth and the Crystal Gems as a whole.

(Also, less importantly, this episode was marketed as 100 thanks to the inclusion of a few combined shorts as numbered episodes. But yeah this was totally episodes 98 and 99.)

We’re the one, we’re the ONE! TWO! THREE! FOUR!

I ended on a bummer note there, but like I said, Bismuth by itself shouldn’t be held culpable for not having a Too Short to Ride or Alone at Sea for Bismuth down the line. It still doesn’t make my top fifteen, but it does make my top twenty, which matters because the list is expanding next time to account for our actual hundredth episode.

Top Fifteen

Steven and the Stevens

Hit the Diamond

Mirror Gem

Lion 3: Straight to Video

Alone Together

The Return

Jailbreak

The Answer

Sworn to the Sword

Rose’s Scabbard

Mr. Greg

Coach Steven

Giant Woman

Beach City Drift

Winter Forecast

Love ‘em

Laser Light Cannon

Bubble Buddies

Tiger Millionaire

Lion 2: The Movie

Rose’s Room

An Indirect Kiss

Ocean Gem

Space Race

Garnet’s Universe

Warp Tour

The Test

Future Vision

On the Run

Maximum Capacity

Marble Madness

Political Power

Full Disclosure

Joy Ride

Keeping It Together

We Need to Talk

Chille Tid

Cry for Help

Keystone Motel

Catch and Release

When It Rains

Back to the Barn

Steven’s Birthday

It Could’ve Been Great

Message Received

Log Date 7 15 2

Same Old World

The New Lars

Monster Reunion

Alone at Sea

Crack the Whip

Bismuth

Like ‘em

Gem Glow

Frybo

Arcade Mania

So Many Birthdays

Lars and the Cool Kids

Onion Trade

Steven the Sword Fighter

Beach Party

Monster Buddies

Keep Beach City Weird

Watermelon Steven

The Message

Open Book

Story for Steven

Shirt Club

Love Letters

Reformed

Rising Tides, Crashing Tides

Onion Friend

Historical Friction

Friend Ship

Nightmare Hospital

Too Far

Barn Mates

Steven Floats

Drop Beat Dad

Too Short to Ride

Restaurant Wars

Kiki’s Pizza Delivery Service

Greg the Babysitter

Gem Hunt

Steven vs. Amethyst

Enh

Cheeseburger Backpack

Together Breakfast

Cat Fingers

Serious Steven

Steven’s Lion

Joking Victim

Secret Team

Say Uncle

Super Watermelon Island

Gem Drill

No Thanks!

     5. Horror Club      4. Fusion Cuisine      3. House Guest      2. Sadie’s Song      1. Island Adventure

Bebe Stevens

Is she still playing truth or dare in treehouses? Bebe has been accepted! Please submit your blog to the main, and a faceclaim to be featured on the main blog!

out of character info

Name/Alias: Grace

Pronouns: She/Her

Age: 23

Join Our Discord: Yes - [REDACTED]

Timezone: GMT

Activity: 8 (at least every other day)

Triggers: N/A

Password: jimmy can fast pass my ass 

Character that you’re applying for: Bebe Stevens

Favourite ships for your character: Bebe/Chemistry!!

in character info

Full name: Barbara “Bebe” Stevens

Birthday: 11th August 2000

Sexuality, gender, pronouns: Female, She/Her, Bisexual

Age and grade: 18

Appearance:

Face of angel, body of a goddess, posture of a queen. That’s what she’s been told will get her far in life, and that’s what Bebe strives for. She’s slim build but – with thanks to frequent gym tips (for the Instagram likes) and rigorous cheerleader training – Bebe is toned, tanned and seriously strong. Her fair falls halfway down her back and, without proper styling, it’s a big nest of yellow frizz. Since hitting puberty, Bebe’s mom has enforced regular trips to the salon to tame her curls and highlight her tips, meaning only those really close to her have seen how much of a disaster it’s natural state is.

She has brown eyes, plump lips, and dresses largely in sportswear – crop tops, sports bras, leggings, shorts, high tops and hoodies. On nights out, she likes to ‘Go Ho’ with tight dresses and her signature red lipstick. Bebe is rarely seen without makeup; since entering High School, she’s grown to dislike her natural face – pale and imperfect, with dark patches under her eyes and freckles on her arms. Fake tan, foundation and fad diets are a necessity, if only to get her mom off her back.

Personality:

Bebe doesn’t let anyone see more than her outward appearance. Since childhood, discouraging comments about pursuing an education and becoming an independent career woman have twisted her dreams and shattered her personal image. She works hard at school, but often struggles more than her classmates and is too stubborn to ask for help. Bebe wants to follow Wendy to an Ivy League School, become a Marine Biologist, and change the world for women in STEM. Constant reality checks from failed exams and her mom’s patriarchal view of the world have made that goal unobtainable, so now she’s relying on Instagram fame, a rich college boy proposing, and being widowed at 35 with diamonds to spare.

Bebe is bold, to the point, and surprisingly witty. However, she often disguises her wit behind ditzy or vain observations and a vapid obsession with whatever’s fashionable at the time. She’s driven, though, and even with the world seeing her a certain way, she’d like to become a bigger, brighter person. At parties, she’s a loud personality; she likes drink, dick, drugs and dancing in any order, and isn’t afraid to announce it. She’s also a natural born leader. People are drawn to her, be that because she’s got great boobs and bad reputation, or because she knows how the world works (a little too much) and isn’t afraid to grab it by the balls.

History:

Deborah Thornton met Harvey Stevens when she was 17 and he was 25. Harvey was everything Deborah wanted: well-dressed, well-spoken, and heir to a successful stationary company. Her dating strategy was relentless; Deborah knew what she wanted, and she was damn well going to get it – but how was she going to keep it? That much was easy: have his baby.

Bebe knows she’s not a child born of love, but of circumstance. Her parents like each other well enough, but there’s no spark, just a dull-witted woman who dresses nicely for her boring, business-minded husband. Luckily, their poor parenting techniques have resulted in Bebe getting almost everything she asks for, and Deborah encourages that want-all attitude with pride. Bebe is the spitting image of her mom at 18: voluptuous body, sweet voice, and unwavering social status. Now all she needs is a husband.

The world has blessed Bebe, but as a ten-year-old, that wasn’t enough. She wanted everything she could get her hands on: all the boys, all the power, and all the shoes. Sure, stealing her dad’s gun and pointing at her best friend wasn’t her proudest moment, especially when it was just to keep her hands on Clyde fucking Donavon, but that decisiveness has remained to this day. She’ll dress slutty if she wants to, snort coke if she wants to, and get down if she wants to. Nonetheless, not even Deborah could have planned for Bebe’s independence. Bebe Stevens wants the world.

Sample paragraph:

There’s a riot going on outside, and Bebe can see most of her class in the middle of it. Knowing that lot, they probably started it. A few look worried, the majority bored (oh, a riot in South Park? Must be, like, a Tuesday) but they all know it’ll die down tomorrow when the next bullshit scenario rears its ugly head.

At least they’re involved, right? Bebe hasn’t been dragged into any non-squad drama for months. Sometimes, the guys will give Wendy a taste of their bizzare-o world, and Wendy will complain and call them assholes, but Bebe has this secret feeling that all those whacko, dangerous shenanigans might be kinda … fun.

Fuck. All she wants is the chance, just once, to take the wheel and get fucking WILD with it. Unfortunately, she has a reputation to uphold, an Instagram to keep active, and no one really trusts her after the whole, like, ‘pointing-a-gun-at-her-best-friend’ business.

Bebe blames some of it on society. That’s what Wendy would say to to cheer her up (and, thanks girl, but a pair of shoes or some ice cream would do a better job of it).

She blames the rest of it on her mom. Her mom, who’s dragged Bebe to yet another salon, because “you won’t marry rich with dry skin and crusty cuticles, honey.” Bebe’s fingers fucking ache after the trials they’ve been put through today, just for a French manicure and a couple gems on the thumbnail.

“Hey, mom,” she ventures, and her mom looks up from her copy of The Boob Job: Use your Tits to get Hitched to address her little girl.

Her mom only cares about two things: potential boyfriends (and how Bebe can use her body to bag them), and any girl-gang gossip that’ll make her feel young again.

“Can I go outside? I think I see Annie out there..”

“And ruin your nails, baby? What if that Clyde boy sees you acting like a common whore? Or Token, he’s rich, right?”

“Then they’ll be more likely to fuck me, right? Come on, mom. I can see robots out there.”

Bebe knows that the idea of her daughter becoming just another white-trash, Tomboy Tina terrifies Deborah to the core. But they’re in South Park, and the alternative options are pretty slim. 

“Fine,” her mom says, “but I want you to get three good selfies and at least one date out of it, you here? Tell them you’re a cheerleader, they like that. And look out for college boys - they’re smart.”

This town is tiny and suffocating, Bebe wants to say, they all know I’m a fuckin cheerleader. But instead she says, “sure mom, whatever, kisses,” and bolts out the door, wondering if she’ll be brave enough, today, to break a nail.

Head canons:

Bebe still has her fluffy white cat, Thumper, who she adores, even if half of his fur has gone and his legs don’t work anymore. Deborah hates the thing, but Harvey still makes sure its fed if Bebe’s away.

Bebe has some lingering drug issues. She rarely goes out now without dropping some MDMA or a line of coke, and she sometimes sneaks out at night to smoke a joint at Stark’s pond. It’s got the point that she thinks it’s a necessity to be the ultimate party girl, and she’s got no plans to stop anytime soon. It’s what Paris Hilton would have wanted.

Bebe has MAD body-image issues and will not let anyone see her without her makeup on. The only exceptions are Wendy and her dad.

Anything else: nope, nada!

review: hajimari no kyojin (osaka 6/1)

so. hello. i usually write up my butai thoughts as, um, 100+ tweet threads in the immediate wake of whatever i just saw, but this time around i thought i'd work them out into a proper report, of a sort. if you, too, have seen this show already and want to talk about it... please. any time. always.

about reviewing: this is my very favorite 2.5D franchise, ever. but this is also a review, not a cheerleading exercise, so not every single thing i have to say is unrelentingly positive. having said that, i respect kinoshita, wada, suga-zachou, and the staff at large more than just about any creative team in this corner of japanese theater fandom so like. i'm not here to drag, lol.

about spoilers: i talk about the plot elements covered but try to avoid spoiling any of the fun production surprises. :) happy to do a more spoilery play-by-play later if folks are curious.

about length: i just checked and it's 2400 words im so sorry.

without further ado...

first of all, i admit that based on the preview clips i doubted, and i was swiftly taken to task for doubting. IM SORRY WORRY-SAN i trust u implicitly and i should have known better. after the major changes in shinka no natsu, i was concerned that bringing back the revolving stage and the original opening theme would feel stale/regressive. it did not. while they did bring back the revolving element they also extended the stage backward and added a second level behind a full stage height projection screen – the second level was used to do some neat staging for flashbacks/parallels and the screen was used to, how shall we say this, up their projection game in a major way, which i frankly did not think was possible. i will not spoil the details but it was pretty great, on a purely technical level.

i also realized that a lot of the repetition – opening with the bike scene, bringing back the original opening credits music, the staging, etc – is the "look back" over the last couple years that i'd expected to come this fall. they are very obviously already preparing for the end – you could think of this as part one of their last show, with the fall as part two. the show opens with a restaging of sixth grader hinata seeing the little giant on tv for the first time – then the current karasuno team take the place of the tv and hinata joins them for a team jog. "karasuno, fight!" "oh!" "fight!" "oh!" only then each character calls out their signature line from the show so far. "uchi no renchuu wa chanto tsuyoi" / "mou tobenai karasu nante yobasenai" / "murabito b mo tatakaemasu!"

and haha. let me tell you. BOY, DID I FEEL THINGS. a lot of things. i think yachi got me the worst but they were all real bad. (i have so many feelings about yachi's story and what a beautiful job saitou ami did with her character on stage. god. ;_;)

the theme of this play was the role of captain – what makes a good captain, what a captain does for the team, and how to step into those shoes when the captain is gone. the johzenji match is fun, but here, in a sense, it exists more or less to set up the wakutani match – (re)establishing daichi's importance so that his absence feels like the gut punch it is. and fully settling the weight of that responsibility on ennoshita's shoulders, as both daichi's substitute on the court and the captain-in-waiting.

with that in mind, the rival schools: imo it wasn't strictly necessary to cast full teams for each school – each match got its own dedicated act, and unlike, for example, nekoma/datekou in karasuno fukkatsu (which had a similar story structure), there aren't really any individual characters on these rival schools who have a role as such other than terushima and takeru. (you know, the captains. see above. XD) so in theory one could get this done with, like, one actor for each captain and then an ensemble cast playing the rest of the team across both matches. HOWEVER, having all those bodies allows them to do super cool stuff visually, and why force yourself to create the illusion of a full team if you don't have to? i.e., /i/ sure am not complaining, isn't it nice to have $$$ to achieve the max vision of your choreographer. XD

i also have no doubt that the kids playing these other characters are doing whatever they can to create a character within the ensemble, and i suspect there's plenty for repeat viewers to pick up on, esp during say the johzenji match (see below). however for the first time viewer following the main flow of the story it's more or less a very large ensemble cast.

the johzenji chaos was well expressed, haha, there was so damn much going on all the time that i hardly knew where to look. (i've also seen opinions on j-twitter that that diluted the impact and i can see that too – it worked for me as a "funny" match that didn't cross the line into comic relief, but ymmv.) i thought the final scene with misaki would pack more of a punch, but i fully expect them to cry at daisenshuuraku so that might fill in the last 10% that's missing rn.

wakutani are another Good Dance Team. one did get a sense, stylistically, of fukurodani- and nekoma-lite with johzenji and wakunan, respectively – i assume that was intentional. mirroring the cats vs owls match, as it were. yanagihara rin's takeru was like… scary?? i had to rewatch those episodes this weekend to see if i'd just forgotten something, but no, stage takeru is not so much reliable middle brother as scowly quiet tough guy. he looked like a kyoutani tbh, and looking at the kid actually cast for kyoutani, one wonders if someone in casting mixed up some paperwork or something. having said that, yanagihara was great at being the character he was, i enjoyed what he did on stage. i'm just not sure that character was takeru. XD (edit: ok having just rewatched, i have to revise this somewhat, i think a big part of my impression was due to being too far back to properly see his expressions the first time around -- up close he was much smilier, and bc i was thinking about it i noticed some nice details like him going over for a family hug afterward.) otoh big post-match scene – all of wakutani, actually – was really good. v effective, i heard sniffles around me.

during this match, johzenji reappeared dressed as takeru's family: FUCKING HILARIOUS omg, everyone involved has clearly learned how to do this right wrt blocking, the very fine line between comic relief and intrusion, etc, after the, er, shaky shousha to haisha experiment of kuroken doubling as oikawa's fangirls. seichou shita na, errone.

also, some great wire work for hinata and takeru – you could tell kenta is really comfortable up there these days. the first time the wires came into play one of the women behind me went "UWO!" which, when a japanese theatergoer makes a noise out loud, that's a true sign something's impressive. XD

nekoma vs fukurodani: Yeah, That Happened. it is a testament to how well done karasuno vs wakunan was that i didn't just spend the entire time screeching BRING BACK CATS VS OWLS because fjkdajfkdlsfjd KYAA. another good staging moment – they used mirrors to create the effect of two full teams playing at a crowded gymnasium, it was brill. i won't spoil some of the fun details but vvjakdlfjdf. and tbh i think the best performance of the four was probably shouri's?? not that this is news but istg idk how someone so soft offstage does THAT on stage. is it this "acting" thing you speak of.

new bokuaka: i mean it was clear some of this material was meant for yoshimoto kouki and i did kinda miss him – i appreciate higashi-san's pinch hitting and he did a solid job. but. ah well. HAVING SAID THAT. fucking "michi wo tsukurimasu yo" i mean we should all be grateful it wasn't kouki and yuuki or it would have just been a fucking fanfic on stage. it was still bad and i don't even go here. XD

and last but not least, arita ushiwaka kenji: not exactly the world's most natural line delivery but that's fine because, i mean, he's ushiwaka. and his physical presence was perfect. which was about all he was called on to do in this particular show, ahaha.

now, for karasuno. and specifically, for my son, kawahara kazuma. remember what i said approximately a thousand words ago, about captains and captains in waiting and stepping up to the plate? (or onto the court, as it were.) ennoshita's story was the heart of the wakutani match and kazuma carried the second act. he was. so. good. he had good material to work with, of course, but he made it even better. i was saying to a friend that in retrospect i think this is one of the very very few parts of the series that actually played better and more emotionally affecting on stage than in the source material (as opposed to differently good/differently affecting). in the manga/anime, you can only see what the paneling or the frame shows you, and those initial paneling/framing choices are focused on the drama of CAPTAIN DOWN. but on the stage, daichi goes down… and off to the side you see ennoshita freeze. and from that moment on, for kazuma, it's go time. he doesn't let up until the end of post-match scene in (here) the locker room – which, jesus, that scene. it packs ten times the punch it does in the anime. because of kazuma.

sorry if i sound like a crazy person here ahaha. but like. like, imagine you have been acting since childhood, you've studied dance with famous choreographers and innovators, you had a main role in The Franchise That Changed 2.5D as a teenager, you've done a solo album, you have a serious history in performing arts... and you get cast in what was initially the smallest role of the entire karasuno team. and you take it! and pull your weight! kazuma was a team player for three years and he deserved this chance to let his actual skills shine so much. ;_; because i don't necessarily think he would have been better in any of the other roles than his actual teammates – but i do think he is a much better actor than several of his actual teammates. and he finally got the opportunity to show that.

anyway, when it came time for curtain calls, the applause swelled noticeably for kazuma – a louder ovation than anyone except kagechan and kenta. and one of those people clapping her hands off, say in row 20, just a random row choice, was definitely tearing up at the same time.

IN OTHER KARASANEWS. kt-san. LIVE IN PERSON KT-SAN BACK IN THE ROLE HE WAS MEANT FOR cries into my hands i love him daichi-saaaaaaaaaan. very occasionally his delivery reminded me he's a model not an actor, if you know what i mean, but like, for the vast part it didn't matter because he is naturally such a perfect fit. have i mentioned i love him.

new suga: mmmmm. he looked and moved fine but his line delivery did not convince me. tbf it's not like suga has a huge role to play in these matches so 1) it's not a huge deal 2) he didn't get much chance to get into the character. either he'll get better or he won't, and if he doesn't it's not going to sink the next play or anything. he seems like a nice enough kid, i wish him well!

kageyama tatsuya: still can't yell and enunciate at the same time. loved that they brought back the archer analogy from shinka no natsu though!! it was one of my favorite things about his kageyama, and it's nice that it's something he "owns" instead of imitating/inheriting from tatsunari.

tsukishima & yamaguchi: miura kairi continues to get even better, i'm so pleased. <3 also, i love love love that they still use the musical motif from shousha to haisha for yamaguchi's jump float serve. it was the same in shinka no natsu, it's the same here. THE TSUKKIYAMA WAS REAL CUTE, great detail work before and after the serve as well as after tsukki's block(s). as for tsukishima, much as they brought back kageyama's archer imagery, they brought back tsukki's fancy katana kill block. (they didn't waste kondou shouri, either, i'll leave it at that.)

last but not least, MY ACTUAL SON AND FEELINGS TWIN, SUGA KENTA: ok like. to set the scene here. i have mad respect for this kid and also love him to death as a human. i think he puts more thought into this production than anyone else in the cast – he is practically worry-san's AD. and he clearly has a lot of real deep thoughts and feelings about the source material. so deep in fact that it took a while for me to come around to his hinata because while, for example, tatsunari's kageyama could have walked straight off my television screen, kenta went down to the manga and built hinata up from there. he didn't have a choice – he's nothing like murase ayumu's voice. all too often we, and i include myself here, think of the two dimensions in 2.5D as anime, rather than manga... but just as there's a big gap between the two dimensions of animation and the three dimensions of live theater, there's as big a gap again between static black-and-white drawing, and movement and color and sound. and when i looked at kenta's hinata as something created solely from furudate's art style, it all slotted into place for me. (naturally, ymmv.)

it also took kenta longer than some of the others, i think, to portray all of what he wanted to. shoen hinata was pretty yelly, and pretty single-register yelly. hinata is a yelly character, of course, but the balance between that hinata and Serious Match Hinata was out of whack at first. this got better and better with every show. and then—

his encounter with ushiwaka here. was IT. it was what i was looking for all this time. his delivery of hinata's big line there was like – i think maybe i clapped my hands over my mouth, unclear, bc it was like the final missing piece and i was so happy. kentaaaaa. ;____;

part of me wonders if this is what kenta's always had in his head but maybe couldn't get his face/voice to express the way he wanted it? OR, IT'S KENTA, SO MAYBE IT WAS ON PURPOSE and his previous Serious Hinata was meant to be like, just a feral hunger child whereas this is the kid who experienced the heartbreak of losing to seijou. i would love to ask him tbh. XD

anyway, my son, after five plays continues to grow in his portrayal of this character. kenta is the heart of gekidan haikyuu in so many ways, and i will be at their graduation show if it kills me.

(breathes out) i think that's. everything. a best setter award to anyone who read this far, and feel free to ask if there's anything specific you want to know about? i will be seeing it again this weekend for daisenshuuraku and will be sure to report back on who cried, etc. all hail volleyball stage the end. 🏐

Wednesday Roundup

The late but always reliable reviewer Rena is here today. I sat on this one for a while considering the... internet-wide discussion we all are a part of now given Marvel’s recent revelations from this particular Wednesday, and the fact that I have a Marvel comic (even if only one) on my Roundups today made me somewhat reluctant to fully get into this, but I had, personally, a good Comic Day and I would hate to waste the opportunity to share the good in comics going on right now with all of you. So we’ll see how everything stacks up, and just how I’ll be handling Roundups in the future as a result of the current... nastiness, we’ll call it.

DC’s Batwoman, Image’s Descender, Marvel’s Invincible Iron Man, DC’s Super Sons, DC’s Superman, DC’s Superwoman, DC’s Trinity

DC’s Batwoman (2017- ) #2 Marguerite Bennet, James Tynion IV, Steve Epting, Jeromy Cox

As worried as I was with the Batwoman: Rebirth issue -- and I think I laid out my concerns pretty fairly, I have to fully admit that my worries have been almost entirely subsided as we go forward starting with this issue. 

I always have this concern when there’s a continued revisionist history of a character’s origins that we’re going to be falling into a Donna Troy affect -- where every author is more interested in retelling and retconning her history than actually allowing the character to be who she is and moving forward from there. A problem in comics that disproportionally affects female characters if you’re sharp enough to notice such things. 

This issue really helped me to put down that worry mostly because while, yes, we are revisiting Kate’s past for the hundredth time in the last ten years, the story proper is actually pushing us and her forward rather readily while not shying away from the aspects of Kate that make her Kate. 

Her loyalty, her issues with commitment, her homosexuality -- everything comes into play this issue and leaves us itching for more involving these Many Arms of Death plot overall. I’m very excited about this comic and am so glad that Maguerite Bennet is becoming such a good fit for it. 

Image’s Descender (2015- ) #21 Jeff Lemire, Dustin Nguyen

So I just recently got caught up on Descender in time to review the newest issue the week it came out, so I have to give major thanks to @feministbatman for recommending this comic to me. What can I say, you know me so very well and my love for robots and sci-fi has been incredibly rewarded for it.

This issue was another brilliant one, we had Tim-22′s reveal and takeover of the ship, but we also got to see a lot more development of Andy and Effy thanks to Bandit’s little vision quest of sorts for us. 

But of course the most anticipated and worrisome part of all of this is worrying for Tim-21 who is still in Psius’ hands and at the heart of the Havester plot that keeps on thickening.

It’s hard to say much else. 

I will say that while I’ll always be a fan of Nguyen’s signature style, I do find at times the choice to make this entire comic watercolor rather than more inked and refined does do some disservice to certain moments I think could benefit from having stronger color and more definition to them, but that’s a general criticism I’ll probably dive more into with the wrap up of this arc. 

Marvel’s Invincible Iron Man (2016- ) #6 Brian Michael Bendis, Stefano Caselli, Marte Garcia

An entirely all-female supporting cast to a female Black superheroine Ironheart with our token dude (Tony) being a computer AI. It’s the setup dreams are made of and I love how much love Riri is getting in the media and the world for her choices here. 

It’s also incredibly relatable how she reacts to being in her idol’s workshop, the idea of her “using it as her base” is unfathomable and her geeky cries of “THIS IS HOLY GROUND” had me literally laughing out loud. I loved it, and I loved how much agency and voice is given to Pepper as Rescue. So often when a young new hero takes over an identity, the trailblazers before them get left out (looking at you Captain Marvel, though you did make up with it in a pretty good issue yourself). 

There’s just so much to love in this comic and I’m glad that at the end of the day, even with all the Women in Science, it doesn’t diminish Riri’s single mom who works a 9-5. That relationship, you can already tell, is going to be monumental moving forward.

Great issue, great introduction to Riri. Am looking forward to seeing more of her. 

DC’s Super Sons (2017- ) #3 Peter J. Tomasi, Jorge Jimenez, Alejandro Sanchez 

To put things simply: This book might be one of the most amazing things that DC is putting out right now and if you have absolutely any interest in it at all, I would highly, HIGHLY recommend you pick it up because this is some a-grade fun. I adore having this book to look forward to and the antagonism as it comically plays out between Damian and Jon is easily some of the best stuff I’ve read with Damian’s character since the Robin: Son of Batman comic. 

Which, if you know how much I flatly adored that comic, should obviously be taken as pretty high praise.

That being said, there’s some issues. Damian’s skin tone is not being protected enough by the editors and the whitewashing, especially compared to how good DC’s Rebirth comics have been about it in other series, is very distracting and supremely disappointing. 

Jon has grown on me very quickly and while I will continue to talk about my longing for Chris Kent and my apprehensions about the continued theme of biological kids erasing the bonds of adopted kids, this is a good comic overall.

DC’s Superman (2016- ) #21 Peter J. Tomasi, Patrick Gleason, Mick Gray, John Kalisz

In this episode of “how is an evil cow taking down Batman” today, we get no such answers to no such questions, but we get a giant octopus monster fight with Superman, Superboy, and Robin and -- really -- isn’t that the content anyone really comes for in a Superman comic. 

Once again, Jon’s heat vision is out of control and kills something, but rather than it being another moment of horror and reflection for him, as his father was trying desperately to save the creature’s life along with the citizenry of Hamilton, but the entire town seems to turn on Superman and praise Jon over him for “doing what is necessary.”

Now, this might be me reading too much into this (and read: it is) but this seems honestly like a huge commentary on the values of classic heroes like Superman being put in stark contrast to the blood thirsty and fear mongering of the public today. Too often we praise the most immediate and final of reactions rather than the harder and grayer solutions which Superman is supposed to be able to give us. 

And considering how awkward the praise heaped on Jon feels in this issue, and the surprise revelation at the end, I’m pretty sure we’re not supposed to like that a life lost unnecessarily is being celebrated by everyone around. 

Damian and Jon are still a ruckus and everything is still very intriguing. This is definitely my favorite Superman run in a long time.  

DC’s Superwoman (2016- ) #9 K. Perkins, Stephen Segovia, Art Thibert, HI-FI

So here we are starting off with a new creative team and resetting my Rule of Three, which for anyone new means that I give new runs and new comics 3 issues to hook me before deciding how to handle the series moving forward. And considering that I wasn’t exactly thrilled with the last two or so issues of Jimenez’s run, I’m not completely objecting to a bit of a change up in the creative team. 

This issue is dealing with the fallout of the Superman Reborn storyline and mostly about Lana dealing with once more being powerless, and how that makes her feel conflicted. I felt like this dealt with Lana’s emotions in a much more respectful and loving way that the last issue did, definitely, but mostly the issue read as filler before we get into the next arc which’ll be starting with #10. 

So here we go into curiosity. I’m very interested in where this new team is deciding to take us. 

DC’s Trinity (2016- ) #8 Cullen Bunn, Emanuela Lupacchino, Ray McCarthy, HI-FI

Another issue, another tie-in, another creative team change. Now, I’m going to be flat honest with you: I have absolutely no explanation for what happened in this issue. And I’m not doing that for comedic effect, it’s just honest. 

This definitely felt like more filler before we get to somewhere beyond all the crossover events and can instead return to Trinity’s desperate attempt to find its own status quo. Something that positively worries me because its predecessors in spirit, Superman/Batman and Batman/Superman, never really cohesively found that groove for themselves. 

For the time being this feels like after the first arc, this series has become something of a place for reactionary storytelling -- basically paid advertisements for bigger events going on in the rest of the DCU. 

I desperately hope I’m wrong, I really liked the first arc and would like to see more friendship-centered adventures between DC’s Big Three, but I’m going to officially move this series to trade-wait if things don’t change by the next issue. We’ll see.

So this has been a rough week for comic fans, there’s no getting beyond that, and this Roundup was at least in part held back due to my own concerns about just how much the fallout of some truly bad decisions over at Marvel was going to play into my own feelings toward comics this week.

I feel, overall though, I had a good pull this week, and while some were a little lackluster and have gained my reservations, I overall really loved my Super Week. And of my Super Week I definitely have to give my favorite issue to Super Sons, which has just turned out to be a spectacular gem to follow and I’m very glad for it existing. 

But how do you all feel about this week? Any comics I missed you think I should try out? Any disagreements with me on this week’s picks? I’d love to hear from you!