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Now for something lighter!  (Well...not entirely ranty, anyway.  Though the people who keep complaining that Constantine stole his look from Castiel need to learn to research on the internet.
Hellblazer Comics, First Issue: 1988 (though Constantine really first appeared in Swamp Thing in 1985) Supernatural Season 4: 2008
Kripke actually said he based Castiel's looks on Constantine which you can find out on the wikipedia page.1
There are rumors that he'd tried to get the rights to Constantine who could show up in an episode or two as part of the Supernatural 'verse, but since I can't find any good links for that, I'll just mention it and move on.
And, oddly enough, if they argued in a different direction, they would be accurate about visual theft...Constantine's appearance was, in fact, based on Sting.2  Of course, in the end, that would mean that their beloved Castiel's design is...second degree theft.  Well, imitation is the sincerest flattery, they say...
Beyond this superficiality, though, there's very little in terms of character similarities.  The worlds they live in are dangerous, dark places that'll soon backstab you if you give them a chance.  Constantine's much closer mentally to Dean with his devil may care attitude, the drinking, the bedfellows, the quips, and most certainly the demons.  And by demons, I'm not talking Nergal or Azazel, though those definitely play their part, but the internal demons (again, not the being possessed kind).  The kind of demons that mean you have to drink to forget your dead brother (oh, yes, in Hellblazer there was one, if lost a lot earlier; check out Dangerous Habits or Hellblazer Issue 35) or startle awake with nightmares about Hell or Newcastle.
Oh, and there's the fact that both Sam and John have demon blood as part of what's running through their veins.
But there's another visual similarity I was struck with when checking out Original Sins last June (lgbt month; I figured it was appropriate).  So I'll talk about that instead.  Usual spoiler warning.
First, a pictorial comparison.  (Both screencaps from things I own, actually.)
Constantine:

And the Doctor, specifically the Tenth Doctor:

The costuming caught my attention, and then I started thinking about the similarities.  Both stand as a disruptive influence, challenging the norms and disregarding authorities.  (Hellblazer usually goes further than just about anybody else, even in showing things on screen, including direct political commentary.  Doctor Who is usually a bit quieter about its own forays into politics: Don't you think she looks tired?)  If you wanted to go even farther, you could say both are examples of the Trickster archetype (Jung strikes again)3.  Both figures are whirlwind bundles of ostensibly British chaos that sweep into a town and cause change.  As expected with pure chaos and change, the good and the bad are about equally likely outcomes, and may in fact coexist.  The Doctor often uses his title to ignore authority figures (although unlike Constantine if they've legitimately earned their title he's more likely to treat them with respect).  In the end, they'll accomplish their goals (of saving the world), but not without sacrifice and maybe even a little of the absurd.  Both push for critical thinking, not sheeplike behavior.
It's dangerous if you don't know about their worlds.  It's even more dangerous if you know.
Both are haunted by the body count.  "Just this once, everybody lives!" the Doctor calls triumphantly, and it's all too rare in Constantine's world, as well.
Both have an impressive 'I'm fine' facade, despite being haunted by their various internal demons.  Only long acquaintances, usually, get the chance to see beneath, unless it's one of their more stressful adventures.
Both 'need companions' to keep them from their more self-destructive impulses.  (But at the same time, it's dangerous to be around either one, no matter how brilliant it may seem.)
Both have impressive titles and unique 'powers'.  Constantine is the world's greatest con-man.  He's also The Constant One, the Laughing Magician, whose existence is to basically just be a thorn in the side of gods, demons, angels, and any other supernatural things with an interest in humanity.  He has his magic, random magic relics, the occasional help of reluctant allies, and his knowledge.  The Doctor is, well, the Doctor.  His name is a title.  The Oncoming Storm, the Last of the Time Lords, The Lonely God.  He has the abilities of a Time Lord, Gallifreyan science, his sonic screwdriver, and his knowledge.  The Doctor has the TARDIS, Constantine has Chas.  More than that, though, the first weapon of the Doctor and the magician is their wits.  Both have become famous for being able to outsmart their enemies.
Both also have pretty similar attitudes.  They're both fairly cynical, though that could be because of all the messed up things they've seen.  Nine especially is unsurprised (if disappointed) at the idiocy us 'apes' get up to, while Constantine, well.  Watch an episode or read a comic and you'll learn pretty quickly that he expects humans to be selfish, backstabbing, capable of every sort of atrocity.
And yet, they're vast humanitarians.  Humans, they don't believe in, but humanity?  They'll put their chips on the table every time, and if it involves a fight to protect that spark of hope, of possibility they see?  So be it.  And because of the Trickster-type characterization they can pull off the impossible, if not without cost.
There are a few differences.  The Doctor, as far as we've seen, doesn't smoke.  Or curse like a sailor.  Depending on the depiction he has almost Tony Stark-level panic attacks about the possibility of the Real Supernatural, as opposed to Clarke's Law tech.  We don't see (or often, hear) about the Doctor's years of brooding about the emotional wounds of past battles.  He can be worse than Constantine, though.  (Don't believe me?  Watch the pilot.  That pilot.  The very first one from 1963.  No, not the censored version.  The one where he was all for kidnapping Susan's teachers and in general was terrorizing them.)
In the end, Constantine is, perhaps, the Dark Doctor that writers keep trying to have and failing.  (Barring Capaldi's Doctor, who I've not seen for my mental health since I've been eschewing Moffat writing after the disaster that was the Angels in Manhattan.)
1. http://eclipsemagazine.com/hollywood-insidersupernatural%E2%80%99s-angel-of-thursday-%E2%80%93-chatting-with-misha-collins-about-castiel/2. https://scifi.stackexchange.com/questions/146906/was-constantines-appearance-based-on-sting
3. Carl Jung.  Not the best guy in the world but he had some really cool ideas that you owe it to yourself to check out.  Archetypes are the biggest, including the Shadow and Persona, which, surprisingly enough, are drawn on heavily for the Persona series by Atlus.
(For those on the lookout for another Constantine look-alike, check out the Secret World cutscenes with Alex McCall.  Aaaand he's still a better look-alike than the movie version.  I enjoyed it but not as a Hellblazer movie.  Not controversial enough, which works with the TV series because the character's the same even if the plot isn't, but to change both you might as well use a different name.  Alex trailer:  https://www.youtube.com/watch?v=afGb47PvKcQ)
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I realize this will probably have people jumping down my throat, but here it is: RE7 is a good horror game.  It's scary.  It even has the survival horror thing down.
Gameplay-wise, it feels like an RE game.  Storywise?  ...Less than stellar.
I got excited in the demo (first or second?  It's been a bit and I'm posting this late) when you picked up the phone and Ada was talking to you.  That's something that would have really helped sell it as an RE game--Ada, talking to you, giving you directions and advice.  It would answer a few questions about what she'd been up to.  Instead they cut that out for a new girl, Zoe, who's fairly bland in comparison and doesn't do all that much.
Horror?  Sure, terrifying.
But what I liked about the originals was, well, the camp.  They were pure Silver Age, delicately balancing the goofy camp with the terror of opening a door and not knowing what was on the other side or if your few remaining bullets were enough to deal with it before whatever was waiting ended your life.  This ditched that completely.  RE5 made the mistake of taking itself too seriously, too (though no one else did, and the best playthroughs to watch are where people aren't taking it seriously). 
It didn't have fun with it.  And neither did I.  Some people love that stuff; Outlast, for example.  Guts and scare factor just 'cause you can.
But the thing is, without that early RE tie-in that they'd had in the demo (and now I'm really starting to wonder why that was removed), you could easily call it a different game than 'Resident Evil' and not lose anything in the making.  There were documents here and there, but the majority of it felt tacked on as an afterthought in the end.  Discordant, disconnected.

tl;dr
RE7 does the gameplay of the first couple entries really well with a changed camera, without any but the most tenuous ties to the series as a whole.  You could rename it and the only thing you'd lose would be series hype.
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*Firefly is the exception.  From what I remember.  It's been a bit.  With Firefly, my memory's telling me that while they bicker, this is a group that actually has each other's backs.  Aside from Jayne, probably.  They don't have quite the emotional abuse that the other 'teams' Whedon writes tend to have.

          This is despite the fact that he's said he's trying to write dysfunctional "families"1.
         
           I just want to put this out there, because so many people praise the teamwork he writes.  I would not want to be a part of the Scoobies or the MCU Avengers.  Dysfunctional is one thing.  'Teams' where every member is emotionally abusive to each other are not my cup of tea.  And don't get me wrong, I love Buffy and the MCU.  But I didn't realize exactly how dysfunctional the MCU and the Scoobies were until I started a) reading fanfic and other interactions with the universes and b) for the MCU, watching Earth's Mightiest Heroes and Avengers Assemble.  I love b.  It gives me all of the teamwork I didn't realize I was missing.  It does a good job at not having everyone be self-loathing (I'm sick of angst/dumb teenager stuff--I'd say I grew out of it but the truth is despite slight depression I never did the teenage angst thing and slight depression is probably why I hate angst so much, because to me angst is stasis, it prevents action).  And despite rather large differences of opinion (re: Cap and Iron Man), there's respect there.  

           We need stuff in the media that shows that it's perfectly fine to respect those with a different opinion.  We need to stop normalizing emotional abuse.

           So, what did Whedon do, exactly?

           He gave us all beautiful, expansive playgrounds to play in.  A number of the fans writing there show much more healthy teams, or at least address the issues therein.  (Or they justify why one character they love is right rather than fixing all the issues that everyone on the show/movie perpetrates, which...really?)

           Unfortunately, he also put in place a system in which it's perfectly acceptable for fans of the various superheroes to declare each other horrible people or to glorify abusive or otherwise unhealthy relationships.  And not everyone seems to realize that, which is even more dangerous.

*I didn't mention Dollhouse. There's a reason for that.  The dysfunctional stuff and emotional abuse is accompanied by other types of abuse.  But it made sense for the story.  The whole thing is meant to be messed up.  The others are actually supposed to be good teams.

1. http://www.newsday.com/entertainment/movies/the-avengers-are-super-dysfunctional-1.3694995
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A while ago, I wrote something on the difference between NuWho and OldWho.  (NuWho is the reboot of Doctor Who on.  Not sure where the TV Movie comes in.  OldWho is 7th Doctor and back.  8th is kind of a world of his own, especially as I haven’t listened to the audio adventures to get a better idea of the guy and his narrative structures than just one movie.)  I don’t remember the specifics, but I do remember at least one thing: I said that OldWho tends to concentrate more on the places.  NuWho tends to concentrate more on the people.1  I still stand by that, but now that I’ve got a few more years of thinking about storylines analytically, I’ve got more to talk about.

OldWho really did feel kind of random in destination.  Yes, there were times the TARDIS had a mind of its own and brought the Doctor exactly where he needed, but there must have been many disasters over the years the Doctor didn’t or couldn’t help, simply because traveling all of even his lives wouldn’t be sufficient, and the people had to deal with things all on their own.

But even more than that, not every destination had something to do with the life of the Doctor or one of his companions.  Even in seemingly unrelated places like Satellite 5, it all has to do with the Daleks and the Big Bad Wolf, which are essential parts of Rose’s life and that of the Doctor’s.  Story arcs kind of do this.  While I enjoy story arcs, they also ensure that nothing can be random.  And that…cheapens the universe slightly.  Like nothing exists without being related to the Doctor or the lives of his companions, because of what we see.  Suddenly the universe isn’t this big, fantastic place, where all sorts of things exist.  It revolves around the Doctor and the lives of his companions.

It paves the way for lazy storytelling.  Rather than dumping the Doctor and a bunch of companions in the middle of a situation, and learning about their past and character by how they react to the situation, instead writers can slip into the path of telling you about their past by having every episode relating to their past.  You learn a lot more about Ace through her brash actions (easily falling on the use of explosives to solve any problem, taking a baseball bat to a Dalek which is still one of the most awesome things ever) than by watching her interact with a boyfriend, and a mother, and her workplace, and her mother’s cat, and her entire extended family, and this one person in authority who’s worried about her, and relationship drama.2   Worse, it sets up the idea that to get any interest out of a situation, you have to include soap opera-like relationship drama, or people will get bored and turn away.3  Entirely possible in a soap opera, for instance, but in a show about the wonders of the universe?  That’s not to say that you shouldn’t have character interaction, or that they won’t clash ever.  That’s life.  But it can be something as simple as Teagan sniping at the Doctor that for the tenth time he’s failed to get her where she was going, or a disagreement about the Brigadier and the Doctor about an approach to an alien invasion.  The more interesting and more invested action should go with the destination of the day or foiling an evil plot that’s been uncovered.

It makes maintaining a story’s verisimilitude that much more difficult, as in any story that revolves around its characters.  It’s one thing to have a story that revolves around the actions and dialogue of its characters.4  It’s a completely separate thing to declare the entire world of the story (which in this case includes the whole universe, all of space and time, and probably all the other dimensions that exist too, which is a very large world indeed) revolves around your characters, and anywhere you go there’s bound to be something relating to them.  Random TARDIS, my foot!  Everyday companions?  Yeah, for all of maybe a season, until you realize that they’re not anything like ordinary, because they just happen to be the parents of River Song, or behind the legend of the Last Centurion or the Bad Wolf, or somehow keep being reborn all around the cosmos.5  So, the next time that they introduce a companion that’s completely normal, you scoff and go “Yeah, right” which, I’m pretty sure, isn’t the response you’re meant to have.  And this whole myth of the Doctor thing?  Okay, yeah, impressive.  He’s known all over the galaxy now.  (And while it makes sense that a lot more places would have heard something, which makes this one of the very few continuity based things, even vaguely, that the Grand Moff was able to follow, I don’t think it would’ve reached the point shown.)  He’s The Oncoming Storm, the Only One In the Whole Universe Who Can Do Anything About Emergencies, and You’re All Supposed To Follow ‘Scream and Shout’6 Protocols Until He Arrives To Fix All Your Problems Or Potentially Make Them Worse Because Writers Have Been Attempting To Say That Their Doctor is the Dark Doctor For About Four Incarnations Now.  Big whup. 
It cheapens it, again.  So what if the Doctor wins?  The only thing more capable of winning is the Weeping Angels, because there is no way to win against them so you might as well just lay down and die.7  It’s inevitable.  It’s boring.  The only thing you might wonder is how it’s done.  But that requires investment.  And if they’re relying on you to be drawn in through the characters, not the setting, that means that you probably have to care about the TARDIS-affiliated gossip.

1.     1. In this manner, you could characterize NuWho better as a ‘drama’, because it’s all about the character’s drama, and OldWho as the science fiction it ostensibly is.  Yes, RTD made some mistakes too.  They just were a little more glaring when you look at the Grand Moff's stuff.  (That being said, I still have the feeling that the Grand Moff is confused as to what fantasy is, versus science fiction.  Science fiction requires some sort of ‘ability to answer questions’ accountability both in the science shown and the plot depicted.  How in-depth the answers are expected to be and how realistic the answers are is what differentiates hard science fiction from soft science fiction.  Fantasy doesn’t require those answers, which explains how such a brain-melting episode as The Angels Take Manhattan could possibly have been written.)

2.    2.  spoilers: pretty sure we only briefly even met Ace’s mom, in a moment when she didn’t even realize that’s her daughter standing there.  We did see Ace at her workplace.  That’s it.  And she was a better character for it.  The best characters written tend to be ones in which everything like this is worked out; the entire backstory’s written, but we see an episode here and there, not an entire season or show devoted to it.  Unless, y’know, that’s the point of the show.

3.     3. In this, I include the sudden drama at the beginning of the season of ‘I can’t have a baby’ ‘I can’t be with you’ ‘this is enough to drive us apart’ idiocy that was written between Rory and Amy.  You end the last season with Rory, the Man Who Waited a Thousand Years for the Girl He Loves, and Amy finally getting married.  But, oh, it’s a new season, gotta inject some drama, uh, let’s look and see what excuse we can find that would be severe enough…uhhh, baby drama!  That’s an issue with relationships, let’s throw that in there!
News flash: that ain’t how these things work.  Fine, it’s an issue?  Build up to it!  Paint it the Most Beautiful Romance EverTM but throw in a line of dialogue here, Rory flipping through a baby catalogue or something there.  Throwing something serious in there without any buildup ruins the realism, because these things don’t usually come out of the blue like that.  You get hints.  Maybe they’re not strong hints; they’re ones you figure out after the fact as ohhh, so that’s what that was about, but they’re there!
Or the whole thing about River’s genealogy.  I guessed it near the beginning of the episode of reveal.  How, you ask?  No, not through genius writing cleverly leading up to that conclusion.  No, because it occurred to me and I said that out loud and continued with “But nah, it can’t be, that’s just too dumb.”  Maybe if it’d been cunningly hinted at in previous episodes, it would’ve been a better reveal; as it was it was a dud.  It felt like it’d just been thrown in there for shock value.  To make Amy the latest ‘Average Person Off the Street that Ends Up in the TARDIS but no not Really She’s Actually a Special Snowflake Like All the Other Companions’.  To give the Doctor and Amy more of a link.  To make the whole ‘Amy’s attracted to the Doctor’ that much more awkward.  It didn’t feel natural and organic, which any good writing should do.  It should feel like ‘yeah, of course, there’s no other way this story could possibly have gone’.

4.     4. X-Files and NCIS are examples where the character development is given equal billing to the plot—but let me stress that the plot is not shoved aside in order to focus exclusively on the character development.  I suppose the equivalent would be the person who posts every little detail about their day on their Facebook page, down to every bathroom visit and crumb on their plate.  The story’s getting lost in the telling.  Most of the time, you’ll be bored stiff.  Now take a step back and think about that person who the minute they see you starts telling you everything that’s happened to them in the last couple weeks.  They probably won’t go into the trolly level of detail, but they still will talk about a lot that you might find boring.  (Of course, you may be highly entertained and follow them if they’re particularly witty in every post they make.  But in that case, they’re telling a very different story than a science fiction or a mystery story.)  Rather, in the examples of shows above, the plot and the character development are intertwined like DNA.  They both help paint a better picture.  We don’t have to hear all about Mulder’s sister every week (“And not everything I do and say and think and feel goes back to my sister. You, of all people, should realise that sometimes motivations for behaviour can be more complex and mysterious than tracing them back to one single childhood experience”).  When appropriate, Mulder’s sister is invoked, when not, the story takes priority.  That’s just an example; there are a lot of other personal details that aren’t shoved in your face every week but are instead taken out of storage when it’s a good time to do so.  And the interactions between the characters help drive the plot forward as much as the external plot events the characters have no control over.

5.     5.  All my knowledge about Clara is from the internet.  I’ve watched maybe one episode with her in it.

6.     6. When in trouble, when in doubt, run in circles, scream and shout.

7.    7.  Okay, you take a very terrifying alien race, where the only method of protecting yourself is by not blinking.  By keeping your eyes on them at all times.  Except if you do that, the aliens will end up in your eyes (kinda like Killer Queen’s Bites the Dust) and you’re not even safe if you do that.  So you have no way of defending yourself.  So you might as well make it easy on yourself and lay down and let them do their teleport thing because there is no way to protect yourself and make it out safe.  Maybe you could run.  Maybe?
Especially when this cop-out is just to put the female companion in danger for drama.  Let’s put the woman in danger, never mind the fact that this completely ruins the Weeping Angels as villains, because clearly there is absolutely no way The Grand Moff is a sexist.

8. I get that this is at times exaggeration.  Don't point that out; I'm fully aware of that and can defend against straw man attacks.

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The book is A Book of Common Prayer.  The narrator, Grace Strasser-Mendana.  The title is the last sentence of the book.  As the narrator, Grace's role is to be the observer.
not really spoilers but putting under a cut anyway )This science was like watching one of the not-even-entertaining Syfy movies.

unspeakable

Nov. 9th, 2016 10:03 pm
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Well.  It is a bad day to be anything other than a misogynistic racist UltraChristian white cisgendered male.
My remaining hope is that the new president shows a respect for the democratic system he has so far failed to display to anything and gracefully takes his leave in four years, rather than seizing the throne of dictator.  And that it won't be too hard to clean up the mess he left behind in setting back any sort of human rights back a hundred years or more.

...in other news, man, I miss City of Heroes....I need the comfort of being a superhero and saving something right now...

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(I should be homeworking, but it still smells of smoke and I'm a little upset.)

              
Trivia games always make me melancholic.  This isn’t particularly helpful after the anxiety of earlier today (a lot of work coming up, accidentally burning a potato in the microwave and setting of the fire alarm which believe you me had me absolutely mortified). 

               They always invite such judgement.  Why?  Things that people believe everyone experienced in their childhood…aren’t.  And when they learn they’re wrong, that you and they do not share the same literary platform, they’re outraged.  It’s a how dare you moment.  It’s a what’s wrong with you moment.

               For me, there’s no Pokemon.  Just never caught my interest.  A lot of the cartoons you’d name; I’ve never seen, or maybe just one episode.

               Gravity Falls looks interesting.  Teen Titans, too.  Haven’t watched them, though.

               My childhood?  Lord of the Rings, Liberty’s Kids, Magic School Bus, Princess Bride, Swan Princess, Anastasia, Hercules (the series), Teenage Mutant Ninja Turtles, Danger Mouse, Poirot, Perry Mason, Sherlock Holmes, Clue, Indiana Jones (and the young variations—they were actually really good), Star Wars, Muppet Treasure Island (but none of the other ones), Redwall (books and series), Bionicle, Dragons, Harry Potter, Miyazaki (especially Totoro).  The few Disney: Aladdin, The Sword in the Stone, the Black Cauldron, Robin Hood, City of Heroes (later on, but still valid).

               I never wanted to be a princess.  Being a princess was boring.  You didn’t do anything.  You just sat there, passive and useless, while the guys got to actually do stuff.  Swan Princess and Anastasia were interesting in which they weren’t the complete damsels in distress.  I wanted to be the adventurer.  I was Hercules with a brother sidekick Iolaus.  I was the captain of the good-hearted Redwall pirate ship.

               I’ve seen some of those things, like Yugioh and Bleach, since.  Pokemon still looks…well, I don’t care.  I’m old enough now that I can analyze that.  It’s the sort of thing where I should care.  I love Persona, in which it’s pretty much the same ‘gather powerful things that can fight’ mechanic, but then, there’s this whole Jung symbology and tarot and mythology.  Mario looks like it’s mostly a nostalgia draw for people, and I don’t have that same motivation.  Zelda might be interesting, but I’m pretty sure I don’t own any systems on which I could play said game. 

               Watching Frozen with a Disney-fan made me realize another reason that I didn’t tend to care much about that sort of thing.  The concerns…well, they make sense.  A kingdom isn’t exactly small in the grand scheme of things.  But the problems still felt so…tiny.  (Especially Princess Diaries.  I fell asleep.)  Compared to the scope of saving the entire universe (Star Wars) or Middle Earth (if you don’t know this one, go at least look at it right now—you might find you like it).  I got to the end of the movie and I was like “okay, I like the characters, the songs were great, the ice 3-D was blow-your-socks-off-not-unnecessary-3-D-use, but there’s something wrong” and then I realized that they don’t travel.  Not far.  It’s like the hobbit in Bywater complaining about the really really long walk to Frogmorton (hint: it’s not that far at all).  The world’s smaller.  It doesn’t have the grand scope of dreams that I’m used to.  They feel confined.  And that’s fine.  People like Realistic works, too.  This isn’t a “the way you see the world isn’t valid”, because it’s totally valid and I like that you’re there to offer a different perspective.

               But I’m not like that, and that’s totally valid, too.  I could make the excuse that Mom wanted us to mostly watch educational type TV, and spend most of our time reading.  I could blame her, but I don’t feel like there’s actually any blame to be had.  I don’t feel cheated.  I don’t feel like I’m any less of a person for not being immersed in this pop canon (I’m using the English Majory definition of ‘canon’ to mean ‘an important volume of literary works that should be required for everyone to read/in this case watch’; it should be noted that while this is agreed upon by tradition, it’s also highly subjective).  I don’t feel impoverished for spending most of my time in my imagination, rather than watching shows.  I probably wouldn’t have written anything original, wouldn’t have gone on the track of becoming a writer, if I didn’t have time to just play around with ideas and tropes and heroes in my brain.  I like who I am, and while it hurts me that you feel the need to judge my childhood viewing, I’m not going to apologize for it.

…/end sorta rant.

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I wish my muses would get their act together.  I mean, it's fun having new ideas and all, but the half-formed ones that are really persistent but vague enough I can't quite write them are pretty annoying until either a) I actually just start writing and it works itself out on the page b) my muses suddenly make everything clear as day or c) the idea goes away.  It's especially annoying for productivity, because just about nothing gets done when they're doing this.  (What's especially weird is that the muses have found music for the new story, which usually means that I can actually write it.  Not this time.  What are they trying to pull?  *sigh*  Though given some of the muses I've picked up over the years, I wouldn't be too surprised if driving me bonkers is a legitimate goal...)  At some point I might make a muses post and introduce you to some of these insane people.  Maybe.  (We'll see...)
Ah well, at least I've got archived stuff so it's not like I can't post!  Aren't you all lucky?~  (All A/N are added on after the fact.  Except for the Justice Will Prevail ones, which were actually written with each chapter of the fic.  And I'm actually editing which ones of those end up with it, so in the end you still get a post-written version.)

Everyone in the BBC Sherlock fandom is fun to write.  I'm not sure why, and it's not something I would've thought.  (Anderson, even.  Seriously, that guy is annoying, but for some reason writing him is fun.  Now I know why he's there.  Well, that and they had to have an Unfriendly Skeptic.  But still.  Some things make more sense from the POV of a writer, rather than the audience.)
Oh, and if anyone can't tell, I'm kind of making up the cut names on the spot (meaning I don't always have chapter names).  ...At least for this fic I have actual chapters.  I tend to write in blocky form without chapters (though I do have paragraphs, which counts for something I guess).  If anyone really hates any of the cut names, feel free to say so (or better yet, offer suggestions!)  (I do feel it's a better idea to have those, rather than the simple 'Read More'.  That seems a bit boring, ne?~
Fandom: Sherlock (BBC)
Rating: Teen
Trigger Warning: Amnesiac Woman bluntly referring to Chapter Two (attempted assault).
DISCLAIMER: Everyone who has any rights to this show has a lot more money and influence than I do.  (I'm working on that, though.  It...might take a while honestly.)
Summary: Police Station.
Observation: Good Cop, Bad Cop )
nevermoreraven: Photo of ravens sitting in rafters (Default)
I can't believe I didn't include disclaimers. Someone mentioned that I probably don't need them, as there are site-wide ones or something, but it can't hurt. Plus it's kind of interesting to try to come up with good ones.
Just a question for whoever eventually finds this journal and reads my stuff-one-shots within a set universe, or a chronological (or story-logical) fic with chapters in order? The thing is, my plotbunnies tend to hop around. A lot. And my muses are somewhat fickle as well. I'm not even finished posting what I have done with Rebel Doctor so far, and I even have a finished (if older) story that I have yet to upload. There's a few fics that I can post quite a lot of before I have to get to this. Eventually, though, I may have posted everything I can possibly post on a single story in chapter order, so I'm wondering how people feel about random one shots within a universe (with some explanation, of course) or if people would rather wait for it to be in order.

Buffy the Vampire Slayer
*Insert usual show spoiler disclaimer here*
Oh, that would probably also be good too-possible Trigger Warning (sexual violence) for musings below.  It's about some of the darker Buffy moments, so...proceed with caution?
Not About the Cheese Guy )
nevermoreraven: Photo of ravens sitting in rafters (Default)
The page feels cluttered when I don't hide everything behind cuts, so...have a cut!  (Or ignore this entirely if these don't happen to be the droids you're looking for.)  Maybe at some point I'll get out of the habit of essay writing.  (I doubt it though...)
Read my thoughts... )

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nevermoreraven: Photo of ravens sitting in rafters (Default)
nevermoreraven

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