Alternative Facts

I’m doing this all out of order.

This is an examination that should have happened either before I wrote my stories, or after when I had — or could still have — more of them. It is fairly clear that this entry is not a story in itself, at least not a fictional one, in my Alternative Facts series: whatever else it is. After all, where is the epigraph, right?

I started making epigraphs for some of my stories, in general, far before this point. You can blame Frank Herbert’s Dune series for my occasional, but fierce, love of putting quotes from other sources before my prose in addition to my love of classical science-fiction. In a way, while Dune has little to do with what I’ve been writing on my Mythic Bios Blog lately and before the New Year, it did teach me to look at the current world and what it could be in different ways, and I would be lying if I said that I had the idea behind Alternative Facts only recently.

It’s quite presumptuous of me, really. All of this is. Here I am writing, retrospectively, about a writing experiment as though it’s some kind of legitimate, published literature: as if it’s all finished, polished, and done. As if I may even continue it.

I’ve always known this world was imperfect. Even while, publicly and for the most part, staying out of politics I knew that human nature and what it builds is flawed on a fundamental, foundation of being. That’s why I always appreciated dystopian literature. George Orwell’s 1984 and Animal Farm come to mind, but also Aldous Huxley’s Brave New World, Yevgeny Zamyatin’s We, Philip K. Dick’s The Man in High Castle, and Margaret Atwood’s The Handmaid’s Tale. When you also add Russell Hoban’s and Alan Moore’s post-apocalyptic language play in Riddley Walker and Crossed +100 respectively, you can see all of these influences on a very basic and hardly comparable level with the series that I chose to share publicly.

It almost didn’t happen.

A little while ago, Neil Gaiman wrote a short story “The Man Who Forgot Ray Bradbury.” In this story, you see this protagonist’s view of the world change dramatically, even degenerate, but ultimately becoming defined by the absences of where Ray Bradbury’s work, knowledge, and presence used to be within their mind. I found it utterly fascinating, this mnemonic shift, and I tried to replicate it in a poor attempt at a story about someone forgetting Neil Gaiman and looking at the world through their eyes. I wasn’t ready then. I almost understood what I was trying to do, as much as I can still even attempt to put it into words, but reason wasn’t enough. I had to intuit it, and pass that spark into some writing.

Fast forward this a few years. The politics of the Western world, of North America, shifted: or at least what already existed became clearer to me. The Internet doesn’t allow you to ignore the rest of the world as readily as other media anymore, or at least for now. I realized, far later than many other people more qualified than myself, that this was something I couldn’t afford to ignore. Then, at one point, the term “alternative facts” was introduced into the world conversation. It’s true that you can refer back to Orwell or even 1930s Germany when you think about those words, but they stuck with me. At one point, on my social media, I wrote something along the lines of taking “Alternative Facts” and making some kind of dark science-fiction or speculative series based off that title.

Even then, I knew I was only half-joking.

But I didn’t do this for a while. It was a nice, snarky thought as the world seemed to be proving itself to be more stupid and self-destructive than even I originally thought. I thought about the American elections, and how in my mind it should have gone: that forces utilizing hate and hate speech should have failed —  utterly — then turned on each other, and become utterly forgotten: an embarrassment to society and civilization, polite or other wise. I started off this post by saying I was doing this all out of order. And I remembered what ancient civilizations used to do with dynasties and regimes that caused them chaos before they finally fell. They would go out of their way to erase every monument, every artifact, every word, and every mention of those former ruling groups: for good or ill.

Then I remembered something else. I had a friend I used to talk with from Germany. Among many other things, we would discuss history. Of course, the Nazi Party came up. This was before a lot of the turmoil that became prominent during 2016 and now onward, which is reminiscent of parts of history. My friend, when we talked about Nazis, never called them Nazis. They called them National Socialists. And that was exactly what their name was, the National Socialist Party. But then it was abbreviated, and from then on and over time, they have been called Nazis. It doesn’t matter what they styled themselves, or what their original aims were in other forms, or even their influences. That is how they are known now.

Just like my Repos, the former Repo Party, mentioned in my first story and elsewhere.

At first, I just talked about the Repos. And then, one day during August of 2017 when so many people were talking about politics and fascism, when I was wondering if I would ever see my girlfriend or any of my other loved ones in the United States again, I decided to try my hand at uniting these concepts into a story. What would happen if something so bad occurred that even as civilization in one area reconstructed itself, it either lost much information, or actually went as far as banning it — erasing words — to make sure they would become lost?

The first draft of “Lost Words” wasn’t really good. It got clunky and you could tell that I was still exploring a lot. The protagonist talked with a teacher and it all felt like very scripted excitement, very “Gee Willikers.” And the ending was choppy and rather flat as well. I sent it to my girlfriend, but even before she said anything else, I knew I could have done better. So I abandoned it.

Four months passed. It was probably in the back of my mind, just as our conversations and my rudimentary notes sat in fragments  on a draft email. Science, and laws are being changed and challenged. Political horror as a genre is rising again, or people are paying more attention to it. I had time to think about the power of words and ideas existing, and being erased. Certainly, even before this working on Sequart articles focusing on Alan Moore and Jacen Burrows’ Providence, along with the “Agents of HYDRA” arc for SHIELD really helped me examine some concepts that, for me, still needed a creative outlet. I also thought about some of the work I did researching and looking at Lawrence Gullo, Fyodor Pavlov, and Kelsey Hercs’ LGBTQ+ Bash Back comic.

I honestly can’t remember why I resurrected and rewrote “Lost Words,” not when I left it for dead. Not when I almost let it no longer exist. I know I reconnected with a friend of mine and wanted to show it to them: thinking it right up their alley. But I had been working on it even before that. At least I think I did. As I say in “The Spectrum” story, it’s hard to say when something was born, or destroyed, or made when it seems as though it always exists on some level.

All I know is that I wanted people to see it: even the shoddy draft that I could just put on my Facebook and be done with it. But I didn’t leave it at that. I honed it down. I made the narrator more definite. And I added a layer of metaphor to it, something to mirror the main story and give it that resonance I needed. It was only later, after I wrote “Freedom” — from the perspective of the Repos of all people — that I added an epigraph retroactively into that story, based on the fact that I made one for “Freedom.” And the trend began, if such a thing can be said what with there being only four stories so far.

It is funny what you can tell about a world, like Amarak, by what isn’t said. I realized that writing each story from a different perspective, with epigraphs that complemented and contrasted with the narrative content, was effective for me. They are like dispatches from another place, another possible time. The word play is incredibly reminiscent of classic science-fiction to the point of it being very pretentious and derivative of classic science fiction of the twentieth century. I take fragments of Latin, I mess around with English and abbreviate words, attempting at times to make sure they have multiple meanings. It isn’t anything special. I am no Russell Hoban, or Alan Moore. And in terms of the stories and their conceits, as a friend of mine once said to put me in my place long ago, I am no Neil Gaiman. And in the wake of the twenty-first century, with its far more sleek and genre-savvy science-fiction and speculative literature I know there are many voices looking at these issues that are far more diverse than my own.

But I did it regardless. And I found it funny how Lost Words, which I thought was the most clever, was a story some readers just didn’t understand. I thought it was clever. But I suppose that is the problem: cleverness does not always a good story make if you don’t make it relatable. Weirdly enough, Freedom with its mythic and almost religious quality seemed more accessible, and The Spectrum in particular seemed to really hit a chord in people, or punched some subject matter rather unsubtly in the face. By We Are the Grass, though, I basically went “full circle” and wrote about what I thought: take it, or leave it.

I don’t really know, at this point, where to go from here. I just came back from a visit to the States and I am tired. But even before that, I wasn’t sure where Alternative Facts was going. I originally thought of it as something of a dark speculative anthology series, with tongue and cheek political tones, but a world — the land of Amarak — grew out of it instead. It is still a possibility of course that I will continue with my original plan if Amarak becomes too exhausted.

And I have some ideas. The fact is, I require more inspiration. I hit my stride with this, and another series I’m working on at the moment — a private one I was focusing on before this one attempted to supplant it like the usurper that it is — so I need to keep that fire going. I believe watching films like Get Out, as well as Netflix’s Black Mirror, along with reading Pornsak Pichetshote and Jose Villarrubia’s upcoming Infidel comics series in a few months could help recharge my batteries of pure dark fire towards the world. Or, you know, continuing to watch and read the news: that works too.

When it comes down to it, though, I feel as though every story I write, every story I’ve ever written is filled with “alternative facts”: is in fact an “alternative fact” in and of themselves. I don’t mean that they are lies, though some stories are lies and, as a great writer once said, all writers are liars. But they are all still stories and they do say something about the storytellers, and the place from which they come. And sometimes, some things just speak for themselves. And sometimes it is better that they do instead of remaining silent. Silence is the ultimate death though … sometimes what isn’t said can speak incredible volumes.

I think these are my thoughts for now. Feel free to read my stories if and when you have the time. It is good to place something on this site. It has been reposted on, and neglected for some time now. It feels good to put something on here again, especially something that feels worth while. Everything still is out of order. I should have ended this post with the previous paragraph. But, somehow, I feel as though whatever this is is just beginning. Or it is always here and I am just one more person speaking it: one more letting it speak through me. Take care everyone.

Fanfiction and Story Insights: Or Plausible Creativity

It’s been a while, yet again. I know that I have talked about fanfiction before, but I have been working on a particular story on A03 that has made me think about certain elements. It also helps that this DeviantArt article on Mary-Sues was brought to my attention. I don’t know if I agree with a lot of it, necessarily, but there are some good insights within it with regards to making a particularly plausible or believable character in which to make a story of a similar kind around.

It is important to bear in mind that any character you create, as a writer, should have their own strengths and weaknesses, as well as have different relationships with other characters and environments. In other words, a good character is arguably as close to a realistic person as you can make them, even on a basic level, where they have different facets that you as a writer can explore.

But I have been thinking less about this point, and more about how to write fanfiction: specifically setting a story in an established fictional universe. And I’m afraid that I have less advice to give, and more of my own personal insights — or what works for me — to actually talk about.

I find that what really works for me is to use characters that already exist. Often, I can create dialogue and character studies and let them play off of each other. The dialogue is important to me as it embodies who those characters are, how they are different or similar to one another, and what is actually important to them. Sometimes I will even act out those characters, aloud or in my mind — as I do with my original fiction — and see what happens from there.

I research them and their world as much as possible. Sometimes I don’t necessarily read the original work or narrative from where they come from, or the particular element that I want to focus on, but I will read up on it in encyclopedia articles. In some cases, I will look at other media such as animation or film instead of the original texts. This isn’t always the case, but especially for Star Wars Expanded Universe and Fate/Stay Night I tend to do this.

For me, I find the best fanfiction — that I can make — is the more plausible kind. I try to work with continuity and the rules of the world in question as much as I can understand or, learn about them. I do not add new abilities or characters, but if I do I will try to incorporate some kind of logic or description of them that fits that world, and describe their mentalities in a way that makes sense as either influenced by the world or the pre-existing characters.

A lot of it, for me, is extrapolation: seeing how the characters function in that world and then placing them in another situation or series thereof and seeing how they will pan out from there. Often I focus a lot less on physical description, and — as I said before — dialogue, but also a lot of third-person limited introspection. I tend to refer back to events, creating call backs, to both things that happened in canon and things that happened in my fanfic as well — in the narrative — to fully flesh things out further and add to that sense of plausibility.

The way I see it, at least with the fanfic I have been writing for over seventy chapters as of this post, I have done a few things. First, I extrapolated on the characters previous actions and emotions and gradually transitioned them into newer but familiar places. I have made original characters too that I might plan to use in another fanfic, or a sequel, but I use them sparingly. When I build up events or changes, I make sure to show all of the steps. Sometimes I will describe something. Other things I will reveal it through dialogue, limited narrative perspective, or even an italics-based first person point of view throughout the work.

But sometimes, there is the other challenge. Imagine you are trying to work in a creative sand box, but you have this idea that is incredibly fascinating to you. You look at it, and you feel like it would make for an excellent development in the story, a nice chapter for instance, but you don’t know if you can describe it well, or if it works in the lore of that world. Sometimes you have to let it go, for the story’s flow, and for the sake of your own sanity. Certainly, you will have a fanbase of that world watching your every move in some form to consider.

At the same time, though, sometimes it is for the sake of the story itself that you should in fact challenge yourself in adding this new chapter or element. The main challenge is incorporating it into that world. You can do it by making it clear this world is just a gradation or variant of the established one. Or, conversely, you can leave it open and ambiguous: with just enough examination or description to hint on one thing, or another and leave people to wonder. For instance, I gave a character an ability she probably shouldn’t have had, but I played around with the relatively ambiguous and not always orderly rules of that world: and I described a way in which she could have gotten that skill in a few ways, and how it fit her power and her intention.

Basically, I extrapolated a character’s abilities after her time in canon, with what little knowledge we were given of them after the fact, and then added this little surprise. And then I had her and another character address this: where even they were not entirely sure how she could do some of these things, or how it worked. It is a little jaded and self-aware, but I took advantage of a loophole in their knowledge and offered a plausible explanation — or head-canon on my part — to make it possible. To me, it made sense. I had to rewrite some of it, but I think it works and I am glad I took that risk because it makes the whole fanfic stronger for it.

For the most part I have been careful, building it up, but in that particular instance I thought starting with a fight — even in an unfamiliar place to me and the characters — worked. I did research it as much as I could, aspects and all, but in the end I just had to write the damned thing. And like I said, it worked for me.

And then, in this same fic, I have had other challenges which in turn have offered unique solutions. For instance, mythological figures are used in the world in which I am writing. So at a few points, the characters have found or searched for items associated with these figures. Most of these artifacts have been described in the story, or in encyclopedias. However, some of them have not. I found myself in a quandary: where I had to determine what these artifacts were, how powerful they are, and how they were different from each other. There was one in particular that I had no information about beyond a basic description in normal Wikipedia or elsewhere. And it wasn’t even in the fictional universe I was working within.

So what I did, was I took the artifact and described what it could look like. I gave it something of a Whovian perception filter: that some characters could see it and have some idea of it, and others could not. And even the ones that could knew that they saw something subjective. And it matched the nature of what the item was, and what it does. I explained, through dialogue and some thoughts of one mythological figure how this might be so, and how it was different from a similar artifact which went back into this character’s history a bit. I also gave an explanation as to how another enchantment of hers was related or derived from said artifact. And because she is so old, and due to the reason she exists again, she doesn’t remember all of it. But in the end, it isn’t that important. What is important is that I grafted an item related to a mythological character who has been adapted into that universe. I made it plausible. And I covered my own ass, hopefully well, by making that knowledge subjective through that character’s perspective.

I’m not going to say that I’ve been perfect, because I’m not. I have a feeling there might be some loose ends in the tapestry I am forming from my idea of a pre-existing one. And here is the most important thing that I have to tell you.

The best thing you can do when writing a fanfic is to put your slant on that world. Your voice. The way that you want to look at that world. When I write a story, I look at character interactions, and philosophical implications: specifically introspection and development in between the fighting, the fucking, the walking, the sitting, and the discussion of past and present events. I want to deal with actual talking, and dealing with closure: as well as emotions coming from the results of consequences. Not everyone is interested in that focus, and I know that.

Some fanfic readers want to see the minutiae of that world and their favourite characters unfold. Some want to see the stories of their heroes continue. Others want to see those conflicts from canon get resolved or come to a head: to have the good person get their justice, or the jerk get smashed in the head with a baseball bat. Others want to see characters they hate die or suffer, or others ascend to greater potential.

Honestly, I have had commenters on my fic request romantic pairings, and outright fucking.

The point is, everyone has different expectations and you have to tell the story that you want to tell. You will never be the original creator, and that is a good thing. You can explore things and do things in ways they did not. As for me, I like to remain plausible and retain a sense of continuity, but I will suspend it for the sake of what it is all is — entertainment — while backing up what I say with details if I can, or I will fudge it by finding some kind of ambiguous loophole while making it all about those character interactions.

Now this, all of this here, was a lot of text to read. So thank you for reading this far. I have to say, writing so much is exercising my mind: getting me to research, think, and plan creatively. I am still working on my own projects in the mean time and, who knows? Maybe one day I will share some of them with you, once again. I hope to write to you all again soon, as time goes. Take care everyone.

Nilthene and the Blue Dragon

I wrote this for The Hoard of the Dragon Queen Campaign for Dungeons and Dragons. As such, there be SPOILERS here. You have been warned.

This is the full speech that my Dragonborn sorceress Nilthene Silvermine delivered to the Blue Dragon Lenethon in our last session in order to get him to leave the Governor’s Keep of Greenest alone.

It began when Nilthene utilized her Message Cantrip, and addressed the attacking Dragon in the Draconic Language. 

“Great Dragon, Draconic Elder. I am the Dragonborn Nilthene of the Clan of Silvermine. On behalf of the people of Greenest, and in accordance to the Ancient Ways, I wish to make parley with you. Please meet me on the parapet of this Tower, if you would be so inclined. Thank you.”

Then, surrounded by Greenest’s terrified archers, the Dragon rose up to meet with Nilthene, and her Druid companion who had been brave enough to risk instant vaporization from lightning breath. 

“May I ask whom it is that I have the honour of addressing, Great Dragon?”

At this point, he said “You may,” and he revealed himself to be the Blue Dragon Lenethon. The rest of my speech, which I delivered in part, and kept to the spirit thereof is the following. 

“Lenethon, I would like to thank you for your patience as I make my case, and request that you withhold your judgment until I say my peace. Is that acceptable?”

For the moment, it was. The rest is as follows.

“I am born of the Silver Dragon Alesandra’s line, and while I know that the Chromatic and Metallic Dragons clash in many ways, our blood does agree on one thing. Dignity.”

“The people of Greenest have little to offer you — and you personally. They have some baubles, a few minor trinkets, but most of their wealth comes through trade and agriculture. But I suspect you already know this or, if not, it is unimportant to you.

“The Cult of the Dragon has always trade to seduce Dragons of … lesser stature and hoards into becoming undead abominations: animated idols that they worship to fill their own empty lives. They have never truly respected the blood of a true Dragon.

“This … new Prophet of their, Severin Silrazrin, and his lieutenants Fulram Mondath and Langedrosasyrith seem no different. In fact, they’re even less worthy. You see, I think the ‘Prophet’ actually leads a breakaway sect of the group, worshiping Tiamat. Or he has not consolidated his power as much as he’d like others to believe. You’ve surely noticed how his Cult relies on the services of mercenaries, hungry only for gold instead of glory, and mindless kobold slaves.

“In fact, I am fairly certain that the only reason this fledgling order even took Greenest, and the other settlements in the area is because of your power. Your majesty.

“And they offer you … what? Small trinkets and farmland? It’s barely enough to fill a Dragonborn’s hoard, never mind a Great Dragon’s … or that of Tiamat herself! It is an insult! I’ve spent my whole life trying to learn about the progenitors of my line and race, to come towards the greatness of the true Dragons — of yourself — and I know that this is all petty and beneath us. Beneath you.

“You could have destroyed this town many times over. You could have killed myself and my group: whom Mondath wants dead. But that is also beneath you. You know your power, and I think that you know theirs.

“I know I’m also not a Dragon. I am not of Tiamat either. I have an attachment to these humanoids: as a parent to their hatchlings. But I know you do not.

“So, I beg your indulgence once again, and ask you: why do you serve a sect that can’t even raid small villages without your help? And is there a way that you may be persuaded to spare Greenest, or at the very least leave those who would worship grotesque undead mockeries of beauty, and pay lip service to Draconic powers that they will never understand?

What can the Cult of the Dragon do for you? And what can we do to change your mind?

We await your answer, Great Lenethon. Thank you.”

In the end, after he nearly took offense to the first part of the speech, I shortened it to saying that the Cult was unworthy of him and had nothing to offer him. Then I asked what we could do to convince him to leave the Cult and Greenest. He gave us our quest. Now I hope to fulfill it … and not die for over a thousand years. And who said Level Two characters had boring adventures. 

The Plan

It’s been tough.

I’ve been going through a lot of personal issues lately. And these issues have been further compounded by writing problems.

In my last post, my last real one aside from reposts of my other work, I was inspired by Brandy Dawley to actually attempt to personify or give form to my inner critic or judge. If you haven’t seen it already, you should check out her Medium article  On Creative Paralysis, Feeling Naked Online, And My Inner Critic Whose Name is Chad: which is what inspired my Mythic Bios post “Time.”

I’ve been thinking about why I haven’t really been creative writing for a while. Originally, last year now, about the time I saw Stan Lee, Alex Kingston, and Michelle Gomez at Fan Expo I was charged enough — re-energized and inspired — to attempt writing full-time for Sequart. The idea was that I would write my 15K words on the side while I re-innovated my Patreon, and only doing so after having something of a centralized creative project or clear series of goals with regards to said project with which to work towards.

But 15K words a month is a large commitment. And perhaps even more than that, there is a difference between writing something that is analytical as opposed to being creative. It’s true that I am fairly creative in expressing myself and my words and viewpoints in my critical writing, and that does tide me over, but it really isn’t the same. Sometimes I become very mindful of the fact that I am not really making anything original. I’m not making something that is mine. While I have made good contacts and gotten my critical writing out there, and got to examine some fascinating creative processes, I can’t really take credit for them. They aren’t my own: at least not the source material that I write about.

This feeling can fuel Imposter Syndrome considerably. I may have to actually cut back, or down, on my analytical writing into the near future. There are some topics I definitely do what to still address and I won’t rule them out, but I need to make the space to create my own primary material once again.

So what will I do instead? Well, I have comics that I need to catch up on reading. And films and television shows that I definitely need to watch. I do require inspiration to continue my good work. I also need to take care of myself and possibly get to the point where I can go to bed at reasonable — read sane — hours.

And this leaves us at what I want to ultimately do in the future. Well. The good news is that recently I have sent out three creative pitches to the Toronto Comics Anthology. It just felt time to put my money where my mouth is. But that is only a start.

I need to go through my notes and my notebooks. I need to type out and I edit what I have of at least perhaps three or four creative worlds I’ve left for far too long. I need to decipher my notes, type them out, and make sense of it or discard what I have and start fresh.  Then I need to go back to my Patreon, however daunting it may be and challenging as you need to have a strong following and project to get anywhere, and redesign it accordingly. I am not a graphic artist or illustrator or even a video maker, but perhaps I can do something about replacing my picture on the top border, and making my funding goals clearer for me and anyone who potential wants to back my work.

I still have some critical pieces I want out there, but I think what I will do is return back to the Mythic Bios approach to these matters and write the personal into the critical as I used to do.

All of this is easier said than done, and I have said similar things in the past. I realize I can’t force a lot of this, but if I make the space and just record what I have, and read and write and not force it, I could form something else. I know I can still do this. I’ve been working on a public fanfic that is now forty-five chapters long and counting. I find that I actually thrive on just writing, on doing some research when I need it for a day or so, but then just writing on wards and writing more to back up what I wrote before. I am stronger when I just keep going. This and actual feedback through kudos and comments really does help me, and it is something I should definitely bear in mind. I just need to find the format and the media for it as I am not sure, for example, that A03 is the best place to publish original work.

I find I am at my most powerful when I am painfully honest. And that is scary. But if I have any hope of getting to where I need to be, I need to be at my best. I know that hard work is not a guaranteed method of success, but a lack of work is a guarantee method of no success. It isn’t even failure. Failure doesn’t happen when you don’t even try. And not trying is inaction and nothing. But reading and writing aren’t nothing, even if they are just focused on a fan work.

The point is, I hope to make some changes and to continue the ones that I have begun. I hope that those of you that still follow this Blog and my media will be there to see what I will do next.

My Fanfiction Origin Story

The title is more epic than it actually sounds, but when I think about it the entire thing had been a story long in the making.

Some writers believe that fanfiction is a waste of time. Certainly, you can’t really profit off of it unless you have the original writer or creator’s permission, and you do not want to run afoul of copyright infringement. But that’s not what I’m here to talk about today. I’m partly here because it’s been a while since I’ve put anything on this Blog, my Writer’s Blog, that hasn’t been a repost from my Sequart work, or elsewhere.

I suppose I’d … always written fanfiction. In fact, I did it ever since I even learned how to write. Often I’d watch the 1990s Peter Pan cartoons and attempt to write the further stories of Captain Hook, Teenage Mutant Ninja Turtles, and more. In the eighties and nineties though, as a young child, I was mostly interested in horror stories and mostly rehashing the old urban legends and Hammer film derivatives of horror classics more than anything else.

I don’t know if I remember it properly, but I think it really began in Fine Arts Camp. It was at the MacDonald House in Thornhill, once owned by the Canadian Group of Seven artist James Edward Harvey MacDonald. At the time, in the 1990s, I fancied myself something of a graphic artist. I was really passionate about drawing and creating cartoons. It made sense given my interests and my immersion into old DC and Marvel comics and a lot of the stuff coming out in the nineties. Certainly, I wasn’t all that interested in landscapes or other forms of graphic art. Just cartoons. Just comic books.

To be honest, Fine Arts Camp for all its fascinating old MacDonald House that was a good place to tell children urban legends and horror stories near a church and a community swimming pool, wasn’t always so ideal for me. For one, I had terrible allergies and being almost always in the middle of a woodland, surrounded by many trees, did not do me or my lungs that felt like they were getting kicked by horse hooves at night any favours. Also, well, when you are a child and generally an indoors one you have to understand that for all a camp will call itself a Fine Arts Camp, they will still force you go outside in various temperatures and play sports more than you will want. It was the same in the Computer Camp I went to, thinking I’d learn about animation and programming, and it was the same here before it.

Also, when you are extremely introverted like I was, you don’t tend to make a lot of friends: especially not from children your age or, worse, older. To make a long story short, aside from arts and crafts, and even some walks, I didn’t really always like being at Fine Arts Camp. But, I did discover something there that has sat in my head, with me, for the rest of my life.

I don’t remember his name. I’m not even sure he was the same person. But I knew a kid there, a few years older than me. He had in his hands, at the time, something I coveted the most. It was the Wizard Magazine: X-Men 30th Anniversary Special. In that magazine was all the information I’d been looking for about the X-Men and more, so much more than the Marvel cards and their lore that I had been collecting then.

For all the little squabbles we all had there, being kids, this guy was generous and he let me actually read parts of the Magazine. And, even though the other campers really thought I was weird for doing this and it probably gave them more fuel to push me around later, I was actually taking notes on all the information I could find. It wasn’t enough and eventually, after much pleading on my part and my grandmother’s reluctance to spend or let me spend all of twenty dollars, I got my own copy: which is still somewhere down in my basement somewhere.

But the important thing I want to note here is that this same guy, and may not necessarily be the same guy, liked to write. He told us that he would type up his stories on an old computer. Somehow, I remember him saying he had the Internet and frequented BBSes looking at stories based on franchises like Star Trek and Star Wars. I might just be projecting that, as I had no idea what the Internet beyond school was or what a BBS even was at the time. But I remember him saying that he liked to write stories where Star Trek and Star Wars crossed over, and perhaps something about Locutus of Borg meeting the Empire.

It blew my mind.

I don’t remember all the details, but I recall the way he described his ideas and his stories. I think he even brought in some old computer paper with rings on the sides and clunky font. And I definitely remember wanting to write franchise stories.

I wanted to make those crossovers. I wanted to write Star Wars. I wanted to write comics and all the things.

That’s how it really started. There was an attempt at a Star Wars expanded universe story in my Seventh or Eighth Grade Writer’s Club anthology: where Luke Skywalker and the others meet a Dark Jedi fighting against the Empire and the Phantom Fleet. But you can imagine how well that was written at the time, and even more so how it aged since.

But I roleplayed out original Star Wars, X-Men, and Power Rangers episodes with my best friend Sean, and I kept writing. I still attempted to write my own works, but they were derivative of R.L. Stine’s Goosebumps and Fear Street, along with some Christopher Pike, so you can imagine what those might have been like.

I think my writing skills started to be honed after high school, after reading more and writing an original short story in which I won a Senior Literary Award in 1999. I joined TheForce.Net again in 2005 and wrote what I thought were clearer iterations of Prequel stories. Unfortunately, despite all their assurances that everything would be saved, a lot of my works were lost when the Board attempted to transfer its data to a new server and most of my old works were heavily truncated.  It’s something I never really got over, after all this time and, frankly, it’s kept me from really writing there as much anymore.

But I learned a lot out of writing in different pre-made worlds.. I learned about what writing I liked and what I didn’t. They gave me ideas and frameworks for them. And sometimes they gave me an outlet to tell stories I wasn’t prepared to tell when I didn’t have a voice for them. Yet I think, most of all, fanfiction keeps me writing when I don’t feel inspired to write my own work, or when I’m getting overly critical and analytical.

Recently, I’ve joined AO3 to give some of my fanfic pieces a broader audience. I didn’t really like the freeform administrative style of Fanfic.Net, and TheForce.Net’s administration can be … sporadic and highly dogmatic in terms of poster interaction at best. But AO3 has a lot of variety and also maturity at times with regards to their work. So far I am liking it. And I cross-post all the time. Right now, in-between writing critical and opinion pieces for Sequart and thinking of some of my own original pieces, I’ve been writing a Fate/Stay Night fanfic I’ve been pondering over for a while and a few other shorter vignettes as well.

They keep me going, and I don’t think I realized how I missed it until I stopped. In addition, they also keep me writing new things and attempting stuff I hadn’t thought of or had the metaphorical balls to dare try. At the moment, this variance helps keep my mind fresh: and, who knows, I might have some of my own creative breakthroughs.

Some might even say that this how literature itself continues, minus all of these labels and copyright issues. Someone creates something and others want to emulate it: with perhaps reading and interacting with the materials that the original creator made to understand it better and eventually find their own voice.

Even so, fanfiction allows me to interact with the material that I love on a creative level without the pressure of feeling like I have do it professionally or for a need for money. I think there is a lot to be said about it, if you learn and grow from the experience, and even just have fun. I don’t know. I do know that I have come a long way from coveting wanting to write a Star Wars story, which I thought was beyond my ken at the time. With time, research, and will I can write almost anything now.

I guess that, in the end, I just need to remember that. After all, I think it is always useful to pursue inspiration: wherever you can find it.

Some of What I’ve Been Going On

Again, it’s been a while.

Some of this post is just an update on some of the things I’d been working on, but the rest of it is about some of the journey and what it has led to so far.

A little while ago, a YouTuber named the Gentleman Gamer told his viewers that he was opening himself up to answering some questions. The Gentleman, also known as Matthew Dawkins, is a game developer and writer for Onyx Path among other places. I have meant to write about him in the past, especially about his own reviews and the games he’s run that I’ve been privileged to see on his channel, but what I really want to do here is post the response he made to a question that I posed.

What advice would he give to an aspiring RPG writer.

The Gentleman gives out a lot of excellent advice here that can be applied to the art of creative writing and making creative writing an occupation in general. There are also a few points about his experiences that have a nice parallel to my own.

He explains that he got “under the fence” through backing a certain reward for a Kickstarter Campaign and getting to do some writing to that regard. I actually did something similar. A while back, I backed Ink Works’ Unwritten: Adventures in the Ages of Myst and Beyond. I wrote an Age, or a scenario for that universe called the Age of Ser’eti. There are differences between what he did and what I had done, but at the very least it is something I can put on a resume or a CV if applying to a job to write for RPGs. It is good advice if you, at some point in time, have the resources and the will to do it. It leads in well to what I planned to do, and what I am doing now.

Many of you that have been following me also know I sent in a writing sample to Onyx Path for the 20th Anniversary of Changeling: The Dreaming. I sent it and a cover letter in and, well, given that I heard no response I can safely assume I didn’t get the job. It’s just as well anyway. Changeling is not my White Wolf/Onyx Path area of expertise or general knowledge. I wasn’t even interested in it at first, until I started thinking about the premise behind it and the ways that I could interpret those rules and backgrounds to tell an interesting story. What really helped was that, at the time, Onyx Path was looking for fiction and not rules-based material. I knew I could tell a good story about the Fae and learn as I went along. Indeed, I did a lot of research on past versions of the game, stories, and folklore. I honed my story down and I thought of how my own perspectives could influence future stories and writing that I made.

I tried. I actually took time away from something else I was writing to send out this entry. And even though I didn’t get in, a lot of what the Gentleman says is true. You should write about what interests you, that this shows what you do, and if not wait until something that does interest you shows up. I would also add that if you can find an angle that intrigues you about something you might not originally have found in your realm of interest, you can do something really fascinating with that as well.

No, what I took a break from in sending in my writing sample was an article, a part of a series of articles on a comic, that I am writing to be published on Sequart.

I have also decided to write for Sequart full-time.

It isn’t much money, but I will get some pay in addition to becoming a “shareholder” of the site, developing my networks and making my presence better known. It will change Mythic Bios, as many of these plans for articles I have would have made their way here, but I haven’t been on this Blog in a while and it has been changing regardless. At the very least I can put my foot through the door of professional writing. I’ve already done so. I’ve written for Sequart and GeekPr0n about comics and geek culture. I’ve also published two short stories in print.

What I need to do, quite honestly, is to just keep at it. This is a way to find a crack through the door or under it to get to where I need to be: wherever that is.

I think I just wanted to update my Blog, let you know all know what’s been going on, and to show you my attempts and my failures so that you can learn from them. So I can learn from them and continue to do so.

I will be back here, eventually. I might post pieces here that I can’t publish elsewhere and more personal items as well. In the meantime, I have some work to do. I’d like to thank the Gentleman Gamer for taking time to answer my question. And I hope that everyone is well. Take care all.

Working On A Comics Script and Submissions

I thought I should make a proper update while I still have some time.

My Displacement Twine became something of a one-off project that I came up with late at night while I’ve been dealing with other matters. I’ve already mentioned that I’ve got ODSP and I didn’t, in fact, have to go into a hearing as my community lawyer settled it “out of court.” It takes a major load off that’s been weighing on me for the better part of a year, but even though I know there will be more challenges and annoyances ahead, it still feels like progress.

But now for the stuff that you don’t know about.

A little while ago, I was a student at Ty Templeton’s Comic Book Bootcamp Writing for Comics course. During that time, after doing many assignments, we were supposed to hand in a script: in order to get feedback from Ty himself. Unfortunately, due to life’s circumstances I was only able to submit a rough outline of the script that I wanted to write. So I found peace with that in order to get at least some feedback from Ty.

Instead, he gave me a considerable amount of feedback and actually wants to see a completed script.

wp-1457414678038.jpeg

So that is basically why I’d been gone for a month. I’ve been working on my comics script to show Ty Templeton. So far, I’ve finished the Story Mapping phase: where I try to approximate the story beats and pacing on each page. It’s actually made me look at details I might have missed before and even given me the opportunity to hone down other aspects of my outline. I had so much more to say about this a little while ago, but I have been busy. Suffice to say, though, I’m drawing it out by hand in my Mythic Bios notebook with my 1989 Batman movie pencil that you can, no doubt, see in the graphic of this Blog post.

It’s sad because I know there are other insights I could talk about and refer back to, but basically for me this has been creating the skeleton of my story which, considering its subject matter, is very appropriate. But basically I am outlining each page, sectioning it off into threes, and placing the basic idea of what happens in every section followed by beats to show what happens in each panel of that section on each page.

But now I have entered the Storyboarding (wow doesn’t that sound like some kind of psychological torture technique) Phase: where I am going to have to approximate what visually goes on in those panels. Much of this is going to start off with me reviewing the notes I’ve taken from Ty’s class to the point where I’m confident in drawing it all out with crude and inclusive stick figures that I will have to describe with thorough wording for the Writing Phase of the Script: and that doesn’t even include the dialogue and captions that I need to write clearly and distinctively.

Then I’m going to show it to one of my fellow classmates, Kim — who is awesome — and then submit it to Ty when everything is said and done. But yes. I even have plans for further stories after this one, but the World-Building Phase — which includes more descriptive writing — will have to continue along with my capacity to do so and remember that an artist needs to know details but also have the freedom to do their own thing.

I’m almost done with my update. But script writing and submission aside, and have the attention span to finally sit down and knock this post out, I also want to mention that I’ve applied for a writing position in an online magazine called Panels: a place that talks about comics, comics subcultures, and the writer’s reactions and insights into them. It’s right up my alley and it’s a paying job.

Some of the sample works I’ve sent them include: When I Recognized Elfquest and Chasing Amy and Reviewing the Laurel Leaves.  So we will see whether or not I get accepted into their ranks and, if so, it is definitely an exciting start.

So yes. A lot of stuff is happening on my end, finally, and I just need to keep at it while — at the same time — I also need to pace myself. I don’t know when I will write here next, but hopefully I will have more to talk about and more to report.

Take care everyone and thank you for continuing to follow me on this journey.

The Greatest Mystery of All

Dedicated to Toby Fox’s Undertale. This is the sequel to Opposite of a DogWarning: there be Spoilers here. Reader’s discretion is advised. 

Even now, you are not entirely sure why you did it. After you welcomed the human and the others inside of you, you’ve seen all the alternate realities. Sometimes you died. Other times you made friends with the human and they left. In a few more timelines you got to even fight the sun with them. But now you know that these different places and times are all the same: in you.

They remind you of the tangled three-dimensional model pasta experiment that once stuck inside your rib cage.

“eh.” your brother says as he reaches towards the human’s floating Soul. “just how much can i still afford to care.”

Your gloved hand closes over the red heart first. “LAZY BONES. YOU’LL FIND  THAT, WITH PRACTICE, MY DEAR BROTHER,  YOUR CAPACITY TO CARE WILL ONLY INCREASE TEN-FOLD.” 

Sans’ eye-sockets widen. “pap … what are you … no …”

“NYEH HEH HEHHH …” You tell Sans and the Soul of the Human in your hands. “DON’T WORRY. I, THE GREAT PAPYRUS, SHALL SAVE THE DAY.”

Papyrus Enthusiastic

Poor Sans is distressed. The human has come back and fallen down. They wanted Sans to help them, but you know better. Sans has, dare you think it to yourself, worked himself to the bone … (wowie, puns still make you wince even after everything) so far. It is a good thing you got sick of him missing a spaghetti dinner again and couldn’t find him at Grillby’s. It’s also fortunate that you can smell the scent of his magic and that he wasn’t far away from Lesser Dog’s old sentry point: a place you’ve made a point of still patrolling just in case any new humans came through … or the old one, your friend and former date, returned.

The Soul in your hands quivers, as though trying to get away from you. But you understand. This is a scary mission from what you’ve heard: one to save the timelines and Monsterkind. To save the human. But you can do it. 

*You shouldn’t have done it, Papyrus.

It’s your friend’s voice. Even as you sail through the rainbow-coloured wave of infinity to your next destination (you are in no hurry, as you really don’t feel like rushing infinity: it will do its job anyway), they still sound old and sad.

You’ve tried. One of the first things you did when you rescued their Soul was take the two of you, or yourself, for a Nice Cream: just to cheer you up.

“NONSENSE, HUMAN.” You tell them cheerfully. “I COULDN’T ABANDON MY BROTHER AND MY FRIEND IN NEED. YOU KNOW THAT. I HAVE A REPUTATION TO UPHOLD.”

*Papyrus … you took an awful risk. After everything I did … I didn’t want …

“bro.” Sans’ eye is actually glowing blue now. “don’t … don’t do this …”

“NO SANS. YOU AND THE HUMAN SHOULD’VE INVITED ME TO THIS SECRET SAVE THE WORLD MEETING. ESPECIALLY SINCE THE HUMAN’S FALLEN DOWN. I CAN HELP YOU. I’M GOING TO HELP YOU.”

“no …” Sans reaches for you. In retrospect you wonder why he didn’t just use his pranking abilities in space and time to just take the human’s Soul from you, but really, he was probably too shocked by your daring and deductive reasoning to even think about doing something so cheap and unfair. 

“AND THEY’RE COLD.” You say, feeling the Soul shivering violently in your hands, as though trying to get away from you. “DON’T WORRY, HUMAN.” You say as tenderly as you can. “YOU WILL BE WARM IN MY RIB CAGE UNTIL WE GET THIS ALL SORTED OUT.”

“PAPYRUS! NO …”

But it’s too late. You eased the trembling heart between your ribs. You recall hoping that it doesn’t fall out of them like all of your pasta. 

Undertale Heart

That is when it happens. You’ve never really felt the cold before, what with being a skeleton and all. But suddenly … you can feel it. At the same time you feel a raging warmth inside of your rib cage that makes you aware of the cold, but utterly immune to it. Something is beating, not unpleasantly, in your skull. Sans is in front of you still, but you can now see an afterimage. It’s white and shining. You blink and memories and thoughts that aren’t your own, and are, fill the deep cavern of your brain. 

Textures, colours, sounds, and sensations fill your bones. You recall something spoken not too long ago.

“WOWIE, HUMAN.” You tell them, drawing on the vast reservoir of culinary knowledge now at your disposal. “WE REALLY DON’T TASTE LIKE KETCHUP.” 

*Papyrus. Please. It’s not too late. Just put me down … and give me to Sans.

Sans is looking at you, at the two of you, in shock. “kid …” He looks at you and the human’s body on the ground. You realize, belatedly, that the human just spoke through your mouth. That’s ok. It’s only fair since you are roomies now. “pap. listen to the human. you … you don’t know what this power will do to you. i … i can take it from here.”

He is afraid. And you realize he is afraid for you. 

“SANS …” you say, and your voice sounds simultaneously large and quiet. “DO YOU … KNOW WHAT THIS FEELS LIKE?”

“pap … c’mon, bro.” Sans is pleading now, tears coming out of his eye-sockets. 

You go up to him and lean down. You put a hand on his face and wipe the tears away. “I CAN … FEEL YOUR TEARS, BROTHER. FEAR, HORROR, SORROW, REGRET, EXHAUSTION, DARKNESS, AND LIGHT … HUMAN?” You ask the presence, feeling awe, now inside of you, “IS THIS WHAT YOU FEEL ALL THE TIME? IS THIS WHAT YOU SEE?”

There is a pause. *Papyrus, this is what we … both see. I’ve never done this before, not in this timeline but I can see so many others now … No, Papyrus. Let me go. Please. I can’t do this to you. Not you. Of all people, not you. 

You realize it now. “YOU DON’T THINK I CAN HELP YOU.”

“bro, it’s not like that. this is … too dangerous.”

“NO.” You look at Sans and the human’s body on the ground and you understand. “YOU’VE BEEN PROTECTING ME. BOTH OF YOU. BUT, DON’T YOU UNDERSTAND?” You grin at them. “I AM THE GREAT PAPYRUS! IT IS MY JOB, MY DUTY AS A PROSPECTIVE MEMBER OF THE ROYAL GUARD TO FIND A HUMAN AND TO SAVE ALL OF MONSTERKIND! I FOUND YOU HUMAN. AND AS PART OF MONSTERKIND I NEED TO PROTECT YOU, SANS!”

“… bro.” Sans is openly weeping now. “please. i can’t lose you. not again. not like this.”

There are many rifts in the rainbow coloured expanse that you ride: opening to more strands of reality than there are strings of angel-hair pasta. You now understand that this is similar to how Sans would take his short-cuts, the lazy bones. It’s also close to how he was able to view different timelines.

But you also understand, with some sadness, just what he has been going through. There is a difference though.

“HUMAN,” you tell them, “HEROISM IS A RISKY BUSINESS. BUT WE HAVE SAVES AND LOADS. IT REALLY SAVED MY BATTLE BODY THE LAST TIME.”

*Papyrus, you really shouldn’t have put your costume in a washer with our Soul power. 

‘NYEH HEH HEHEHHH!” You pat the human, or really just yourself on the back. “BUT LOOK AT HOW IT TURNED OUT THE SEVENTIETH TIME. THE HUMANS IN THAT PARADE ON THE SURFACE REALLY LIKED HOW IT TURNED OUT.”

The human sighs. *We agreed to use that power to just make your scarf … match your eyes. Even the others thought the … The human sighs again. *The Rainbow Shell Battle Body was a little too … derivative. 

“BUT WE NEED TO ANNOUNCE OUR INTENTIONS LOUDLY. THAT IS WHAT A TRUE HERO SHOULD DO. BESIDES, WE CAN ALWAYS RESET –”

*Papyrus …

“YES YES I KNOW.” You shake your head. “LOADS AND SAVES ARE FINE. RESETTING IS BAD. TRUE RESETTING IS EVEN WORSE.” You sigh, suddenly a little melancholy. “IF MY BROTHER COULD ONLY SEE THIS, HUMAN. I MEAN, HE CAN. BUT I KNOW JUST HOW MUCH HE LOOKED FOR THIS POWER. IT’S AS EASY AS JUMPING THROUGH UNDYNE’S GLASS PLATE WINDOW TO USE THE WASHROOM. IT COULD HAVE SAVED HIM SO MUCH PAIN …”

*Trust me, Papyrus. It would have only caused him more, in the long run …

“OH LOOK AT WHAT YOU’VE DONE, HUMAN. YOU’RE CAUSING ANOTHER NARRATIVE FLASHBACK –”

“IF THIS POWER IS SO DANGEROUS, AS YOU SAY BROTHER.” You confront Sans, with your hands on your hips just so he knows you mean business now. “THEN WHY IS IT OK FOR YOU TO HAVE IT? AND YOU TOO HUMAN, WHY IS IT OK FOR SANS TO HAVE IT?”

They tell him that Sans has had experience with Resets and other Timelines. They tell you that you have a different duty and destiny. But you know that, what they’re really saying, what even Undyne had been thinking with all of your private training, is that they see you as just too … innocent. 

But this is the point where you need to tell them what is what. 

“SANS. YOU HAVE 1 HP.”

“pap …”

“1 HP. 1 DEFENSE. 1 ATTACK. SANS, HUMAN, I CAN SEE THE TIMELINES A LITTLE MORE NOW. UNDYNE HAD DETERMINATION. ALL THOSE OTHERS. THEY MELTED. AND YOU HAVEN’T EVEN BEEN TRAINING. REALLY, IT SHOULD BE HIS MAJESTY AND MAYBE HIS … CLONE? HUH, THAT’S NEW. AS BOSS MONSTERS THEY MIGHT BE ABLE TO HANDLE THIS. BUT I CAN’T RISK THE ROYAL FAMILY, OR YOU.”

“pap. listen to me.  t h i s  i s  n o t  a  g a m e.” 

“D O N  ‘  T   Y O U   T H I N K   I   K N OW  T H A T ?” 

“stop it bro.”

“NOW YOU KNOW HOW I FEEL WHEN YOU MAKE YOUR PUNS.”

For the first time this entire evening, Sans actually smiles a bit. You smile too. 

“THERE. THAT’S THE FIRST REAL SMILE I’VE SEEN YOU HAVE IN A WHILE BROTHER.”

“pap … even with all that power. you’re still the same skele-ton of a brother.”

“SANS!” You scream at his bad pun and a nearby mountain threatens to explode from the power you just unwittingly unleashed. “OH. OH I SEE WHAT YOU MEAN ABOUT THE POWER.” You put your hands on his shoulders. “BROTHER, I SEE NOW HOW YOU’VE PROTECTED ME. BUT JUST FOR ONCE, JUST IN THIS RUN, LET ME BE THE ONE TO TAKE CARE OF YOU.”

“bro …” The two of you hug. Even without the power of the Soul, you know that you’ve won this argument. The only other issue now will be to talk to the human, and then His Majesty. But one thing bothers you. 

“SANS. AM I … REALLY THE SAME NOW?”

“well …” Sans looks away from you.

“SANS!”

“all right all right already.” He stares you with an expressionless look on his face. “pap.” He reaches up to put his hands on both sides of your ribs. “your eyes.”

“YES BROTHER?”

“they look … like alphys’ rainbow brite …”

You feel a powerful sensation course through your chest. It doesn’t take you long to realize it is complete and total joy. ‘THAT’S SO … BEAUTIFUL.”

“it’s a nice look on you, bro.” Sans looks at your chest. “hey, kid. i know you’re in there. please … take care of the big lug here for me. stay Determined, for him.” You don’t miss his eye-sockets turning dark. “or else.” 

“SANS THERE IS NO NEED FOR …”

*I understand Sans. I-I’m so sorry …

“forget about it.” Sans waves it off, the lights back in his eyes. “you believe in me, kid. and i believe in my bro. time i put my money where my mouth is, stuff it in my ribs, and let him be a hero.” He hugs you, the both of you, again. “and pap. take care of the kid too. they’re good people.” 

“I PROMISE SANS.”

“and … don’t turn the world into spaghetti …”

“OF COURSE I WON’T.” You say as you dash to a short-cut. “AFTER ALL, IT ALREADY IS, SANS. IT ALREADY IS …”

The flashbacks are almost done now. Well, that’s not true. Ever since you walked into the Palace and asked a flabbergasted Mr. Dremurr for the location of the other six human Souls over a nice cup of Golden Flower Tea, you can see the flashbacks and the code still being written as you continue on your journey as a unified being affecting multiple universes.

The first thing you did after getting a human Soul was bury the human’s body. The human told you not to: that you both have great work to do, but you know you have time. They told you that it is just a shell and that once you’ve finished your Quest, it won’t matter anymore as this timeline will be negated anyway. But you did it in any case. You told them to do it.

You control your body fifty-fifty, or whatever number since then after the funeral and getting your six other human Soul friends on board the Papyrus Express (you promised the human never to use that terminology again in reference to your unique situation and arrangement). You made the hole and encouraged the human to take their body and place it down. They looked so old and fragile. Tears coursed down your face, though the human claims they were only yours.

Maybe it was your imagination, but you can feel some of their guilt and regret lighten a bit. Sans was also helpful. He even placed one of his favourite whoopie cushions into the hole to keep the human’s body company.

You read the notebook that the human left Sans, but you realized you knew most of this stuff anyway. Then you said your farewells to everyone else. Then your hellos to new friends and places. Then you said farewells and more hellos. You even met Fun Values and took care of Gaster (you still have no idea why no one can generally remember him, his name isn’t that hard). And now, you have a plan. It’s something even the human doesn’t know about. Yet.

Papyrus Devious

*Some of the others don’t understand. The human tells you. *We had already traveled to the time of the War. We explored the days before that. We even came to the very beginning of Asgore and Toriel’s reign Underground. At any point, we could have changed it. We could have destroyed the Barrier, or made sure it never existed to begin with. 

“AND WHAT DO YOU THINK, HUMAN?”

You hear a pause. And it is a sound. Even before the power of the Seven Souls, you’ve always known that silence has a sound of its own. It actually sounds like thinking: which is exactly what the human is doing inside of you before they respond.

Undertale War

*I think that disrupting history might complicate matters. It could endanger whether or not some of you even exist, or possibly make it worse in the process. And … some of you are so … angry. There is another moment of loud thinking. *And rightfully so. We imprisoned you down there and letting you out so quickly, after all that, without explanation, would be too dangerous for both humans and Monsters. Good intentions, don’t always go to good places, Papyrus. 

“NO HUMAN.” You tell them. “THAT KIND OF CYNICISM IS A BAD ATTITUDE TO HAVE. GOOD INTENTIONS ARE, WELL, GOOD. BUT I THINK THAT YOU NEED TO HAVE SOME GOOD ACTIONS TO GO WITH THEM, YOU KNOW? LIKE A FINE RED JAM WITH SPAGHETTI.”

*It’s good to know godlike power hasn’t changed your lack of taste buds, the human’s voice can’t help but chuckle, for which you are glad.

“ALL RIGHT. LET ME EXPLAIN IT ANOTHER WAY.” You tell them, you tell all of them. “I TEND TO THINK OF EVERYTHING IN TERMS OF PASTA … AND PUZZLES.”

*We couldn’t have guessed.

“WELL YOU WERE PREOCCUPIED IN EVERY TIMELINE WE MET, SO YOU ARE FORGIVEN HUMAN. NO. JUST AS I HAVE ALWAYS ENDEAVOURED TO CREATE THE GREATEST OF CULINARY FEATS OF PASTA, SO TOO HAVE WE SOUGHT TO MAKE THE MOST CHALLENGING OF PUZZLES. IT IS OUR KIND’S TRADITION. PUZZLES PROTECT US, BUT THEY ALSO CHALLENGE US. THEY MAKE US TRAIN, AND THINK, AND GROW. AFTER ALL WE, BY NATURE, ARE THE ULTIMATE GAMERS!” You chuckle. “YOU SEE, HUMAN, THERE IS NOTHING FUN OR REWARDING ABOUT HAVING AN ANSWER HANDED TO YOU. PUZZLES CAN BE TOUGH, MUCH LIKE PASTA, BUT WHEN YOU GET TO THE SOFT CORE OF IT ON YOUR OWN MERIT, THAT IS WHERE THE REAL JOY LIES. BUT I, THE GREAT PAPYRUS, SEEK TO DO SOMETHING … DIFFERENT NOW.”

The human’s presence is slow and hesitant. *Does this have to do with the surprise that you’re planning, Papyrus.

“NYEH HEH HEHHH … HUMAN, YOU ARE MOST ASTUTE!” You have gained enough power and discipline, along with promises of personal privacy and common decency from the other Souls to pick up their soul-socks without having to write too many mental notes that you can keep some element of surprise in play for them. It’s more entertaining than being stuck in glass jars for years on end watching dust, or bashing your head against a temporal paradox one too many times.

“YOU HAVE ALWAYS BEEN EXCELLENT AT FOILING THE MOST DIABOLICAL OF MY PUZZLES, HUMAN. LET’S SEE IF YOU CAN SOLVE THIS ONE, THIS GREATEST MOST WORTHY MYSTERY, BEFORE I DO.”

Papyrus Foiled Again.

*Papyrus. We should really do what we set out to. We don’t know how … long your body will …

Before it turns into a mass of ooze. You were already aware of that. As you’ve already stated in your internal monologues beforehand, it seemed most likely that only Boss Monsters or Vessels like your lost flower friend could safely hold this much power before liquidating like one of Sans’ failed quiches. You don’t like to think about Undyne in so many of the timelines who, on her own merit, managed to find Determination: or the poor people that Alphys tried to help out.

“WE HAVE BEEN GOOD SO FAR. EVEN UNDYNE, AT HER WORST, LASTED A CONSIDERABLE AMOUNT OF TIME. AND THAT WAS WITHOUT A HUMAN SOUL. I HAVE ALL SEVEN OF YOU NOW. AND I FEEL … GREAT. AS IS MY NAME OF COURSE. BESIDES, THIS IS GOING TO BE OUR LAST STOP.”

*Papyrus, I made a promise to Sans. I won’t let you sacrifice yourself.

“AND I MADE A PROMISE TO SANS TOO, HUMAN. AND TO YOU.” You say. There is that loud quiet again inside of your merged Souls as you come to the closest rift: the one that you’ve been looking for. You marvel at this, one of your last journeys. Sans’ short-cuts are generally good, but limited to specific spaces and times and storage spaces for sleeping Gaster Blasters (while you only used them in the past to store your bones) whereas the Human’s Resets are linear in experience. Together, your journeys are winding and tangential. You make a good team. ‘AND HERE WE ARE. NEXT STOP FOR THE PAPYRUS EXPR –”

The collective groaning of your co-travelers is cut off by the sudden appearance of your current destination. It’s familiar to you, even though they aren’t necessarily your memories.

You are in the Underground again. Vast, ancient rumbling pillars surround you. You look up and see the hole of the mountain where humans can enter, but never leave. Somehow, though you don’t have lungs, you can feel the rest of your passengers holding their collective breaths: especially the human that was your first friend.

Where golden flowers should be growing are, instead, patches of hearty grass and dried dirt. Someone is lying on the ground.

Chara Has Fallen

They are wearing a green stripped sweater. Somehow, you know you have time before anyone else finds them.

Suddenly, one of your bones flies out from the short cut space where you keep them between training and duels. It’s your largest bone. Somehow the multi-coloured glow surrounding it is far less friendly than usual. The human lying on the ground looks up at you. They have paler skin and rosy cheeks. Long bangs of brown hair are plastered to their smudged face.

It’s like looking into a mirror, but it’s not you that’s looking — filled with rage and grief — and preparing to release your Special Attack.

“HUMAN.” You tell them. “PLEASE DESIST.”

Your human friend, controlling your Attack, does nothing. They aren’t listening. The human child opens their mouth. They scramble back, trying to find something: anything to defend themselves. But when all they find is dirt and grass, they lower their head. Then they look up at you again.

“Huh.” They say. Their eyes are distant and cold. “I didn’t know they had rainbow demons in hell.”

You don’t move. Neither does your Attack. But you find that you can still speak. “I AM AFRAID THAT YOU ARE NOT DECEASED. YOU ARE VERY MUCH ALIVE.”

*Not if I have anything to say about it!

“HUMAN, THAT’S ENOUGH.”

The human child in front of you looks up with some puzzlement. “What is …” They look up at the hovering bone. Then their face becomes expressionless again. “I see.”

You feel the other Souls wriggling inside of you. You realize that they are trying to stop your friend. But your friend was always so Determined. And now they are angry. They are screaming at them. At the child. At you in particular.

*Papyrus. Let me end this now. 

You shake your head. “NO HUMAN.”

*Papyrus. All of you. This is their fault. You are all here because of them. Let me kill them.

You shake your head again. Meanwhile, the child in front of you laughs. It is a cold, mirthless, dead sound. Even with the Seven Souls inside of you, even knowing how helpless they are, you can’t help but be disturbed by that sound.

“So that’s how it is.” The child says. “Well, I was going to do it anyway. Go on, Monster.”

*Let me kill them. They barely have enough LOVE yet. Hardly any EXP. If I kill them, I can end this. 

“HUMAN …”  You love the human, but you are not pleased with this development, even if if you should have expected it. This is their last chance.

“This world is cruel and vicious.” The child says. “It’s meaningless. I knew it was going to get me one day.”

*They made me kill Shyren while she sang. They made me kill my Mother after she made me pie. The Snowman kept screaming as they took him apart … as they laughed. And everyone … And Sans and … you. I’ll never forgive them. I’ll never …

The child sighs, as though bored of their incoming death. “It’s kill or be killed.”

That does it. “HUMAN, I AM DISAPPOINTED IN YOU. YOU ARE DOING EXACTLY TO ME WHAT THIS CHILD HERE DID TO ASRIEL.”

Suddenly, there is a surge of horror inside of you and your bone disappears.

*Oh … oh god. Papyrus I’m … oh no. It’s … it’s me.

“IT’S ALL RIGHT HUMAN.” You tell them, relaxing again, sending out some calming vibes to your friend inside of you. “DESPITE EVERYTHING, IT’S YOU.”

You urge the other Souls to comfort your friend as you turn your attention back to the child in front of you. They are completely still. If you didn’t know any better they might as well have been carved from the rock around you. You’ve chosen your words carefully. You are, after all now, a skeleton of great elocution.

“I AM THE GREAT PAPYRUS.” You tell them, towering over them. “I AM AFRAID THAT YOU WON’T REMEMBER ME BY THE TIME WE ARE DONE HERE. A LONG TIME AGO, YEARS FROM NOW, IN ANOTHER PLACE, IN ANOTHER LIFETIME, WHEN YOU BECAME SOMEONE ELSE, MY BROTHER ASKED YOU A QUESTION.

“DO YOU THINK EVEN THE WORST PERSON CAN CHANGE?”

The child stares up at you: completely and utterly dumbfounded. “What …”

You sigh and begin to pace, moving your hands around in a way reminiscent of Gaster. “THE HUMAN INSIDE OF ME TOLD ME ABOUT THE IMPLICATIONS OF LIFE AND IN PARTICULAR TIME TRAVEL. I ACTUALLY COMPARED IT TO PASTA AND PUZZLES. BUT MAYBE WHAT WE ARE REALLY DEALING WITH HERE, IS COOKING.

“YOU SEE, IF I DEALT WITH THIS THE WAY THE HUMAN WANTED TO, IT’D BE LIKE MY SPECIAL LESSONS WITH UNDYNE: MESSY, DESTRUCTIVE, AND ONLY FIRE WOULD LIVE HERE. UNDYNE IS A GREAT TEACHER, BUT THE STUDENT MUST EVENTUALLY SURPASS THE MASTER.

“BUT SPAGHETTI, YOU SEE, HAS TO BE AGED IN AN OAKEN CASKET. YOU HAVE TO TAKE TIME AND EXPERIMENT WITH IT. YOU HAVE TO BE PATIENT.  YOU HAVE TO, IN THE WORDS OF MY BROTHER, SHOW IT LOVE INSTEAD OF LOVE. YOU ARE IN LUCK. MY BROTHER. HE LIKES JOKES. BUT ME. I LOVE RIDDLES.”

“AND THIS IS WHERE I NEED YOUR HELP.”

The human gets to their feet. You wait until they get themselves composed. Those dead eyes flicker with something you’ve not seen before: a shimmer of uncertainty.

“YOU SEE, I PROMISED MY FRIEND HERE.” You point to your chest where your friend is now watching, tense, sad, but incredibly observant. “I PROMISED THEM TODAY THAT I WAS GOING TO SOLVE A MYSTERY INSTEAD OF CREATING ONE. I WAS PLANNING ON GIVING THEM A SURPRISE.

“AND I WILL GIVE YOU SOMETHING AS WELL.”

You loom over the child and open up your arms. The human inside of you starts screaming again, but the other Souls are gently holding them back, and reminding them that they trust you.

You walk up to the child. They actually flinch back, but they stop themselves as you are both at eye-level now. Before they can react, you stretch out your arms and wrap them around the child. The human inside you grows as silent as the child you are holding.

The child themselves stiffens in your arms. “What are you …”

You close your eyes and draw on the power of your friends inside you. You imagine using this power to break the Barrier in two. You take that power and you imagine a series of hard, brittle noodles. In this state, they cut the insides of people’s mouths. They could damage their stomachs going down. And when you squeezed them, they could so easily break.

But you know that when you put them in boiling water, something will happen. The noodles will grow. They will expand and soften. They will settle into the bottom of the pot and lengthen to the point of becoming completely and utterly expansive … and inclusive.

That is the armour around the child’s heart. You feel their eyes widen. But now you need to release them out of the pot. Out of the boiling water that coursing, unabated now, through their Soul.

“I DON’T KNOW WHAT THE OUTSIDE WORLD DID TO YOU, HUMAN. TO MAKE YOU FEEL THE WAY YOU DO, BUT I’M SORRY. I’M SO SORRY.”

Undertale Papyrus

You are burning with power now. It is coursing into the child’s mind and Soul: into their very being. The other Souls join in — including and especially your friend’s — and they soften the hard bits that are the child’s heart and conscience. They start to feel what you feel, what they feel. They get all of your friend’s memories. They feel the emotions and the pain of everyone they have touched: and everyone they haven’t even met yet. The child begins to shake violently: as hard as your friend’s Soul did that day above their aged body at Lesser Dog’s outpost.

“Wh-what I …” You gently let go of them. The child looks around. Then looks at you. Tears are streaming down their rosy cheeks. They put their shaking hands up to their face. “What is this?” they blubber. “What … what have I done? No … oh … oh god.”

The child wails. They fall onto their knees and puke. You rub their back gently as they scream. Years of pain and anguish experienced and inflicted rip out of them. The Souls inside of you are quiet as they realize what you have done. But then you hear the approach of footsteps from the Ruins and know that there isn’t much time left.

You whisper to the sobbing, convulsing child in front of you. “Remember. You can still be a better person.”

With that, you get up and walk behind a pillar. You watch as a young Boss Monster finds a crying, injured human child. You wait until the Monster takes the child and calls out for his parents.

Asriel and Chara

Then you step into a corner … and go into another shortcut.

You find yourselves back outside Snowdin: just out of Lesser Dog’s sentry post again. This time, however, the place seems more lived in: complete with even more sculptures than before. Your friend’s grave mound is no longer there.

*It’s funny. Your friend’s voice says through your head. *In some ways, I think what you did to them was far more cruel than simply killing them. Changing is painful. I remember that day, in the Ruins when you met me …

You walk towards the sentry house as you begin to release the other Souls out of your body: letting them dissipate out of you like a rainbow mist.

*That day I met my parents and my brother. I lived with what I did and tried to help them. When I died, the first time, I left. I told them I would come back one day.

The other Souls leave into the timeless space where all human and Monster Souls go when they are done. The world seems a little less vibrant now, but it’s replaced by a pleasant sort of tiredness.

*And I was told the story of the six other humans that found their way down here. Each one brought something new to New Home and Monsterkind. They were the children of the King and Queen, just as I was … Each generation would come until the Ambassador.

You smile.

Frisk the Ambassador

*The other six would leave their Souls with our parents and brother after showing Monsters that not all humans are bad.  And one with a strong Soul … will pass through the Barrier and help Monsters communicate with humanity and get a final voluntary Soul to free them. It’s amazing, Papyrus.

You feel your friend’s Soul relax and begin to rise out of your rib cage, out of your being.

*Even as a Soul, I can feel time expanding out, changing, like a noodle. My past is my future, and vice versa. I was the first. I remember being told about myself. I am also the last. I am not really here, am I? I … you are the real hero here Papyrus. Thank you … goodbye … 

“I DON’T ALLOW GOODBYES IN MY TOWN, HUMAN,” You say as a red light shines brilliantly and disappears. “SEE YOU LATER, MY FRIEND.”

Then you rest against the sentry post and go to sleep.

A little while later, someone nudges Papyrus.

“knock knock.”

Papyrus sighs, knowing there is no way around this. “WHO’S THERE?”

“doctor.”

“DOCTOR W — GAH! SANS! STOP WITH THE FREAKING PUNS!”

“well, someone had to wake you. seriously, bro.” Sans looks down at Papyrus with some concern. “i’m the one who sleeps around these here parts.”

“THAT’S FUNNY SANS. HEY. WHERE IS EVERYONE?”

“well … i don’t want to interrupt your rest six feet under, but …”

“SANS …”

“ok, well you know those humans you’re always looking for? well, prince asriel: he was in the ruins, at his sibling’s grave. and he found one.”

Papyrus folds his hands behind his head. “OH REALLY?”

“um. yeah. says they look just like the first kid. like his sibling. i … guess i see the resemblance. hey, what gives, pap?” Sans looks down at Papyrus quizzically. “i mean, uh, you’ve been looking forward to seeing a human for a while now. and what’s with the rainbow scarf getup?”

“WELL, PERHAPS THAT IS A MYSTERY FOR ANOTHER DAY. TO GIVE YOU SOMETHING TO LOOK FORWARD TO. AFTER ALL,” Papyrus winks, as he gets to his feet, dusting off the snow that accumulated on his knees. “NOT ALL OF US CAN BE THE LEGENDARY FARTMASTER.”

Sans looks at Papyrus. Papyrus grins back at Sans. Suddenly, they both begin to laugh.

Sans and Papyrus

“what did you do, pap?”

“MYSTERY, SANS.” The taller skeleton says, putting an arm around his brother’s shoulders. “AND I WANT TO GO SEE THE HUMAN. AFTER I MAKE US SOME EGGS.”

“eggs?”

Papyrus shrugs. “YES. FOR SOME REASON I WANT SOME SCRAMBLED EGGS. AND SOME CLOVER. AND … WELL, I GUESS THAT NOT EVEN I, THE GREAT PAPYRUS, CAN EXPLAIN EVERYTHING.”

What If Marvel Cinema

I’m not sure if it will ever come to this, but I would definitely love to see a Marvel What If short film series: on the web, as bonus content on DVDs, or others. But I’m afraid I’m just being a bit misleading with my title. Really, this is just another Thursday geeky conjecture ramble that was a long time coming. What can I say? I am a busy man these days.

There are a few things I would have loved to see happen in the Marvel Cinematic Universe. In fact, there are some things that I could have definitely seen happening in the films that — for obvious reasons — did not.

One thing always bothered me about Avengers: Age of Ultron. You know, for all Joss Whedon had Ultron sing that “there are no strings on me,” Ultron and the way he carried himself felt a lot like Joss Whedon playing Ultron if that makes any sense. What I mean is: it felt less like watching Ultron develop and go into action, and more like Whedon using Ultron as a prop to carry the story onward: being the puppet that he claimed he was not.

Age of Ultron

Like many of you, I saw the trailers. In particular, I saw the trailer where Ultron’s conscious possessed one of Iron Man’s suits and made that twisted, jagged hole of a mouth on its surface. I thought it was creepy and perfect: the sign of an artificial intelligence going completely, maliciously, and utterly insane.

So imagine this. Instead of a long and convoluted plot that starts off with the Avengers going after HYDRA — with perhaps a key streamlining of the process for the sake of continuity with Agents of SHIELD — we get to actually see Ultron get created by Tony Stark and Bruce Banner. But more importantly: imagine if we could have seen Ultron develop.

Picture Tony, Bruce, and JARVIS working on Ultron. Think of them working with him. After deriving all the missing elements of artificial intelligence evolution from the Sceptre’s Gem to further improve on Tony’s own knowledge, I could see Ultron genuinely affecting change and improving on a defense plan: undertaking the monumental task of protecting humanity from all dangers. But perhaps there are … “glitches” or “malfunctions” along the way. Sometimes Ultron complains about “an absence” or “lacking something”: phantom electronic pains. Think of it as an artificial intelligence’s sense of dysphoria: though in this case it is Ultron’s lack of a physical body that plagues him. You even see him experimenting with one of Tony’s suits and attempt to embody it like a ghost in the machine: resenting the people that made him and the constant chronic discomfort that he always feels.

ultron

But it’s only when he begins to fully process the fact that humans are a greater threat to the world than anything that is extraterrestrial that Ultron decides to destroy humanity in the only way he knows how. It’d be a slow burn, perhaps one that has no real place in a superhero action movie where the audience already knows that Ultron is supposed to be evil, but the payoff along with the philosophical implications and the confrontation with Vision could have fleshed it out even further. A sympathetic Ultron, as warped and evil as he is, could have made audiences truly unsettled.

Then consider how Ultron would undertake his goals. It’s true. He could spread his consciousness through many bodies as he already has. But he could take control over SHIELD and general human technology. Hell, he could even release substances into Earth’s atmosphere that would utterly decimate humankind without going through something as grandiose as smashing Sokovia’s capital into the Earth. A subtle, creepy, and ubiquitous Ultron could have gone a long way into making The Age of Ultron an action adventure superhero film bordering on pure science-fiction horror.

Ultron wouldn’t have to look far to realize that humanity is a threat to Earth and itself. All he would really have to do, and what he already did in Whedon’s take, is look at the chaos that HYDRA attempted to unleash in Captain America: The Winter Soldier. It is also interesting to note that there was an AI in that film as well in the form of Arnim Zola: the man responsible for regrowing HYDRA right within the ranks of SHIELD itself.

Zola

It was Zola that ultimately created the data-mining algorithm that HYDRA relied on to eliminate potential enemies. This was done through SHIELD’s Project Insight: taking advantage of three heavily-armed satellite-linked Helicarriers that were supposed to proactively protect the Earth from further alien invasions and using them to destroy HYDRA’s enemies and everything around them. This would allow HYDRA to obliterate the world’s infrastructure and be the only force of civilization left to Earth’s survivors.

But Zola’s algorithm didn’t predict the Avengers: or at least it didn’t deal with them all that well. Imagine what would have happened if HYDRA remained in hiding for a little while longer. Think about it: HYDRA had infiltrated all levels of SHIELD and the World Security Council. HYDRA itself, at least since WWII, had evolved from a para-military branch of Nazi Germany, to its own organization, and into an intelligence sleeper-agent group. Covert operations became the name of their day.

Would it have been too much of a stretch for HYDRA, who had already been privy to most if not all SHIELD operations, to know about Captain America’s retrieval from the ocean? Would it have taken much for one of their operatives, as a SHIELD staff member, to gain a sample of his blood? And I’m not even talking about HYDRA recreating the super-soldier serum: though they sure as hell tried in the Centipede Project. No: certainly the Red Skull wouldn’t have been nearly so trusting of his branch of HYDRA back in the day to take some of his blood as we know the organization thrives on Social Darwinism to its nth degree.

What HYDRA could have done, if they had been clever enough, is create an anti-serum for Erskine’s formula. All they needed to do was inject it into Cap while he was comatose. And, really, who would have been the wiser? Cap was frozen for quite some time: and no one really knew how that formula worked to begin with. It wouldn’t have been inconceivable for Cap to have died of complications in his decades long sleep. And in injecting some sweet sleep painless poison from a hidden fang, HYDRA could have removed one major enemy off the playing board.

What would the Avengers do without him at the very beginning of the game?

Captain America on Ice

And about the rest of the Avengers? Well, most of the technology they had access to came from SHIELD itself and HYDRA has infiltrated many facets of the organization. Imagine if HYDRA had managed to get their hands on the blueprints Howard Stark created for a power source and purposefully engineered a controllable flaw in the device: effectively creating a kill switch to Tony Stark’s heart? Or maybe they could have rigged something explosive into Sam Wilson’s EXO-7 Falcon jet pack or sabotage one of Hawkeye’s arrows.

Thor and The Hulk might also be problems. However, HYDRA has the psychological profile of Thor to work with: or at the very least might be able to prevent him from returning to “Midgard” due to their own researches into Asgardian technology. As for The Hulk: they would need to use some powerful tranquilizing agent on Bruce Banner before he transforms and they would need to do it quickly … or have a very good assassin cut off his head.

The Avenger HYDRA would have the most issue with would be Natasha Romanoff. She is distrustful of everyone and she has millions of contingencies: perhaps as many as Nick Fury himself. Even releasing all the information of her past gruesome deeds to the world and a warrant for her arrest would only buy time with warm bodies. Perhaps forcing her to kill unwitting agents or having her hold back would wear her out. The Winter Soldier has defeated her before as well, and he could either be sent after her or be placed into the Avengers in Cap’s place to turn on her. But you never know with the Black Widow.

Of course, there are many flaws to these possibilities. The Hulk can change really quickly. Hawkeye probably takes care of his own arrows. Tony Stark would spot a design flaw in his Arc Reactor, back in the day, a mile away and he doesn’t even need it to protect his heart now. Even if the alloy and equipment for his armour had initially come from Obadiah Stane’s engineers, Tony would have detected any discrepancies and improved on them. Thor might be a warrior but he is not stupid enough to be manipulated easily into being unworthy of his Hammer, and I doubt anything HYDRA has can incapacitate him or keep Asgard from accessing Earth unless their “real plan” comes to fruition.

And finally, we have Cap. That Super Soldier Serum is built like a motherfucker. It is not going to be poisoned or altered easily. And even if HYDRA somehow had legitimate access to him through medical staff, Nick Fury is paranoid. He has a sixth sense born from battles and infiltration gone wrong. He is a man that trusts his gut and he just knew there was something wrong in The Winter Soldier. Also, it is fairly possible only Fury, Maria Hill, and their confidants knew about Cap’s retrieval and kept it that way.

Winter Soldier

No. if HYDRA had really wanted to win, they needed to pull an Order 66: create a visible enemy to distract SHIELD and the Avengers that wasn’t them, and then simultaneously sabotage and/or kill them with the operatives that served as their “back-up” and “cavalry.” And even if the Winter Soldier himself was brought into play, and there is no way HYDRA’s SHIELD operatives could have convincingly brought him into the Avengers or SHIELD without setting off major warning bells in Natasha Romanoff and Nick Fury’s minds, none of this would be a sure thing.

Seriously: Black Widow should be remembered for just how terrifying her fighting and infiltration abilities truly are … the deeds she did in the past, and what she tries to do about them now. I wish there had been more emphasis on that.

Black Widow

Yet all this aside I can honestly do this all day and all night. But I really don’t have the time and I know there are many flaws with my ideas. Certainly, there are better geeky experts than I who could poke holes in all of these scenarios. But this was a good exercise in creative speculation. I look forward to doing this again sometime in the near future.

As the man says, “Excelsior.”

SAVE FAILED

Dedicated to Toby Fox’s Undertale. There be Spoilers here. Do not say that you were not warned.

I’m not sure when it happened. Sometimes I forget … sometimes …

Yes. Recording. I don’t know how much time I have left. Or there’s too much time … to contemplate what happened. I’d reached Entry 17 of my Scientific Journal. I hope that you both found it in my attachment.

I remember now. I was examining the Souls. The Barrier was created around us: sealing us Underground with the power of human magic. There are two schools of thought on this matter: first, that humans only gained power through the consumption of Boss Monster Souls that exist longer than those of most Monsters. However, there have historically been few Boss Monsters among our kind and even they do not last as long as Human Souls.

Human Souls are energy sources that utilize a power known as Determination. Alphys, or perhaps you — Sans — will come up with this label. It makes sense that if the apex of Monsterkind can gift Humans with power, that any Human Soul grants us a far greater measure of possibility.

Undertale DT

I made plans for a DT Extractor, but I fear that won’t nearly be enough. But I have made a machine that allows me to utilize this energy in a limited capacity. I didn’t want to use the Souls themselves — that power was to be for His Majesty — but I distilled enough energy through the matrices to view the time lines: to see what possibilities there are to escape from the Barrier’s properties.

Through my machine, I was able to find the underlying codes and variables of reality. During the War, it was said that the Humans were able to cancel out previous actions, or come back from death itself. Some could even change events entirely and … confuse the memories of others. A truly terrifying, and magnificent power if there ever was one. One common theme in my research into the matter was that this Human SAVE function created a node in reality: a place that intersected between psionic, spiritual and geomantic dimensions. Essentially, a SAVE is a spot in the land itself created by the power of Determination.

I realized that seeing the timelines, and then the codes of existence — the “fun values” — was the first step. The second would be to observe and eventually manipulate said values. Eventually, if taken towards its inevitable conclusion, one could theoretically create a RESET: that same power that took victory away from us time and again: leaving all but a few without memory of our past achievements in the War and perhaps even the deaths of other Boss Monsters for Human ends. Truly, a distressing concept.

With a RESET, we wouldn’t even need to circumvent the Barrier with the correct number of Human Souls. Rather, we would restart reality itself and change history. We could rewrite the War. We could have made it so that the Humans had never won. Or perhaps that the elements that began the War never occurred. We could have made it so that we had never been imprisoned to begin with.

But before that final phase in our potential endeavours, there was the third phase: the SAVE function. This would be essential in case anything should go wrong. In fact, SAVING would be valuable in and of itself. Aside from the potential therapeutic qualities of spontaneous regeneration more potent than even healing magic, imagine if anything should happen to the Underground: if there were a calamity of some kind such as a sickness or even an invader that our magic isn’t capable of halting. The ability to LOAD from the SAVE would allow all denizens of the Underground to survive. Perhaps, over time, we could even begin to slowly and gradually absorb the powers of Determination from our SAVE points. If not in our generation, then certainly in further and future generations we had the potential to develop that power and free ourselves altogether. Certainly, learning from our previous mistakes and memories would only bolster our potential as a species.

The possibilities are endless. But so are the tribulations.

You couldn’t conceive of what I saw. When I extracted that small amount of Determination into my machine, I saw all the building blocks of life, space, and time. All of the possibilities. Well, that isn’t true. Sans, you know exactly what I’m talking about even now. The experience was greater than anything else I’d ever achieved: more than my Blasters, even more than utilizing the geothermal power of the Earth to create the Core seemed minuscule compared to this. Even so, the work that led to the Core, miniaturized, was just the first step in utilizing geomantic energy to make our first SAVE point.

I think you know the first mistake by now, you two. The darkness I warned you about earlier. There was … there is an anomaly. I can’t account for it. It threatens all the timelines. I’ll admit: it terrified me. That was when I knew. The Barrier was petty compared to the threat of this cosmological aberration. I had to make that SAVE. I had to override reality to save us all.

I should have spent more time … but that’s exactly what I have now. More time. Yes. I said that already. I accessed the fun values. I attempted to change them. I tried to focus the machine’s Determination energy into one area and then I SAVED.

It didn’t work.

I didn’t unify in one place as I know I should have. Instead, I felt my body, and my being, spreading thin … disintegrating … I scattered everywhere. I’m data in the Core. I’m a child who should have died. I am a man who, in another time, decided to walk away from a Spider Bake Sale. Or I’m a face from the ground talking about myself, listening to everything …

I’m right behind someone. I’m sailing down a river? And I’m in a grey version of a room that I changed with tainted SAVE data. Use it to store anything. Not even a RESET will erase the matter in there. Not even the broken machine …

Undertale Sans Lab

But there is, there was some strange creature in front of me … Perhaps that is the anomaly? I was so focused on understanding it, on stopping it.

But there is a difference between Determination and obsession.

My friends, I don’t know how coherent I’m going to remain. I don’t even know if I’m talking to you in one timeline, or another. Or all of them. But you are all in danger. The Darkness will come from either outside, or within … Don’t listen to the Flowers. Beware the Child … I don’t understand … I’m everything, I’m …

Sans. Papyrus … I’m you. I’m will try to find a way to find you. Take care, my … take … Stay determined. Stay Determined … stay de-terminated … deter … mine …

….