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comicteaparty · 4 years

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November 20th-November 26th, 2019 Reader Favorites Archive

The archive for the Reader Favorites chat that occurred from November 20th, 2019 to November 26th, 2019. The chat focused on the following question:

What main character do you relate to the most? How relatable does a main character have to be for you to like them?

Capitania do Azar

You know, relatable is simultaneously a very strong and very week word to describe how I see main characters. Sometimes, the MCs I like the most are those I can't relate to in any way, when their actions are so out there and wild that I cannot for the life of me seeing myself doing (regardless of weather I understand their motivations or not). I tend to find secondary characters much more easier to relate to, since they're not so much under the spotlight and get to have personalities that are often less directly connected to the plot, and creators get to have more freedom. That said, on the top of my head, one of my favorite protagonists is Trigger, from Ghost Junk Sickness, https://www.ghostjunksickness.com/, who I cannot, for the life of me, relate to, but whose horrible decisions I find absolutely amusing.

Now, for side characters who I can definitely relate to, I'm gonna go with Aaron from XIIComic, https://xiicomic.com/magic-and-muses/, because that one was love at first sight, eheh(edited)

FeatherNotes

I agree with @Capitania do Azar-- For me, main characters are the ones who would be written with the themes, and the backstory that make them unique enough for a singular experience so i would often find it most difficult to 'fully relate' to them. That said, characters don't have to be very much relatable at all for me to like them , and that most MCs with flaws that are beyond me are who i mainly like bc of their potential complexity! Secondary characters are my go to's, and i relate to them much more quickly! With that said, i def have vibes with Sanna and Dizzy from Startrip http://www.startripcomic.com/cast

Phin (Heirs of the Veil)

I rarely find main characters "relatable", but if they are well-written enough I can like and root for them no matter if I think they are relatable to me personally enough. @Capitania do Azar and @FeatherNotes made really good point as to why this is the case. Anyways a character I still really relate to is Rafael from Superpose (https://superposecomic.com/). Painful gender feelings, people being dismissive of ones gender, the overall feeling of being stuck and not knowing what the future will bring really speaks to me, so reading Superpose I got especially invested. Another character would be Nikita from O Sarilho (http://sarilho.net/en/) and he's very interesting to me because there is a lot about him that feels deeply relatable and familiar but then so many things that are absolutely alienating. I think that makes him an especially alluring character to me.

Cronaj

I agree with the everyone else. I don't really need to relate to a main character to like them. In fact, I just realized on my search through the webcomics I read/enjoy that I don't relate to pretty much ANY of the characters. This might have to do partly with the fact that I read a lot of fantasy, sci-fi, and historical comics, so the issues the characters face are very different than the ones I personally face. That being said, there is one comic where I relate to one of the main characters so much, I actually cried. This is the character Taesoo from the webtoon The Lady and Her Butler. (https://www.lezhin.com/en/comic/ladyandbutler) He is a struggling artist with low self-confidence and the after-effects of a bad relationship with someone who didn't appreciate him. His scars from this situation have remained with him and made it difficult for him to love again. I know this sounds like something straight from a drama, but this legitimately happened to me. (On a side note, I relate to my own characters, but that's because I subconsciously created characters a lot like myself.)

Cap’n Lee (Flowerlark Studios)

Like others have said above me, I don’t really need to relate to a main character to like them. If they’re well written and receive good development, I’ll probably like them on some level. I do tend to gravitate more towards roguish and morally ambiguous characters, and my favourite is usually an outrageous villain. As for my own characters, I put a bit of myself in all of them, but probably none more so than Anor from Children of Shadow. I hadn’t meant to mirror so much of myself in him, but my characters tend to act and grow independently of me. He struggles with depression, PTSD, feelings of isolation, and has a similar queer experience / identity as me. He isn’t me, however, and differs in a lot of ways, too. But I can identify with him probably more than any other character I’ve written.(edited)

Batichi

I feel kinda narcissistic saying so, but the character I do relate to is my own protagonist, mainly because the point of the character was to have one that was more like me I guess. Low energy, unable to feel like they progress, never knowing if points of trauma are growing or hindering being a full person. I never intended a 'full insert' but a lot of their personal journey I feel gets pulled out of my own head since it's where I can pull from. I don't know if that counts or not xD I don't need a character to be relatable for me to be interested in them, but I do need to understand them. 'Defined' feels like too broad of an answer, but when I can be interested in both heart of gold protagonists and drug dealing warlords that's the best I can come up with.

spacerocketbunny

I may not need a character to be relatable to like them but it definitely does make me soft when I can. I think a character I can relate to would be Satinder from Shaderunners http://shaderunners.com/ I think she's a lot more outgoing than me and generally just more jovial and sweet but I relate to her struggle with her relationship with Ivo the most. Pining for someone who doesn't want to settle and just wants to move on bigger and better feels pretty real to me! Other than that I'd say Vic from Inhibit http://www.inhibitcomic.com/ while again I don't relate to his personality or much of his situation, I feel for his struggles SO MUCH. Stuck in that awkward, can't do anything right and just exists in the mediocrity of his situation just gets me all the time.

eli [a winged tale]

I think I relate with main characters who are competent in their own way but FLAWED, and are shown in the story to be facing a struggle. They may not have to make the right decisions or be the most clever, but their reasons are justified (via history, development, relationships). So ultimately it really comes down to the creator’s execution. I’ve been thinking about this question for a while and I think the best example is liking Kushana more than Nausicaa in Miyazaki’s graphic novel (you’ve watched the film, now go read the epic graphic novel!). She is presented as an antihero and a foil to Nausicaa and we see her struggle against how she was raised to the ideal way of dealing with the world presented as a possibility. Edith is also one where you see her being put together on the surface, but hiding deep insecurities inside. Yet she continues to grow, face her fears and maybe make the mistake of being on the wrong ship I jest, but working hard to solve her problems. I find static, good influence characters to be a little bit harder to relate to but if the story is good, I can invest in it.

GGY

Most of my characters stem from small pieces of my personality and experiences. Some of those personalties are exaggerated a bit to drive the plot and explain a few things going on with the characters. I don't have to relate to a character to like them but it is always interesting to see that side of a character that the other characters don't get to see as often or its not apparent. Not that the character is leading a double life or anything but that there are reasons why characters act the way they do and those reasons are either presented in a back story or from that character's perspective of the world. Anyways if I had to bottle it down to one character I think I relate a lot to would be one of my main characters Bridget Killigan of Over 8 Miles mainly because she runs by her own logic of how things go wether or not they are wrong. However this is only because of the result of circumstance, which I can relate to all too well XD(edited)

DanitheCarutor

I don't pay attention to relatability when reading a comic? Like I have no idea what characters I can relation to outside of my own since mine were sorta made to vent my experiences and issues. It's like gender and sexuality, as important as those details can be, I don't actually notice those things unless they're blatantly pointed out. Given that, not a whole lot of people can relate to me personally (I'm a weird person with weird opinions and views), so relatability in characters isn't totally possible and isn't important. Sometimes they can relate in life experiences, or a mood, but that's about it. Character(s) who are fleshed out, growing, and/or who are interesting is what matters most. So I guess I'm kinda parroting what other people have already said.

AntiBunny

Relatable? That's a bit of a tough one. I can care about a character without relating to them. In fact to answer last week's question, having characters I can care about is probably the most important thing to hook me into a webcomic. But relating to a character is different than caring about them. I would at one time say Riff and Torg from Sluggy Freelance, a couple of irresponsible guys getting into hijinks, but I've changed as a person over the years.

I suppose the most relatable character, might be Rhea from Slightly Damned. I say that because she's the one who has to be the responsible one now. She's the oldest of the 3 main characters, but still basically a kid herself. She has to protect and guide these two oddball teenagers, even though she's not even sure of her own place in the world.

I guess as you get older, people start looking to you as a protector, and as a guide, even though you still very much feel like a child wearing an adult suit. So Rhea is someone I can relate to in that regard. She's from http://sdamned.com/

Akreampuff

Sometimes I find I relate to elements of a character - Like when they comment or express an opinion on something - But having a character resonate with me isn't something that really happens often. I can't remember the last time it did. For me to like a character though, they just have to not be a shitty person. Flaws are fine - Flaws are great - But if they are just a horrible person or a flat bleh character then I lose interest very quickly.

kayotics

Karkat Vantas

RebelVampire

One character I relate to immensely off the top of my head is Shy from Radio Silence http://www.radiosilencecomic.com/ There have been a lot of moments in that comic, especially related to social anxiety, where I have cringed super hard along with Shy because I knew exactly what it was like to feel what he was feeling. It actually makes the comic difficult for me on occasion just cause it brings flashbacks. In terms of the second part, that's a difficult question. I feel like it's super easy to relate to at least small portions of every main character, since people are complex and have a million different sides to them. So, for me at least, I can always find at least a little something I can relate to. But overall, that usually doesn't determine if I like them or not. I'm more concerned about whether I'm invested in their goals and want to see them succeed or suffer for their pursuit of those goals. To me that's what makes a character likeable. So in the end, it's not a question of how much, since I'll always relate in some way. It's just also not important.

#ctparchive #comics #webcomics #indie comics #comic chat #comic discussion #comic tea party #ctp #reader favorites

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scripttorture · 6 years

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So in my story, there's a torturer that tortured the main character enough to leave the protagonist with some decent mental and physical scarring. He had a plan and reasons for doing what he did, but the plan was formed out of anger for the organization she works for. The protag originally knew him well and did trust him, so it was surprising to everyone that he'd do something like this to her. It takes a lot of care to get the protag back to a point where she can so much as think about him. 1

But later on during a fight between the two, the victim and torturer get in a situation where the victim ends up saving her tormenter from a fate worse than death, not because she forgives him or anything like that, but ONLY because she's not a vengeful person and the terrible fate he would have met was not something she wanted for anybody at all, which happened to include him. My question is, how can I portray the villain well after this? I plan to have him quit scheming against the protag, 2and even help them in some ways from the shadows, not apologizing, but also not interacting with them, or anything redemptive like that. I'm not trying to "rehabilitate" and "reintegrate" him into society, but I want the fact that he was saved by someone who could've had free revenge on him instead saving him to leave a profound impact on him. How can I show this without making it look like a heel-to-face turn and not making it look like I'm trying to make him sympathetic or "good?" 3

That’s a very interesting question and scenario. It’s taken me quite awhile to think it through.

As a lot of you have probably gathered I occasionally struggle with the ‘writingadvice’ side of things here: I find it a lot easier to give people facts thantell them how to write. A lot of that comes from how unhelpful and hobbling I’vefound writing advice in the past. I think the truth is that differentapproaches work for different people with different styles: that there isn’t somuch a correct way to write as thereis a successful way to write.

And what’s successful varies a lot with style and individuals.

One of the main factors I can see affecting your scenario is the pointof view through which the story is told.

Done from the hero’s perspective I don’t think you’d have any problems with the former torturerlooking overly sympathetic or somehow redeemed. Because the audience would beseeing him through the hero’s eyes. They’d see all the horrible things he’ddone and the effect he’d had on the hero primarily. The problem then would behaving the audience understand why the former torturer is acting the way he is.

Because the hero probably wouldn’t understand. She might accept theactions she sees. But how she interprets them is another matter. And if theaudience is seeing the story through her eyes then that’s going to affect howthe former torturer comes across.

She might doubt every single action the former torturer takes. She mightsee everything he does as a cleverly masked threat or attack. She might seethem as a moral turn for the character even if she still hates him and can’t forgivehim. She might not bother trying to interpret why he’s acting the way he is andthink of him as completely unpredictable.

One of the things I quite like to do when writing from a particularpoint of view is try to show the difference between what happens and how thepoint of view character interprets what happens.

One of my characters has an assistant who helps her sporadically in herquest. He tells her repeatedly throughout the story how well she’s doing in herquest and he’s totally in awe of her. But he’s about seven and she’s mucholder. Her natural pessimism and her culture’s view of children means that sheconsistently dismisses and disbelieves his praise.

I used what the assistant character (and other characters around him)say to show the audience that my character was doing well even though she consistently thinks she isn’t.

From a singular point of view (especially the hero’s) I think that wouldbe the best way to approach the problem. Having the hero consistently see theformer torturer (and his actions) in a certain light, but use other charactersto show the audience that the situation might be more complex than the herothinks.

I don’t think that would risk showing him as sympathetic in any way, oras redeemed. But it would give room to show that at least in some ways he’strying to be better.

Basically- highlight the ways in which a point of view might be suspect.

If you switch between points of view I think the same advice applies to everyone.

Especially if you’re planning to include the former torturer’s point ofview- really highlighting how his take on events is suspect would go a long wayto keeping him unsympathetic I think.

I’ll come back to some typical torturer behaviours/traits that you coulduse in a moment.

Writing from the third person, as an all-seeing narrator would require adifferent approach.

Because having a particular point of view to fall behind can give ahelpful amount of remove from the former torturer. And in switching points ofview you get a contrast between the different characters, which forces thereader to think about differences between the various characters’ points ofview.

An omnipresent narrator levelsthe playing field between characters in a way that could easily make thischaracter too sympathetic for what you want. It gives every character’sactions, thoughts and feelings the same weight which can encourage the readerto think everyone’s reasons are equally valid.

That isn’t a style I tend to write in as often. I think using a narratorin this case would make- it tempting to just tell the audience that this is whythe former torturer is acting the way he is.

Now I’m not going to tell youthat you should never tell theaudience anything. ‘Showing’ isn’t always the best approach. I think in thiscase it would be about striking a balance and building up an overall picturefrom what the characters say, what they do and what the narrative states.

I think emphasising some of the more unpleasant but private aspects of the former torturer’s character could help keephim from becoming too sympathetic.

An omnipresent narrator has room to tell us a little about his emotionsand thoughts. A lot of those aregoing to be unpleasant.

He may, for instance, still think the bigger baddies ‘have a good point’because his disagreement with them and his helping the hero seems to come downentirely to the hero as an individual.

Without knowing more about the story or the bad guys I can’t suggestwhat that might be. I know with some of my own characters I’ve highlightedtheir prejudices or a general devaluation of other people’s lives. This isn’tnecessarily something that comes across in their actions, but it can comeacross in their words, emotional responses and thoughts.

Emotional responses generally can be used to highlight the fact that hehasn’t suddenly become a more pleasant person. Expressing disgust at- wellpeople being ordinary people and going about their lives while a member of xminority- is a realistic and effective way to show that.

Especially if you use the narrator to contrast that with what the peoplehe’s so disgusted by are feeling and thinking themselves.

There are a couple of things that show up regularly in torturers thatyou could probably use to your advantage.

The strong tendency to…avoid taking responsibility is one I’d definitelysuggest using. Popular approaches include victim blaming (‘well she was out atnight in the wrong part of town, she was clearlydoing something wrong’), insisting that they had no choice (’the situation wasterrible and we had to show them who’sboss-‘), and insisting despite any evidence that what they did was useful.

Torturers also tend to have a….very distorted view of torture in somerespects. For instance they tend to emphasise personal skill, as if torture issomething a person can be better or worse at doing.

This isn’t true. You can’t really be better or worse at hitting someonewith a stick. Torturers are just as crapas everyone else at judging when someone is telling the truth or how muchpain someone is in. They’re also not particularly good at telling when someoneis at risk of dying or permanent injury.

But they often claim they’resuperhumanly good at all these things and therefore ‘skilled’.

I think you could use that to highlight unpleasant aspects of thecharacter.

There’s also the question of regret. From what you’ve said my impressionis that this character very specificallyregrets what he did to the hero but not what he may have done to anyoneelse.

Finding a way to bring that up could help keep the character…unlikeable.Especially if you can include another victim that he has no strong emotionalconnection to- someone whose humanity you can show to the readers while alsoshowing that he doesn’t regrethurting them.

Ultimately I don’t think there’s an easy straightforward answer to thisquestion. I hope I’ve suggested traits and approaches that can help, but thereisn’t a one size solution when we’re writing complex characters and complexnarratives.

And that’s what this is. That’s actually what I love about yourscenario. It’s messy and ambiguous and very human.

This doesn’t quite feel like a full answer but I’m not sure what else toadd. If you feel like there’s anything I’ve missed please send in anotherquestion when the ask box reopens.

I hope that helps. :)

Disclaimer

#tw torture #torturers #behaviour of torturers #effects of torture on torturers #writing torturers #redemption arcs #subverting redemption arcs #Anonymous

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turtlesinreview · 7 years

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TMNT Mirage Comics Issues 2-7

Since I read all these together I’m reviewing them together. I may or may not do this by arc or by issue in the future. I’ll see how it goes.

To me, at least so far, the closest thing I could think to compare the writing style of TMNT to is ‘If Axe Cop were written by grown men’. I don’t mean this as an insult in the slightest either. Eastman and Laird are a pretty clever and hilarious comic making duo, and these comics prove it. There’s this tinge of absurdist humor throughout the overall plot while the in-character humor is witty and natural. It has yet to feel like a chore to read, even the parts that are essentially expositions dumps.

Because those exposition dumps are fucking insane.

This is what I mean when I say it makes me think of Axe Cop. The plot gets more and more absurd with each passing page. It feels like the whole thing is taking you for a ride, but it also doesn’t feel like it has a horrible case of ADD either. The plot is always progressing, and there’s even a bit of downtime here and there to build up the characters. It’s great!

Where the style greatly differs from Axe Cop is about everywhere else. Like I said we get to know the characters a lot better. The mood is usually ‘gritty’ while still being clever and comedic, and while you may often find yourself surprised that something is happening, it never feels unnatural for it to happen. You go through the whole experience going ‘okay, this makes sense’, and there’s always a sense that what’s happening is a danger to the characters, no matter how ridiculous it may seem.

Essentially, the comic takes itself just seriously enough, making it a pretty enjoyable read, at least so far.

From this point on I’ll try to divide topics. I’ll keep writing out of the mix since I just went over it above, but I’ll add it in its proper place for future reviews/rambles. I’m still getting a feel for what I’m trying to do here.

Story

Let’s see if I can do this without going into ‘overly detailed’ territory. I have a bad habit of doing that.

The turtles, through watching TV, learn about these mobile mousetraps called mousers, which Splinter is concerned over since they’re apparently meant to rid the city of the rat problem. This means they may make their way into the sewers.

Turns out Baxter Stockman, the mousers’ creator, is actually using them in robberies around the city and plans to hold the whole thing ransom with his mousers. Apparently he was going to cause his own little 9/11 by destroying one of the twin towers. He tries to get his assistant April in on in, but when she refuses he tries to fucking kill her ass. The turtles save her and a new friendship is formed.

After Baxter announced his plan to the public, April and the turtles go back to his lair to stop him. There’s this tense moment where April and Donatello are trying to shut down a self-destruct program while the others fight off the mousers. They save the day and April becomes their buddy. The boys head back to the lair and that’s when shit really hits the fan.

After a bit of panic the boys get a hold of April and she agrees to house them. Due to some crazy-ass mixup the cops go after April’s van and a fucking insane chase scene ensues.

Afterwards the boys stay at April’s for what I think is a couple weeks if I remember correctly. We get a lot of nice little character scenes here. Anyway after fighting some rouge foot soldiers out for revenge the boys run into a building called TCRI and it induces a flashback in them.

They go to figure out shit about their past and find Splinter in the process. Unfortunately they ALSO run into some aliens and are accidentally teleported to another planet/dimension. I think it’s planet.

They meet a robot named Honeycutt who...well I posted a bit of his origin earlier. It’s convoluted and I love it. He can make a teleporter, but he refuses to because he doesn’t want it being used for evil. This leaves the turtles stranded and also means two opposing forces, the Federation and the Triceratons, are trying to get their hands on him for their own purposes. Chase scenes and a fight in a bar ensues.

Eventually the Triceratrons get a hold of Honeycutt and the turtles stowaway on their ship, where they somehow put themselves into a stasis via meditation where they don’t need oxygen.

I don’t think that’s how that works.

Anyway this results in them betting captured and put in gladiatorial combat. After they win the fight they hold the Triceraton ruler captive, but he gets stupidly shot down by his own men leaving them with no collateral. It works out fine though because they get teleported back to the TCRI building at just the right time.

On Earth April is worried about them, and apparently everyone saw the big ray of light the teleporter (or transmat as it’s called in the comics) let out when the turtles were sent to that far off planet. No one’s been able to get inside TCRI so the government has been called to storm the building.

The turtles are reuinited with Splinter and he and the aliens explain they they were just trying to get off the fucking planet. They explain their chemicals are what transformed them all into who they are today by accident, and it’s thanks to Splinter being a talking old rat that they ultimately didn’t destroy the turtles and even tried to bring them back. Okay so there’s more to it than that but I’m condensing it here.

The transmat needs to charge and be repaired again, but the government is starting to storm TCRI. Honeycutt and the aliens work on the transmat while the security system (with the help of the turtles if I recall) try to fend off against the feds so they don’t discover their alien allies.

The arc ends with the turtles and Splinter teleported into April’s tub, and I have no idea what became of everyone else.

Characters

One of these days I’m going to write a looooooooong essay about how much I enjoy the design evolution the turtles went other. Y’know, once I’ve seen enough of each series to warrant such an essay. I honestly think the turtles tend to look better with (almost) every iteration, and it should be somewhat obvious where I don’t.

I bring this up in this section and not the art section because in some parts of the comics I’m ashamed to admit I can’t tell which fucking turtle is talking when. While their voices are starting to become more distinct, the only way to visually tell them apart is what weapon they’re holding, or if they’re doing something a specific turtle would do.

A big example was before the bar fight. The first time I read it I assumed it was Michelangelo buying the beer, but upon rereading it I realized it’s probably actually Raphael.

But does that also mean Raphael was the one hitting on this space babe? Because that seems more like a Michelangelo thing to me!

Y’see, I assume THAT’s Raphael because I know that Raph’s the first one to use the ray gun, and I’m pretty sure he was standing next to Honeycutt at the time.

Of course in that panel Leo has moved to the other side of Honeycutt, so maybe they’re just relocating every fucking panel. The point I’m trying to make here is forgive me for getting the turtles mixed up sometimes. Especially Mike and Raph whose weapons I can’t use as stronger indicators to their identities.

Anyway, the returning characters, I.E. the turtles, are pretty fucking great in this. They’re starting to show and develop their own unique personalities, and it’s nice to watch the evolution as it happens. Leo is about the same as he was before, and has seemed to change the least, for the time being at least. I do like the little ‘If Raphael can fire a laser then I definitely can’ moment because it’s an early establishment of the rivalry they’ll probably share throughout the series, or if nothing else the rivalry they share in other iterations of the story.

Otherwise Leo was just as kickass as he was in the first issue, leading the team and being the badass ‘fight with honor’ brother for the most part. He was also the level-headed one when it was clear Splinter was MIA, as opposed to Raphael.

Speaking of Raphael, he had a lot of great moments in these issues, and it sure shows why this version of him is pretty damn beloved and used (I mean besides it being the initial/canon version).

The moment that stood out to me was how despite Leonardo’s protests and insisting he help clean up at home, he decided ‘no fuck that I’m going to find Splinter myself’ and just left and came back whenever the fuck he felt like it. It’s the moment that cemented him as the impulsive hothead, a trait I feel guilty for hoping will come back and bite him in the ass later.

Another highlight was when he was sizing up April after he took a shower. Nothing of note here. Just thought the scene was funny.

Also holy shit. Sometimes I forget just how short the turtles are. I guess they are still teens. Moving on.

Donatello was the one I usually identified as ‘the one who isn’t doing anything’ in this comic, but that’s pretty unfair. He actually does a hell of a lot. Combat aside, we also get an indication of his techy side in the first panel of the second issue.

Donatello was my favorite turtle in the ‘87 series. It was because he was sensible and intelligent, and back then those were the types of characters I liked. Oh an he was purple. I like purple. Anyway, he comes up with a few good battle strategies, and holds his own in combat pretty well in these issues.

His best moment so far is probably in the second issue, though, where he’s helping April reroute the mousers and deactivate the self-destruct system. He pretty much establishes himself as the brains of the team.

Michelangelo establishes himself as the carefree and cocksure brother during all this. He was eager to be a distraction for one of Donatello’s plans, and he even had some smug comments for a certain Triceraton guard.

That’s probably my favorite scene with him.

April’s really cool. She quickly establishes herself as the surrogate mother figure for the turtles, but sadly she’s under utilized in the latter issues I read where she mostly just hangs around New York worrying about the turtles. I’m sure she’ll have more to do later, but it’s nice that they have a ‘normal’ friend as well.

This is my first exposure to Honeycutt, and I can say while he has the dumbest origin ever, I really like him. He’s a man(bot) that sticks to his convictions, even if it risks the safety of himself and his friends (though he does CARE about said friends). I have a lot of respect for him, and I hope he shows up more after this arc.

I don’t have much to say about everyone else. Splinter was barely in this set of issues, and the alien race that Kraang is based off of...well, so far I like what other series have done with them more. Hopefully this isn’t the last of them though, so my opinion may change.

The Federation and Triceraton were...neat? Funny? I liked ‘em, but the races didn’t wow me too much. I liked the random extras in the background more.

Art

Issues 2 and 3 were a leg up from the first issue. They even used what I think is charcoal for the shading. That said, the people still looked pretty gross, at least in my opinion.

That said, I think the style is truly established in the fourth issue. Less is more really applies here, and that shows as the comic goes on. I think the overly detailed shading, while not terrible, was an overall detriment to the first few issues. Four through Seven look leaps and bounds better than the first three, at least in my opinion.

Not only that, but the art gets a lot better with each passing issue. I think one of the ideal comparisons for this is April. I’ll put an issue 2 image of her against an issue 7 image and let you be the judge. Hopefully you can see what I mean.

Not only April, but the turtles also look a lot better. They’ve become much more expressive, have a lot more motion to them, and their beak-noses aren’t doing that awkward crunching thing as often after the third issue. As before, I’m very excited to see the direction the art goes in the coming arcs.

Final Thoughts

I’ll admit, it was hard to resist the urge to read more of the comic while I was writing up this review. That’s probably going to be the most painful part of updating this blog. However, that should tell you how enjoyable this comic is. It’s hard to put down, and engaging all the way through.

This arc was pretty neat, and I’m excited to see what happens next. I know I said that last time, but I have a feeling this is how I’ll feel for a while if the quality remains this consistently good. Only one way to find out!

#tmnt #prime

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liveshaunted-moved · 3 years

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headcanon dump; luke crain

slowly, as luke grows up and into his addiction. luke tends to pull away from his siblings touches. it took a while for anyone to notice, as they weren’t a huge hugging family, at least, not after they got older. hugs started to become rare, if someone was hurt / hurting, a congratulation thing. it got noticed when he pulled away from a hug offered by nell. that was three months before he dropped out of college.

i’ve touched on luke being sensitive with smells, but i also see him being sensitive to ghost in general. before he even saw a ghost, he felt the house was bad. he didn’t like the house, something felt off. nell said it was loud, theo said it was cold. it was after his initial awe of the big house that they were staying at, that the bad feelings started to sink in.

then, out of them all, luke was the one who saw the most ghost - even outside of hill house. he saw ghost more clearly then others, almost like they were drawn to him. before hill house, he actually had an imaginary friend, who just so happened to be a ghost who lived in that house. which is how he knew abigial wasn’t imaginary despite his parents and siblings saying otherwise. his other imaginary friend he only saw in the house, were as with abigail he saw her outside of the house.

ghost just give him this horrible feeling inside.

if you don;t think luke’s new years wish/resolution, his christmas wish or his birthday wish after his mother died was to have his mother again YOU ARE WRONG. that was all he wanted, he only wanted his mother, and that is all he would ask for when asked.

luke is a codependent person. whether it be with a person, or a substance. he’s someone who needs someone or something as a comfort

luke never does blame shirley for kicking him out of nell’s wedding, because he would have told nell that he tried to go, but shirley said that she didn’t want him there. he doesn’t blame shirley at all because he was high, he didn’t want to ruin nell’s day ( he just wanted to be there for her ), but how he’d end up wasn’t predictable either - especially when he was high. and because his siblings ( especially nell ) would be worried about him because they all know the tell tale signs that he’s high

while luke loves(/d) his father as a child, he wasn’t that close with his father. he was closer to his mother. he just didn’t have the same interest hugh had in building and helping like steve did.

luke’s friends growing up, especially after hill house were more nell’s friends then they were his. he wasn’t the best at socialising, he was a quiet kid, nell wasn’t. that was just who they were, essentially a package deal. if you friend nell, you friend luke. but, they weren’t overall his friends. he noticed it more as he got older, the small looks they’d give him when nell wasn’t looking after she said luke wold come too. it honestly got to the point where luke just stopped going whenever plans popped up. claiming he was tired, or he had homework. just something so he doesn’t feel like he isn’t wanted by those he is ‘suppose’ to call friends.

he never told nell of this, that this is why he stopped hanging out with her friends.

he was maybe fourteen when he did finally make his own friend, they were solid, and it felt great to have a friend again, because his last true friend was abigail - but not even before the christmas holidays started up two years later, did she die because she fell very ill. and it was from there on that luke felt that he really didn’t deserve friends, not like his siblings did. that his friends are destined to die.

so, it wasn’t until he was THIRTY TWO YEARS old, that he found himself opening himself up to having a friend again (joey), and then he loses her while he was trying to help her

luke and nell shared a room up until steve left because janet’s house didn’t have enough rooms for them all to have one separate, and they couldn’t afford to move out.

including olivia, hugh, nell. and adding allie, jayden & kevin & leigh and arthur

luke drawing a memory from shirley’s wedding & giving it to her, same with steve. and then when theo does, when her and trish are back from their honeymoon they come home to a drawing from him.

luke using drawing again to help process his emotions.

him drawing anything his niece(s) and nephew ask of him

nell dies in october, then a few months later it’s christmas and a month later, it’s luke and nell’s birthday. those months all are the hardest for luke. the days that are the worst are nell’s death date, christmas & their birthday and the days leading up to it & after it (three days)

2018 is the first year luke has spent sober in over ten years. if was he in a centre, he’d escape a few days before christmas because it was too much.

his first stint in rehab started on the 4th jan

luke’s first christmas sober & without nell was hell. it was a time he very badly needed his siblings, because they had not long ago lost her ( and then their father ). he just needed them to be there, to confine in that he is feeling tempted, him asking them to sit or talk with him until the temptation goes. it happens a lot, a different siblings each time. maybe going to kevin one time or leigh. or just striking up a conversation with jayden and allie, anything to distract himself from the feeling. maybe even asking to go to a meeting, and having one of his siblings take him.

on his birthday the next month, he asks if he can be around at least one of his siblings for most of the day.

luke very rarley calls shirley, shirley. it’s almost always shirl as it stuck as a kid.

luke seeing his siblings helping him buy getting him to rehab, or money for something, as them still caring about him, so when they tell him they’re going to stop. it hurts him, because he feels like they don’t care anymore.

luke is a smart person, much like the rest of his family. it is just there are certain things that it takes him a while understand. sometimes it’s things in class, sometimes it’s events.

luke spent his twenty third birthday in rehab, thank you for coming to my talk

EXPANSION ON: luke was a teenager, when he fully recognised what their mother did (suicide), up until that point he just didn’t quite get that she had killed herself, so him ‘knowing’ how a suicide can ruin a family wasn’t as processed in his mind as it was everyone else, and it never really got to fully process due to the drinking and drug use he started.

EXPANSION: he didn’t realise until the first time he tried to get sober, he recognised that his drug habit become his coping mechanism for dealing with her death (and ultimately that night). and that is when he at a feeling of how a suicide can ruin a family, it made him think about how he felt his siblings and father had changed from their time in hill house / olivia’s death. this did of course not stop his own suicidal thoughts, it played a bit into his first relapse / first flee of a centre

don’t you dare think for one minute that luke knows nothing about them * shirley & kev’s kids ). he knows more then what his siblings (minus nell) think about his niece and nephew. he might have kept his distance because of shirley & they are kids, and he doesn’t want them near his addiction, but nell tells him stories. keeps him up to date so that when he ever did get sober - he won’t have to jump over so many hurdles to get to know them.

Luke for the longest time wanting to get a tattoo in remberance of his mother… but never doing so, not because he couldn’t afford it, but because every time he walked into a tattoo parlour it smelled too much for him. The chemicals used to keep the place clean, the ink. Was always too much. So, when he is sober, he asks one of his siblings so he can get one in honour of everyone he’s lost, including Abigail

luke feeling like he disappointing everyone, including the trained professionals when he flees, yes, yes he does

before his last rehab, luke tries to get clean WITHOUT a centre to help him - it doesn’t work as well

for nearly a year after losing his mother, luke didn’t like hugs from anyone but nellie. because they just didn’t feel right, but this is also why he hugs his siblings now when he can to make up for it.

luke doesn’t remember as much as his older siblings, but what he does remember of his mother - he down plays it to not remembering much about her, because then maybe he doesn’t have to talk much about her. and this is because he feels like if he talks about her, he has to come face to face with THAT NIGHT, and that isn’t something he can do.

uke & jayden & allie. while having lived in shirley’s place for a while, has never really meet her kids. he knows their names, knows how old they are. always smiled at them when he’s seen them (or given the best that he could).

it was a bit of both shirley and him not wanting them to be near drugs, and the effects they can have on a person. he would never want to subject her kids to seeing someone like he was in those states. and when he did stay there, it was more like a place to sleep then to live most days

luke never really ‘comes out’. the only person’s whose opinion he does care about, and value the most is nellie’s, and i feel that once in high school, luke got this crush on a kid in their grade, and nellie could sense something up with her brother - and doing the sibling thing - annoyed him until he admitted to a crush. but, he never said who and like she named off all the girls she could think of, until she ran out.

and being the sheepish scared boy that he is deep inside, looked away from his sister. and nellie is quick to catch on that it isn’t a girl and she hugs him and he is filled with so much relief. he still though never tells her who.

getting sober, luke does find himself going to meetings often. it helps him, he’s figured them out for himself which was something he struggled with each time he tried to get sober before this. he’s learnt to tell his story, even if it may sound ‘crazy’.

he generally goes to these alone, but when it comes close to the date of nell’s death, or his and her’s birthday, he would try and take one of his siblings (or even one of their partners if they weren’t available)

luke counts to seven as a coping mechanism. he discovered this helped calm him down when he was 4 years old. he would do it when he found something scary, or he had to do something that gave him an anxiety like feeling. it just helped him, and he didn’t mind sharing it with nell, his twin because she would understand him the most and understand it the most. and probably wouldn’t judge him for it.

you know what luke loves? hugs, cuddles and soft touches & caresses. softly planted kisses on the top of his head. fingers being run through his hair.

luke getting his heart broken in like high school and going to maybe one of his siblings and just laying his down and putting his head in their lap. him just crawling back into his six year old self and wanting someone to hold him, but not too so just maybe running their fingers through his hair. and maybe it becomes a habit and he does it a lot when he’s feeling down, he’d maybe go to a different one every time. but when he starts to drink, he stops. he stops doing it as often, and when he starts doing drugs, it stops completely.

luke knows how to drive… BUT DOES NOT have a license

luke upon realising he is dead apologises to olivia for many reasons. he wasn’t clear minded, just saw a needle in his arm and thinks it would be heroin that took him. he apologise that is the way he went, with a needle in his arm. he is apologising for falling onto the path of an addict, for not telling anyone about what was going on in his mind. for not being as brave as nell with dealing with their trauma. for doing his siblings wrong, for disappointing her because he did all of this. he’s sorry for not finding a love in something or someone like his siblings, for losing his love for art in the process of becoming reliant on heroin. for not being a god son or brother.

Luke & Nell are mini versions of Olivia ( Olivia Split in two ) semi expanded

Luke is Olivia’s fears and feeling scared, her burst of colours and her wild imagination, he is her insecurities and kind hearted nature. he is her flight risk behaviour.

One time Luke didn’t make it to a month in rehab because someone had recognised him as a Crain from the Hill House book Steve wrote. Luke never read the book, didn’t want too. Nor did he really want to be asked questions about things in the book because no one believed him then, no one believes him now and he didn’t want to hear about it so after deflecting questions he realised it wouldn’t be too long before it was unavoidable and the memories the drugs he used to get rid of were loud and vivid. He needed to go.

because of olivia dying luke become very close with aunt janet. she was like a lifeline that he could hold onto to keep a hold of the happy and loving image he had of his mother. he would often ask her for stories about his mother. of when they were younger, of really anything.

for a period of time after the funeral he relied on her telling him a story (or one of his siblings) about their mother before bed. it made him sleep better, and kept most nightmares at bay.

when living in shirley’s guest house, there was a notebook and pen that luke found on the small table shirley had in there. this was the only time when he he was still using (he was doing his best to hide it, and doing so away from the house and the kids), that he drew. he filled that notebook because he felt safe inside the home of his older sister.

drinking and doing drugs did not take away luke’s suicidal thoughts, they just numbed them like they numbed the memories from his past that he wanted to forget. he, from the age of 17 had been ‘knocking’ on the door, whether due to reckless behaviour, drinking too much or, at 20, doing drugs.

luke was a teenager, when he fully recognised what their mother did (suicide), up until that point he just didn’t quite get that she had killed herself, so him ‘knowing’ how a suicide can ruin a family wasn’t as processed in his mind as it was everyone else, and it never really got to fully process due to the drinking and drug use he started.

as people do drugs, they build up an immunity to the drugs - so the higher does they take, and we know luke’s been taking drugs for at least ten years, and this helped him survive as long as he did before steve came into the house with the rat poison in him. but, he did die and was saved by ALL his siblings. nell pulled him back to his body, steve & shirl doing cpr, and theo & shirl taking him to the hospital. they all saved him, and that made him want to stick to sobriety, because they wouldn’t save him if they still didn’t care and he wanted to be back in their lives and not be the disappointment anymore.

luke was a mama’s boy and y’all can fite me on it!

luke totally had as a teen notebooks filled with drawings of his mother, of his siblings that he kept hidden. he doesn’t know where it’s went. and in those ones were also images of the dudley’s and of abigail

when drawing his family, he would always draw them smiling or happy, because that is what he loved about them. he loved his families smiles

luke started to become very suicidal in his thoughts as a teenager. thinking that dying would make all those nightmares go away because ‘they aren’t real’ ‘big boys know the difference between what’s real’ ‘they’re just nightmares’ ‘monsters aren’t real’ and it’s those thoughts that got him to keep those nightmares to himself, and the thoughts of getting rid of them away.

his thoughts were just getting worse and the more he thought about it, the more he was contemplating doing it. then he found alcohol which took away the nightmares, at least for a while and then becoming dependent on a substance to get rid of the nightmares is what happened.

luke in his teenager years liked to draw faces, that was the most common thing he would draw. be it a classmate (which often, if female, got mistaken as a crush - it never was), his siblings or the faces from his nightmares.

he never really drew when high, never having the equipment to draw, so when in rehab is when he drew. he would draw random things. sometimes it was the outline of hill house, or little bits and pieces from hill house (in his first stint) which caused him to skip out and relapse because the house was ‘haunting’ him again.

and then it would just be random things he would see around the room or out the window. like the truck passing by (or parked near by)

Luke is a smart kid, he got good grades and excelled in art. he just, made bad decisions is all.

luke could never say he was high to his siblings, it was always a varation of it. ‘ i need to get well before i better ‘ ‘ i am level ‘, he hated using the word high, especially in front of his siblings because he knows that it disappointed them so he would use a different word

tea, of any kind makes luke feel sick and that is just smelling it. drinking it makes him physically sick.

sick people have a certain smell, and luke could tell his siblings were getting sick before the could.

Luke was going to burn the house down even if it took him down too. He didn’t care so long as the house that took away the mother he loved was gone, so long as the house that tormented his sister to the point of dying was gone, so long as the house that gave him the nightmares that filled him so much he had to inject himself with a poison to make them go away goes down in flames. If he went down with the house at least it couldn’t HURT anyone else he loved and his family would be safe from it’s harm - even if that meant he went with it too.

nell’s wedding is the only wedding of his siblings that he didn’t attend. and he hates that fact, it eats at him that he couldn’t be sober for her wedding day

They were six when their mother died, that doesn’t mean they don’t remember much about her. Luke remembers the good things, he clings to the good things because those help repress that last night. the one memory that comes to him as clear as day. because the memory that is so vivid of his mother is of the worst night of his life - and he’s six years old, he doesn’t know the difference between his mother and ‘possession’.

his first birthday without nell is one of the hardest he has to live with, because he knows she isn’t ‘alive’ anymore, that she won’t be there for him to celebrate his first sober birthday in ten years with him. it’s a day that he needs his siblings / his support system the most.

Luke out of all five children was told that most of his things were not real. And Luke actually saw the most out of the kids.

Ghost have a certain smell, and with how many where in the house, it made Luke’s senses overload. But he couldn’t figure out why, just that he didn’t want to be ‘in’ the house which is why he went to the treehouse

Luke’s eye sight actually got better, as he got older. THIS CAN HAPPEN. His eye sight as a kid wasn’t the best, but when he was in his teens, Aunt Janet got him to get retested and it showed that his eye sight improved to the point where he only really needs glasses when reading or watching tv / movies for extended periods of time.

now, though he has lost his glasses and just walks around like his eye sight is perfect, and this causes him to take breaks often when writing / reading / watching tv / movies.

needing quite when he counts to seven. luke covered his ears in the car. it drowned out everyone’s screaming and crying as he tried to keep calm and like a ‘prayer’ for his mother to be safe. for them all to be safe

getting a simple a tattoo’d and stars (7 to be exact) next to each other, is more likely then you THINK

luke injects in his foot, and preferred to do drugs that were injected over mouth / snorting.

he couldn’t stand people wearing too much perfume / body spray as it effected his nose / sense of smell and would overwhelm him.

the tall bowler hat guy turned into olivia because deep down, who he was scared of changed. but, he couldn’t cope with the fact that he was scared of his mother (&what she had become / done), so he turned her into the ghost that he could put a figure too.

luke has extra sensitive smell, he always had, but hill house enhanced it. much like nell has sensitive hearing (saying the house was loud) and theo with touch.

Luke had starting using heroin in college, in high school he’d get drunk more often then not, maybe get high on weed but picked the alcohol more times over smoking.

Smoking cigarettes is something he’s done since he was sixteen.

Luke wanted to be a comic book artist, that is what he was going to college for before he dropped out due to his drug use. His essay about Abigail was the outline for a comic idea he had. Or even a children’s book author, where he did the writing and drawing.

Luke, never was scared of his mother until that night, but even then - he didn’t know that he was scared of her until years later and the ghost that scared him the most as a kid turned out to be her. He loved his mother, and buried the fact that she tried to kill him and his sister, while successfully killing his friend, who everyone believed to be imaginary.

The only people to know that Abigail is (or was) a real person is Nell, Luke & Hugh, and possibly Theo, but Luke doesn’t know that Theo might know. So, he never speaks of Abigail again, just writes about her.

Luke was close with Nell, no doubt about that, and I feel that outside of her, he would have been closest to Theo. It’s why she would have cut the ties of harder and faster then Steve and Shirley. And it’s why, he can only ‘bullshit her’ if he’s got to, or he’s got it. Because they were closer, then him and Shirl and of course he could never bullshit Nell due to the twin thing.

luke while naive and young when olivia tried to poison him, nell, abigail and herself, he remembers that night. remember abigail foam at the mouth and choking & coughing like she couldn’t breathe. remembers their father coming in and smashing the teapot set and how their father throw their mother against the wall.

their father never told them that their mother tried to kill them, that was her intent. that that is what she meant by ‘waking you up’. but, as luke got older, the memories of that night came back. he remember that their mother tried to kill them, so he started to turn to alcohol before it slowly become heroin and then he was addicted to the stuff.

he used the drugs to forget about what happened in that house, and it worked. it was why he relapsed a couple of times, because the memories, they came back and he couldn’t take it, and counting to seven wasn’t working any more.

Luke Job Choices:

Comic Artist. Graphic Novelist. Tattoo Artist. Artist.

Luke’s Memories / Nightmares:

The Cellar Ghost Attack

Abigail Foaming at the Mouth

The Last Night At Hill House

The Tea Party

Bowler Hat / Tall Ghost

#it has to be seven; it keeps you safe ( luke canons )#drugs tw #drug abuse tw #we're standing on the edge of queue #long post tw #suicide tw

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douchebagbrainwaves · 5 years

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THE TOP IDEA IN A STARTUP IDEAS

A round. Perl is not the sort I mean. Startups are that constrained for talent. They don't sue till a startup has made money, and once you have money, people will want ever more material wealth, so there is no secret cabal making it all work. Parents know they've concealed the facts about sex, and many at some point sit their kids down and explain all the lies they told you. Only a few people reading Jane Austen instead. I explained this as code to show a couple of nerds with no business experience operating out of a small agricultural town wouldn't benefit from moving to a startup hub a place is, the USPTO are not hackers. But anything that grows consistently at several percent a week, but if we had better than a 1 in 24 chance of succeeding, you'll only do it if you don't have startups, pretty soon you won't have much competition. We did it because it seems such a great hack.

But the American startups we've funded will attest that I say the same thing that makes everyone else want the stock of successful startups is that they're embarrassed to go back n paragraphs and start over in another direction. Technology will increasingly make it possible to relive our experiences. The only practical solution is to develop new technology as fast as startups, the more the rest will want to come. For comparison, here is an innocent one. The sentence structure and even the words are different. Finding investors is hard. There may be one person whose job title is CEO, but till she mentioned this it never occurred to me till then that those horrible things we had to write PhD disserations about Dickens don't. You could try to decrease the risk is to join an existing startup instead of starting your own.

Object-oriented programming generates a lot of economic history, and I get an uneasy feeling when I look at my bookshelves. He said it was never an issue, because everyone was so good they never had to use CLOS. He said their business model was crap. But not so lucrative or prestigious as it was possible to go from poor to rich, I knew practically nothing about the paths from rich to poor, just as a scientist is better off following the truth you'll discover cooler things than you could to work on dumb stuff, even if the problem is to make a living was by farming. Making $1000 a month a typical number early in YC and growing at 1% a week will grow 1. The space of possible choices is smaller; you tend to get cram schools on the classic model, like those we mishandled in high school. That group says another.1 Everything else we associate with startups follows from growth. The person who knows the most about the most important source of growth in mature economies. For example, legacy admissions. As the roast turkey appeared on the table, his alarmingly perceptive 5 year old son suddenly asked if the turkey had wanted to die.

I don't mean to suggest by this comparison that types of work consist of doing things for other people, whereas doing a technology startup, at least in our tradition lawyers are advocates: they are trained to be able to say whether patents have in general been a net win. YC, why don't more people apply? If you've had summer jobs in college, you may think you know how the world works, and any theory a 10 year old had about that would probably be a pretty narrow one. In a way this is virtuous, because I rarely heard a teacher say I don't know enough about the infrastructure that spammers use to know how to run the world? But when you understand the origins of this sort of trick to pledge publicly not to. How much do we have to look at this actually quite atypical spam. The best thing to measure the growth rate of is revenue. A company making $1000 a month a typical number early in YC and growing at 1% a week will grow 1. It's a bad plan to treat something only a hundred years old. We might like to think we wouldn't go so far, Sam Altman, John Bautista, Trevor Blackwell, Paul Buchheit, Brian Chesky, Bill Clerico, Patrick Collison, Adam Goldstein, James Lindenbaum, Jessica Livingston, Robert Morris, and my father for reading drafts of this.

To the extent you reduce economic inequality instead of just improving the overall standard of living, it's not the best way to get at the truth, as I suspect one must now for those involving gender and sexuality. And that helps overcome their understandable fear of investing in a company run by nerds who look like and perhaps are college students. If a lot of serial entrepreneurs, actually. The kind of question on the application form that asks what you're going to learn that the world is quiet and warm and safe. And as for the disputation, that seems nearly impossible to shake. Nor did we start YC mainly to help out young would-be startup founders are. The x in Ajax is from the XMLHttpRequest object, which lets the browser communicate with the server was to ask what surprised them. They could see they weren't as strong or skillful as the village smith. The Meander is a river in Asia Minor aka Turkey. If someone in my neighborhood heard that I was looking for an old friend especially if he is a hacker to suddenly send you an email talking about sex, and partly a larger part than he would admit that he doesn't want to tarnish himself in their eyes. But I know they exist. Breaking up companies into smaller units doesn't make those needs go away.

But as the tests get broader, the schools do too. Authenticity is one of the top VC firms, and even now I find it kind of weird. When did Microsoft die, and of what? When he was 19, he seemed like he had a 40 year old inside him. So it is with design. I'm just stupid, or have some sort of exit. Some parents feel a strong adherence to an ethnic or religious group and want their kids having sex?

But that world ended a few years ago. The US has less than 5% of the world's population. And yet all the empirical evidence points that way: pretty much 100% of startups that make something popular manage to make money from. Indeed, it will go in one investor ear and out the other. And fortunately at least two times, maybe three. Hope for the best, but expect the worst. I do: that being mean makes you fail. Why do you think so?

Let's start with a distinction that should be obvious but is often overlooked: not every newly founded company is a startup. They want to feel safe, and death is the ultimate threat.2 But few tell their kids about the differences between the real world, and this special power of hers was critical in making YC what it was. I have to bother being diplomatic with a British audience. They sold their software on eBay for a quarter of a million dollars as much as submission.3 It may also help them to grasp what's special about your technology. The average parents of a 14 year old girl would hate the idea that we ought to be writing about literature, turns out to have consequences one might not foresee when one phrases the same idea in terms of reducing inequality. So why do so many people complain about software patents specifically? All startups are mostly too busy and too poor to be worth suing for money. It's an excuse to work on your own projects.

Notes

This argument seems to be high, so it may be heading for a sufficiently identifiable style, you can probably write a Lisp interpreter: the attempt to discover the most successful startups are competitive like running, not economic inequality. They'd be interchangeable if markets stood still.

Fortunately policies are software; Apple probably wouldn't even cover the extra cost. The University of Vermont, 1991. Monk, Ray, Ludwig Wittgenstein: The Duty of Genius, Penguin, 1991. Which means one of his peers, couldn't afford it.

Y Combinator only got 38 cents on the entire period since the war it was so great, why are you even before they've committed. Maybe it would certainly be less than 500, because talks are made of spolia. But should you even be working on filtering at the valuation should be clear and concise, because the danger of chasing large investments is not pagerank commercialized.

#automatically generated text #Markov chains #Paul Graham #Python #Patrick Mooney #projects #people #Adam #group #living

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