eight adventures

Me, through tears: Fuck, dude, you sure are…

Hi my name’s amanda and I’m real messed up about Davenport. Catch me in your local broom closet crying about this gnome. You’re welcome to join me.

the jojo parts as spongebob quotes

part 1: “What do you call a vampire at a blood bank? A cab!”

part 2: “Did you reunite our heroes?” “No, but I got married.”

part 3: “ The International Justice League of Super Acquaintances! (A subsidiary of Viacom.)”

part 4: “It’s BIG, SCARY, and PINK!”

part 5: “Uh, sorry, I don’t speak Italian.”

part 6: “Just the thought of her alone and afraid in jail makes me think about her being alone and afraid in jail.”


part 8: “All bubble-blowing babies will be beaten senseless by every able-bodied patron in the bar.”

non-spoilery Beauty & the Beast review

- Plumette (the feather duster)’s transformation was everything I could ever hope for. It was magical and beautiful *__*

- Ewan McGregor as Lumiere did not disappoint. Ewan! Singing! =D! Lumière/Plumette yasss. Also Ian McKellen as Cogsworth and Emma Thompson as Mrs. Potts whatttt

- You know you’ll like Kevin Kline as Maurice (Belle’s dad) because Kevin Kline has his moustache on for this movie

P.S. Don’t worry about LeFou. D o N o t W o r r y.

Cycle Eight--Week 1


The bright blue leather of the book’s cover has faded over time, and the silver metalwork has tarnished, but the ink inside is still crisp and clear.

A (condensed, if I’m being honest) version of Lucretia’s journal from Cycle Eight.

Day 1

For the first time, we spend the night of our arrival still airborne.

Lup is eager to explore the land below us, a world covered in vast glowing forests of fungi. Even now, when the single sun is on the far side of the planet, it glows as though it were daytime (At least, if daytime were characterized by an ever-shifting pattern of neon hues). The air is filled with clouds of spores which diffuse the light, concealing the edges of individual mushrooms so the entire world looks like a great ocean of light.

Tomorrow we head for one of the dark spots we can make out on the horizon in search of a clear landing ground. Captain Davenport has ordered that no one is to leave the ship until we can verify that the environment is inhabitable. Thus far, we have had the good fortune to only visit worlds on which we can walk and breathe, but there is no guarantee that every set of Planes will be so hospitable.

Magnus offered to go down to the surface by himself. “It’s the quickest way to see if we can survive!” he said.

Taako scoffed. “Oh, right, check it out by dying, that’s a brilliant idea. Idiot.”

“Yeah, Maggie,” said Lup. “You only just got back! Is the company really that bad?”

He didn’t push the matter, but offered to man the helm for part of the night so Captain Davenport could get some sleep.

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Cycle Eight--Week 2

[AO3] [Week 1]

Day 8

Merle has set himself up in the town center, telling all who will listen about the word of Pan. To our surprise, ‘all who will listen’ seems to be most of the town. It may just be the novelty that makes them stop and ask him questions about his faith, but it may be something deeper. He prayed and sang the scorch teams on their way again tonight, and this time there were more than a few hesitant voices that joined in.

“Some of them really don’t believe that we can just breathe the air where we come from,” he told us after dinner.

Taako looked at him askance. “We came here without masks on. What do they think we were doing?”

“Dunno.” Merle shrugged. “I mean, they know we were on the ship. It’s not that weird we could breathe there. It’s the thought that there’s whole worlds without poison death spores in the air that throws ‘em. And where nobody needs to wear masks! You know how weird they think it is that we’ve all seen each other’s faces?” He paused and waggled his eyebrows. “Probably assume there’s some really kinky—”

“Gross.” Lup threw her spoon at his head.

“Speaking of which.” Magnus glared at him. “I know you’ve got your whole weird plant thing but please for the sake of everyone’s sanity and eyeballs, no flirting with the death mushrooms.”

“Hmph,” said Merle. “Here I am, trying to give these poor people the first taste of hope they’ve ever felt in their lives and all you can focus on is whether or not I wanna fuck the death mushrooms.”

To no one’s surprise, the conversation ended quite abruptly after that.

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Adventure Time Rewatch: Introduction and History

With Adventure Time Season 8 wrapping up tomorrow night with the broadcast of “Three Buckets,” fans of the series are faced with a scary prospect: one more season before the end. The inevitability of the series eventually coming end doesn’t make things any less sad, but if the forthcoming season follows the progression of those leading up to it, it will be very special indeed. On the air for over seven years, the show is very nearly an institution at this point, and recent highlights like the Elements miniseries make it hard to remember that it wasn’t always so. Poised as we are at the beginning of the end, I decided to take this opportunity to rewatch the show in its entirety, tracing its development from lolz random!!!1 pilot to the work of art it is today. First, a bit of context is in order.

There was never a show quite like Adventure Time. The years leading up to it had seen the Western animation industry in a state of flux: after the long, depressing dark ages of low-budget, low-effort Saturday morning garbage that followed the collapse of theatrical shorts distribution in the early 60s, the animation industry began to show signs of revival in the 90s when a new wave of animators began to produce more challenging material. The Simpsons paved the way for this development, demonstrating that cartoons could capture a prime-time audience by appealing to kids and adults alike – but while The Simpsons was, essentially, an animated sitcom, these new shows looked back further still. Channeling the anarchic humor of 40s shorts by the likes of Tex Avery and Bob Clampett, shows such as Ren & Stimpy, Beavis and Butthead or even South Park presented darkly satirical takes on life, the universe and everything, reveling in a no-holds-barred, anything-goes approach that shocked and offended the prevailing sensibilities of the day. While other networks mostly treated these success stories as one-offs, Nickelodeon – previously a failing children’s channel – accelerated into prominence by following up with a number of lesser-tier but commercially successful shows, now only remembered nostalgically by people roughly my age: Hey Arnold!, CatDog, AAAHH!!! Real Monsters and the like. Nickelodeon scored an occasional hit with titles like SpongeBob SquarePants or The Fairly OddParents, but these broadly followed the same pattern: goofy, ultra-cartoony cartoons, mostly without pretensions to continuity or character development and often reliant on frankly dumb humor.

No one ever accused these shows of being sophisticated.

Cartoon Network entered the scene in 1992, broadcasting titles from the Turner back catalog, producing their first original animated series in 1994: Space Ghost Coast to Coast. Reusing recycled cells from old Hanna-Barbera cartoons, the show wasn’t exactly an artistic achievement, but its postmodern deconstruction of talk radio brought with it a sense of hipster irony that came to be reflected in much of Cartoon Network’s catalog. After a few early successes, which shared Space Ghost’s pop art sensibilities (Dexter’s Lab, and Powerpuff Girls, both created by animation luminary Genndy Tartakovsky) and a later string of not particularly challenging work (Cow and Chicken, I Am Weasel, Courage the Cowardly Dog,) Nickelodeon launched Tartakovsky’s Samurai Jack in 2001. From the time it debuted, this show was clearly something else. Previous animated TV mostly looked to back to the 1930s-50s Golden Age of Animation for inspiration, with a side of 1960s-80s alternative comix; Samurai Jack, in comparison, was at its soul a bushido revenge story, following the adventures of a wandering ronin cast adrift in a fantasy world. It was wildly imaginative, gorgeously animated, and (crucially for our purposes) marked by narrative continuity and featuring developing, maturing characters, even if the picaresque story structure allowed plenty of time to explore the show’s bizarre world.

Seriously, this show was just the coolest.

Following Samurai Jack, a change gradually crept over the TV animation industry. Nickelodeon, though continuing to produce more of the same sort of fundamentally unimaginative work that had marked its catalog from the mid-90s onward (Jimmy Neutron: Boy Genius, ChalkZone, etc.) also debuted 2005’s Avatar: The Last Airbender, an epic animesque Bildungsroman, while Cartoon Network experimented with style (Foster’s Home for Imaginary Friends) and narrative continuity (Tartakovsky’s Star Wars: Clone Wars, which succeeded at the titanic task of making the Star Wars prequel universe compelling.) Cartoon Network’s late-night [adult swim] block, which continued in the vein of Space Ghost by specializing in hipsterish shows for teens and young adults, scored a string of cult (almost-)hits such as Aqua Teen Hunger Force, The Boondocks, Harvey Birdman: Attorney at Law and The Venture Brothers.

At this point an improbably-named animator, Pendleton Ward, entered the scene. Having attended CalArts along with J.G. Quintel and Alex Hirsch (creators of Regular Show and Gravity Falls, respectively,) Ward attracted the attention of a Frederator Studios exec directly out of school, who encouraged him to produce a short for Frederator’s Random! Cartoons anthology series. The result was the Adventure Time pilot, a whacky exercise in randomness that, while falling far below the standards of worldbuilding and narrative that characterized the later show, nonetheless captured something of the Internet-meets-pop-culture Zeitgeist of the late 2000s. This approach payed dividends when the short leaked online, going viral in short order. Building on his success, Ward pitched the show to Nickelodeon, who rejected it twice, before approaching Cartoon Network. After Ward storyboarded an episode (Season 1’s “The Enchiridion!”) to demonstrate that the short’s success could be built off, Cartoon Network approved the show, which entered into production in September 2008.

The rest, as they say, is history. Eight seasons of Adventure Time have been produced to date, following Jake the Dog and Finn the Human’s adventures – beautiful, silly, scary, heartbreaking – through the world of Ooo. The show grew into Cartoon Network’s flagship property, paving the way for the latter-day TV animation renaissance we currently find ourselves in, launching careers and enabling the production of beautiful, even profound series like Gravity Falls, Steven Universe, and Rick and Morty.

Over the next few months, I’ll be tracing the show’s development, episode by episode. So c’mon, grab your friends…

We’re going to very distant lands,
With Jake the Dog and Finn the Human,
The fun will never end,