I’m all packed up and will be heading to Union Station soon. Chicago is awesome and amazing and full of people and problems and goodness. I will miss it, until my next visit.
I don’t think I’ve ever seen the East Lansing Amtrak station that full. Could be the snow storm, but whatever it is, there are a lot of people riding the rails today. Congrats, Midwest Amtrak!
That feeling when you realize a podcast hasn’t updated in eight months, because they changed feeds and you didn’t notice. Well hello there, backlog.
With the rewrite finished, I’m back to the spot where I can start writing new goodness again. I need to do some re-ordering.
First, the phone call with the officer about Natalie clothes shopping for someone else needs to be moved later, much closer to where Susan has her last face-to-face with her sister. If not then, it needs to be right after the vampire vs. demon battle. Maybe then, so the tension about her sister is kept fresh. It doesn’t belong in the middle of Susan’s conversation with the scavengers, though. Also, moving it means that I don’t have to rush it.
Then there’s the battle itself. How do I work the transition between the conversation into the battle? Maybe I could have them knock Susan and Adam out and lock them in a room, then have them wake up mid-battle? How do you knock out a vampire? Well, it’s a place to start.
Did I have a reason for Susan to go and speak with/confront her creator? Other than displaying that she’s come into her own? I can’t for the life of me figure out why I put that in this chapter. Let’s not even mention the complication of writing a character that’s loosely based on someone else’s LARP character, when I was never super friendly with that someone. Better to remove that cameo entirely.
That also means that I won’t be splitting up the character party. Good Thing.
I really should let you know that I own Fringe, in its entirety, on DVD. So… context.
The series starts out with a fairly straight-laced government agent stumbling into/being assigned to some Weird Shit. No, not Dana Scully. Weirder Shit. Turn the dial to seven or so, right off the bat.
Don’t get comfy, though. You remember all that crazy philosophy and pseudo-science you used to dream up with your friends while under the influence of one intoxicant or another? Not only is it real, viable, and provable, it’s vanilla. Try harder. Go deeper. That’s all real too, and not only is the government agent going to subject herself to it to solve this case, but she was subjected to all of it before, as a child. Turn that dial to 11.
We’re not talking Chosen One, but we’re not far off.
Or is the swindler son of the scientist the one that two universes have been waiting for? Is it both? Neither? Or, wait, was my first working theory right after all?
Then, there’s the last season. Not only are all bets off, but there may not have ever been any bets in the first place, because the bets were tallied and paid out ages ago. Just tear the dial off, throw it in the street, and run it over with a car. It was like watching Akira, but harder to make sense of. I want to, though, I want to.
I recommend this show to anyone who doesn’t run screaming the instant I open my mouth about it. WATCH IT.