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Through determination and sheer bloody-mindedness, that’s how! Seriously, though, congrats. :D

Daily Kuvira #100

Holy crap how have I gone 100 gawt damn days of doing this so far?

“Now tell me which is better: three...or four? Three...or four.” “Three...or four.”

Do you see your little red house?

Nasty little beastie, but a good doggo nonetheless

Who’s a good ghost doggo?!

Look, @coppermarigolds, Space Kuvira rides again!

The most passive-aggressive move Star Wars’s tie-in novels ever made toward their scifi franchise competition: the cover artists started drawing the evil Admiral Daala in a very similar way to Voyager’s Captain Janeway.

There's another Worm connection in No Man's Land with Poison Ivy. As the rest of Batman's rogues' gallery carve up Gotham, she ends staking out a derelict city park and caring for a bunch of kids who were orphaned or otherwise abandoned after the earthquake. Rather than rousting her out, Batman agrees to leave her alone for the time being, provided she uses her powers to generate produce for the rest of the surviving citizens to eat. While Ivy was less than pleased about having to go along with this, she still held up her end of the deal.

In his own discussion of Ivy's history on Twitter, Exalted_Speed has argued that No Man's Land is really where the interpretation of Ivy as an antihero (ahem) took root. The connection with Worm is obvious; however, Taylor's tenure as urban warlord feels like a more refined version of that concept. As noted in the thread, the attempts to turn Poison Ivy into an antihero often stumble on both the sheer amount of carnage she's caused over the years and on with her original characterization of "vicious plant-themed Catwoman" which is still a major element in her modern portrayals. By contrast, it's much easier to offer apologetics of Taylor's conduct on the Boardwalk, since she was explicitly written to fit the role that Pamela Isely was awkwardly retrofitted to play.

Got a Worm meta question for you. I'm starting on the early parts of Taylor's warlord era - I'm about to leap into Arc 13 - and the general concept of a ravaged American city being divided up by various supervillain groups is reminding me a lot of that Batman story arc No Man's Land from the late 1990s. Unfortunately my comics knowledge is rudimentary at best, and I haven't been able to any discussion comparing the two stories, so I was wondering if I could pick your brain on the subject. Was it just convergent evolution, or was Wildbow engaging with the Batman story in some way?

I myself have only read about half of No Man's Land- and several years ago to boot- so I've got limited ability to do a direct compare and contrast. No Man's Land is absolutely the sort of status-quo-shattering, history-book-making upset that, within Marvel and DC, nonetheless always inexplicably heals and loses salience until you can barely tell that it's still in continuity. Worm is heavily informed by Wildbow's irritation with that sort of thing, so I think it's totally reasonable to view the warlord era through the lens of "What if No Mans Land had no editorial escape hatch." Alternatively, I think it kind of makes sense to view it through the lens that it's working backwards from the premise of No Man's Land- In what kind of setting would it be plausible for the Federal Government to write off a sufficiently-damaged American City? In what context would the legal infrastructure have been established for that, in what context would that even fall within the Overton Window? What muddies my opinion on this is that the general concept of a ravaged, atmospherically-apocalyptic American city torn up by superpowered gang warfare is something that's kind of just been in the water in superhero comics since the mid-eighties at least, and it was a relatively common thing to see during the Dark Age- they were choice prey for all those overpouched musclemen with their poorly rendered firearms. I'd be surprised if Wildbow wasn't at least aware of No Man's Land, but it's definitely not the only cape book from the late 90s or early oughts where you could pick up that idea from. Ultimately this leaves me unsure if No Man's Land is the specific referent or if it's just part-and-parcel with trying to do an involved, thoughtful take on what cape comics were like at the time.

I’m a touch surprised you didn’t know about the Red Army in BF1. When DICE released the “In the Name of the Tsar” DLC, they added “Tsaritsyn” and “Volga River” as maps explicitly set during the Russian Civil War. Kinda wish we could have done some fighting along the Trans-Siberian railroad line, but I suppose it would be harder to justify the inclusion of armored vehicles en masse.

i didnt know battlefield 1 had the red army in it so i was pleasantly surprised when i quickmatched into tsaritsyn on the red army side. i took a horse from the camp and ran around a tank and threw grenades at it until it exploded, then got caught in level geometry and watched a dude leisurely deploy a mortar and turn me and my horse into gravy. on my next spawn i threw gas grenades into a house and choked out 4 dudes, and got into a shooting match across a hill with my extremely comically bad fedorov-degtyarev against a sniper. good game.

The unnamed battlefield medic who shows up to evac downed units also made her debut in Skies of Arcadia as Fina, though according to her ingame bio she’s actually three people in VC1: the triplets Fina, Mina, and Gina Sellers.

Watching you play Valkyria Chronicles I saw some familiar faces - Vyse and Aika are main characters from Skies of Arcadia. Vyse is kind of a tool but Aika's my homegirl. In said game they fight against the Empress of Valua, and I noticed there's also a city called Valua mentioned in passing during your video.

Oh I thought I’d seen those characters somewhere! I think one of the main dudes behind ValCro had a hand in Skies of Arcadia (it was also published by Sega too if I remember correctly). That’s a neat little thing. Thank you!

TNG still had a fair number of godlike energy-based or “sufficiently advanced” beings outside of Q. Off the top of my head there’s the extradimensional god of the Edo, Nagilum, Kevin Uxbridge, and “Isabella”. Beyond TNG, I do think you’re right; there really weren’t any in DS9 outside of the Prophets, and VOY and ENT avoided the trope entirely. There are other ways the consolidation of the Trek universe under TNG changed the types of stories that were told. There was a recurring trope in TOS of fellow captains who suffered some sort of horrible tragedy and ended up going off the reservation in some way, and the only time that plot comes up in TNG is with Benjamin Maxwell and the Cardassians. @abigailnussbaum also made the point in her old TNG critique that as the show went on, the planets-of-the-week Picard and co. visited were increasingly worlds that had preexisting relations with the Federation rather than being new discoveries. While this didn’t really change the types of stories that were being told, it had the effect of making TNG more about maintaining the Federation than exploring strange new worlds.

One of Star Trek: The Next Generation's missions was to give coherence to a world originally developed as a frame for the one-off episodes – completely disconnected SF stories using the same stock cast and setting – of the original series.

There's an abortive first season plot about corruption in Starfleet that's dropped once it's established Starfleet isn't interesting enough to bear more weight than as a plot device telling the Enterprise where to go this week.

Something underappreciated as a success though is that the original series had scads of godlike but trickstery or inhuman beings because individual writers (the Trek franchises were famously full of episodes by published SF writers and continued to take freelance episode pitches well after this had been widely abandoned in TV) kept finding the notion of the Enterprise dealing with one a solid premise.

And in TNG we instead get Q, this type condensed into a single recurring character, introduced in the pilot, getting 6 episodes to himself and then blessing the finale, going on to appear in other Trek shows across multiple galactic quadrants (also, basically My Little Pony: Friendship is Magic, as the John de Lancie-voiced season 2 big bad Discord)

First Eric and Hannibal mocked him with ominous threats, then he met his real father, then this...man, Questlove had a rough day.

Battleship Potemkin (Sergei M. Eisenstein, 1925)