Journey Into Irrelevancy - Revision history

Jeanne Morningstar v3: /* Deaths */

2022-03-01T00:12:06Z

‎Deaths

Jeanne Morningstar v3: /* History and Context */

2022-03-01T00:03:59Z

‎History and Context

Jeanne Morningstar v3: /* History and Context */

2022-03-01T00:01:49Z

‎History and Context

Jeanne Morningstar v3: /* History and Context */

2022-03-01T00:01:35Z

‎History and Context

Jeanne Morningstar v3 at 23:58, 28 February 2022

2022-02-28T23:58:40Z

Jeanne Morningstar v3: /* History and Context */

2022-02-28T23:57:21Z

‎History and Context

Jeanne Morningstar v3: /* History and Context */

2022-02-28T23:56:51Z

‎History and Context

Jeanne Morningstar v3 at 23:53, 28 February 2022

2022-02-28T23:53:55Z

Jeanne Morningstar v3: /* Plot */

2022-02-28T23:53:00Z

‎Plot

Jeanne Morningstar v3 at 23:52, 28 February 2022

2022-02-28T23:52:41Z

@@ Line 83: / Line 83: @@
 * [[Cannon Fodder]] (#6, eaten by zombies, returns as usual)
 * [[Fuzzboy]] (#7, shot by Rachel, returns as a shinigami in ''[[Death of Trophy Wife]]'' #6)
-* [[Renee Killjoy]] (who was really Rachel, #7, shot by Rachel, who was really Renee)
+* [[Renee Killjoy]] (who was really Rachel, #7, shot by Rachel, who was really Renee, comes back as part of a convoluted scheme)
 * [[Cannon Fodder]] (#7, eaten by zombies again, returns as usual)
 * [[Baby Pain]] AKA Doctor Willy (#13, exploded by a cosmically powered [[Comics Snob Boy]], turned out to still be alive in an alternate future)

@@ Line 22: / Line 22: @@
 This was a reaction to an environment where, due to diminishing Usenet activity, many LNH writers had left and those who remained end up leading the direction of the LNH as a whole. The LNH around this time became skewed towards horror and intense drama, with the more active series including ''[[The Team (series)|The Team]]'', ''[[Alt.Riders]]'', and later issues of Amabel's ''[[Teenfactor (series)|Teenfactor]]''. After three issues of ''Pearly White'', Amabel got burned out on this and decided to do a traditionally LNHian gag series instead, making the value of comedy and the LNH's gag characters an explicit theme.
-Nonetheless, ''Journey Into Irrelevancy'' was a troubled series.  Begun literally a week after the September 11th attacks<ref name=nineeleven/>, it dealt heavily with themes of grief and guilt. It had a lot of intensely dark humor and disturbing subject matter, and veered wildly between comedy and drama. A whole lot of characters kicked the bucket (see below).
+Nonetheless, ''Journey Into Irrelevancy'' was a troubled series.  Begun literally a week after the September 11th attacks<ref name=nineeleven/>, it dealt heavily with themes of grief and guilt. It had a lot of intensely dark humor and disturbing subject matter, and veered wildly between comedy and drama. A whole lot of characters kicked the bucket (see below); some of them even actually stayed dead.
 It also featured backup stories of wildly varying style and tone, especially the origin of [[Maggie Bernard]] – which often ran considerably longer than the main stories. This was another very grim, emotionally intense horror story. Nonetheless, both main and backup series ended with their protagonists learning to forgive themselves and move past their grief, and the series reestabished LNH as a place where incredibly silly humor can coexist with horror and drama. It was thus a significant milestone for both Amabel Holland as a writer and the LNH as a community.

@@ Line 22: / Line 22: @@
 This was a reaction to an environment where, due to diminishing Usenet activity, many LNH writers had left and those who remained end up leading the direction of the LNH as a whole. The LNH around this time became skewed towards horror and intense drama, with the more active series including ''[[The Team (series)|The Team]]'', ''[[Alt.Riders]]'', and later issues of Amabel's ''[[Teenfactor (series)|Teenfactor]]''. After three issues of ''Pearly White'', Amabel got burned out on this and decided to do a traditionally LNHian gag series instead, making the value of comedy and the LNH's gag characters an explicit theme.
-Nonetheless, ''Journey Into Irrelevancy'' was a troubled series.  Begun literally a week after the September 11th attacks<ref name=nineeleven/>, it dealt heavily with themes of grief and guilt. It had a lot of intensely dark humor and disturbing subject matter, and veered wildly between comedy and dramas. A whole lot of characters kicked the bucket (see below).
+Nonetheless, ''Journey Into Irrelevancy'' was a troubled series.  Begun literally a week after the September 11th attacks<ref name=nineeleven/>, it dealt heavily with themes of grief and guilt. It had a lot of intensely dark humor and disturbing subject matter, and veered wildly between comedy and drama. A whole lot of characters kicked the bucket (see below).
 It also featured backup stories of wildly varying style and tone, especially the origin of [[Maggie Bernard]] – which often ran considerably longer than the main stories. This was another very grim, emotionally intense horror story. Nonetheless, both main and backup series ended with their protagonists learning to forgive themselves and move past their grief, and the series reestabished LNH as a place where incredibly silly humor can coexist with horror and drama. It was thus a significant milestone for both Amabel Holland as a writer and the LNH as a community.

@@ Line 22: / Line 22: @@
 This was a reaction to an environment where, due to diminishing Usenet activity, many LNH writers had left and those who remained end up leading the direction of the LNH as a whole. The LNH around this time became skewed towards horror and intense drama, with the more active series including ''[[The Team (series)|The Team]]'', ''[[Alt.Riders]]'', and later issues of Amabel's ''[[Teenfactor (series)|Teenfactor]]''. After three issues of ''Pearly White'', Amabel got burned out on this and decided to do a traditionally LNHian gag series instead, making the value of comedy and the LNH's gag characters an explicit theme.
-Nonetheless, ''Journey Into Irrelevancy'' was a troubled series.  Begun literally a week after the September 11th attacks<ref name=nineeleven/>, it dealt heavily with themes of grief and guilt. It had a lot of intensely dark humor and disturbing subject matter, and veered wildly between comedy and drama; there were some moments that were undoubtedly Too Much even by 2000s edgelord standards. A whole lot of characters kicked the bucket (see below).
+Nonetheless, ''Journey Into Irrelevancy'' was a troubled series.  Begun literally a week after the September 11th attacks<ref name=nineeleven/>, it dealt heavily with themes of grief and guilt. It had a lot of intensely dark humor and disturbing subject matter, and veered wildly between comedy and dramas. A whole lot of characters kicked the bucket (see below).
 It also featured backup stories of wildly varying style and tone, especially the origin of [[Maggie Bernard]] – which often ran considerably longer than the main stories. This was another very grim, emotionally intense horror story. Nonetheless, both main and backup series ended with their protagonists learning to forgive themselves and move past their grief, and the series reestabished LNH as a place where incredibly silly humor can coexist with horror and drama. It was thus a significant milestone for both Amabel Holland as a writer and the LNH as a community.

← Older revision		Revision as of 23:58, 28 February 2022
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	Issue 8's backup feature was titled ''The Death of [[Lunchbox Lass\|Michette Duclos]]'', but that was the metaphorical kind of death. [[Tyler Bridge]] had died before the series even began.		Issue 8's backup feature was titled ''The Death of [[Lunchbox Lass\|Michette Duclos]]'', but that was the metaphorical kind of death. [[Tyler Bridge]] had died before the series even began.
−

	== Footnotes ==		== Footnotes ==

@@ Line 24: / Line 24: @@
 Nonetheless, ''Journey Into Irrelevancy'' was a troubled series.  Begun literally a week after the September 11th attacks<ref name=nineeleven/>, it dealt heavily with themes of grief and guilt. It had a lot of intensely dark humor and disturbing subject matter, and veered wildly between comedy and drama; there were some moments that were undoubtedly Too Much even by 2000s edgelord standards. A whole lot of characters kicked the bucket (see below).
-It also featured backup stories of wildly varying style and tone, especially the origin of [[Maggie Bernard]] – which often ran considerably longer than the main stories. This was another very grim, emotionally intense horror story. Nonetheless, both main and backup series ended with their protagonists learning to forgive themselves and move past their grief, and the series reestabished that LNH is a place where incredibly silly humor can coexist with horror and drama. It was thus a significant milestone for both Amabel Holland as a writer and the LNH as a community.
+It also featured backup stories of wildly varying style and tone, especially the origin of [[Maggie Bernard]] – which often ran considerably longer than the main stories. This was another very grim, emotionally intense horror story. Nonetheless, both main and backup series ended with their protagonists learning to forgive themselves and move past their grief, and the series reestabished LNH as a place where incredibly silly humor can coexist with horror and drama. It was thus a significant milestone for both Amabel Holland as a writer and the LNH as a community.
 == Plot ==

@@ Line 4: / Line 4: @@
 '''Journey Into Irrelevancy''' is a [[Classic LNH]] series by [[Amabel Holland]].
-It introduced or reintroduced many of Amabel's Classic LNH characters not affiliated with ''[[Teenfactor (series)|Teenfactor]]''. (And killed off a bunch of them, but a surprising number came back as ghosts or revenants.) Many of the survivors went on to form the cast of [[Net.heroes on Parade]].
+It introduced or reintroduced many of Amabel's Classic LNH characters not affiliated with ''[[Teenfactor (series)|Teenfactor]]''. (And killed off a bunch of them, but a surprising number came back as ghosts or revenants.) Many of the survivors went on to form the cast of ''[[Net.heroes on Parade]]''.
 Journey Into Irrelevancy is a lot of things – a nonsensical gag series with a convoluted time-and-space-jumping plot, an often violent and horrific soap-operatic melodrama, a story about how to open up to people when you feel like you hate everyone and especially yourself, the place where Amabel ran [[Maggie Bernard]]'s origin as a backup because she wasn't sure whether she could finish a miniseries.<ref name=miniseries/>

@@ Line 28: / Line 28: @@
 == Plot ==
-[[Kid Quickly-Irritated-By-Others]] and his ragtag band of net.hero allies seek to protect the [[Looniverse]]'s flow of [[Comedy]], go on the run and get wrapped up in a succession of rapid-fire cinematic parodies. And also get stuck in a giant space toilet. Don't ask.
+[[Kid Quickly-Irritated-By-Others]] and his ragtag band of net.hero allies seek to protect the [[Looniverse]]'s flow of [[Comedy]], go on the run and get wrapped up in a succession of rapid-fire cinematic parodies. And also, of course, get stuck in a giant space toilet. Don't ask.
 == Characters ==

@@ Line 3: / Line 3: @@
 : "Is a fast-paced comedy revolving around slapstick humour, mistaken identities, ironic timing, and double entendres, all elements of the show Three's Company," said [[Ben Stein's Monster]].
-'''Journey into Irrelevancy''' is a [[Classic LNH]] series by [[Amabel Holland]]. This sometimes darkly absurd, sometimes just silly comedic series was originally intended as a distraction from the grim, super-serious ''[[Pearly White (series)|Pearly White]]'', but Amabel found writing that series too depressing and concentrated on ''JII'' instead.
+'''Journey Into Irrelevancy''' is a [[Classic LNH]] series by [[Amabel Holland]].
 : It was very seldom that any drama was seriously attempted. It possessed the pacing and logic of a [https://en.wikipedia.org/wiki/Jay_Ward Jay Ward] cartoon and showed a healthy disrespect for anything resembling taste. It was goofy and silly and broke the [[Fourth Wall|fourth wall]] at every possible occasion. It had no redeeming artistic qualities and most of the jokes were lame puns or obscure pop culture references.
@@ Line 9: / Line 20: @@
 : – [[Amabel Holland]], ''[https://groups.google.com/g/rec.arts.comics.creative/c/NG7Sd5_OV_U/m/9ZrwP63e7-4J Some Psuedo-Random Thoughts on the LNH]''
-It introduced or reintroduced many of Amabel's Classic LNH characters not affiliated with ''[[Teenfactor (series)|Teenfactor]]''. (And killed off a bunch of them, but a surprising number came back as ghosts or revenants.)
+This was a reaction to an environment where, due to diminishing Usenet activity, many LNH writers had left and those who remained end up leading the direction of the LNH as a whole. The LNH around this time became skewed towards horror and intense drama, with the more active series including ''[[The Team (series)|The Team]]'', ''[[Alt.Riders]]'', and later issues of Amabel's ''[[Teenfactor (series)|Teenfactor]]''. After three issues of ''Pearly White'', Amabel got burned out on this and decided to do a traditionally LNHian gag series instead, making the value of comedy and the LNH's gag characters an explicit theme.
-It also had backup stories of wildly varying style and tone, setting up ''JII'''s more serious and horror-oriented successor, ''[[Net.heroes on Parade]]''.<ref name=miniseries/>
+Nonetheless, ''Journey Into Irrelevancy'' was a troubled series.  Begun literally a week after the September 11th attacks<ref name=nineeleven/>, it dealt heavily with themes of grief and guilt. It had a lot of intensely dark humor and disturbing subject matter, and veered wildly between comedy and dark melodrama; there were some moments that were undoubtedly Too Much even by 2000s edgelord standards. A whole lot of characters kicked the bucket (see below).
-It can be read on the [[Eyrie Archive]] [https://archives.eyrie.org/racc/lnh/Series/Journey.Irrelevancy/ here].
+It also featured backup stories of wildly varying style and tone, especially the origin of [[Maggie Bernard]] – which often ran considerably longer than the main stories. This was another very grim, emotionally intense horror story. Nonetheless, both main and backup series ended with their protagonists learning to forgive themselves and move past their grief, and the series reestabished that LNH is a place where incredibly silly humor can coexist with horror and drama. It was thus a significant milestone for both Amabel Holland as a writer and the LNH as a community.
 == Plot ==
@@ Line 84: / Line 95: @@
 Issue 8's backup feature was titled ''The Death of [[Lunchbox Lass|Michette Duclos]]'', but that was the metaphorical kind of death. [[Tyler Bridge]] had died before the series even began.
 == Footnotes ==
 <references>
-<ref name=miniseries>Amabel ran the introduction of [[Maggie Bernard]] as a long backup story because of her past difficulty finishing miniseries. Later on she'd finish some really swell ones in [[8FOLD]].</ref>
+<ref name=miniseries>Later on she'd finish some really swell ones in [[8FOLD]].</ref>
 <ref name=nineeleven>Which in later [[retcon]]s, as per ''[[Limp-Asparagus Lad (series)|Limp-Asparagus Lad]]'' #55 and ''[[President Evil]]'' #6, impacted the plot of the series itself; as the [[Drama]]tic imbalance following the [[Real World]] events of 9/11 affecting the [[Looniverse]] made the theft of the [[Clogs of Comedy]] possible.</ref>
 </references>
 [[Category:Classic LNH Series]]