One thing about reading Yi: your sense of revulsion at the depravations of his enemies will probably enlist your investment in the Admiral overcoming his larger-than-life hardships. His foes, even those with some redeeming quality, repulse decency. They ravage with a very hyper-masculine, testosterone-ridden sort of aggression, but channeled with a lust for devastation, and a desire to break people. It is a time and place in the world with no refuge for those who are not warriors. Their fate is never marked by some romantic exception; when the brave fall, the weak, die. This story drives that point home, as Yi Soon Shin, avenging the destroyed Navy and Korean dead, becomes Hunter and Destroyer. There is no negotiating, only an increasingly-desperate need to out-smart the barbaric invasion, as well as work within the ever-sabotaged coalition of brave Korean forces. Now, Yi maintains his command, his body wrecked by Songo's tortures and fierce combat, while allied with Ming

OK, I can show you the posts where these ideas criss-crossed, but hear this out: So, wait, this started, how? This began, and I'll confirm who the fan is if he likes and be sure to show him this (hi, Mark Engblom), with a comparison between Aunt May's wheatcakes and probably, Aunt Bea's pancakes. We have great fun on the Marvel Comics 1961-1986 group and its affiliate decades and pages; this began as one of those things. Suddenly, as I imagined Spider-Man in Mayberry, I realized it's exactly the sort of thing that will draw eyes even if it is declared 'done awfully' in some vernacular. It is just too cool and funny and sweet an idea not to at least become a horrible voice drama (a radio show, as I might say). But if you could shoot this live action, with a few old vehicles, the woods, a couple of good exteriors, and lower-fy the budget as a point of aesthetics, Spider-Man- and Aunt May- are strong enough as characters, flexibly comic and dramatic like The