I apologize for putting the Gazette out a day late. I've sort of lost my energy to do much of anything lately. I'll elaborate more in the Editorial section if anyone wants to read it.
I haven't been making much progress on my series lately either for the same reason. I've really lost my mojo.
On the more uplifting side of things, I figured out that messages sent by bots will not clog up Recent Activity; as such, all new issues of the Gazette will be delivered by your friendly neighborhood BotBot Bot.
Wikia has made the new header mandatory across all wikis, and while we've done what we can with it, it's still pretty ugly.
To be honest, I kinda feel like the wiki is dying. Not because of all the terrible changes Wikia has made, (though heaven knows that doesn't help), but because of our own community.
Now don't get me wrong, people still interact with each other; the wiki's Discord servers are both a lot more active than Chaturn was in its twilight years, but as for content on the wiki itself? Yeah, that's kind of dying out.
At the end of the day, there's no one thing to blame for it; it's just how things work. People get older and busier, and Ben 10 just isn't the smash hit success it was seven and a half years ago. The reboot is good (fight me you neckbeards), but there's nothing that particularly stands out about it to make it worth writing about in most people's eyes.
When the wiki first started, Alien Force was already airing, expanding the Ben 10 universe way beyond the basic "kid on summer vacation" concept and thus giving people a lot more to work with. Since the reboot has looped the franchise back to that plot, there's not nearly as much people can do with it, and fics based on the old continuity don't grab people's attention like they used to.
As for the rare new fics that are being made, good luck getting much feedback on them. The wiki's gotten a tad better about this lately, but for the majority of the content someone puts out, they may as well still be screaming into the uncaring void for how much good it does them.
As for why I've lost my mojo, everything I mentioned above contributes to it pretty significantly. I started my art and writing careers on this wiki, and with it dying, I'm sort of floundering around for a source of motivation. I still have a lot of stuff to do on the wiki, but does any of it matter? I am so close to finishing Tech 10 and being done with it forever (three episodes and a movie), but I don't know if I can even bring myself to do that.
People seem to be looking forward to Ben 10: Milky Way Race, but as the old Ben 10 continuity keeps fading into irrelevancy, so does my motivation to write the damn thing. It doesn't help that my only other popular series that people actually engage with are Mack 10, which was made around shitting on people and created out of bitterness, and CaT Reviews, which is entirely dependent on other people's work.
The first BTFF RPG seemed to be popular (46+ downloads!), but I never got wind of that until I actually checked the numbers for myself because of how little people mentioned it to me. The Spooktober RPG was barely played by anyone, and if The Next Evolution or Not Applicable RPG ever actually get finished, I'm sure the general reaction will just be some people saying "oh it's cool that you did that" and then nothing coming of it.
The only thing I'm actually kind of invested in working on right now is my post-Tech 10 project (not Reform; I cancelled that because it ultimately didn't seem like a good idea), and that's only because I plan on adapting it into something original I can put out as its own book somewhere down the line (granted the more solid foundation and setting for it compared to some of my other works helps, but still).
I'm probably coming off like I'm complaining about people not paying attention to me, and I don't mean for that to be the message here; I'm just explaining why I don't have the same motivation I used to. Hell, putting my own stuff aside, I don't even have the motivation to help people any more; every person I've ever tried to help has ended up screwing me somehow (except Mig; thanks bro), and goddammit I try to stay positive but it's hard to unironically say I want to help anyone out these days.
Honestly, I don't even know where I'm going with this anymore. I'd be surprised if more than a couple people actually took the time to read through this boring-ass wall of text.
See you next week, I guess.
Lesson 11: Deus Ex Machina
So imagine you're watching one of the best, most tense and dramatic movies you've ever seen. The climax is almost over, the protagonists are screwed, the antagonists have pretty much won, and you're wondering how the hell they're going to turn all this around.
Then Jesus comes out and uses holy lasers to make the villains blow up.
Excuse me, what?
The source of the disappointment and frustration you'd be feeling at this random-ass plot point is called a Deus Ex Machina, translated as "god out of the machine". The phrase originates from ancient Greek theater, where actors playing Gods would literally be lowered down by a crane (the "machine") at the end of a play to fix everything without any prior buildup.
Deus ex Machina are solutions to a problem. They are never unexpected developments that make things worse, nor sudden twists that only change the understanding of a story.
Deus ex Machina are sudden or unexpected. This means that even if they are featured, referenced or set-up earlier in the story, they do not change the course of nor appear as a natural or a viable solution to the plotline they eventually "solve".
Deus ex Machina are used to resolve a situation portrayed as unsolvable or hopeless. If the problem could be solved with a bit of common sense or other type of simple intervention, the solution is not a Deus ex Machina no matter how unexpected it may seem.
Deus Ex Machina are external to the characters and their choices throughout the story. The solution comes from a character with small or non-existent influence on the plot until that point or random chance from nature or karma.
The reason discussing this is so important is because there are so many stories on this damn wiki that end in "EVERYONE IS SCREWED BUT THIS NEW ALIEN I PULLED OUT OF MY ASS IS GOING TO SAVE THE DAY BECAUSE REASONS" that Category:Aliens might as well be renamed Category:Bullshit Endings.
This is a fairly simple concept to understand, so this is just more of a heads-up telling you to not pull shit out of your ass at the last moment. Yes, this trope can technically be used well, but most of the time it isn't, so I would recommend taking the four qualifications of the Deus Ex Machina to heart and blatantly defying them whenever possible.
I wasn't really satisfied with this thing's first design (and neither was anyone else really) so I decided to redo it. I was a bit iffy on the white markings at first, but the people on the Discord seemed to like it.
Ben 10 News
Nothing to report for this issue.
Well, that's it for this Sunday, folks. I hope you enjoyed the fifty-fifth issue of The CaT Gazette, and I'll see you next week! Feedback and support are appreciated!
I often ponder whether my feelings of being unappreciated are due to legitimately not being appreciated or simply my neverending insecurities not receiving constant reminders of appreciation.
Lesson 10: Openings
Say you're walking through a library and you have to decide between two books to read. You pick up one book and you look at the first line.
"Patrick yawned as he got out of bed. He had a busy school day ahead of him, and he didn't want to be late."
So you put that book down and pick up the other one. The first line reads as follows:
"There was no way around it; he would have to jump if he wanted to live."
Naturally you check out the second book so fast you accidentally create a trail of sparks that sets the first book on fire. But what is it about the second book that makes it more appealing? For all you know, the first book's plot could eventually lead into one of the best stories you've ever read, but that hasn't done it much good. What gives?
The reason for all of this is that the most important part of the opening is the Hook.
The Hook is the part of your story that the readers see first. It can anything from a single word to an entire paragraph, but the important thing is to make it interesting. If your hook is interesting, people will probably want to read the rest if your story to see where you go with it. If it isn't, they won't really care.
So, how do you make a hook interesting? Well, there's a little thing humans have called curiosity. Give your audience a mystery to ponder, and they'll be putty in your hands. The mystery can be anything from "who stole my brownies" to "why are Captain Picard and Satan dueling each other with lightsaber chainsaws on top of Mount Vesuvius" just so long as you communicate that A: There is a question to be asked, and B: That question is worth answering.
Okay, so you've got your hook. What now?
To continue your story's opening, you should make sure you establish several things:
The type of story you're telling.
If your introduction gives the audience a particular genre and tone and it suddenly switches later on in the story, the audience might end up feeling confused and mildly betrayed by your indecisive tomfoolery. Only switch gears like this if you're aiming to create an intentional subversion, and even then, be careful with how you go about it.
Your main character.
If your beginning doesn't introduce your protagonist, it will be difficult for your audience to know who they're supposed to be caring about in this story.
If you're working with a fantasy setting, you should establish early on that you're working with more Mordor and less New York. If you don't, the audience might get confused when a story with a modern-day setting suddenly has elves in it with no explanation as to why.
Outside of that, there are way too many different variations on openings for me to cover how each one does and doesn't work. Openings can cover anywhere from a prologue to the first chunk of your story, just so long as you make sure everything is established fast enough to get people interested.
For more episodic mediums, you don't necessarily need to follow the conventional hook-establishment formula after your first episode or two, but you should still use a two-step version of the formula:
Establish what the episode is going to be about.
Introduce any important new characters or ideas that play a big role in the episode, even if it's just as a brief unclear cameo before they debut properly later in the episode. This will help you avoid Deus Ex Machinas, which we'll expand upon next week.
Obviously I haven't been able to cover absolutely everything about openings, but I think I've covered enough to give you a fairly solid start. Get out there and start hooking some readers!
A redesign of the Anti-Life Entity, also known as ANGERY Bootleg Cthulhu or Blatant Suicide Allegory, in all his green glowy glory. As a being fully connected with the mysterious Kunenga Energy, he has the ability to do pretty much anything except stop being so goddamn emo.
A redesign for the Season 2 appearance of the assassin Moranna Ceres from Tech 10: Rebooted.
Ben 10 News
The reboot's first season finale has aired, bringing the season to a close with a bang. The writing for the finale is a fairly big improvement over the majority of the reboot, even if some parts feel rushed thanks to the eleven-minute format. You can watch the four-parter here.
Well, that's it for this Sunday, folks. I hope you enjoyed the fifty-fourth issue of The CaT Gazette, and I'll see you next week! Feedback and support are appreciated!
While I'm sure all two of you who read Tech 10 are at least slightly interested in Tech 10: Star Legacy, its production is on hold for a while as, since it draws from all Earth-83 continuity, the following projects need to be finished first:
Ben 10: Milky Way Race
Not Applicable Movie
Not Applicable RPG
Tech 10 Re:Vise Project
Intermediary Star Spirit Episodes
Oh yeah, I should probably announce that last one, shouldn't I?
Basically, I'll be using some elements from Star Spirit's defunct third season in the movie, but there's no way to get everything across without screwing the pacing and plot of the movie. Looking at the plans I laid out for Season 3, I'm going to need three intermediary episodes between now and the movie to get everything I want to in place. I'll announce the titles when I get the specifics figured out, but suffice to say they're going to be pretty packed.
I...don't think I actually have anything very important this week. We passed a few minor suggestions I guess, so here those are:
Categories must now have three pages or more to justify existing.
List of Superpowers on BTFF Wiki is delet
Project:Character Portal is about to be delet
and that's about it tbh
The school year ended this past Wednesday, and so did my job (for the summer at least). This means I have more time to work on BTFF projects and what not, so look forward to that.
(Not that the extra time has stopped the recurring nightmares about going back into work.)
(I don't have the healthiest attitude towards my current occupation.)
Lesson 9: Action Scenes
Have you ever seen an action scene in a really good movie, thought it was really good, and then watched a near-identical action scene in a subpar movie and thought it was pretty bad? There are only so many ways to do fight scenes, so why do such similar action sequences in media vary so much in quality? Well, let me explain to you a thing or two about action scenes.
The first thing you should know is that Action Scenes Are Boring. Yes, you read that right. Action scenes, in and of themselves, are boring. That's not to say you can't enjoy the spectacle of a particularly well-done fight; a spectacle that includes plenty of originality and care put into it is a basic part of making any good action scene, but spectacle can only get a scene so far, especially when almost every possible variation on a fight scene has already been done before.
What makes an action scene interesting are primarily the characters, and while I can't stress enough how important having a unique, well-thought out spectacle is to a fight, nobody's going to give a crap if the characters fighting are boring as sin. Action with characters the audience doesn't care about might as well just be blank space on a page for how much legitimate impact it leaves on the audience. Of course, introducing characters with a fight scene is a perfectly valid method of writing, but an action scene should convey something interesting about their personality while they're fighting.
Another important thing an action sequence should do is advance the plot or characters in some way. This might sound like obvious advice, but a lot of people just write action for the sake of the spectacle, which is how we get boring as sin filler-based series like the Pokemon anime or Kamen Rider Wizard. Wizard has some of the most aesthetically pleasing spectacle I've seen out of a Rider series, but god damn is it boring to watch. In short, filler action sequences (as well as filler anything else for the most part) is a big no-no.
Of course, even if you have your spectacle, characters, and plot advancement all figured out, none of that means shit if the audience doesn't know what's going on. I mentioned in a previous lesson how important it is to convey to the audience the positions of the characters, the basic layout of their environment, and the specific actions the characters take, and just writing scenes like "Jack and Jill punched each other on a boat" doesn't cut it. When creating these action scenes, try to envision exactly what they look like in your mind's eye; you don't have to get too detailed, since that could get a bit grating to read, but you have to make sure the audience knows what's going down, where it's going down, and how it's going down.
Come to think of it, this can all be summed up in the 5 W's of Punching Someone in the Face.
Yeah sure why not
What happened involving face punching?
Who was punching the guy in the face, and who was the guy getting punched in the face?"
Where is the location of this man getting punched in the face?
When was this man punched in the face?
Why was this man punched in the face?
Oh and I guess there's also the sixth W that people say counts even though it doesn't start with W that I'll include here anyway because it's vital to conveying the actions taken in an action scene
How was this man punched in the face?
That last one may not be a real "W" but remember it anyways so your action scenes don't suck. That's about it for tonight's lesson, so I'm going to go
What: Get wasted
Where: Right here
When: Right now
Why: Mama needs some happy juice
This wiki is the reason I don't help people anymore
A redesign of the outfit Napoleon Eldridge switches to when he joins the cast of Tech 10: Rebooted in Season 2.
Ben 10 News
A German website has put up the descriptions for each episode of the upcoming Omni-Tricked four-parter which looks to be capping off the first season of the reboot. The original descriptions are in German, obviously, but someone on BTP took the time to translate them and add them to the episode pages. I've checked the translations myself and they do indeed check out, so this is all but confirmed to be happening. Make sure to check BTP for more details as info becomes available.
Well, that's it for this Sunday, folks. I hope you enjoyed the fifty-third issue of The CaT Gazette, and I'll see you next week! Feedback and support are appreciated!
As it turns out, eating half a tub of sherbet, a box of crackers, a package of cookies, some potato sticks, and two servings of chicken curry all in a row will apparently give you indigestion. I don't even know why I ate that much. I'm usually lucky if I can make myself finish three meals a day. If I was a girl I'd say I was on my period but as it is seriously what the hell.
Lesson 8: Overpowered Characters
Picture this for a moment, if you will: you're sitting around watching Ben 10: Omniverse because you're a masochist, and you're watching the episode where Ben uses Alien X to unnecessarily wreck the brainwashed Amalgam Kids instead of just freeing them from the brainwashing. It's at this point that you realize something:
Nothing is really much of a threat anymore.
Sure, Ben's a dumbass, so he's definitely not going to take advantage of this, but with an alien that has the ability to reshape reality on a whim under his control, he could theoretically win any fight he wants to with a single thought. Sort of takes the tension out of the story, doesn't it?
This is a writing mistake that's proficient both on and off the wiki, but it's gotten to the point where the majority of series have an overpowered protagonist. Whether it be from a bunch of OP Omnitrix aliens or some other power of their own, reading about these protagonists is rarely engaging simply because the tension has been taken out of the story. When your character is incompetently overpowered, there's very little that can present a legitimate threat to them.
Of course, that's not to say you can't write an overpowered character well, or even that all extremely powerful characters are necessarily overpowered. If you're familiar with Tech 10 in any way, that would obviously be a hypocritical point for me to make. Here are a few tips to properly handle powerful characters and keep tension in the story.
Keep Things Balanced - If your heroes are super powerful, you should make your villains at least as powerful (preferably even more so). If you have side characters you want to keep relevant, they should be getting some sort of power boosts too. You could technically keep jacking up the power levels as much as you want as long as you keep the story properly balanced while doing so. Basically just don't make anyone Krillin and you'll be gucci.
Emotionally Kneecap the Hero - Giving your protagonists emotional baggage is not only a great way to keep people invested in general, but it also helps to keep their powers from ruining the story. Giving them some reason not to use their power, usually in the form of some emotional trauma related to the power itself.
Make it Unpredictable - If the hero has no proper control over their overpowered abilities, then it keeps said abilities from ruining the story (kinda like how Alien X didn't break the franchise until Omniverse...). These abilities could do anything from just failing at the wrong times to going out of control and destroying everything around the hero, making them a liability to use.
Rock, Paper, Scissors - This is a pretty basic concept, but it's surprising how often it goes unutilized; you can give your character the biggest, best laser cannon you can think of, but if his opponent has an anti-biggest, best laser cannon shield, it ain't gonna do them any good. Your character can have any OP ability you want as long as there's someone who can counter it.
All in all, you should try to steer clear of making your characters overpowered if you don't have any balancing factors to keep their conflicts interesting. Master this, and congratulations! You're automatically a better writer than anyone on the Omniverse staff!
A fusion of Heatblast and Water Hazard I created for Heatblast Fest. He can shoot some basic fire (albeit not as well as Heatblast), create some basic water (though not as much as Water Hazard), and can create and control dank-ass geysers like nobody's business.
Ben 10 News
Nothing to report this week.
Well, that's it for this Sunday, folks. I hope you enjoyed the fifty-second issue of The CaT Gazette, and I'll see you next week! Feedback and support are appreciated!
Some parts of Tech 10: Rebooted and Tech 10: Star Spirit are crap but I don't want them to be crap so I'm going back and redoing the crap parts to make them not crap and it's called the Re:Vise project why is it called that why is it spelled like that I don't know it's probably a Tokyo Ghoul reference or something bite me
Anyways I redid the first couple scenes of A Blade is a Blade already so if you could check that out that'd be great okay thanks bye
The wiki has started Heatblast Fest, which will run through the 21st. Make sure to celebrate it while you can!
Most of the expectations people have for me to be competent come from me flailing around in a desperate attempt to masquerade as a normal human being instead of a cripplingly depressed waste of space and thus should not be taken at face value.
Lesson 7: Detailed Writing
The guy went to the thing and did the other thing and then the thing happened and the end.
Thrilling story, right?
What do you mean no?
A problem a lot of novice writers run into (especially on this wiki) is not including proper details in their stories, thus making the majority of them feel somewhat bland, repetitive, and not much different from the epic tale of majesty I just regaled you with. So, how do you use detail in your writing? Well, it'll vary from story to story depending on what you're going for exactly, but there are some ground rules to keep in mind:
Include Sensory Descriptions - The sensation your writing is going to appeal to the most is sight; the majority of descriptions in a story are meant to help you visualize a scene, after all. However, it's important to remember that we have five sense in total for you to appeal to. When describing a scene or an object, think about what characteristics might stand out the most about it in real life and try to describe them to the reader. What does it smell like? What does it feel like to the touch? If these characteristics aren't particularly important to getting the idea across, you don't have to use them, but they can be very helpful.
Use Specific Phrasing - General statements like "I got a pizza" or "I walked down to the pier and fought a guy one time" might work if you mentioned them in passing, but if you want your audience to actually get something from them, you need to describe them a bit more. What size was the pizza? What were the toppings? Who were you fighting at the pier and why? Did you attempt to use the aforementioned pizza as a bludgeoning weapon? Remember, the audience you're describing a scene to can't read your mind, so writing down exactly what you mean for a scene is important.
Keep Track of Positioning - While generally applicable across the board, this rule is especially important in writing fight scenes or really any kind of dynamic action. When you write a scene involving a lot of motion, make sure you convey to the audience exactly where the characters are in relation to their target and/or their surroundings. This give readers a much clearer idea of exactly what the hell is going on. This rule should only be broken if you intentionally want to obscure the positions of your scene's players to build up suspense or something.
Keep in mind that overdoing the details with overly flowery descriptions and completely useless bits of information that really add nothing to the story or the scene can be just as grating as not including enough detail, if not even more so. It's all about finding the right balance, and while it takes a lot of practice to master, including the right amount of details is an invaluable tool in crafting your story in the best way possible.
The Milky Way Race version of Chrono Spanner, who has a new suit and a motorcycle, both strengthening the original character design's reference to Kamen Rider. The logo is supposed to be stylized in a way that it can be read as both a C and an S. He will end up having a new form for the suit, but I won't give any details about that here for the sake of spoilers.
Ben 10 News
The Man of Action team was recently interviewed on a couple of different occasions where they talk about Ben 10. In the first interview, they talk about the Ben 10 reboot specifically, including some of their ideas for the show and their overall intentions while writing it. In the second interview, they mention Ben 10 alongside news about their upcoming shows and a promising note that they'd be interested in continuing Generator Rex if the chance came up. Check them out!
Well, that's it for this Sunday, folks. I hope you enjoyed the fifty-first issue of The CaT Gazette, and I'll see you next week! Feedback and support are appreciated!
It's the fiftieth issue of The CaT Gazette, and to celebrate, I've made a custom thumbnail for this issue that accurately portrays the feeling of writing this thing up every week.
As you may or may not have noticed, I cancelled a lot of my stuff this past week. Nobody was really interested in the cancelled material and I have a job and college to deal with irl, so writing something no one would ever read just isn't practical anymore. The cancelled projects include:
Everything in the Tech 10 Renovation Project
Tech 10: Double Crossed
BTFF RPG: The Next Evolution
Tech 10 Shorts
Tech 10: Star Spirit Season 3/Final Saga
Now, to finish Star Spirit, I'm creating a movie called Tech 10: Star Legacy that serves to cover the material I had planned for S3/Final Saga. Tech 10 may not have an audience, but I made a promise to myself that the story wouldn't go unfinished like almost every other franchise on this wiki. In addition, the rest of the material I had planned for the Renovation Project will be covered in Recaps on the OS Tech 10 series pages.
Work on Ben 10: Milky Way Race continues. I updated the page with a custom title and a couple new episode descriptions (one of which you may want a Caeser Cipher for) and created a page for the MWR version of Spitter. Check those out!
We've updated the Main Page and Navbar's layouts to make them more accessible. Make sure to familiarize yourself with the new designs!
Part of that update is a new, streamlined Community Portal, which I will go over here real quick just to get you up to speed on it.
From left to right:
AF Omnitrix: Links to the Omnitrixes category.
Heatblast: Links to the Aliens category.
Ben 10 Logo: Links to the Series category.
Ben: Links to the Heroes category.
Vilgax: Links to the Villains category.
The OV Omnitrix's dial will take you to a random page when clicked. The eight other categories linked on the original Community Portal have been separated between the Events and Support tabs for the sake of making things less cluttered.
Only three more CaT Gazettes after this one until the end of the school year in my area. Since I work at a school, I go on break at the same time the kids do, so I should be more available during the summer.
On an unrelated note the latest Samurai Jack episode was great but the oversensitive people screeching about it on Tumblr is even better.
Lesson 6: Writer's Block
Okay so that's obviously not the actual lesson, but it certainly feels that way sometimes, right? Everyone struggles with writer's block at some point or another, and it can get extremely frustrating. So, what exactly is writer's block and how can you deal with it? That's what I'll be going over with you today!
To begin with, writer's block is a psychological phenomena generally associated with, well, writing, where someone finds themselves unable to generate creative output either as well as they used to or even at all. Writer's block has been documented throughout history, so it's not exactly a recent problem.
Writer's block can be caused by a variety of things, such as loss of motivation, lack of inspiration, distraction thanks to other things, insecurity in your writing, etc. etc.; something to note is that the majority of these issues can be traced back to stress in one way or another. Extreme stress from any source can lead to feeling burned out and unmotivated, especially in your creative pursuits.
Even aside from all that, stress can actually cause a direct switch in how your brain processes things, switching focus from your cerebral cortex (your creative thinky bits) to the limbic system (your survival thinky bits) and thus making you feel creatively "blocked" since you quite literally aren't processing creativity as well. I'd recommend reading this thesis paper on the subject if you're interested; it's a fairly engaging and eye-opening read that goes into detail about this subject.
So, how does one overcome writer's block? There's no 100% guaranteed miracle method that's going to work for everybody, but the major thing to work on is learning how to destress and approach your writing in a healthier manner. The paper I linked goes into detail about this, so again, I recommend reading it, but for a quick summary, things like breathing exercises, meditation, listening to relaxing music, actual exercise (which the majority of you need more of anyways), and taking a step back to think about what you're writing instead of desperately trying to crap out words onto a screen are all great steps to overcoming writer's block.
The main thing to keep in mind is not to give up or procrastinate, as tempting as those options might seem; you won't be getting anywhere, and you'll ultimately just make yourself feel worse about the whole thing.
So, to sum this all up:
Writer's block is usually caused by stress.
Destressing techniques can help you overcome it.
Procrastination isn't going to help so STOP WATCHING THAT YOUTUBE VIDEO ABOUT A CAT THROWING UP FOR THE FIFTIETH TIME AND GET SOME EXERCISE OR SOMETHING DAMMIT
Researching this topic was actually fairly helpful for me, and I hope this lesson will come in handy for you too.
WILDMUTT IN THE REBOOT CONFIRMED?! (REAL) (NOT CLICKBAIT)
A new design for the terrible black sheep of all Ben 10,000 aliens.
Ben 10 News
Nothing to report this time around.
Well, that's it for this Sunday, folks. I hope you enjoyed the this issue of The CaT Gazette, and I just want to thank all of you for sticking with me for fifty entire issues. So again, thank you, and I hope to see all of you around for the next fifty Gazettes!
Hello, thank you for notifying me about the stub here http://ben10fanfiction.wikia.com/wiki/Hara_Chronicles ; you have my permission to immediately delete that page completely, as it's more of a "spinoff based on a ben 10 fanfic" rather than a "ben fanmade universe" by itself. Thanks again =)
This is your third warning; do not spam edit. You've taken up all of activity with excessive cleanup and continue to do so right now. You will be blocked for 1 day. I suggest you slow down the next time.