#(and actually on that point i thought this book was notably more successful than‚ say‚ meadows' or rowland's most recent efforts)

[aeide-thea]

also: i just finished n*torious sorcerer, and enjoyed certain aspects of it but was left unimpressed/unconvinced by others (longer letter later on this, maybe? no promises tho), which i guess makes it yet another addition to the growing list of m/m tradpub fantasy novels i wanted to love but ultimately didn't, quite? part of me is honestly starting to wonder if the capacity for love is burnt out of me, although that sounds awfully dramatic and i quite frankly think it's equally possible that we're just getting more and more writers coming up by way of fandom and that it's eaten particular, recognizable sorts of holes (ha) in their skillsets...

[unhelpfulfemme]

7 and 17 for the ask game!

7. I'm gonna be honest and say that this happens very rarely to me because if there's one virtue I have (and I have very few of them) it's the capacity to attribute blame correctly. So if fandom is weird about a character I usually start hating the fandom and withdrawing from at least that part of it rather than letting it influence my opinion about the character. Alternately, I'll perhaps review the canon and realize that the fandom is right and I had skipped some key details about the character or how they were presented, which will make me change my opinion about the canon character or the canon's framework overall, but I don't think that's what the question is asking.

BUT there is one notable exception, and that's Dara from the Daevabad trilogy. Which is barely a fandom LOL, like the entire series gets 2 Tumblr posts every six months, but I do love those books and I do get livid about the way the fans treat this particular character to the point that each time I see fanart of him I recoil in disgust.

I put in a cut because this turned out longer and angrier than I expected lol but I guess that is the spirit of the poll?

Basically you know the age-old debate about whether Kylo Ren fans are racist towards Finn and whether Kylo is a better or worse character than Finn and whether people just like him more because he's white etc. etc.? I generally think that's a stupid thing to hoist onto the sequel fans when it's the canon itself that encourages a superficial reading of Kylo as tragic and dramatic and of Finn as a plucky comic relief guy whose emotions shouldn't be taken seriously. But Dara and Ali from Daevabad are the perfect examples of the trend the people who complain about it are trying to highlight and I reeeaaally wish those books were more famous in wider fandom circles because we would be Having so many Discussions about them.

Dara and Ali are basically the two angles of what's a lowkey love triangle with the series' (awesome!) protagonist, Nahri. In my eyes, Dara and Nahri have so little chemistry that I nearly quit the first book 30% in because I thought it would all be about them, but YMMV I guess. Then I saw Nahri and Ali interact once, thought "man, I wish these two were being set up for a grand romance instead" and was then thrilled to discover that actually they were and the author was clearly phoning in the Dara/Nahri parts because they were there to make a point rather than to be romantic or appealing.

Dara is an asshole, but in canon, he's a well-written asshole and there's a point to his characterization. He's an extremely talented Proud Warrior Guy who is really patriotic and cares about his family and his country and about making them proud. He's also arrogant and short-tempered, but so is Ali. The thing is, Dara's superiors send him to commit genocide, and Dara does so to mixed success. Then the people he's tried to genocide come for his own people to exact revenge and brutally kill his family. This all sparks a massive civil war, in the middle of which Dara ends up trapped in a Fate Worse Than Death kind of situation for thousands of years, until he is somehow saved and joins the protagonist. He feels anguished and vengeful about his family dying but is also still chauvinistic AF and never examines his own role in all of this. He still believes that blindly following authority and being loyal to people of his religion and ethnicity is his highest moral duty. This makes him commit even more war crimes, end up in another fate worse than death situation, and only manage to get out of it by sheer luck and through the other characters being kinder towards him than he would have been in their shoes. He also always thinks he knows better than anyone else and routinely overrides Nahri's wishes because he thinks he knows what's good for her.

Now, he also has positive traits, like he's a kind and patient teacher and has a code of honor etc. etc. but his narrative is clearly about radicalization and cycles of revenge and, well, toxic masculinity. There honestly isn't much else to him.

Ali is also stubborn and arrogant, quick to judge people who are different than him, and prone to foot-in-mouth incidents. He's more of a warrior poet type, equally badass but also bookish. BUT he's also Black and a practicing Muslim, which I guess puts some people off of him. The thing is, Ali is a wayyy more complex character than Dara, he has a whole-ass family and his relationship with every one of its members is lovingly and intricately drawn by the author, and he also has nuanced and complex thoughts about his code of ethics, the system of governance of his country, his religion, and many, many other things. He is put into a lot of interesting situations and forced to make many difficult choices and is just overall a more complex and interesting character.

And still! STILL! Like 80% of fanart and fan content for this series is all about Dara, a frankly quite unsympathetic character if you think about it for more than 0.2 seconds and the flattest one of the main three to boot. I would have been content to read Dara's canon story and recognize it for the well-crafted story it is and even empathize with him (he was quite young when all that happened to him) but the amount of passionate insistence by the fans that he is the poorest meow meow and so much hotter and more interesting than Ali makes me have an irrational and visceral negative reaction whenever I see him.

17. Superficial answer?

We need more Padmé Amidala/Asajj Ventress content. For some reason I really like the idea of the two of them together and there are like 4 fics with them on Ao3 of which 3 are orgy fics with 10 different characters. The reason I like the idea of the two of them together is totally not because they represent the two types of women I tend to develop crushes on and I'm just mashing my dolls together.

Deeper answer?

I really really love those posts where people apply whichever discipline they're working in or are passionate about to fandom works? Like that biologist who made up a theory according to which Wookies and Caminoans have a common ancestor?

I can never get enough of that and wish I could see it more often. I want more biologists squinting at the weird plants in the back of scifi series. I want political theorists to try to make sense of the politics in Vorkosigan. I want art historians to try to develop a theory of how art and fashion changed between Hot and GOT.

Make me a bastard child of your fandom special interest and your professional special interest. I will eat it up, I promise.

[mermaidsirennikita]

ARC REVIEW: Two Can Play by Ali Hazelwood

4.25/5. Releases 10/1/2024.

The Vibes: video games, workplace rivals, snowed in, pining

Heat Index: 7/10

The Basics:

Rival indie video game design companies end up on a work retreat to collaborate on a new project. The problem for lead designer Viola? Her co-lead is Jesse, the quiet expert she had a crush on for years... until, of course, he made it very clear that he wasn't interested. They're equally invested in making this project a success, however. And as the snow falls, extending the retreat even further, Jesse and Viola realize there's a lot more to their friction than what initially met the eye.

The Review:

So cute! I needed something quick and refreshing, and this was exactly it. With a heavy dose of heat, especially for how quick a read (listen? This is a Spotify exclusive and audio only) it is. I actually started the book a little curious as to whether or not it would feel too crunched; it's half or less than half the listening length of a typical Hazelwood audiobook. But it kind of worked perfectly?

The retreat is key, I think. This is going to be perfect as the autumn and winter temperatures close in. I loved the details of the retreat, the snow, the hot tubs, the warm beds... it was all very cozy, and coziness is absolutely in Hazelwood's wheelhouse. However, it's never a boring coziness. The snap of her dialogue, the humor in the character dynamics, keeps it from being slow even when it's wholesome. Which is easier said than done!

Viola and Jesse are charming, likable leads. Speaking of Hazelwood's wheelhouse—nothing here reinvents her wheel. Which I think is less "big guy, small heroine, they are nerds" and more "He's into her from afar but for reasons can't act on it and she interprets his ambivalence as loathing" (though Not in Love was a notable exception). Personally, I think she does it very well, and as long as I'm entertained, I'm good with it.

You're not going to be shocked by the fact that Jesse's feelings for Viola may be more complicated than she thought. I found his reasoning to be pretty solidly realistic, even if the problem could've been resolved sooner. It's a normal miscommunication to me. Not too dramatic, not too slight. Just right.

I found the video game backdrop pretty fun and not too difficult to follow (I say as someone who knows approximately nothing about video games). I actually really liked the insight on the art of designing a video game, which I've always been tangentially aware of but enjoyed learning more about. There was a sweet, not super subtle but still fun, connection between the love story and the game—and speaking of? Kinda want to play the game now.

Side note: There's a subplot that's not quite a secondary romance between Jesse and Viola's bosses... I want SO much more of that situationship. I'd take a whole book, Ali!

The Sex:

OOH BUT THIS WAS SO GOOD? And I didn't expect it. I mean, Ali always writes good sex scenes, but I kind of thought this might skimp a little since it's on the shorter side. But uh... no. You get several sex scenes, and they're all very hot (I didn't expect THAT in a quick book, but I wasn't mad about it) while also maintaining a bit of emotional softness.

But what I loved most about the sex scenes was how confident Viola is. She's a good lay! Jesse's very overwhelmed! We love an overwhelmed hero!

It's quick, it's to the point, it's going to scratch your itch for a Hazelwood "nerds in love and also banging" book. And it's ideal for fall and winter.

On an audiobook note, Kelsey Navarro Foster did a great job with this one. This format served the book well; it felt like a little treat. I'd definitely recommend, especially if you're going through a bit of a reading slump.

Thanks to NetGalley and Spotify Audiobooks for providing me with a copy of this book. All thoughts and opinions are my own.

[twistedtummies2]

The Devils I Know - Number 25

Welcome to “The Devils I Know!” For this spooky time of year, from now till Halloween, I’ll be counting down My Top 31 Depictions of the Devil, from movies, television, video games, and more! Today’s Devil is a Marvel to behold. Number 25 is…Mephisto, from Marvel Comics

It stands to reason that comic book superheroes would have to face the Devil at some point. In fact, throughout both DC and Marvel comics, just to name two, there have multiple demons and devil-like characters throughout their many series and issues. We’ll get to DC’s chief Devil in the future, but for now, let’s focus on Marvel’s arch-ruler of Hell: Mephisto.

Now, I’m going to be up front and honest…I haven’t really read very many comics with Mephisto. Again, I’m actually not that well-versed in comics THEMSELVES, I mostly know things about characters from other media. And unfortunately, Mephisto is one of those characters who hasn’t necessarily been treated that great in other media: he’s never shown up in any TV shows properly (somewhat surprisingly), and so far the only movies he’s been in were the two Ghost Rider films starring Nicolas Cage. And while both of those takes on the character were played by good actors (Peter Fonda for the first, Ciaran Hinds for the latter), neither picture did the character any favors. Although I DO want to say that Fonda’s Devil in the first film was, for me, the best part of a generally bad movie. Well…him and the Spiderbait cover of the song “Ghost Riders in the Sky,” but that’s another story. The character has had some better success in video games – perhaps most notably “Marvel: Ultimate Alliance” and the “Marvel vs. Capcom” series – but ultimately, it’s the comics where he shines most, and I just haven’t read many of those. HOWEVER, based on the ones I HAVE read, it’s really a shame Mephisto hasn’t popped up in more places, because he’s honestly one of the most fiendish villains Marvel has ever had. Intricately tied to the origins of Ghost Rider, and a frequent nemesis of Spider-Man, Doctor Strange, and the Silver Surfer alike, Mephisto is one of the most impactful adversaries in the comics themselves. He is the classic Devil, so to speak: a vengeful and devious creature of fire and spite who loves to tempt mortals to the dark side, offering them wonderful things for a terrible price. Perhaps his most infamous appearance so far, outside of Ghost Rider, was the highly controversial storyline “One More Day,” in which Peter Parker (of all people) made a deal with Mephisto to alter all of space and time…and if you thought things went badly when he tried something like that in the movie “No Way Home” with Doctor Strange, you ain’t seen NOTHIN’ unless you read that storyline. Seriously, Peter, that was…a really, REALLY bad decision, I’m not backing you up there. Nope. Controversial stories aside, it really is a shame Mephisto hasn’t shown up in more stuff, because with what I’ve read, he’s a very fun and delightfully scheming version of the Devil, as well as an incredibly powerful adversary. He was actually able to very nearly beat FREAKING GALACTUS in one story, I’m not joking. He’d be higher on the list, if I just had more familiarity than I already do with his comic book portrayal. As for DC’s Devil…well…again, that’s another story.

Tomorrow, the countdown continues with Number 24! HINT: “One of these things is not like the others.”

[shihalyfie]

do you have any thoughts on the relationships between the characters in appmon? (bit vague i know but, i'm curious about your thoughts esp regarding eri n astra's relationship)

One thing that I think is most notable about the Appmon group is that they're one of the very few Digimon groups to be explicitly delineated "social-life friends", or, that is to say, they spend their days hanging out and doing mundane activities even if they don't have any world-saving duties in play, and they seem to be the closest friends available in their immediate lives. This isn't always the case for most Digimon lead casts! It's one of the biggest differences between the Adventure and 02 groups. Tamers was somewhat of an edge case about this; in Tamers, the Yodobashi Elementary kids did play together in places like the Shinjuku park, and Ruki would sometimes stop by, but she still had a bit of extra detachment and her own character arc was closer to her family than anything. Frontier's another edge case because post-canon material has definitely established that they at least keep in contact, but Izumi, Junpei, and Tomoki's character arcs in particular depend heavily on their ability to make friends outside the group.

The Appmon group has an interesting variation on it in that while not all of them are a cohesive group at the same time -- Rei unfortunately doesn't start becoming more attached to the group until around the time he's started harboring doubts about Yuujin -- they do all gravitate around the "base" in Kashinoki Books, and specifically around Haru. And Haru doesn't even realize this -- he doesn't assert himself as the leader or anything, but everyone starts naturally gravitating towards him because of his natural kindness and friendliness! They don't say it out loud, but they're all there because Haru brought them there, and you'll notice that when Eri and Astra learn about YJ-14's betrayal, they're less offended by the betrayal than they are by the fact he specifically betrayed Haru.

But they are a friend group that loves to hang out with each other, simply because they enjoy each other's company. (And while it does look like Yuujin's world revolves around Haru exclusively, keep in mind that the reason he idolizes Haru so much is that Haru helps him make other friends. Note that in episode 18 he doesn't show any particular jealousy or misgivings about Haru starting to hang out with other friends besides him, and in fact him getting along easily with Eri and Astra was already setting the tone for him getting along with the rest of the group once he formally joined them.) Also, while the series focusing on the ongoing battle with Leviathan, it may be easy to miss, but Ai is actually as much of a member of the group as anyone else as long as the incident in question doesn't require having a Buddy Appmon or being able to see non-Apprealized Appmon. Socially speaking, the others clearly see her as one of them by the end of the series, and since Rei starts hanging out with them in the basement by the end of the series, Hajime probably applies too. Of course, a lot of this is fitting because Appmon specifically makes a point about apps and technology being inevitably integrated in one's daily life, so the line between doing work as an Appli Driver and normal social activities is heavily blurred.

So it's a group that really just likes each other's company, and, more importantly, is constantly out to support each other. Haru is not a talented soccer player nor a famous influencer, but he supports everyone in any of their endeavors and aspirations, which is how he reaches out to Rei in episode 12 (after which the desire to help Rei is constantly on his mind thereafter). The group constantly checks on each other's endeavors and successes, like supporting Eri on TV or checking Astra's video performance. Ai holds down the fort and brings food and information when they need it. Compared to a group like the 02 kids, the Appmon kids are generally more well-behaved and put-together (this is by design, under the reasoning that this is more accurate to real-life modern kids), but they share something in common in that both are groups that are unabashedly ride or die for each other in every way, especially in terms of emotional support. Which is, naturally, in line with Appmon's core theme of kindness and understanding being the most necessary thing in an accelerating world that encourages cold efficiency.

In regards to Eri and Astra specifically, Eri stands out as the only member of the group to call Astra "Tora", and I get the impression that her awareness of him as a younger child is slightly higher than, say, Miyako towards Iori, which involves Miyako seeming to completely forget the concept of age at times. Whenever Eri and Astra bicker, it's usually along the lines of Eri being irritated this elementary school kid is talking back at her. But other than that, Astra is clearly bearing so much and working so hard that it'd be condescending or demeaning if she tried to lord her status over him, and Astra''s way of being in-your-face is out of friendliness as much as it is cheekiness. So the two afford each other as much respect as if they were peers, which is especially prominent during their episode 35 collab when they work together on a completely equal level, and Astra's remarks about her in episodes 36 (The Best Tenth Place Ever) and 40 (figuring out Fakemon because he knows Eri too well) are done out of that sentiment of mutual respect. In general, the group doesn't seem to normally be too conscious of age hierarchy; this is around the line of 02 and Frontier's groups, but while 02 and Frontier mainly came from the characters often being too much of a disaster to enforce the hierarchy well, in Appmon the nuance is more that they all respect each other and each other's accomplishments and abilities too much for the hierarchy to be meaningful.

[tcm]

Something New Has Been Added: Inside Tex Avery’s Madcap Animated Universe By  Donald Liebenson

“The secret in animating is first to have an everlasting sense of humor, next to be able to see the commonplace in a funny way and most important of all, to be able to sketch your idea so that the other person will think it's funny."—Tex Avery, The Dallas Morning News, 1933

At the start of Fred “Tex” Avery’s RED HOT RIDING HOOD (‘43), the Wolf, Red Riding Hood and even Grandma rebel against a traditional rendering of the classic fairy tale and threaten to quit the cartoon right then and there. “Every cartoon studio in Hollywood has done it this way,” Red complains. “I’m pretty sick of it myself,” Grandma chimes in. And just like that, something new had been added, with a cat-calling, zoot-suit-bedecked Wolf cruising Hollywood Blvd.; Red Hot Riding Hood (aka that Sweetheart of Swing) knockin’ ‘em dead at a Hollywood night club; and a slang-slinging Grandma (“Hiya cousin, what’s buzzin?’”) waiting for a wolf of her own in her penthouse digs.

RED HOT RIDING HOOD kicks off TCM’s early morning tribute to Tex Avery, which will easily be the funniest thing you see all day. The cartoons will be preceded by John Needham’s British documentary TEX AVERY: KING OF CARTOONS (‘88). It is an ideal primer into the Avery-verse that charts his legendary career from high school cartoonist through his tenures with Walter Lantz Productions, Warner Bros. and MGM. Along with a generous sampling of clips from his Warner Bros. and MGM cartoons, there are priceless interviews with equally legendary colleagues such as Chuck Jones, Heck Allen and Mike Lah, along with June Foray, the Queen of Cartoons and Joe Adamson, who wrote the essential book, also titled Tex Avery: King of Cartoons. (Coincidence, isn’t it?)

Needham told TCM he was encouraged to make the documentary by Chuck Jones, whom Needham had profiled for the BBC arts series, Omnibus. “He simply said, ‘We should make a film about Tex,” he said. As an Avery fan himself, Needham was all in. “I think it’s his ability to take a gag to the extremes and then take it further and then take it even further,” he said. “Chuck said that he could never copy Tex because he didn’t have a clue what Tex was doing, he just knew that he was a genius. I’m sure I don’t know either, but what he did was incredibly funny.”

The seven cartoons included in the TCM tribute meet the “incredibly funny” standard. They were produced for MGM. These are not as well known or as widely seen as his cartoons for Warner Bros., where, most notably, Avery directed A WILD HARE (’40), the cartoon that established Bugs Bunny’s brash personality. Avery was an outlier at the tony studio that boasted “more stars than there are in the heavens.” MGM did make sparkling and sophisticated romantic comedies directed by the likes of George Cukor and Ernst Lubitsch, but MGM was where clowns went to die.

Buster Keaton wrote in his memoir that signing with MGM was “the worst mistake” of his career. THE CAMERMAN (’28) was an auspicious beginning, but gradually, Keaton lost the lion’s share of his creative control, suffered studio interference and was partnered with Jimmy Durante. The Marx Brothers’ association with the studio likewise began promisingly with A NIGHT AT THE OPERA (‘35), but soon the iconoclastic highs of the brothers’ Paramount films were but a dim memory and the brothers were relegated to playing second fiddle to insipid romantic leads like Kenny Baker and Florence Rice in AT THE CIRCUS (‘39).

But MGM could not tame Tex Avery. Or perhaps studio execs didn’t think animation was worth the time and trouble to meddle with, allowing him to work unimpeded. The best of the cartoons he made for the studio between 1942-55 put the “mad” in madcap, if that’s your idea of a good time. In his book, Adamson observes: “No artist, in any century, on any continent, in any medium, has ever succeeded in creating his own universe as thoroughly and overwhelmingly as Tex Avery.”

You might say that a Tex Avery cartoon is like that proverbial box of chocolates; you never know what you’re going to get. “Say, what kind of a cartoon is this gonna be, anyway?” asks the title character in SCREWBALL SQUIRREL (‘44), another of the Avery 7 to be featured in TCM’s mini-Avery-palooza. Well, it’s NOT going to be a charming Disney-esque romp with adorable forest creatures. Screwball Squirrel sees to that when he takes one of them behind a tree and violently disposes of him, assuring the audience, “The funny stuff will start as soon as the phone rings.”

BAD LUCK BLACKIE and KING-SIZE CANARY, two masterpieces that are highlights of TCM’s Avery cartoon block, break all rules of the physical world and nature. In the former, a black cat brings instant bad karma each time he crosses the path of a bullying bulldog. At one point, the unfortunate pooch must dodge a succession of falling objects that escalate from a sink to a battleship. In the latter, a chase between a cat, mouse and dog escalates to gigantic proportions thanks to a bottle of Jumbo Gro.

What critic James Agee wrote about the Marx Brothers also applies to Avery in that even lesser Tex is better worth seeing than most other things I can think of. SYMPHONY IN SLANG (’51) is a succession of silly sight gags inspired by a hipster’s arrival at the Pearly Gates. He tells his life story to a befuddled Noah Webster, who pictures literal translations to such phrases as, “I was born with a silver spoon in my mouth,” “It was raining cats and dogs” and “I died laughing.”

SCREWBALL SQUIRREL features some great self-referential gags, such as the title character peeking ahead to the next scene to figure out what to do next. But the character was so obnoxious that he was actually killed off at the end of his fifth, and final, cartoon.

Avery’s influence is vast. When in THE LITTLE MERMAID (‘89), Sebastian’s jaw drops like an anvil when he spies Ariel nursing an injured Prince Eric, that’s a classic Tex Avery take. THE MASK (‘94) pays direct homage to RED HOT RIDING HOOD when Jim Carrey’s Mask man is undone by nightclub chanteuse Cameron Diaz. And the Tex Avery force is strong in Animaniacs’ helter-skelter pacing and fourth-wall breaking.

But there is nothing like the real thing. No one made cartoons that were loonier. The secret? As Avery told Joe Adamson, he didn’t think in terms of the age of his audience: “I tried to do something I thought I would laugh at if I were to see it on the screen.”

[clnriswood]

DRACO MALFOY X CEDRIC DIGGORY X READER

Something Different | Part Three

a/n: Hope you’re all prepared for some red hot angst, hehe.

tag list: @call-me-banana-bandit @pillowjj @truly-insatiable @natsiboo @justmesadgirl​ @boredoffmebox @jjjmaybank @jejegu​ @ superpowereddonut @irritantive​ @salemlilly @marshmelloyellow02 @puffymints @is-it-really-a-secret  @i-mmunity​ @sebastiansass​ @hisoldlover​ @kyobien

X

Things were awfully awkward the next day. The whole morning, it seemed, Cedric was dodging the girl left and right. At breakfast he was quiet as he picked absentmindedly at his scrambled eggs, and the whole walk to Potions Class he was silent, too. To be fair, the girl wasn’t doing much better. Through their words, or lack thereof, they seemed to come to the mutual mental agreement to not acknowledge what had happened the night before. After all, it wasn’t as if either could even find the words to say about it. And so, as they entered Professor Slughorn's dark little classroom, accompanied by only a select few Hufflepuff and Slytherin qualifying N.E.W.T. students, the only sound to be heard was the pattering of footsteps and bubbling of liquids within the set of large black pots before them. One potion in particular, front and center, seemed to beckon the girl with its enrapturing scent. She swore, almost, that the students around her seemed to have the same thing on their minds as they huddled close at the front of the cavern-like classroom. The issue didn’t dwell on her mind long, however, as the burning sensation of someone’s gaze went searing into her cheeks from the left and distracting her at once. Draco Malfoy, with his snow white skin and icy eyes, looked miserable as ever as he turned his attention swiftly away from her on sight. Try as he might, there was no hiding the look of mild frustration that seemed to reside on the curvatures of those high cheekbones and bent lips. The girl’s eyes narrowed with contemplation as she turned her head slowly away from the boy, at which point the fresh face at Hogwarts, Professor Slughorn, came waddling out of his supply cabinet. He wore a cheshire-like smile as he beamed at the young faces before him, and his sparkling eyes did a double take when they fell on Y/N.

“My my,” he seemed to gasp, “I know that face!”

The girl’s stare went flickering confusedly over to Cedric on instinct, and she found he was looking questioningly right back at her with those huge, kind eyes.

“M-me?” she stammered, her brows knitting.

“Why of course, miss Y/L/N, daughter of Y/M/F/N Y/M/L/N,” he scoffed, waving his hand through the air as he went teetering over to her.

“You knew my mother?” the girl asked, quite aware that all eyes were currently on her.

“Yes of course,” he babbled, making a detour to a nearby shelf, upon which were dozens of golden framed photos. “Brilliant witch, and the most beautiful spirit,” he muttered joyously, bringing one of the pictures along with him.

The girl’s heart sunk as she realized what the picture frame contained; a photo of her mother and father beside a notably younger Professor Slughorn. The three of them wore huge white grins as they waved giddily at their picture’s taker. As the photo began its magically induced re-loop, she found her throat closing up with hurt. Slughorn barely noticed, as he was too busy using his thumb to brush off the particles of dust that coated the frame’s edges. He spoke more to himself, as he continued.

“You look so much like them, you know. And your father, he was one of the great’s, too.”

There was no stopping the sudden flush of red to her cheeks, “my father was a terrible man who sold himself over to Lord Voldemort.”

Her classmates flinched backwards at the name, all except Draco, it seemed.

“Yes,” her teacher nodded, raising his gentle gaze to her, “and great he was, ever the same.”

She felt her heart pounding hard against her chest as she looked back at the professor, understanding his point but disliking it nonetheless. His next words, however, redeemed him.

“No matter. I already know by the yellow of your robes and the fierceness in your eyes that you’re all your mother’s.”

It was true. Her mother had been a Hufflepuff, like her, and the girl had been told many a time of her ferocity. Being that she admired her so, the girl had no doubtedly been relieved to have been sorted into her mother’s house her first year at Hogwarts, and to wear her yellow colors proudly, as opposed to her father’s emerald ones. And her ferocity? Well, that was something she actively sought to portray, something she wanted the world to remember.

“Anyways,” Slughorn’s voice interjected her thoughts, “I am sure I will be seeing more of you, but enough chatter for now, we have work to do!”

As the class all clamored in reaching for their books, she couldn’t help but to feel a lingering weight on her chest. Keeping her eyes steadily forward, she denied the oncoming glance of her friend beside her, and chose instead to hold her teeth tight together, so hard it hurt. The sound of Cedric’s voice came swimming into her ears slowly as she regained focus.

“....amortentia,” he explained, “the strongest love potion in the world.”

“Correct, my boy!” Slughorn exclaimed. “And what else?”

The girl’s eyes settled on the cauldron they discussed, the one that seemed to lure her close. A curl of attractive pink steam danced from the potion’s surface, and it smelled of rain, chamomile, and something else. Was it a cologne of some sort? No, no it was almost minty. But then there was the cologne again. Perhaps it was actually both, she realized. Either way, it was indistinguishable to her.

“Amortentia smells different to each person, Cedric was continuing, “its scent changes according to what attracts a person. For example, I smell grass, and honey, and-”

The boy seemed to go suddenly still, like a thought had gotten glued to his tongue.

“Lavender,” he finished ever so quietly, his face going suddenly very red as he turned his nose to the table.

There was just a second's hesitation before the girl realized what it was exactly that had him flustered, and she soon found her own face burning up as she moved her eyes glossily away from her friend. Nobody in the classroom understood the implications of his last word, of course, though it certainly didn’t prevent a series of giggles from onlooking girls in the class, who batted their lashes at Cedric. Dismissively, the girl scanned her surroundings, surprising herself when her eyes came to a halt. On the opposite side of the dungeon, Draco Malfoy’s snow white skin had gone, for whatever reason, warm with pink. His big eyes were on Cedric first, and then Y/N. When he caught her looking he frustratedly let out a grumble and turned his nose into his potions book, which he now suddenly seemed very interested in. Next to her, Cedric did the same thing.

“This, however,” Slughorn said, moving swiftly along, “is far more valuable.”

The professor lifted a tiny vial into the air. Within its glass was a gleaming gold fluid that swished merrily around.

“Felix Felicis,” he beamed.

“Liquid luck,” Cedirc echoed, earning himself an appreciative nod from the professor.

“It shall be awarded to the student who can most perfectly produce an acceptable Draught of Living Death,” Slughorn challenged. “Though I shall point out, however, that only once did a student produce a potion of sufficient quality to claim this prize.”

All eyes were on Slughorn, now. Most notably, Draco’s seemed to gleam with want. The girl knew exactly what she wanted the little vial for, of course. With quidditch tryouts just around the corner and her confidence practically underground, the potion was just the thing she needed to do the trick. And so, for the next hour or so, she and her classmates slaved tirelessly over their cauldrons. Unsurprisingly, she wasn’t all too successful (her potion was a sickly green color), but it seemed nobody else was, either. Likely the only student to get even a little close to the potion’s desired results was Cedric, who earned quite the eye of appreciation from Slughorn for both his skill and charm. Close as he was, nobody seemed to produce a viable enough draught to earn the glittering vial, which Slughorn assured them all was to be expected.

“We shall have to see if one of the Gryffindor or Ravenclaw students beat you to it!” he chortled at the end of their lessons.

As the students all began their miserable shuffle out of the room, the professor called out to Y/N and Cedric, beckoning them over. As the girl dragged her feet back towards the little round man she sped hastily past Draco Malfoy, her quick stare earning her a frazzled glance from the boy, rather than his standard disgusted ice blue daggers. She cleared her throat and pressed on, stopping at the front of Slughorn’s classroom.

“I’m having a bit of a student-teacher social at the end of the week,” he said excitedly. “I do hope the two of you will join me?”

Well, that had been unexpected. The intent seemed obvious, of course, but strange. Apparently the professor was picking favorites and not being all too shy about it. Cedric agreed jovially, of course, while the girl followed his acceptance with a slightly more begrudging nod and tilt of her lips. Her mind was preoccupied with enough things as it was. For starters, there was the night before, and then there was the amortentia induced confusion, the loss of her much needed liquid luck, and now this. As she made way into the halls, Cedric opened his mouth to speak to her, for the first time that day, she realized.

“The Slug Club,” he sniggered, “funny, right?”

“For you, sure,” she said dismissively, stuffing her hands into the pockets of her robes.

“What’s that mean then?” the boy arched a perfect brow at her, but she paid no attention.

“It means you’ve actually got something to offer,” she shrugged. “Me? I’ve just got some dead parents in a photo frame.”

“Don’t say that,” Cedric snapped in her defense.

She just kept walking.

“Hey.”

A firm and large hand came to her shoulder, stopping the girl.

Cedric towered over her, looking infuriatingly handsome under the still-summer sun. He chuckled weakley at her, his cheeks erupting with little dimples.

“Sick of you underselling yourself,” he half laughed half sighed, tilting his head at her.

“Ced,” the girl grumbled with embarrassment as students passed them, unable to hold his ocean eyes to her own.

“You’re incredible, I mean it!” he raised his voice and gave her a little squeeze, making her all the more flustered. “If you don’t believe it, then don’t go to Slug’s little mixer.”

“Oka-” she started.

“And neither will I!” he flashed his white teeth attractively as he cut her off.

“Oh for Christ’s sake,” she snorted, unable to resist his foolery.

“So you’ll go?” the bronze skinned boy perked up, picking up his pace as the girl now struggled to get farther away from her increasingly supportive friend.

“Wear something ridiculous and I’ll consider it!” she called over her shoulder as she hurried towards the courtyard.

Cedric had two thumbs high in the air when she turned, “I was planning on it!”

The girl laughed. It seemed all was back to normal.

That was, for about all of two seconds. For no sooner had the girl entered the courtyard than had a piece of paper come fluttering through the blue sheets of the sky and right towards her. The paper had been folded neatly, shaped like a little bird. If it hadn’t hit her smack in the nose, she may not have even realized what it was. The girl gasped in surprise and caught the parchment swiftly between her nimble fingers, unfolding its crumpled exterior in her opened palm whilst sporting a look of utter confusion.

The words had been written in a dark green ink, the same color as the fir trees in the Forbidden Forest, or at depths of the Great Lake.

𝐿𝒾𝒷𝓇𝒶𝓇𝓎. 𝟪𝓅𝓂. - 𝑀

The girl snapped her eyes up. Across from her, a little ways away, Hermione entered the courtyard. Her hair was bushy and curly as ever, her brown eyes wide with curiosity as she looked first to the girl and then to the paper in her hands. Frantically, the girl stepped herself into little circles, looking for the adressor of her note. M? For a moment it had confused her, and then, when the answer surfaced in her mind, she had only found herself all the more confused. What on earth could Draco Malfoy want with her? Had he not made it blatantly obvious the night before that the answer to that question was nothing whatsoever?

Her eyes darted around the faces of students in the vicinity, some walking in chattered huddles, others fountainside enjoying their time basking under the golden sunlight, and more yet flooding to and from the exposed halls. But Draco Malfoy was nowhere to be seen.

“Well, what is it?” Hermione asked, meeting Y/N in the centre of the cobblestone clearing.

She extended an arm, offering her friend a sandwich stuffed with greens.

It had been their tradition to meet during their occasional breaks for years now, the two frequenting the courtyard for chats during the few minutes of peace they could acquire. Hermione escorted the girl to a vacant stone bench nearby, the two girls sitting down upon its flat cold surface. The girl folded her legs up onto the platform and stuffed the parchment into the folds of her robes as she cracked open a chilled pumpkin juice.

“Nothing,” she lied unconvincingly, taking a big chomp out of her sandwich and chasing it shortly after with a swig of pumpkin juice.

Hermione had one hand in a bag of salted chips, which she abandoned without hesitation to go snatching at the girl, who bent swiftly out of her friend’s way.

“Hey!” the girl sniggered, batting away Hermione’s advances.

“You’re an awful liar, you know?” Hermione scrunched her nose with a curious smirk.

The girl stared widely at her friend, giving her a ‘well-you’re-not-wrong’ look as she reluctantly leaned in closer, her voice dropping.

“Draco wants me to meet up with him,” she whispered, like the whole school would implode if anyone were to hear her. “Tonight, in the library.”

“Oh Y/N,” Hermione frowned thoughtfully, “you know you really shouldn’t.”

“And why not?” the girl leaned back.

She tilted her chin up towards the glowing sun and enjoyed the freshening of the warm day’s breeze. The wind rustled around her, making strands of her hair dance against its gentle flow. Around her, birds chortled in conversation, and the nearby fountain gurgled out gigantic spurts of clear water.

After giving herself a moment to think, Hermione responded, “there’s only trouble headed that way.”

The girl opened one eye to look at her concerned friend, “and how would you know that? You’re the one who said he’s not even a death eater.”

“Well, yes-” Hermione began with mild frustration. “But death eater or not, he can’t be trusted.”

She wasn’t wrong.

As much as she didn’t want to hear it, her friend had a point. Draco Malfoy had done little the last five years of their lives other than torment the two of them, as well as his nemesis, and her friend, Harry Potter. But the adrenaline that came with investigating her curiosity of the snow-white boy was on a ravaging incline, and nothing was going to stop her.

She didn’t need to say the words for Hermione to know, just by looking at her face.

“Just, be careful,” her friend advised with a defeated sigh.

“O’course,” she answered with a wink.

Hermione relaxed her shoulders, “you sound just like Harry, you know? He hasn’t given up on his little theory of his. What d’you think he’d say about this?”

The girl blinked dumbly at Hermione. She always did know exactly what to say.

“Dunno,” she stretched out her legs, “which is why you’re not to say anything of it to him. Or Cedric.”

“Cedric?” Hermione asked.

“I dunno,” she waved a hand through the air, “he wouldn’t like it. And it could come up some point at Slug’s event.”

“What?” Hermione asked, confused as ever.

The girl finished off her snacks before continuing.

“Slughorn has a little favorites club, and he’s throwing us all a get together of some sort this weekend.”

“And why would I be there?” Hermione raised a quizzical brow.

“Because,” she beamed, “you’re Hermione Granger. And you’re smarter than most all of us students combined.”

Hermione’s ears reddened as she gave her friend a little smile.

“I’m headed there next,” Hermione dismissed her friend’s comment bashfully.

“Good,” the girl said, gathering her belongings. “Tell the boys I say hello, will you? And good luck with your draught.”

“My what?” Hermione voiced.

The girl laughed secretively as she turned, raising a finger to her lips as she grinned at her ever bewildered friend.

. . .

She’d almost tripped on her toes rushing out of the Great Hall that night. Feeling too nervous to eat, the girl had managed only a few bites of dinner before abandoning her golden platter entirely. She had felt a little ridiculous for feeling nervous, really, but how could she help it? Across the hall there had been an empty seat where Draco usually sat beside Crabbe, Goyle, and his other goons. Whether he was already at the library or off wandering corridors again she had no idea. Over at the Gryffindor table, Harry had yelled out the girl’s name, gaining her attention for enough time for him to raise into the air a little vial. Realizing the contents of his container was none other than the Felix Felicis, she’d mouthed back a “what the hell!?” to the boy-who-lived and an incredibly grumpy Hermione who sat beside him. On her right, Cedric and her friends were growing increasingly aware of the girl’s out of the ordinary manner. Tense, the girl had cleared her throat, claiming she needed to obtain a Herbology book, and flown away from her spot, under the glittering floating flames, and out of the Hall.

Her mind was thick with fog as she dragged her feet around corridor corners before reaching the Library. The girl entered slowly, her eyes making way over the massive room and its many oak framed shelves that touched the dome like ceiling with their tops. It was quiet, unsurprisingly. Few students were concerned with study at  approximately eight o’clock on one of the first nights of the school year. Still, just to be safe the girl had made her way into the darker and mustier back corner of the Library, where there was minimal lighting aside from a few hovering gas lights. Only a few students inhabited the area nearby, but they were uninterested as the girl passed cooly by them and approached the nook space crammed between the two back shelves. As Draco had been nowhere in sight, she’d gone looking at the books, her fingers skimming their dusty spines slowly as she read their titles. It seemed, mostly, that they were on healing based learning.

The girl extended a hand, gently wiggling out a black leather book on charms out of boredom and almost dropping it entirely when she caught sight of a set of blue-grey eyes staring back at her from the other side of the bookshelf. She’d released a little yelpish gasp, drawing the attention of nearby students.

Draco’s hair was slicked smoothly back, not one hair out of place on his head. His lips were set hard with seriousness, his startling bright eyes holding a similar sense of firmness in them. The lamplight casted shadows over every detail of his perfectly carved face. The boy cleared his throat and turned away from the girl, speaking his almost inaudible words into the yellowed pages of the book he held rather than to her.

“Hello,” was all he said.

Oddly it seemed like that took a lot out of him.

She’d stared at him for a few seconds in bewilderment before mimicking his action and turning her own nose into her charms book. The pages had spilled open onto an enchantment for serious wound healing injuries.

“Still refuse to be seen talking to me then?” she worded flatly back.

Draco lifted his piercing gaze momentarily to hers, his lips curled downwards with upset before he resumed his idle stare of his book’s text.

“It’s for the best,” he uttered. “For you, too.”

Nearby, a few lower year hufflepuff students had raised their heads, but sunk them back into their studies when nothing seemed to happen. The girl waited for their looks to pass before replying.

“Alright,” she admitted half heartedly.

Not knowing what else to say, she stayed quiet. Apparently, Draco was having a similar internal struggle. There was a good half of a minute of utter stillness between them, the only sound being that of the rustling of nearby papers. As far as she was concerned, this was in the boy’s hands entirely. She’d reached out last time, only to be shortly stomped out like a fly. Now, if he wanted to do the talking, she would let him do the talking. All of it.

She lifted her eyes. He was already there, his huge ones glimmering back at her. They were flickering left and right over her stare, like he was trying to read her from the outside in. Feeling the pressure of his gaze, she turned back to her healing enchantment. Draco edged his way closer, leaning his shoulder against the shelves. He raised a hand to his ear, using his long fingers to fidget nervously against his cheeks.

“Was it Potter who told you?” Draco whispered at last.

“Told me what?” she said without addressing him.

Now it seemed like he wanted her to look, but she didn’t give him the satisfaction.

“Was it him? Was it him who told you to keep tabs on me?” he mouthed with a twinge of frustration.

The girl felt her body go hot with rage, and she made no effort of concealing the bitterness in her sour toned reply.

“Bold of you to assume anyone would care enough to ask me to keep tabs on you, don’t you reckon?”

His eyes were on her again. This time they were upset. She didn’t care.

“And anyways,” she pressed on, “are you insinuating that it would’ve worked? That I would be willing to play someone’s puppet to spy on you, and that you, Draco Malfoy, would have let me?”

Draco’s white skin paled further, his lower lip trembling as he prepared his response and leaned close into the bookshelf that separated them. He said his next words slowly, his reply coming slow and sharp like a pointed blade making a clear entrance through flesh, “where am I now?”

Her beating heart went still in her chest, her aggravated demeanor regressing into something softer instantaneously. The implication behind his words sunk into her skin and electrified her blood.

Where am I now?

She just stared at him. The look in his eyes was like one she’d never seen before. It was genuine. Genuine and raw. And pleading, almost.

His words swam fast laps around her mind, making her dizzy. Unable to process whatever emotion it was that had crawled its way from his lips and into her, she rejected it.

The girl slammed her charms book shut abruptly, making heads turn. Draco flinched back in surprise as the girl made her not so discreet march around the shelves and towards him. He moved smoothly in reply, his shoulder lifting from its slump as he stood straight and tall, his white brows knitted against the creases of his forehead. There was a hot fire roaring in her chest and she had no intention of quelling it as she planted her feet firm before him, tilting her chin up so that she could reach the view of those alarmed grey eyes.

“For your information,” she hissed between her teeth, “nobody told me to because I told myself to. I saw something different in you. Me.”

Draco clenched his jaw, hard. So hard she could see its pulse against the lower curvatures of his face. He wore the look of a wounded animal, plus a sort of sneer.

“Why?” he leaned closer, the word like salt on his tongue as he towered over her. “Hm?” his voice inclined in challenge.

They’d never been this close before, and it was terrifying. But the shockwave of about ten different emotions had slapped the girl up and she’d decidedly chosen to ride its high.

“Funny,” she felt her own teeth grind roughly against each other, “I was just asking myself the same thing.”

He was hurt by her words, she knew that much. But rather than show it he simply receded as would be expected, turning instead to rage. His eyes narrowed with distaste as he scoffed and spat his reply with a shake of his head.

“Tell Potter to try again.”

“You’re a fool,” she retorted.

“Am I?” he snapped back. “It’s not me who's got a moron and a mudblood for a best friend is it?”

They weren’t all too discreet now. Eyes from all across the library watched as the two had their less than silent quarrel. The girl, practically alight in flames, stared daggers into Malfoy, who stood smug over her and had sunk his long ring-clad fingers into the emerald green folds of his robe. He gave her a sour smile, the sickly kind of lopsided one that a bully would, and leaned down so that their eyes were level.

“Nothing else to say?” he dared.

That’s when it occurred to her. That’s when she’d noticed. Being as close as they were, Malfoy’s aroma had hit her nostrils hard, and the dark cologne and fresh mint that wafted from his slender frame went first to her lungs, then her brain, then her heart. She knew that smell. She’d recognized it from earlier in the day when it had wafted forth from the amortentia. The realization shocked her into a stillness that made her face drop and pulse pause. How it could be that the boy she loathed beyond measure could have such an effect on her? She was unsure, but it had sent her mind spiralling into all kinds of oblivion.

Draco seemed to notice, his brows lowering just a little, his tone softening ever so slightly, “well?”

Her heart had fired back up, now galloping in her chest as she sucked in a sharp breath and let out a pathetic wordless stutter.

“I- I have to go,” she mumbled, her fingers trembling as she clutched the leather bound charms book tight to her chest.

Draco looked disappointed. Maybe because he cared. Or maybe just because he enjoyed a good fight. Either way, the question was left unanswered as he regained his composure, aligning his shoulder stiffly upright and letting his mouth hang slightly upon in wordless confusion as the girl practically bolted out of sight in a flash of black and gold. He stood there, sitting in the silence as the eyes around him went slowly back to their papers. But he just continued to stand there, even a minute later, and a few minutes after that. Many minutes later, finally, he made his slow and quiet descent out of the library.

. . .

Outside, the girl had flown down corridors and up stairs, her boots chasing the beat of her racing heart. Her smooth hair whipped fast around her eyes, which burned a light crimson and stung her lightly. The events of the last few minutes were playing in her mind like tapes as she went, over and over. And they would continue to do so long into the night. For hours after disappearing up to bed she’d lain on her back and just stared holes into the high ceilings while she thought. It had reached the early hours of the morning when she’d decided; if Draco Malfoy wanted to be taken down so badly, maybe she would be the one to do it after all.

[bookishofalder]

hi! i just recently found ur account and love it💞💞 can i request adam driver x reader and they are dating. reader is a bit younger and he gets jealous over one of her guy friends bc he thinks she deserves someone younger than him. & it ends super fluffy :)

@avengxrs423​

Yay, my first request! Thank you so much for the kind words. This was fun to write, I hope you enjoy!

Doubts

Pairing- Adam Driver X FemReader

Summary: Adam has always been aware of the age gap he has with his fiance. He tries to move past it, but a chance meeting with your famous old friend brings the worry crashing back.

Warnings: Language, insecurity, mild smut, paparazzi. WC-2,700

“Mr. Driver, over here! Miss (Y/L/N), this way!” Adam followed you out of the car, thanking the driver, his eyes on you as the crowd of reporters and paparazzi lined either side of the walkway into the restaurant. It was always these sorts of outings, where the press knew he’d be in attendance to a new hot spot, that made him nervous. Wary of how easily you could be accosted, even injured. He was nothing if not protective of you.

Standing closely next to you, Adam places his hand on your lower back, joining you in smiling around for the cameras as you slowly moved forward. His security team had the doors open ahead of you, mere steps away.

“Have you set a date for the wedding yet?”

“Let’s see the ring again, Miss. (Y/L/N)!”

“Mr. Driver, what do you have to say to fans who find the age gap between you to be too much?”

Adam worked actively not to react to the last question, his body tensing. When he looked down at you, he found you were already watching him, the glamorous smile still dazzling everyone, but he read the caution in your eyes. When you were both through the doors and they shut behind you, he began to breathe a little more freely, casting the reporter's rude question out of his mind.

He was taking you on a date and wanted to make sure the evening was special. His publicist had set it up, as this new restaurant was the current ‘place to be and be seen’ in New York City. While Adam could care less, he knew fans everywhere were chomping at the bit to see more of him and you together, in New York especially.

The makeup artist who won the movie star’s heart. It was a major headline when you first started dating publicly, which made you both laugh as Adam had to work to convince you he was interested, in the beginning. Newly engaged now, Adam could see the romance of it, could understand why fans enjoyed the story. But he hated, absolutely despised, how every damn article made sure to mention, directly or not, the age gap between the two of you.

He had had no intention of falling in love with anyone he worked with, he hadn’t been actively seeking-but you had shown up one day one and after one brief conversation, he was smitten. His feelings only grew over the two years you worked together, but he had hesitated greatly in acting on them, solely because you were 10 years younger than him.

When you finally got together, he felt like the luckiest man, that you would love him back, age be damned. You were cautious at first, eventually believing he genuinely wanted to be with you, not just have a fling. He had waited four months into the relationship to make it public (which was no easy feat, but you were supportive through all of it), and of course, the articles started on pointing it out straight away, some going as far as to point out where you were when he was enlisted in the Marines, or graduating Juilliard.

You told him it didn’t matter, repeatedly. And never got mad at him for fixating when a particularly brutal article was released. He had felt guilty many times that you had to comfort and reassure him so consistently, yet it made him love you even harder. And life went on, happily, your relationship solid.

When news broke that he had proposed, the articles started up with renewed fervour. He had been trying to hide from you just how much this upset him, how the doubt was creeping back into his mind...

Tonight was meant to be a sophisticated, romantic evening that served the double purpose of getting Adam press coverage before heading back to L.A. As you were shown to your table by the excited owner, Adam watched you chatting away with her, complimenting their design and success. You wore a beautiful hunter green dress made of satin, it fell to just above your knees and complimented your glowing skin perfectly. He was enraptured by you, whether your wore sweatpants, a dress-and especially when you wore nothing. Green was his favourite colour on you.

At the table reserved for the two of you, Adam helped you take your seat, his hand brushing gently against your hair, before taking his own. Annie and the waiter who had appeared handed you the course descriptions, before asking if you had any dietary needs. “Thank you so much, Annie-honestly just tell the chef we’re game for anything!” You said, grinning. Annie winked before setting off to the kitchen.

Adam nodded politely at the waiter, who took their drink orders, before sweeping away, finally giving him time to study you. “How do you like it?” He gestured around them, at the dark lit, moody and stylish venue. It was busy, filled mainly with notable celebrities, though he hadn’t seen anyone he’d met before. He hoped you liked it, not being one for going out to fancy dinners-you were a homebody, preferring to curl up with a good book.

“Adam, this is great! We haven’t been to a dinner like this in forever, and did you hear what Annie said?” You gushed, beaming, and Adam felt his worries washing away, “13 courses! 13! You’re going to have to carry me out of here, babe.”

“I’m fine with that,” He replied, enjoying the flush that spread across your cheeks. “But let’s be honest, you’re going to end up giving me half your food, pretty girl, you always do.”

You pouted, “I’m making a renewed effort tonight, just wait.”

Adam laughed, and the two of you settled in, the conversation flowing as you discussed the upcoming film Adam was starring in, of which you were working as his artist. The food was, as expected, incredible. Adam loved how you took a photo of each plate, even though neither of you had social media accounts. You still took photos of all the food you ate, just for the fun of it, or as you told him ‘simply to document our adventures!’.

It was around the ninth course that the evening took a turn.

A commotion at the doors captured the attention of some of the patrons. Adam glanced up, but from where your table was, he couldn’t see much. The paparazzi outside were shouting too loudly to decipher what they were saying, so it wasn’t until Adam saw your friend walk in, his brother and friend in tow, that he knew his mood was about to shift.

Tom Holland was one of the first celebrities you had worked with when you started working in L.A. And he’d always kept in touch, even when his own fame skyrocketed and before you were public with Adam. And actually, Adam did like the kid-he was beyond well mannered and genuine, and from the stories you had told, a very considerate friend. Tom’s glowing recommendation of your work was part of the reason Disney had hired you on for the Star Wars films, which was how Adam had met you.

Really, Adam had no reason not to love Tom Holland and be happy to see him arrive with his brother Harry and friend Harrison. It was just the minor, ridiculous concern Adam had that, being close in age, you and Tom were more much suited for one another. A concern that had poisoned his mind for your entire relationship.

Seeing his eyes over your shoulder, you turned to look where Adam had been and exclaimed in delight when you saw your friend. Adam quickly arranged his features to match yours, nerves shooting through him. Tom spotted you when you stood, in all your dazzling beauty, and grinned before making a beeline towards your table. The owner, Annie, had been leading the men to a nearby table and stood back politely while you all greeted one another.

“(Y/N), love! How are you?” Tom gave you a hug, “And Adam, good to see you mate!” Adam took his offered hand, giving a quick handshake. (Y/N) hugged the other two, chatting amicably.

“Good to see you, Tom-hi Harry, Harrison,” Adam greeted the other two before placing his hand on your lower back. Inwardly, he felt more stable in doing this, but he worried it would look possessive. If you thought so, you made no objection, stepping a little closer to his side while you beamed at your friends.

“I didn’t realize you’d be in New York this week, Tom!” You said, smacking his arm playfully.

Tom held his hands up as if in surrender, “It was completely last minute, just stopping off for two days before we head to L.A.” He glanced between the two of you, “I nearly forgot-congratulations again on the engagement! This is the first time I’ve seen you both in person since!”

Adam smiled, “We really appreciated the gift you sent, Tom-that was too kind.” And it had been quite the gift, in addition to a beautiful and extravagant flower arrangement, Tom had made a personal donation to Adam’s charity, Arts in the Armed Forces, and shared the charity on his social media. They’d had an influx of new donations from his fans and followers.

“Arts in the Armed Forces is incredibly important to Adam and me, Tom-you really knocked that gift out of the park.” (Y/N) agreed, her arm snaking around Adam’s waist with affection.

Tom waved off their thanks good-naturedly, “Well, we’re going to leave you to what looks very delicious-Annie, I’ll have what Adam and (Y/N) are having!” Tom grinned briefly at the owner, “And we’re still on for lunch when you both come to L.A. Next week, yeah?”

After assuring Tom they’d see him soon and bidding their farewells, Adam and you sat back down, diving back into your food. You chatted happily about bumping into Tom, which quickly transitioned into excitement for returning to L.A., as the cold of January in New York City was getting a little old for you both. You loved it here, were all too happy to call it home when your relationship escalated and Adam asked you to live with him. And though you both spent a lot of time away from your New York brownstone, it was always going to be home.

Adam worked to enjoy the rest of the evening, but he’d rather lost his appetite, the food tasteless on his tongue. Because seeing Tom had brought the wave of insecurity crashing back down on Adam, that you were too good for him, too young, that you deserved someone better, to be with someone who smiled more easily and with whom you shared more in common with. He knew you loved him, but his brain kept asking-did you realize what you could have if you broke up?

When you climbed into the car after dinner, having said warm goodbyes to Tom and his party and touring the kitchen with Annie to thank the chef and his team, Adam’s smile dropped. He sat back in his seat, confirming with the driver that he could take them home, before dropping his head against the headrest and closing the divider between the front and back seats.

“Adam?” Your voice cut through the silence after only a few moments, concern evident in your tone.

Adam glanced down at you next to him, softening when he looked into your wide eyes, “Sorry, sweetheart, what’s up?”

You frowned, turning in your seat to face him more directly, “I want you to tell me what’s up, you’ve been in a funny mood half the night-you okay?”

“I’m alright, just tired-that was a lot of food over a long time.” He shrugged, looking away. For a moment, he thought you were going to leave it at that, but he should have known better; one of the reasons he adored you was your commitment to being the most stubborn person in the room. In an instant, you undid your seatbelt and slid from your seat, carefully climbing over him so that you could straddle his lap, all of his attention now on you.

Adam’s hands went to your hips instinctively to hold you steady, as you glared at him, “Babe, I know you’re not saying it, and I don’t want you to feel forced here, but I thought we’d talked about this.” The car hit a minor bump and you sank into his lap, nearly bumping heads, from the force.

He gripped your hips tighter, “We did, I just...I can’t help it, I feel like-like I’m holding you back.” He murmured with his eyes on your stomach, shame flooding through him.

You sighed, not without affection, “Holding me back from what, exactly? You are my everything, Adam, and without you...I can’t even begin to imagine my life without you.”

You slid your hands from his chest to his neck, where they rested gently, thumbs brushing across the lower half of his jaw. Adam closed his eyes briefly, “But if you did imagine it, properly, you might see that someone like Tom-I mean, he’s your age, goes to more parties and events, you’d have more fun-“

Your mouth was on his, cutting off Adam’s words, his mind going blank. The feel of you against him, your lips on his, was more than enough to render him speechless. After a moment, you pulled back, your cheeks flushed and expression serious, “I understand that sometimes, we notice the age gap a little more because the press thinks it’s interesting, but Adam, I need you to understand. I need you to see just how much I do not care about any of that, what they say or think or even about the actual difference in our ages! I never think about it, because it has no effect whatsoever on how fucking madly in love with you I am.” (Y/N) cupped his face in her hands, holding his gaze.

“I-I love you too, so much, pretty girl,” He sighed, his emotions raw, “I just want the best for you, always.”

“You are the best for me, which is why I said yes to marrying you when you got down on one knee, in our apartment, wearing nothing but those ridiculous shorts. It’s why I’d say yes, again and again, Adam. Do you think I like going to parties? That I don’t have fun with you?” Your voice raised slightly in exasperation, while Adam stared at you in wonder; you’d never been so passionate about this before-despite having had the conversation many times, “I have an adventure every single day with you, I love everything about our lives together, and honestly, babe...” Your voice lowered considerably, a soft breathy croon now, “I can’t picture a guy like Tom treating me how you do, knowing exactly what I need from a man, always taking such good care of me.”

She punctuated these words by grinding against him, her eyes darkening in arousal. Adam groaned at the sensation, “Pretty girl, you’re too good for me.”

(Y/N) smiled at Adam, “No, I’m just right for you and you’re just right for me.”

“Damn it, I love you!” He gasped, before sliding one hand from your hip to the back of your neck and pulling you close, his lips on yours before you could reply. You let out a small whimper, melting into him. Your arms circled around his neck, and Adam could feel the intent in your body, the overwhelming need to send him the message that he was yours, and you-you were his.

“I love you, Adam, forever.” You sighed against his lips, deepening the kiss further.

All thoughts that weren’t of (Y/N) kissing him in the back of their town car, soared from Adam’s mind. His new focus on getting you home, so that he could show you just how much he appreciated your patience and understanding. And as you shivered from his touch, his name on your lips, you successfully and unknowingly convinced Adam his doubts were unwarranted, that you loved him endlessly, as he loved you.

[recurring-polynya]

Your thoughts and headcannons on Nemuri Hachigou because I don't think she gets talked about enough, when in reality she's pretty interesting, she's essentially, a blank slate, Mayuri's second chance that I don't think he feels like he deserves. She's Nemu but she isn't and I think people(especially Mayuri) forget that a lot, that's a fascinating position to be in.

Puttin’ this under a cut because I’m gonna say some unkind things about Mayuri and I do not want to cause any distress to the many lovely people on this website who delight in his horrible antics.

This is not so much a headcanon so much as a thing I came up with for fanfiction purposes, but it’s all I got.

Right. So, like I said, I despise Mayuri. I just hate him. I understand that he appeals to some people, but I strongly dislike the dude and go to exorbitant lengths to avoid him ever appearing in my fanfic.

Additionally, I do not vibe with Nemu 7. She registers as not-a-person for me, she’s basically an extension of Mayuri himself. Don’t get me wrong, I find Mayuri’s treatment of her to be vile and I wish someone would take her away from him, but she comes off as very robotic to me. She is conscious, but she is not an independent being, if that makes sense. She is not a real girl. It’s funny that Mayuri keeps talking about how advanced she is, because clearly he means only her cognitive and fighting abilities. In terms of recreating a person, she’s incredibly primitive compared to the other mod souls we see. Take Kon, for example, who has a fairly limited powerset, but is never presented as less of a soul than any of the other characters. An even more interesting example is Ururu and Jinta. Ururu is described as being older than Jinta, and she is clearly “less human” than him-- she has less affect, she shifts into a distinct “attack” mode, etc, which implies that Jinta represents advances in mod soul technology. It’s notable that Urahara and Tessai and even Renji, in the canon scene where he protects the Shouten kids, never treats them as anything less than people. The contrast with the way Mayuri treats Nemu is stark. He likes that her feelings and personality are limited, he sees this as a feature.

I was completely unmoved by the entire chapter where Nemu died. Her sacrifice did not come across to me as anything indicating growth or humanity-- in every battle she's ever been in, she nearly dies because Kurotsuchi tells her to. She simply prioritizes Mayuri over herself. She always has. It’s simply the logical extension of her programming. A lot of people say they would have preferred Nemu to live and Mayuri to die and for sure I would have *preferred* that, but I have never seen Nemu as enough of a character to be worth rooting for. Like, at least Uryuu would have gotten some satisfaction form killing his clown ass, and that might have convinced me for at least half a second that he actually was on the side of the Quincy.

Caveat: if some talented fanficcer wants to write a short novel on Nemu discovering her humanity etc etc, I’m all for it, I’m just saying that canon hasn’t given us anything to suggest she would do more than just shut down without Mayuri to tell her what to do.

Onto Nemuri 8. I can’t believe they let Mayuri have another one. It makes my blood boil. The dude is an on-screen abuser and Kubo had the gall to try to make me feel sorry feel him (I did not) and then gave him another one.

So, I took her away from him.

I mentioned earlier that I go to great lengths to keep Mayuri the hell out of my fanfic, and usually the way I do that is to have my characters go through Akon whenever they have to deal with Squad 12. I think I started doing this because Akon is sort of weirdly familiar with Renji and Rukia in the TYBW, but I have projected all over him and he’s mine now. The way I assume Squad 12 functions, based on my career in scientific programming, is that Mayuri is like a primary investigator-- he's the Big Ideas guy and he spends a lot of time doing wholly self-directed research. He’s the face of Squad 12, so he has to go talk to the Captain-Commander and beg for money and defend blowing things up, but when it comes to science stuff, he does what he wants. Nemu is the lieutenant, and I think she handles most of the usual lieutenanting-- paperwork, meetings, etc., but I think Mayuri takes up a lot of her time by using her as a personal lab assistant on his wacky projects. There's nothing wrong with this, but I think in a lot of squads, the lieutenant is responsible for the day-to-day running of the squad and spends a lot of time dealing with their subordinates and other lieutenants. Nemu, instead, focuses on her captain. Now, the rest of the Gotei counts on Squad 12 for a lot actually-- gigai, Hollow tracking, Dangai monitoring, etc. etc. From the point of view of most science people, this stuff is mundane-- it’s all application, not development, and all the difficulty is in the twitchy little details. It’s frustrating and it’s unrewarding and you never get credit for it, and it is vitally important. There is a certain kind of science professional that makes a career out of this. They usually have master's degrees instead of PhDs, and they are usually tragically underpaid and underappreciated for what they do. In the real world, without these people, you wouldn’t have mass vaccination sites or weather data on your phone or cute li’l robots landing on other planets. In Bleach, these are the people keeping soul reapers alive in the field. And in my mind, this is Akon’s department.

So here’s the headcanon:

After Nemu’s death, Mayuri has so much sad clown pain about it that he wants another robot child poste-haste, but can’t bring himself to do the actual work, so he shoves it off onto Akon, with a list of the design specs he wants. The last one was pretty good, Akon can handle a few minor upgrades, it doesn’t need his personal hand in it. Thinking about going through all that work again just pisses him off, honestly. What a waste!

And Akon's like, yeah, cool, fine. It was heavily implied that he did a lot of the work on Nemu 7, it's just a matter of digging out his old notes and cleaning out some vats.

Except that, right around the same time, Rukia and Renji decide to have a baby.

Babies are super rare in the Gotei, and it’s not like those stuffy nobles are gonna let Akon look at their precious offspring. But Rukia is a rank weirdo, and Akon is their pal, so she’s always like “I hear they have these things in the Living World where you can pee on a stick and tell if you’re pregnant, can you make me one?” and Akon’s brain goes, “Wow, what even is the first detectable sign of a newly formed soul, this is very interesting.” So, at the same time he’s trying to grow a new and improved Nemu, he’s got access to the developing fetus of two captain-class shinigami. So when he has to pick between eight good candidate embryos to move to the next vat, he picks… not the one with the strongest reiatsu signature, like they did last time, but the one whose reiatsu looks the most like a real baby.

Akon reminds me of a lot of programmers I know, so I always sort of headcanon him as particularly interested in whatever passes for programming in Squad 12, and I think he takes special interest in revamping Nemu’s artificial intelligence system, which is primarily based on taking in information about the world and building up a realistic personality based on people she observes. In particular, it gives extra weight to “people who resemble her”. Nemu 7 was raised by Squad 12, so she came up very Squad 12, just like Mayuri wanted. Unfortunately, toddler Hachigou Nemuri’s algorithm unexpectedly decides that she has much more in common with toddler Abarai Ichika than any of the adult soul reapers around her.

Nemuri 8 is a very successful sample in terms of power and intelligence but she’s also very boisterous, and the rest of Squad 12 is like “Akon do something” so Akon takes drastic measures: he asks Renji for parenting advice. Distressingly, Renji is full of useful ideas like “tire her out” and “only fight the important battles” and “we’re signed up for baby yoga, you wanna start comin’ to baby yoga? Your back is gonna thank you.”

Akon didn't mean to let them hang out so much, but Ichika is a very useful data point and also if he takes Nemuri over to the Abarai house, the girls will entertain themselves (i.e. chew on each other) long enough for him to have a beer with Renji and Rukia and honestly my man really needs that beer.

I don’t think Akon thinks of himself as Nemu’s dad past the first time when she calls him ‘Daddy’ and he corrects her (she only did it because that’s what Ichika calls Renji, very predictable quirk of her programming). She’s just a work project. She’s not even his project, she’s Mayuri’s project, he’s just handling the little details. Fathering just happens to be an adjacent field of study that he’s found to contain a number of very useful best practices.

I would prefer not to get into the detail of the physical abuse that Mayuri uses against Nemu 7, but I would like to think that Akon finds ways to protect Nemuri 8 from the same, or barring that, maybe this is what finally drives Akon to murder Kurotsuchi and become Squad 12 captain himself.

Other Nemuri Headcanons:

Her favorite book is Rejection of the Twin Fishes!, Captain Ukitake’s posthumously published children’s book.

She prefers to be called “Nemuri” over “Nemu.”

Nemuri’s second favorite person in Squad 12 after Akon is Rin, because he always has candy. Rin actually likes having someone to share his hobby with and helps her make a World of the Living Snack Bucket List. When other shinigami come in for gigai, Nemuri constantly tries to con them into bringing something back for her.

Rukia teaches her to cuss, but tells her never to do it around Akon. Nemuri never actually cusses around anyone, but really enjoys having Forbidden Knowledge.

Speaking of Forbidden, she is mildly obsessed with Urahara, even though she’s never met him. She’s constantly on the lookout for thumbprints of his work in modern Squad 12 technology.

The one thing she does have in common with Mayuri is an absolutely batshit personal aesthetic. She starts painting her face as a tween and is somewhat inconveniently both into piercings and inflatable outfits.

The true proof that she has surpassed her predecessor, at least in terms of humanity, is that she is able to learn the name of her zanpakutou.

Oh, if you want to read any of my fanfics with Nemuri, here's one where she and Ichika play football and here's one where she tries to con Byakuya into buying her shaved ice. I really like writing Nemuri hanging out with Byakuya because I think an adult man who navigates social settings via rigid system of etiquette and class hierarchy and a small child with a pile of Markov chains for a brain would be natural friends.

[popculturebuffet]

Static Shock: Shock to the System and Aftershock Review

“You know what? 13 years ago, me and some friends sat in a restaurant all night and daydreamed about the kinds of stories we would tell if we had the chance. We wanted to expand the concept of superhero to include characters that kind of looked like us, who had some of the same background, experiences and dreams as we did. We wanted to create something fun that a new generation would respond to the same way we responded to our childhood heroes -and damn if we didn't succeed beyond my wildest dreams. Today, Static Shock is a household name with millions of fans of all ages (Is there stuff I'd do differently? Yeah, almost all of season four but why nitpick?) Static is the most successful thing I've ever helped create and I'm both proud and gratified that people have taken it into their hearts. “ 

Dwayne McDuffie, Co-Creator of Static and Writer for Static Shock

This review is dedicated to Dwayne McDuffie and Robert L. Washington III.                                                        Rest In Power Static Shock is awesome. I grew up with the show watching it both first run on the WB and second run on Cartoon Network and loved it as much as I did other large parts of my childhood courtsey of DC like Batman the Animated Series, Teen Titans and both Justice League Shows. What makes this unique among the DC Properties is that Static wasn’t really a big name when he got a show. He wasn’t even part of the DC Universe. 

See as I had no idea for probably a good decade, Static actually came from Milestone Comics, a company ran by and focused on african americans. The goal was understandable: While black heroes existed at the time, and there were some fantastic ones like Storm, Jim Rhodes and Steel... these guys weren’t the center of their universes. The big faces of the big  companies, Spider-Man, Wolverine, Hulk, Iron Man, Superman, Batman, Wonder Woman, The Flash.. were white. So milestone was a shakeup of that with the main teams and heroes all being black, from Icon, an alien who’d lived among man but rather than end up in kansas like say superman ended up imprinting on a slave woman centuries ago and has been with us since, who was encouraged by an energetic teenager named Rocket to put on a costume and do something with his powers and his community, Hardware, a tech genius who had his work stolen by a white asshole and wanted to fight back and BLood Syndicate, a group of gang members all caught in the “The Big Bang”, a huge fight between all of Dakota, the midwest city where the comics take place, that ended when the police released a bunch of experimental gas that gave them all super powers. 

As most of you who have watched the show already know, this is where Static comes from. Static was the company making their own Spider-Man, i.e. a nerdy teenager who suddenly gets super powers, in this case Virgil Hawkins who at the prodding of a friend took a gun to The Big Bang to get revenge on a bully. .but ultimately couldn’t go through with it, decided it wasn’t him and got rid of the gun and ran.. and still ended up in it, becoming Static, a young hero dedicated to using his powers to fight other “Bang Babies”.. a term that dosen’t really sound that great and they really should’ve thought through. But Phrasing aside the character was great and I look forward to reading more and only haven’t because I have to buy the issues gradually, but DC is currently re-releasing the individual issues of Static, Icon, and Hardware weekly in anticipation of a reboot of Milestone Coming in May digitally on Comixology at only 2 bucks a pop, and rereleased the original print collections that were long out of print for 10 bucks each, though i’m getting static on it’s own since i’ts really not that much less expensive as it only collects four issues while Icon and Hardware both collect 8, so I can wait a bit there on Hardware and already own Icon: A Hero’s Welcome.. and really need to review it at some point. 

While Milestone’s output was good, at least from the two books i’ve read, with Robert Washinton III, who sadly not only ahs also passed but was fucking homeless for a while  in the 2000′s.. what the actual hell, writing Static alongside Dwayne McDuffie, whose later moved onto animation writing tons of Static episodes all of them classics including the school shooting episode, the first three rubberbandman episodes and both Anasazi episodes. Point is it had good writers and artists and even had a distrbution deal with DC, so they had a leg up on the glut of other comic book companies.. but happened to start at the start of the comic book crash, a huge downturn in sales in the 90′s as the speculator boom, i.e. a bunch of people assuming every number one would be worth golden and silver age money, forgetting a character has to BUILD INTREST and this stuff takes time, and whose attempts to sell fast flooded the market with comics no one wanted,, caused the roof to cave in and with a bunch of assholes pegging milestone as a “Company for black people” rather than you know, a company trying to add fucking diversity and represntation to the comics industry, and that simply wanted a unvierse that was centered around people of color instead of white guys. The company eventually had to shut down, and was left to lisencing.  This is where the show comes in. Producers HAD been trying to make shows based on Milestone for a while, as far back as the mid-90s and the company was was all for it but the closest it got was an x-men style team series using various characters whose first draft was terrible and whose second draft by Alan Burnett, a producer on various DC Animated shows who’d go on to produce Static Shock, that McDuffie and others really liked but sadly did not get picked up. eventually though with presistance Static ended up getting a series and as I said McDuffie went on to write for it though he did not develop it. Some changes went into place naturally to make it work for an early 2000′s kids show and while i’ll probably miss so since again, only read one issue as we go. But due to Milestone coming back my intrest was peaking, hence finally reading the copy of Icon I had to buy from the library years ago due to keeping it overdue but am now EXTREMLEY glad I own as i’ts incredibly rare and really damn good, and wanting to read static, doing so lately since it’s finally on digtiial and again not too expensive. So join me as I give you a shock to the system and revisit this hell of a series to see if it holds up.. which just to cut that short it does and i’m only holding off binging MORE because I want the first two eps to be fresh enough in my head to review properly.. and also go over the various voice actors because that’s a thing with me now and charcter co-creator dwayne mcduffie because he’s awesome. 

As I like to do when covering a series first episodes, let’s run down the voice cast. 

First up is an UTTER LEGEND, and I use the term voice acting legend a lot, and mean it every time and have good reason to use it when I say it, and Phil LaMarr is a GOD in the buisness, having done a metric ton of voice acting roles, and being easily the most proflific black voice actor in animation. He’s also done some acting work, mostly in pulp fiction which I have not seen, but his true staying power and talent is in animation so here’s just the roles I feel are most notable or may not be very notable but i’m bringing up anyway because it’s my list. 

His roles besides Virgil include Lester Payton the Texas Ranger who showed up for one very good episode of king of the hill to be badass and show up the hickish, stupid and very punchable local Sheriff, Gearld’s obnoxious older brother Jamie O on Hey Arnold, Hermes Conrad from futurama, Carver from the Weekenders (PUT IT ON PLUS DISNEY), Axel Foley for exactly one bit in Clerks the Animated Series, but anyone whose seen it will know exactly which one, Micheal on the Proud Family, Black Vulcan on Harvey Birdman (In His Pants), Hector Con Carne and Dracula on Grim Adventures of Billy and Mandy and Evil Con Carne, Jack on Samurai Jack something I didn’t know for decades (and I didn’t know about the carver thing till today though i’ts obvious in hindsight), John Motherfucking Stewart on Justice League and later Steel and Adult Static in the Unlimited seasons, Osmosis Jones on Ozzy and Drix, Bolbi Strogofski on Jimmy Neutron (And yes i’m just as shocked as you are.), Wilt on Foster’s Home for Imaginary Friends, Marcus on Life and Times of Juniper Lee, Bull Sharkowski on My Gym Partner is A Monkey and Also a Sociopath Please Help God My Life is a waking nightmare..... okay the rest of that title is implied but we all watched the same show, we all know in our hearts that was the title

Moving on, he was also, and yes there’s MORE: Maxie Zeus on The Batman, Philly Phil on Class of 3000, Both Robertsons AND Fancy Dan on the Spectacular Spider-Man, Jazz on Transformers Animated, Kit Fisto and Bail Organa on Star Wars the Clone Wars, Gambit and Bolivar Trask on Wolverine and the X-Men, Aquaman I, L-Ron and Green Beetle on Young Justice, J.A.R.V.I.S. and Wonder Man (Simon Williams) In Avengers: Earth’s Mightiest Heroes, Gabe and Carny on Kaijudo: Rise of the Duel Masters (Really miss that game and have been snapping up what cards I can get lately), Baxter Stockman in the 2012 Teenage Mutant Ninja Turtles (And there’s also an awesome photo of him with 2003 Baxter... the two best together in one place. I got chills), Dormammu (I’ve come to bargin) in various Marvel Shows, Noville in Mighty Magiswords, Zach’s dad Marcus in Milo Muprhy’s Law, Craig’s Douchey Brother Benard on Craig of the Creek, showing he’s clearly come full circle, And Mr. Scully on the Casagrndes. And given It took about two paragraphs to cover all of this, yeah, I MEANT legend. 

Next we have Kevin Micheal Richardson as Virgil’s Dad Robert, and it’s the first time since I started introducing Voice Actors on a show that i’ve overlapped. I already covered him during the second episode of legend of the three caballeros, but for the short version he’s also very acomplished, very damn good and I somehow missed he played the old blind guy in hey arnold> Needless to say the dude is awesome. 

Virgil’s Sister Sharon is played by Michele Morgan who was in the rap group BWP and did some smaller roles outside of this the one exception being Juicy on the PJ’s, which I have not watched much of but REALLY do not like, though i’ll at least give it credit for being a decently long lasted black claymation sitcom at at time when there were, and hoenstly still aren’t, many black animated shows. 

Back to long casting sheets, next up is Jason Marsden, who is one of my faviorites as i’ve realized recently as Ritchie. As I also found out only recently he started on the Sitcom Step By Step and while that show is .. ehhhhhhhhh, he is great in it because he’s great in everything. He also apparently has his own internet variety show which I have to watch now. His roles include Max Goof, ironically given I was just talking about that role a few days ago, Haku in the english dub of Spirted Away, Micheal, the kid being yelled at by a bunch of 80′s cartoons characters not to take drugs in Cartoon All-Stars to the Rescue!, Nermal in the DTV Garfield movies and The Garfield Show, Tino on the Weekenders (SERIOUSLY DISNEY), Snapper Carr on Justice League, Rikochet on Mucha Lucha! for the last season (Why I do not knkow and while I love the guy he was not the right choice), Felix on Kim Possible, Chase Young on Xiaolin Showdown (WHich I did not realize was him and now I do easily his best role and I REALLY should’ve), Red Star and Billy Numerous on Teen Titans, Speedy on Batman Brave and the Bold, Impulse/Kid Flash II on Young Justice, and Fingers on Kaijudo. He hasn’t done as much lately which is a shame but hopefully i’tll pick up again. 

Next up is Hotstreak, Virgil’s brutal bully turned unhinted pyromancer played by DANIEL COOKSY, another actor i’m happy to talk about and another faviorite I haven’t seen much of lately. Daniel was an actor from childhood, playing Budnick on Salute Your Shorts, but he quickly gained a long and storied catalogue of VA Work: His first big roll was as Montana Max on Tiny Toon Adventures and if there is a god he’ll be back for the reboot, Stoop Kid on Hey Arnold, the incomprable Jack Spicer on Xiaolin Showdown, far and away his best role and part of why Chronicles sucked so bad was he was he didn’t get to reprise the role, The titular Dave the Barbarian, Django of the Dead on El Tigre (Had no idea), Kicks utterly insufferable big Brother Brad on Kick Buttowski and apparently he’s back at it again after laying low for a bit as he’s voicing Snag in Long Gone Gultch.. which I already really needed to watch but hot damn, I missed him. Sign me up. 

Frieda, Virgil’s crush and close friend who in the comics was his main confidante and love intrest but here is eventually pushed aside, is voiced by Danica Mckeller whose work didn’t seem all that familiar.. until I found out she was Ms. Martian on Young Justice. Hello, Megan. Very talented and she did get a major role in a dc show eventually so good for her. Can’t wait for season 4. 

So with our major players out of the way,  let’s talk about Dwayne. McDuffie is an AWESOME man and my respect has grown for him more and more with time. A writer and editor at Marvel, McDuffie has a decent resume doing smaller but awesome books, which I got most of for free last year when Marvel was giving out free digital collections due to the lock down, like Damage Control, a sitcom set in the marvel universe about the company that picks up after superhero battles and the logistics and antics that insue and Dethlok, about a pacfist trapped inside a cyborg zombie. He was as mentioned one of Milestone’s founders, and wrote Icon, Hardware and co-wrote the first few issues of Static. He’d go on to a pretty stacked career in animation, writing on this show and Justice League before becoming  story editor and show runner for Unlimited , even making a return to comics as a result writing the Marvel miniseries beyond and an arc of Fantastic Four in which Black Panther and Storm filled in for Reed and Sue while the two of them worked on their marriage after Reed did.. pretty much everything he did in Civil War. He also became head writer and show runner for Ben 10: Alien Force and Ultimate Alien, revamping the franchise a bit, and Alien Force, at least the first two seasons are awesome and I feel people overreacted on the changes. Ultimate Alien is okay, but has it’s problems but the finale was awesome and left the man’s legacy on a high note.. as he sadly passed in 2011 due to heart complications. He is truly missed and produced some utterly amazing stuff whlie he was alive. So on that melacholy note let’s see what happens when his creation hits the tv screen shall we?

Shock to the System:

This episode is written by Christopher Simmons, who is apparently a huge art designer guy.. but i’m not sure that’s the same chirsptoher simmons. Much more notable is the writer of the episode after this Stan Berkowitz, who was showrunner for season 1 and has done a LOT of DCAU work and is suprising talent, having written a lot of awesome Justice League episodes including Secret Society and The Royal Flush One. Point is we’re in first class hands.  Before the episode itself I want to talk about the intro and how it’s unique among DCAU shows. Like most Western Animation the intros for DCAU shows didn’t change much over the seasons with the most I can see is JLU changing up the footage to preview the current episode and later adding Hawkgirl to the intro after her return to the team. I THINK superman the animated series changed some of it’s footage too, but I can’t confrim it and may of just been imagining it. As i’ve talked about on my blog it’s normally a pet peeve of mine, mostly because shows you know, change after season 1, characters get added some one shot characters used for the intro never return, and after a while it can feel dated especially in more recent shows where the status quo is not at all set in stone and things change quite a bit. But sometimes it can be good enough that either the dated elements don’t matter or general enough that you don’t need to change it and i’ts just that good.. and given Batman the Animated Series has both in spades, you can see why i’ts probably my golden standard for intros and after superman the animated series DC mostly followed suit. But being part of the teen superhero boom of the 2000′s Static is unique in that it splits the diffrence: It’s intro gets the character across perfectly like a good intro should starting with Virgil getting out of bed and running a comb across his head before showing off to his sister to bug her and literally running into his dad who hand shim his bag and smiles, silently showing off his family. He then runs to school and runs into some trouble.. and said trouble changes for each intro, with Rubberband Man for season 1, Kanga (Whose name I only know because I happened to run across it) for season 2 and your guess is as good as mine for seasons 3 and 4, though Hotstreak is a constant. They still save some money for seasons 1 and 2 by recycling some animation.. but that’s alright with mea s it was good animation, and the improtant thing is cycling out old villians for new ones, while Season 3 is the only out and out redo to show off Richie taking on the Gear identity, adding about 10 seconds of intro to let him show off.  Seriously it’s an utterly great intro and like the other DCAU intros outside of superman, stuck in my brain. 

The other change that’s ENTIRELY diffrent from the rest of htem is that the music changes each time. The first two have the same formula just with a difrent vocalist and backing track: a superhero theme but with some hip hop beat boxing over it. The first intro is fine enough, not specattcular but stilll god. The second song.. is eh. Not really great and feels like a marked downgrade from season 1 and just dosen’t blend an ocrehstiral superhero theme with the beatbox elements NEARLY as well. The third song though is my faviorite.. even if I HATED Little Romeo as a  kid because I really did not like his nick show, it’s more a straight up rap song, but it has a faster beat that fits the intro better, and Romeo’s bragging fits Virgil’s character and penchant for Spidey quips perfectly. I also find it ironic that the theme that blends in with the dcau the most, the first season’s, is the one from BEFORE they decided to put it in the same universe. Still this season’s intro slaps, I just like the LIttle Romeo one a bit more.  The opening scene is picture perfect. Some masked crooks looting a warehouse are loading some stolen TV’s into a van when suddenly the lights come on one by one above one of the crooks before his tv switches to various channels before going haywire. Cue our heroes’ entrance. Let’s tak ea good look at him

Static’s Costume is awesome. While I prefer the season 3 redesign, and clearly DC agrees as the redeisgn was used for both pre and post new-52 when they used him, and while he’s getting a fresh design for the reboot, said design takes a lot of cures from said outfit. As for how the outfit differs from the comics itself  this is the design he had in the comics

It didn’t change much from the first issue, with the exception of his now iconic big puffy jacket which was added pretty early into the character’s history but I was unaware of that and just assumed he had the bodysuit the whole time. The more you know. But as you can see outside of the cool puffy jacket over a costume the two couldn’t be more diffrent. While the Dakotaverse outfit is more a standard superhero outfit, with some regular clothes touches on top the first cartoon outfit comes off more realistic, looking fantastic, but still coming off as something two teenagers could realistically have thrown together with what clothes they could buy, while still looking awesomely superheroy. IN short it’s perfect and only topped by the season 3 onward look...

But the slicker look, with an even cooler jakcet and the new colors all fitting the lighting ascetic better, but fits: not only has Virgil come along farther since he started, but with Richie now having a genius brain as Gear, he can provide a far slicker, far more professional superhero outfit on the budget the two have.  This show is just great  at costume design. 

So getting back to the episode at hand, Static puts up a huge sign in elecrticy saying “Bad guys here”, PFFFT, and then hides away and narrates that a few days ago he’d be the last person anyone would’ve expected to be a hero. Cue Flashback. 

We meet Virgil Hawkins on an average day: rapping into his razor, getting into a petty argument with his older sister Sharon, as a younger brother myself I relate to this, and talking to his dad who tries to get them to cut that out. We find out his mom has passed via his sister making really terrible eggs and saying that’s how mom made them. Exposition! Though we do get a great bit through this as when his sister gets distracted by her boyfriend calling, he uses the opportunity of her leaving the room to dump the eggs.. after having earlier jokingly prayed to his mom for a way out of breakfast. “Thanks for looking out for me mom” That’s both very sweet and very hilarious. 

This is a change from the comics it turns out as I was utterly flored to find Virgil’s mom alive and well when reading the first issue of Static. Turns out this was a change made during development and one Dwane McDuffie admitted in the interview I got the tribute quote from to not liking as he had a good reason for having Virgil have a nuclear family, as most black families in media at the time were just one single parent and a kid or two with the other having either left or died. He wasn’t too bothered by it as while he preferred what he came up with in the first place, the show DID get some really good stories out of her being gone and didn’t just have her be absent because shut up. Virgil is still working over her death and the way HOW she died ends up playing an important role in this episode and gives Virgil a dislike of guns, as she died to gang violence. So the change wasn’t for stupid or racist reasons, but likely both to keep the character count down while giving them something to work with for storylines. Or it could’ve been for stupid reasons and the writers simpily made lemonade out of that very dumb lemon, either way it ended up working.  Virgil also plans to ask his friend Frieda out. Frieda was a bigger deal in the comics, being Virgil’s friend and confidante as well as his ocasional love intrest, but here while she was inteded to at least be his love intrest here, that sorta fizzled out. As for the best friend role we meet her replacement in Richie, which McDuffie conceded was the kind of change a studio would make swapping out a female character for a male one. That being said the crew made the best of it and Richie is awesome, a bit of an overcompensating dipstick at times, but a good sounding board and pal for virgil and funny as hell too. He was also gay, something only revealed post series by McDuffie.. but unlike say Dumbledore, it’s a bit easier to swallow here: The early 2000′s were an even worse time for gay characters in tv let alone cartoons, and if they couldn’t kiss or have sex scenes on regular tv, there was no way we were getting any representation in a children’s show. So it was largely just hinted at by Richie overcompensating in how “into girls” he was and i’m once again fine with this being word of god as it was literally the best they could do and his counterpart in the comics was also gay, if not as relevant.  Ritch encourages Virgil to work on his opening to ask her out as it’s awkward as heck, hits a bit close to home.. but I do appricate the show just .. having him try and ask her out from the first episode. They likely would’ve drug thigns out a bit granted had they used Frieda more, i’m not blind to the convetions of the time. .but as someone who got the very wrong idea from tv that just waiting around meant a girl would like you eventually, when no you need to actually try even if rejection happens, I honestly wish we had more of this in media than the other garbage morals at the time. 

So he prepares to , not helped by her mentioning guy after guy is asking her out.... but before he can F-Stop, the future hotstreak, shows up.  F-STOP

That being said...... it’s not as bad as the original gangster name for the comic’s version, Biz Money B. Yes BIZ MONEY B

So yeah while F-Stop is no more intimidating, it at least means I can stop laughing. Francis, because I can’t type F-Stop without laughing and this review is already behind, shoves Virgil out of the way and agressively hits on Frieda, even saying “you smell good”, the international sign your a douchebag and also to call the police. Virgil steps up to the guy and gets PAINFULLY slammed into the lockers, something I give the animation team a lot of credit for, as you can FEEL how fucking painful that was. Virgil is saved by Wade, another local gangbanger who in the comics was a close friend of Virgils but here saves him seemingly just because.. seemingly. 

On the way home though Virg’s problems don’t end as naturally, the giant sized asshole with nothing better to do has his goons corner virgil before VIOLENTLY beating him.. off screen but the noises, and the clear brusies including a black eye, on virgil afterwords.. just holy damn i’m suprsied they got away with this but it shows just how horrifing it was and that this is a step above regular bullying, which make no mistake is absoluttley terrible and the series would later do an episode on it and school shootings, into straight up gang violence. Wade shows up again and gets the bastards to flee.. but also makes it clear he can’t keep doing this.. and forces Virgil to meet him at his base under the bridge. And it’s a tense sequence, with Virgil KNOWING this is a bad idea but having no real choice and Wade making it abundantly clear that he wants Virgil to join his crew, and makes a chilling point: while Virgils dad RIGHTFULLY dosen’t want his son to join a gang as Virgil points out.. he can’t be there for him all the time and eventually one of those times, Francis will be around. And he may not surivive that. Virgil nods noncomittaly.  At home it gets even more grim as he dosen’t open up to his family, understandably as his dad would jsut say to call the police and well.. we’ve seen how the police treat black people. At best they’d just try and use Virgil as an informant and that likely wouldn’t end fucking well for Virgil. Ritchie points out he can’t join a gang, virgil’s mom died that way.. see told you it’d be important to the plot.. but I like how the story dosen’t offer an easy answer.. well okay he gets electric powers soon enough but without the fantastic element this is just an innocent kid caught between either joining the very thing his mom hated or hoping a system not built to protect him will keep him alive. It’s utterly saddening and chilling and holy shit is it amazing a cartoon in the early 2000′s was able to get away with.. ANY OF THIS, and they handle it great, paired down a bit from the comics but even then it’s still incredibly balsy they got THIS much in. 

Naturally Wade calls in his favor and our hero is forced to come running.. and soon finds out Wade’s brought him in for a massive gang war. Welcome to the big bang, baby. He hands Virgil a gun as things get started and Virgil.. drops the thing and tries to escape, in a harrowing sequence.. and runs into Francis because god apparently REALLY hates this kid today. As if to prove that the police show up and while that prevents a beating, they demand they disassemble. then release untested gas on them because of course they do. 

As a result the big bang truly begins, with the various gang members getting mutated.. and naturally so does virgil. Though he wakes up the next day seemingly fine. How’d he get home? Does his dad know where he was?

I don’t know and we’re not getting any answers, but Virgil soon finds weird stuff happening like his clock shorting out, change being attracted to him and his razor going wild. It’s only once he get sback to his room he gets an inkling of what’s going on and calls Ritchie to meet him at the Junk yard.. though it is a bit of a dick move as he dosen’t you know, tell him anything about Wade or Francis right away. He does at the yard though.. and that he has powers, having finally figured out how to use them to a point. And the series does provide a decent justification later as to why he’d get this so quickly: Virgil is a smart kid, gets great grades at school and apparnetly there’s even an episode later where he gets a scholarship to a fancy genius school. So him getting how elctromagntisim works or being a quick study on it makes perfect sense. 

Richie suggest the obvious.. to become a superhero. And the thought.. hadn’t occured to Virgil. It’s honestly a nice twist on the old trope. That he hadn’t thought of it, not because he’s selfish or any of that or needs to learn a hard lesson, those have been done.. simply because the rush of getting his powers, and implicitly of having a way out of his current predciament, a way to keep Francis off his back and keep Wade from pulling him in further. His own path. But once i’ts brought up.. he jumps on it. Part of it is being a nerd like you or I, of course he wants to.. and being a good intetioned one, he knows this is the right thing to do. It’s waht makes a superhero a hero: Anyone can get powers in a universe like this, esepcailly the dcau, but it takes true courage and heart to use them selflessly and knowing you’ll be in danger. It’s why I love surperheroes: they often didn’t ask for this but they do it anyway because somebody’s gotta. We also get an intresting wrinkle is superman is, at least I think in this episode I could’ve missed it or misremembered things, mentioned as a fictional character. That’s because originally like the comics this wasn’t part of the DCAU.. but eventually the crew decided it shared staff from it, shared a network, both first run and on reruns, why not just make it part of the DCAU proper. I fully support this decisionf: While i’m midly annoyed unlimited never really used anything from static shock outside of Static himself in the time travel episode, despite you know Static and Gear having BEEN to the tower and not being much younger than Kara and defintely older than Courtney, I chalk it up to weird rights issues or something like that. But having Batman, Batman Beyond, Superman, Green Lantern and the Justice League itself all guest star was a good idea, and expanded both static’s universe and gave the DCAU something differnt as most heroes in it were older and more experinced in contrast to the up and coming virgil. Again really would’ve been nice if he and gear could’ve been a part of the expanded league but production might of just been too far ahead or, given he had his own series, they might just have wanted to stick to toher characters. Also begs the question why Icon or Hardware wasn’t adapted for the expanded League but hey, questions for later and the tricky logisitics of the milestone rights might’ve been the issue. I don’t know I wasn’t in the room. 

So we get a costume montage, including Black Vulcan from Superfriends, who again ironically would be voiced by Lamarr not too long after this, though weirdly they DON’T use his outfit from the comics for this montage. I mean why not? It fits the gag and would’ve been a good second to last choice.But what could’ve been aside we get our winner and cut back to present day...

Thanks boys. Static finds out one of the things in the warehouse is a shipment of computers for the school and can’t help but show off, showing up to the school, where Frieda and Richie are setting up for the dance, and dropping off the computers, and even saying his catchphrase for the first time “I’ll put a shock to your system” (Which Richie chimes in with awesome line and I agree, great catcphrase), before helping set up and flirting with frieda. 

Though as Richtie says he’s a natural. He’s not wrong as he can work a crowd. .but back it up too as his first run out had him easily taking out the crooks, and as many teen superheros and fans of heroes of hte type, myself included will tell you, getting it right in one is not easy. Not even Miles MOrales was immune. All Static needs now is a villian. 

And the end of the episode provides one as we see, in horrifc and once again damn suprising detail most of hte new metas aren’t doing so good and are melting and other stuff and we catch up with Francis whose burning up.. and naturally given that hair, though given he named himself F-Stop it’s the least of his problems, he’s got fire powers and escapes to “Have me some fun”

So with that we end episode 1. And it’s excellent, a great way to introduce the hero and while the warehouse opening is a bit superflous, it is a decent addition, showing our heroes first outing in costume and giving us a bit of an action scene to get us through the very heavy rest of the episode. But the rest of the episode is no less grippping, telling the tale of a teen caught in an unwinnable scenario who suddenly finds a way out. And speaking of which waht of Wade? Will we see him again? Is he perhaps Ebon, the series big bad as I thought when I was a kid? What comes of the man who directly caused static’s origin?

Yeahhh that’s the one mistep I think the pilot makes. Frieda is understandable as that was likely a simple change in creative direction. This though? Why build this guy up if your not going to bring him back. I mean where he went was probably the grave, as he probably did due to his mutation, but it’s still VERY weird to spend a whole episode focusing on this guy, building him up as a big personal threat to our hero.. and NOT have him become the series big bad. And maybe he WAS supposed to be ebon and they just changed their mind. I don’t know but it bothers me it bothers me a lot. Otherwise though flawless. ONe more to go. 

Aftershock: We open outside an electronics store, as our heroes watch the news reacap what happened in the first episode, with the media dubbing it the Big Bang and revealing their could be hundreds of “Metahumans”, as Virgil dubs after deciding the media’s term “Mutant” dosen’t fit, a nice wink to the fact that that’s the term used in dc comics and I believe milestone but could be wrong there. Me I like the term, has a nice ring to it. 

At the store while Richie mulls over waht this means Static finds out he’s a human CD player.... this was before mp3 players and streaming on your phone made them horribly obsolete mind you and if you don’t know what one is congradualtions you live in some sort of bubble and you made me feel really old junior. 

Frieda happens to be there and Virgil quips “What’s the matter they run out of britney cds”. Dude she’s not bad. Also be careful what you wish for man. Nickeback returned the year after this. You have not truly suffered through bad music yet my young friend. They spot a kid looking feverish, and he soon turns into a purple werewolf, as you do. It’s a bang baby.. those are richie’s exact word and you may not want to start a panic there bud. Just saying your best friend is one. THeir not all like this. Our heroes book it only to run into Francis who naturally refuses to let them leave and only doesn’t try to beat up Virgil because Virgil points otu the werewolf and nonplussed, he goes to fight it, scarring it off by revealing his own powers. He’s now dubbed himself Hotstreak which points for getting an actually good name kid. No points for what happens next as unsuprisingly getting powers did NOT mak ehim a better person and he attacks Virgil who blocks with a garbage can lid and thankfully is blasted into an ally. Richie tries to guard frieda for damn obvious reasons but gets hsi shirt burnt up because shut up Thankfully Static shows up, and we get our firsdt full on superhuman fight as both fight each other with aplomb, and it’s a damn good fight.. and one that goes pear shaped for Virg as he’s caught off guard when he finds out Hotstreak can use his powers to fly, and tackles him and his previous trauma causes him to freeze up. Thankfully , as Frieda put in a call earlier, the fire department arrive and HOt streak has to retreat, though Virgil is bummed that he “Choked”. And I love this as it not only shows Virgil’s inepxerince, as this is his first time fighting a bad guy but that just because he HAS power now dosen’t mean trauma and his previous fear of Hotstreak goes away or you won’t freeze up from time to time. It dosen’t make him weak or anything like some assholes would call it .. it makes him human. Humans make mistakes, and it makes him all the more relatable that he’s not pefect and that he did freeze up as I know I certainly would at last once in the circumstances. 

Things don’t get better at dinner as Sharon and Pops argue over the bang babies with Pops calling them a meance and Sharon pointing out Static exists so they can’t all be bad. See assuming a group of superhumans are bad because a handful of them ar edick sis why the x-men had to get their own island nation. You can only save an ungreatful populous so many times before you say “fuck it i’m getting my own island, pay me for life saving drugs, save your damn selves and stop doing genocides on us. Kay thanks”. But he does bring up a valid point that rattles his son: We don’t know anything about the Bang Babies or their biological structures and it’s likely they might further mutate into monsters, Static included. 

Virgil, understandably, wants to check this and thus he and richie compare blood samples in science, to no real conclusion. She he checks out with his doctor who assumes he’s sexually active in a great getting crap past the radar bit and a bit of realisim, but he agrees to the test though if something came up he would have to tell Virgil’s dsad and is up front about this. Nice dose of realisim.

That night City Council has a meeting and the Mayor TRIES to deflect Papa Hawkins questions about the bang babies which again, while being a judgmental ass as not every person hit was a gang member (Virgil, and as we discover later some others), and not every gang member is there by choice, some by circumstnace some, like virgil almost was, because they HAD no other option. Again years of reading x-men may of just made me a bit touchy on assholes admitely assuming superpower people bad. But it’s clear the public is upset and while she says an investigation is underway... Virgil and Richie are not only not convinced, but figure she’s actively covering it up. And unlike everyone else there who probably suspects the same, they can do something about it and tail her.  It’s during this, and cleverly as I didn’t realie till writing this using similar skills to his human cd player act, Virgil listens in and discovers whose behind it: Edwin Alva, whose apparently richer than bill gates and a beloved phinarophist Alva, as it turns out, was actually the arch enemy of Hardware in the comics, taking advantage of the guy in his civiliian idtentiy and thus casuing him to launch a war on the asshole. He does transition into this series well though, being the one behind the gas that caused it and with the mayor agreeing to back off, planning to simply dump the info about the big bang on a disc then destroy everything for now till the heat dies down. Yup sounds like a corprate douchebag. 

Static tails him, finds the lab and infiltrates it, stealing the disc.. but getting caught by Alva’s goon, and trapped in a glass prison, forced to use ALL his power to escape and barely getting out alive, but not before bouncing off alva’s car. Still he now has the proof.. and meanwhile Hotstreak, who I was wrong did get captured, is forced to take pill sbut spits them out once the orderly is gone. Dude.. WHY DIDN’T YOU WATCH HIM. Make sure he swallows that shit especially since, as he has no powers right now and can’t harm you. 

Hotstreak escapes off screen and our heroes discuss the disc before he shows up, and we get a REALLY fucking amazing scene: Virgil ducks into an Alleway and ritchie is worried.. and Virgil disarms him with just one word responses Ritchie: Virg you can’t take him.  Virgil: Gotta. Ritchie: Well at least wait for the fire department Virgil: Can’t.  It’s simpile but it gets the point across: This is his fight, he can’t wait for help, and people need him. And this is what makes a true hero: It’s easy to be a hero when everythings going well.. but it’s the true ones who stick it out against the odds and fight anyway. And he’s going to.  So we get one hell of a fight, though naturally Hotstreak burns up the disc. And I do like this as it dosen’t feel contrived.. yes Static could’ve left it with ritchie.. but he wasn’t thinking in the moment and dind’t really have time to think abotu the disc, only that people were being hurt and he was all they had between them and Hotstreak. It was no choice at all. Still that pisses Virgil off that the last night’s work is now worthless, and he fully charges up and curbstomps francis who retreats into a clearing. Hostreak brags when static follows, as even he’s figured out Static needs to be around metal, as he’s usually on his disc or the street, and in the park there suppodsidly isn’t any. But he’s not THAT smart as Virgil points out two things: one, he hoped to do this on PURPOSE so they wouldn’t be around people and no on e would get hurt and 2).. this is a city, there’s metal everywhere.. and he awesomely and cleverly proves it by unlodging a sewage pipe with his powers and dousing his foe, winning and proving his stuff. I love this solution, it’s a clever spider-man type way to disarm him, using smarts and the einvroment instead of just brute forcing it. Though the sewage part wasn’t intetional our hero still won and gets praise from the people dumb enough to follow the fight. 

However at home Virgil points out it was  Pyrrhic Victory and shows off his smarts by telling the tale behind it, which I didn’t know,because tv tropes didn’t exist yet: king pyrhus fought the romans and WON.. but had so little armies left that he still lost overall. That’s what this feels like to Virgil: he beat hotstreak but any chance at a cure for Bang Babies and Alva going to jail for causing them is gone. His mood does get a boost though as the doctor calls and reveals he’s fine, he just has a bit too much elctrolytes and just needs to lay off teh salt. He celebrates, we get a quick gag and the episode ends

Aftershock is another stellar episoe, giving us Virgil’s first super foe and a personal one at that, while showing some growth. As richie tells him he’s not virgil anymore he’s static and he can’t let his past get to him.. and he does’nt going from cowering in fear to easily beating his foe with simple logic. It’s a good followup that answers questions you may have from the first ep, like what does this do to virgil’s body, who supplied the gas, and why has no one done anything about this, and sets up another villian for Static in Alva. Great stuff. I highly recommend these episodes and the show as a whole: it’s fast paced, grounded and enjoyable, having just enough levity to not be too dour but just enough tension and stakes to be intresting. A throughly fantastic superhero show and one that i’d certainly love to revisit on this blog If you have an episode of static or the dcau in general you’d want me to cover, my comissions are open and details are on a tab on my blog or can be gotten simply by asking me via ask or dm. Tommorow we’re going deeper underground, there’s too much damage in this town as the Lena Retrospective continues. So expect gay ducks, straight ducks and some terrfirmains. See you next rainbow. 

[joneswuzhere]

hello join me in thinking about some books and authors that are, or might be, part of s5′s intertextuality

5.10 in particular offered specific shout outs, and also u know i’m always wondering what might be ahead so i have some ideas on that:

- first, as mentioned in a previous ask post, i know i wasn’t alone in keeping an eye out for 5.10 parallels to the lost weekend (1945) the film that gave episode 1.10 its name and several themes - or to the 1944 book by charles r jackson which the film is based on

- s5 has not been shy about revisiting earlier seasons, especially s1. altho i feel that 1.10′s parallels to the lost weekend centered characters other than jughead (mostly betty), a 1.10-5.10 connection involving jughead and themes from jackson’s story (addiction, writers block, self reflection) seemed v possible if not inevitable

- but like,, , for a hot minute after the ep, i was really stumped on understanding how anything from the book or film could apply, even tho the pieces were almost all there

- jackson’s protagonist don birnam goes thru and comes out the other side of a harrowing days-long drinking binge that could be compared to jughead’s one-night hallucinogenic writing retreat

- but jughead is struggling primarily with traumatic memories, not addiction and self control like birnam. and tho drinking activates birnam’s creativity, it paralyzes his writing as he gets lost in fantasies; he’s never published anything. jughead’s drug trip recreates circumstances that already helped him write one successful book. even the rat that startles him mid-high doesn’t line up with birnam’s withdrawal vision of a dying mouse, symbolic of his horror at his own self-destruction thru alcohol

- and maybe the most visible discordance: in the film there’s a romantic motif around a typewriter. first it’s an object of shame; birnam’s failure to write, tied up with his drinking, makes him flee his relationship. he tries to pawn the typewriter for booze money and finally a gun when shooting himself feels easier than getting sober. but with the help of relentless encouragement from girlfriend helen, he quits drinking, commits to her, and focuses on typing out the story he’s dreamt of writing. rd goes so far to avoid setting any comparable scenario that jughead has brought a wholeass printer into the bunker so there can still be a physical manuscript to cover in blood by the end, even without his own typewriter. the subtle detail of his laptop bg image is a little less noticeable than his avoidance of betty’s gift

- tabitha might be closer to a parallel than jughead is, but she’s still no helen. both refuse to take advantage of the inebriated men in their care, but birnam takes advantage of helen, financially and emotionally. jughead refused a loan from the tate family and now has resolved to deal with his shit before he considers a relationship with tabitha. instead of helen’s relentless and unwelcomed attempts to get birnam sober, tabitha reluctantly agrees to help jughead trip safely bondage escape notwithstanding. she even helps him get the drugs.

- whatever potentials exist for parallels to jackson’s story, they were not explored for this episode. ok so why tf am i even talking about this? what was there instead?

-  i have arrived at the point

- s5 has been revisiting s1, not directly but with a twist. and jughead’s agent samm pansky is back. u may recall, pansky is named for sam lansky

- jughead’s trip-thru-trauma is a story device tapped straight from lansky’s book ‘broken people’

- lansky is like if a millenial john rechy wrote extremely LA-flavored meta but just about himself no jk very like a modern successor to charles r jackson. both play with the boundary between memoir and fiction. lansky is gay; jackson wrote his lost weekend counterpart as closeted and remained closeted himself until only a few years before his death. both write with emotional clarity and self-scrutiny on the experiences of addiction, sobriety, and the surrounding issues of shame and self worth

- i feel like a fool bc after this ep i had been thinking about de quincey and his early writings on addiction (c.1800s), but i failed to carry the thought in the other direction, to contemporary writers in the genre, to make this connection sooner

- lansky’s second book, broken people, follows narrator ‘sam’, mid-20s, super depressed, hastled by his agent to write a decent follow-up to his first book, but too busy struggling with his self-worth and baggage from several past relationships. desperate, he takes up an offer to visit a new age shaman who promises to fix everything wrong with him in a matter of days. not to over simplify it but he literally spends a weekend doing psychedelics and hallucinating about his exes. jughead took note

- unless u want me to hurl myself into yet another dissertation about queer jughead, i think his parallel to sam - who, unlike jughead, has considerable financial privilege and whose anxieties center on body dysmorphia, hiv scares, and his own self-centeredness - pretty much ends there

- But,, the gist of the book could not be more harmonius with a major theme shared by the 2 films that inform the actual hallucination part of jughead’s bunker scene: mentally reframing past relationships to get closure + confronting trauma head-on in order to move forward

- so that’s neat. what other book and author stuff was in 5.10?

- stephen king and raymond carver get name dropped. i’m passingly familiar with them both but u bet i just skimmed their wiki bios in case anything relevant jumped out

- like jughead, carver was a student (later a lecturer) at the iowa writers workshop. also the son of an alcoholic and one himself

- i recall carver’s ‘what we talk about when we talk about love’ is what jughead was reading in 2.14 ‘the hills have eyes’ after he finds out about the first time betty kissed archie (at that time he does not respond as would any of carver’s characters)

- this collection of carver stories deals especially with infidelity, failings of communication, and the complexities and destructiveness of love. to unashamedly quote the resource that is course hero, ‘carver renders love as an experience that is inherently violent bc it produces psychic and emotional wounds.’ very fun to wonder about the significance of this collection within the s2 episode and in jughead’s thoughts. and maybe now in the context of the s5 state of relationships. or, at least, the state of jughead’s writing as seen by his agent

- anyway pansky doesn’t want carver, he wants stephen king

- i have too much to say about gerald’s game in 5.10, that’s getting its own post someday soon

- lol wait king’s wife is named tabitha uhhh king’s wiki reminded me of his childhood experience that possibly inspired his short story ‘the body’ (+1986 movie ‘stand by me’) when he ‘apparently witnessed one of his friends being struck and killed by a train tho he has no memory of the event’

- no mention of that in this rd episode but memories of a train could be interesting to consider with the imagery that intrudes on jughead’s hallucination. i still feel like it was a truck but the lights and sounds he experiences may be a train

- ok now we’re in the speculation part of today’s segment

- if jughead’s traumatic memory involves trains, then it’s possible this plot will take influence from la bête humaine <- this 1938 movie is based on the 1890 novel by french writer émile zola. this story deals with alcoholism and possessive jealousy in relationships, sometimes leading to murder. huh, kind of like carver. zola def comes down on the nature side of the nature-vs-nuture bad seed question (tho i should say he approaches this with great or maybe just v french compassion). also i can’t tell if this is me reaching but, something about la bête humaine reminds me of king’s ‘secret window’ which we’ve observed to be at least a style influence on jughead post time jump

- but wow a late-19th century french writer would be a random thing to drop into this season, right? then again zola also wrote about miners, which we’ve learned are an important part of this town’s history + whatever hiram is up to this time.  and most notably, zola wrote ‘j’accuse...!’ an open letter in defense of a soldier falsely accused and unlawfully jailed for treason: alfred dreyfus. archie’s recent army trouble comes to mind.

- since the introduction of old man dreyfuss (plausibly Just a nod to close encounters actor richard dreyfuss, but also when is anything in this show Just one thing) i’ve been wondering if these little things could add up to a season-long reference to zola’s writings. but i had doubts and didn’t want to speak on it too soon bc, u know, it’s weird but is it weird enough for riverdale??

- however,,,

- (come on, u knew where i was going with this)

- a24′s film zola just came out. absolutely no relation to the french writer, it’s not based on a book but an insane and explicit twitter thread by aziah ‘zola’ wells about stripping and? human trafficking?? this feels ripe for rd even outside the potentials here for the lonely highway/missing girls plot.

- that would add up to a combination of homage that feels natural to this show

- anyway pls understand i’m just having fun speculating, most of this is based on nothing more concrete than the torturous mental tendril ras has hooked into my skull pls let go ras pls let go

[astrologista]

Gavin Bros. Analysis

here be spoilers for apollo justice (aa4)

There are already a bunch of posts all about AA:AJ and just what the heck was behind Kristoph Gavin’s Psychelocks. What were his motivations? Why did he do what he did? As fragmented as the story is surrounding the Gavin brothers, and as much as I wish the source material had rounded out their characters a little more, I believe the game actually tells you pretty much everything there is to know about this case rather succinctly. Don’t worry as I will use evidence to back up my claims...

It is notably interesting that Kristoph’s Psychelocks only come up when Phoenix asks him point blank why he killed Zak Gramarye. This is the one question that Kristoph consistently refuses to answer directly, both in Solitary Cell 13 and in his testimony at his trial. Coincidentally, this is also the main question that he ever gets asked that speaks to his emotions or state of mind. Kristoph has a really good logical answer for basically all of the evidence-based questions. But, it’s also not a coincidence that Apollo has the presence of mind to note - “why not bring up the motive from the start? unless it was a battle he thought he might lose...”

This establishes pretty clearly that Kristoph is going to have a vested interest in keeping all questioning solidly focused on the material evidence at hand such as the postage stamp, the nail polish, and reasons why he cannot be directly connected to those objects. The law provides plenty of escape hatches and loopholes for Kristoph to exploit, which he does, providing him with the legal basis to be able to escape punishment due to the inability for anyone to prove his guilt beyond a reasonable doubt. This is not surprising as being a very successful defense attorney is literally his job and he happens to be extremely competent at it.

This kind of person is scary if you meet them in real life because they can always seem to wriggle out of anything you try to pin on them. Kristoph is a grand master at doing this, quite possibly as good as they come in the AA universe.

Here’s the rub. Apollo brings up that Kristoph wants to avoid bringing the conversation into motives and state of mind questions, why? Because “it’s a battle he thinks he might lose”. Every single time this topic comes up, Kristoph deflects the question. This also is indicated by the five black Psychelocks that come up when Phoenix asks him point blank why he killed Zak. So from this we can gather that the game is drilling it in pretty well that Kristoph’s motivations are a sore spot for him and possibly the one chink in his armor.

Because the material evidence cannot prove anything for or against Kristoph’s guilt, in a typical case like this the police would hope for the holy grail - a full confession and admission of guilt. Kristoph is much too cool of a customer to fall into any traps, no doubt he was questioned very rigorously after being arrested, but all he even had to do was invoke his right to remain silent regarding his motives or simply claim that he killed Zak just ‘cause y’know, being evil is fun. Once he confessed to killing Zak, though, the police probably didn’t care all that much to probe into his thoughts and motivations really, if he did it, he did it and he’s going to spend a stint in jail either way.

Phoenix sees through this, however. In Solitary Cell 13 he does NOT allow Kristoph to drop or evade the question. That is why we get as far as even seeing the black Psychelocks at all. If we can’t know the motive, why bother to have this scene in the game?

Quite simply we can now understand that Kristoph’s motive for killing is something emotional. It is not something that he’s going to divulge casually, but it is also probably something that he is worried about divulging UNCONSCIOUSLY which is why he constantly tries to steer conversations away from it, instead deflecting to discuss the evidence or the emotional state of other people in the room. Consider that Kristoph’s reputation is PREDICATED on him being “the Coolest Defense in the West”. His identity is based on his successful suppression of emotions in court. This is not to say he shows no emotion or is some kind of monotone emotionless husk. He has a rather dry sense of humor. He banters with Apollo. He banters with Phoenix. He isn’t as uptight as some portrayals would have you believe (”life is to be taken easy”). When it comes to surface topics, Kristoph is an open book. He’s not as terse as you would believe, but rather kind of poetic and loquacious and conversational (to his downfall in 4-1). You get the feeling that he would be a very good conversationalist. But only for surface topics. Try to dig a little deeper and he will very neatly deflect your efforts. 

How can we hope to understand a character who by definition does not have any interest in talking about his innermost neuroses? The reason why people still discuss the Gavin brothers and Turnabout Succession so much is that, while a very satisfying and intense case, it is unlike a lot of other AA cases in that you come away from it with a LOT of open ended questions. You don’t feel the same feeling of closure as you would get from the DL-6 case, where it feels like you finally understand all the facts of the case and all of the character motivations come to light making you go “oh! THAT MAKES SENSE!” you understand why von karma killed gregory, and everything comes together nicely in the end. Turnabout Succession is kind of a rarity in that it does not do that. By the end, you feel like you clearly understand the case, but you do not have a crystal clear view of the root cause of the motivations behind it.

In Kristoph’s final testimony he does shed a little bit of light on his motivations for his crimes. The issue that he has is mainly centered around his dismissal by Zak Gramarye as his representation. And, his subsequent replacement with Phoenix Wright, an attorney he perceives to be low-class and sub-par. Kristoph then states “these men shamed me, and I could not forgive that.” This is as close to an answer as to why he went to such lengths to get Phoenix disbarred as we are likely to get. Disproportionate retribution is the name of the game. It seems as if, if there’s one thing Kristoph cannot tolerate, it’s being looked down upon by someone that he perceives as inferior to him. Kristoph has extremely polarized notions of who should get to practice law, who is acceptable and who is categorized under “ignorant swine soiling the courts”. He makes very, very clear that he has nothing but disdain for common people, common wisdom, and any use of emotion or feelings in deciding verdicts.

So the particular manner in which Phoenix sought to bring him down with the jury system was a very deliberate masterstroke to Kristoph’s pride. That much we can establish. But again, motive. The game goes out of its way to tell you that whomever defended Zak would be “famous beyond belief” and, presumably also, rich. They would get a lot of very high-profile clients and cases sent their way after successfully defending the uber-famous magician Zak Gramarye. 

Taking all of this into account, right. Is it possible that everything Kristoph did has its roots in one very simple source, the root of all evil?

Money.

Taking a step back for a moment, consider Klavier. Why does Klavier perform in a rock band? “Because I want Frauleins to look at me when I walk down the street.” I feel like people really want to believe that both Kristoph and Klavier are super deep characters and have all this deep lore and hidden backstory. Maybe they do. Most AA characters do. But consider this. What if they’re both so deep, they’re actually just shallow? Yes, that shallow?

Given how much AA:AJ focuses on the Gavins, which is really not that much, this concept seems difficult to swallow. Is there really more to the story based on what the game gives us? If there is, how would we piece it together?

One major hint the game gives you about Kristoph (and, if this is insignificant, then you have to really wonder why they bother to bring it up at all) takes place directly after seeing Kristoph’s black Psychelocks in Solitary Cell 13. He starts doing his nails. Phoenix says “I know appearances are a big thing with you”. Kristoph says “You know what I say? One cannot live a beautiful life without beautiful nails.”

I feel that this statement is important because it is probably about as deep of a look as we are ever going to get at how shallow Kristoph Gavin really is. He hopes you will believe that he’s playing 12-dimensional chess with some kind of fucked up backstory and motive going, but the truth is, he’s no chessmaster. Based on what the game gives you, there’s really only one motivation for everything that makes sense.

Kristoph killed Zak, Drew and attempted to kill Vera to cover his tracks. He had to do everything he could to make sure no one talked about the forgery. He had to stalk people like Spark and keep Phoenix very close (the epitome of keep your friends close keep your enemies closer). There’s nothing really debatable about those facts because they are all discussed in the game.

What about the root cause? Revenge, of course, for Phoenix stealing away the chance for Kristoph to defend Zak.

Why was defending Zak so important to Kristoph? To become rich and famous.

So wait. Why does Kristoph need to be rich and famous?

As it is, Kristoph appears to be very affluent and well off. There is no real reason directly given in the game as to why he would need such prestige and fame other than that it feeds his massive ego and superiority complex. So that’s a big part of it, no debate there.

But why would the excessive monetary gains that would be secured off of the Gramarye case be so appealing to Kristoph? We’ll re-examine this in a little bit.

In Daryan Crescend’s case, Phoenix tells Apollo “every man has an igniter. find his and set it off”. 

What is Kristoph’s igniter?

I mean some people would say Phoenix Wright is Kristoph’s igniter based on his breakdown. But, I think more of that trial was contrived by Phoenix than we tend to notice.

I think Klavier is Kristoph’s igniter.

The final trial in Turnabout Succession would not have been able to succeed without Lamiroir, without the jury system, without Phoenix pulling the strings, without Trucy, without Apollo, and most especially without Klavier. Removing any of these elements from the scenario would immediately give Kristoph a massive advantage in allowing him to manipulate the courtroom. Can you imagine Payne trying to prosecute Kristoph?

No. Klavier was the only one who could confront Kristoph successfully.

The final trial had to be contrived in such a way as to put maximal pressure on Kristoph to increase the chances that he would slip up or, more likely, that an element of randomness and/or emotion would become introduced. Phoenix sets up Klavier as the prosecutor for this trial for a good reason - remember, Phoenix tells Apollo point blank that he (Phoenix) is pulling all of the strings for the Misham trial, so whatever happens is entirely his responsibility.

It must have been difficult for Phoenix to entrust Klavier, the person who sealed his fate, with such an important task. But realistically, he didn’t really have a choice. Klavier’s disclosure of Kristoph’s visit to the prosecutor’s office is the glue that holds together the entire case against Kristoph Gavin. Notice that Kristoph never really does anything to keep Klavier out of the public eye or otherwise silence him (up until the very end at least). If I knew there was someone walking around giving press interviews and practicing as a prosecutor who knew something really incriminating about me, I would want them swept away or snuffed out asap - I mean, Kristoph has already poisoned Drew and Vera who were unlikely to tattle on him at best; Drew couldn’t even identify him! What Klavier has on him is much, much more damning dirt. Either Kristoph really loves and trusts his brother or is convinced that he can control Klavier to the point where Klavier would never dare tell anyone about that visit or wouldn’t want to. Probably both are true.

The interesting thing about this dynamic is that this is really the only time where we see both Gavin brothers together in one room, as well. Something about being in proximity changes both of their behaviors. Klavier becomes hyper-alert and nervous in Kristoph’s presence, a marked change from his usually easy demeanor. Klavier’s presence causes Kristoph to make several mistakes, which end up costing him the case.

So all of these things needed to happen, and they needed to happen simultaneously for Phoenix to succeed. Getting back to my theory on Kristoph, we can see from what’s said in the game a few things - he really, REALLY wanted to be the one to benefit from defending Zak Gramarye (a trial he knew he would win against his brother using forged evidence), the presence of Klavier is his undoing in court, and his appearances are very, very important to him. 

I honestly think the real reason Kristoph was so salty about losing out on the Gramarye trial fame and money is that he didn’t just want to be affluent or well-to-do. He wanted to be excessively, filthy rich.

If you look at Solitary Cell 13 you will see that Kristoph likes very much to surround himself with many nice things. He likes tasteful decorations and furniture. He enjoys literature, music, art, that weird rose he keeps in a vase, and he has a dog named Vongole. “First rate in all things, accept nothing less.”

To have such top of the line items, Kristoph must not only be rich, he must be like top 1% rich. He has to have the absolute best of everything. This is why he needs money. Without these things, what separates him from the ignorant swine he so despises? This is why Kristoph needed money.

Nowhere is this highlighted more than with the Ariadoney nail polish. I think it’s mentioned a couple of times that the Ariadoney is absolutely the best possible nail polish that you can buy. It’s very, very expensive and is manufactured in extremely limited quantities (this is discussed during Kristoph’s testimony). If Kristoph is this fixated on something as simple as a bottle of nail polish, you can almost imagine the absolutely ludicrous costs of every other item that he uses or owns, not limited to his home, his car, fine foods and wine, his expensive hobbies, possibly traveling etc etc etc etc. I just know this fool shops at Whole Foods, because I can’t see him buying groceries at the Costco. It makes a lot of sense as to why he is single as well. Kristoph Gavin would end up being an expensive habit to any partner who would have him - I wouldn’t want to share a bank account or credit line with him. He needs Gucci to keep him happy. No bootlegs here.

Point is, Kristoph Gavin has an addiction to the finer things in life and he will NOT settle for second rate products. He will have what he wants and he will do basically anything to maintain his lifestyle at its current elite level at the expense of his own morality and soul. Sadly enough I feel like that might be as deep as it gets with him. That’s a really pathetic motive to have and makes me hate him a lot more, but it’s so fucked up I can’t look away.

Consider also the most important thing to Kristoph of all - his appearance. It costs money to keep yourself up and this seems to be the one area that Kristoph might end up pouring the most money into. The top of the line suit, the white shoes, the perfect tan, the platinum blonde hair so immaculately coiffed, the fact that his skin is virtually perfect and the fact that his face is near-identical to Klavier’s despite being some 8 or 9 years older. Most normal people would have some kind of facial imperfection pop up at some point, a wrinkle, a pock mark, something. And that’s when you realize... that Kristoph Gavin has most likely had work done. Like, on his face to make it stay youthful. He’s just that vain and probably also despises watching Klavier stay young and pretty while he’s just aging. Fillers? Botox? Collagen treaments? Something more invasive? No one knows, but all I’m saying is that Klavier’s character description goes out of its way to describe Klavier as “the spitting image of Kristoph Gavin”. Vera notices the extreme resemblance right away. There can certainly be genetic basis for two brothers looking alike, but compare that to how Mia and Maya look “alike”, or Lana and Ema, both of whom have a similar age gap to Kristoph and Klavier. You would realize that Kristoph and Klavier seem to have somewhat of a more obvious resemblance despite the age difference. So this isn’t just possible anymore, this is actually likely. I don’t think the game implies that Kristoph has undergone plastic surgery or anything, so I’m keeping this in the realms of headcanon for now. But it would make perfect sense as yet another reason as to why Kristoph Gavin needs cold cash. He needs to look flawless and he needs access to the absolutely most top of the line treatments and practitioners, continually. And as he continues to age, he needs to get more and more aggressive, more and more products, more and more retouching with those age reversal creams and foundations and stabilizers. That adds up, cost-wise, very very fast, especially if you want top of the line EVERYTHING, and Kristoph does indeed. It is very clear that settling for any less would be completely unacceptable to him.

All of this money, it has to come from somewhere. Being a posh defense lawyer will bring in some money, sure, but nothing near what Kristoph is going to need to live his beautiful life. Winning the Gramarye trial would have probably bought him enough prestige, clients and monetary gains to support himself off of law for the rest of his life. It does make a lot of sense that he would be incensed after losing that chance.

There is one more unexplored possibility as to why Kristoph had to be the one to win the Gramarye trial, though, and it ties into the money issue as well. This was supposed to be a fair match, after all, brother to brother. Klavier’s first case, in fact. It was supposed to be Kristoph vs. Klavier, and Kristoph wanted to make sure that he would be the one to win. Only Zak and Phoenix ruined that chance - a once in a lifetime chance, actually, for Kristoph to go up against his brother on Klavier’s very first day.

Klavier was the prosecutor of the Gramarye trial. It was his very first case. What could Kristoph have to gain by being the one to trounce 17-year-old Klavier in court on his first day on the job?

Well, not much, other than it would have been a huge crushing blow to Klavier psychologically.

There’s a comic floating around by someone, I think zarla-s, where Kristoph wins the Gramarye trial and is discussing his win with Klavier afterwards. Kristoph is smug and hopes Klavier will be humbled by his impressive win, but Klavier is unperturbed by his loss, happy for his brother and insists he’ll win next time.

As cute as this is, somehow I don’t think that’s exactly how it would go down.

Klavier has actively shown how nervous / anxious / upset Kristoph’s mere presence makes him in a courtroom setting. Based on this, it’s not unfair to say that losing to Kristoph IN PARTICULAR on Klavier’s very first case would have been a devastating psychological blow that could technically end Klavier’s prosecutor career before it even began. There is a lot on the line with the Gramarye trial, don’t forget the praise and adulation that Klavier gained by winning it. So other than all of the fame, adulation, money and pride Kristoph would have gained by rigging and winning the Gramarye trial, there is another dimension that he was also robbed of - the ability to ruin his brother’s law career. Losing to another attorney like Phoenix or anyone else would not be enough to do the job. It would have to and could only be Kristoph’s doing.

What reason could Kristoph have for wanting Klavier’s law career to come to an end?

Well, Klavier does have another job. As a rock star.

Wildly popular rock stars make a lot of money, many many many times more than even a celebrity defense attorney could dream to make.

The Gavinners had multiple albums go platinum. They sold out shows all over the country, I believe, possibly all over the world. They are a brand. They are profitable. Klavier is profitable.

With how much Kristoph depends on and uses Klavier, it’s not out of the realm of possibility that Kristoph gets to take a big cut of Klavier’s earnings from his music career. For all we know, Kristoph could have been responsible for assembling and filing many of the Gavinners’ early contracts and legal paperwork. The rights to songs, record deals, merchandising - this is a lot of stuff. I’d say it’d be pretty hard to believe that Kristoph did not have his hooks into the Gavinners from day one. If he handled contracts, he could have written in loopholes that would give him a huge cut of any earnings resulting from Klavier’s band, the Gavinners.

Now I know what you’re thinking, Klavier himself is a legal prodigy. He could have easily read through anything Kristoph prepared and refused to sign on the dotted line if he found anything amiss or hidden in the fine print. What if Kristoph’s legal control of Klavier started much earlier than that? Depending on when Klavier started in the entertainment business, which could have been a very early age, Kristoph could have had plenty of time and opportunity to secure access to any of Klavier’s future earnings, especially if their parents were out of the picture.

 If you think Kristoph has nothing to do with the Gavinners, think about it. One of their songs is literally called “Atroquinine, My Love”. They are a brand. They are marketed specifically to teeny boppers. They’re not squeaky clean mainstream pop like the Jonas Brothers or anything, but they are marketable. The advertising, the way they dress, the way Klavier says he’s tired of the youthful angst scene, the fact that Klavier only gives Apollo and Trucy a 20% discount on concert tickets. I’m just saying a lot of it could end up being contrived, perhaps by a certain someone with an ulterior motive. It seems really, really weird and coincidental that the band broke up right after AA4 too. Klavier seems like he’s really dedicated to his art, and to music. This much is clear in the way he reverently talks about Lamiroir, how he teared up at her song, even the Guitars’ Serenade seems like a very different song than what the Gavinners would typically do, and it only debuts after Kristoph is already in jail.

It makes you wonder if there might be a little something more going on here. If Kristoph had it set up to where he could get access to Klavier’s assets, which almost certainly dwarf his own by several times, then he had every reason to want to crush Klavier in court. He had to be the one to face Klavier in the Gramarye trial and win, causing Klavier to end his prosecutor dreams - and do what?

Go back on the road, put everything into his music career and become a workhorse for Kristoph’s ambitions.

Putting Klavier full time on the Gavinners would have solved all of Kristoph’s monetary worries for good. He could skim everything off the top and finally live the beautiful life of his dreams, the life he needed to have and couldn’t do without. Most importantly, he could keep up appearances and always look continually young and attractive.

Until we learn otherwise, I think that that is really all that was behind Kristoph’s black Psychelocks. Just a narcissistic, vain, preening loser masquerading as some mastermind villain when, in the end, that’s not really what he cared about being. He cared about painting his nails in a luxurious mansion surrounded by piles of money in a big Scrooge McDuck money vault, and laughing maniacally at anyone who ever thought that there was anything more to it.

[passionate-reply]

In 1993, Billy Idol--yes, that Billy Idol--went completely mad and made an electronic album full of futuristic themes, samples, and techno beats. Many consider Cyberpunk one of the worst albums of all time, but on this week’s installment of Great Albums, we provide a somewhat more positive approach. Check out the video, or read the transcript below the break!

Welcome to Passionate Reply, and welcome to Great Albums! In this installment, I’ll be taking a look at an artist one might not normally associate with the usual “pantheon” of synthesizer jockeys I usually talk about: Billy Idol. Initially known as the frontman of punk outfit Generation X, Idol found success as a solo artist in the early 1980s, fusing tough-as-nails punk aesthetics with a lavish, almost camp sense of glam, and his visually arresting pop-rock made him an MTV-friendly star of the “Second British Invasion.” While one couldn’t fairly argue that Idol was an “electronic musician,” his early work does contain moments of mild electro-curiosity, perhaps most notably the mercurial ballad, “Eyes Without a Face.”

Music: “Eyes Without a Face”

But despite the minor synth touches of the hit single “Eyes Without a Face,” few in the 1980s could have possibly expected the turn Idol’s career would eventually take by the time of his 5th studio LP: 1993’s Cyberpunk. Cyberpunk is, of course, an album with a reputation that precedes it, and that reputation is not a particularly good one. Cyberpunk is a deeply fraught album, which commercially underperformed upon release, and did even worse in the eyes of critics, with the magazine Q dubbing it the 5th worst album of all time. In the nearly 30 years since the album’s release, opinions on it don’t seem to have softened that much, either. But as with everything I choose to talk about, I think Cyberpunk is worth listening to. I think it’s a daring and challenging work of art, and one that stands on its own terms when approached head-on. Whether you’re familiar with this album or not, I encourage you to give it a fresh listen, and a fair shake.

Music: “Wasteland”

Perhaps the most immediately apparent feature of Cyberpunk is its increasingly electronic soundscape, including a prominent sample-based hook on the track “Wasteland.” The album was created in less than a year, and chiefly through use of computers and digital audio software, which Idol evidently found easier to explore and use than earlier forms of music technology. I’m partial to the argument that sees the use of digital software as perfectly compatible with the famed DIY ethos of punk, and hence, not far from Idol’s wheelhouse at all. In the 1990s, computers were still something that far from everyone owned, but in our contemporary world of Soundcloud rappers on seemingly every street, it’s easier to accept the notion of computer music as a grassroots, egalitarian field where even the unskilled are welcome--perhaps even moreso than punk ever was, in the 20th Century. This is one sense in which I think Cyberpunk has aged better than anyone could have possibly imagined. Besides pushing the texture of Idol’s music into new territory, Cyberpunk is also a fairly risky album structurally, opening with a sort of manifesto being read, and peppered with brief interludes between its tracks proper.

Music: “Interlude 3”

It’s only fitting that an album so concerned with the bleeding edge of technology might also try to push the boundaries of the still-fresh CD age. Liberated from the confines of designing chiefly for vinyl, artists like Idol were empowered to create CDs that ostensibly had 20 “tracks,” with no need for empty grooves to separate these brief interludes from the album’s major compositions. This avant-garde touch adds significant amounts of texture to the album, and, dare I say, a sense of world-building. Undoubtedly, one main reason why this album was so poorly received at the time is that it is, quite simply, not what one expects a Billy Idol record to sound like--at least, with the possible exception of its second single, “Shock to the System.”

Music: “Shock to the System”

“Shock to the System” feels like something of an orphan in the tracklisting of Cyberpunk. While tracks like “Wasteland” certainly maintain a rough-edged rock mentality about them, and could never be confused for straightforward techno floor-fillers, “Shock to the System” feels more like it was tacked onto the album just so that it would have something that appealed to those who exclusively prefer Idol’s earlier style--and, given that most of Idol’s greatest hits compilations tend to include “Shock to the System” and nothing else from Cyberpunk, this may have worked. Cyberpunk, as a genre, is often concerned with political themes--its great literary progenitor, William Gibson, once said that “the future is already here, but it’s unevenly distributed,” epitomizing the extent to which the intersection between technology and class is a central issue in cyberpunk media. “Shock to the System” is the most overtly political track on Cyberpunk, inspired by the wave of riots that broke out in Los Angeles following the acquittal of police officers alleged to have used excessive force in the arrest of a Black man, Rodney King. While the role of computers in daily life has changed a great deal since the 1990s, police brutality and anti-Blackness have sadly remained quite similar.

Few have commented on the perhaps uncomfortable implications of Idol’s dramatization of the LA riots from outside, which seems to transmute the scene into one of high-tech fantasy while largely eliding over the racial implications of why people were rioting in the first place--something that seems particularly strange when one learns how upset members of the underground “cyberculture” were about the alleged co-opting and appropriation of their culture. Some have characterized Idol as an honest appreciator of cyberpunk who just wanted to make art that engaged with its ideas, and others more cynically consider him a profiteer who thought he could commercialize a more palatable version of the counter-culture. While the latter hypothesis may well be true, I’m not sure if it can rightfully be said that Idol had “no right” to mine cyberculture for inspiration, particularly since cyberculture has often encouraged amateur participation. Still, as a sometime fan of the literary genre myself, I’m tempted to agree with those who have questioned how deep Idol’s understanding of cyberpunk actually was, particularly when faced with tracks like “Neuromancer.”

Music: “Neuromancer”

In William Gibson’s novel of the same name, Neuromancer is a super-advanced AI with the ability to preserve people’s personalities in virtual reality...though you probably wouldn’t have guessed any of that from this track. Many who interviewed Idol seemed to think he had a weak grasp on the finer points of cyberculture, and even Gibson himself, upon meeting Idol, failed to take him seriously. Still, I don’t think it’s entirely fair to draw a line in the sand, as some have done, and say that Idol was particularly, individually, responsible for the dilution of cyberpunk ideals, as presented by authors like Gibson. While it may be easy to poke fun at the clownish, overwrought figure of Idol, as the embodiment of people who love books they don’t understand, it’s not like that many people owned this album. I think the success of popular films like Blade Runner and The Matrix has done much more to simplify and proliferate ideas cribbed from Gibson.

But however you feel about this, it’s clear that Cyberpunk was an album that ended up appealing to nearly no-one--it alienated Idol’s existing fans with its stylistic diversions, as well as feeling too commercial and inauthentic to cyberpunk enthusiasts. Something else that I haven’t seen mentioned in discussion of this album is the fact that Billy Idol really wasn’t the first to combine the ideas of cyberpunk and music. By the early 1990s, industrial acts like Front 242 and Front Line Assembly had already been making electronic music about cyber brain implants for years, albeit largely underground and often unnoticed by rock-focused critics. I can’t help but think that the prior existence of this stuff was yet another factor that caused Cyberpunk’s failure to thrive. Compared to the electronic body music scene, Cyberpunk comes across as less subtle, less insider, and much more surface-level.

The cover art of Cyberpunk has attracted nearly as much derision as the associated music. The image of Idol’s face bleeds and distorts “into” and “against” a gridlike field, perhaps the greenish terminal of an early computer screen, a representation of the hacker figure entering the virtual world of cyberspace, and identity blurring along those lines. With its wobbly image distortion and queasy complementary colour palette of yellow and purple, it instantly evokes not only cyberpunk aesthetics generally, but more particularly the fusion between cyberpunk and another popular aesthetic of the early 90s: psychedelia, which experienced a substantial resurgence around this time, related to rave culture and its embrace of hallucinogenic party drugs. So-called “cyberdelic” themes abound on the album as well, particularly on the hypnotic “Adam In Chains,” a track that sounds less like 80s New Wave, and more like 90s New Age.

Following the release and subsequent panning of Cyberpunk in the 1990s, Billy Idol went silent for over a decade. While he claimed that his disinterest in making new music was rooted moreso in mismanagement by Chrysalis Records than it was the album’s failure, it’s very tempting to look for a correlation here. Over the years, Idol was often asked if he ever planned to make more electronic music, and consistently claimed that he was chiefly interested in guitar-centric rock, while never completely trashing his vision for Cyberpunk. True to his word, when Idol finally did return to music with 2005’s Devil’s Playground, he delivered on his “classic” sound, and he’s continued to do so ever since.

Music: “Scream”

My favourite track on Cyberpunk is its lead single, the total showstopper “Heroin.” “Heroin” is actually a cover of a song by the seminal Velvet Underground, and it’s everything I think a cover ought to be: exciting, bizarre, and capable of taking something familiar and kicking it into a whole new territory. What’s the point of covering something without changing it and doing something a bit different? “Heroin” is naturally one of the most psychedelic-oriented tracks on the album, being a cover of a drug-themed 1960s classic, as well as one of the tracks with the most influence from dance genres like techno, boasting a very appealing extended outro that makes it feel like a 12” remix. While I think Cyberpunk is a fascinating album, “Heroin” is the one track I think really crosses the bridge from being interesting to being, quite simply, good, and it’s something I’m much more inclined to sit down and listen to recreationally. That’s everything for today--thanks for listening!

Music: “Heroin”

[dwellordream]

A Six of Crows Review: Joost and Inej I

This marks the beginning of my review of Six of Crows by Leigh Bardugo. Before I go any further, I want to provide context for my experience/knowledge of the book and its fandom. Six of Crows was published in 2015 when I was 16. I picked it up in a bookstore and read the first few chapters idly while shopping, before putting it back down.

At the time, my dislike of what I’d read was probably primarily fueled by the realization that it was by the same author as Shadow and Bone, which I had tried to read a few years before and disliked, and because at the time I was aging out of the YA genre in general and had very little patience for many of its familiar tropes.

In recent years, Six of Crows and its companion and predecessor series, the Grisha Trilogy, have become one of the most popular YA series online. The avid fan response and promotion of it on social media no doubt led to the Netflix series being greenlit and it is obviously trending at present due to the success of the series. With all that in mind, I’ve decided to try Six of Crows again and see for myself what all the hype is about.

Some more caveats: I am 22 years old. I am aware Six of Crows is YA literature intended for a middle and high school audience. I will not be holding it to the standards I would hold an adult grade fantasy book, in terms of prose, themes, or content. I am aware that I am not necessarily the target audience for the book and these reviews are in no way intended to shame or disparage anyone who enjoys the book.

Criticism is a healthy part of any fandom and does not necessarily constitute hate. I will likely critique elements of the book in my write up. That does not mean I have a personal vendetta against the author, publishers, or the TV show. Please do not take this as a personal attack if you’ve enjoyed the book. This is just intended to promote discussion and to gather my own thoughts.

If you follow me, I am tagging this as ‘in review’ so you know what to block if you don’t want to see my posts on your dash. I will be going through 1-2 chapters per weekend. This weekend I will be looking at the prologue, aka Joost, and the first Inej chapter.

Jumping into things, here is Joost:

The prologue is our introduction to Ketterdam, the setting of Six of Crows. It’s been a very long time since I read Shadow and Bone and so all I really know is that Ketterdam is a city in an island known as Kerch, based off the map. The major countries or kingdoms of the mainland to the east appear to be Fjerda, Ravka, and Shu Han, though it is unclear how they differ from one another at this point.

Ketterdam through Joost’s eyes is a sinister and dreary place, a city under a grimy night sky and full of dangers. Joost works as a hired guard for a very wealthy man named Hoede, who keeps grishas, powerful magic users, as indentured servants. Joost is infatuated with one of them, Anya, a healer, though he knows she is not likely to return his affections and furthermore cannot wed without the permission of her owner. We also learn that grishas are at risk for being kidnapped and sold by slavers due to their value. However, the indentured servant system of Ketterdam thus far doesn’t seem to be much better than slavery, given how little freedom the grisha have.

Overall, the prologue is supposed to give us a sense for the setting of Ketterdam and interest us in the main hook of the novel, which seems to be a mysterious substance that grisha can ingest to heighten their powers for the benefit of their masters, though it has the risks of making them uncontrollable. How well is this done?

Through Joost’s perspective we can glean several things; Ketterdam is a dirty city with rampant income inequality, full of crime and corruption. Magic is an established system within Ketterdam, but the magic users do not seem to be at the type of the hierarchy despite their powers, which suggests they are a minority to the extent of which they can still be controlled by the elite class of non magic users, if they have enough money and power.

It is also very obvious through the references in the prologue that Ketterdam is heavily based off the Netherlands during the Golden Age, which was Amsterdam’s (Ketterdam… Amsterdam… not subtle) economic and cultural boom during the 17th century, aka the 1600s. Notably the world’s first stock exchange began in Amsterdam in 1602, and it was a major port and trading hub for the Dutch East and Dutch West India Companies.

It is not clear if Ketterdam is also intended to be a 1600s-esque society, timeline wise, but we know that rifles are common place and there is a thriving merchant class who rule as opposed to old aristocracy, which seems to indicate a Renaissance style setting, as well as the urban environment in general. (That said, from the advertisements for the Netflix show, they seem to have updated it to a more Victorian-era 1800s society, in terms of fashion and general aesthetics).

Overall, the prologue does its job. It gives us a vague idea of what Ketterdam is like, how the society is structured, and who holds the power. It also ends on a suspenseful cliffhanger, leaving Joost’s fate unclear. Where it falls flat is that I think a little more time could have been spent fleshing out Joost as a narrator, even if this is his only showing in the book.

His internal monologue comes across as a bit dry and mechanical, as if the author is aware he is just a means to an end to start the book off with a bang, and he quickly turns into a walking camera (just there to report events to the reader, with no internal input from him), for the second half of the prologue, as we switch to just watching Anya and Hoede through his eyes. That said, it’s not a major problem, as Joost is clearly not intended to be a main character, and his narration still effectively conveys what is happening and sets the dark tone of the novel.

What I would have liked to see from the prologue is perhaps the POV of Anya herself, or the small child she is being forced to experiment on, as that might have been a more compelling and immerse introduction to Ketterdam and its dangers rather than the fairly bland and neutral Joost, who doesn’t really feel like a character so much as a bland stand-in for the reader. If we were put in the shoes of Anya, suddenly called upon by her power hungry employer to participate in this unethical test, or in the shoes of the small boy caught up in the middle of this, it might have been both more thrilling to read and given a more gritty sense of what it’s like to be on the lowest rungs of Ketterdam’s society, at the mercy of the most powerful.

Moving onto Inej, we run into some similar problems. After Inej’s first chapter, I couldn’t tell you a single thing about her, other than that she was an acrobat as a child, that she is part of the street gang known as the Dregs, and that she intensely values loyalty. This isn’t a problem, per say, but while that’s all good to know, it doesn’t give me any sense of Inej’s actual personality, which doesn’t exactly bode well. Like Joost, she comes across more as a walking camera and occasional tourist guide as opposed to a human character with her own worries, hopes, and fears.

I think this may become a recurring problem with Bardugo’s writing - ie all tell, no show. Inej is good at telling things. She tells us where we are as we follow her to the location of a stand-off between rival gangs, she tells us that Kaz, their leader ‘doesn’t need a reason’, though she never exactly explains what that means other than that he is widely feared, she tells us that she is very fond of her knives.

But in terms of writing, we shouldn’t have to be force fed all this information via her internal monologue, which, again, entirely cuts out once the action picks up, just like Joost’s. While I don’t need her thoughts on every threat or gunshot, it would be nice to feel as if she hadn’t just vanished from the story completely as soon as the dialogue starts.

We also meet Kaz and Jesper, though I couldn’t tell you much about them utter than that Inej clearly admires, even venerates Kaz as an accomplished intimidator and chess master, and that Jesper is clearly the joker of the group.

It also feels incredibly weird that this parley between gangs in happening in front of the city’s stock exchange. Inej tells us this is because the Exchange is one of the few remaining neutral territories, but it’s also heavily guarded, which means every time a gang wants to parley, they have to pay out the cash to bribe all the guards to very pointedly ignore a meeting between rambunctious and trigger happy street gangsters on their literal doorstep.

I understand why Bardugo chose this location, wanting to contrast the violence of the gang members with the economic injustice that the Exchange and its merchant rulers represents, but it just seems a bit silly. They couldn’t meet at the docks? In an alley way? This is like picturing the American Mafia hosting a public meeting at the New York Stock Exchange with a bunch of cops twiddling their thumbs nearby.

The foreshadowing that Bollinger is the traitor (‘I’m not going to bet on my own death’) also seems very heavy handed and a little much, but I’ll let it slide.

It’s also not really clear while Inej is present at this meeting in the first place. Kaz commands her to keep watch from above, but he has also put a contingency plan in place that doesn’t even involve her, having bought out some of Geels’ men from under him. Why put Inej looking down from above if you’re not involving her in this plan? Her only role seems to be to watch, and she doesn’t even have a gun she could play sniper with. It just seems like a hamfisted way of getting Inej out of the danger zone so the author can have her as a passive spectator to the violence that follows.

This is my main problem with this chapter. It’s supposed to introduce us to Inej, but really, it’s introducing us to Kaz. Which is fine, but as he also has a POV in this book, it seems a bit lame that her own chapter is completely overtaken by showing off A. his smarts and B. how dangerous he is, despite being dismissed as a young ‘cripple’ by the likes of Geels.

Geels is also… not a greatly done villain. I get that he’s supposed to be small fry and is just a precursor to much more threatening opponents, but his every line of dialogue feels designed to show off how cool and Machiavellian Kaz is in comparison. He doesn’t seem like an actual hardened criminal who has underestimated his opponent, but a somewhat cheesy cartoon thug who unironically says things like “How are you going to wriggle your way out of this one?” with his full chest. The effect is comical, and not in a good way.

This chapter also shows off Kaz’s sadistic side in full display, which is probably one of the only interesting things about it, though it would be nice if we got any input at all from Inej on this… instead she completely vanishes from her own narration, to the point where she might as well not be present at all. Kaz has no qualms about tracking down his enemies’ weakness, such as lovers and family, and threatening them.

But the open horror and shock Geels reacts with seems incongruent, as if Kaz were the first up and coming gangster to actually consider threatening someone’s family or girlfriend. That seems pretty par for the course for violent criminals trying to claim territory and unnerve their rivals, yet Inej and Geels himself react as if no one had ever thought of sinking to the level of ‘do what I want or I’ll kill your loved ones’ until Kaz invented it. It just feels a bit silly and on the nose.

Really, my overarching issue with this chapter is that it’s not about Inej at all, it’s just an introduction to the Kaz Brekker fan club. I don’t automatically hate Kaz as a character, but his introduction is heavyhanded and comes at the cost of any establishing character moments for Inej. The most we get out of her is her brief pangs of sympathy for Bollinger despite his treachery, and her brief reference to her childhood. Maybe future Inej chapters will totally change this, but right now, it’s not a great sign of what’s to come.

I can think of about a hundred things Inej could have done or said this chapter to develop or establish her personality at all, but all we got was her briefly holding a knife to someone, and her briefly saying a prayer for Bollinger. I think it would have worked much better had this plan to catch Geels with his pants down been Inej’s invention or at least worked out between her and Kaz, rather than her just there to play lookout and admire how cool Kaz is.

Or at the very least, we could have seen the scene referenced where she searches the crime scene of the assassination, instead of that getting two lines and an entire chapter being devoted to what boils down to a pissing contest over which gangs gets rights to a certain neighborhood.

Next week, we will look at Kaz I.

[undefined5posts]

Credit: Jordan J. Lloyd

I've been trying to dive deeper into politics, discover the genuine roots of our society, the origins of our beliefs, and the consequences of our economic system. It's a big, long, wide journey and through multiple sources such as articles, images, videos and multiple social media platforms, I've been trying to educate myself more on important subjects.

Communism, capitalism, libertarian, conservative, the left, the right, the history, the impact. It is scary to commit to everything because once you start, you simply cannot stop, once you start waking up your conscience about the horrible reality, the lies, the truths, you cannot put it back to sleep. You can't just ignore prejudice, especially when you're extremely conscious of it's omnipresence. I have continually tried to build my own opinions all while actively creating bullet point arguments in my mind because I just know that at some point I will have to defend my thinking, and I want to do it right.

Now, I am so far from being enlightened, I am a beginner and an amateur in all of those themes, but I am trying, which is the only way to start and grow.

So to tell you about my beliefs, I am a militant human rights activist, I believe in equal opportunities regardless of gender identity, sex, religion, sexual orientation, ethnicity, race and disability. This is a fact, not a belief, but the system was obviously not built to protect all people, its wasn't created to serve everyone equally but to grant a privilege to some and harm others. The current state of the world is not a slip, an accident or a misfunction of our brilliant system but a testament of it operating remarkably well. I believe that equity leads to equality, and I believe that we cannot "fix" methodologies that were immorally created with absolutely no honor whatsoever. I believe in reproductive rights, in legal, safe abortions for anybody who needs one. I believe in the decriminalization of marijuana. I believe that the death penalty is a despicable punition that should be banned as soon as possible. I believe in defunding the police and the military. I believe that it is a shame that I even have to talk about police brutality, I don't want to have to say that it is one of the most horrible things our world has originated, I feel extremely dense when I do because it seems like the most obvious certitude and I refuse to believe that this is a controversial statement. I believe that everything I have just stated, along with many more, isn't anything grand but the bare minimum, the bar is low, and yet, we still have the fight for basic human decency.

Humanity has become an option. We have normalized supporting people that represent everything wrong in this world under the name of tolerance. The left has never claimed to be tolerant towards hateful beings, We have never accepted homophobia, transphobia, racism, ableism and sexism. We cannot, for exemple, accept nazis, as too much tolerance inevitably leads to intolerance. This picture explains it perfectly:

I consider myself a communist/ socialist. The two terms still confuse me a little, some say they are the same, some say they differ quite a bit. What I know is that socialism is the transitional period between capitalism and communism. At the end of the day, the final result and goal is a stateless, moneyless and clasless society that will provide to each his need.

Our capitalistic society has brainwashed us way more than you may think. It is the root of so many of our issues, the underground demon of our problems. Every idea, thought, belief, and misconception of ours were all affected by our current economic system. It has sold us the billionnaire dream which is one of the most toxic things capitalism has offered. We have looked up to billionaires for way too long, why are they so idolized? Most of them come from high upper class families that can easily afford to invest in their inventions and creations. After starting up their companies and occasionnaly stealing other's people ideas to ultimately get undeserved merit, they then can start to properly exploit their hardworking employees's labour. And for unlimited hours and a minimum wage which probably won't even suffice you to survive, you will have to either pick up more shifts or a second or even third job, especially if you have a family to support. All while the CEO barely does any of the work and gets all the praise and money. So no, they don't all come from really poor families and have built everything for nothing.

The worst thing is that we've been so gaslit and brainwashed that we're proud of our own exploitation, we are wired to think that to be successful we have to suffer, work 10 jobs we all hate, constantly pick up extra hours, have 2 hours of sleep, have no free time to do anything we love, waste our entire youth, be depressed our entire adulthood, to finally have a few pennies to spend when we're eighty. We so strongly believe that this is the only right way to be successful that I don't think many of us have dared to question it's authority, and even if we do, we quickly accept that this a truth, a fact we cannot change and this is just the way things are.

We have capitalized water, food, land, forests, oceans, space, and everything in betweeen. Money is social construct and we have deliberately let it take over our lives. To think about the wasted opportunities and the misery that we have to endure so others can enjoy life truly angers me.

Also, communism is not an ideology that has every actually taken place. Despite what they say, there was never actually a communist country. However, every nation that has attempted a socialist system, for exemple Burkina Faso, has thrived. But of course, once capitalist countries noticed that, they decided to murder it's leader. So in conclusion, the only reason socialism failed is because of capitalism and it's interventions.

"As President (1983-1987), Sankara initiated economic reforms that shifted his country away from dependence on foreign aid and reduced the privileges of government officials; he cut salaries, including his own, decreed that there would be no more flying in first class or driving Mercedes as standard issue vehicles for Ministers and other government workers. He led a modest lifestyle and did not personally amass material wealth. President Sankara encouraged self-sufficiency, including the use of local resources to build clinics, schools and other needed infrastructure. [...] President Sankara promoted land reform, childhood vaccination, tree planting, communal school building, and nation-wide literacy campaigns. He was committed to gender equity and women’s rights and was the first African leader to publicly recognize the AIDS pandemic as a threat to African countries. Although Sankara became somewhat more authoritarian during his Presidency, his ideas, and the possibility that they could spread, were viewed by many as posing the greatest threat. President Sankara was assassinated during a coup led by a French-backed politician, Blaise Compaoré, in October 1987. Compaoré served as the President of Burkina Faso from October 1987 through October 2014, when he himself was overthrown."

Via:https://africandevelopmentsuccesses.wordpress.com/2015/02/28/success-story-from-burkina-faso-thomas-sankaras-legacy/

I have been reading and watching some amazing human rights activists, notably Angela Davis, Malcolm X and James Baldwin. The people that were villainized, labeled as violent and radical, when every single word that came out of their mouhs were pure facts. They are probably some of the most eloquent people I have had the pleasure of hearing. Every sentence, every argument, every single detail made so much sense and opened my mind to so many new realizations. This is the perfect exemple of how the media tarnishes the reputation of wise black women and men. I would strongly advise you to research more about them.

"Socialism & communism are demonized in the west to the point of erasing influential individuals' socialist advocacy. Heres a short list of people you may not have known were socialists/ communists:

MLK

Albert Einstein

Nelson Mandela

Frida Kahlo

Tupac Shakur

Mark Twain

Malcom X

Oscar Wilde

Bertrand Russell

Hellen Keller

Pablo Picasso

George Orwell

Shia LaBeouf

John Lennon

Woody Guthrie

Socialism & communism are not dirty words. Some of the most brilliant minds of our history were socialists and communists. Embrace it." Via @sleepisocialist on twitter

So what else can I say, capitalism has ruined our society and the way we act and think. I know a lot of people refuse to support communism because they think it's too much of a perfect ideal utopian world for it to ever actually exist. And to that I say, first of all, so you agree, it is a wonderful theory, and second of all, a world without racism, sexism, homophobia or any kind or discrimination could also be perceived as "too ideal to actually exist", but does that mean I'm giving up on talking, educating myself and others, protesting and trying to build a better future? Absolutely not. This is the objective, it would be so dumb to think that we just couldn't achieve that so let's not even try.

I want to talk more in detail about communism, theory, human rights, etc... but I don't want to make this post any longer. I will however be posting more about it soon enough.

I know this is a little different than what I usually post, but I want to speak, tell you all my own opinions, I don't want to just repost activism related stuff. I'll continue to do that, but not exclusively. I know it won't get as many interactions as my other posts, but this is what I needed at some point in my life, and if I could make understanding some basic informations easier to some people, it'll already be a great accomplishment.

Thank you for reading.

[pcrushinnerd]

A Mandalorian and A Jedi - Chapter 4

Warnings: Someone(s) get minorly injured, childhood trauma talk. Nothing horrendous.

A/N: Here I am, back on my bs.... with some maybe uncharacteristic character exposition, but oh well. (Gif not mine, oh yea yea yeah....) ||| writing masterlist |||

Lissa sat at the edge of the ship’s floor, where it joined the ramp which was currently down, it’s far edge digging into the soil and grass.

 She sat with her legs out before her, crossed at the ankle, with the child in her lap. He sat back comfortably against her midsection, staring up and occasionally raising a little clawed hand to try and catch one of the flies that would buzz up to and around them.

 It was near dusk on the sixth day since Mando had gone. The current bounty was a former bounty of Lissa’s. The zabrak Maldo Gries had broken free from the New Republic prison she had helped lock him into before, and she wasn’t overly surprised when Mando showed her his puck.

 “He’s a crack shot. Has a thing for knives, and throwing them.” She’d smirked. “This should be a fun challenge; I’m sure he hates my guts.”

 “Maybe you should sit this one out,” Mando avoided glancing in her direction, as he walked past her, toward his armory.

 “What do you mean?”

 She had been his silent shadow for...four, maybe five months now. Gathering information on quarries; trailing him when either of them thought it possible that a quarry was aware Mando was hot on their trail; hiding out in some secreted place, a refile trained on a quarry, just in case something went wrong.

 Greef was impressed at how Mando’s capture times had improved notably, but Din gave him no hint of how or why that was. “Bout of luck, I guess.”

 As far as most of the galaxy knew, Lissa Ardross was dead or as good as dead. To somewhat disguise her appearance, Din offered to take her to a hairdresser not long after accepting the position as his right-hand woman. She took him up on it, and had her hair bleached and cut into something not entirely to her liking--more shoulder length, with short, curled bangs across her forehead,--but it was unfamiliar enough that it did the job. With some of her first earnings, she bought a few more garments--pale-colored tunics and nondescript gray trousers--that were a lot more subdued than the black and occasional deep blues or purples she normally wore.

 Discretion had been key to their success so far; perhaps he had a point.

 Still, she felt a bit...pointless, not actually helping with a bounty. Not doing the very thing she had been hired to do.

 Lissa had found other ways to help the Mandalorian and earn her keep. She had gleaned enough from trying to keep her own little freighter afloat to help repair parts of the Razor Crest; with some of her other earnings, she had bought books on ship maintenance, so she could learn how to help with the rest.

 She had even tried to help with smaller things: keeping the ship tidy and cleaning up little messes, here and there; trying to put her long-dormant cooking skills to use to make them some actual meals; even offering to pilot the ship for a few hours so Mando could get some rest, though it took him a while to take her up on that last offer. She argued to him that she needed to develop all these other skills, so she could more easily pick up some other profession when she finally left, and he had to admit the sense in that.

 “Okay. But...if you need help, you’ll comm me, right?”

 The helmet finally turned to face her, as he was packing away a few last explosive charges and extra ammunition packs. He didn’t say anything for a beat. “I think I’ll be fine; just might take a bit longer without you, that’s all.”

 “Still.”

 The Razor Crest had felt especially cramped the first weeks she was there. Obviously, because Din Djarin was a man long used to being on his own who now not only had a child to tend to, but also a woman sharing his space. Each did their best to keep to themselves, to not infringe on boundaries, physical and otherwise, but there was always a modicum of tension present.

 “Ow, fuck!” Lissa hissed once, after stubbing her toe on a storage crate in the near-dark of the Crest’s hull one night. Djarin just had to live in the shadows...made it easier if he stumbled from his sleep randomly to go use the privy or tend to any unusual noise but he forgot to don his helmet.

 “You okay?” she heard emanate from the sleeping compartment, unmodulated, as she tried to rub the pain from her appendage.

 An aggravated sigh. “I’m fine Mando. Go back to bed.”

 On the one hand, Lissa felt at a disadvantage. Besides being in such an unfamiliar space that she could never fully utilize, she felt like she had no room to complain or comment on anything. She was grateful he had come to get her, had literally saved her life. That he subsequently gave her a safe place to recuperate--physically and financially--when he probably should have kicked her out the door as soon as possible.

 She was acutely aware how much she didn’t fit into his life. Anytime he would care for the child, or just go about his business on his ship, and wouldn’t say anything to her, include her or really acknowledge her presence. She picked up early that he was a still waters run deep type, but she felt she had no right to try and dip into those waters.

 For Din’s part, he still felt great guilt. She hadn’t said anything about them, even when tortured. He wondered if the Empire remnant even knew for sure that his little clan had been on Mygeeto; no sign came after to indicate they had been. Nothing relayed via the back channels hinted that they had connected the dots.

 Lissa’s physical wounds had healed, but he wondered about the mental ones. He wondered why she hadn’t just turned them over when she had the perfect opportunity, but he didn’t ask. The look on her face when he was comforting Grogu in that bar still sort of bothered him at times, especially when he would see flashes of a similar expression any time he would tend to the child and she was near.

 Despite all this, they had grown to admire each other through their work. Lissa, for her cunning and resourcefulness. Din, for his calm under pressure and stamina. They made a good team.

 “I will,” he’d promised.

 So far, her comm had been silent.

 The baby cooed in her lap. His ears perked up, and he rose from his sitting position as he scoched from sitting back against her to trying to stand; she had to wrap her arms around him to keep the little green creature from hopping off her lap. “Hey now, little guy, what’s up?” Lissa couldn’t tell at first what had suddenly piqued his interest, until she realized she could hear the distant croaking of a frog, probably from the nearby bog. She ignored the flash of disappointment she felt realizing it wasn’t something else.

 “You like those things, huh?” Grogu smiled up at her with his big, brown eyes. She started to gently stroke his downy, wrinkly forehead. “I wonder how good a hunter you’d be, if you were let loose out there. How long you think it would take you to catch one, or...all the frogs!” She started to tickle his sides, which earned a few peels of laughter.

 The child, despite being what sounded to her initially like some sort of errand or chore for the Mandalorian, was incredibly important to him, she observed quickly. He explained further one night in clipped words that his creed deemed them like father and son, until he reunited the youngling with his own kind. It was his job to protect him, and he indeed watched over him like a hawk. But it was...more than that. She was all too familiar with what guardianship without love looked like, and this was not that.

 Grogu was the last thing he trusted her with. He would sleep with the child in a tiny, makeshift hammock above his cot, have the pram near when he was piloting the ship or even when he was in the fresher or just eating. He would check constantly that the little one was still in his pram or in the sack he had slung over his shoulder. The child would often look at her intently and curiously, even reached out to her a few times, but if Mando would notice, he would quickly snatch the child up into his arms or close the pram.

 It wouldn’t be until they were visiting a market on the forest planet of Dakua. Some commotion, probably staged, ahead of them caused the Mandalorian to be distracted, but he did know straightaway when she slipped the blaster from his holster. He was whip quick, his hand almost at once gripping her shoulder, but he turned to see that she had his blaster pointed at someone behind them--a smaller trandoshan who was frozen in place.

 “They were trying to steal it from you,” she explained, no hint of waver in her voice. Mando moved quickly again, to reposition and cover the sack the child was sitting in, as he turned around full.

 “Should I shoot them anyway? Just as a lesson?” The trandoshan’s eyes grew big at that.

 Din said nothing at first, then there was a tell-tale tilt of the helmet. “Maybe just a nice foot wound.”

 The trandoshan quickly ran off.

 Later that night, they sat in companionable enough silence on the floor of the hull of the Crest--Lissa reading from one of her books, Din cleaning his rifle. The child wouldn’t stop making noises from his pram, so Din reached over, scooped him up and placed him gently on the floor. “C’mon, little one. Get some exercise.”

 But instead of running around the floor of the hull aimlessly, as younglings including this one were wont to do, Grogu walked up to Lissa and quickly wrapped his small arms around her arm, and he uttered a long coo of appreciation as he looked up at her.

 Damn, if her heart didn’t melt into a puddle right there.

 For Din, staring at this, one final gear clicked into place in his mind.

 “You can pick him up, if you want.”

 From then on, it was a growing mutual love between another bounty hunter and the small, precocious green child.

 The crackle of the comm shook Lissa from her memories. “I’ve got him. I’m about 500 meters away.” The comm cut out before she could respond, but she understood. Lissa quickly scooped up Grogu and made for the Crest’s cockpit, where she shut the doors and waited patiently for Mando’s arrival.

 Indeed, several minutes later she heard Gries’ yells and curses, faint at first through the steel of the ship, then louder and louder, before she heard the clanking, clunking and thudding as she assumed Mando was hauling the zabrak into the hull of the ship and into one of the carbonite slots, before she heard the familiar whoosh and then whir of the mobile freezing unit.

 A beat, before Lissa placed Grogu into his pram and opened the doors of the cockpit.

 Mando was standing there, slinging his amban rifle back into place.

 “You okay?”

 Lissa cocked her head. “Shouldn’t I be asking you that?” Her eyes wandered over to the carbonite slabs, to the familiar features frozen into rocky relief into the latest one. “That’s definitely Gries. Horny bastard.” She gave a small kick to the slab her former quarry now sat in.

 “I--” Lissa turned back to Mando, who she noticed had a spot of blood on his side. “Oh, you’re bleeding.” She reached up a tentative hand to the tear in the mesh battle suit he wore beneath the beskar, right around his ribs. She opened it just enough to see a nice gash and some possible bruising, before he waived her hand away.

 “I’m fine.”

 She gave him a doubting look, before giving a slight smack to his side.

 “Ow, hey!”

 Lissa rolled her eyes, before she retrieved the ship’s first aid kit. “Into the cockpit, tin can.”

 Din sighed. “Fine.”

 He sat in the pilot’s chair and swiveled around to face Lissa, sitting in the passenger seat to the right. She rummaged through the kit for alcohol and some cloth to clean away the blood. She had no face to read, but she could hear little noises of pain and discomfort through the helmet.

 “I know we don’t have too much left, but if you’re in enough pain maybe I should apply a bacta patch or--”

 “I’m fine. Need to save it in case you or the child....” He fell quiet.

 Lissa didn’t say anything, just continued to tend to the wound, as she cleared away the last of the blood and started rummaging around for wound dressings.

 It was not lost on her, even as she worked and even through the helmet, that she was being watched.

 After a few moments of silence: “Where are you from? Your home world, I mean.”

 Her eyes flitted up the helmet briefly. He thought she might not answer for a second, before a grimace came over her face. “Coruscant.”

 That genuinely surprised him at the same time it didn’t. “Upper or lower levels?” he inquired further, already suspecting the answer.

 Lissa didn’t say anything for a moment, before: “I don’t think I ever truly saw the sun until I was nine years old.”

 Din nodded, understood. For some reason, he felt the need to press further: “What happened to your parents?”

 “Killed, when I was seven. An orphanage took me in, along with a lot of other strays who wandered the nearby endless streets.”

 “Do you remember anything about them? Your parents?”

 She finished up his wound dressings, and started to pack everything away in the medikit. She gave a small shrug. “Some things, here and there, but...not much. I’m not even entirely sure which of them I take after, if I do at all.

 “They were shop keepers,” Lissa added, unprompted. “Had this little pawn shop. One of a million on Corucsant, but I do remember thinking they had this knack for finding the most random things, salvaging lost items from wherever and fixing them up into something beautiful.” She looked away. “They were shot by someone trying to rob the store.” She shut the medikit and stood up.

 “I can sew up that tear, whenever you feel like peeling the suit off and taking a shower.”

 “What were their names?” he asked, before she could step away.

 She studied the black visor for a moment, noticing that even the overhead light in the cockpit failed to reveal the eyes behind it. “Rick Ardross and Amila Daraay.”

 Din nodded.

 Lissa crossed her shoulders. “What about you, Mandalorian? Your parents?” She had studied up enough about him to know to know he wasn’t born a Mandalorian or belonged to any notable clans. He was a loner, and--she suspected--had an upbringing not far from her own.

 He--seemingly--stared back up at her for a long time before answering. “Denon and Paila, of Aq Vetina. They were farmers, I think. At least...I have faint memories of my father, tilling fields and tending to animals. My mother at a loom....” He looked over at the child. “I can see their faces, every time I close my eyes, every time I remember how they hid me away in some storage bunker, right before they...before they were killed, before a Separatist droid found me, almost.... Before I was rescued by a Mandalorian, Kol Djarin.” Din fell quiet. Lissa didn’t ask for more; this was probably way more than he had ever given anyone else.

 She wasn’t sure. Didn’t really know if it would be appropriate, but in that moment, it felt more inappropriate not to do something.

 Lissa lifted her right hand rested it on Din’s right shoulder and gave the lightest squeeze. He looked down at her arm, but said nothing. Didn’t move her away.

 “I’ll go get us some dinner started.”

.....

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