#Hawkeye has so so SO many different themes and directions | Explore Tumblr Posts and Blogs

faecaptainofdreams · 4 years

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I do not own Marvel. Yes, Wade drew this with crayon. Marvel HC: www.deviantart.com/foxdragonlo… Peter HC: www.deviantart.com/foxdragonlo… Wade HC: www.deviantart.com/foxdragonlo… If you don't like this ship i don't care. Don't talk to me about it, find something you do enjoy. If you're into it, then thanks for stopping by! --------------------------------------------------------------------------- TW: strong language, mature themes ~~Humble Start~~ When Peter was 19, he met 25-year-old Wade in January when the merc was teaming up with the Avengers to help him find his target, who happened to be involved in something the Avengers were trying to undo. When the men first shook hands and Peter introduced himself, he removed his mask, to which Wade suddenly replied "Hot DAMN! What are you, a Disney prince?!" Peter, startled, backed away, and Tony urged Peter to put his mask back on. As it was, Spiderman and Deadpool got along. Before they all parted ways (with the problem resolved and Deadpool having gotten his man), the latter thought it might be fun to pop in once in a while and visit the Avengers. While the others drily insisted that he don't do that, Spidey thought Deadpool could be a potentially good friend. Despite Tony's aversion to it, Peter gave Wade his number and suggested they hang out sometime. Wade showed up a couple weeks later after having texted Peter off and on. Still shy about his appearance and preferring to not be seen at a lower profile, he came to the facility wearing fingerless gloves, concealing clothing, and his Deadpool mask. After he and Peter hung out the first couple of times, the younger of them asked if Wade would let him see his face. With lots of self-deprecating jokes, Wade said no. Sometimes Peter would go meet up with Wade and go mess around with him, and soon enough he introduced the assassin to his friends, Ned and MJ. They all talked to each other regularly, forming a tight little friend group. Wade sometimes felt like he didn't belong with them, like he was too old to be their friend, but they all had the same childish sense of humor. And given how intelligent the younger trio was, they felt mature to him. Many times, Wade forgot that he was older, even if it was only by a couple of years. As months passed, the Avengers got used to Wade's presence and didn't take much issue with Peter hanging out with him. It was innocent (although Tony loathed the sex jokes and vulgarity, especially when it was directed at his boy). It was clear that Peter had a vastly different moral compass and a much more sensible head on his shoulders, and was not going to be influenced by Wade's mercenary ways. He was trusted with the friendship. ~~The Crush~~ Wade fancied Peter from the start. The second the mask had come off, Wade was smitten, but he figured it would go away or just stay stagnant. He'd been attracted to and thirsted after people loads of times (hence all his sexual escapades), but he was never the settle-down type. He joked about Peter being attractive and sexy and made all kinds of quips, but given he was so crass by nature, Peter never took it too seriously. He did believe Wade thought he was attractive, but he knew he was like this with multiple people and figured it was harmless. Which it was, but he didn't understand that it was serious. The more Wade stuck around and the more he got to know the Spiderman, the more his feelings grew. He eventually had to face facts and accept that he didn't just like Peter for his body -- he liked his character. The boy was an absolute magnet; bright and sunny, happy, forgiving, generous, kind, merciful, hilarious, intelligent, and non-judgmental. He was the ultimate package. Wade also knew he was bisexual and knew that if he really worked up to it, asking Peter out wasn't out of the question or too far-fetched. What was far-fetched, to his mind, was the idea that Peter would ever say "yes." And even if he did say yes, was that fair to the Ironman's golden child? Wade was a self-sustaining disaster with baggage so heavy even Spiderman couldn't pick it up. As far as he was concerned, it was best to keep his feelings to himself and spare Peter the misery. What he didn't realize was Peter was starting to notice him, too. By Autumn, Wade sorely opened up to Weasel about his feelings. --- "Ew, do you like...love him?" "Maybe." "Gross. What are you gonna do?" Wade shrugged. "Nothing, same as usual. He doesn't need my insanity in his life, he's too kind and innocent." "But you wanna fuck him, right? Maybe just try to do that." "No, Jesus! Are you even listening? Peter's not that kind of guy, and even if he was into it, I can't take advantage of him like that." Weasel's face scrunched in mild disgust. "God, you have it bad for him..." "Yeah. It's like, he's a total bro, but fuckable. He's soft but strong, masculine but feminine, fierce but graceful." " " "He's the kind of guy you take on like fifteen dates, buy flowers and candy, get one of those stupid little Hallmark cards with some sappy bullshit saying how much the sender loves him. Then, you fuck him. Not at your place, but at his place, so he's more comfortable, and only after you've made him spaghetti and chocolate-covered strawberries, by candle light. You fuck gently. Passionately, but with strength, but you don't wanna hurt him. But he's secretly a sex tiger under the sheets, and it kinda scares you, but you love it, but you're still afraid to fuck him any other way than gently." "I feel like this is a fantasy you've had for a while." "No, of course not." "So...he's your friend, you want to fuck him, but you don't wanna just fuck him because that would be taking advantage of him. Because you'd rather have a relationship with him, but you don't wanna have a relationship with him because you think he deserves better, but you're gonna keep hanging out with him and torture yourself. Is that... I mean, am I close?" "Like a Hawkeye arrow through a nutsack with a target drawn on it." "Ow. I think my left testicle just rose back inside of me in fear." "Balls are very perceptive." "Okay, well here's my advice." Wade learned forward. "... You're fucked." "Thanks, I totally needed help figuring that out." "Who is the guy, anyway?" "...Peter Parker..." "Pete-- like Spiderman Peter Parker?" "Yup." "How the fuck...?" "I know." "I feel like I saw his face on the news last year when he got all discovered, but I don't remember. You got a picture?" "Yeah," Wade grumbled while reaching in his pocket for his phone. "Heh, 'course you do, you sick-o." After glaring at his friend, Wade pulled up a picture of Peter and zoomed in on his smiling face. "WHOA, holy MOSES, that guy is good looking!" "I know." "He looks like a stallion and a buck had sex with an Irish setter!" "Yeah, told ya. Fierce, but graceful." "I've always been a pussy-man, but I gotta say... He's making me question my sexuality." "He has that affect on people." "That is MAJORLY out of your league." "Thank you." Wade put his phone away. "How old is he?" "Nineteen." "Whoooa, a little on the young side, huh?" "Just a little, but he's mature for his age." "..." "...That sounded a little creepy, I take that back." --- Wade began an off-and-on effort of keeping Peter at arm's length. He went through periods of texting and hanging out with him less, but whenever it was clear that Peter could tell something was up, he snapped back into the picture. He couldn't bear to make Peter worry or feel as though he'd done something wrong. This went on for a couple of months. Peter too, was beginning to feel a little bit of romantic sting. Wade hooked up with a couple of people over the months, including Vanessa. There was a brief period where the two of them copulated like rabbits, and that was with the ex-prostitute knowing that Wade had feelings for someone. In the merc's mind, maybe he could get his needs out of his system, but it didn't work. If anything, he felt emptier after each fling. Peter was attracted to Wade before he even realized he was. Always seeking him out, making sure their friendship was solid, feeling a constant need to have a hand on him in one way or another. He also played into some of Wade's lewd jokes and would tease him. Then there was the dancing and singing, of course, which only got more intense as time went on (a natural instinct of the jumping spider to try and woo a mate through display). Tony and Steve began to notice the men getting closer, and Tony was very unhappy. Steve convinced him to stay quiet and let Peter figure it out. In late Fall, Peter turned 20. Wade was there for his party, as were Ned and MJ. It was a lot of fun! Come December, Wade turned 26. He'd tried another couple of times to get away from Peter again, but the boy wouldn't let him go. They were like a binary system of stars, unable to pull away from each other, constantly drawn back into one another's path by an unseen force. For how long could this go on before they collided? And when they did, would they blow up and break apart, or make one bigger, more beautiful star? ~~Spoken Interest~~ By January, Peter came to terms with his own crush, and secretly told Ned about it. For the next month and a half, the boys gabbed about it, and Ned found it adorable and kind of funny. Peter said he wanted to ask Wade out, but was nervous that Wade wouldn't be interested. "Well you're not gonna know unless you ask," said Ned. Peter flirted a little more with Wade, but it mostly came across awkwardly. It basically felt like he was just humiliating himself over and over again, but Wade was noticing the difference in him. Regardless, he tried to respect the space, and refused to give himself up. In February, Peter asked Wade to hang out with him at a park somewhere and "people watch," since Wade enjoyed that activity. He felt it would be a nice, serene setting to keep Wade's attention and finally admit his feelings. He told Ned about his plan; the latter was exhilarated at the thought, and said he'd be standing by. Peter put on a warm but nice outfit and drove off to their spot to talk. Even though it was casual as always, they could both sense tension. They sat and chatted for a while, and with a racing heart, Peter finally found the right moment to confess. --- "Hey, so... I've kinda been wanting to talk to you about something." "Hamburgers." "I... What?" "Hamburgers! They're weird, right? I mean, ham comes from pigs, and beef comes from cows. Hamburgers are made with cow meat, but we call them ham-burgers." Wade threw his hands up, head rolling about. "The fuck is up with that??" "O-oh, hah, I guess it sounds more appealing than...beef...burgers...?" Wade nodded thoughtfully. "Hm. Yeah, sounds kinda naughty." Peter could hear Wade's grin, and he stifled a laugh. His own smile was more earnest, but his desire flitted behind it. "Like beef curtain, or beef stick--" "Wade." "Yeah?" "Look, um..." He turned to face his company better, now getting nervous. "You and I are...really good friends, right?" "Why yes, broski dear." "Hah, well... It's just... Ahh, I don't wanna say anything and...mess that up." "...Well, what do you wanna say...?" There was a long silence. "...Okay -- okay, total honesty... Wade, I..." He drew in a deep breath. "I like you..." They stared at each other. After a long silence, the older male playfully slapped Peter's arm. "I like you too, beef buddy! ... Yikes, wow, see? Beef is just a naughty word." Peter blinked, thoughts spinning in his head a mile a minute. Wade knew what he really meant, but he couldn't begin to believe that in its suddenness. He was bracing for Peter to call him out on his own crush and possibly disown him, but this threw him for a loop. "N... N-no, no Wade, I mean... I like you...as more than a buddy, or a bro..." He swallowed. "Or a friend..." He rubbed his hands together, slowly and tensely, brown orbs wide while looking at Wade. The cold white eyes of Wade's mask pierced back at him. "...Oh..." "A-and... I just thought, m-maybe, if...you don't think it's weird, or if -- I don't know, if maybe you liked me too, we could...date...?" There was another long pause. This time, Wade understood for certain. When he looked forward to contemplate, stunned expression hidden by the mask, Peter looked off and around, his heart sinking. There were times when Wade was genuinely difficult to read, and this was one of them. Wade was getting his wish, it was like the start of his fantasy had come true! All he had to do was agree to it. "Uh, I don't think we should do that." He regretted it the second he said it. Peter felt his heart drop, and his face begin to turn red with shock and embarrassment. "Oh," he croaked while looking down at his lap. Wade's answer stunned him. When the merc spoke, he tried to bring it back to a place of casualty in the hopes of removing the heavy feeling from the air. "Look, don't get me wrong, you've heard me talk about ya. You're precious, and I'd be beside myself to fuck your brains out." Peter almost smiled, but the desperation for answers overpowered the natural response to do so. Wade continued. "But you're romantic, you need stability. I'm a one-night stand kind of guy, friends-with-benefits and all that. You're not really about that life, right? I mean, come on. You wouldn't sleep with me without getting to know me, right?" Peter swallowed something dry and thick. Looking away, the hope for this to go anywhere withdrew from his gaze, and he shook his head. "No..." Even Wade was at a loss for words for a moment. He may have turned his head away, but out of the corner of his eye, he could see Peter's heart breaking. He saw his red cheeks, his pinkish eyes. He could feel the sadness, and a lot of it was coming from himself, too. But he pulled it together again and lightly slapped the back of his hand against Peter's shoulder. "Eyyy, come on, this doesn't change anything, right? We're still pals." Peter quickly nodded. He was polite as ever, but the sensation that he had just gotten hit by a train was easy to read. "No -- yeah, yeah yeah yeah, it's -- it's just... It's a little embarrassing, aha, I mean... You know, I..." "Nah, it's not so bad. It's adorable! Like I said, doesn't change a thing. Now when we get past this, I can tease you about thinking I'm a hot piece of ass." Peter did finally crack a small, broken smile and shook his head. He was glad that Wade wanted to be friends, but the damage was done. "...I mean you still wanna be friends, right?" "Absolutely! I just... It's kind of a hard pill to swallow..." "Yeah, I know. You put yourself out there, then get shot down..." With genuine remorse and a strong but hidden wave of self-loathing, Wade laid a hand on Peter's shoulder. "I'm sorry." Peter nodded again and closed his eyes. He felt emotional, but why? Did it really mean that much to him? Staying strong, he glanced at Wade, mustering a hurt smile. "Don't be sorry, you know I prefer honesty. I mean it'd be really stupid to say 'yes' when you don't want that, right?" As if Wade's heart couldn't sink any further. "Yeah..." "Look man, um... It's -- I'm not like mad or anything, you didn't do anything wrong, but... I think I should go home, and just, like...try to process it--" "Yeah! Nothing wrong with that. I'll give you a couple days to uh...reel." "Yeah, I think that sounds good." When they rose to their feet, they both chuckled sadly. In their awkwardness, Peter offered his hand to shake, which Wade accepted uneasily, but eventually pulled Peter into a side hug. "It'll be fine, we'll get past it. You take your time." "K-ay..." With one last hurt smile, Peter left Wade's company. On the way back to his car, he finally let the tears roll. Wade watched him go until his car was out of sight, stunned by his own foolishness. He wasn't stupid; he knew he had made Peter cry. He knew he'd broken his heart, and he hated himself for it. When Wade got to his apartment, he took out his anger on his environment, taking to breaking a lot of things in his living space. --- Peter did his best to get most of his emotions out before he got home, but the sadness and hurt would linger. When he got inside he pretended everything was okay, but it was obvious his mind was elsewhere. Not too long after getting in, he went to his room and called Ned. --- "Hey, what's up? Did you talk to him?" "Yeah." "...Uh-oh. What did he say?" "He said 'no.'..." "Awww man, Peter, I'm sorry. Did he say why?" Peter tried to keep his sniffles quiet, but Ned could hear them anyway. "Yeah, u-um... He said that...you know, he's a one-night-stand kind of guy, and that I'm -- we're -- ... He doesn't...think it would be a good idea, because he just...likes sex, and I'm romantic, so..." "That really sucks, I'm sorry." "Me too..." "...Hey, I rigged my GTA 4 game to get Carmageddon on the 360." Peter continued to hold back his emotions, but only half-cared about Ned's random statement. "Y-eah...?" "Yeah, it's really funny! Can I come over and show you? It should work on your 360." Now understanding, Peter smiled a little. "Yeah, that sounds cool. We could, um... I could make...popcorn, or something." "Awesome! Is now good?" "Sure, uh -- lemme ask Tony first, just to be sure." "Okay. Text me." --- After they said goodbye and hung up, Peter got confirmation from Tony that having Ned over for a few hours would be fine. While on his way to go prepare everything, May found Peter and insisted he tell her what was wrong, as she could tell something was up. Although he'd wanted to keep it hidden from his elders, Peter (naturally) trusted May and knew it was confidential, so he came clean. Seeing her nephew's broken heart, May consoled him and offered a little advice about how to heal up from it, and insisted that they would, yes, go back to being friends in time. ~~SpideyPool~~ In the days passing, Peter and Wade refrained from messaging each other. Peter went about his usual life, including going on regular patrols. He took down a couple of small criminals, helped a few people in minor danger. This always felt good; even the littlest of ways he could help people made his day brighter and his heart fuller. Wade, meanwhile, had spent the days since the rejection in sorrow and self-hatred. He'd smashed a lot of the stuff in his apartment and all but shredded the couch, laying face-down on the tattered furniture in a mess of stuffing, old food scraps, alcohol and the same outfit he'd had on when he last talked to Peter (minus the coat, boots and mask). It had been five days. But on this fifth day, Colossus happened to pop in. He knocked. --- "Wade? You are playing Elvis again. Are you all right?" "AwwwWWW!! I'm not in the mood, Sputnik! Fuck the shit off!" Colossus opened the door and hunched in, turning off Wade's music. "You should really lock door. Wade, you are a mess; what is wrong?" The merc answered him with his face still down and pressed to the couch. "What's wrong is this big metal dildo man keeps showing up at my door even after I tell him to fuck. the. shit. OFF." Colossus looked around, ignoring him. "How do you live like this..." "I'm not living, I'm existing." "Clearly. Is this another episode? Perhaps I should take you back to the mansion again." Wade lifted his head, tired eyes closed. "GOD, no! No more bland-coated walls with old white men all over them and every other X-Man acting like the studio couldn't afford to pay them to even just walk around and pretend they live there." Colossus raised a brow, but ignored him, as he was so used to doing. "Well, if this is not episode, then what is it?" Wade's face flopped back into the couch, pressing in harder than earlier. "Imn mm bmng m thnntl dmshm." "What?" With a heavy groan of aggravation, he sat up entirely, allowing small bags of food trash to spill onto the floor from its position under his body. Colossus winced at the crinkling and crumbs. "It's me being a total dipshit..." "What did you do," he asked tiredly while folding his arms. "I told you I liked some guy, right? Well... Turns out, he liked me, too." "That is good news." "Yeah, it was, until he told me he liked me and I shot him down like a retarded clay pigeon in a Guantanamo Bay shooting range." "..." "I swear to god, it's like while I wasn't looking, the cancer snuck into my brain and made me even stupider." "Why did you turn him down?" "Because -- he's nice, okay? I don't just wanna get in his pants, I want to date him. I want to have a relationship, but he's not the person I should be trying that out with on account of how fucked sideways with a cactus my head is." "On inside, or outside?" When Wade glared up at him, Colossus chuckled. Squinting, Wade lowered his voice. "Are you The Moby? 'Cos I haven't even taken The Great American Challenge yet, and I feel like you're stretching my ass WIDE open." "Eugh! Listen..." Colossus softened up and sat beside him carefully. "You are...different, very rough around the edges. You are afraid that this guy is too good for you." "No, I KNOW he's too good for me. I can't risk screwing up his life." "How do you know that would happen?" "Uh, do I not ruin everything everywhere I go?" "Only when you really mean to. But he likes you too, yes?" "He says he does... I'm not sure why." "Maybe because, in your own strange way, you are charming man. You have a big heart, you care about people -- most of all, him, it seems." "That's why I gotta stay away from him." "No, that is why you must go to him." Wade glanced up at his company. "You must go tell him the truth, give it a second chance. He deserves to know what you are thinking, does he not?" "... No, I don't want to make him more miserable." "If he is miserable, it is only because you have not been honest with him." "...You really think I should do this? You really think I should go over there and just...tell him how I feel?" "Absolutely." "...Just admit that you want me, Colossus." Colossus sighed. "I don't know,..." "Trust me, if you don't do this, then you will never know what could be. You will spend the rest of your life wondering what could have been, your soul will forever be restless." "..." "...Who is it that you are pining for so badly?" Wade's voice almost cracked. "P-eter Parker..." "Peter Parker?? You mean Spiderman???" "Yeah." "OH, he is a VERY good young man... Erh...over eighteen, yes?" "He's twenty." "OH, good." "Like you said, he's very good. He's not...he doesn't deserve all my shit." "You will never know, Wade. Not unless you take risk." "..." "If you try your best, if you let love in, and it is real, then your messy life will work itself out." Wade looked up at Colossus, who then put a caring, large metal hand on his shoulder. "Maximum effort." "...Okay... Maximum effort." --- When Colossus left, Wade showered and started cleaning up. On the sixth morning after their last conversation, Wade called Peter, but the latter was around other people while in the facility. Not wanting to talk to him in front of anyone, he declined the call, but texted Wade saying "Hang on i'll call in a sec." He went to his room and did as was promised, calling Wade back while sitting on his bed. --- "Hey, Spidey!" "Hey, Wade." He sounded a little tired, but was kind and open-minded. "What's up?" "Uhh not much, I was with Tony and Wanda and didn't want to talk in front of them. Just...sitting in my room, now." "Gotcha." "So...did you want something?" "Aww, you're still upset about the other day," he said with an audible smile. Peter sat up, voice more peppy. "No, no, I mean I'm not upset, I'm just... It... 'Upset' is just such a harsh word, um... I'm just kinda sad, you know? It's -- I'm still just trying to...make sense of it all, figure out what's...going on in my head." "I understand." "I'm sorry..." "Why are you sorry?" "I don't know, I just feel bad, I mean this can't be fun for you, either. I just feel really stuck. And -- I told May, but only because she could tell how down I was." "May is nice." "She's the best..." "...I miss you, Pete." "Me too... Ned...rigged his GTA 4 disk to run Carmageddon on the 360." "What?! That's sick as FUCK!" "Yeah... Maybe sometime we could hang out and play it together. It's really funny..." "I'd like that. Or... I could just come hang out with ya right now!" Peter sat up a little more. "Oh, Wade, I don't know, I... I think I still need a little more time to process everything. It's -- I'm still not mad or anything, you're still my friend, it's just kinda hard..." "Oh... Well that's too bad, 'cos I'm right outside your window." "--What??" After Wade's shadow cast onto the wall and got Peter's attention, he quickly looked to the left and saw Wade in the window, waving happily at him before putting the phone back to his ear. Peter tossed his phone down in shock and ran to the window. "Wade!" He opened the glass pane, shivering at the freezing air. "What are you doing?!" "Just felt I needed to come by and clear things up with you." After realizing he was talking pointlessly into his phone, Wade shrugged and tossed it. "Wha--" Peter quickly fired a web at the little computer, snatching it and yanking it into his hand. Wade crawled into Peter's room through the window, and then the latter closed it and handed Wade his phone. "Why would you throw this??" Wade took his phone back and chuckled. "Ewww, now it has webs on it...!" "That's better than being broken!" Wade shrugged the snow off his shoulders. He was in full suit with a beanie on his head over his mask, and a fur coat. "Plungers make really good building-climbing tools, did you know that?" "Eugh, you -- you used plungers to get up here?" "They're all new, it's fine. Well -- except for the one for my right foot, I wouldn't touch that one." Wade slid off his coat and beanie. "Wade, what are you doing here...?" "I wanted to talk to you about the other day." Peter motioned for him to be quiet, then stepped over and locked his door. Turning back to face him, he kept his voice low, and so his visitor did the same. "Okay?" "Look... The thing is, I like you, too. A LOT. I've had it bad for you from the start, Petey, but... It's like I said the other day; you're a nice guy, and--" "Wait, let me just stop you there." He waited. "I know that you like to sleep around, and that's okay. Some people are romantic, and some people aren't, and there's nothing wrong with that. I'm not judging you, I think what you do is totally fine." Wade nodded. "But... I'm still not that guy, you know? I still need those things, I'm -- I want a relationship. It's okay that you don't want that, you don't have to explain yourself. But if this is a request to just...fool around, um... I'm...not game for that, I'm sorry." "...Aww, you're so cute," he said happily before roughing Peter's hair lovingly. Peter stood in blank confusion, having no response to that. "I'm not here because I want to have sex with you. I mean, I'd like to, but not like...right now, I mean like in the future, when we've been seeing each other for a little while." "..." "When you asked me out, I said no because I didn't think I was right for you. I still don't, honestly, I mean you should really, just...turn around and run while you have the chance. Because I'm about to ask you something, and I don't have a lot of patience, and I might just blurt it, cut and dry." "Wade, what the hell are you trying to say?" "I'm saying... Will you go out with me...?" Peter stood in total shock, staring blankly at Wade. "......Is that a 'no'? That's probably a wise choice, but I'm gonna...need verbal confirmation. I mean if it's not 'yes,' it's 'no,' because basic principle, but ya know. ...?" He finally blinked and shook his head a little, making an effort to make sure he kept his voice low. "Okay, wait... You do want to go out with me...?" "Yeah. I've wanted to since like, last June." "FFFFFFFF-- Wade...?!?!?" "Yeah... Pathetic, I know." "So why did you say 'no' the other day??" "I told you, because I don't think I'm right for you. I'm super fucked up and you're really nice! You're --" "Shh...!" He lowered his voice to something of a shouting whisper. "You have your whole life ahead of you to meet fucked up people, you should at least have some normal, healthy relationships first...!" "Wade, that's up to me to decide, and I know you think you're like the worst person ever, but you're actually really a good guy...!" "Why are we whispering...?!" "Because if Tony finds out we're even discussing dating he'll throw you to the moon...!" "That would suck...!" "I know...!" They both stood a little taller, each sighing some and looking off before focusing again. They stopped whispering, but remained quiet. "So..." "I'm just saying... I've got a lot of baggage, and problems, and a whirlwind of mind shit that falls out of its little shit-filled cabinet whenever it feels like it. I have LOVED being your friend, but I'm..." "...Yes...?" "...I'm scared of hurting you..." Peter relaxed and took a step towards him. "You're not gonna hurt me." "You don't know that." "And you don't know that you will. But if you think that, but you still had the nerve to come tell me how you feel and ask me out..." Wade looked up at him cautiously. "...Then you must have some sort of faith in it being okay, right?" "..." Peter started to smile. "What if we just tried it? Why don't we just...date...? And if it doesn't work out, then that's okay. We can just be friends. I mean that's what we were working up to being again anyway, right?" "That's how it would have to be. I can't lose you, Spidey, you mean a lot to me." "..." "You're like ice on a burn. You have...the BEST heart. I don't wanna hurt it." "Stuff's gonna hurt me, Wade. That's life, it's okay. If you hurt me, we can get past it." "...You promise?" Peter smiled bigger. "I promise. Hey, who knows? Maybe I'll hurt you or something, pfft." Peter couldn't see it, but Wade was smiling, too. "If you're serious, and this isn't you feeling guilty about saying 'no' or asking for a one night stand... I would love to go out with you. PLEASE, let me go out with you." --- And so it was, they secretly began dating. Wade made arrangements to take Peter out that very afternoon. After Wade left through the window, taking his plungers with him, Peter called Ned in a slight panic. He excitedly explained what happened and told him he needed to prepare himself for the date, and they hung up. When it came to Tony, Peter had to keep quiet. Like before, he didn't tell anyone, including May; he just didn't want anyone to know yet. The first date was just spent with the boys wandering around a nice part of the city, discussing how they liked each other and how long each of them have felt it. Wade explained that he was a mess for the days following his rejection of Peter, and that it took Colossus busting into his apartment and yanking him onto his feet to get him to go talk. He also confessed to having slept with a couple of people, including Vanessa, which Peter was more than fine with. But, he emphasized, Wade really needed to look into STI testing just to be safe. The first date didn't end with kissing or anything randy, and Wade still didn't show Peter his face. Instead, they hugged, and Peter drove back home. The dates following were very similar, with food as part of the equation. They even had a "parkour date," where both got in full suit and leaped around the city, showing their abilities to one another for the sheer sport of it. Peter even held Wade and swung around the city with him on his hip. According to Wade, this was terrifying but romantic. By this time, Peter told May and MJ. After a few weeks, Peter and Wade felt relatively steady. Tony and Steve could tell something was different with Peter when it came to Wade, and Tony had his suspicions from the start. Peter knew that Tony could sense something unusual, but he played around it and acted casually. Tony chose to stay quiet about it. During a date one late afternoon when Peter and Wade were on a harbor, in suit, the sun out after a light rain (yes, it must be that specific), Peter pressed a little harder to see Wade's face. He understood why Wade was shy about it, but kindly argued that it was difficult to date someone he'd known for over a year while still not having a clue what he looked like. Feeling that Peter's reaction could really make or break the potential of their relationship, Wade finally conceded and removed the mask. To his surprise, there was no horror or tension, or even the slightest bit of disgust. He looked a little surprised, briefly raising his eyebrows with a blink, and studied him. He said "Wow," and that was about it. Wade started to make jokes about himself, to which Peter put his arms around Wade and told him he wasn't allowed to insult himself whenever he was in the Spiderman's arms. This became a new theme with them. After a minute of talking, and with Wade allowing his new partner to lightly touch his scarred cheeks, he asked if Peter had anymore requests before the mask went back on. --- "...You could kiss me..." Wade stared at him in light disbelief. "...Or -- or not, it's totally optional. Just a suggest--" As the cliche stands, Wade kissed him, cutting off his sentence. When he pulled away, Peter was stunned and glowing. "O-ohhoh... Okay, I-I don't have a lot of reference, but... That was really good..." "I agree." --- Wade put his mask back on, and the two were smitten. A few days after their first kiss, Peter finally sat down with Tony and Steve and came clean about his recent dating situation. Steve didn't love the idea, and Tony hated it, but the former offered support and simply asked that Peter be careful and trust his instincts. Tony was a tad more chilly with his honesty, but when Peter became insecure, he emphasized that he wasn't angry. He just didn't trust Wade on a romantic level, and feared Peter getting hurt. This gave Peter the opportunity to remind Tony that he was a big boy now, and he could handle making his own mistakes, and was willing to face the consequences of his decisions. It ended on a positive note, but Tony couldn't hide the lack of thrill he had over the new relationship. Weeks turned into months, and things when steady. In their time together, Peter got permission from Tony to make his very own original suit. Given how comfortable he was with Wade, and with the relationship also recently going public, Peter felt the desire to start fresh and switch up his look with a lot more blue. For one thing, the blue complimented Deadpool's vast red and helped him stand out.~ That May, when they'd been going out for about three months, Peter started becoming more bold in his physical interest in Wade. He'd been to the merc's apartment several times as well, and had actually managed to convince him to start cleaning the place up and get some new furniture. He wasn't judgmental; he merely worried for Wade's state of mind and the health hazards, insisting that he might feel better and more confident if he lived in better conditions. This conversation brought Wade to inadvertently mention how he was desensitized to the squalor due to being forced to sit in his own waste and vomit for a while when he had gotten ill at the Mutant Factory. This was one of the most serious things Wade brought up right off the bat, but upon seeing Peter's face stricken with shock and concern, he clammed up. Peter assured him that there was nothing to be ashamed of, and that he appreciated Wade talking to him. The conversation helped Wade feel better, much to his shock, and he agreed that it might be good for him to clean up the apartment. So he did just that. It wasn't spectacular, but the improvement was great, and Wade actually found himself wanting better for how he lived. In June, Peter's physical interests were more clear. They'd discussed sex, but Peter was shy, and Wade was never one to push. But finally, while making out one day, Peter came to the conclusion that he was ready to be intimate. They each went home and planned for Peter to go to Wade's. They each wanted to shower and prepare for it first. Peter brought a small bag with a movie and his suit in it (just in case). He told Tony that they were just going to have a movie date. Tony didn't like it, and insisted Peter also take his iron suit (which is tightly compact into a small shape when dormant like the Ironman suit). Peter obeyed, willing to do anything to help Tony feel more comfortable about him being out and about. At Wade's apartment, the pair chilled for a little while, but Wade was eager to show his company how he'd prepared the bedroom. He led Peter to his room, revealing soft pink and orange shaded string lights pinned up around the walls, nice bedding, and an overall sense of warmth. Needless to say, Peter was very impressed, letting Wade know he did not expect this, and didn't require it in the future. But yes, he absolutely loved it, and knew he would have a good time. When they were done, they both fell asleep in Wade's bed. Tony called around 1 in the morning, asking where Peter was. He was a little upset, but nothing Peter couldn't work around. He apologized and said they were both tired from watching the movie and then playing some video games, so Peter crashed on the couch and forgot to tell Tony he was staying the night. After a little back and forth, Peter reassured him that everything was all right and encouraged him to go back to sleep. He promised to come home early in the morning with a box of donuts as an apology. Tony hesitantly agreed, and left him alone. Once more, the next day, Peter made a point to tell Ned about his escapades. The next few times Peter went to Wade's house, he ended up spending the night. And again, he lied his ass off to Tony, saying they just had a new routine of playing video games until they crashed. Tony knew better, and Peter knew that, but neither were willing to give on the subject. By this time, Peter quietly told aunt May that his relationship with Wade was now very serious. She was excited for him, proud and happy and double checked that he was being safe. Embarrassed and a little exasperated, he confirmed this, and just like that May was back in fun mode. She was able to accept that Peter was grown now, and she was glad to try and guide him through this very impressionable period in his life. The morning after Peter's fifth time with Wade, Colossus visited unexpectedly while the boys were still sleeping. Wade got up and addressed him, completely naked, while Peter stayed back and hurriedly put his clothes on before meekly coming out to greet the metal man. He was shy but thrilled to meet the infamous X-Man. After Peter convinced Wade to at least put on some underwear, they all sat down together and had a chat. Colossus was happy to finally meet Spiderman, and when Peter got home, he told his family about how funny it was to wake up and meet Colossus. Later that day, Tony finally pulled Peter aside and broke down, having a serious discussion with him about the relationship. He asked for full honesty on whether they had become physical, and Peter answered honestly. The talk was civil, as Tony loved Peter too much to ever take out any frustration on him, but his concern was clear. He told Peter he respected that, that Peter didn't need to feel bad about it; he was just making sure everything was okay. Not that it was any of his business, but he considered his family to be his business. Peter didn't mind, so long as Tony stayed cool. The Ironman did confirm that Peter understood the fact that he wasn't going to invite Wade to live with them. Peter agreed. When Tony asked if Peter was thinking about living with Wade, the latter said "no." "So what are you gonna do?" Tony asked. Peter told him that he would just keep doing as they had been; dating, hanging out, and if they wanted to have personal time, Peter would go to Wade's. He told Tony he felt he really loved Wade, and was okay with the fact that he was, in Tony's words, "super fucked up." He understood that he wasn't responsible for Wade's mental health, but that he enjoyed helping him through some of his issues. He understood that trauma like this was a long-haul, and he was willing to at least try. After all, everyone he knew was traumatized, himself included. The conversation helped clear the air a lot for the father-and-son pair, and Tony grew a greater respect for the relationship. A week or so after that conversation, Tony ended up having a talk with Wade. The merc shocked him with his raw honesty about his feelings for Peter, revealing his only intention was to be happy with him without weighing him down. He loved him, and he would do anything for him, including whatever he could to please his family. He understood why everyone flocked to shield Peter; he was different, special. It was then that Tony finally saw an ounce of what Peter saw in Wade, and his respect grew. In August, Peter turned 21 and in December, Wade turned 27. In that time frame, Peter began sneaking Wade into his room sometimes to get physical.~ Not long after Wade's birthday, Tony finally came to grips with the reality that Wade wasn't going anywhere. His relationship with Peter was incredibly strong and steady, and despite Peter having his job, his family and friends and Wade, he'd managed to make it all work. They were mature, and mature together, and Tony wanted Peter to have every opportunity possible to make things a little easier. So as a surprise, he told Peter he was going to allow Wade to move into the facility, even though he wasn't being offered any Avenger titles. He even said he didn't mind if Wade and him shared his bedroom, so long as they weren't mindless sex idiots and kept everyone awake all the time. Stunned, Peter was beyond grateful. Together, everyone gathered up and invited Wade to the facility to make the offer. Wade was uncertain at first, asking if they wanted him to be an Avenger. "GOD no," said Sam. Peter informed him that this had no strings attached, and asked if he was ready to move in with him. Wade said yes, and accepted this very unexpected, beautiful birthday present. In being offered to move in, this was the Avengers fully embracing Wade and adopting him into their weird, messed up family. In time, they would learn to see that Wade was in fact, a good man with a big heart, and become used to his mouth. ~~Love Forever After~~ Living together, it was a dream come true. For the first time in Wade's life, things finally seemed to be on a steady path, and he would do anything to keep it that way. He was happy, he wanted to stay happy, and most of all, he wanted to do well for Peter. With them being together (even before Wade had moved in), Peter helped Wade open up about his past and his feelings. He wasn't judgmental, he wasn't off-put by Wade's mannerisms, weirdness, strange coping habits, random emotional moments, nightmares, or even the nastiest of content regarding his past. He just listened and consoled, and even shielded Wade from the harshness of others. With a guy as wonderful as the friendly neighborhood Spiderman, even though he wasn't perfect, Wade had a tough time feeling like he could give back enough. What he didn't tend to understand was Peter already felt Wade did give back. Wade was a passionate, attentive, caring, thorough lover, and exceedingly generous. He did anything and everything he could for Peter. Aside from just being the best mate he could be, he couldn't think of much else, but it was more than enough. Peter needed him, too. And when Peter had problems, his heart was heavy or he had his own traumatic episodes, Wade was there for him. He applied the very things he'd learned from his love and gave back. After some months living with Peter, Wade had his first serious emotional breakdown related to his trauma. Deadpool, Spiderman, Ironman, Scarlet Witch, and War Machine were out on a mission one night. On a rooftop, after the mission was finished and they had regrouped, Peter was wrapping some things up when a casual conversation started between Wade and the others. The Mutant Factory got brought up, which Wade appeared fine with. He joked casually about what he went through, and the others listened. But at a certain point, after making a comment about his torture that initially caused him to laugh, his laughter suddenly turned to tears. At first the others just went along with it, used to Wade's emotional switches at this point and figuring it would be fine. But when the merc's weeps became sobs and he could no longer stand up, everyone finally realized something was wrong. James stood by Wade and Wanda knelt beside him, clueless as to how to help or what exactly was happening. Tony called Peter to their gathering on the rooftop, and when the Spiderman saw his partner in a heavy heap of tears, he sprung into action. Wanda and James backed away to give Peter the space to console him. He was understandably confused and alarmed by the development, but stayed calm. Tony had an idea of what was happening, cluing Peter in with a reminder of how he had suddenly felt okay enough to grieve his uncle when the time came. It clicked; Wade finally felt safe and comfortable enough in his life that his mind was ready to start the healing process. Peter carried Wade away from the group, who let them have their space. He removed his mask, and convinced Wade to let him take his off, and he held him. Wade announced that he didn't understand what was going on and that he couldn't stop, so Peter told him not to stop. He told him that this was a good thing even though it didn't feel like it, and that it wouldn't last forever. After a while, when Wade was calm enough, Peter took him home. He explained to him what he thought was happening. From that point on, Wade was much more prone to having harder breakdowns, but at that point they seemed to happen at more appropriate times. He also had an easier time talking about it, even if it did hurt like all hell. Thankfully, for Wade's sake, his primary trauma response now is sobbing and nightmares. And when it happens, someone is always there to help him. Of course he still has his random weepy moments at weird things, but Peter has always been understanding of that and never judged him. If anything, he only ever helped Wade feel validated. When Peter was 22 and Wade was 28, the Trial of the Gods ensued. This was hard on Wade, and revealed he had a host of dependency issues with Peter. It led to them having a serious but gentle talk, where Peter offered to work with him on easing his mind about the fact that bad things happen, and if anything bad ever happened to Peter, he needed the peace of mind that Wade would take care of himself. Stay clean, healthy, surround himself with his friends, continue to do good things. If not for himself, then for Peter, because he would want that. Wade agreed, even though the conversation was hard. Ultimately, Wade's mind never reached any peace until he went on a mission and secretly killed himself in order to get to The Realm of Silence, Interitus's realm of the dead. After having a quick conversation wherein Wade asked the elk god if he would ever die for good, Interitus told him 'yes.' He said that Wade would not live forever, that his time would come when it was right, and in death he would be with his beloved. This gave Wade all the peace he needed. Someday, Wade and Peter will get married. How, when and under what circumstances remain a mystery. For now, they're just loving life together. ----------------------------------------------------------------------------------------------

#Marvel #MCU #SpideyPool #Spiderman #Deadpool #Wade Wilson #Peter Parker

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introvertguide · 4 years

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M*A*S*H (1970); AFI #54

The next film on the AFI List is what is often called a dark comedy, M*A*S*H (1970). This was a highly rated movie by critics although it was overshadowed by Patton that came out the same year. The film earned nominations for Best Picture, Best Director, Best Supporting Actress, and Best Editing while winning for Best Screenplay. This is the first major feature length film for director Robert Altman after years spent directing for television. This experience is very apparent because the film experience is like binge watching webisodes online. Many short stories that come together around a group of characters in a specific setting. I want to go over the story before any further critique and I will break it down like episodes of a TV show. Oh yeah...

SPOILER ALERT!!! THERE IS A LOT TO THIS FILM SO REVIELING THE PLOT WON’T REALLY SPOIL THE EXPERIENCE, BUT I WANT TO BE SURE TO WARN ANYBODY BEFORE I START SPOILING DETAILS!!!

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The film starts with the well known helicopters flying in with wounded soldiers with the theme of “Suicide is Painless.” These same shots were either used or simulated for the beginning of the television show. The tone is set to be a rather somber war film that deals with injuries and death in battle...until one of the groups moving the stretchers falls over and the tone becomes uncertain.

We then meet two new surgeons that are assigned to the 4077 unit. They are Captain Hawkeye Pierce (Donald Sutherland) and Captain Duke Forrest (Tom Skerritt). They are insubordinate smart aleks who take a jeep without a driver and go off to the medical outpost where they are assigned. They immediately run into Major Burns (Robert Duvall) with whom they share an officer’s tent. Duke and Hawkeye have a rule breaking style that does not mesh with the extremely strict and religious Major. The two immediately ask for the Major to be moved. They get a new tent mate in Captain Trapper McIntyre and we have our three doctors. Also in the camp are Colonel Blake (Roger Bowen), Major “Hot Lips” Houlihan (Sally Kellerman), the dentist “Painless” (John Schuck), and Lieutenant “Dish” (Joann Pflug).

The first situation is dealing with Burns. He is indoctrinating a local teen by having him read the bible. Not really too bad. The man is annoying and I couldn’t remember why he got such a bad rap. However, he blames an assistant (who is not a nurse and played by Bud Cort) for the death of a soldier when the man was going to die anyway, and Trapper takes exception and punches Burns in the face. Burns then starts to court the new Major and the three docs broadcast them being intimate over the loudspeaker. She tells Burns to kiss her hot lips and gains her nickname. Hawkeye rags on Burns about the incident until the Major attacks the Captain and Burns is taken away for psychiatric discharge. The three doctors respect Houlihan’s nursing skills, but they still really hate her neurotic adherence to the rules.

The next situation involves the dentist, Painless, who was unable to perform sexually with a visiting nurse so he believes he is gay and wants to kill himself. The doctors form a scheme to give the dentist a pill that will knock him out and also give him an erection (like a Cialis sleeping pill). Painless believes the pill will kill him and everyone says their goodbyes. All the surgeons have dinner together in a scene reminiscent of the last supper and then Painless is given his pill and lays down in a coffin while a reprise of “Suicide is Painless” plays in the background. Once Painless is out, a good looking nurse who is about to leave for home, Lieutenant Dish, is convinced to have sex with the dentist to convince him he is not gay. It works and the Lieutenant leaves in the morning and the dentist changes his mind about dying.

There is a brief interlude where the docs wonder if Hot Lips is a natural blond. To find out, they set up a scheme in which they drop open the side of a shower tent while the Major is there so they can see her pubic hair and compare. It is a rather mean prank that the whole camp is in on, and Houlihan goes to Colonel Blake and complains that he lets the surgeons get away with everything. He tells her to get out because he is sleeping with a nurse and drinking alcohol that was brought in by the three doctors.

The third situation involves Trapper and Hawkeye going off to Japan to perform emergency surgery on the son of somebody with influence. While there, they also use the facility to help a baby of one of the local prostitutes. They are caught with the possibility of legal repercussions, but blackmail the local officer with pictures of him with the prostitute. They get their way and are able to go back to the 4077. When they get back, it turns out that Duke has been sleeping with Hot Lips because he likes blondes.

The final situation is a little out of the blue but perhaps the most well known aspect of the film. The 4077 is challenged to a football game by local evacuation unit 325. The two camps both get ringers to play as there is a $5000 wager on the game. The 4077 holds back their ringer for the first half and sabotage the best players of the 325th so they can increase the wager and the odds at halftime. It works and the 4077 bring in their ringer and are able to win on the last play.

The end is very much like the beginning in that Hawkeye and Duke are given their papers to go home and they steal the same Jeep to leave together. There are no closing credits but the actors are all mentioned on an overhead announcement that breaks the 4th wall of the film. Very creative and a pretty satisfying ending.

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Like I said at the beginning, this doesn’t really feel like a film but more of a series of episodes. It is no wonder that it translated so well to television and became one of the most popular shows of all time. There was only one actor that went from the movie to the TV show and that was Colonel Blake’s secretary known as Radar, who was played by Gary Burghoff. This is one of the few films on the AFI list that you can watch in parts or step away from and not really miss anything. It was a lot different from anything that had been done before, but it does seem a little incohesive.

My mom is not a fan of this film specifically because of the way that these three doctors treat everyone else. Major Burns does not really deserve his fate and the nurses are constantly used for their sex appeal. The three are incredibly mesogenistic, Duke is kind of racist when there is a discussion of a black man staying in their tent, and Painless would rather die than possibly live his life as a gay man. All of these characters are in a horrible situation, but the audience is supposed to automatically favor the flippant care-free doctors. Burns and Houlihan are not really played out as terrible people but we are supposed to laugh as these surgeons torture them. The joke really doesn’t hold up.

I really think that this movie is a great time capsule for the time period. Men were being drafted to go off to war and it was believed that they were being stripped of their humanity and turned into killers. Vietnam was a war that many Americans didn’t want to be a part of so the idea that the war experience could be good with the right attitude appealed to many. The graphic nature of the surgery scenes made the situation feel real so the movie going audience cheered for those men who could do their job while keeping their sanity and their frat boy sense of humor intact. Again, that is not the humor of the nation currently so the gags don’t really hold up. It does give the viewer a glance into the mindset of the audience at the time.

After Nashville, I don’t have that much to say about the cinematography. Altman definitely has wide shots in which a lot is happening, but it is set at a small army camp in which it is hard to tell the actors in uniform apart. A lot of the action is lost. Also, there are far fewer characters in this film than in Nashville. Altman’s TV roots are much more evident in this film. That being said, the constant change really helps to move the movie along and I would say it is up with Raiders of the Lost Ark as far as quick pace.

So does this film deserve to be on the AFI list? I’m actually going to say no. The TV show that was inspired by this film made for some of the best episodic story telling on the small screen, but you can’t really give that to this film. The comedy really doesn’t hold up and the lack of any cohesive story lasting more than 15 minutes is very detrimental. Would I recommend it? Yes I would. It is fun and a pretty easy watch. I am really just not that sure how it got on the AFI list. It wasn’t highly awarded and many people don’t know there even was a movie before the TV show. It is an interesting bit of history, but it is no big deal if you skip this one. Watch the TV show instead.

#MASH #Robert Altman #1970 #war films #introvert #introverts

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wheremytwinwatches · 4 years

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[Where My Twin Watches]: Full Metal Alchemist Brotherhood Episode 18

Last time, Ross was framed for the murder of Hughes, and may have been “killed” or actually killed by Roy. Hopefully we can figure out what the heck’s going on this episode, because I haven’t been this confused by how a death could be faked or not since BBC Sherlock.

Alright, looks like The Mighty Armstrong (who’s absolutely rocking his off-duty outfit) did take Ed to Resembool, supposedly to get his arm “fixed”. Oh hey, it’s the little Xing girl! May Chang, right? Wait, turn around you two! You just walked past a new character! Wait a minute, last time we saw the little girl she was traveling with- Methinks we’ll have a fight scene this episode. Ed’s demanding details from The Mighty Armstrong, who says he was just told to bring Ed here and rendevou with someone. A Lieutenant Breda? I recognize him as one of the Mustang Crew, but that’s about it. Although Ed doesn’t seem to be that happy to see him. Episode 18 - “The Arrogant Palm of a Small Human” Back in Central, Al’s wondering why Al hasn’t called to let them know he’s in Resembool. And Winry calls out the “repair” excuse when she was RIGHT THERE. Seriously, whatever’s going on they couldn’t think of something better? [Al]: “And the stuff with Lieutenant Ross… I have no idea what’s going on.” You and me both, buddy! What the heck suddenly Sword Guy’s in the room. Sitting right next to Winry? Nope nope nope shove of Princey you are not messing up my ship. Anyways, the illegal alien/lockup escapee popped in to let them know Ed’s just fine- Right as we cut to Ed dying of dehydration. What’s up now, why’s Ed in the desert? “Crossing the border”? Wait, with what Ling was saying, are they going to Xing? Why? Also TURN BACK YOU MISSED MAY! Breda asks the fourth rider, a Mr. Han, how much further it is, and the guide points out some ruins ahead. Wait, ruins? Oh hey, didn’t Ling mention some place called *checks past posts* Xerxes? Somber piano music as we look over the shattered pillars of this past civiliza- nope, Ed’s just ignoring everything to cool off in a well, complaining about how he was nearly burned by his own metal arm. Mr. Han asks why they brought a kid along, Breda complains that it was a direct order. Now that he’s sufficiently cooled off, Ed redresses and asks about his place described in a fable. The Eastern Sage, origin of alchemy? Ooh, history! An ancient kingdom destroyed in a single night, a sole survivor traveling to Amestris to spread the science of Alchemy… And Mr. Han says they have a story of a drifter from the West who lead them towards Alkahestry. Hmm, two survivors, going different directions? Makes sense that Ling would want to visit the ruins then, if Alchemy/Alkahestry originated from here. As they speculate how such an advanced society could be almost completely wiped out in a single night, Ed stops to look at some engravings on a wall. This feels familiar… wait, was this the stuff on the Door of Truth? Before Ed can say anything about that, Han yells at him to catch up. Man, this is a really big ruin, they’re heading insi- wait, what? WAIT WHAT [Lt. Ross]: “Edward!” You’re alive! You’re alive you’re alive you’re alive! How?! [Memory!Roy]: “Back east, where I was… It’s a nice place. None of the big city noise… and lots of beautiful women.” Oh boy, brace for enthusiastic shirtless Mighty Armstrong hugs, Ross. Daw. Breda says that there wasn’t anywhere in Amestris they could safely hide the “dead” Lieutenant Ross, so they spirited her out here. So Ross knew all along? Flashback! Breda’s confronting Roy about the newspaper article, how with Ross being publicly arrested and charged without a trial it’s all too showy. Then Roy gets a call from Falman- who’s quickly interrupted by Barry. Not on an official line, dude! In the park (in what I think is the same phonebooth Hughes was murdered in) Roy is confirming with Barry that a bullet was fired, but at him, not Hughes. And with that, Roy springs into action. He makes Barry promise not to kill anyone (still not sure how he got Barry to follow that), set a street, and had Breda gather supplies… oh. Right. Duh! The core theme of this show is Alchemy! Of course Roy could make a fake body! But that still doesn’t explain the dental records… Roy just says he has it under control. He has plenty of experience burning bodies. Later that night, Roy stops Ross in the alley, then throws down the fake corpse, torches it, takes her ID Cuffs and tosses her in the dumpster, to be escorted by Havoc. There’s a little wrinkle when Ed runs up, but Ross and Havoc make their escape. Back in current!Xerxes, Han’s explaining that Roy made a deal with Ling- hold up, “young lord?” Is this the old ninja working for Ling? I thought his name was Fu, not Han. Anyways, Han got orders to escort Ross east to take refuge. Ed admits that he’s impressed by Roy pulling off the trick. And then Breda twists the knife by saying Ed was sent out as well to not interfere in Phase Two. Oh, they’re gonna try and reel in the mastermind! Using Barry as bait, they want to see who comes for him and take them down. Uuuunfortunately, they’re sending Bio!Barry to do the job… Mid-show pictures of The Mighty Armstrong crying in all of his majestic shirtless glory, and the Holy-Leto-I’m-So-Happy-She’s-Alive Lt. Maria Ross. In the Central Hotel Ling’s let the other Blondes know the plan, and confirming that Ed was sent out of town so that he wouldn’t interfere in the operation. Unfortunately for Roy, Ed’s the Protagonist, so I don’t see this working out. In the meantime, Ling struck up a deal with Barry for the secret to his Soul Armor. But of course all the “science guys” who did Barry up like this are all dead, and he doesn’t know. That Alphonse kid, on the other hand… The Xerxes gang are going over their notes, sketching out the Goths and trying to figure out the methods and reasons behind the Homunculi. Ed takes a moment to think about how Hughes is gone, to which The Mighty Armstrong asks what his next move will be. [Ed]: “Al and I committed a taboo, but we still have people that help us. Some people get angry at us, and others support us silently. Each one of them has tried to help me keep my promise to my brother. So I have no choice… I can’t turn back. Which means, all I can do is move forward, right? And I’ll protect everyone I can along the way. I refuse to let another person become a victim. Not while I’m alive. I know that’s a hard promise to keep. It’s hard enough just trying to take care of myself. And to think that I’m even capable of it… maybe I’m just arrogant. But it’s the only thing I can think of. So I have to do it. I have to.” Cue approving grins from the rest of the group. You go, Protagonist. Ross gets ready to head out to Xing with a couple other people, confirming that her parents shouldn’t be told she’s still alive, otherwise they’d be in too much danger. Bleh, I can understand it, but I don’t want anyone else to feel like Gracia. She does ask they let Roy know that she is supremely grateful for what he’s done, and if there’s anything that she can do to repay the debt to just let her know. One final handshake with Ed, and she’s off to a new home, asking Mr. Fu (so wait, is it Fu or Han?) what Xing is like. As a native, Fu talks it up as a paradise. Then recommends she stop crying to save her fluids for the trek across the desert. Back in Central, Roy’s pencil-pushers are snickering at him as he talks on the phone to his “sweetheart”, who of course is Riza. But she suddenly stops and says they have a “customer”. “Kate”(Fuery) lets “Jacqueline”(Havoc) know. Hey, Falman? You might wanna get ready for a visitor. Bio!Barry is in the house! And in an interesting change of pace, Barry’s the one arguing for keeping someone alive! But then Havoc bursts in and starts trying to shoot Bio!Barry anyways? What’s going on here? Oh I get it, hidden identity in case the Goths are watching. But why try to shoot him and distract Barry? Who’s not doing so hot as he just figured out who this Human Chimera reminds him of, and lost his right arm for the trouble. Outside! Now, where did that Chimera go… broken window! Bio!Barry’s bouncing around the street now, leaps at Havoc who has a really unfortunately-timed stovepipe. Then there’s a rifle shot? Ah, so that’s why Havoc wanted to get outside, so they could get covering fire from Hawkeye. Who plays off the sound over the phone as slapping around a difficult customer. Bio!Barry’s at gunpoint clutching his perforated hand, so Havoc can ask some questions. However, the dude’s not exactly up for conversation. And Barry confirms, it’s his old body! Ok, phew. Was really worried about the evil clone possibility. This is just necromancy via sticking animal souls in corpses, then. In Xerxes, Ed’s gone back to look at that wall from earlier, identifies it as looking like the TC from the Fifth Lab. Two-headed dragon, sun… and the top part missing. No complete Human Transmutation ritual for you! What th- Ishvalan attack! Oh dear, that’s a lot of Ishvalans. [Polite!Ishvalan]: “‘Scuse me, young man. I’m afraid that we’re gonna have to take you hostage until your military returns our holy land to us.” Ed snarks that he isn’t worth that much, Polite!Ishvalan talks about how the death of a single child sparked the Ishvalan Civil War. Then an old lady in an eyepatch (Madam Shan, helped by a young Ishvalan boy who looks to have a burn scar and man there are a lot of burn injuries in the crowd, starting to get a bad feeling) orders the Leader to stand down and stop dishonoring the name of Ishvala. Ed lets his attacker go, muses that he’s always heard that Ishvalans hate Amestrians. But Madam Shan and the kid know that not Amestrians are bad, when they were injured in the civil war they were saved by two Amestrian doctors (!!!) Yeah, yeah they recognize the Rockbell name. They saved so many Ishvalans, refusing to abandon their post. Ed asks how they died- NO NONONO YOU FUCKER WHAT THE ACTUAL FUCK, SCAR?! So yeah. The Rockbell’s were killed by a patient that they saved, an Ishvalan monk wrapped in bandages with a tattooed right arm. With this knowledge, Ed leaves the Ishvalans, along with a message for the resting place of the Rockbell’s: their thanks, and their apologies. In Central, Barry’s laughing at the chance to chop up his own body, whatever’s kept him from killing people is failing in the face of this otherwise-impossible-opportunity. Riza’s commenting on how a customer is mouthing off… before she hangs up, saying she has her own customer to deal withat is Gluttony. Oooooh crap. You may wanna run, Riza. Wait, that’s it?! Boooo, awful cliffhanger! Ok, so Ross is alive! Yay! Still not sure how they dealt with the dental records, but whatever, everything else was answered! And now we’ve got the Goths responding it seems, with Bio!Barry and Gluttony set loose. Onwards to fight scenes!

#wmtw #where my twin watches #ranubis #full metal alchemist #full metal alchemist brotherhood #fmab #fmab 18

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i-am-thequeencapricorn · 6 years

Text

Watch The Marvel Movies In Order

AVENGERS: ENDGAME, opening on April 26, is more than just another Marvel movie. It’s the final film in a story that’s been over a decade in the making, a celebration of everything Marvel Studios has done to date. If you’re like us, a binge-watch of the entire MCU is in order to prepare for the big event. Here’s the big question: How should you watch the Marvel movies in order?

There are two common ways to build a Marvel movies timeline. The first is in release order, kicking off with 2008’s IRON MAN. The second is in chronological Marvel movie order, following the order of events. That means moving CAPTAIN AMERICA: THE FIRST AVENGER to the pole position and shuffling Phase Three’s movies in some interesting ways.

Over on Reddit, however, one smart fan suggested another approach — a thematic structure that may be the best viewing order yet. Here it is, updated for the latest Marvel movie releases.

Captain America: The First Avenger

CAPTAIN AMERICA: THE FIRST AVENGER is something of an extended introduction to the MCU. The bulk of the movie is set in the ’40s, and it introduces viewers to the SSR, which becomes S.H.I.E.L.D. Even the end-credits sequence, which features Nick Fury, is a nice setup for everything that will follow. Want to watch the Marvel movies in order? Start here.

Captain Marvel

CAPTAIN MARVEL effectively takes the spot formerly held by IRON MAN as the proper kickoff for the entire MCU. The story is primarily set in the mid-’90s and features the first evolution of S.H.I.E.L.D. and an important stage of Nick Fury’s career. The story also sets up the Kree (later seen in GUARDIANS OF THE GALAXY) and, most importantly, deals with an object that becomes significant toward the end of Marvel’s Phase One. As the origin story for Carol Danvers (Brie Larson), this also feels more like a Phase One movie than anything Marvel has done in the past few years. In terms of tone and theme, it sits well in the beginning of the viewing order. Yes, there’s a connection to INFINITY WAR and ENDGAME, but just keep this film’s first post-credits sequence in your back pocket for later.

Iron Man

Although IRON MAN was the first MCU movie, it has more power when placed here. We know who Howard Stark is thanks to THE FIRST AVENGER. Watching his son take his first faltering steps into the “bigger universe” is an effective stage of the MCU movie order. The final scene, with Nick Fury stepping out of the shadows, will take on a subtly different meaning after the events of CAPTAIN MARVEL. Rather than hint at the birth of the MCU, it will become connective tissue linking the first three films together.

Iron Man 2

After IRON MAN introduces viewers to the modern-day iteration of S.H.I.E.L.D., the sequel dives deep into that organization. It also features Nick Fury in a far more significant role, allowing viewers to get a sense of just who this figure really is. Meanwhile, the focus on Howard Stark’s legacy continues to draw the narrative threads together. It makes perfect sense to watch IRON MAN 2 at this point.

The Incredible Hulk

This particular adjustment to the viewing order is appropriate — while THE INCREDIBLE HULK actually happens at the same time as IRON MAN 2, the end-credits sequence assumes Stark now has a “consultant” role with S.H.I.E.L.D.

Thor

THOR introduces viewers to Asgard and launches a series of stories inspired by events in the Realm Eternal. At the same time, it continues to develop the story of S.H.I.E.L.D., with Coulson and Hawkeye playing important roles.

The Avengers

This is a natural fit after the events of THOR, continuing many of that film’s themes and character arcs. Loki returns as a villain; the concept of the Tesseract is explored; and the existence of dangerous alien beings becomes public knowledge when the Chitauri invade New York. There’s also a more subtle detail as this is the first film to really hint that S.H.I.E.L.D. isn’t just “good guys.” THE AVENGERS includes a disturbing sequence in which the World Council orders a nuclear attack on American soil.

Thor: The Dark World

Here’s where the order of events really changes, but for good reason. The last two films have explored the cosmic side of the MCU, and it makes sense to continue that line. Some of the most important themes and ideas — particularly the relationship between Thor and Loki — follow on perfectly from THE AVENGERS. This also introduces the idea of the Infinity Stones, although they’re only partly explained at this point.

Guardians of the Galaxy

Continuing the cosmic focus, GUARDIANS OF THE GALAXY unveils another Infinity Stone. The Collector, introduced in the stinger of THOR: THE DARK WORLD, makes another appearance, tying the two films together. Viewers are left with a strong sense that the Infinity Stones are being brought into play across the universe.

Guardians of the Galaxy Vol. 2

The events of GUARDIANS OF THE GALAXY VOL. 2 are set only a couple of months after the first film, so it makes sense for this to follow straight on. It continues the space-opera style and tone established by the last two films in our Marvel movie order.

Iron Man 3

The cosmic diversion is over, and the focus now moves back to Earth, where Tony Stark is dealing with the emotional fallout from THE AVENGERS. The passage of time between the films actually makes Tony’s PTSD feel more significant, while also more making it feel more natural that Stark has had the time to build so many armors.

Captain America: The Winter Soldier

Continuing with the Earthly focus, this movie shows what Captain America is up to. This story could even be happening at the same time as IRON MAN 3, explaining why Cap doesn’t help Tony against the Mandarin and why Stark isn’t on hand to deal with Hydra. Or maybe Cap and Stark are merely still wary of one another at this stage. Perhaps most importantly, placing this film here begins a Falcon arc that will run through the next few movies.

Avengers: Age of Ultron

This is another natural fit. The film opens with the Avengers taking down a major Hydra base. In thematic terms, placing this close to IRON MAN 3 makes Tony’s emotional journey feel more immediate and natural. This film also begins to tie the Earth-bound adventures into the cosmic stories, with another Infinity Stone revealed. Thor’s vision establishes a sense of impending threat.

Ant-Man

Set in the immediate aftermath of AVENGERS: AGE OF ULTRON, ANT-MAN contains subtle references to the devastation at Sokovia. Placing it here in the lineup makes the Falcon fight carry additional weight, bringing Sam closer to primary character status.

Captain America: Civil War

The Sokovia arc that begun in AVENGERS: AGE OF ULTRON comes to a head in CAPTAIN AMERICA: CIVIL WAR, tearing the Avengers apart. CIVIL WAR acts as the launchpad for the next batch of Earth-bound stories, so they slot in nicely after it. It also follows on perfectly from ANT-MAN’s end-credits scene.

Black Panther

Black Panther was introduced in CIVIL WAR, and this continues his story. It’s appropriate to drop this movie in next, as BLACK PANTHER is set only a week after the Avengers divide, and the Wakandan focus follows on nicely from the end-credits sequence.

Spider-Man: Homecoming

Set two months after CIVIL WAR, SPIDER-MAN: HOMECOMING focuses on Peter Parker. It’s important to note that Tony Stark has been given time to heal a little, so this viewing order makes sense.

Doctor Strange

Placing DOCTOR STRANGE here gives the film real importance as a thematic tie between the MCU’s Earth-bound and cosmic movies. DOCTOR STRANGE introduces the concept of magic and brings the Time Stone into play. The Quantum Realm also plays a subtle role, as Strange glimpses it while being sent careering through the dimensions. Finally, the end-credits scene leads nicely into THOR: RAGNAROK.

Thor: Ragnarok

This film follows on logically from DOCTOR STRANGE. (There’s even a cameo.) The end credits begin the direct buildup to AVENGERS: INFINITY WAR, with the Asgardian refugees intercepted in space by Thanos.

Ant-Man and the Wasp

This is a difficult one to place in this thematic structure. While it returns to the Earth-bound adventures, ANT-MAN AND THE WASP is fantastical and funny. The bulk of the story is set before the events of AVENGERS: INFINITY WAR, so it makes sense to place it here. This particular viewing order does change how the post-credits scene plays, however. Rather than knowing what’s going on, you’re with the same sense of shock and horror felt by Hank Pym or Scott Lang.

Avengers: Infinity War

In this order, AVENGERS: INFINITY WAR will be the last thing you watch before AVENGERS: ENDGAME. That works particularly well when you consider that, according to screenwriters Christopher Markus and Stephen McFeely, the snap was originally in ENDGAME. These two films may not be a traditional Parts I and II anymore, but their relationship is so close that it’s better to watch them back to back — just how they were filmed.

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Not really a fan of Superhero Movies, but after watching Captain Marvel last Friday, I was hooked. I’ve decided then to binge-watch all the Marvel Movies so I can catch up before they release the Avengers : Endgame. My only dilemma was, I have no idea what to watch first and so on. I tried to do a little research and I came across with this article. I’ve watched the 1st three movies, and since I’ve already tendered my resignation, I have all the time to finish the remaining movies before the opening of the final story. Yey!!

#repost #ctto #mahaba habang panonood to

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ghostmartyr · 6 years

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What does the manga add to Roy and Riza's relationship that the anime doesn't have? Asking out of curiosity since I'm an anime only and they're still one of my favourite pairs of all time!

Oh, ha, I didn’t specifically point to the manga because I have anything in particular against Brotherhood (…or 2003 for that matter) it’s just not my canon, and I’m used to specifying which version of FMA I mean when I talk about the series. I do have a list of petty grievances against Brotherhood, but there is nothing fundamentally altered between Roy and Riza.

I mean. Yes. A number of my petty grievances are related to them. And feel slightly less petty as thought is spent on them.

But I would need to go back and watch the anime scenes again to point out the specifics of why.

[many hours later]

(As a note about this post, since I guess I did make the choice of tagging it, this is heavily critical about some specific moments in the Brotherhood anime, but before I get started I want to emphasize that my problems, with the exception of an example that spans a volume, don’t cover even two minutes of video. These things exist, and they bug me, and I clearly have things to say about them, but Brotherhood is 64 episodes long. My impassioned hatred of a few choice features isn’t indicative of my overall feelings on the anime.

Essentially, this is me having fun whining. Not trying to set off landmines. I hope it proves enjoyable.)

So there is this scene change in the first five minutes of episode 19 that has my eternal hatred and I have no plans to ever forgive. That has been true since it aired, and it is still true here today, because I am insufferably stubborn.

(I actually did a session about it before. I’m probably going to repeat most of it, but have a link if it interests you.)

That is not the dialogue the manga goes with.

In the manga, Riza’s interaction with Roy is focused on “what the fuck were you thinking why are you here.” Both versions have the scene with her berating Mustang for endangering the mission to save her.

In the anime, the above screencaps are what follow. After giving him a hard time for showing up at all, she thanks him for saving her life. Sweet, I guess, except Roy fires back with a mission-focused response.

If I were doing an anime-only meta thing, something could be said about the hypocrisy of Roy playing hero only to lecture other people about concentrating on the mission, and it would just be another cute thing. I guess. If I were in a charitable mood maybe.

But this is the first anime adaptation I sat through properly, angsting about every twist and turn and change.

My grudges. They last.

In the manga, Mustang brings up the slightly more personal aspects of what has happened. The reason he runs after Hawkeye is that he just lost Hughes, he won’t lose her, and he loses his head entirely. They have the yelling session over it, and he basically yells back the equivalent of, “yeah yeah fine -sulk sulk sulk-”

They leave Fuery and Hayate behind, and we have the presented moment.

Going to assist Riza is not the Proper choice for the military operation they’re running. It was a dangerous thing for Roy to have done, and she rightfully calls him on it. But he does it because he cares, and the fact that he cares is why all these people follow him. He’s a hopeless, idealistic dreamer at heart. His squad is loyal to him because he’s loyal to them.

Roy Mustang is a damn softy.

In the anime, Riza’s the one to call attention back to the whole life-saving motive. In the manga, it’s Roy.

In the anime, when it comes up, Roy dismisses it.

In the manga, when it comes up, Riza apologizes for worrying him.

It’s a small moment, but small moments are allowed to matter, and when small moments are changed, it leaves a bigger impact than if they were just left alone.

In the anime, this exchange, plus Hawkeye’s smile after, suggests that the sentimentality of the relationship comes primarily from her. Riza’s the one having her heart warmed when they have a job to do.

…That’s a slightly meaner way to put it than the scene perhaps deserves, but there is no unfair bitterness like unfair bitterness towards Brotherhood for me. Whining about this adaptation is a thing I do, despite honestly loving the majority.

Anyway, in the manga, the scene is both of them putting legwork into their dynamic. Hawkeye yells at Mustang for showing up out of sentiment, but when he expresses that sentiment in the aftermath, she expresses understanding of his perspective. He did a stupid thing, but they’re a team, and both at ease with their interplay.

In the anime, stop talking Hawkeye, don’t you know we have a job.

The manga is a conversation, the anime is putting a wall up to prevent that conversation. Especially annoying is that the character putting the wall up is the one who initiates the conversation in the manga. The anime drags Mustang back from his emotional openness and pushes Hawkeye to be more so, then provides a dismissal of her acting that way.

Besides being an inverse plus a step back for their relationship, it. also just feels kind of sexist. Instead of the man talking about feelings, the woman is. When the man talks about his feelings, it’s greeted with understanding and respect, when the woman talks about her feelings, it’s greeted with the instruction to put it somewhere else.

The fact that they changed it bothers me, because the way it is in the manga is great. It’s one of many small moments Roy and Riza have where they are shown to respect and care for each other.

The anime version doesn’t add anything, and lessens the mutuality of that bond.

I snarl in its general direction.

The other change that springs to mind is of a similar cloth.

Mustang and Hawkeye encounter the Elrics before they’re aware of Hughes’ death, and Mustang makes up a story about Hughes retiring in the country with his family so that they won’t go looking for him.

Hawkeye greets this with the face of judgment. “Why are you treating him like a child all of a sudden?” He’s never shied from giving Ed adult responsibilities before. This is a blatant lie. Roy says they don’t need any further obstacles to their journey.

A few moments pass. In silence, in the manga. In the anime, Riza points out that they’re going to find out someday. Then…

“…Who am I trying to kid?”

(Funimation, the heck is with some of your translation choices. Did you just keep the simulcast version for the official DVD subs?)

So there are a few things. The most obvious difference is the dialogue changes. Hawkeye is more insistent about how the Elrics will find out at some point, then after Mustang makes his character commentary, she calls it cruel instead of sighing and moving on to the next topic.

The other most obvious change is that Mustang smiles after calling himself soft in the anime.

These all sort of play together.

In the manga, Hawkeye is just as judgmental as she is in the anime, but she allows Mustang the space to dwell on his choices for himself. She asks him one question about how he’s treating Edward, then they walk in silence, her disapproval creating a tangible aura.

It isn’t simply Hawkeye judging him. He’s judging himself. In the anime it comes off as a, “tee-hee, what a silly softhearted boi I am.” So in the anime, she vocally objects to what he’s doing.

In the manga, Mustang takes in his inability to break the news to the Elrics as the emotional flaw that it is, and Hawkeye lets him off the hook. He doesn’t need a lecture; he knows his shortcomings. It’s not great, but he’s the kind of person who doesn’t want to tell Ed and Al that Hughes is dead because Hughes tried to help them.

Again, Mustang’s softness is part of what endears him to his crew. It is not always a good trait. Sometimes, as in this case, it’s actively causing problems. But it is who he is.

Riza knows this, and she can let this failure pass with a sigh because Roy knows it too. The anime version has a smile when it’s nothing to smile over. The manga version is more, “hahaha… fuck.”

Roy and Riza know each other and themselves extraordinarily well. They might have the boundaries of superior and subordinate, but they are comfortable enough in their understanding of each other that they are allowed to be themselves. It’s the conversation thing. There is an undercurrent of figurative dialogue to their relationship that never stops.

When they do call each other out in the manga, it does not keep the conversation from flowing. It continues it. Both of the above changes take it to a stuttering halt in their scenes.

Then we have episode 30.

After which, I do not have memories specific enough to shout about things or know if there are things to shout about, but episode 30.

-screams forever and ever and ever-

-intersperses screams with tears of anguish-

From what I know of being an FMA fan, it is difficult to be an FMA fan without being passingly familiar with the debates of which version is better. Usually it’s Brotherhood vs. 2003. My personal, obviously right opinion, is that this is the wrong way to do it, and it should be manga vs. 2003, because really it’s an argument over which plot is better, and Brotherhood’s plot is the property of the manga.

I also think it’s impossible to really debate. The two series have different feels and themes. They are both extremely well done, meaning that which one you prefer comes down to personal preference.

I’m pretty sure people who bother to have those discussions could say a lot more on the topic, but that’s my general, broad stroke, very glossed-over perspective on it all.

I mention this because I think anyone who loves FMA should read volume fifteen of the manga. If you’re not a manga person, you don’t want to read 27 volumes of manga, yeah, understandable. You have your version of the story, enjoy it, you shouldn’t feel the need to read the original if you don’t want to. The idea that you have to pour every bit of content into your brain to be a good fan is pretty unhealthy.

But I recommend volume 15 regardless, because the anime does not come close to presenting its content. It is four chapters devoted to the Ishvalan War. Outside the framing device (Ed going to return Hawkeye’s gun and asking about what went down), the entire volume basically stands on its own.

It is a harrowing, intimate depiction of the genocide campaign. That is the focus of the entire volume.

Scar’s backstory is moved to an earlier section in the anime, and Mustang burning Hawkeye’s back is moved to the Envy fight, so this might be an unfair barb to throw, but I still want to say it. The anime covers this volume in one episode.

-goes back to screaming-

(Honestly though, some of the best fun I ever had in fandom came from being on a forum full of manga fans and all of us yelling our despair over Brotherhood’s choices. You would never believe that this anime was considered the gold standard of anything.)

But we’re here for Roy and Riza!

There’s only one thing that sincerely bothers me to pain of the irritation of the above. Most of my sulking is just why did they do this to my favorite volume. Mustang and Hawkeye’s stuff is mostly intact. Except when it isn’t.

Chronologically, the first complaint is that when Riza’s father collapses (dies), Mustang is alone with him. In the manga, the scene ends with a shot of Riza, watching, terrified, from the doorway.

Also known as the scene where Roy calls Riza by her first name.

-still screaming-

The cemetery scene is truncated. The anime jumps right into Roy and Riza discussing Roy becoming a soldier. The manga starts the scene out with the focus on funeral things. Roy asks if Riza has other family, and what she plans to do now.

After that, he offers her his number, and they get to talking about the military and Roy’s dream.

They also cut this.

In the anime, Roy discusses his military life through the lens of Master Hawkeye’s opinion on it, asking if Riza is going to disapprove as well. Roy starts talking because he assumes that’s how she feels about it, and preemptively defends his perspective.

In the original, when Roy hands Riza his information, she asks, “For the rest of your life…?” It’s followed by the above panel.

Roy’s monologue about his aspirations and his dream for what he can do as a member of the military happens because Riza asks. Not directly, but her addition to the conversation prompts him to talk about his views, and he mentions that those views are why he studied alchemy. In other words, why he’s standing in front of a grave, awkwardly trying to talk to his dead master’s daughter.

Following that, the original pays more attention to the lead-up of Riza entrusting Roy with her father’s research. In the anime, she jumps straight from the ideals topic to asking if she can trust him with it.

In the manga, there’s that beat of contemplation after Roy brings up alchemy, and how his master didn’t teach him everything.

Riza tells him that his dream sounds wonderful.

Another beat.

That’s when she tells him that her father did leave his alchemical secrets behind. Words about this are exchanged for a small number of panels.

In the anime, she asks Roy if she can entrust her father’s work (dream, values) to him. Directly after the dream dialogue.

In the manga, when Roy tries to bring their discussion back to Riza’s father, and what he did with his research, Riza redirects him. It isn’t about her father. It’s about her, and by consequence, Roy, and how Roy’s dream inspires her.

“That dream… Can I entrust you with my back so that I can help make it come true?”

The anime severely underplays the significance of Riza offering her father’s research to Roy. They address it a little once Envy is being dealt with, but in the manga, all of the discussion of Riza watching Roy’s back is drawn from how Riza’s back is what’s given Roy the power to rise as far as he has.

It goes from maintextual subtext to subtextual subtext.

Also, the cuts to their conversation just plain means that there’s less of Roy and Riza interacting. The two of them are very, very young, standing in front of a grave and talking about ideals. The longer manga version allows the quality of their youthful awkwardness to truly shine.

The scene is dropped in the middle of the volume, whereas in the anime, it opens the Ishvalan flashback. There’s much to be examined about how that affects the emotional impact, but… geez that gets to be a lot of threads. Trying to go through all of the ways they crammed a whole volume into one episode is just going to make me dizzy.

Even if the theoretical focus of this post weren’t shipping, I’m not sure my brain would be up for that. There’s just so much going on, and the time allotted means it’s a Frankenstein job.

The one major difference for Roy and Riza, which I can’t believe they went with, and can’t believe my sad feelings every time I watch the episode and confirm yeah, they really went that way with it.

Why why why why why why why why must you hurt me this way.

SO!

THE ANIME VERSION!

OF ROY AND RIZA MEETING IN ISHVAL!

Riza walks up and says hi after noticing them because Hughes is babbling about his future wife.

Yay.

The manga version does not. does not do that.

It.

That’s not how it goes.

At all.

In the manga, Roy and Hughes run into each other on their break and start chilling together. Hughes gets a letter, does his excited babbling, Roy tells him to stop being a stereotypical red shirt, when suddenly

Oh noes.

Roy and Hughes react as fast as they can, which might or might not end up fast enough, when a bullet goes through the Ishvalan’s brain.

There’s quiet for a moment, then Roy gets behind cover because oh no gunshot, and Hughes tells him to chill, it’s all good.

“We have the ‘hawk’s eye’ on our side. […] A real ace sharpshooter… who’s causing quite a stir in my circle of friends. She’s still in the academy but because she’s so skilled… they brought her to the front.”

Guess who.

Hughes and Roy, being the good people they are, go back to camp to thank the sniper for saving them. Hughes is his cheery self. Roy is not noticeably perturbed.

Then the sniper drops her hood and stands up.

You could say I prefer the manga version. It has Riza being a badass, and adds to the shock they both have of seeing each other here.

Riza gets her own little horrified section of panels all about it.

She was just helping out two soldiers. She didn’t realize until after she fired that one of them was Roy, and that he’s in this hell too.

The other thing that I enjoy about this particular sequence of panels is that in the manga, they come up a bit earlier. Throughout the manga, Ishval flashback panels are everywhere. As this scene is initially presented (Hawkeye looking at Mustang through her scope), many chapters earlier, it looks like maybe they’re on opposite sides.

Or maybe it’s just me who thinks that’s a thing.

In any case, it adds some serious drama to their reunion. In the anime, the drama is entirely that they are both here in this awful war. In the manga, a Mysterious Sniper saves Roy’s life and turns out to be his master’s daughter.

It’s just cooler, okay?

Their conversation when Riza becomes Roy’s aide is also truncated. Riza says her specialty is guns, because death doesn’t linger when you use them. Roy tells her, with what I feel is sympathy, that’s just a deception to make the work easier. She agrees, but because she’s decided that work is necessary, there we go.

…

I thought that would be my last thing, but now that I have volume fifteen open, I can’t help but go to the scene during the Envy stuff. I won’t touch the main scenes of that, though I’m sure there are changes, because this is already too long and I’ve officially gone through the things that personally affect my view of the anime, which… was, at some point, maybe, the point of the ask. ^^;

Basically, I will never stop if I go through everything, but in case it isn’t obvious, I really love the fifteenth volume, so to Envy we go.

Huh. They really didn’t alter much. The core’s all there. Because of the placement, Mustang gets docked a few lines, and he is rewarded one of Riza’s (about making the tattoo as illegible as possible) in return, but it’s basically the same, with the addition of Riza thanking him.

I have no particular feelings on that. The ending of the scene is different because it’s not intended to go with the rest of the Ishvalan War, and… I guess I could manufacture some dislike over Riza expressing gratitude instead of the pure stubbornness the manga has. It distracts a little from why she’s asking those secrets to be burned off. They’re in a hell of their own creation. The soft thanks blurs the cutting edge.

Which isn’t to say I can’t have other problems with it.

As a manga reader who enjoyed Brotherhood as it was coming out, as well as someone who is writing this mostly from memory and going over only specific scenes, I have no way to ascertain how clear it is to anime fans what happens with Riza’s back and when. In the manga, it is excruciatingly clear that her father puts his research on her back, that is how Roy comes to have Flame Alchemy, and that is what Riza asks him to burn off.

Since that’s all in volume fifteen, the next twelve volumes are read with the understanding that before Riza is instructed to watch Roy’s back in case he falls, she offers him her back, and brings the ruin of Flame Alchemy to Ishval.

That history defines them. Their own choices plant them in that war, but Roy uses the alchemy she gives him out of hope for a better world to commit genocide. It’s a horrific weight on both of them, and his decision to have Riza, of all people, watch his back after the war?

Dude, it is such an amazing ship detail. Riza entrusts her back to Roy. He, in turn, entrusts his to her.

I get why it’s moved. Sort of. Given that volume fifteen is given one episode, I get why it’s moved. It’s most heavily relevant to Roy’s rampage against Envy.

However, I don’t think the power of knowing the depths of their connection earlier on can be understated. Roy and Riza’s devotion and synergy comes from watching their shared idealism burn the people they wanted to protect to a crisp, and their commitment to never letting that happen again. They create a hell through their good intentions. Having done that, they do not abandon their good intentions. They refine them and continue forward.

That is what binds them together. They rise from the ashes of their flames.

I do not, for the most part, think Brotherhood does them a major disservice. My gripes are pretty much all listed above, and my praises are endless.

But if you really love Roy and Riza, I’d seriously recommend reading the manga at some point, because there’s stuff the anime doesn’t bother with. AKA, yes, there is even more royai to be uncovered, don’t you want to seeeeee? :D :D

This kind of obviously grew past what you were initially asking, but I hope it serves a satisfactory answer regardless! Thanks for the opportunity to spam my love for these two!

…Through spamming my hate of stuff, but we’re ignoring that.

#Fullmetal Alchemist #FMA #royai #tl;dr #asks

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nandalorian · 6 years

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OCD Marvel Costume Series: Black Widow

Ever since I did that post about Captain America’s theoretical onesie and the evolution of his costume, I’ve gotten a lot of requests to do a similar OCD breakdown analysis about Black Widow’s.

After Cap and Bucky, Widow’s easily my favourite MCU character, so I am all too happy to break it down. But just know this required me to wade through so many disgusting male comments about her costume and body that I wanted to flip my desk and set it on fire. Repeatedly. You’re welcome.

Here are the six costumes I’ll be looking at from 2010-2018.

From L to R: Iron Man 2, Avengers, Captain America: The Winter Soldier, Avengers: Age of Ultron, Captain America: Civil War, and Avengers: Infinity War.

Putting the rest under a read more because shit’s gonna get long.

Let’s begin: Iron Man 2.

This is the first time we meet Natasha in the MCU franchise, and I don’t know about you guys, but I remember there being a LOT of hype surrounding Scarlett being cast in a totally non-objectifying way. <_<

Just kidding. Here’s actual footage of every straight man watching/starring in Iron Man 2 when Nat’s on screen:

This, I think, is a good place to add a caveat that it’s difficult to address Natasha’s looks and clothing without sounding like I’m criticizing her appearance and sexuality, including her ability to weaponize those things or the fact that she is entitled to enjoy them in any way she likes. As a character, certainly she is, and to me that’s one of the really interesting aspects of her personality and an incredible skill. As a woman, those are things not worthy of criticizing, IMO. But the films present a grey area because they are all directed by men, and to a large extent for men. So it’s hard to find the line between what is meant to entice audiences and what is meant to tell us something important about who Nat is, and to what extent the latter is the original intent of the costume choices. How do you extricate the character from the male gaze when the male gaze permeates so much of comic book culture, and by extension the MCU? Let’s not forget how many gratuitous ass shots there are of Natasha in a given movie, although the Russos generally do a good job of evening the playing field by liberally sprinkling in plenty of Cap ass shots too. The Russos are like the salt baes of equal-opportunity and gender-neutral ass shots.

But back to Natasha. In Iron Man 2, she spends most of the movie in sexy wiggle dresses or low-cut blouses, presenting herself as an object of desire for all the men in the film (possibly some of the women) and a thorn in Pepper Potts’s side until they join forces against Tony. (Obviously her intention, since Natasha weaponizes everything about herself, but it was also pretty clearly for audience titillation as much as the character never does anything by accident.)

But then, surprise! It’s revealed she’s the Black Widow and capable of kicking more ass than just about anyone else in the film/on the planet, and can even do it in a skintight catsuit and crazy hair flying in her face at all times!

Natasha’s suit is probably the least functional in this movie because it’s designed to look like a sexy female comic book hero costume, not something a real agent would wear in a believable conflict situation. Or maybe they would, I don’t know. I’m not a spy. But objectively speaking, she has a totally useless belt with the Black Widow symbol around her middle, then the tactical belt, holsters, etc. The fabric looks shiny and stretchy but isn’t leather. That being said, you can’t get much more spot on in terms of the visual interpretation, if you look at how she’s drawn by J Scott Campbell. I am not positive whether IM2 Widow is an interpretation of this artist’s illustration or vice versa, but either way, she translates from film to comic and back again pretty flawlessly.

Just don’t even get me started on the hair because w h a t. Tell me you can’t hear it crackling when you look at this gif. Go on, I dare you.

No wonder ScarJo switched to wigs after this movie.

Ironically, even though this costume is pretty ridiculous in terms of offering any kind of practicality or protection from bullets/knives/explosions, I have to point out that Iron Man 2 is the only movie where Black Widow actually wears practical footwear.

Look at those things. Those are flat, FUNCTIONAL boots. You could do all the running, jumping, and punching things you wanted and not feel like your goddamn feet were going to fall off, or worse, plant you on your fucking face because you’re wearing heels into combat. RIP flat Widow boots.

Moving on. Avengers 1.

Much like the other costumes in this film, Natasha’s outfit is still pretty comic book-y, although to a less cartoonish extent than Captain America some. That is pretty much Joss Whedon’s trademark as a director, although shockingly, I felt Widow looked more serious and ready for battle. Alexandra Byrne did the costume design on Avengers and Ultron, as well as Thor and Guardians of the Galaxy (hence the trademark styles in A1 and A2, plus similarities between Natasha and Gamora’s costumes), and she has a distinct touch. Here the nods to practicality include less extravagant hair (though Natasha also has short hair plenty of times in the comics) and the fact that her suit looks like it could deflect a knife (possibly). Even her civilian clothing looks less hyperfeminine than that of Iron Man 2, and it’s here we begin to see that Nat’s outfit of choice is usually some combination of jeans, a jacket, and knee-high boots with a small heel. It always strikes me that this is probably what she’s most comfortable in when she’s not dressed as Black Widow. Even her stance here looks like that of a soldier, less of a stereotypically female pose.

I couldn’t help but feel a lot of this was intentional on Whedon’s part in order to avoid anyone accusing him of sexualizing Natasha and to look like a Real Director Who Takes Female Characters Seriously (TM). So he dresses women more realistically but then just assassinates their character in other ways, as you do. ¯\_(ツ)_/¯

As far as her suit is concerned, don’t get me wrong: it’s still textured plastic meant to stretch and allow movement and comfort and cling to certain... assets... and they still haven’t gotten rid of her totally useless Widow belt. But at least she looks a bit more like she means business and less like she’s just there to look hot.

However, in this film they also introduced the infamous heels to her costume.

In the immortal words of Shuri:

Like Cap’s ab window, this is one of those design choices I begrudgingly understand from a movie perspective--it looks ~sexier and ~more feminine and also reduces the height difference between ScarJo and her male costars (plus other female characters like Agent Hill wear heels too, and so does Wonder Woman in the DC franchise. They appear in the Black Widow comics too), but the reality of someone willingly wearing heels in this type of environment makes me want to facepalm real bad. Sure, you can argue fighting in heels is just one of Nat’s special abilities that makes her better than the rest of us, but--that’s probably not why.

And they don’t go away, even when the movie and writing quality drastically improves. Anyone who read my post on Cap’s suits will probably be able to guess that The Winter Soldier is my #1 Marvel film and had some of my favourite costumes in the MCU, and Nat is no exception there.

The way the Russos interpret her, through their writing and their vision for the overall look of the film and the way the costumes are designed (Judianna Makovsky did all the costumes for Winter Soldier, Civil War, and Infinity War, which makes total sense in ways I’ll explain in a moment), also reminds me a bit of Phil Noto and Nathan Edmonson’s Black Widow. Plenty of people might be inclined to disagree with me there, I’m sure, but Noto and Edmonson’s series, tonally and visually, is very similar to TWS in the sense that they feel like political thrillers, and the character styling in the film continues that theme. The story and the way the characters are written and styled crosses genres and blurs the line between comic book, thriller, and real life.

In TWS, Nat looks like a fucking badass, but also somehow more relatable and human despite her perfect hair and flawless skin. TWS was the film where she, for me (along with the rest of the cast, especially Steve), went from being a character to being a person with all the shades of greys, uncertainties, and ambiguities that entails. That’s where the Russos excel, making fictional characters come alive with nuance and layers. Kind of like how you know if they had done a Hawkeye movie, they’d have probably adapted Hawkeye #19.

Their unique way of finding the humanity in comic book characters and situating them in the real world translates interestingly through the costumes. Even her hair is the most natural-looking shade of copper red than any of the other films, where it tends to looks more dyed. Trust me, as someone who spent 9 years trying to achieve the perfect and most natural shade of copper red possible, I know how difficult it is to get right, even if this is obviously a wig.

If you look reeeeal close at the above pic, you can tell she’s graduated from stretchy plastic to something that resembles kevlar or some kind of protective utility material. You can just make out the lines and texture in the fabric. Still stretches and lets her move, obviously still skintight, but upgrades her to a higher degree of real-world believability in the same way the stealth suit did for Cap.

I find the back of her suit interesting too. There’s a panel sewn over her butt that looks identical to the full-seat equestrian breeches I wear riding, which are meant to offer reinforcement and grip. I’m not entirely sure why Nat needs either of those things in combat, but there you have it. (In all seriousness, it could be because the fabric they used is less stretchy or doesn’t hold its shape the same way, so they had to piece it together differently to allow for movement and shape retention through all the stunts.)

Actually, scratch that. Why wouldn’t you need reinforcement and grip when doing this?

Weird butt panel notwithstanding, Nat’s TWS suit also introduces more protective details like leather and sewn-in kneepads, and her Widow belt actually serves to cinch in the costume instead of just sit there pointlessly, leaving her with just the tac belt. Still the dumb heels too, but I promise I’ll get over it. Maybe.

Next: Age of Ultron. People are going to side-eye the shit out of me for saying this, but... Widow’s costume continues to be less ridiculous than, say, Cap’s. Cartoonish, yes, with a lot of frankly baffling design choices, and visually I liked it the least. But weirdly enough, the construction of the suit and the fabric is less ridiculous than it seems at first glance; it looks like it’d actually offer a pretty high degree of protection in the field. Check it out.

There’s a matte leather and a similar kevlar/utility fabric as her suit in TWS, and the Widow belt and the tac belt have been combined into one so there are fewer pointless buckles.

I mean, too bad they ruin it by adding glowing blue parts that make her look like she’s about to go cosplay as Tron as soon as she finishes saving the world, and I will never understand why her gauntlets are suddenly red, but a detail that caught my eye is right on the bodice. See those seams under her bust?

It looks like it could be there just to draw attention to her boobs, but as a former fencer, I can tell you those are almost certainly for a chest plate or removable protective cups. (From a movie costuming perspective, they’re probably to give the bust more definition, as that’s literally an underwire construction. Yes, okay, I realize this. But if we consider the character, a chest plate makes far more sense.) And if you are a woman in a combat situation where you’re getting whacked in the tits a bunch of times, you need a fucking chest plate. She doesn’t appear to be wearing one in the other films, which is as absurd as Cap going into battle without wearing a cup. Have you ever been clocked in the tits before? With a weapon, no less? Because I have, and it’s not fun. It happens to you once, and you’re on Amazon buying a chest plate or protective cups literally the next day. Or, you know, from the toilet immediately after as you sit there crying and cradling your poor bruised boobs.

Another really practical detail is that she has proper kneepads in this costume, which is ideal if you’re sliding around on the ground a lot, or taking hard landings.

BUT WHY DO THEY GLOW IN THE DARK? /despair

Oddly enough, Nat’s suit in Captain America: Civil War was one of my least favourites--initially. But I was wrong to feel that way, and I’ll tell you why. Why didn’t I like it at first? Well, they pick up some of the same details as in TWS and add other more practical things like no-nonsense kneepads, but they also seem to add boning to the bodice of the suit, and lots of piping everywhere on the arms and torso that would probably rub unpleasantly if you were moving around that much. Unnecessary seams=friction. That’s a lesson any equestrian will tell you too.

I also was not a fan of the Farah Fawcett vibe I got from her hair, but that could just be me. Her suit here is functional, overall, but it doesn’t reinvent the wheel or make her look sleek and dangerous in the same way as TWS. It has less... style than her other suits and civilian outfits (which were my fave in this film), and after this many movies, I think we’ve come to associate the Black Widow suit with style and making certain death at her hands/thighs look good.

But there is a point to her suit looking more tactical, which you can better see here. From this angle, she looks almost military, certainly the most military of any of the other films, and that is intentional and significant later on.

Because much like Cap’s uniform carries over to Infinity War, so does Nat’s. That was a clever segue, in case you were wondering.

This is such a departure from anything else Nat wears in the other films that you kind of have to tip your hat at the designer and the Russos and Judianna Makovsky for having such a sharp eye for detail and a knack for letting costume tell a story. Not only does Natasha change her hair and eyebrow colour, but she changes the colour of her suit too, adding in some green and almost entirely eliminating the sex appeal of the other Widow costumes. But the continuity is most impressive of all.

It’s hard to tell, but just like Steve is wearing the same uniform as in Civil War, minus the star he clawed off with his bare hands, Nat is wearing the exact same Widow costume with a tactical vest on top and some new body armour (shoulder and elbow pads). Remember that piping on the arms, legs, and bodice I bitched about a second ago? If you look closely, it’s all clearly visible in the same spots, and it’s obvious the vest just goes over top. Her kneepads and boots are the exact same too. This girl did a complete 180 on her look with nothing more than a tac vest and an emergency appointment with Guy Tang for some blonde balayage.

It’s amazing that Steve and Sam think going incognito involves DIY distressing on their uniforms and growing some playoff beards, but Natasha can become an entirely different person just by changing a few key details. Especially the eyebrows. I once wrote a line in a fic about how her lighter eyebrows in Infinity War totally change the shape of her face. I think that’s a detail everyone noticed in the trailers, how strange she looked with those ultrablonde brows. But that’s perfect for this character and something Nat would intuitively pick up on, because it leaves her almost unrecognizable. Just like makeup can subtly change someone’s face shape, so can eyebrows, but she ditches makeup in Infinity War to the same effect. It’s the makeover equivalent of “walk, don’t run.” Kind of amazing to think she is so many steps ahead of everyone else that she can go down Dick’s Sporting Goods and CVS for nothing more than a tac vest and a box of hair dye, respectively, and literally emerge looking like a different person. When she says she’s figuring out a new cover, this is the stuff she means.

So there you have it. I hope this costume breakdown as as fun for you to read as it was to put together, and I continue to be impressed and occasionally stumped by the design choices made by the MCU costuming departments. They really do know their stuff and how important clothing is to the understanding of a character, and Nat, who is a master of tailoring her look for maximum effect, proves this rule more than almost anyone else.

Thanks for reading! I might tackle Bucky next, so stay tuned.

#natasha romanoff #black widow #avengers #captain america #natasha romanov #marvel #mcu #costuming #costume #fashion #long post

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theinquisitivej · 5 years

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‘Avengers: Endgame’ – A Movie Review, and a Reflection on Endings

Endings are rarely the definitive final word.

A person’s story can come to an end, but the stories of the people around them and the world they live in carry on, even if that one person isn’t there anymore. That realisation conjures up a whole tangled mess of emotions, but it is the natural way of things. It’s not right to want everything to end with you. In life, we make the most of the time and energy we’re given, and if you make enough right decisions, get lucky, and dedicate enough of yourself, you’ll hopefully get to go with the sense that you did okay, and that those you leave behind are going to be alright. Endings in fiction are as infinitely variable as any other feature of artistic expression, but in narratives with expansive casts or fleshed out worlds, they often leave us with the feeling that we’d only have to stay a little longer and there would be more stories to explore. Just as the real world is bigger than any one lifetime, successfully-established fictional worlds feel much larger than any one set of characters and their narrative.

For the last eleven years, audiences have enjoyed a series of blockbusters featuring an impressively varied range of stylistic approaches. At their best, these films are deeply satisfying and affecting, delivering poignant moments about characters coming to terms with their own flaws and trying their best to do the right thing. But when considered together, these films have never entirely felt resolved, with each one going out on a lingering note of “just wait for what comes next”. The story was never over for the Marvel Cinematic Universe, because another film was never far away. And now that the grand conclusion has finally come and $2.5 billion worth of us have watched and re-watched it, things are just the same as ever, and yet we’re at a moment that we’ve never seen before and are unlikely to see again for a long time. We’ve reached an ending of the story that begun with Tony Stark and his box of scraps in that cave in 2008. The story is over. But there are more stories to come.

Yes, there will be spoilers ahead. But I say again: this film has crossed over the two and a half billion dollar mark. I’m pretty sure if you’re reading this, you’ll have contributed your drop or two to Marvel’s bucket. So let’s talk about the movie.

I appreciate the efforts of Christopher Markus and Stephen McFeely as screenwriters, Joe and Anthony Russo as directors, and the input of every person involved in deciding the final shape of Endgame’s story to make its structure noticeably different to that of Infinity War. The previous Avengers film is a constant juggling act, relying on the viewer taking to Thanos as a central thread around which the rest of the film is hung. We’re either seeing the various steps Thanos is taking along his journey, hearing about what kind of man he is and what he intends to do, or seeing characters who are consistently on the back foot as they frantically scramble to strategically and mentally prepare for an opponent they’re not ready for. By this point in the series, we’ve been conditioned to expect to see things primarily from the point of view of the dozens of characters aligned with the Avengers, but Infinity War is messy and fractured when you look at it from the perspective of the heroes. And that’s the point – our heroes are fractured, and so there’s no unified effort against the villain as he single-mindedly pursues his goal with continuous success. The Avengers are a mess, and they lose. Thanos is the one who seizes control of the narrative, undoing the decisions and sacrifices made by the heroes as he dictates what his ambitions are and why they are so noble… and because viewers are susceptible to sympathising with the person who names themselves the hero and takes the reins of the narrative, far too many people bought Thanos’ rhetoric. For a year there, we really were seeing think-pieces that said “maybe the genocidal zealot who emotionally manipulates people is right”!

But Endgame’s structure deliberately contrasts against Infinity War’s. Whereas Infinity War is about heroes being separated and the catastrophe that follows in the wake of this disunity, Endgame presents its heroes as a group of grieving people who are unified through their shared regrets and resolve to overcome their despair together and work towards a singular objective to try and fix everything. The Avengers are disassembled in Infinity War and reassembled in Endgame. As a result, the structure is comparatively more uniform. You can clearly differentiate the film into three distinct thirds – the five-year time skip that shows life on a mournful Earth still coming to terms with half of life being eradicated, the Back to the Future Part II time-travel mission as characters revisit scenarios from previous films, and the big blowout battle where every surviving main superpowered character in the entire franchise is dumped into one battle for your viewing pleasure. Each third offers something different, meaning you cover all of the ground that you’d want to in a dramatic, energetic, and emotional close to a blockbuster saga with literally dozens of characters who are all key players. Each third is impressively balanced, and they all act as strong supporting columns for the film as a result.

However, because these thirds are as distinct as they are, it’s almost inevitable that you’ll come away saying “I preferred these two parts over that third part, which felt okay but a little unnecessary”. Personally, I think there are plenty of themes (grief and a desire to revisit the past, putting guilt and trauma to rest, and of course, the strength of unity) and character arcs (Nebula finally choosing to integrate herself into a group of people who value her and literally killing the old version of herself who wanted only to please her abusive father-figure being the stand-out one) which help gel each of the film’s three segments together without much resistance. But I have encountered multiple people who have expressed the sentiment that they really liked two thirds but they could take or leave another third – inevitably, which third is which always varies. I can imagine that, if you’re not getting a lot out of one of the segments, Endgame will certainly make you antsy for the film to return to what you felt it was pulling off more successfully. The three distinct thirds can result in a fragmented viewing experience for some audience members. On the other hand, I felt that the clearer, more focused structure not only made the film seem less jumbled than its predecessor, but also made it a suitable companion-piece to Infinity War and its Thanos-centric structure.

The emotional response I have to Endgame is not the same electric glee I had from seeing the first Avengers, though moments like Cap picking up the hammer, the cinematic equivalent of a double-page spread of every single MCU hero charging towards Thanos’ army in one image, and “she’s got help” all sparked that feeling off inside me with more intensity than I’ve felt for a long time. No, what I feel more than anything about the MCU right now is a paradoxical sense of melancholic yet nevertheless delighted satisfaction. A part of that comes from the strengths of that first third, which, despite my sincere claims that all three sections gel together successfully, is nevertheless my favourite segment of the film (with the possible exception of the epilogue, but we’ll get to that). In this review’s opening paragraphs, I talked about endings not being the definitive final word as life and the world must always carry on. My reflection on that was primarily positive, but in this opening hour, we see the sad alternative form that this concept can take. Thanos killed half the universe and was killed in retaliation – the conflict ends, as does the hope of repairing the damage done by this tragedy. But the universe doesn’t end even with half of its inhabitants being gone. As Steve succinctly says, the survivors have to keep moving forward, “otherwise Thanos should have killed all of us”. It’s an outlook that Steve encourages, even if he can’t fully believe it himself, because he thinks it’s the best way for people to regain control over their unthinkable circumstances. The setup for Endgame presents us with a universe that died a half-death – everything ended for half its population five years ago, while life for the other half of the population persists, and they are trying their best to make sense of that.

That struggle with grief, both on a colossal and a personal scale, is what unifies every single character, but the difference lies in how they respond to that grief. Black Widow throws herself into her work to try and keep the good that superheroes can do going, but her efforts feel as if they aren’t enough, being told by Okoye that the natural tectonic shifts she’s reporting on aren’t something you actively address with a strike squad and that you have to “handle it by not handling it”. Hawkeye was always the simple guy involved in the Avengers who was kept grounded by his family. Without them, he has nothing to keep him rooted, no home to return to, so he goes in the complete opposite direction and becomes a dedicated avenger in a literal sense, dolling out punishment fuelled by his frustration without any of the purpose and direction that he gained from his connections to friends and family. Hulk / Banner actually come out of this having made some progress, deciding to meditate on what they learned from their losses and literally come together in their grief to become one being, Professor Hulk. Tony and Pepper make the most of the luck they managed to find together, but are both keenly aware of all those who weren’t so lucky, wanting to get back what they lost but keep what they’ve found, which is remarkably human and understandable. Thor… hm. Okay, yes, Thor is a mixed bag. In all honesty, I loved Thor in this film and was empathetic towards his depression and anxiety attacks. I also love that Thor gets to stay as he is and still be shown that he is indeed worthy to wield Mjolnir and fight in the battle alongside all these other heroes without having to change who he is. But I do acknowledge the issues that numerous viewers have raised about some of the jokes made by the other characters being at the expense of Thor’s weight, and how they found it uncomfortable, and, in instances, meanspirited and harmful. I love the current version of Thor and feel Chris Hemsworth injected even more bubbly charm and infectious spirit to his character while blending it with the genuine pathos Thor was going through with remarkable talent. But the film’s tendency to use the character’s weight as an opportunity to make jokes about him being fat is not ideal. I’m glad to see Thor continue as he is into further movies (though it is possible that they’ll say he lost weight between Endgame and Guardians of the Galaxy Vol.3), but I sincerely hope we DON’T see the fat-jokes continue as they are. The lighting, music, and performances of everyone in the cast all contribute to this palpable sensation of immense loss, which communicates not only what’s at stake in this epic conclusion, but also how each character involved has been changed by what they’ve had to go through since Infinity War.

But that only touches on the melancholic side of things; why do I also feel delighted and satisfied as I take in these sombre themes? Well, to put it simply, this one sticks the landing by closing the right doors in the most appropriate way while keeping other doors open in a balanced approach that seems so right. Tony Stark sacrifices his life after declaring “I am Iron Man” one last time, putting everything of himself into doing the right thing when so long ago he enjoyed a life of zero-accountability and kept his work on weapons technology at a safe distance. The image of his first arc-reactor in its memento case reading “Proof that Tony Stark has a heart” floating on the water at his funeral destroyed me at both viewings, because not only have his actions proved this fact as well, but we see numerous people all around this site as they pay their respects, showing the hearts of so many characters we care about who were connected to his. And Steve Rogers, the soldier who could never sit down if he saw a situation pointed south, after standing up against a galactic tyrant and his army, first alone and then with the support of countless men and women rallying to him, finally lets himself rest. Not many people have talked about the new horizons Steve takes in in this film; when the surviving heroes take Rocket’s ship to the Garden Planet, the camera makes a point of focusing on an extreme close-up of Steve’s eye as they travel through hyperspace. Even after nearly a decade of familiarity with this new era, the man out of time, a kid from 1940s Brooklyn, is seeing things that he could’ve never imagined. He’s come so, so far. I can think of no better conclusion than for him to return back home.

But the film’s epilogue isn’t just concerned with closing the curtain on these heroes as they sit down to rest. Just as these stories end, we see hints of what stories are yet to come for other heroes. In the sequence where the camera pans over the countless faces attending Tony’s funeral, it’s fitting that the last hero we see (before Nick Fury steps into frame under the veranda, concealed in the shadows at the very end, much like his very first entrance as a post-credits tease at the end of Iron Man) is Carol Danvers. Having made her debut just months ago, she is the most recent addition to this universe, so her position at the back of the line reflects that. Her placement halfway up the steps she’s standing on suggests that she’s acting as an embodiment for the road to the future – she is literally on the next step for the series of films Marvel will make as they move forward. And she’s not alone, because other heroes will continue to thrive and flourish as their stories continue. Sam is handed the mantle of Captain America, and what’s achingly beautiful about this exchange is the attitude of the two men involved. Sam views Steve as his friend first and foremost, so he is sincere when he says he’s happy for him. But Sam also respects Steve so much as the man who deserves to be Captain America. Much like how Mjolnir can only be wielded by those who are worthy, Cap’s shield becomes a sacred relic that should only be worn by the right man for the job. And when Steve gently encourages Sam to try the shield on, knowing full well what it means to the world and to both of them, he does so as both Captain America finding the right man to fill his position, and as Sam’s friend Steve, telling him with assurance that he really is one of the best people he knows. When Sam confesses that he feels like the shield belongs to someone else, Steve responds with elegant purity “it doesn’t”. Everything at the core of Captain America, the bravery, the conviction to always stand back up and fight no matter how much it pains them to do so, and the responsibility to always look out for the little guy, are all qualities which never belonged to Steve and Steve alone; those virtues can belong to anyone, and Steve tells his friend that he recognises them in Sam. I cannot wait to see the good that Sam will do as he follows his promise to do his best.

Tom Holland’s Spider-Man has been developing a mentee / mentor relationship with Robert Downey Jr.’s Iron Man since Civil War, and here it culminates in a bittersweet arc that lays the groundwork for what I expect will be some fascinating and impactful characterisation in Far From Home in a few months’ time. Tony mourns for Peter most of all, viewing him as a surrogate son who has much of the same inventive genius and drive that he has, with the addition of some compassionate heart and level of responsibility that is far beyond his years. Peter has it in him to be better than Tony, and Tony knows this. So it’s understandable why the loss of that kind, youthful spirit and his limitless potential would hurt Tony so much. In Tony’s dying moments, we share Peter’s tears as we see how much this connection means to them both and realise what is being lost. But we know this is exactly what Tony fought for – the chance for the next generation to live and grow. Holland’s performance when we see Peter return to school hints at his sense of disconnection, as his expression creates the impression that he feels like a stranger in a place with which he once felt so familiar. With the support of his friends, especially Ned, he will find his way in the next step of his journey.

Endgame provides definitive endings for the journeys of characters we’ve been following for more films than we see most actors get to play Bond, but it also manages to cast a hopeful eye towards the future without compromising its position as a neat conclusion to everything up to this point. In fact, its simultaneous handling of reflective closure and moving forward with renewed purpose makes for a remarkably poignant milestone. Stories rarely strike such a balance between meaningful finality and the uplifting excitement of wanting more stories and knowing you’re going to get them. And that probably sounds shallow and frivolous because, at the end of the day, we’re talking about a successful studio delivering a hyped-up film that promises to be a finale but also serves the financially driven purpose of pitching you a dozen other films and TV series. But through the efforts of over a decade’s worth of dedicated storytellers and creative artists, this series has come to mean more than just another substantial drop in Disney’s bucket. It’s become a fictional world that a massive audience has fallen in love with in the same way that people did with Lord of the Rings, Harry Potter, Star Wars, The Chronicles of Narnia, Mass Effect, and a hundred other worlds. We’ve rooted for these characters and cried at some of their most emotional moments, and we’ve grown to care so much about the MCU that it represents a living, breathing world for us. And this kind of ending just makes that proximity to reality that much closer. Stories end and lives come to a close, but they often do so in the middle of other people’s lives and stories. After all, Yinsen’s sacrifice in the MCU’s first film, Iron Man is the end of his story, but his death acts as a foundational moment for the man that Tony would grow to be – his ending is a part of Iron Man’s beginning. In Endgame, heroes pass away, lay down arms, or choose to step down from a position they no longer feel a need to hold onto. At the same time, other heroes move onto the next step of their journey, accept new responsibilities, and accept the titles passed onto them from those who know they will do a fine job. It’s a beautiful encapsulation of the natural balance between life and death, between the end of the old and the beginning of something new. It’s the balance that Thanos strived for but never fully understood, as he wanted to cultivate life but in his obsessive crusade ended up sewing nothing but death. It is only right that the heroes are the ones to achieve that balance through their actions and connections with one another.

Final Score: Gold.

Avengers: Endgame is overflowing and self-indulgent, but it has every right to be and more than earned it. There are missteps, and there’s room for disappointment over the direction that certain characters are taken in, most notably the original version of Gamora ultimately staying dead and staying the victim of an abusive father-figure who seizes all agency away from her, or Thor arguably continuing to veer away from where he was at the end of Thor: Ragnarok and his new weight being an excuse to make cheap jokes that feel uncomfortable. But it is also a well-structured film that offers three distinct tones that are all equally engaging, and its delightful moments of humour and momentous action strikes a grand and immensely satisfying chord with its examination of grief and the natural interrelationship of the closing of one chapter and the beginning of another. It is as significant a landmark for this fictional series as any invested viewer could hope for. It’s a hell of a thing to have come this far, and I can’t wait for whatever comes next.

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kelleyschorn · 6 years

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Kelley Reviews: Tag (Spoiler Edition)

*If you’ve already read my non spoiler review of this movie, skip to after the SPOILERS sign!

Quick word about the movie poster I chose for this review: It’s not my favorite one because this one kind of makes the movie look stupid but I went with image resolution over image content.

That being said, I was hooked on this movie since I first saw the trailer. The concept was original and it even had the added interest of it being based on a true story, “we’re not kidding”. So many things drew me to this movie from the plot to the fantastic trailer and then there’s the amazing cast. Tag is a comedy inspired by a real group of ten friends who have been playing the game of tag since high school. There is a great video on youtube that gives a more in depth look at the real story that you can find right here:

https://www.youtube.com/watch?v=d8C-VFbP-JQ

Because this reality acts as more of a writing prompt than a fully realized story, the writers for Tag exercised their own creative liberties when telling the story inspired by this amazing group of friends. There are hundreds of potential stories that could come from this prompt and I think the writers were smart to pare down the cast from ten to five so as to make a story that was more easily grasped. The movie centers on Ed Helms’ character, Hoagie, and his goal of finally tagging their impossible-to-catch friend Jerry, appropriately played by Hawkeye—I mean Jeremy Renner. Lately I’ve been a bit put off by comedies that rely heavily on jokes centering on sex and hoping that this will convince the audience that the crappy plot is worth overlooking for the crass punch lines. That being said, movies like Game Night and Tag have been a breath of fresh air in comparison. While both do have similar jokes throughout, they also have a good plot to stand on making room for situational humor to shine through.

While some critics disliked Tag, saying that it lacked the fun loving essence of the true tale it draws from, I would say that those critics missed the point of the movie. Without giving anything away, I would say that this movie exemplifies the importance of staying young, even when you get older. It does a great job of portraying the realities of keeping up with old friends and the fact that, while you may not see them as often as you did in high school, when you get together, it’s like no time has passed. Not only does Tag give you all of those warm and fuzzy things, but it also delivers them in a hilarious way! I saw this movie with my mom and sister and we were dying laughing throughout. The all-star cast definitely helped with this as well as the quality of the story itself.

The plot was kind of all over the place with some seemingly pointless subplots and some downright unbelievable moments but overall, I would say that this is a solid comedy and it stands out among others in its genre.

WHAT WORKED

The cast. What an awesome cast for a comedy am I right? I love Ed Helms because the Office (duh). I love Jake Johnson because I know him from New Girl. And I love Jeremy Renner because he is Hawkeye and he basically plays Hawkeye in this movie and I was all for it. Of course I also love Rashida Jones and I felt that she was a bit underused in this movie. If a less talented cast had been chosen, I would not have liked this movie nearly as much as I did. I especially feel that Ed Helms did an exceptional job seeing as how his role required more seriousness than his fellow cast members.

The plot. Yes there were issues with the plot, but what worked for me was the direction they chose to take the story in. Also the fact that they chose a direction in the first place. Like I said above, the original story acts as writing prompt and I think that that is pretty cool. This is what the writers came up with based on that prompt and I or you or anyone else would have come up with something completely different. They had to create a fully fleshed out story from that one tiny prompt! Writing is so cool! Ok nerd-out over. Anyways what worked for me about the plot were the more serious” themes of friendship and the importance of staying young, even when you get old. Despite it being a comedy, I found these themes, and the implementation of them touching. Also the twist at the end was unexpected and pulled off really well by Ed Helms. I didn’t believe it at first but once I knew it was real, it added so much depth and clarity to the story. Again, props to you Ed for pulling that character off so well. I also loved how they included a lot of the real life epic tags from the source inspiration seamlessly into the plot—the tagging at the funeral, the dressing up as an old lady.

The characters. The characters for me is where the comedic elements in this movie really shined. Such a wide range of characters for some epically hilarious interactions. I loved Hoagie signing up to be a janitor despite his “PHD in veterinary science and a flourishing practice” (I’m paraphrasing but you get it). Randy and all of his weed jokes were great and the scene where he’s smoking in the basement with his friends reminded me of That 70’s Show. Jerry was made even more funny to me because he was played by Jeremy Renner. I could totally see Hawkeye being all about this and being this hardcore in the Marvel Universe. (I know I said the nerd moment was over but I lied—sorry!) Hannibal Buress had some funny moments as Sable but some of them fell flat. I felt like his character lacked some of the cohesion the other’s had, like they couldn’t really decide what comedic angle they wanted to go with him so with his tragic back story some of the jokes just felt a bit awkward.

The funny. A lot of the jokes came from the absurdity of their situation and I loved that! They didn’t have to rely heavily on cheap sexual jokes (the adult version of fart jokes) to be funny. The premise and the characters themselves created hilarious scenarios for the viewer’s entertainment.

Small highlight to the parts where they show the gang as kids and how this game started and then it shows them as adults driving next to those kids as a transition—that part was genius!

WHAT DIDN’T WORK

The plot. Ok so here’s my issue, some of these subplots just didn’t really add anything to the movie for me. The Randy Vs. Callahan romance subplot. This was unnecessary. I do love Rashida Jones but this did not add anything to main plot other than (maybe) some more characterization of the characters. I don’t think it was needed and I don’t think it added anything significant to the plot other than a distraction for those characters that causes them to miss Jerry and that could have been done by a lot of other things, (Randy could have gotten too high, Callahan could have been distracted by flirting with the reporter). The other subplot that I have some issues with is the reporter. She was literally only there as an interpreter for the audience so that we would know what was going on. She never really advances the plot and doesn’t ever cause any sort of drama with the group. She’s static and could have been used better. I’m not saying that it wasn’t a clever way to clue the audience in, but I think they could have paired her with Callahan as a romantic interest (I shipped it) to at least give her some sort of importance. Or as a more extreme fix, I would have taken her out altogether and had one of the guys, maybe Hoagie, narrate and explain various things throughout—though I’m more in favor of the love interest thing because she did bring some comedic elements of just not knowing what’s going on.

The scene at the wedding shower. Specifically the giant traps and the extremes Jerry went through to mess with his friends took me out of the story a bit. I get that it was supposed to funny how absolutely ridiculously into the game these grown men were but some of the jerry stunts pushed it a bit too far for me.

The characters. I already explained my issues with Sable and the reporter but the other characters that didn’t quite work for me were Cheryl (Rashida) and Hoagie’s mom. Hoagie’s mom felt like a lazy character to me. Like the writer’s forgot about her until the end and were like, oh wait, how can we make her funny? Let’s just make her into one of her son’s friends. I thought maybe it would have been funnier to have her be one of those completely unaware types, like all this stuff is happening around her and whenever she finally looks around, it’s all gone. And then Cheryl, her plotline was doomed from the start but as far as that subplot goes, what smart woman in her right mind chooses the unemployed broke pothead living with his dad over smart successful Callahan in a choice between two exes?? Ok rant over. That character had no real purpose in the story, I say cut her out.

While I did have all those issues, I did thoroughly enjoy this movie. I laughed a lot and was fully entertained. I would highly recommend this movie it was a fun one! Unfortunately I do not have a ticket stub to show for this movie because the theater I went to screwed me over! I’m just not going to go to that theater anymore, It’s not worth losing my precious ticket stubs!

Let me know what you think of this review and what you thought of Tag! If you liked this review please share it! Stay tuned for the next one: The Incredibles 2!

#tag #tag movie #ed helms #rashida jones #Hannibal Buress #randy johnson #jeremy renner #jon hamm #Tag movie review #movie review

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aion-rsa · 4 years

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WandaVision Episode 6 Theories Explained

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This article contains spoilers for WandaVision and the wider MCU

It’s that time of the week where we’ve had a few days to digest the latest episode of WandaVision, so it’s time to drag out our diminishing ball of red yarn and start connecting theories about what’s really going on at the core of the show’s story.

In Episode 6, ‘All-New Halloween Spooktacular!’, there were more Marvel Easter eggs than ever flying around. We also got to spend some quality time with Wanda’s new family, including Evan Peters’ integration as the MCU’s long-dead Pietro Maximoff. Hard to argue that Uncle Pete’s energy was absolutely intoxicating, but it occasionally verged on disturbing, which only served to whip up WandaVision’s fans into a finger-pointing frenzy as to the true nature of Peters’ role in the Disney+ event series.

Let’s take a look at the most compelling WandaVision theories gaining traction on message boards and social media since we last saw the show’s worst villain – the end credits.

Wicked Little Town

Here’s a devastating little theory doing the rounds: what if there were no children in Westview until the sudden manifestation of a younger population in Episode 6 because something terrible happened to the real children of Westview after The Snap? It’s mathematically improbable (but not impossible) that if most of the adults in the town disappeared at once, they could leave their children behind with no one to care for them.

The theory balances on the notion that either some horrible accident occurred while the kids were fending for themselves, or that a dark entity pounced on them. Wanda could conceivably consider Westview a perfect place to create a protective bubble around; somewhere that they could all ‘forget’ about their grief and loss together.

Unfortunately, as we’ve seen, these people are still in pain – whatever is keeping Wanda suspended in a state of ignorant bliss isn’t without side effects for the residents of Westview. However, if there were some ‘agreement’ with the town’s council to go along with Wanda’s plan in an effort to bring the children back to life or pry them from the grip of a nefarious villain, perhaps the grownups of Westview might expect to see their families eventually return – if they just play along.

Every night… from WANDAVISION

Pinches of Paprika Out of Ten: 8

The Red Note

A theory flourishing on Reddit via DrewAutote presents an interesting observation about WandaVision’s theme songs to date. They note that each episode’s opening theme utilizes tritones, which apparently aren’t particularly popular in modern music.

From the early 18th century/late Middle Ages the Latin phrase ‘diabolus in musica’ or ‘the Devil in music’ was applied to the harsh-sounding tritone interval, which is “essentially one half-step away from a perfect fifth”. The theory posits that their continued use in WandaVision’s catchy themes could be “hinting at a darker entity pulling the strings.”

Gonna be real with you here: we do not know nearly enough about musical composition to lend any weight to this intriguing theory, but if the creators of WandaVision have gone that deep to slyly introduce notorious Marvel Comics villain Mephisto into the MCU – and a big chunk of fans are now dead certain that’s happening – fair play to them.

Pinches of Paprika Out of Ten: 8

Might As Well Jump

Is The Hex a newly created ‘jump point’ that allows someone or something easy access to Earth? Hmm, a better question to start with is “hang on, what even is a ‘jump point’?”

Well, as we’ve seen in several Marvel blockbusters to date – most prominently in Guardians of the Galaxy 2 – jump points are fissures in space which allow spaceships to use the MCU’s interdimensional travel system – the ‘Universal Neural Teleportation Network’. You can hop near instantaneously to other areas in space by accessing one of these jump points. Oh, and they look exactly like a hexagonal field, much like the dome that surrounds Westview.

If Wanda and whoever else is behind the strange goings on in Westview fabricated a mystical fissure in the town to make it happen, it might have not just produced a new jump point in space or time, but a dangerous multiversal doorway – which could explain both the sudden arrival of Evan Peters’ version of Quicksilver and WandaVision’s connection to Doctor Strange in the Multiverse of Madness.

Pinches of Paprika Out of Ten: 5

The New Avengers

When will we get another Avengers film? Cap’s old, Black Widow and Iron Man are dead, and Thor’s gone off with the Guardians. There aren’t too many active Avengers left, and those who are still around feel pretty scattered and unconnected in a post-Snap world. But perhaps Marvel is setting up a new, younger band of Earth’s Mightiest Heroes, and Wanda’s twins Billy and Tommy could be a part of that plan.

With Billy and Tommy having mystical powers and super speed much like their comics counterparts Wiccan and Speed, Clint Barton handing his bow and arrow to Kate Bishop in Marvel’s Hawkeye series, Ms Marvel on the horizon, Cassie Lang aging up to have a much bigger role in Ant-Man and the Wasp: Quantumania and Iron Man’s legacy extending out to a Riri Williams Ironheart project, there’s a new breed of superheroes waiting in the wings to take over from the old guard.

Is it possible that when WandaVision is over, a teenaged Billy and Tommy will survive to tell the tale and we’ll see a gang of new Avengers start to take shape?

RED & BLUE #WANDAVISION pic.twitter.com/ga7xeVmojw

— Nação Marvel 🎃 (@NacaoMarvell) February 14, 2021

Pinches of Paprika Out of Ten: 3

Mepietro

Plenty of WandaVision fans have committed to the theory that Mephisto is behind the creation of Westview, or that he helped Wanda do it. For those who couldn’t pick the diabolical demon out of a line-up, Mephisto was inspired by Mephistopheles of the Faust legend and is basically Marvel’s version of The Devil. He also looks similar to a traditional artist’s impression of Satan.

The villain was originally brought to life by Stan Lee and John Buscema in The Silver Surfer #3, and since the first batch of episodes arrived, most of WandaVision’s regular characters have been accused of being Mephisto at one time or another, including those we’ve already met like Dottie and Herb (where the Hell is Dottie??) and those we haven’t even clapped eyes on, like Agnes’ problematic husband Ralph.

But since Episode 6 started streaming, Pietro has naturally become the focus of many Mephisto theories. Let’s face it, he’s sus, and there are certainly reasons to believe he’s different from everyone else who’s found themselves playing a new role in Wanda’s upbeat reality.

For a start, he’s very aware of what’s going on. Turning up unexpectedly wearing a semi-familiar guise at a moment of conflict that may have pushed Wanda and Vision to break down the walls between them, he goes onto be very direct with Wanda, asking her how she created The Hex and condoning her behavior while trying to gain her trust. He’s also casually cruel, dismissing Vision’s loss with “it’s not like your dead husband could die twice”.

Not only that, he calls Billy and Tommy “demon spawn” and tells them to raise Hell. Mephisto’s relationship to Wanda’s twins is somewhat complex in the comics, but they were essentially magical constructs created by Wanda using slivers of Mephisto’s life essence, and they ceased to exist when they were reabsorbed by Mephisto. They were also reincarnated later on, but that’s a whole other deal.

Arguably, it’s a great time in the MCU’s evolution to introduce a major new villain now that Thanos is dust in the wind, and since so many of both the surviving and upcoming MCU superheroes have lore with Mephisto in the comics, there are plenty of resources to pull from if he’s set to be a huge antagonist.

But did Mephisto really offer Wanda a Faustian bargain before Westview took shape? She gets some happy family time with Vision in Westview, and he gets …well, that’s the big question, isn’t it? Two new superpowered beings at his disposal? Maybe. The opportunity to drain Wanda’s still somewhat unexplored mystical power? Mayyybe.

Is Evan Peters’ version of Pietro really Mephisto? Perhaps, sure. At this point we’d suggest those who don’t think Peters has the range to play a massive Marvel villain go watch him play eleven different roles effortlessly in American Horror Story, then get back to us.

Only time will tell, eh? Three episodes to go!

Pinches of Paprika Out of Ten: 2

Have you heard any reasonable new theories about where WandaVision will end up since Episode 6 dropped? Let us know in the comments.

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ohmytheon · 7 years

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real gods require blood (fma/noragami au, 1)

I’ve got a few ideas where this is going, hinted at in what I’ve written here, but honestly this isn’t as set in stone as my Fate AU. It’s more than likely going to be a series inter-connected fics like my Star Wars AU (I have so many AUs, oh my god), but with a theme. None of the scenes are in chronological order, but go back and forth. Kind of like how Noragami did. Seriously, that anime messed me up real good. I was not expecting that. This is mainly for @the-musical-alchemist and @scarfblogs who got me into Noragami. I know my AUs are weird.

“The Gods aren’t so much worshiped, as they are blamed.” ― Terry Pratchett, The Color of Magic

It was the smell of blood that always startled him awake.

Roy’s eyes snapped open. There were no rivers of blood around him, only rain, and so he laid on the stone floor in silence and listened. A chill hung in the air from the storm, but he made no move to pull the blanket around him tighter. Instead, he let it seep into his bones until he was shivering. Still, he didn’t move. The cold washed away the feeling of blood.

“You’re going to get sick,” a tired voice sighed from further inside the temple.

Finally, Roy moved, rolling over onto his other side to face her. “Gods don’t get sick.”

“You can get blighted.”

“Are you going to do something terrible?” Roy asked.

Riza frowned and sat down next to him, folding her legs underneath herself. “Are you going to ask me to?”

“What a terrible thing to assume of me,” Roy replied with a smile as he slowly pushed himself up. He gave her a sideways look “What kind of god do you think I am?”

“A foolish one,” Riza grumbled under her breath. She turned away from him to look out into the rain and huddled deeper into her coat. He’d given her the heavier one. She was so small. The second she’d come out of her regalia form after he’d first named her and taken her in, he had been shocked. How could a spirit that was able to take such a fierce regalia form be so fragile-looking?

She wasn’t weak though. She was the strongest regalia he had ever had. He treasured her more than he could ever admit out loud and she had never blighted him despite all that he had asked of her. She could have and he didn’t think he would’ve blamed her. The things he’d done before, as a god of calamity… Another god, a better one with a better conscience, would’ve used a Nora.

Instead, he’d used her, burned her with blood, and she had turned into a Blessed Vessel for him.

After that, he could no longer be the same god as before. She wasn’t the only one that had changed, but whereas she found new purpose and direction, he felt entirely lost. As the years passed, his name was slowly forgotten until only a few remained out of his desperation to stay alive. It would have been easy to revive his name – all he had to do was go back to being what he was – but that wasn’t who he was anymore. She had changed him and he was determined to live up to her.

So yes, he was a very foolish god, maybe even a little broken too. Roy held out a hand, letting the rain spatter on his open palm, and looked up to the sky. But one day, they would know his name – all of them, those from the Near and Far Shore – and they would no longer fear it as they once did.

It was always the whisper of prayers that brought him back to focus.

Fire sang in his blood. It burned through him, vicious and hot, whenever he worked. The wishes that he fulfilled were very rarely spoken with good intentions. They were born out of hate, rage, grief, confusion, fear. Those were the emotions that made up calamity and they were what he answered to at the end of the day. They were whispers in the dark, words not meant for the light of day, and he knew them all.

Gods like Roy weren’t meant to be revered. They were meant to be feared. It had been a long time since he had known anything but that.

He deserves to die. He took her… He took my wife. I want them both dead.

Roy stood in the corner of the room, leaning against the wall, while the man sat on the floor with his head in his hands. “Are you certain that’s what you want?”

“I want their hearts torn out of their chest like mine has been!” the man cried out.

He didn’t think the man meant it so literally, but if that was what was asked of him specifically, he would do it. This was easy work. It didn’t take much effort. It wasn’t pleasant and it certainly wasn’t kind, but someone had to answer these wishes, didn’t they? These humans prayed to someone. They prayed to him. What kind of god would he be if he did not answer them?

Sighing, Roy held out a hand and waited patiently until the man dropped the payment in his hand. All it ever took to fulfill a wish were some heartfelt words and a few coins. It turned out that even human lives were cheap. He never counted to make sure he wasn’t shortchanged. Everyone knew what would happen if they crossed him.

He was not a god to wish for – and yet people did.

Havoc jumped cheerfully in the air as he whooped. “We did damn good today!”

“We were adequate,” Falman replied.

“Damn good. Six phantoms all charging at once? That’s not adequate.” The sandy-haired regalia leaped over to Fuery, wrapping an arm around the younger man’s neck so that he could rub a knuckle in his hair. Havoc’s grin was almost bright enough to blind someone. “Our boy here got his first bit of action too.”

“I didn’t do much…” Fuery admitted, blush tinging his cheeks.

Havoc blew a raspberry. “Nonsense!”

“Coordinating all of my regalias is an important position,” Roy pointed out as he brushed past them.

Fuery turned even redder but said nothing in return. He was left to the mercy of Havoc and Breda piling on top of him with Falman sighing at the side. Riza followed Roy into the temple, leaving the four other regalias to hang back. It was beautiful outside, a sunny day, even more lovely now that it had been cleansed of phantoms hanging around the city after a vent was accidentally opened.

Roy paused once inside the temple, gazing at the shrines built inside. They were so shiny. Every inch of this place spoke of devotion and care – of being remembered and known. He could breathe in here. After so many years, he had forgotten what it was like to be known. The others didn’t know. They didn’t know of Roy when he was a god that only a handful of people remembered. Riza, on the other hand – she had known him through all of it.

Maybe that was why having a shrine now shamed him so much, even though he’d worked so hard to get it in order to be worthy of her.

“Do I deserve this?” Roy asked.

Riza peered at him. “Sir?”

“Do I deserve this?” Roy repeated. “To be beloved, to be wanted, to be needed.” When he looked down at his hands, he saw the blood that was no longer physically on them. It would always be there though. Blood followed gods of calamity. He would never be fully rid of it. “After all that I did…”

“Nothing will wash away your sins fully,” Riza said. But then she put a hand on his shoulder and he looked back up. A strong part of him wanted to grab her hand and yet he held back. He always did, but just barely. “But as long as you continue on the path you’re on, you will be worthy of this.”

Roy nodded his head and looked back at shrine.

But will I be worthy of you?

He was dead and he was dying – and there she was, the most beautiful soul that he had ever come across. She was lost and far from home, but she had nowhere else to go. Uncorrupted souls like her in this world either eventually moved on if they were lucky or were corrupted by phantoms lurking in the dark. It would not be long before she was taken and for the life of him he could not let it happen.

Maybe it was selfishness and desperation on his part because he needed her, but in the years to pass, she would always say that he saved her from certain darkness.

Blood poured from multiple wounds and he struggled to breathe as he stood before her bright soul, a god no one would want yet still needed anyways. But he could not be the god he was without a weapon. As terrifying and powerful as he was, his work on the Near Shore was worthless without a regalia and he was so well-known for his work there.

“You, soul, with nowhere to go and nowhere to return!” Roy called, drawing the appropriate symbol in the air as a phantom roared behind him. “I grant you a place to belong. Mustang is my name. Bearing a name after death, you will remain here; and with this name, I make you my servant. I use my life to make you a Regalia! You are Riza! Come, Hawkeye!”

And that soul, so beautiful and bright, turned into a beam of light, driving the phantom back. Roy threw out his hand as it shot into the air and into his grasp. When he opened his eyes, he nearly gasped. A long black whip, sharp as a tack, that he knew deep down was something so much more. He’d never seen a regalia take such a shape and yet somehow he also knew how to use it.

When the phantom gathered its bearings and leapt to strike, Roy leaped in the air and cracked the whip in the monster’s direction. “Rend!” he ordered. The whip squeezed and the phantom exploded into a ball of light. The regalia was incredible.

Landing on the ground, Roy closed his eyes and raised his face to the clouds. The regalia hung loosely in his hand, asking nothing of him. He could feel it patiently waiting. How unusual. Most Regalias were very talkative at first, confused about what was going on, especially if they were immediately used in battle. He had never been careful with them before. Something told him that he should be different now, but he had always been reckless by nature.

“Riza,” he said without a care and the whip glowed and transformed into a person.

He nearly choked at what he saw.

She was a young woman, a few years younger-looking than him, with wide amber eyes and short blond hair. The innocent expression on her face caught him off guard. She was so small, wrapping her arms around herself to brace against the chill of the night. He wasn’t prepared for her to be wearing a thin dress with no shoes or the way she looked at him expectantly as she bit her lip.

“You…” Roy didn’t know what to say.

“I’m dead, aren’t I?” Riza asked.

Roy took a sharp intake of breath, but then nodded his head. She took a deep breath and looked down at the ground, taking in the situation. He didn’t know what to say. Of course she was dead. Regalia were made of human spirits that had died and not passed on yet. Sometimes they did; sometimes they didn’t. Some avoided becoming phantoms, but most didn’t without the help of a god. He did not doubt her strength – he’d felt it firsthand – and he was grateful that she was a regalia and not a phantom.

“I’ll keep you safe,” Roy promised and Riza smiled.

He lied. She didn’t know who he was and for the first time he didn’t either.

Roy smirked to himself and turned back to face his shrine so that no one would see. He definitely didn’t want Edward to see the look on his face or the kid would blow a gasket. It was enough to watch him freak out as Roy’s regalias teased him about how much he’d grown in the past years since they’d last seen him.

“He looks so…young,” Riza sighed. “He’s barely aged.”

“Well,” Roy replied carefully, turning back to survey the scene, “he’s a child.” The look Riza gave him would’ve been strong enough to shrivel most gods, but he was a little more used to it, so he shrugged his shoulders. “He’s a god – in a sense. There’s a chance that he might look like this for a long time.”

Though he would never talk about it out loud with the other regalias and especially Edward so close, Edward’s appearance was troubling. Even worse was his brother standing to the side, smiling and laughing. Alphonse was an incredible soul, bright like Riza. He was of good humor, optimistic, and very protective. The fact that he was his own brother’s regalia was very disconcerting, however. Gods didn’t die like humans. Only humans could become regalia and only gods could make regalia. Edward’s and Alphonse’s existences were exceptional.

And the Heavens did not like exceptions.

Riza hummed thoughtfully. “You don’t want to spoil his happiness, do you?”

“His happiness?” Roy scoffed and shook his head. “I don’t care about that. But his hanging around might bring trouble on our doorstep.”

“Since when have you ever worried about trouble?” Riza asked, a slight smile on her face. “As your longest regalia, I know you better than that.”

Roy would’ve scowled if he didn’t know that she would comment on that as well. Of course she knew him better than that. She knew him better than anyone in his entire life – and he had lived a very long time. She had seen him at his worst, his best, his lowest, and highest. Hopefully, she would see him for many centuries to come. He did not want to be like one of those gods that reincarnated all the time. Somehow, he had lived through everything and become something more. Somehow, he’d outlived his old name.

If everyone could forget that he was truly a god of calamity, he could die in peace if he was forgotten, but no, he and Riza would never forget.

“A product of a god and human should not exist,” Roy pointed out.

“And yet you watch after him,” Riza said.

Roy frowned and watched Edward and Alphonse laughing in the courtyard. It did not make him happy or upset. To be honest, he didn’t know what it made him feel. Fear maybe – and he had not felt that for a long time.

To wish for the death of a person was no small thing. It only cost a few coins, sure, but very few considered the tax it took on the soul.

Now, to wish for the deaths of many? That was another thing. It still didn’t cost much physically – humans were so cheap, after all – but it was a price a person took to their graves. To Roy, it was nothing. He was a god. At the end of the day, what were humans to him but matter? He had been above them for as long as he could remember. All they had to do was forget him in order for him to die, but petty, cruel, and selfish as they were, humans would always have use of a god like him.

Even Riza didn’t blink. She might’ve been horrified at first, but she had never said anything against what they did. Any other person might’ve used a Nora – would’ve used a Nora – to do what he did, but she was his regalia and to be his was to know him and to know him was to do what he did. It was not pretty or pleasant. It was not kind or beautiful. It was nothing like she was. He’d stained her, but she had never blighted him for it.

He had been called upon to do many a terrible thing, sometimes in the name of revenge, sometimes in the name of greed. In the end, someone usually died. Once Riza had asked him if he enjoyed doing these kinds of jobs, but it was all he had ever known. He didn’t know how to want for something else.

“I’m a god of calamity,” Roy told her as they stood over a dead body. “I’m not meant to bring peace.”

Riza bent down to examine the body, the very one in which she had killed while as a regalia. “But this man killed the daughter of the woman who wished for you and got away with it. Did you not bring the mother peace?”

“Death never brings peace,” Roy said. “It only replaces the rage with emptiness.”

“And what do you feel?” Riza asked, glancing up at him.

Roy clenched his jaw. He’d never been asked such a thing. No one had ever asked him how he felt after fulfilling a wish. Many gods were able to fulfill light and wonderful prayers, but there were gods like him that were left to do the dirty work. Someone had to. No one talked about it, of course, and the other gods scorned them for it. The gods of fortune were so revered and so many more and the rest like him were expected to work and destroy and be hated and be content with it.

He didn’t know how he felt. It had never occurred to him that he might have that right.

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codydcampbell1 · 7 years

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Storytelling Problems in “The Last Jedi”

(Spoilers… seriously, a lot of spoilers. Don’t read this if you haven’t seen Star Wars: The Last Jedi because there’s going to be a lot of spoilers for that movie in this post. spoilers. spoilers. spoilers. spoilers. spoilers. spoilers. spoilers. spoilers. spoilers. spoilers. spoilers. spoilers. spoilers. spoilers. spoilers. spoilers. spoilers. spoilers. spoilers. spoilers. spoilers. spoilers. spoilers. SPOILERS. SPOIL-nerf-herding-LERS. Spoilers.)

Star Wars: The Last Jedi has received conflicted reviews from the critics who seem to love it and the moviegoers who have been left feeling confused and a little disappointed. This is different from The Force Awakens, which received generally good reviews, but was criticized for following the same essential plot as A New Hope, where a young orphan, stranded on a desert planet receives a call to action, requiring them to leave home, challenge the Empire and blow up a death star. The first film in the Disney series set the audience up to believe that we were watching something that was more similar to a reboot, than a continuation of the existing story. The Last Jedi takes advantage of this by using the plot of The Empire Strikes Back to subvert these expectations. When you expect Luke to train Rey as Yoda trained him, he refuses. When you expect Snoke to be a complex and mysterious character, he dies without a hint as to where he came from, and when you expect Rey to be the daughter of some important legacy character, she turns out to have no relevant family ties. A lot of this can be summed up by the sentiment expressed in Kylo Ren’s line that was revealed in the trailer. “Let the past die. Kill it if you have to.” Director Rian Johnson seems to be saying the we, as an audience, need to let go of the idea that these movies and the characters that live within them are going to be the same as the old ones if we ever want to move on and allow a new generation to come forward. So why are so many people not liking the new Star Wars? Well, there are a few major structural problems I’d like to point out.

1. Poe and Finn don’t need to be in the movie.

These two characters, while occasionally entertaining, are completely unnecessary to the primary plot of The Last Jedi. It becomes an issue for any story when there are too many subplots. It makes the film feel muddled. In episodes 4, 5 and 6, the camera followed Luke on his mission to become a Jedi and overthrow the empire. Occasionally Luke leaves the main group and the films begin to cut back and fourth between him and everyone else, but most of the original franchise followed the protagonist. Episode 8 splits its time between Rey on the island with Luke, Kylo’s slipping influence under Snoke, Poe’s struggle to help the resistance escape, and Finn’s attempt to shut down a tracking device by infiltrating a casino. The problem is that Finn and Poe’s subplots are completely unnecessary. If you cut straight to the First Order tracking the rebellion and eventually landing on Planet Salty, you’d still have essentially the same movie. Perhaps even with more time to develop Rey as a character. There’s simply too much going on at once and a lot of it is unnecessary.

2. There’s a fine line between subverting expectation and trolling.

Reversing every major plot point from Empire made a bold statement about taking the series in a new direction, but it’s important not to try so hard to be unexpected that you forget to tell a good story. Kylo killing Snoke in a surprise attack before his back-story and motivations could be revealed certainly caught a lot of people off guard, but it also kind of felt like a giant middle finger to every fan who spent hours theorizing about who he might be or where he might have come from. Wouldn’t Johnson have been able to make the same point about not needing to rely on the old series by simply creating a new origin for the Supreme Leader rather than throwing him away entirely? This isn’t the only time this happens either. Turning Luke’s trial in the cave from a jarring scene about self-reflection and the origin of evil, to Rey’s scene where the only deeper meaning she finds is that there is no deeper meaning can be disorienting. These scenes made the movie feel jagged and disconnected, like it was trying so hard not to say the same thing as Empire, that it didn’t say anything at all.

3. It’s afraid to be earnest.

Themes of cynicism are unfortunately becoming more and more common in the film industry. There is a line near the end of Avengers: Age of Ultron where Hawkeye says, “The city is flying, we’re fighting an army of robots and I have a bow and arrow. None of this makes sense.” This is a self-aware nod to the ridiculousness of situations that super hero movies frequently create. Deadpool is basically a two hour-long iteration of this line. The characters who do this are essentially saying, “you can’t make fun of me if I make fun of myself first.” This works in Deadpool because the purpose of the film is to be self-aware and mock the tropes built up by the super hero film industry. It is a meta-comedy. Avengers and Star Wars are not. When Han Solo asks Finn if there’s a trash compacter on the station, he laughs and says there is. This scene is intended to be a nod to episode 4, but Finn shouldn’t know that. He wasn’t there when Luke, Leia and Han were trapped in a trash compactor. When Luke flings away his old lightsaber, we laugh, but only because that isn’t what a Jedi is supposed to do with a cherished heirloom. The characters frequently seem like they’re too cool to actually care about what’s going on, but if the characters don’t care, why should the audience?

4. The film’s message is shallow.

While Star Trek was always known for its explorations of politics and culture, Star Wars spent more of its time ruminating on religion and philosophy. These concepts were the heart of the original films. Star Wars was never so much about the physical battles as it was about the battle of ideas. The Last Jedi seems to be throwing these ideas away, ‘killing the past.’ Yoda burns the tree. Kylo cuts Snoke in half. Rey’s lightsaber breaks. When Luke faces Kylo, the sith sneers and asks if Luke is going to try and save him. Luke refuses, deciding that instead of trying to turn his nephew back to the path of light, the way he did with Vader, a good butt whoopin’ is the more appropriate response. This might kindle some shallow sense of ironic comedy in the moment, but it ultimately leaves the film feeling hollow.

The Last Jedi isn’t without its saving graces. I was drawn in by Rey and Kylo’s mysterious connection, and I cheered as hard as anyone when they fought off the imperial guard back to back. I wouldn’t even go so far as to call it a bad film. It took what Abrams had built and tried to learn from it instead of taking the easy road and re-shooting Empire. Johnson took a risk and tried to make something new, but at least for me, it simply failed to be a Star Wars movie. It didn’t have any of the qualities that made the original franchise memorable. At the end of the day, episodes 4-7 spent a lot of time asking questions, and episode 8 spent three hours asking “who cares?”

#star wars #last jedi #movie review

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hello-vampire-kitty · 7 years

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Literary references and character abilities (chapter 62)

While I got the gist of what everyone in this chapter talked about, I have yet to take my time and look up all the words and translate properly, but I just found something so interesting and I wanted to share with you and it’s about the names of the abilities used by Shuuhei and Shamrock, because I did not know about the things that were used as reference. I just love how Servamp is filled with so many things from literature and the amazing names for the character abilities that have dual readings that have a connection with one another. I wrote down the observations I made in regards to the literary works that have served as inspiration. Hope they will make sense! I’m gonna put these under the cut, as they can be spoilerish and also because it is quite long, I’m surprised that I was able to write this much, for I ramble a lot about the things that I think about during translations and things that I found out during research. It would be nice to hear your opinions in regards to the things I wrote :)

And a shout-out to @xchibikai for providing the RAWS. Thank you so much!

Alright, so the new chapter begins with Shuuhei chanting the words of a spell that is connected to his previous ability that we were introduced in the last chapter called “Hayabusa no me” which I had translated as “Hawkeye” and it’s a good thing that I did not went with “falcon” (the Japanese readings differed in regards to some readings of the kanji and “falcon” and “hawk” were present as I made some light research).

Now, Shuuhei is portrayed to stand in a field, more precisely a rye field which is also mentioned in his spell, which I will loosely translate, because it’s not a surprise anymore to encounter ambiguous things while translating and I’m saying this because I feel like if I had some certain words there, I could have understood better, so if things are vague in Japanese, might as well make it as vague in translation. Ok so here goes, this is the rough translation:

“...I am the law, thou art demon

It’s clear which one is crooked

Fall from the rye field’s cliff

Where no one can find you

Even holding on to the sixpence you gave me

I cannot come back

Four and twenty blackbirds "Nobody in the rye"

(***notes: In the first line, he uses an archaic version of “you”. Second line: crooked as in “crooked ways/mind”, having distorted views.　I think that's the meaning, based on context)

At first glance I thought that it would be a reference to “Catcher in the Rye”, but no, it’s actually from an old nursery rhyme called “Sing a Song of Sixpence” that I even found translated in Japanese here.

Ok, know I’ll talk about something that I was reluctant at first to write because I thought I would make things way too boring, but then I decided to write in hopes that it would be useful for you writers and artists out there, to present with more details that might be helpful when you want to portray something in regards to Shuuhei. So yeah, let’s talk about birds :))

Once again I want to remind in regards to what I said above pertaining to my choice for using the word “hawk”. While in Japanese, the word タカ (taka)　with this kanji 「鷹」 is used to refer to that bird, in our case here we have Shuuhei’s ability written in katakana as ハヤブサ (Hayabusa). Consider katakana as a visual way that shows that it has special meaning and to put emphasis on a word. When I looked up the words, the reading of “hayabusa” had the translation falcon and this kanji 「隼」 but, I looked into a it a bit and found another kanji, which might be rarely used, which also the reading of “hayabusa” and it denoted “hawk”. So you see, by having just this reading in katakana, without knowing to which version of “hayabusa” it might be referring to exactly, we are mostly left with just the visual that it is about a bird of prey, something that both birds have in common. In my case, as you might have guessed, I went with “hawk” because of the idiom to have eyes like a hawk, which totally fits with Shuuhei’s ability. I don’t think I have heard the use of “falcon eyes”, but if some of you know, then I guess, it’s up to you to choose what sounds best. :)

On to the next bird. In Japanese the word ツグミ (tsugumi) was used which refers to the bird Turdus merula, known more as the common blackbird. In the dictionary, it gave me " thrush” (also, be careful if you for some reason want to google it, add “bird” in the sentence, or else you will get a totally different result, which doesn’t have anything to do with birds...). I’m no position to explain things such as genus or family of these species as it’s not my field of expertise, but I just chose to go with the term blackbird because it adds more ambiguity/mystery to the verse that Shuuhei uses in the spell, because, at least in my opinion, when I heard blackbird I could think of crows or ravens and just like in the rhyme “Sing a Song of Sixpence”, it says blackbirds, not directly “ thrushes ” and thus, if you somehow want to write or draw a scene with Shuuhei performing his spell, you can choose from more terms.

While normally it should have been written as twenty-four blackbirds, I went with the way it was from the rhyme as “ Four and twenty“ in order to keep as much from the referenced piece. This part was in kanji while the furigana beside them is the actual pronunciation that is used when calling out the spells/abilities and in this case it is “Nobody in the rye”.

Oh man, these verses were quite hard to understand because that’s how it goes with poems/songs..so many things can be left out in order to be kept short, thus becoming ambiguous and I just can’t figure out some stuff. I had to imagine the intonation, like where is he pausing...does the next line have anything to do with the previous one or just moves on to a new idea/imagery because that’s how it seemed to me... I mean there is even a change in perspective there, it’s like he was referring to himself towards the end rather than the person he was directing the spell towards. It’s because of this line あなたがくれた６ペンス　(Anata ga kureta 6 pensu) which translates as “the sixpence given to me by you/ that you had given me” There are more ways to say “give” in Japanese, and it depends on the points of view of the speakers, that’s why I bolded you (the second person) but I won’t go any further, cuz i’m not gonna hold a Japanese grammar class here, although sometimes it feels like I do and I apologize for that. Even now I still have problems with those verbs. That’s why I was quite perplexed with the last verses... (for once please, I just want to translate a chapter from the get-go but nooo...) Not sure how much sense his spell makes, we can just see that it’s made using a lot of the imagery in the nursery rhyme.

Alright, while leaving out the small headache I had with figuring out the wording, all in all, Shuuhei’s ability is awesome. Also keep in mind that his theme is that of birds. Apparently, his power allows him to have an unobstructed bird’s eye view that spans tens of kilometers, being able to accurately determine the positions and movements of things.

Onto Shamrock now.

This little story here called “The Nighthawk Star” is the reference for Shamrock’s ability that bears the same name [ よだかの星] and it won’t take you much to read it, because, you will see that it has a connection. In short, it’s about the Nighthawk bird who was looked down upon other animals and especially by a true hawk because he didn’t like that the former bird had “hawk” in it’s name. You see where I’m getting at? For one, we have yet again the allusion to the bird theme and also, remember in the last chapter that we had the notion of imposters/ fakes? Just like in the story, it tells of a true hawk and a fake one, because the Nighthawk itself is not a species of hawk. Honestly, when I made this connection, that hopefully makes sense to you guys as well I found it so awesome how well they fitted. And now let’s get to the other reading of the ability, which is actually the one used when the characters call it out.

Shamrock is actually German for those who did not know and his ability name is "Die Verwandlung” known as “The Metamorphosis” in English, a novella written by Franz Kafka, where the main character turns into an insect (or vermin as I have seen written. Google it if you guys want to). I read the summary of it to get the general idea of it and to find a connection and we can see that Shamrock as well transforms into a spider-like creature. Now, we had two literary pieces referenced for him. Up until now, I would say that “The Nighthawk” story reflects Shuuhei more and subsequently Yoshimasa as well, given the whole bird theme. This is just my theory, but maybe Shamrock was appointed that name for his ability because he is connected with them (Yoshimasa and Shuuhei), like they were tied by fate, y’know. It’s a bit difficult to put into words, thus I would be glad to know your opinions as well, dear readers. Oh, and did you notice that only half of his body, the right side took the shape of that spider form? I think this is just an extra detail, because we know that his right eye was injured. Can he transform entirely? That remains to be seen. In “The Metamorphosis”, if the theme in this one was "transformation”, well guess what, it is also reflected in the aforementioned story. I guess it’s a spoiler if you haven’t read it, but in the end, the Nighthawk dies and becomes a star, thus he changed into something else.

Could this be an allusion to Shamrock who was human and now became a vampire? Also, Shuuhei also went trough a change, hasn’t he? If we recall, when he had entered C3, he was not accepted in the combat unit, being regarded as weak and not able to use his magic well. I wonder, did he train since then to become stronger or was he hiding the ability we have seen, wanting to use it just when he would confront Shamrock to avenge his dad?

Alright, it’s about time to end this post and I just want to say that this chapter was so intense, so many things were revealed and Tanaka-sensei hasn’t disappointed us, the references and allusions in this one chapter were great and I would love to know if anything I wrote made sense to you guys. I hope I can hear some of your opinions ^_^ Thank you so much for reading!

#servamp #tsuyuki shuuhei #shamrock #it was interesting to find about the things mentioned in this chapter #my thoughts #my text post

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