#I think the only scenes it would be possible to fully adapt without any large changes (such as removing characters)

[krafterwrites]

It's genuinely kind of impressive that they managed to set up their SA2 adaptation in a way that makes it impossible to directly adapt any of the scenes from the source material

[ouyangzizhensdad]

I'm gonna go on a limb here and say something I've been thinking about. So, I watched cql before reading the novel, and when I first read mdzs I have to say I was a bit thrown off by the Phoenix Mountain kiss, so of course my first instinct was to come to this hellsite and try to find what other people thought of it. The more I looked into it, the more I was convinced that the reason so many people hate it so irrationally and why it is apparently so hard for some to analyse any possible meaning beyond the obvious things in that scene, is because people that were introduced to mdzs via cql often go into the novel trying to get some sort of "fandom experience".

What I mean is that people will read mxtx's work and expect to get the same gratification they get whenever they find a good fic. Something tailored to their taste and characters built upon the preconceived ideas (often fanon) they have of each of them. It's a problem I've noticed a lot with queer media reception by people who are active in fandom. It's one of the things I am critical of and why I am so adamant to join fandom discussions, because I feel like many fandoms have created spaces where the queer characters are made to be these perfect examples of representation, so whenever queer characters are allowed to be flawed and make bad decisions people often jump on the bandwagon of calling it problematic and homophobic, instead of putting some effort into reading further than what is in plain sight and being critical of the possible meaning behind the character's actions.

Sorry for the long ask, but I wanted to get this out of my system. Tried my best, but English is not my first language, so I'm sorry if anything is weird or hard to understand.

Hi anon, 

I think you are definitely unto something when you say: “people will read mxtx's work and expect to get the same gratification they get whenever they find a good fic. Something tailored to their taste and characters built upon the preconceived ideas (often fanon) they have of each of them.” It certainly would explain why so many people, even while aware that the series is an adaptation of the book, say stuff like “novel!LWJ is OOC”. They might have approached the novel as just the “fanfic” of CQL that includes “canon Wangxian”, without considering how much had been potentially changed through the process of adapting MDZS and making it palatable according to censorship.

I agree with you that the current state of fandom, where fic writers seem focused on avoiding being Problématique at all cost, has not only stiffled creativity but created in certain fans unreasonable expectations towards other works. Fandom, as a creative context, is generally focused on (self-)indulgence, on feel-goodness, and is largely pretty dry in terms of themes. But to expect all creatives to have the same “goal” or approach when it comes to art is simply ridiculous. For some people, art is a safe means through which to explore difficult, violent or outlandish set-ups. Art can be used to make people feel uncomfortable, unsettled just as it can be used to make people feel uplifted and moved. Art can be focused on exploring nuanced and controversial topics. Art can be used to portray irredeemable assholes, losers or monsters. Art can be depressing and deny us any feelings of satisfaction. Art can do so many things! And, yes, sometimes creativity is mobilised in the service of writing the nth wholesome gay coffee store AU for a popular anglo property: but that’s neither the norm nor the rule. 

I think as well in terms of queer representation that we lose a lot when we try to argue that the only way to “fight” homophobia is to present queer characters and queer relationships that are Unproblématique and fit a constantly-shifting standard of what is “not-homophobic”. Take the current obsession with the idea that all gay men must be vers or otherwise be a homophobic stereotype: putting aside all that needs to be unpacked in that belief, imagine a world where it’s the accepted idea everywhere that you can’t write about gay men lest they be vers. How many queer experiences would we be erasing in the process? Or, again, this weird idea that it’s “bad” to write in fem queer men because that’s a stereotype, when the real issue is just that fem queer men have generally only been written as one-dimensional characters present in the narrative for comedic purposes or stereotypes, and not as fully-fledged humans with complex internal lives and relationships. As a Problématique Gay, I hate the idea that only perfect queer narratives can exist. Nah, people, queer existence is complex, and queer people are not perfect (although we’re cooler than the str8s). It’s just.... believe me, the continued existence of homophobia is not determined by whether characters in books have the “correct-according-to-you” kind of sex or whatever. 

NB: I have to say, as well, that the first time I came across the Phoenix Mountain kiss, I thought (in bad faith) that it had been added just as a sort of unfortunate fan service since the novel was published chapter by chapter. But when I finished the book and thought back on it, the inclusion of the Phoenix Mountain kiss made sense, narratively and thematically. It also forced me to recognise that, even if I had read MDZS before I ever watched CQL, I had started reading MDZS with my own preconceptions (which were certainly not helped by the framing of the translation) : that it would be a middling danmei full of the same tired tropes. I was glad to be proven wrong!

[odos-bucket]

Bruce Being Super Protective of His Kids in Their Out-Of-Costume Lives Pt. 2 Re-Write

Basically this story with a little bit of extra angst injected in

Jason isn’t particularly well adapted to the kinds of social gatherings that Bruce’s position within the city demands they participate in. He attends his first event a few months into his stay at Wayne manor. He goes in fully expecting it to be terrible, and is not disappointed.

The old ladies trying to pinch his cheeks were something that Dick had warned him about. His tone had been light, like maybe it was something that he thought was funny, or was trying to think of as funny. But Jason doesn’t like to be touched, not by people he doesn’t know. He's only just starting to feel okay about casual physical affection from his new family. He doesn’t think Dick was trying to scare him exactly, but he accomplishes it anyway.

From the time the shindig begins he’s wound so tight he’s practically vibrating. He has no idea how he’s supposed to act at something like this. Things he’s never thought about before are suddenly tormenting him. He can’t figure out how to stand, or what he should be doing with his hands. He’s never been self conscious, but now he’s in this stupid room, wearing this stupid suit, surrounded by these stupid people, and it’s making him feel awkward.

The first time somebody tries to touch him he flinches away violently. He doesn’t mean to; it’s just what happens. It earns him a series of incredulous looks, from the man who had made the mistake of putting a hand on his shoulder, and a few other people in the vicinity.

Jason relocates himself quickly, not that one corner of the large room is really any better than any other.
 The next time someone tries to touch him, it’s his face. He had already decided that he didn’t like the woman in question before it happened. Her voice is an annoying pitch. Her words are all condescending. And even before reaching out for him she had been standing way too close.

If the proximity hadn’t been enough to put him on high alert the patronizing way she spoke to him certainly would have done it.

When her fingers come to press against his chin- as if she wants to turn his head to examine him- he pushes her away. Again, he doesn’t mean to do it exactly. It’s an instinctive reaction (and a pretty reasonable one, he thinks).

This time, however, he gets more than a few suspicious stares. The movement itself had been subtle enough not to draw any attention he didn’t already have. But the woman replies with an outraged squawk, that suddenly brings dozens of eyes onto them, and sets Jason’s heart racing at a panicked pace.
 He freezes. Being stared at had been pretty high on his list of things to avoid tonight. And now people are talking too.
 “Why you little-“

“What happened?”

“Wayne’s little rat-“

“Did you just hit her?”

“Delinquent-“

“Did he just hit her?!”

The woman he shoved looks like she might be about to slap him, but he’s honestly less concerned about that than he is about the mix of curious and indignant bystanders drawing closer. They’re not surrounding him really, but it sure as hell feels like they’re trying to, and Jason’s had enough experiences being surrounded to know that it never leads to anything good. At the moment he’s having a hard time processing anything beyond the terrified impulse to lash out again, not to hurt anyone, just to get them away, so that maybe he can get away.

“What the hell is going on here?”

Oh god, Bruce. Jason’s not surprised the scene got his attention, but he’s a little startled to hear a much darker tone than his regular civilian voice.

Every muscle in his body that wasn't already tense tightens up, and heat flares at the back of his neck. He doesn't want to be in trouble. He doesn't even really know what being in trouble means in this new life yet, and he's been hoping to put off finding out as long as possible.

Bruce forces his way through the crowd. Some of the onlookers redirect their attention away as he approaches. A handful of voices from different directions make overlapping attempts to answer his question. Jason hears something about how he’s, “not as well behaved as your last stray,” but isn’t looking up in time to see how the comment makes Bruce bristle, and just feels the warm shame that he wishes it didn’t ignite in him.

Bruce reaches them in seconds, takes in the woman’s body language, and immediately drags her several feet back from Jason. When he speaks, he manages to sound like Batman (at least to Jason’s knowing ears), even without the voice modulator.

"You will never put your hands on my child again.”

Jason's not sure what he had been expecting Bruce to say, but that wasn't it, and hearing it gives him whiplash, makes his heart that had already been beating in his throat stutter to a halt.

“I didn-“ the woman begins. “Your urchin-“

“Did you touch him?” Bruce's voice is deceptively calm.

“I was only-“

“Yes or no.”

“I didn’t hurt him,” she scoffs.

“That isn’t what I asked.”

Jason wants to say that it doesn't matter, that it isn't a big deal, because really it shouldn't be. He shouldn't be afraid to be touched; it's just one more thing about him that so glaringly doesn't belong. But he's still not sure whether or not he's in trouble, and if he is then he's learned from experience that it's better to keep his mouth shut.

“Mr. Wayne, the kid attacked her. All she did was touch him.” One of the few onlookers who isn’t pretending not to be paying attention pipes in.
 Bruce’s jaw grinds, as he looks slowly between the man who had spoken, and the woman.

“So you did touch him?”

“This is ridiculous!”

It's somehow the worst thing she could have possibly said. Jason already knows he's ridiculous. He can feel it with every fiber of his being, and the confirmation that everyone else can apparently see it too sparks a stinging sensation at the back of his throat.

“On that we’re agreed.” Bruce slips further into his regular public persona as he speaks, and Jason flinches slightly at his words.

Bruce looks over the remains of the audience they’d acquired, making pointed eye contact, silently subduing any conflict before it can arise. By the time he turns back to where the woman had been standing, she’s hurried away. The sparse handful of people still shooting them scandalized glares are at least a little easier to ignore.

Bruce approaches Jason, who forces himself to keep his eyes open and his gaze up.

He's getting ready to apologize. He hadn't wanted to embarrass Bruce, or to get him in trouble with whoever the hell those people had been- with his luck probably someone important. He doesn't want to be in trouble either, but he recognizes that that ship has probably sailed already. He just wishes he knew what kind of punishment to expect; he hasn't been here that long, and adult behavior is hard to predict.

“Are you okay?”

Jason blinks, and apparently it takes him longer than he thinks to process and respond to the question, because Bruce asks it again.

This time he nods, figuring it’d be pretty stupid for him not to be okay.

“Do you want to get out of here?” Bruce asks.

Jason knows that it's not really a question; he's already done enough damage for the night after all. He nods his head. He’s not totally sure how to get back to the manor from here- he still doesn’t know this part of town very well- but he’s sure he’ll be able to figure it out before Bruce wraps up here.

“Let’s get our coats.”

Jason looks up in surprise, but Bruce is already walking away.

Right. He guesses it makes more sense that they’d be leaving together. He's noticed that rich families like to keep any shows of conflict private. One of the consequences of which being that he still doesn’t know how the hell these people discipline their children.

He nods again, cheeks still burning with embarrassment.

-

They leave the party without further incident, catching a cab back to the manor.

Bruce observes Jason’s defensive body language as they slide into the backseat.

“Are you sure you’re okay, lad?” He asks slowly.

He receives a tight nod in reply, and sighs.

“Do you want to help me get a better picture of what happened in there?”

Because what he’s looking at isn’t okay. He’s seen his witty, outgoing child shut down like this before, and it usually means he’s scared. Bruce needs to know if he was spooked by something innocuous, or if he’s going to need to hurt someone.

Jason turns from being seemingly caught off guard by the question, to apparently desperate to answer it in the span of a second.

“I swear I didn’t hit her! It was just that she-“ He shakes his head, apparently deciding against whatever he’d been about to say. “I’m sorry.”

“Sorry for what? You’re not in trouble, Jason, not unless I’m really missing something here.”

That earns him a long suspicious look.

“I don’t like to be touched,” Jason grumbles after a minute.

“And people shouldn’t feel entitled to touch you.”

He learned pretty quickly when he first became a parent not to assume that adults would always respect children’s boundaries. And he knows that Jason has been hurt. He’s not sure exactly how, or by who, but the signs are all there. And he shouldn’t have to deal with being forcibly reminded of that by the carelessness of others; he’s a kid for god’s sake!

“Is that all-“ He stops himself from finishing the question. “People shouldn’t feel entitled to touch you,” he reiterates. “Can you tell me if anything else happened? If anyone hurt you, or threatened you?”

Jason starts to shake his head, but stops with his neck angled slightly toward Bruce.

“I thought she was gonna hit me,” he admits.

Bruce’s body tenses up. He had noticed that himself when he’d first entered the scene, and what he had read in her body language had made him see red.

“And then there were so many other people,” Jason continues. “And they were talking, and staring at me. It had me feeling kind of boxed in.”

“I’m so sorry, son.”

Jason looks a little startled up at him.

“Just to be clear,” he says slowly. “I’m not in trouble?”

“You’re not in trouble,” Bruce confirms. “I promise I will always do whatever I can to protect you from people like that.”

[onrainynights]

why you can't compare buddie to destiel (from someone who ships both)

this is kind of addressing the recent negativity in the buddie tag, but it's also a collection of my thoughts and reasoning for being buddie-positive despite my experiences with destiel and spn in general. the text of 911 is not really discussed at all, and this is relatively spoiler-free, so if you're thinking of watching 911 I encourage you to read it. if you haven't seen both shows it probably won't make perfect sense, but I wrote this with spn fans who haven't seen 911 in mind, since that's most of my followers (and also seems to be where much of the negativity was coming from) pretty long post under the cut to save your dash

I just want to prepare y'all for the fact that buddie could be the slow burn will they/won't they mlm romance we've been waiting for practically forever.

at this point it's not fair to call it queerbait because where their relationship is now fits the characters and their development. this is not like destiel, where there were many moments over the years that could've ended with them getting together and it would've made sense with the story. buddie right now is in this sweet, wholesome pre-relationship kind of place, which on its own is a compelling dynamic and so fun and good to see. a resolution of it right now would feel out of character—they both still have some development to do before that would feel natural. and so, I don't think we can really call it queerbaiting unless the characters get to that point and there is still no resolution.

also I'd like to point out the overall positivity from the cast when it comes to buddie. both Eddie's and Buck's actors have said (I'm paraphrasing cast statements in this post unless they are in quotations) positive things about the pairing, and Buck's actor has said that he likes the interpretation of Buck as queer, and he would be happy if the writers took his character in that direction. also Eddie's actor with "that's what they all say" when buddie was referred to as a "bromance". Jennifer Love Hewitt, who plays Buck's sister (another main character), is very supportive of buddie, saying she's "rooting for it", that it would be "amazing", she doesn't "see how it couldn't happen one day". this was in response to hearing that a fan insists Buck and Eddie will be a couple. She flat-out said "I think so, too." She jokes about buddie with Buck's and Eddie's actors all the time. Also, my favorite bit from the video of her saying all this, "Let's manifest it together!"

It's safe to say this is a VERY different environment to spn. I don't think I've ever seen a cast this positive about a show's main non-canon queer ship before. NEVER. I think it's safe to say that if/when buddie is canonized, the cast will be just as excited as the fans—at least JLH will be! Add into the fact that the show's PR seems to be leaning into bi buck and buddie right now, it's a VERY different vibe than spn had, definitely. There's no gaslighting of the fans here, at least not that I've seen. also, although 911 has a large casual viewership, I think it's safe to say the GA would not be upset by buddie—there are only 3 serious, long-term romantic relationships involving main characters in this show, and one of them is a lesbian marriage with two children. And yes, the characters are shown being lesbians, it's not just a stated fact; the audience is privy to their relationship (and their interactions with their adorable kids). I think it's safe to say that buddie would go over well with the fans, even the casual viewers (of which there are many). buddie doesn't seem to be a huge divider in fandom like destiel is, either. reactions generally seem to be either "I ship it" or "I don't care either way."

Also I'd like to point out that while yes, it's possible that buddie is only bait (which would be disappointing), there's a reason queerbaiting works. people WANT to be queerbaited, because it's nearly indistinguishable from a slow burn will they/won't they queer romance. queerbaiting allows fans to make theories, create fan content (including fic), and keeps them engaged with the dynamic and the show. fans who are vulnerable to queerbaiting want a slow burn will they/won't they queer romance, which is currently an almost completely untapped market. spn could've tapped it, but despite the huge fandom they did not. there are SO MANY people outside of spn fandom who want a slow burn mlm romance, one that keeps the audience guessing, one that's will they/won't they, one that is not guaranteed, and that is why queerbaiting works so well. the audience doesn't just want the payoff, they also want the build-up. the longer the build-up, the higher the payoff, and the suspense of the build-up is gone if you know from the start that the payoff is definitely coming. that's part of why malec from shadowhunters didn't fully tap this market—there was no question of if, only the question of when (which wasn't really a question either, given there was an episode in season 1 literally titled "malec" when they got together.) the characters were always queer, the show being an adaptation of a book series where they were in a relationship and eventually had children together.

this was why November 5th was such a big deal—fans were so far past the will they/won't they aspect of destiel, firmly believing that destiel would always end as a "won't they" and not a "will they" that when cas confessed his romantic love for dean, destiel trended on Twitter over the US election. you all know that story, but maybe not everyone reading this knows that after Nov. 5 there was a case of hundreds if not thousands of spn fans experiencing love sickness because of the confession scene. the payoff of making destiel fully canon (and reciprocated, in English) would've been huge. fans would've been throwing their money at the c/w.

which leads me to the possibility (this is not at all me saying that I think this happened or even is likely, just that it's one possibility that /could/ have happened) that buddie started as bait, that the writers never intended for them to be a couple, but saw fan reactions to buddie during season 2 and started to lean into it in season 3 (and 4 so far, but it just started so I don't want to make any generalized statements about it) possibly still as bait or maybe not deciding yet if they'll go anywhere with it. and then maybe they saw destiel trending on November 5th, realized just how BIG the market for a slow burn will they/won't they mlm romance is, and said "hey, we already have the foundations for one of those. why not go for it and draw in all those viewers who clearly want one so badly?"

if buddie goes canon, because the cast and PR have been so positive about it, unlike spn, and because of the text of the show itself, the show's creatives could VERY EASILY claim that they were never baiting, that it was all an intentional slow burn will they/won't they romance from the beginning, and most people would believe them; there isn't really any evidence to the contrary, although I am sure there would be at least a few fans convinced it started as queerbaiting, and there might not be any evidence to refute that, either.

the point is that 911 is currently sitting on a gold mine. if they play their cards right, and execute buddie well, they will monopolize this market that old straight white men serving as network executives have failed so far to really tap into. they queerbait without the payoff, which gives the show a reputation among those in the market who haven't seen it, guaranteeing they will never watch it. shows in this vein: sherlock (huge reputation for queerbaiting and a finale fans didn't like) and spn (huge reputation for queerbaiting and a finale fans didn't like). spn got so, so close with cas's confession but then continued to gaslight its fans, and PR did not lean into destiel AT ALL. if 911 did buddie? the PR team would be all over it. it would be a moneymaker, big time, and Fox knows it. if buddie, or even just bi buck, went canon, tumblr would be all over it. viewership for the show, which is already impressive, would skyrocket. 911 would monopolize this market, because fans wary of queerbaiting would watch it with the knowledge that the payoff is there, and there really wouldn't be a competitor until other shows saw the success of buddie and followed suit with their own pairings, and given the fact that the market specifically wants /slow burn/ queer romances, that might take a couple years. that puts 911 in a really good position, where suddenly the fandom of the show, not just the GA, is very large and likely very dedicated to the show. the success of canon buddie might just change the landscape of TV in the coming years, showing execs that while queerbaiting does work, actually going through with it is really where the money is. 911 would not just monopolize the market for a while; it would pioneer it.

if buddie never goes canon, I would probably be a bit disappointed at the wasted potential, but unless the characters get to that point where canon buddie seems like the most logical outcome and they /don't/ go for it, I won't be truly upset because I don't think it's fair to claim its queerbaiting until then. I can't tell you how likely it is that buddie will be canon at some point, but it seems FAR more likely than destiel /ever/ did, and we ended up getting cas's confession in the end. I have hope, despite being hurt so badly by spn. 911 is a genuinely great show with some fantastic writing, and they don't leave chekov's gun unfired, unlike spn.

really, it comes down to this: if Jennifer Love Hewitt is allowed to clown for buddie, then so am I, and I'll enjoy this show—which is amazing even without canon buddie—while I apply my clown makeup.

[ordinaryschmuck]

What I Thought About “Separate Tides” from The Owl House

Salutations, random people on the internet who most likely won’t read this! I am an Ordinary Schmuck. I write stories and reviews and draw comics and cartoons.

...>A-hem< F**KING CALLED IT!

I said that the earliest that The Owl House would return would be late June and early July. And some of YYYOOOUUU sons of witches doubted me by saying it would be fall or winter. Well, guess what! "Separate Tides'' has come and gone, the show is back and better than ever, and we are all happy about it! You see how it pays to be optimistic, you persistent PACK OF PESSIMISTS!

...Sorry. Got a little hot there. I'm just so happy it's BACK!

10 MONTHS! It's been nearly 10 months since this show began its hiatus, large in part because of the pandemic. It was painful. BOY, was it painful. But I can already tell that the new season is going to be well worth the wait just by this episode alone.

But beware you mangey sea dogs! Thar be spoilers ahead when discussing such a premier.

And I swear to you that it's only spoilers for "Separate Tides." I haven't seen "Escaping Expulsion" either, and I promise you will be safe from anybody ruining it for you. But maybe don't read any responses from this post. Thar may be d**ks in these waters. So let's review, shall we!

WHAT I LIKE

Mirroring Season One’s Opening Scene: First off, this is a neat callback to what is the perfect first impression of the series. That scene perfectly introduces us to the type of show The Owl House is, while this one acts as a reintroduction to the world we left for way too long.

Second, this is also a well-hidden character moment. Luz is finally living the life she dreamed of, but it isn't exactly all that she expected. It's a great showcase that despite literally running away to a fantasy world, Luz is still getting a regular dose of reality. And I still love the irony in all of that.

(Plus, King eating the bounty is just funny).

The Recap Recording: This is a smart way to recap events from the season finale. It might be weird that Luz says things that the audience already knows, but she's not talking to us. She's talking to her mom. So she's going to explain all that she can in a way for Camila to fully understand. Besides, not every fan had repeatedly watched The Owl House Season One over and over again like a bunch of frickin' lunatics...You know who you are.

Plus, as an upside, Luz gets to explain new events and concepts for how she and the rest of the Owl House are making a living. In no way does it feel like forced exposition because, again, she's trying to describe as much as she can to her mother. It's a reasonable and natural way to talk to the audience in order to catch them up while also showing what's been happening since we've last left this show.

Luz Can’t Send Texts to Her Mom: ...Well, Texts to Home, it was fun while it lasted, but the current canon has decided that you're done. I'll miss you and appreciate all that you've done for me, but, yeah, this is the end. Sorry.

Alright, now that I got my jokes out of the way, allow me to explain how this is really a heartbreaking moment. Because the fact that Luz is forever cut off from her mother, even through texts, is an idea that just twists the knife in your heart when you really sit down to think about it. Luz's little goodbye at the end of her video does nothing but makes it worse.

On the upside, we get some solid character development as Luz doesn't even hesitate to send the video to Camila, learning her lesson from "Enchanted Grom Fright" about being more honest. She finally faced her fear, even if it was a fruitless effort.

They’re Doing Odd Jobs Now: This is a smart workaround for how the Owl House residents are making money. Some fans guessed that maybe Eda had so much junk piled up that they wouldn’t worry, but this seems more of a logical direction. Even if Eda had enough garbage to sell, she’ll can and will eventually run out at some point, meaning that they will all have to take the odd jobs anyway. So I appreciate the writers used that plot point sooner rather than later, as a fun romp as bounty hunters is something you want to do early in the season instead of later on. Especially with how Dana Terrace confirmed that s**t’s gonna go down in the future.

Lilith: ...I'm still willing to hold off--What the f**k did I say his name was? *looks up past review* Frederick Ulis--Frederick Ulisinsburg!

I am willing to hold off Frederick Ulisinsburg, for now, because Lilith is...sort of on the right track. I mean, I don't like how quick she was to playfully mock Eda or rudely yell at Hooty. But I do think that there is potential for her character. She feels genuine guilt for what she's done, and there's a chance that the new season will explore that further if the writers are smart (which they are). On top of that, there's a possibility that every time Lilith tries to act cocky or full of herself, she will be treated as a proverbial punching bag because of it. Like how her poster got burned down after boasting how impressive she looks. Or how Golden Guard's poster magically sealed itself to her face when Lilith tried to throw it away. It's the latter that primarily got me cackling like a madman due to how deservingly hilarious it was.

And, well...she happily clapped like a schoolgirl! Which was adorable! I can't hate characters who have the potential to be adorable! It's not in my nature!

So, while I am a little hesitant in liking her, I think there's a chance for improvement in her character in the future that I look forward to. We just have to wait and see if the writers pull it off.

(By the way, to the person that came up with Lilith wearing a "battery low" shirt...you're a genius in visual gags/storytelling.)

Greg’s List: Have I ever mentioned that this show is funny?

Who's Greg? Why does he organize a list of perfect bounties?

I don't know, but the idea of some random person in the Boiling Isles is putting it on himself to set up a list to make bounties...I'm sorry, but that's funny to me. It's also probably for how Craig's List was made, but when you really think about it, Craig's List is a funny idea as well.

Eda Isn’t Feared Anymore: I sort of guessed that this would happen, but seeing it is a whole different level of sympathy to feel for the character. Eda's main schtick was being the most powerful witch on the Isles, and that's gone now. She's forced to adapt to this new normal, which she's quick to do, but still. Tt's got to be a rough kick to the ego now that no one even cares about who she is anymore.

It's a low moment for her character that hopefully sets up her own arc for the rest of the season.

Luz Feels Like She’s a Burden: I will demolish her with love and kindness if she even CONSIDERS talking so poorly about herself again! Because Luz is not a burden. She is a beam of light that literally brightens up the lives of nearly everyone she meets. Eda already explains how her life is better because of Luz (through a heart-tugging speech that almost got to me, by the way), but it's not just Eda.

King now has his first real friend who admires him and treats him like the king he wants to be.

Willow has become much more confident and cheerful because Luz was always in her corner.

Gus learns more about the humans he appreciates with his whole heart while also having a friend that treats him like an equal rather than a kid.

And do I even have to say ANYTHING about Amity?

The Boiling Isles wouldn't be better off without Luz. It's better because of her. And shame on this girl for thinking otherwise...even though I fully understand where she's coming from.

I'm about to get personal for a second, so strap in. Because I am a twenty-somthing-year-old who is currently living with his mom. It's as pathetic as it sounds. But it's because I'm still attending college, and she says school comes first and jobs and apartments come second. Despite that, I feel like trash for just...living here as she still takes care of me and pays for the food I can't afford. She says that I shouldn't worry about it, but I still wait for the day I can finally pay her back for everything. Not some things, but everything. And that's Luz's mentality in this episode. The overwhelming guilt she's feeling for thinking she's inconveniencing Eda's life is something that hits really hard for me. It doesn't matter if it's true, but that she believes it's true. It's a heartbreaking character arc she's forced into for this episode that also adds more to why she's one of the many characters I heavily relate to.

Lulu and Hootstipher: Whoever thought of this idea...I f**king love you.

This is similar to when Noah and Owen became friends in Total Drama World Tour. Seemingly one-sided at first, you see a cute friendship that you would have never expected, but it works! Hooty is this happy and naive character who hardly understands what's going on half the time, and Lilith is...Lilith. Their chemistry is instantly fun as their dynamic is quick to understand.

This also shines with potential for character growth, for it could give Lilith a chance to be more caring and Hooty a chance to be more than just the comic relief. If you were to tell me that this is what was going to happen when the season premiered, I would have thought you were crazy. But now, after seeing it in action, I'm genuinely excited to see where this cute friendship between these two goes.

(As long as it doesn't involve fans shipping them. Because Hooty can do better)

Luz Getting Better with Her Magic: Our little bisexual princess is growing up! And, man, is it awesome to see. Luz going from just barely knowing how to do magic to full-on using her spells like second nature just warms my heart with all the character growth it presents. Now, some people might want an explanation for how she's able to do said spells, to which I say: "Who the f**k cares?"

If you ask me, Luz's magic is one of those things that doesn't need a direct answer because it doesn't matter as much. But if you're going to be a baby about it, here's what I can offer: As far as I can tell, it's equal parts having the glyph and mentally picturing what the spell should do. It's much like how Willow draws a spell circle and can either make giant jungle vines or a patch of flowers to land on. Luz's glyphs are her own spell circles. As long as she concentrates hard enough, she can make the glyph do whatever she wants it to.

There. You have your explanation. Now let's just all appreciate the fact that Luz can now throw fireballs and make vine whips like the superpowered teenager she most likely fantasized of being. Ok? Ok.

A Pirate Losing His Head...Literally: ...And I'm gonna go ahead and add that to the list.

I mean, for f**k's sake, WE SEE BONE! He puts his head back on, but we still see the bone!

Eda in a Pirate Outfit: ...That is all.

The Golden Guard: This guy shows up for only a few minutes, and I'm already beginning to like him. He seems just as threatening as Belos while also coming across as a guy who loves his job and being a ton of fun to watch because of it. I adore villains that find that balance of being funny and terrifying. The result is a character who makes me laugh on top of making me scared of what they could do to our protagonists. So far, that's the Golden Guard in a nutshell, and I can't wait to see what the rest of the season has in store with him. Whether it involves seeing him play with food as he did with Eda and Luz in this episode or seeing him getting kicked in the crotch like a little punk like him deserves, I am all for it.

(Bonus points if it's Amity who does the crotch kicking if he ever makes an advancement on Luz)

Eda Wanting to Protect the Selkidomus: I love this. It plays into the idea that Eda cares about things being wild and free and despises how Emperor Belos would want to control everything, including the most insignificant of animals. It shows just how kind Eda really is rather than someone motivated by greed...even if she does end up filthy rich in the end.

Emperor Belos’ Brief Cameo: Yup, still terrifying!

And if it turns out that Belos can see the Scrying Potion that Lilith made...we're going to have some problems.

Much like the actual problems that I have with this episode!

(Like that transition?)

WHAT I DISLIKE

King Being Stupid: King has two different personalities in this series. Either he's a pathetic wannabe ruler who seems intelligent or an idiotic Disney comedic sidekick. That latter version of King is what we get in "Separate Tides," and I don't like it (obviously). I don't care how cute it is to see him cling onto Luz's leg and exclaim how he won't let her leave. The same character who helped Luz break into a prison to save Eda shouldn't be the same one who falls asleep when a sheet covers him like a dumbass parrot! King's at his best when he's as intelligent as the rest of the characters. And not as dumb as someone like Hooty.

Eda Being Too Nice Around Lilith: This one bothers me the most. After being cursed for thirty years and having her life ruined by the person she thought she could trust the most, Eda is still all smiley and jokey when talking to Lilith. Yeah, sorry, but I don't buy that. No one in their right mind would be that cool with a person who did all of what Lilith did. It's a major misstep that squanders what could have been a fantastic overarching story of Eda learning to forgive her sister and Lilith trying to earn it. We'll at least get Lilith's guilt, but as is, I feel Eda showing genuine anger towards her would elevate that story by a lot.

IN CONCLUSION

But that's about all the bad things I have to say about "Separate Tides." As is, it is a well-earned, solid A of a season premiere. It introduces new concepts and characters I can't wait to see more of, continues old storylines and character development instead of ignoring them, and still proves that The Owl House is as charming and funny as it always was. Maybe the rest of the season could continue to be great, or maybe things might get worse. Time can only tell. For now, all I can tell you is that "Separate Tides" is a great and fun episode that makes me excited as we set sail to this new season.

(And Scared. Mostly scared)

[docholligay]

Chinese Food in The American West

One of the things I frequently come across as a student of the American West* is that people get most of their information from movies and TV and then act like they know things. Wyatt Earp was not a Lawful Good champion who always did his level best even when it was hard to know. (You want Seth Bullock or Bass Reeves). Racism was far more complicated than white vs not white (I’ve talked about this EXTENSIVELY in Strange Empire, so I’m not going to bore you here**). 

And they didn’t just eat steak. In fact, they rarely ate steak. 

Steak as cowboy food isn’t INACCURATE, but it is MODERN. From about the early 1900s on, you had less and less drives and more and more ranchers who were staying put, with less and less hands needed, and so food was grabbed less “on the go.” Cows could be slaughtered and used to feed the family, allowing for more opportunities for things like steak, yes, but also things like chili, a play on sauerbraten, southern-style biscuits. The cattle drives were a real blend of culture and race, and a lot of what we have left as “Western food” owes a great deal to that. 

And if we leave the cattle drives and head into the towns of the American West, as we will today, we find things like oysters, pies, and various things like that. Far more well-heeled than the general expectation. 

I mean, here’s the menu from the Occidental Saloon circa the late 1880s:

Soups

Chicken Giblet and Consumme, with Egg

Fish

Columbia River Salmon, au Beurre Noir

Relieves

Filet a Boeuf, a la Financier

Leg of Lamb, Sauce, Oysters

Cold Meats

Loin of Beef, Loin of Ham, Loin of Pork, Westphalia Ham, Corned Beef, Imported Lunches

Boiled Meats

Leg of Mutton, Ribs of Beef, Corned Beef and Cabbage, Russian River Bacon

Entrees

Pinons a Poulett, aux Champignons

Cream Fricasse of Chicken, Asparagus Points

Lapine Domestique, a la Matire d'Hote

Casserole d'Ritz aux Oeufs, a la Chinoise

Ducks of Mutton, Braze, with Chipoluta Ragout

California Fresh Peach, a la Conde

Roasts

Loin of Beef, Loin of Mutton, Leg of Pork

Apple Sauce, Suckling Pig, with Jelly, Chicken Stuffed Veal

Pastry

Peach, Apple, Plum, and Custard Pies

English Plum Pudding, Hard Sauce, Lemon Flavor

This dinner will be served for 50 cents.

-I got this from the book “Saloons of the Old West” by Erdoes

But none of that is precisely why I’m here, I just can’t stop myself from talking about this, why I’m here is that one of the things I say that often surprises people, is that Chinese food was incredibly common for the, well, common man to eat. There’s very much a conception that we as a non-Chinese American  people did not start eating Chinese food until the 40s and 50s, and its truer that it took longer to catch on in the American East than the West simply as a matter of proximity and choice. 

Not MORE choice but LESS. Part of what made the West so unique, historically, is that the lack of choice and the basic scarcity caused people to work with and patronize people that their general prejudices would have kept them from using back east, because they had CHOICES. But out in the west, less so. There were few choices for a quick, cheap meal on the go. That dinner I just posted above is a lavish affair, and a great deal at approximately $20.00 in today’s money. (Which does not allow for the fact that cost of supplies has gone up and this dinner would most likely be offered for no less than 70 or so today.) 

People desperately wanted something that was cheap and quick, and the other options in the American West were few, far between, and not intensely pleasing. No one had really come up with the sandwich shop as of yet, and in any case, fresh meats and cheeses would have been too difficult for the low-cost supplier. 

ENTER THE CHINESE POPULATION.

If you have read my Strange Empire blogs, I hope you know that Chinese people were a huge presence in the American West, mostly working for the railroad and various mines, but also doing things like laundry, work that was extremely hard but took little in the way of English speaking. They existed in Chinatowns, for a combination of cultural and legal factors, but it’s a misconception that non-Chinese*** people never went to Chinatown. 

People are not new, and it was not unusual for non-Chinese people to use the laundries, tailoring, and other services of Chinatowns while suppressing the rights of Chinese people int he same breath. There were always individual Chinese people any given non-Chinese person liked and did business with. 

In time, they discovered the inherent wisdom of the noodle bowl. 

I don’t mean to suggest that all these early restaurants served was noodle bowls, but that was where it all started. Remember, Italian food had little prominence in America at the this time, as Italian immigration didn’t really get into full swing until the 1870s in America. While there are noodle traditions half of everywhere, and there is nothing new under the sun, what we today would consider a stir-fry bowl was wildly new to most of the non-Chinese folks in the West. That it could be offered up so cheaply, was so filling, and so delicious (more on this later) was a wild revelation. Everyone from simple cowboys (which, fun fact! Was a slur back then!) to mayors were swinging by Chinatowns to try the dishes. 

By the 1920s, chop suey, a fully Chinese American invention derived from the words for “various leftovers” was a hugely popular American food among all sorts. 

Doc, you may ask, was it just that these folks coming through to get medicines or laundry were SO adventurous? Not at all! Chinese restaurants back then actually, in a very short amount of time, realized that their non-Chinese townsfolk were an excellent way to make money as well, and began to adapt and change dishes to better fit the Western palate, leading what we call American Chinese Food today, which is a legitimate foodway I will defend to my death. Unfortunately, none of these menus survive today--the only ones we have are from places in San Francisco, places that were much more posh, and not the subject of this essay. 

There is a scene in Tombstone where Wyatt and his brothers are eating Chinese food, and it’s one of the things people often ask me about, assuming it’s anachronistic. Actually, it isn’t at all--the anachronism is that there’s broccoli in those noodle bowls, which had not yet hit our shores by the time of the OK Corral. Chinese food was a huge hit, Chinese restaurants were doing extremely well, and some Chinese restaurants were even beginning to attempt to print menus in English, with sit down areas, instead of serving simple fare from food carts. 

As the food from these “chow chow houses” grew in popularity, as we can infer from the advertisements of their competitors promising free potatoes with every meal, and other such niceties to entice, there was, as ever there must be, blowback. Anti-Chinese sentiment grew to a fever pitch, and with this came overt pressure for ‘Good Americans” to patronize ‘American restaurants’. The social pressure is actually where we get some of that old racist jargon about Chinese people serving dogs and cats, which people often think was spread by competitors to degrade the Chinese restaurants, which isn’t UNTRUE, but was just as often said sheepishly by someone who couldn’t stop themselves from going and grabbing a noodle bowl or even the American dishes they offered, such as roast chicken or pork chop sandwiches. 

(I won’t comment with anything but an eyeroll on the bullshit of people saying they’re ~allergic to MSG~ okay I’ll believe you when you stop eating processed food, meat, aged cheese) 

It actually kept this type of reputation as being slightly scandalous well into the early 1900s, as being something you ate after the bar, something to be had in the shadows, but it was all for naught, because Chinese food became an important part of American identity. But for all that, no one ever pictures the Lone Ranger chowing down (the American phrase ‘chow’ for food actually comes from these ‘chow chow houses’) on some chop suey, but there’s every reason to believe he would have. American Chinese food is just as American as the Germanically-influenced hamburger. 

(There’s a whole subtopic to go down about Jewish and Chinese communities and Kosher Chinese Food, two marginalized and othered communities coming together, but that’s a WHOLE other topic) 

(Also someone please buy me Chinese food. This shit always makes me so hungry.) 

*The American West is a specific time period, as far as the study of history goes. It covers the period between the end of the Civil War and the New Century, generally, and is, obviously, concerned with the western half of the country. It doesn’t cover stuff like Lewis and Clark (that’s Expansion) or even the Civil War itself, though you cannot possibly hope to study the American West in any level of seriousness without understanding the Civil War. Anyway! I know a lot about America between 1865 and 1900, and am just knowledgeable enough to be dangerous on everything else. Most History nerds are highly specified like this. We’re not as much help to your trivia team as you think.****

**I actually have had little chance to talk about ~European-style xenophobia~ as it played out in the west, because Strange Empire takes a more modern pass at it. But there was a hierarchy of “whiteness” as well, as still largely exists in Europe, land of intentionally clean ethnostates. 

***I use the term “non-Chinese” instead of white because believe it or not, non-white people were not magically free of racism against Chinese people. It was horrific and BASICALLY every non-Chinese person was guilty of it to some level, a wild-ass level of hatred that led to Chinese folks not being able to PURCHASE PROPERTY BY LAW in ENTIRE STATES. Being Chinese or Native in this place and time was your Worst Bet. 

****I actually was on a competitive trivia team, you DO want me.

[ihatetaxes99]

A Brief Retrospective Look At MVA (In The Anime)

Well. Here we are. Every end of the time is another begun. After what has felt like years of anticipation (mostly because it actually has been years), My Villain Academia has been fully animated. Well, "fully" may be the wrong word here, but that's something I'll get into later.

To honour the end of the arc, I decided to do two things: One, I re-read the entirety of the arc in the manga all in one sitting; Two, I rewatched all five episodes of the anime's adaptation back to back once again. My life is pain and I know not of sleep. Anyway, the reason I did this is because of a little project I proposed to myself back just before the first episode aired; Once MVA was done and dusted, I would go back and give my own retrospective on the whole thing. Because why the hell not, sounds like fun. This will also hopefully be less emotional than my thoughts I shared as the episodes were still airing, but who knows?

So, let's begin. And I wish to start by stating that My Villain Academia is my absolute favourite arc in the manga. It did a lot of things right. It focused entirely on my favourite faction, the villains. It offers a glimpse into their lives and goes a long way in humanising them, particularly Spinner and Shigaraki. It sets up key points for others too, such as Mr. Compress' habit of thinking more about the bigger picture than the others, which would factor into his major reveal during the Paranormal Liberation War and of course the formation of the Front itself. It introduced us to Rikiya Yotsubashi, one of my favourite characters in the manga, even if he honestly peaked in this arc and was never as good again. And it gave us a large-scale, grueling fight for supremacy in which I found myself actively rooting for the League. It is, in my mind, the very best of BNHA, the only arc I would want them to do well in the anime. They could screw up literally everything else and I would be happy if MVA was even just as good as the manga, it didn't even need to be better. I would have been delighted to have an excuse to experience the arc all over again, seeing my favourite moments with the sublime soundtrack and voice acting.

Yeah… 

But before I get to that, let us take a little trip of sorts down memory lane to see the road to MVA, what led to it. So, 2021 rolls around. What a fun year. It's just 2020 without the excitement of everything being so uncertain, and frankly it's been really fucking boring as a year. However, BNHA Season Five was announced. In February, we get the first trailer for the upcoming season. It's... It's fine. Obviously, it focuses heavily on the Joint Training Arc (in fact, that is all it shows) and although I despise that arc with a passion, it's not too bad. I had not watched the anime since Overhaul ended, so my plan was I just wouldn't watch JTA and would wait until the big attraction, MVA. And so, Joint Training starts. And it goes on. And on. And on. I checked back almost two months later to discover it still wasn't over yet. Now I found this odd. Joint Training Arc was horrible for many reasons, but the big one was that it dragged on for so long as a result of Horikoshi's health complications, which is by no means his fault. But, surely the anime, which would consistently release on a weekly basis, wouldn't have the issues associated with this. Episodes of BNHA have always encompassed around three to five chapters, and Joint Training's were shorter than usual, so why was it taking more than ten episodes to adapt it? 

Very strange, but I didn't question it much. Then, the key visuals released, confirming that MVA was at the very least happening. Great, wonderful. I love it. We've got the whole gang there, seeming like they're in Deika, looks pretty good.

Wait, did I say whole gang? Yeah, my bad, there was someone missing. Spinner. Now, I am not the biggest Spinner fan so I wasn't prepared to riot over his exclusion like I would have been if Compress wasn't in it. But this was starting to get strange. Spinner was the main narrator of MVA. Even if his importance was not on the level of Shigaraki, Twice and Toga, it was certainly more than Dabi and Compress, who did both appear in the art. Why was he excluded? Obviously, I bet you're all having a good old chuckle to yourselves right now because in retrospect, this makes perfect sense now.

Alright, then. I heard from a friend around June time that Joint Training was finally over. Awesome, great, time for the good stuff- why is there a Christmas episode here?

Yes, this was probably what really started to get the alarm bells in my mind going. The Christmas episode- in June. Very, very strange. Also, absolutely no mention of Rikiya, which even if they were reshuffling things, I would have expected him to appear in the episode of Bakugo and Todoroki getting their licenses, since it directly ties in. Concern levels rising, I shrugged it off and waited for next week.

Bam. Major reshuffling. Now, Endeavour Agency comes first, fuck you if you want context for who the hell the PLF are or the significance of Destro's memoirs. This was really starting to worry me now. I told myself that the key visual meant that MVA had to be happening, but it was starting to seem like the villains were being shafted. A fact not helped by the new OP.

Look, I'm sorry. I don't mean to complain or whine, but season five's second OP is just bad. The music is fine, I have no problem there. But the visuals are just awful. Not only is there an extended focus on that stupid bloody trio of Midoriya, Bakugo and Todoroki, not only is there more screentime given to characters who don't appear in MVA or EA than the main cast of the former, but the animation itself is just so stiff and lacking. It had potential, but the visuals are the worst out of any recent anime opening I've seen in a good few years and this was what got me really panicking.

Boom, a beach episode smack in the middle of Endeavour Agency to promote the upcoming movie. Boom, adapting two chapters per episode during EA. Boom, the Shirakumo episode, which I always thought was part of the War Arc and not EA. But finally, mercifully, the title leaks came and it was revealed that episode 20 of season five would be the start of MVA.

20. Out of 25. And it was pretty obvious that they weren't going to end the season with MVA, so really, up to 24. Ohhh no…

But hey, I'm an optimist sometimes. I was excited to just finally be clear of all this nonsense and get to the real good stuff. Hell, in preparation, I watched the entirety of the season up to that point. I finally realised why JTA took so long and it's one of the most depressing things I've ever learned, in a bad way. Were all those flashbacks really necessary? EA was okay, as someone who as a manga reader, already had the necessary context for the PLF stuff. The beach episode, I watched half of, got too bored and skipped the rest of. And you know what, I liked the Shirakumo chapters. They weren't as good in the anime, but it was nice to see.

And then, finally, in comes episode one of My Villain Academia, on a cold, dark August morning. I even bought Crunchyroll Premium to watch it as soon as possible, I was excited. All the messing around, all the crap, it was finally over and the time had come to enjoy what this season was really all about.

I can now safely say why Bones kept pushing back MVA, because if I was them, I would be embarrassed to show this.

No, that's not fair. I promised I wouldn't get too snarky, so let's reek things back in. As a whole, MVA has been… fine. Just fine. Not good enough to justify the bullshit, but not horrendous (mostly.) In fact, right now, I'll give a ranking of the episodes, my worst to best:

5) Episode One 

4) Episode Two

3) Episode Three

2) Episode Five

1) Episode Four

Yeah. So, there's a clear pattern here, that things more or less got better as time went on. From just straight up bad, to still not great, to alright, to the final two episodes being what I would comfortably call good. This is not a good look. I'm sorry, but Episode One, an episode that I just called bad, is still one of the season's best in spite of that. That spells out awful things for this season as a whole. But what exactly made this such a disaster?

Well, cut content is the big thing. MVA in the anime cuts out:

The League's battle with the CRC

Their struggle with poverty

The sushi joke setup

All of Spinner's character

All of Rikiya's character, including most mentions of Detnerat and Miyashita

Fairly integral pieces of Skeptic's character

Most of Giran's integrity and bravery

This doesn't look too bad at first. It could be far worse. We got basically everything else from the arc, so what? Well, I would already be annoyed about all of these cuts, but the issue is that they cause a knock on effect. Without the establishment of the League's poverty, the payoff of Toga's duffle coat now makes no sense. Without the setup of Spinner's characterisation, his battle with Hanabata now feels hollow. Rikiya's surrender to the League now makes even less sense, as his love of human life and desire to cause no more death is completely non-existent. The first time Rikiya being a CEO is mentioned is in the closing minutes of the arc. The sushi scene is hamfisted into a two second flashback just so that the payoff makes some sort of sense, but again, it is hollow without it being at the start (this is also the first mention of the League's poverty and it literally happens just as they are freed from it.) Can you see how these little seemingly unimportant cuts spiral into bigger problems? I would have been pissed even if they hadn't caused some tremendous cascades, but the fact that they did just makes this from a subjective issue to an objective one.

Yes. They did some things well. Toga's backstory is mostly intact, SMP is just as satisfying as the manga, Tenko's backstory is one of the best things the anime has ever done, the awakening is very well done, I adore the PLF formation as much as I did in the manga. Everything important is intact, but as I keep saying, you cannot just keep the bare minimum and expect it to work. How about in the next arc, they decide to cut everything involving Bakugo out, and only keep him jumping in front of Midoriya because it's the only absolutely necessary thing he does in the arc? People would be pissed, and it's the same thing that's happening here. It's a problem, it's not just a bad adaptation, it leads to bad storytelling in general.

The animation. Now, I do not believe this is a be all, end all. BNHA's anime is never going to look as gorgeous as Horikoshi's art, that is a fact and I do not begrudge them for that. They have a week to draw hundreds upon hundreds of frames, it's not a process that lends itself well to good looks and the animators and artists do their best with what they have. This does not change the fact that it is extremely hit or miss. Some things, Tenko's backstory in particular, look fantastic. Other things, mostly every action scene, make me laugh at how bad they can look and some things, particularly Twice and Re-Destro's hideous designs in the anime, make me cringe. The lighting is also an issue. Garaki's lab looked fantastic, but every other scene is just boring mid-afternoon with dull, basic lighting. I don't expect huge detail, but sometimes, it fails to achieve competency and as an extremely popular show, I don't think that's okay. I don't blame the animators, I blame the higher ups. And while I wouldn't mind the poor animation and art in an MVA that at least has all the story content, this does not have that and so I am even harsher than I would have been.

MVA was rushed. That's not up for debate. It took forever to get to it and once it came, things moved so quickly that they gave me whiplash, with no time to think or lament. Now, this could be attributed to the story structure of the arc, which is essentially a series of big fights, and it just isn't as bad in the manga because I can stop at any time to catch my breath. But I think it's worth noting that the anime at least highlights these issues. Curious dies in the same episode where she first appears, really driving home how pointless she was in the end. Episode Two alone tries to cover everything from the journey to Deika up until Jin finding Toga's body. That's a lot of content to fit in one twenty minute period and it was bound to feel messy in the end. I will say that, much like everything aside from the animation, this did get better as time went on, with episodes three, four and five adapting more reasonable amounts of content, compared to one giving us almost nothing and two giving us too much.

At the end of the day, that was it. The show's over. MVA has been closed in the anime. It will never be given a chance to improve, to go from just fine to anything even close to the manga. Why did this happen? I don't think we'll ever truly know. Some blame the new movie, others the studio's lack of faith in the villains, and there are those who say that it's just how fate turned out. I personally think it's a combination of all of these things. Without the movie, that beach episode wouldn't exist, giving more time to MVA, without the studio's hesitation, we'd perhaps get stuff like an actual good OP and perhaps some more general hype for it (I mean, MVA didn't even get a trailer.) Whatever the reason is, we got what we got. My verdict is something that's very overplayed as of late, but seriously, just read the manga with the fantastic soundtrack playing in the background. The anime's adaptation of MVA is not worth the time investment, when you could read the manga in roughly the same length of time and get more content, a more coherent plot and beautiful artwork.

So, what may come next for Season Six? I don't know. Season Five has definitely been one of the most unpopular seasons in the anime, with a lot of people speaking out against it, but this mostly seems to come from the Western fanbase, so it's up in the air if Bones will learn from their mistakes. Since they'll have a full season to do presumably the War and Rouge Deku arcs, then I feel like they'll put on a better show. But we just don't know. Spinner had his spotlight stolen this time around, will Compress suffer the same fate in Season Six? Dabi and Toga will probably be handled well, since they have inexplicably high amounts of popularity, but with his own lack of recognition rivalling Spinner's, I can see Sako ending up much the same way. Time will tell, I suppose.

[wanderingchocolateeclair]

Here she is!!! I finally got round to drawing her again and I’m actually relatively happy with how she turned out. She is one of my favourite ocs and I love her to bits - I made her almost a year ago when I was thinking about some random EctoLoader headcanons and suddenly had the urge to give them a child...and so then she was designed :D I wasn’t sure if I wanted to post my initial designs as well because I really don’t like the look of my old art but you know why not:

Please keep in mind that these are quite old and um...not that brilliant but they were my first quick sketches of her and I ended up writing a whole entire backstory for her so yeah! (Now that I look back at it I realise I didn’t make her hair poofy enough in the new drawing...also the page ripped and I was really sad about that-) anyway here’s some info about her (under the cut because it ended up a little longer than I expected):

AH I forgot to say!! There are mentions of death and severe injury and other stuff like that in the backstory so please read with caution!

Name -> Yuna Makimi

Age -> 17

Quirk -> “Adapt” - her quirk allows her to adapt certain parts of her body to suit whatever situation she is in. A main example of this would be when she creates little pads on the ends of her fingers which pick up vibrations, enabling her to “see” her surroundings a little better. However she cannot use her quirk to restore parts of her body that are lost/severely damaged (like her legs + eyes).

Occupation -> Student at UA

Current status -> Alive

Family -> Mother (deceased), Father (deceased), Powerloader (adopted dad), Ectoplasm (adopted dad)

Likes -> Dumplings, sitting in flower fields, doing literally anything with her friends + family

More info + backstory:

So, like I mentioned, I came up with her when I was thinking about EctoLoader headcanons and one of these hcs is that after Ecto loses his legs they both go round and pay visits to hospitals and other places to visit the children/patients there - and so yeah.

Yuna was part of quite the loving family, her parents were quite strict but loved her to pieces.

They weren’t the richest of people, and didn’t get along with the rest of their family for whatever reasons, but they were fine together - just the three of them.

That is until the accident that completely changed her life.

At the age of 8 she was caught up in a nasty villain attack as they were driving through the city and their car was completely destroyed. Her parents died at the scene and she was immediately whisked to hospital with very severe injuries.

She lost both her legs and almost all sight in her eyes, her parents were dead and she had nowhere to go, and at such a young age she felt so lost.

2 years passed and still nobody wanted to take her in, they said it would be “too much responsibility” to look after someone like her. And so at that point she had given up on all hope if someday being in a loving family again. Only 10 years old and her life had completely crumbled to pieces.

That is until one day PL swings by on one of his visits and meets this small child who looks as if she never smiles. He speaks to her and she slowly became less shy of this small man that sat in front of her. He decided to visit more often (he was made aware of her situation by one of the nurses that looked after her) and told Ecto all about this sweet little girl who he’d met who was in need of a better life. And over time they contemplated taking her in as their own - they weren’t sure yet but they had thought about it.

One day PL came with a surprise. He had put together a pair of prosthetic legs for her that she had mentioned to him before that she wished she had and that wasn’t all, they mentioned that this time Ecto came along too. She was absolutely overjoyed. She had heard about him and looked up to him a lot, he inspired her to keep going, even though she had lost her legs.

After discussing it with each other, they asked her whether she would be happy to come and live with them, and join a loving family once again. She was taken aback by the offer, as no one had even considered looking after for 2 whole years, but she realised that she was finally offered a normal life again and she was oh so happy with that...and so they adopted her and it was the best decision they ever made.

They helped her get used to her new home and she slowly got more and more comfortable with her new life. Ecto helped her with her therapy, guiding her when she felt lost and confused about what she’s doing. PL helped by tweaking little things about her prosthetics that could help her, and created little items to support her in her walking and her sight. They helped her discover new ways of using her quirk to allow her to be more aware of her surroundings and to help her “see” (she can’t use it to see fully, it just helps her to pinpoint the movements and positions of the objects/people around her a little better).

Soon enough, she was happier than ever, and when she was old enough she brought up her decision of wanting to go to UA. They weren’t sure whether or not she should, for her own safety, but she insisted that even with her disabilities she wanted to try her best at becoming a hero just like them in her own way...even if others believed it was barely possible. And so they allowed it. They taught there anyway so if anything were to happen they would always be close by.

She made a bunch of amazing friends at UA and learnt to handle her quirk in many different ways - expanding it to help her in various different situations. Her classmates would always be there to help her when she needed it but all believed that she was one of the strongest out of all of them - this really made her emotional because it wasn’t something that she ever expected to hear - and hearing this really made Ecto and PL happy, because they had watched as this tiny helpless girl had grown up to become strong, happy and incredibly loved.

And that’s my “little” backstory for her! Sorry its a bit sad and all that but it wouldn’t be one of my backstories if it wasn’t some form of tragic....:/ Anyway have some random headcanons for her->

She cannot ride in a car unless she is holding someone’s hand, this is pretty self-explanatory.

She loves jokes and stupid puns, they make her so incredibly happy it’s unbelievable.

She also loves flowers - they smell nice.

She isn’t entirely blind - she can just about make out shapes and moving objects but without the aid of her quirk she finds it hard to tell the difference between what might be a person and what might just be a large object.

She loves to sing and dance, and she has a beautiful voice, however she gets embarrassed if she gets caught.

She is always happy to spend any sort of time with her dads because with their jobs as heroes, free time can sometimes be very hard to come by.

Sorry how absolutely all over the place this is, I have plenty more headcanons and info about her, but I think I’ve rambled on for quite long enough now! (Plus I kinda just want to post it now because the more I look at the drawing the less I like it-)

Anyway, I hope you like her! She is one of my favourite characters that I’ve made and she makes me very happy. Hopefully, I’ll draw her some more :)

~Eclair

[sunflowers-insherwood]

Allan A Dale Analysis - 2x06

Investigating Allan A Dale’s Character Through For England...!

2x06 of BBC Robin Hood arguably presents some of the most dynamic character relationships and power plays of the entire series, and it was for this reason I came away from rewatching it a few nights ago and instantly began to scribble notes. Originally I aimed to write about the wider relationships within the episode – Guy and Marian’s as well as Guy and the Sheriff’s are particularly interesting here – but alas, I just couldn’t stop myself from writing about my favourite character Allan A Dale, who also goes through one of the climaxes of his general progression and betrayal arc in this episode. As a fan favourite, Allan is often seen throughout the fandom as the victim of a series of worsening situations, and while this is a credible interpretation, it often forgets to acknowledge Allan’s agency and his decisions to go ahead with actions that slow the greater good. Although I agree that Allan’s betrayal and further descent is largely worsened by the actions of those around him, in this essay I hope to restore his accountability and show how he initiates several violent acts, all while victimising himself by placing the blame on others. I will walk through the episode chronologically, analysing his motives, actions, and their consequences, trying to establish a fair view of Allan’s reasoning in this episode, as I examine not just his actions, but the decisions he made in order to complete them. (Wordcount: 3.2k)

This can be read alone, but works best when read after my 2x05 confrontation analysis.

This episode is the first time we see Allan operating fully outside of the gang he’s been a part of for the rest of the series. At the end of 2x05, Robin finds out Allan is the spy who has been working for Gisborne, and they truly clash for the first time. In 2x06, his first scene occurs right at the beginning, as we see Allan trek back into the forest with the hood of his cloak up to avoid being seen by the gang, in order to gather the money from his stash. However, he arrives only to find the gang have found his money, as they proceed to yell at him for being a traitor and keep his stash. The gang’s pain here is understandable; Allan hasn’t been able to explain that the catalyst for his betrayal was physical and emotional torture, (he told Robin but Robin dismissed this and likely hasn’t told the gang) so they think he was more willing to work for Gisborne than he actually was. The pain of the wound is fresh, him having been told to leave by Robin what can only be assumed to be a day or so before. To them, they are taking his ‘blood money’ to help the poor. However, Allan now has very little to survive on. He essentially only has the clothes on his back, as he can’t go back to camp to collect his belongings, and so only has what he left with. His worse possible situation has become his reality overnight: he has gone from having both friends and money to neither. I imagine when the reality of his spying first hit him, he calmed himself from the worry of being thrown out of the gang with the promise of money; he’d have no friends but a means to survive (which is what he wanted the money for in the first place, he wanted financial security), yet now he has neither. However, he still repeatedly tries to reach out to the rest of the gang, saying he never wanted this to happen, but is interrupted by the black knight carriage that drives between them and he runs away, likely to avoid being caught by the Sheriff’s men but also to re-evaluate his situation, as he’s now probably feeling especially vulnerable. In his eyes, this is another situation where Robin or the gang could have given him a second chance but haven’t. (Sidenote, he and the gang are literally divided by the Sheriff’s men, if that ain’t symbolism I don’t know what is).

So now, feeling completely abandoned by the rest of the gang, who have not just been passive in their dislike but have actively taken his only money, he goes to the only person he has left – Guy. Yes, he could’ve left Nottingham and begun a new life, but this would have been extremely difficult, especially keeping in mind that Robin saved Allan from losing a hand when he was poaching to survive after his brother stole everything from him in a similar situation before. Basically, surviving alone is hard, and he knows this, so his quickest and easiest option is to go to the one contact he has who won’t reject him instantly, which is Guy. By the end of the episode, I argue that Allan has more spiteful motivations, but I believe he initially goes to Guy out of necessity, rather than as an act of vengeance against the gang by siding with the enemy.

And luckily for him, Guy agrees to take him on! Some more stuff happens but as I can’t remember it, I’m not going to deem it that important. The next time we properly see him is when he walks into the wrong place at the wrong time, and the Sheriff instantly calls for him to be hanged. We see him arrested, although never in the cells, however you can just imagine the anguish he’s going through there. I always view Allan as at least partially traumatised from his almost-hanging in 1x01, and now he’s been told he’s going to be hung again and is left to wait in a cell, knowing how painful a death it’s going to be, and without any hope of rescue. So now, on top of his exhaustion from sleeping rough for a night or two, having to completely adapt to a new environment and knowing his friends all hate and reject him without him being able to explain his actions, he’s also grappling with imminent death through his worst fear – he’s having what could be described as a really, really terrible time. Even Guy tells the guards to ‘take him away’, so he is essentially abandoned by everyone he knows. He is completely cornered with no way out.

Let’s expand our view for a minute and just think about Allan as a person. I love a good personality test, and my personal favourite is the Enneagram. The Enneagram categorises personalities into nine types, with a person’s basic desire and basic fear at the crux of this designation. I believe Allan to be a Type 7 with a 6 wing (7w6), which essentially means his biggest fears are of being deprived and in pain, and of being without security. If we go back to the episode, taking into account everything he’s just had to consider – a painful and imminent death, the loss of his friends, and loss of a shelter and money – and place that in the context of his worst fears – being deprived, in pain, without security - we see a man who has every single worst fear come true in the space of around 24 hours. And then, what if on top of this, we place him on a flimsy wooden plank on top of a vat of boiling liquid, pitted against the man who personifies why his life is now awful: we see a man who has lost everything, who is completely cornered, who has nowhere else to run, but an instinctual desire to survive. (Allan’s ideas of right and wrong aren’t as strong as the rest of the gang’s, and his desire to survive places these even further back on the priority list.)

Now, this doesn’t excuse what he does when he’s fighting Robin over that pit of boiling oil, but it does give an outline of just how emotionally wrecked he’s feeling. In that moment, it’s him versus Robin, him versus the man who is the reason why his life has gone to shit. I’m not saying that everything is Robin’s fault – while the inability of the others, especially Robin, to listen to Allan’s side of the story definitely accentuates his problems, he is still to blame for willingly feeding Guy information and the consequences of that – but to Allan, it is easier to blame everyone other than himself. In his head at this moment, he is the complete victim, as especially in the early moments of processing what is happening, it is easier to be angry at others rather than accept any of his own responsibility for what’s happening. So he’s angry at everyone in lieu of being angry at himself, and hence he takes the initial swing, initiating the fight despite Robin trying to stop him. (It was these moments in the fight which prompted me to write this essay, to investigate his reasoning, because before I viewed him as pretty much a complete victim, but here is an explicit example of how that is not true). Both Robin and Allan are being prodded by the guards to force them to fight, however, so I’m unsure how quickly he would take the first swing without their insistence.

They begin to fight, and I can’t remember all the ins and outs of their conversation as they fight but it’s mainly:

Allan: You should’ve given me a second chance.

Robin: When did you become so low?

Allan: When you started thinking you were better than everyone else.

Robin: Not better than everyone else, just you. Allan is now furious, as in his view, Robin has just completely backed him into a corner by forcing him out of the gang and taking his money, and is now lecturing him on morals, because Allan tried to find a way to survive despite this. (A difference in their priorities: Allan’s to survive, Robin’s to be good. Robin would rather die knowing he stayed true to his morals, but Allan would rather live). But the moment that is most interesting is when Robin is distracted, and Allan decides, completely of his own volition, to go for Robin with what should be a killing blow (Robin manages to twist out of the way last minute). But for all intents and purposes, Allan directly tries to kill Robin. He isn’t prompted by the guard’s stabbing at him, at the very least this isn’t shown, and he has the time while Robin is staring at Marian to properly consider what he’s about to do too. On screen, there is a wide shot of him getting ready to swing, which lasts long enough to see the action was, to some extent, mediated. This is the moment where you could lose faith in Allan as a good person, because he just tried to kill Robin in cold blood. There was no individual catalyst or bad influence (apart from the boiling vat of oil) like when he was previously pressured into betraying the gang, it’s entirely of his decision. Let’s break down the motives behind this action. He’s in the midst of the angriest he ever gets at the Robin and the gang, full of bitterness about his position, as well as in the heat of a life or death situation with the philosophy of ‘I’ve got nowhere else to go.’ In his eyes, he can either die right now, or live to survive another day and even gain the respect of Guy and the Sheriff, possibly guaranteeing him further work. That’s the first possible reasoning – he sees this more as a business opportunity to prove his loyalty to someone else and stay alive.  The other reasoning, of which his motive could be a mix of both or just one (I think it’s a mix), is that he’s genuinely so hurt and furious at Robin that in that moment he does just want to kill him. However, if he was motivated by such an emotion, it has to be interpreted as more of a spur of the moment decision as killing Robin would essentially completely seal his fate of never being able to get back together with the rest of the gang (which does become one of his largest desires by the end of season 2, so taking that into consideration, the moment he goes for Robin he’s likely not thinking of the consequences).

These moments as he’s fighting are so interesting to me, as so much of the time Allan is painted as a victim – which I realise I am kind of doing now – but it’s important to note just how much stuff he does of his own volition. I see these explanations as not excuses for his actions, but reasons, because he does decide to try to kill Robin, just as much as he decides to continue selling information to Guy after being tortured into agreeing. At the very least, he was completely out of rope, so it shows just how far he’s willing to go to protect himself when so much (or arguably so little) is on the line.

Straight after the moments where we see him at his most vicious and vengeful, however, he’s able to jump down from immediate danger, and while the wider fight between the merry men and the guards are happening, he sees John and instantly tries to reach out, saying a genuine thank you for helping save him. Despite being completely willing to kill Robin, he is easily able to thank and attempt to reconcile with John. This might be part of an ‘eye for an eye’ philosophy, as Robin pushed him away from the gang multiple times, but John has done nothing to directly hurt him. The only person Allan has anything against is Robin, the gang are collateral damage in this conflict between the two of them, and it just so happened to be Robin forced to fight him. It would be interesting to see his reaction to having to fight any other member of the gang, as I think he would act very differently – much more defensive than offensive. It also could be because Robin is the person Allan envies the most even when they are friends. He makes a dig of this nature at Robin when talking to him after he’s revealed as the spy in 2x05 (if you can’t defend yourself, attack, could be the ideology he’s using there), likely due to the Ron-Weasley-style insecurity of ‘you’re always in the sun and I’m always in the shade’. This is the same insecurity that Guy preys on when torturing him to convince him to sell him information, and it gets through to Allan, so it obviously runs deep. Robin is the person he has the most internal and external conflict with. When talking to John, it isn’t instant life or death, so he is calmer, and the only reason Allan even came close to killing Robin was due to the fact they were both captured and made to fight. If this hadn’t happened, I imagine Allan would’ve just stayed out the gang’s way until he found a way to get back to them. So he tries to reconnect with John, as he is a friend whom he holds nothing against, to show his gratitude and perhaps find some sympathy or allyship in the gang. All he gets is a punch in the face, though, which is kinda sad. However, this is, when considering John’s vantage point of the situation – Allan just betrayed the gang and tried to kill Robin – completely fair.

After the fight is over, the rest of the gang have made a safe getaway and Guy and the Sheriff are arguing over what to do next. The camera cuts to Allan nursing his bruised jaw from where John punched him, looking not only physically hurt, but pretty emotionally ruined too. When Guy orders him to move, he moves so slowly that it’s definitely more than just pain, but also exhaustion and him processing the full extent of what he just did and what happened to him. He tried to kill Robin, he tried to reach out to John and got rejected, and now he’s going to have to work for Guy for the foreseeable future. He now knows what the gang think of him for joining Gisborne: they see it as a direct attack against them, rather than him trying to survive. He’s dealing with the worst parts of himself while having to accept that he’s truly hated by the rest of the lads, and not just Robin. The fight was the climax of his bitterness and anger, but I think from this moment, we see him begin to realise he wasn’t the victim, and regret and grieve his actions. Although he does go along with the Sheriff’s orders while at the castle, he is subdued about it, replying to Marian’s demands for an explanation for his worse actions with a quiet helplessness as he just ‘knows what side  [his] bread is buttered on’ (2x12). He doesn’t like what he’s doing, shown by his multiple attempts to help the lads while at the castle, but he knows he must do it to survive. His instincts of self-preservation are too strong, and I think this leads to his main internal conflict and possible self-hatred, as he battles between doing what he can to live, and doing what is right. He has a lot of time for self-reflection at the castle, as he comes to term with what he has done, is doing, and must do in the future.

We don’t see anything else from Allan in this episode, but most notably, the camp dynamic is completely thrown after the fight – Much struggles with the silence as the eat at the end of the day, and as a team of five they are generally less mobile. They are able to fight well still, but in 2x06 after Robin writes his letter to Marian and says goodbye to them, about to sacrifice himself, they take a long time to read his letter and realise what he’s about to do. I think that, had Allan been there, he would’ve been able to read Robin better and prompted the others to read his letter more quickly. Here, his looser moral code and intuition would’ve proved highly helpful to the gang. On top of his, in his absence, Much gets even more of the bullying, as he worries more and the others increasingly tell him to ‘shut up’, leading to Much’s outburst in 2x12 which is only resolved by Allan coming back. Interesting, despite expecting Much to be the one to hold a grudge, he’s the first to welcome Allan back into the gang as they fight together, showing that he missed Allan’s presence much more than he let on, and felt the gang’s dynamic shift because of it. Much acts as the emotional compass for the gang, so to see him be so thrown by Allan’s leaving portrays how unstuck the others also feel.

All in all, Allan’s actions in 2x06 stem directly from his confrontation with Robin in 2x05, building on the insecurities and bitterness which Robin failed to acknowledge and address, instead diminishing his experience and taking away all options, until Allan’s only course was to leave the gang and join Guy – not yet in vengeance, but in the name of self-preservation. This backfires as he is almost hung by the Sheriff, left alone to face the threat of his worst fear. His fight with Robin later in the episode shows his anger and frustration come to a head, to the point where he, for a moment, intends to kill Robin. Allan’s inability to take any blame upon himself forces him to direct his anger onto others. Luckily for him, this passes quickly, and he tries to reconnect with other members of the gang but fails to do so. He is then forced to resign himself to working for Guy at the castle, on a side he ever intended to permanently be on. He is very much at fault for his actions, but the decisions made by Robin and Robin’s influence on other members of the gang (by not letting Allan tell them his side of the story) worsen his situation to lead to his permanent working for Gisborne. His actions at times seem spiteful, at others desperate, and the impact other people have on him directly motivate many of his decisions – but at his worst, he has the full agency to make terrible decisions of his own accord.

Thanks so much for reading if you made it this far, I hope you enjoyed my take! I’ve loved writing this duo pf essays of character exploration, they’ve truly helped me to understand Allan’s reasoning further. If you’ve anything to add, please don’t hesitate to! Your response to my 2x05 analysis was so kind and I’m genuinely honoured to be part of such a wonderful fandom.

[astrologista]

jason stop dying

ooooook i just watched ditf. it was PRETTY GOOD.... i only wish there was MOOORE! watching this REALLY brought me back to 2011 times to see it and i think they did a good job with most of the character design and animations insofar as matching it to the original. (maybe i’m totally wrong but i thought it looked good for the most part... also i just really love these character designs in particular). obviously the budget is not what it would be on a feature, so there are a LOT of places where animation gets recycled and many still frames. some parts are basically a slideshow lol. but i only sort of came to that realization awhile after watching, so i think they did a fairly good job of masking this... ymmv

so let’s get into it!!! 

SPOILERS a-head! do not read until you’ve watched it because i’ll spoil everything

now obviously the thing to be aware of if you are not is the fact that this adaptation is not a panel-by-panel adaptation of the original death in the family comic. all references to jason’s mother (save one mention of her dying of illness) are completely removed, they go to bosnia instead of africa, and the circumstances around jason leaving are also heavily altered to fit the new narrative. this adaptation does slot perfectly into the universe established by the under the red hood animated movie from 2011 though, without which one would be pretty confused when watching this. it’s kind of a mystery as to why they didn’t just package this with utrh and release the entire thing as a collectors edition. instead they package it with like 4 or 5 unrelated dc showcase shorts which makes absolutely 0 sense but go off i guess. anyway

i liked that they took the time to adapt the scene from the original ditf where bruce is talking to alfred about jason! (i do not like that alfred didn’t get any lines. bad choice). tbh i can’t understand why they bothered showing us alfred, barbara and dick if they weren’t gonna give them any lines..... like come on........??

HOW INTENSE BRUCE LOOKS WHEN HE FINDS JASON IN SARAJEVO and just. grabs him lol. hes smad :)

ok so one two skip a few and we get to the first branch. instead of calling 1-900 we now get to choose whether jason lives or dies. there are 7 possible endings i think i got em all so let’s see what we got here.

“Hush” Route - Robin cheats death

hgrgdggr. i definitely think this is one of the more interesting endings, if not the most interesting one. this is also the only ending in which both bruce and jason survive the bombing. bruce is still too late, but this time jason barely clings to life and survives. as a hurt/comfort fan i was 100% on this shit from the word go but then jason? runs away from home lmao lmao i thought that was SO funny because 1) hes super messed up, how is he able to just literally run out the house that is SO funny to me and 2) implying that bruce would ever not be keeping an eye on him after that is just, lmao. it’s so zany. i call this the “hush” route because of the bandages but there are no other references to hush so ok. that’s fair. so anyway jason is now angsty for loosely explained reasons but the most fun part is yet to come.

when talia showed up, i really thought / was terrified for a second that they were gonna bring up certain “events” regarding damian’s parentage / who damian’s father is but then she mentioned bruce and i was like OH THANK GOD WE CAN STILL GO TO HEAVEN. i am so so grateful to the writers for NOT going there. cuz it was damn close ok. im not sure what the implication of this route is in terms of talia, jason and damian being a family unit but i want to believe talia sees jason as a son and damian’s brother (which is how she refers to him, damian’s brother) and not... yknow. i mean. jason raising a baby is kind of like a baby raising a baby...

no actually the reality of this scene is really dfuckin interesting like. they actually go with the “birth of the demon” (forget if it was birth of the demon or bride of the demon. one of those.) explanation for damian and that is something i’ve NEVER seen adapted so whoever wrote this can have a cookie and i kNOW this is something a certain someone will appreciate :)

not only that but the implications? are interesting? so talia’s claim is she miscarried so bruce won’t have to “choose” between damian and jason and idk if she’s supposed to be all on the-up-and-up in this universe but. i’m sitting here like GIRL YOU DON’T GOTTA DO THIS HE HAS A PRIVATE JET HAVEN’T YOU HEARD OF SHARED CUSTODY and BETTER YET HE HAS A MANSION JUST GO ON MAURY AND GET THIS SORTED OUT RIGHT NOWwwww

i’m also LAUGHING at the implications of jason thinking theres anywhere on earth that he’s going to go and hide damian’s existence from bruce. because you already know he’s just going to be tearing the planet apart looking for jason so this is actually hilarious. imagine he finds jason in one piece and also a baby. his baby. he’d be like (@ talia) “OMG WHY WOULD YOU THINK I WOULDN’T WANT THEM BOTH u are tearing me apart talia......” BUT THEN HE WOULD BE SO FREAKING HAPPY BECAUSE HE HAS TWO ALIVE SONS AND HE THOUGHT THEY WERE BOTH DEAD / (lost to crime)!!!

please lord imagine all of jason’s angst probably just originating from the fact that he has a brain injury that hasn’t fully healed and the trauma of going through all those surgeries probably gave him a lot of fear / paranoia about bruce and associating him with the joker because his neural pathways are all messed up but after he leaves he starts slowly healing back and regaining some of his lost sanity and thats when he realizes he misses bruce so much... but hes also raising his child... and every day it gets more difficult for him not to just take damian and bring him home and i ;v;

anyway i thought this route, while it had a few inconsistencies in it, was really freaking interesting and it gave me feels and plot bunnies and is probably the one i want to write about the MOST despite the fact that baby damian looks like a character from one of those web flash games in this lol

“True” End - Jason Dies

now if you select that jason dies the route basically defaults to the canon of under the red hood and the fact that utrh does not come packaged with this movie is a rather mystifying choice to me as i don’t think this adaptation would stand on its own very well. like you need quite a bit of background to really get anything out of watching this on its own, which is probably why it’s classified as a “short” and not as its own movie.

instead of showing all of utrh, it seems they took the opportunity to give a ~30 minute recap of utrh with basically entirely reused animation but they allow bruce to sort of. give his dvd commentary over it.

the biggest feeling i have on this is that it’s sad that they had to waste 30 minutes like this that could’ve been used to do something new and much more interesting, but honestly i’m not mad. it seems kind of obvious that this choice was probably made for budget and/or runtime reasons because a short does not get the same budget set aside as a full length feature film does. so they basically took the option of recycling 30 minutes of animation from the movie and dubbing new audio over it.

in evangelion they ran out of budget and that’s why the last two episodes consist of nothing more than still pencil drawings and frames while the characters engage in philosophical debates concerning the nature of reality and human connection. and i really enjoyed that. and for the same reasons, i also really enjoyed this.

i enjoyed seeing the clark kent of this universe. i enjoyed that he was basically out on a date with bruce. i enjoyed that bruce was willing to open up for once and tell clark all of what happened with jason. but what really makes this segment shine bright are bruce greenwood’s line reads. there are SO MANY good line reads in here. and i LOVED how many times he said the word “son”. very wholesome. the way he describes how he felt during the final fight with jason? probs my favorite FUCKING part.

and then him and clark joking together about contingency plans and then they’re going to work together to find jason and i ;_; this is probably the closest thing to a “good” ending but as a continuation of utrh i thought it worked really well. i really want to believe that bruce and clark did find jason in this route and that there was some closure in the end even though we didn’t get to see it.

including clark in this was DEFINITELY the right move as well, considering that he played a rather large role in the original ditf so it’s a welcome nod.

The rest of the branches exist under a separate option where Bruce makes it in time to save Jason from the warehouse... but Bruce dies......... :O

let me tell you bout it... bruce’s fucking DEATH SCENE i don’t know WHAT my man bruce greenwood is on, but the freaking LINE READS in this dialogue had me making INHUMAN NOISES. LIKE NOT ONLY WAS THE DIALOGUE GOOD, NOT ONLY DID HE SAY “I LOVE YOU, SON”, but this man is just an amazing actor. not just voice actor, but actor. he really really really really gave it the most i don’t know how else to say it....... it was very very well done and punched me sideways in the heart and i haven’t recovered and i’m not going to recover. and

ok so once we get past that.... scene.... u have to choose whether you’re going to catch the joker or kill the joker. bruce asks jason to promise not to kill the joker but technically jason doesn’t promise so........

Let’s start by choosing to kill the Joker. Jason attends Bruce’s funeral and various members of the Justice League show up to talk with him and just generally hang out. He has Alfred, Dick and Barbara as his support system, but Jason has some other plans.

This leads to a scene in a cafe where Jason meets with a man who... something something Killing Joke, flashlight, more Barbara being used as a plot device when she deserves better, Jason kills the Joker with a butter knife.

Once you do this you can choose to surrender to the police, or retaliate and escape.

Jailbird Ending

basically if you surrender to the police jason ends up in prison where he can actually attack even more criminals so.... ya

If you retaliate and escape instead you go to the Red Robin route where Jason becomes a vigilante who kills people much like the Red Hood and you get a further choice in a fight with Two Face where you can control how Harvey’s coin lands. 

Tim Ending!

If you choose the coin to land clean face up, the thing rewards you by having Tim show up and I forgot what happened (wasn’t really paying attention lol) because i was so focused on TIM!

Prolly they felt sorry for him what with Jason stealing what is essentially his outfit (ok I know it was Jason’s first, but Tim made it cool) so they let a little baby tim have an appearance :) he’s very smol

I guess in this ending Jason gets reintegrated with the family somehow and Tim becomes “Bat-kid” which is hilarious to me but you know what it’s cute. CUTE.

The one ending where the coin lands scarred side up

i honestly forget what happens if you choose to have the coin land scarred side up but let me just say this is a FUCKED route to take, not only have you had jason survive and bruce die, you’ve now chosen to kill the joker against bruce’s dying wish, you’ve chosen to attack the police, and at the end of that you really are gonna choose harvey’s coin to be scarred face up???? choosing this made me feel like a DICK because here i am supporting jason’s whole fall to madness and villainy thing the way it wants me to and now he’s gonna die HERE? i hate it here.

interestingly enough he doesn’t actually die in this route. he ends up at home with barbara and dick while dealing with the fact that he killed the joker but the route ends with jason saying “i promise” so i guess this is supposed to be kinda sad. im so confused lol ok

So that is all the options if you choose to kill the joker, I believe. You can also make the choice to just catch him instead of killing him but amazingly enough, those routes are even more FUCKED up. 

If you do this option Jason goes home, mourns Bruce with Dick, Barbara and Alfred, and becomes Red Hood BUT with a twist, he’s entirely on a bloodless operation in line with Bruce’s wishes. OR.... IS HE?

Things then follow the events of UTRH until the scene on the bridge with the van and the guys. Jason finally confronts Joker, who reveals the truth. 

Apparently in this route Jason has actually been killing and decapitating his victims just like in the original movie, but he’s repressed it so as to not even realize to himself that he’s doing it.

that is FUCKED. also. i wanna cry because jason doing all of that stuff but not even realizing it ;------; jason blocking it out, because he wanted to honor bruce’s wishes for him not to kill anyone ;______; but he’s doing it anyway ;_____; he’s actually hearing voices telling him to kill ;____; like it’s a very cheap twist in a sense and also really quite cruel but.... damn, son.

There is a branch here where you can choose to spare or kill the Joker at this point (UNDERTALE???) but from what I can tell it seems to be totally meaningless what choice you pick because you end up at the exact same point either way, I think there’s a small variation in what happens after you make the choice but after that they just coalesce back together into the following two endings. Which seems incredibly cheap to me, I mean making a choice like that should alter Jason’s path completely but, it doesn’t! So... ooook....

Either way Jason ends up on the Wayne building and Talia shows up with a re-animated Bruce from the pit. Here’s another fun blast from the 2011 past with more gratuitous Grant Morrison dreck, remember that shit? Well, they’re gonna jam it down your throat here, too.

The reanimated Bruce is the Zur En Arrh Bruce and he’s already dead so this is all meaningless but basically Jason fights him and you get to choose whether everybody lives or dies.

Zur En Arrh - Everyone Lives!

if you pick this, jason actually gets the re-animated bruce back to the batcave and they lock him up down there because he’s still pit-mad and the prognosis is not great. but i’m not sure what they expected, he is the zur-en-arrh guy so I don’t think he’s getting better. 

Zur En Arrh - Everyone Dies!

pretty much there’s an explosion and all three of them die and that’s it

I think that should be all the possible endings there are.

By the way the different ways in which black mask dies in this was actually a fairly clever running gag lollll. let that mf burn we don’t need no water.

overall there are a couple of things i would have done to SIGNIFICANTLY improve this adaptation beyond some of the obvious ones.

- the fact that all of the branching options are branched exclusively under the “jason lives and bruce dies” branch is a huge wasted opportunity. imo this is the most egregious problem with this, i was really looking for a more balanced tree / explanation of different things. i am probably super biased though being a fic writer and used to fic, we’re the ones making huge ass trees every day lol.

- the fact that there is no “good” ending here is something i kind of expected but given the context of this is lackluster. i sort of get it though because granted, the original ditf ends in an unresolved manner but it’s distinctly unsatisfying here. i secretly wanted an ending where bruce, like, figures out about the different endings and hacks reality to try to find a good ending where jason lives and everything is fine lmao. like a bat mite ending.

- i was disappointed in a sense that the narrative given in here is so basically simplistic? maybe i’ve been spoiled by games like 999 and undertale where shit gets messy and that’s not what this is supposed to be but when i play something with multiple endings in this day and age, at least play with the concept a little bit and connect some of the branches together narratively. use different devices. i was also hoping some of the choices would be a little bit meatier like you could choose to “forgive bruce” or something cool like that lol. but it looks like the majority of choices have to do with who lives or dies. and i felt like they couldve been a bit more creative with that ya know? being able to control harvey’s coin was a GREAT example of having some more fun with this.

- it is a huge missed opportunity not to have a “secret ending” on something like this. like where. the fuck. is my secret ending for completing everything. come on. and in a similar vein there should’ve been at least something in terms of bruce and jason interacting in a “true ending”. even if very brief. the closest thing to an ending this has is the “jason died” route and then the ending where he’s talking to clark which i feel like was a REALLY nice good optimistic ending as far as this goes, but it comes off as kind of disappointing i guess

there were SO many interesting nuggets locked into this thing though. i can’t deny it bugs me how many wasted opportunities there were with how they chose to structure things but i guess it’s the best you can do with limited runtime. i thought it was really well done though, makes an interesting companion piece to the original utrh, and is definitely something that i will be re-watching again soon!! overall i give it a 7/10 and some parts an 8/10+!

[ziracona]

I am both kind of glad she didn't like. Spiral into thoughts or more realization of what exactly she's done to these people. But also not, because I love angst. So. Questions. Will she ever meet the other survivors? What will their interactions be like? Who do you think she gets along with most? Will she meet any other killers? (probs introduced by other survivors??) And also. A painful one but. Does the entity realize she's lying? Do you think you'll continue this story in anyway?

Haha, I feel that. Adiris certainly will hit that horror realization more completely than she did during her breakdown in the archives room. I think because of her realizations of both what she’s done and just how much danger she and they and everybody upstairs depending on her is in suddenly because of the truth, happening at the same, she had a whole lot of fear and anger in play (I was used and hurt and manipulated and lied to and made to suffer, whatever you[Not Nergal/Entity] are, you have been doing horrible stuff to innocent people for no good reason, my people have also been manipulated and lied to and forced to suffer, oh Gods what happens to us if he knows I know? What can I do to save my people and myself and these foreigners? Can I do anything?) and I think the immediacy of the parts of that she had to act on hit so hard it was her core focus, but next time she either is in a trial and has to method act through hunting down people she now knows are not murderers and infidels, or the first time she’s in a safer and more calm setting with the survivors and one of them mentions something, that will all uhhh, it’ll hit home. I’m sure. God, this poor woman.

Okay! For the questions.

“Will she ever meet the other survivors?”

Yes. Definitely, and all of them.

“What will those interactions be like?”

It’s hard to say since I haven’t written that yet, but probably exceedingly awkward. I think there’s a lot of inherent fear from them towards her, and like, how would you feel talking with someone you used to murder a lot because you thought they were the enemy? Nnnmnnnnn probably not great! TuT which is how she gon be feeling. I think she is very aware she’s coming from a place of power, and is also still super used to thinking of herself as a priestess/holy/kind of removed, so she’ll try to approach it like that. Reassuring, and thoughtful/careful to not be scary or threatening, but also in control and a little aloof. And probably after a little time with the survivors, who will all go from “Scary. D:” to “A curiosity but in a good way. Weird. Neat. Still kinda spooky.” to “I like her : )” and thinking of her the way they would any normal human (the normal version of the fkn speedrun Quentin & Dwight went through), she’ll have to adjust to being treated like a normal person, and the way 21st century humans act when they’re being casual and friendly—which honestly, not too different from being friendly throughout history, but sadly either way not something this girl is used to. I think it’ll be weird and she’ll be nervous to try shifting identities from one of the only two things she’s ever known how to be, and into normal human and friend, but that it’ll also be really welcome. Because she has literally never gotten to have a family or a normal life or a friend or any single goddamn healthy or even decent relationship with another living human being. And like, god, humans need that. On a DNA level—We die in isolation. And she hasn’t been “isolated,” but she’s been mostly isolated her whole life, and she sure as hell has never ever gotten to belong or have any kind of certainty or permanence in her relationship, even her spiritual ones. She needs that. She just needs someone to look at her, go: “There’s a human being right there, and I see who she is, and I think she’s very worthwhile. I would like to keep her in my life.” God, she needs that so, so badly. I don’t think she knows it, but she really, really, desperately does.

And she deserves it, too. None of the abandonments or alienations or failures in her life are things she did wrong. But when that kind of thing keeps happening to a person, it sure as hell makes them feel like it. So, haha, sorry, got carried away (the name of my memoir probably >.>). But I think she’d be awkward, and confused, and then nervous, because she’d be invited into something she has literally never had, doesn’t know how to do right, but also desperately wants without fully understanding, which is a terrifying combination to work with socially. But then deeply impacted and happy and moved. Also afraid—I mean, girl smiled without doing it on purpose one time and flipped out emotionally with no idea why, because every time she has felt attachment or sought belonging or thought she had it her whole life, she’s been routinely betrayed and abandoned. She’s a lot more than once burned. But after the initial fear, she would be a mixture of happy and very awkward, and then eventually hopefully just exceedingly happy and also proud of herself and confident. I listened to I’m Still Here from Treasure Planet a lot while writing Adiris. Like, a lot.

“Who do you think she gets along with most?”

Hmmm, well, Dwight and Quentin I think will always be special to her after the day in the temple. Claudette is a sweetie who will definitely try to help alleviate sickness symptoms and be maybe the single least afraid to touch her of all the survivors, and that can’t help but be meaningful. Meg & she have a lot of complimentary similar personality traits, Jeff is super kind & also a great artist so he’ll probably be group interpreter & she’ll be around him a lot, and since Tapp is 2 and 0 so far on drawing bullet barrel in friend luck Russian roulette and keeps befriending women with absentee fathers, I can only assume that means she will end up close with Tapp as well. It’s too funny for him not to be 3 & 0. The world itself demands it. Beyond that, I’d have to write interactions and see how they fall. 👈👈😎 (Also a large part of how she feels about Meg & maybe also Ace, possibly Nea too, maybe even Feng, will come down to how she feels about being flirted with shamelessly. F in the chat for my poor confused ancient Mesopotamian. 😔)

“Will she meet any other killers?”

Yes, definitely. And it will be very interesting to me to see that.

“Does the Entity’s realize she’s lying?”

No. It absolutely does not. Queen method acted hard enough to give herself trauma—the first person experience thoughts and narrative are what she lived, and luckily the Entity is an emotion sponge, not a mind reader. It may or may not have been aware Quentin & Dwight were in the room (legit just depends on if it decided to/thought to look, which I don’t know, because I didn’t need to to write the scene & it be like that sometimes, but regardless of if it did, the outcome is basically unchanged. Either it didn’t look because Adiris clearly wasn’t lying, from its POV, as she felt nothing but what she exhibited outwardly as well. Or it did look for them, saw they were under there, and thought nothing of it because it lined up with her story. She said they ran off. Wouldn’t be weird for them to go to the Archives to try to steal information, or hide, or even just get lost. And it had no reason to expose them if it did see, because if it had dragged them out, it would have had to do something Adiris would understand to them, and it’s really just easier to give itself time to figure out in what way to do its “Nergal the God” aftermath, than to do it right in the room on the spot. TLDR: No, it has no clue. She method acted the fuck out of that situation, and there was nothing weird to sense, so it didn’t. Queen out-bullshitted the Entity.

“Will you continue the story in any way?”

Harder question. Probably? Likely? Maybe? Hard to say. I would love to, but I also have four, five other stories right now? Ever since I made a dumb Fate joke about having four multipath AUs, my brain has been trying to convince me to adapt New Dawn Fades, From the Earth of No Return, and some fourth, as yet unchosen story, into full length monsters. But I might die. Like, y’all, ILM is a hunk of book. If I recall correctly from back when I saw my word count, got nervous, and looked stuff up, if I published a physical single volume copy of ILM, it would become the longest single volume book ever published in a physical single book form. Which I both kinda want to do now just for the knowledge of it, but also!!! That’s SO much, like, I don’t even know how that happened. Like I am immensely proud, but also kinda like wtf? Did I drug me?? And also mostly just because rip @ me that the longest work I have written is a fic I /can’t/ ever publish or include in a resume or reel or anything. :’-](Also, @ the speed readers who did ILM in under two weeks, HOW? And please teach me your absolutely terrifying powers). I don’t plan, even if I do full length stuff again, to make another ILM length one or something. But even then, full length is big! (Also I live in fear of saying this to myself, trying to write, and becoming:

Like u have no idea rip lol.) It takes a whole bunch of time to do books, and like, I do fic books because I love it! Like SO much. It has and does bring me great joy. But, it can get a liiiittle daunting too. It eats up most of my free time to all my free time, if I get super into it.

So yes, I would really like to adapt it further. I have the barest of bones for an outline, I even have two possible endings already envisioned and several major events more fleshed out! : D But if I do write more long-form full novels for DbD, even in more manageable sizes than their forebearer, I’d try to do them in the order I began. Which means Signifying Nothing—the prequel to ILM about Philip’s time with Vigo, Alex, & Benedict (which is a will do, not if), then New Dawn Fades (the ongoing fic I have on AO3 centered around Joey & Quentin’s relationship), then From the Earth of No Return. Which for the record, my soul very much wants to adapt. Every time I hear Brave Shine now, I see cool TV show opens for it in my head. TuT But I guess the best I can say is, “We’ll see”? Since fics aren’t like my paying job or smth, it depends largely on my personal & work life & how much time I have to devote to for-passion writing. So, I guess the short answer is I’d love to, and I hope to, I’d even say I think I intend to sometime, but I’m not completely certain I’ll be able.

[popculturebuffet]

Ducktales 87 Reviews: A Drain On the Economy (CACC Part 1) (Commission)

Commissioned by @weirdkev27​. The start of a whopping four episode commission as I review the original Ducktales Four-Part Serial, Cash as Catch Can! The Kishke of Macaroon decides the best way to market his once in a life time find of glowing, power producing fruit is to have the two richest men in the world weigh their money to see whose richer. Seems Legit. Glomgold of course can’t play fair but since this is the 87 version he simply hires and outfits the Beagle Boys to steal scrooge’s money instead of leaving a shark filled with c4 on the doorstep of the bin as a distraction while he tries to saw it in half with a giant buzzsaw. Tanks, childen nearly drowning and outbidding yuppies ensue. Full reviewcap with spoilers under the cut. Sadly no Sea Monsters eating Ice Cream Yet. 

Huzzah! Another day another commission! And it’s a massive one too as i’m covering not one, not two, not three, but FOUR episodes of the original ducktales for 15 bucks! Thank you once again WeirdKev27 for the commission. Not saving this for the end this time, if you’d like to commission your own review, just pm me, it’s 5 dollars for one episodes, and now you get 5 dollars off for each episode you commission after 2. So for instance this multiparter was 4 episodes, so Kevin payed for only three, for a total of 15 bucks! Whatabargin! But enough shilling let’s get down to bidness.  As usual for first episodes a quick rundown of my history with the show: Being a fan of the Life and Times of Scrooge McDuck, which I fully intend to cover here at some point and yes you can commission duck comics too if you were curious, I did want to watch Ducktales for a while but didn’t really try to until the Reboot came out. As a result I got the first season dvd for Christmas, bought the second, and while I haven’t watched all the series, what I’ve seen is pretty good. It’s a fun, fluid adventure show that captures the spirit of the Carl Barks comics while doing it’s own thing with them. Sure some aspects of the time or even of the original comics that this adapted wholesale haven’t aged well, and we’ll get to some of them, but for the most part the series has a timeless quality to it that really makes it work. I may prefer the reboot.. but I still enjoy this series and i’m glad to revisit it. 

So with that, we come to one of the series handful of multiparters. For the most part Ducktales was just one off adventures, episodes that could easily be aired at any time with little regards to a strong continuity. 

But unlike most shows including the rest of the Disney afternoon that at most had one pilot movie and one or two two-parters, Ducktales had 4 multi-episode story arcs. The episodes were still written with about the same episode of the week format, it’s just instead of being all wrapped up there was an ongoing storyline that tied each episode into the next and drove the action. It’s honestly not a bad format and not all that dissimilar to the Sardonyx, Out of This World, Heart of the Crystal Gems, and Diamond Days arcs Steven Universe would have.. and if your wondering yes I would cover those for the same fees, but that’s not what we’re here about. 

However even among this format this four parter was unique.. and not just for the “A Sea Monster Ate My Ice Cream!” bit we’ll get to next time. The other 3 mini’s were 5-part Season Premires that either set up the show period (Treasure of the Golden Suns) or introduced a major new character for the rest of the series (Fenton/Gizmoduck for Super Ducktales, and Bubba and Tootsie for Time is Money). Though weirdly in the case of season 2 these 5 parters were also the ONLY episodes, but one oddity at a time I suppose. My point is Catch as Cash Can is not only the only one not to start a season, instead coming in mid-way through season one, but dosen’t change the show and is only 4 episodes instead of 5. It’s still from what I can remember, which only came back when watching part 1 as I got it confused with treasure of the golden suns, pretty good.. apart from the third episode but we’ll get to that, it’s just worth noting is all. So with that out of the way is this four parter any good? How do the episodes hold up from a few years ago? Well I was paid good money to find out so let’s do it to it shall we? We open in Macarooon which.. I THINK is a play on Moroco, but still dosen’t make a whole lot of sense given it’s a cookie, this episode about fruit and Hamilton’s accent as the Grand Kishke, the country’s ruler, is a vauge indian stereotype with a touch of middle eastern sterotype. Sing it with me now....

Still not great having a white guy do a vaugely foreign accent that’s played for laughs, and yes again acceptable at the time, I don’t hold it against Hamilton camp, still dosen’t make it at all comfortable. Though it’s still, and this is VERY faint praise, better than Carbomya, an ACTUAL CANON LOCATION in the 80′s transformers cartoon that’s as offensive and dumb as it sounds and, no joke, caused Casey Kasem, who I was reminded by the article linked above quit over this.. and found out from said article is Middle Eastern himself. Huh the more you know. And SOMEHOW this isn’t the most offensive thing the franchise has ever done, as japan had mexican stereotype transformers and kiss players.. just kiss players you do not want to know, and Micheal Bay later gave us skids and mudflap and I die a little on the inside remembering that happened. Back on point there’s been worse, dosen’t make this okay, but it’s not so offensive it ruins the entire episode. Just makes the Kiskhe’s seens wince inducing. 

Scrooge and Glomgold are having a poker-esque dick measuring contest over whose wealthier but for once i’ts not just because it’s tuesday in duckberg but because the Grand Kishke has called both here. As he explains, and as they know but we don’t, while going down the stairs he fell down and found a vast cavern beneath his pallace with tons of glowing fruit that could soon replace lightbulbs if marketed correctly as they never spoil and never run out, thus putting his country ont he map. While the vauge “wacky foreigner” stereotype thing is unfortunate, the Kiske is likeable and does have good reason for not doing the marketing of his biggest export himself: He’s not a businessman and has a country to run. So he felt going to the richest man in the world was the right call, but Glommy and Scroogie are tied in assets so the Kiske decides to tie break things by having the two weigh their fortunes instead as the two you know.. have large piles of stealable money around for sentimental reasons.. and because they don’t trust banks.  So yeah with the contest set Glomgold sets out to do what he does best... set himself on fire with a hairbrained scheme.. no wait that’s the other glomgold. Cheat.. which this one can actually do without ending up in a bear trap, so we cut to the Duckburg jail.. which is at least in this episode just one giant cell surrounding the Beagle Boys, though given their responsible for 80% of Duckberg’s crime, and a good chunk of this series as a whole, it probably IS just that. But Glomgold using ... a .. giant floating cow balloon.. wait.. 

I mean I love this because .. just what the hell is this, why a cow balloon.. was it the only one he could rent? Who rents those? Did he buy this thing? How’s he going to get rid of it? How’s he not getting caught for buying this thing? Did he make this? Did he spend a good few hours building a giant cow balloon fortress/ did he dump it in the river? 

You know, maybe it was schemes like this that made Frank decide to make Reboot!Glomgold into the loveable incompetent maniac he is today. I mean this sounds like one of his schemes: If your going to do something right do it in the most insane, over the top, nonseical, costly, overcomplicated way possible.  As it stands though the rest of 87 Glomgold’s plan actually makes sense: he throws down gas masks and gasses the guards, though the boys think it’s ma at first. However they quickly are fine with it being their dad as Glomgold has a job for them.. though they nearly nope out when they find out it’s scrooge. This is a neat contrast to the comics where, under both barks and rosa while the Beagle Boys would get discouraged or bemoan their defeats they still kept coming. While it’s likely only for this episode it’s nice to see them have some hestiation.. at least about going after the bin directly. Which given the bin is the most heavily guarded location in duckburg no matter the contniuty and while it’s been attacked and broken into millions of times at this point, no trick works twice because Scrooge adapts. It’s what makes the continual nature of the beagle boys assualts on it here and in the comics work and why their still a threat despite always getting beaten down: sure they get in once in a while, but scrooge outwits them and then presumibly offscreen makes adjustments for next time while at the saame time their too stupid and stubborn to ever fully give up and to stop coming up with new ways to get scrooge’s fortune for themselves. 

It’s a good dynamic but I like some hesitation since even the dumbest crooks get wise eventually and their being hired by someone whose utterly ruthless and might kill them or worse if they fail. But Glomgold actually has a resonable counter, that since he’s rich he can suply them with everything they could need instead of whatever they can steal he just needs the manpower and the plausible deniability. They shake on it and the die is cast.  At the bin Scrooge is annoyed at having to put up with the beagle boys again ow of all times, and we soon get the second best scene of the episode as the beagle boys, and cousins storm the bin, basically doing a zap branigan and trying to throw wave after wave of their own boys at them till Scrooge’s defenses falter. It’s a great and tense action scene as the boys send beagle after beagle with some great names I sadly forgot and should’ve written down. It’s a fun sequence, though it does show why the series updated burger as he gets distracted with food... because... 

That’s literally the joke and I can see why Matt and Frank retired it entirely. But other than that it’s a joy to watch. The finale is notable as Bigtime uses some armor to tank things.. until scrooge actually brings up a tank.. with just one caliber larger shells than what his armor can take, a nice little gag. But yeah scrooge pointing a tank at someone is badass and one of the only two times this episode he really gets to be. More on that in a sec.  But while the boys celebrate Scrooge’s victory Scrooge dosen’t, knowing they’ll just be back in in greater numbers and thus has gone to the ludicrous extreme of setting up an automatic cannon in his money bin that fires at anyone entering.. and then forgot his cane. You can probably guess what happens next. 

Yup Scrooge is thrown back, because apparently he’s immortal in this reality too, and the bin starts to break down, while the Beagles storm in and seconds up. This scene just.. annoys me. I get Scrooge isn’t unstoppable, if he was the show, and the comics and the reboot of the show wouldn’t be as fun if he wasn’t challenged at all. Scrooge himself would be disappointed if his life had no stakes. My issue here is the beagles go from evenly matched with scrooge, if both using weapons to.. casually brushing past him and the boys. And they HAVE beaten them plenty in the comics, but usually it’s through surprise or threatening the boys.. who they have right there. Instead they just.. easily beat scrooge for no real reason. It just smacks of laziness: they need the boys to get in so like scrooge and his own boys they can see the money go down a crack and thus into the sewers, but instead of having a fight or them just you know hold the triplets hostage or use a ray gun or something since it’s plausible in this setting, their backed by a billionaire for this ep and it’s an acceptable substitute. This just makes no sense to me and really baffling bit in an otherwise great episode.  But as noted the money went down the tubes, so the beagles retreat.. if only because they now can just go fish it out of the sewers like that’s somehow legal. But given how the Calisota supreme court seems to never change the various terrible loopholes that nearly loose scrooge his money all the time, it’s not surprising. Seriously it was used by Carl Barks more than once: Some asshole using a bet, wager or old timey agreement to try and take something from one of our heroes usually scrooge, and other writers followed suite naturally given he set the pace for them on everything else why stop now? Though really “Slimy assholes use loopholes to run roughshod over innocent people” is such a common thing nowadays and presumably was even more so then, I commend barks for not only picking up on it but using it frequently in a CHILDREN’S COMIC. God damn man that’s some balls.  Anyways Scrooge can’t quite literally slip through the cracks, but the boys can and given they are as one, they all go down follow that dough while Scrooge tries to figure out where it is from above. Scrooge goes to city planning or something like that and gets the maps to the water works, and I like the fox clerk here, but the beagles also have them. And while Scrooge chases them above the boys continue their trek bellow eventually finding the cash stash with good detective work and call scrooge , who happens to have tracked the cash and is in the general area, over from above.. but get swept out because the beagle boys open the floodgates and into the city’s reservoir. ON the bright side I now get where “Open the floodgates comes from” Scrooge heads to the pumping plant to pump them out, but finds the beagle boys and a fight ensues to see who can accidently kill some children the fastest as the triplets are buffeted back and forth over, and over, and over and over and over...

And over again till the valves break and shove the Trips into a swanky condo just as a real estate lady, who according to the Disney wiki also showed up in “Magica’s Shadow War”, good for her with the yuppies naturally wanting the condo, though the boys stop them from buying it, trick them into the elevator and then use the override to shut it down so they can’t get back up. So the Trips hold onto the loot, while Scrooge arrives.. and again since Duckburg legal policy is chosen by spinning a giant wheel and going with whatever it lands on, Scrooge can’t just you know have someone come and get his property. His solution however is clever as after a bidding war over the condo he just decides to buy the whole blasted building. And at first I wondered why their wasn’t a bit of him grumbling over the price.. but then I realized his fortune, and doubling it is at stake. While Scrooge will spend as little as ducking possible, when the chips are down he will throw his money around. And I like that it’s a nice subtle character moment showing that he knows when not to throw a big tantrum about spending money  and that he has more important things going on right now, such as keeping his hands on most of it. But naturally this wins though the real estate lady wonders how he did that. Lady he owns a good chunk of the city, is in the news frequently even in this series, and owns the largest building in town which towers over every other on a massive hill and is frequently broken into or attacked, how the hell do you NOT know who he is?

Regardless Scrooge regroups with the boys but the beagles are close and are even bright enough to cut the power. I LIKE these versions better than the reboots. With the exception of a lack of character actress Margo Martendale and you know the fat shaming and all that, these beagles, while having less personality are more compient, mor eof a threat and more enjoyable to watch instead of just petty crooks who only get involved when the opportunity strikes. IT’s one of the few changes i’m just. eh on. Most of the changes, making Glomgold more insane, making Gladstone just less obnoxious enough to be tolerable, making donald less of a scallywag and more of a responsible father, not having Daisy leave donald at the drop of his hat but be an actual supportive partner.. all good. This one’s just lukewarm though ma herself is awesome, the boys are just incompitent and I forgot when watching the series that while stupid and stopped constantly the beagles just aren’t. It’s something I can give this series more than the original easily.  Scrooge is about to give up and is fading out on them, tired and exausted. This DOES feel in character as scrooge, like anyone can feel worn down and he’s tried damn near everything only to be ready to loose. The boys snap him out of it.. or rather Dewey does by hucking a wad of bills at him as seen at the top of the article and it’s easily the best gag of the episode. Though it’s also the ONLY time i’ve been able to refer to the boys actions by name as while one may do something.. their the same character. Now what they are varies as the show bounces between the classic HDL characterizations: They can be like they are in the barks comics and this episode, upstanding young woodchucks who are clever, loyal to a fault, and bring scrooge down to earth when he needs it as well as an utter asset to him, mischievous young boys screwing up as children often do but learning from their mistakes or short sided goal like they are in the other half of barks comics or the later theatrical shorts.. or hyperactive , sexist little shitheads who are selfish and lazy like in the early shorts minus the sexisim or quack pack. Though I now realize just from writing that that while Huey is based on barks and ESPECIALLY Don Rosa’s version of the boys, just taken to a logical extreme as well as being autism-coded, the other boys are based on other aspects of them with their sometimes scheming nature being given to Louie and their more energetic spells and overly 80′s attitude from this cartoon given to Dewey, with again both amped up considerably. It was a neat way to give them actual personalities instead of being one person sharing the bodies of three characters. 

Yeah as you can tell while I WILL say upfront I love Russi Taylor and none of this is her fault.. i’m not a big fan of the classic versions of the boys. They aren’t BAD It just baffles me why Disney, and i’m blaming theme more as some foreign comics apparently did try as did Quack Pack, never let people differentiate them or thought to really try hard at that until the reboot and it smacks of their stubborn refusal to really change their iconic characters in a significant way. I’m honestly surprised the reboot got away with it and hope the 2017 personalities are the default. I also apologize for that rant but it was going to come about at some point might as well nip it in the bud now.  But that smack to the head got Scrooge back in gear and it gave him an idea.. give them the money.. specifically pile money on the elevator, breaking it, after all he’ll need to fix it anyway might as well go all in, and sending the beagles crashing down.. to the waiting police. Who called them.. probably condo lady to make sure Scrooge wasn’t lying and to report strange men breaking in. Point is Scrooge is exhausted, but triumphant.. for now. TO BE CONTINUED. 

Final Thoughts:  This is a solid 87 Ducktales episode: it’s fun, fast paced, has a simple but enjoyable concept, and feels like a Carl Barks comic come to life without directly adapting his stories. It’s good stuff. I had my problems as mentioned but their outweighed by the great jokes, pacing and action in this one. A great note to start out on.  In the Next Part: A SEA MONSTER ATE MY ICE CREAM! A SEA MONSTER ATE MY ICE CREAM! A SEA MONSTER ATE MY ICE CREAM! A SEA MONSTER ATE MY ICE CREAM!  A SEA MONSTER ATE MY ICE CREAM! A SEA MONSTER ATE MY ICE CREAM! A SEA MONSTER ATE MY ICE CREAM! A SEA MONSTER ATE MY ICE CREAM!   A SEA MONSTER ATE MY ICE CREAM! A SEA MONSTER ATE MY ICE CREAM! A SEA MONSTER ATE MY ICE CREAM! A SEA MONSTER ATE MY ICE CREAM!  A SEA MONSTER ATE MY ICE CREAM! A SEA MONSTER ATE MY ICE CREAM! A SEA MONSTER ATE MY ICE CREAM! A SEA MONSTER ATE MY ICE CREAM!

Until then, you can follow this blog for more ducktales every monday, check my various sub pages for more ducktales reviews of the reboot, i’ve done every episode of season 3 so far and one season 2 episode as well as a recent review of the first darkwing ep, and as noted before you can comission your own review of any animated series, ones i’ve covered and otherwise. Reblog this to spread it around if you liked it, like it if you don’t want to do that, and until next time stay safe, check your house for gary busey,  and hopefully we’ll meet again. 

[the-desolated-quill]

Good Omens, Queerbaiting And Death Of The Author - Quill’s Scribbles

I confess this is the most reluctant I’ve ever been to write a Scribble. When this topic came up, I remember just groaning and putting my head in my hands because I knew that, due to the nature of what I tend to write about on this blog and the fact that I’m an out and out biromantic demisexual queerbo, people would be asking me to contribute to the discourse. And honestly I don’t particularly want to. I don’t get to enjoy many films and TV shows anymore thanks to the industry doing their very best to ruin everything they touch. Can’t I just watch one good TV show without being dragged into some ideological battle?

Okay. Guess I can’t really put this off any longer.

On the 31st May, the long awaited adaptation of Good Omens was released on Amazon Video. I thought it was quite good. Not perfect. There are some things I could criticise, but overall it was a worthy adaptation of the source material and it was very enjoyable to watch. And that seems to be the general consensus with both critics and fans. However over the past couple of months since its release, a ‘controversy’ began to emerge within the fandom regarding the show’s main characters Aziraphale and Crowley. See, a large proportion of both the media and the Good Omens fanbase have interpreted the angel/demon double act as being gay, but this has sparked a backlash from some fans with them going so far as to accuse the show of queerbaiting as the show never explicitly confirms the characters’ sexuality. This then led to a backlash to the backlash, sparking a whole debate as to what constitutes good LGBT representation. Not only that, Neil Gaiman, the showrunner and original co-author of Good Omens, has stubbornly refused to confirm one way or the other whether or not Aziraphale and Crowley are more than just good friends, which has added further fuel to the fire.

Now before we go any further, I just want to disavow one argument that I see cropping up a lot and that really gets under my skin. That Aziraphale and Crowley can’t possibly be gay because they’re not men. They’re genderless beings that feel no sexual attraction. The implication being that the characters are asexual, but the way you hear people going on about it, the Ineffable Husbands seem less asexual and more like soulless robots. First off, you do know asexual people feel love too, right? We’re not Vulcans. Second, can we stop this ridiculous logic that they can’t be gay because they’re not men? It reminds me of the ‘controversy’ that surrounded Mass Effect 3 when BioWare confirmed that you could play as a gay male Commander Shepard. When people pointed out to the critics and haters that you could already play as a gay Shepard if you picked FemShep and pursued Liara, they retorted by saying that Liara doesn’t count as a woman because she’s a ‘monogendered alien.’ And my response to that was... so? She still looks like a woman and she still uses female pronouns. If FemShep is attracted to her, there’s a good chance she might be gay. It really is that simple. Aziraphale and Crowley may be genderless, but they look like men and use male pronouns. So if they were attracted to each other, they just might be gay. Period.

Anyway. Tangent over. Lets talk about Aziraphale and Crowley. You might be wondering where I stand on this whole issue. Do I believe that Aziraphale and Crowley are gay? Well honestly it depends on which version we’re talking about here. If we’re talking about the book version, I would say probably not. Don’t get me wrong. I’m almost certain book Aziraphale is gay as there are a number of references that seem to suggest that. His bookshop is in Soho, which is famous for its thriving LGBT community, the narrator mentions him going to a ‘discreet gentlemen’s club’ in the 1800s, and there’s of course this brilliant line:

“Many people, meeting Aziraphale for the first time, formed three impressions: that he was English, that he was intelligent, and that he was gayer than a tree full of monkeys on nitrous oxide.”

So yeah. There was never a doubt in my mind that book Aziraphale was gay. (And before anyone comments saying that the next line mentions that Aziraphale isn’t gay because angels are sexless unless they make the effort, let me ask you something. Who, out of all the characters in the book, does he make a genuine effort for? Aha!). Book Crowley on the other hand isn’t quite so clear cut. Sure there are occasional flashes of something, but it could easily just be interpreted as being gestures of friendship rather than romance. Personally I always saw book Crowley as being more aromantic/asexual. In fact their relationship reminded me a lot of my relationship with my best friend. I’m more like Aziraphale, due to being very camp, somewhat old fashioned and often quite emotional, whereas my friend is like Crowley in that she displays a facade of confidence to mask her insecurities and is extremely loyal to her friends. Now please note I’m not trying to destroy anyone’s personal headcanon here. I know for a fact many LGBT people have interpreted and drawn inspiration from Aziraphale and Crowley’s relationship for nearly 30 years since the book first came out in 1990, and I wouldn’t dream of depriving anyone of that. I’m just merely describing how I personally interpreted the characters when I read it.

So, while book Aziraphale is almost definitely gay in my opinion, I personally don’t think they were anything more than just good friends. Do I think the same about the TV version? Actually no. In fact completely the opposite. I think TV Aziraphale and Crowley are 100%, unquestionably and unashamedly in love with each other and this view is supported by the extra material Neil Gaiman has written for them, most notably the 30 minute long cold open of the third episode that shows Aziraphale and Crowley’s blossoming relationship over the course of human history, as well as how the show frames them. We hear the kind of swelling, orchestral music you would hear in a romance when Crowley saves Aziraphale’s books from a WW2 bomb, the scenes where the two argue about running away to Alpha Centauri are presented as being like a legitimate breakup (with the addition of some random passerby telling Aziraphale he’s ‘better off without him’), the other angels occasionally refer to Crowley as being Aziraphale’s boyfriend (albeit in a mocking way), and the way Michael Sheen and David Tennant play the characters makes them feel much more like an old married couple rather than being simply friends. There’s even a wonderful moment in the third episode where Crowley asks Aziraphale if he could give him a ride somewhere, to which Aziraphale responds “you go too fast for me Crowley.” It leaves very little room for doubt in my opinion, and yet Neil Gaiman refuses to verbally confirm this, even though the actors and the director have expressed numerous times that they interpreted the characters as such. Not only that, but the writing and filmmaking leaves just enough room for plausible deniability, never explicitly confirming the relationship. So the question remains, does this count as legitimate LGBT representation or is this just a very advanced form of queerbaiting?

Well first it would be useful to talk about what queerbaiting actually is, because a lot of people arguing against Good Omens don’t seem to fully understand the term. Queerbaiting is when a creator hints at a possible same sex romance without ever actually confirming or depicting the relationship. A recent example of this would be Albus Dumbledore in the Harry Potter series. 

JK Rowling first ‘outed’ Dumbledore as gay back in 2007, saying he was in a relationship with the dark wizard Grindelwald, but unless you read the interview, you would never have known this because the book doesn’t provide any sort of hint or clue or reference to that relationship. Worse still, when given the opportunity to rectify this in Fantastic Beasts: The Crimes Of Grindelwald, Rowling chose instead to downplay the relationship between Dumbledore and Grindelwald significantly. This is queerbaiting. Implying a character might be gay or promising to introduce a gay character only to then backtrack or not fully commit. Another example would be Avengers: Endgame where the Russo Brothers announced there was going to be a gay character in the film only for it to be some nameless guy who’s only on screen for about a minute. It revolves around luring people in with the expectation of LGBT representation only to then snatch it away once they’ve got bums in seats.

(Also, just to clarify, queerbaiting is not when a bisexual or pansexual character becomes romantically involved with someone of the opposite sex. Yes it’s important that we see more bisexual and pansexual characters and yes it’s important we see more same sex couples on screen, but do NOT conflate the two. Deadpool’s pansexuality, for instance, isn’t suddenly invalid just because he has a girlfriend).

So, with this in mind, does Good Omens fit the criteria of queerbaiting. Well the sexuality of the characters are often the focal point of many interviews, with the director and actors explicitly describing Aziraphale and Crowley’s relationship as ‘a love story.’ Most notably Michael Sheen, who plays Aziraphale and who has been carrying a torch for the Ineffable Husbands since Good Omens came out. But unlike JK Rowling and the Russos, the makers of Good Omens can back up their words with content. As mentioned above, the way the show frames the relationship makes the implication quite clear. There’s even a bit where Crowley thinks Aziraphale has been killed and he leaves the burning bookshop while ‘Somebody To Love’ is playing in the background. It isn’t really very subtle. So, by my understanding, queerbaiting doesn’t seem particularly accurate when talking about Good Omens. The issue here is one of presentation. The overt subtext is all well and good, but does the fact that there’s no explicit confirmation of their relationship make it invalid? To answer that question, we must look into another relevant term. Queercoding.

Queercoding is when a character is given the traits typically associated with those commonly attributed to gay people, such as effeminate behaviour or ostentatious dress sense. This is used often as a way of getting queer relationships past the censor. Implying a character might be gay without explicitly confirming it for fear of the studio or publisher putting their foot down.

While queercoding is often intrinsically linked to queerbaiting, it’s worth noting that while queerbaiting is always seen as a negative (and rightly so), queercoding is neither positive nor negative. It’s merely a contextual device and can be positive or negative depending on execution. A positive example of queercoding would be Deadpool.

While the Merc with the Mouth has never been officially outed as pansexual, both the comics and the movies in particular have framed him as someone who doesn’t conform to heteronormative expectations. The marketing of both movies present Deadpool in traditionally feminine poses as a way of mocking and commenting on how gender is perceived in these kinds of tentpole blockbusters. The comics often make fairly explicit references towards Deadpool’s sexual flexibility for the purposes of humour, such as in his interactions with characters like Spider-Man or Thor.

The movies follow suit. The first movie is littered with moments where Deadpool alludes to being not entirely straight. He occasionally uses gay slang, we see his girlfriend Vanessa penetrate him with a strap-on during the sex montage, and there are frequent references to how sexy Hugh Jackman is, most notably near the beginning when Deadpool describes how he had to give Wolverine a handjob in order to get his own movie. The second movie meanwhile takes it a step further. Not only is the entirety of Deadpool 2 essentially one big allegory for how members of the LGBT community cope with abuse and discrimination, we also see Deadpool express a sexual interest in Colossus many times, the extended cut even going so far as to depict Deadpool trying to give him a blowjob.

Now as I said, Deadpool has never been officially outed as pansexual. That information comes from one of the comic book writers on Twitter. The comics and movies have never verbally confirmed it. We never hear Deadpool describe himself as such. But to say he’s not queer would be absurd because he clearly is. That’s how he’s framed and presented to us across the majority of media. What makes Deadpool a positive example of queercoding is how we view the character. He’s clearly extremely comfortable with expressing his own sexuality and feels no shame in his antics. While the majority of his queer moments are used for the purposes of humour, we’re always laughing with him, not at him.

Now lets take a look at a negative example of queercoding:

This is Moriarty from the BBC series Sherlock written by Steven Moffat and Mark Gatiss. Sherlock is without a doubt one of the worst adaptations of the canon that’s ever been made and the show’s treatment of Moriarty is a big reason for that. When he’s first introduced in The Great Game, when he’s posing as Molly’s boyfriend, Sherlock deduces that he’s gay based on really no evidence at all other than that he puts product in his hair and his underpants are showing. It’s ostensibly playing on that stereotype that any man who takes pride in their appearance isn’t masculine and therefore must be gay. (if that were true then David Beckham would be the gayest man on the fucking planet). While it becomes clear at the end of the episode that this was just an act Moriarty was putting on to fool Sherlock, he never really loses the metrosexual image. He boasts about his ‘Westwood’ clothes, we see him prance and preen like some over the top camp supervillain (more on that later) and he makes numerous double entendres that imply he’s interested in men, specifically Sherlock. There’s even a moment in The Reichenbach Fall where we see Moriarty sitting on a throne wearing the crown jewels. Ha! Do you get it? Because he’s a queen!

What makes this form of queercoding more offensive than Deadpool is, again, how we as the audience are supposed to perceive him. Moffat and Gatiss want us to laugh at Moriarty’s camp behaviour and they clearly find the prospect of shipping Moriarty and Sherlock utterly absurd, as demonstrated in the episode The Empty Hearse where we see the Sherlock fan club suggest Sherlock survived the fall because he and Moriarty were secretly lovers. This bit was there for no reason other than to take the piss out of Sherlock fans who read too much into the show’s intentional subtext. Also, crucially, Moriarty has no real character or backstory other than as a gay stereotype. He’s a lazily written caricature who serves no real purpose other than as a homophobic punchline. There’s a lot more to Deadpool than just being queer. With Moriarty however, there’s simply nothing underneath.

Moriarty is also an example of how queercoding is most commonly applied to villains. There are countless examples of this across various media over the years. The Joker from Batman, for instance. Ursula from The Little Mermaid. Scar from The Lion King. In these cases, whether intentionally or not, queercoding plants ideas of gender identity into the viewers’ heads. A male supervillain like the Joker is presented as being eccentric, arch and incredibly camp while Batman, the hero, is big and strong and serious and honourable. A manly man. Likewise, Ursula is presented as butch and unfeminine, scheming and malevolent, whereas Ariel is attractive and sweet and innocent. The ideal woman. Queercoded villains have been used to demonise the LGBT community for decades by presenting an ideal, hetronormative image of what a man or woman should be like, battling an antagonist that doesn’t fit in with traditional gender roles. Obviously there’s nothing inherently wrong with having a camp male villain or a distinctly unfeminine female villain, but it’s worth bearing in mind where these ideas originally came from and the impact it could potentially have.

So lets bring this back to Good Omens. The queercoding of Aziraphale and Crowley is obvious and it’s never presented in negative terms. (there’s a moment where Shadwell refers to Aziraphale as a pansy, but considering the man is a complete moron who draws eyes on milk bottles and thinks nipples are the gold standard way of identifying a witch, I think we can safely say he’s not to be taken seriously). In fact their relationship is incredibly sweet and endearing. Except... I can understand why Terry Pratchett and Neil Gaiman weren’t explicit in expressing the characters’ sexuality when the book was first published. It was 1990, both Pratchett and Gaiman were still relatively fresh faces and Western society’s attitudes toward homosexuality weren’t quite as progressive then as they are now. But it’s now 2019. Things have changed. Gay characters are appearing more frequently in books, movies and TV shows, people in general are more accepting of the LGBT community and Gaiman is now a hugely successful author with a lot of influence in the industry. Why not just make the relationship explicit?

Well there are two ways of looking at this. The first is that it really doesn’t need to be explicit. You would never hear a man and a woman talk about how incredibly hetero they are, would you? Actions speak louder than words after all. But when the two characters in question are of the same gender, suddenly the whole thing becomes a massive debate to the point where unless someone comes right out and says they are gay, people simply won’t buy it. Deadpool, tragically, has suffered from this with obnoxious frat boys deliberately glossing over the obvious queer subtext and hijacking the character for their own self-aggrandisement. This really shouldn’t be the case and this whole ‘straight until proven gay’ mindset isn’t the fault of the show. It’s entirely the fault of the viewer. The second involves our last topic of discussion. The Death of the Author. (no pun intended. RIP Pratchett).

Death of the Author refers to a literary essay written by the theorist Roland Barthes in 1967, which argues against critiquing a piece of literature based on authorial intent. Basically, once a book or movie or TV show is released to the general public, any relation to its creator becomes immaterial. The work in question must stand on its own and be judged independently. The intention of the author no longer matters. (I’m simplifying obviously, but that’s basically the gist of it. If you ever get the chance, read the essay yourself. It’s a fascinating read). Gaiman appears to be a firm believer in this philosophy. On his Tumblr account, @neil-gaiman, when asked about the the relationship between Aziraphale and Crowley, he often refuses to comment, invoking the Death of the Author mindset. It’s up the reader/viewer to interpret the characters. If you think they’re gay, then they’re gay. If you think they’re just friends, then they’re just friends. Some could call this a bit of a cop out, and you’re entitled to do so, but I understand where Gaiman is coming from. We’ve seen writers like JK Rowling get into trouble for queerbaiting, saying that she always intended for Dumbledore to be gay, but never actually showing any real evidence for it in the text, and Gaiman doesn’t want to fall into the same trap. Plus it demonstrates that Gaiman respects the views and interpretations of his fans, unlike Rowling who responded to criticism of her queerbaiting on Twitter with GIFs of people sticking their fingers in their ears and ‘blocking out the haters.’

In some ways I do feel very sorry for Gaiman. On the one hand he wants to stay true to his and Pratchett’s original vision, but on the other hand he doesn’t want to disappoint the hundreds of fans who do view the characters as being gay. Good Omens has been cited as an extremely positive influence on many queer readers, some even going so far as to say that it was this very book that allowed them to finally accept their identities and come out of the closet. Heartwarming stories like this can be found all over the web and hopefully many more will emerge now that the TV adaptation has been released. If Gaiman were to suddenly turn around in an interview one day and say ‘oh. No. Sorry. Aziraphale and Crowley were always intended to be just friends. You’re all wrong’, it would destroy people who invested so much in this relationship. Likewise, if he explicitly confirmed in an interview that the two characters are definitely gay, people would either accuse him of queerbaiting if the show doesn’t fully live up to their expectations or accuse him of shoving his political opinions down their throats. He can’t win either way really. That being said, I can’t help but respect Gaiman for sticking to his guns. It demonstrates that he’s confident in his skills as a writer and his ability to make his intentions clear in the text, that he respects the ideas and opinions of his readers and fans, and that he also respects the ideas and opinions of the cast and crew of the Good Omens TV show. While Gaiman has refused to confirm one way or the other, others like Michael Sheen or  director Douglas Mackinnon have made their views very clear. Aziraphale and Crowley are in love. That’s their interpretation and they have every right to it.

So do I believe Good Omens is queerbaiting? In my opinion, no. Does that mean I believe it’s faultless? Again, no. If the intention is to depict Aziraphale and Crowley as being lovers, then I think they could have done a bit more. Obviously I’m not suggesting a full blown sex scene or anything like that. Even something as simple as them holding hands or hugging each other would have done. Some physical intimacy of some kind. Because as it stands, Good Omens does share problems with a lot of other TV shows in how they present same sex couples, in that they’re consciously aware that they are presenting to a heterosexual viewer. This is why a relationship between two women is often sexualised and eroticised for the titillation of straight men whereas the relationship between two men can often be quite chaste. Very rarely do you see two men making out or doing anything beyond a quick peck. Good Omens sadly fits into that camp, though just to be clear, I’m not blaming Neil Gaiman or the show for this. I’m merely saying that this is part of a wider systemic issue that needs to be talked about and addressed as the industry moves forward. (Hell, that might as well be be the title of my entire Tumblr profile). Also, whether you believe the relationship between Aziraphale and Crowley is platonic or romantic, it does not change the impact this story has had on many LGBT readers nor the fact that the story is about love. It’s important to bear this in mind because while, yes, it is important to have this discussion, we can’t lose sight of the positive message it conveys with regards to building bridges and closing divides between opposing groups.

“And perhaps the recent exertions had had some fallout in the nature of reality because, while they were eating, for the first time ever, a nightingale sang in Berkeley Square. No one heard it over the noise of the traffic, but it was there, right enough.”

[anathtsurugi]

Day 15 - One More Day ;)

So, my dear @jellysharkbat, I’d at first thought to present you with a scene from the new chapter of TCTW, but the scene I had in mind was a little too dialogue heavy, even if it was in the same vein. So you’ll get more of that when the chapter comes out. But hopefully this is enough in line with what you were feeling.

Snow, as far as Alexsandr Kallus was concerned, could go get kriffed.

Granted, it was in the middle of a snow storm he'd first begun to see the love of his life and he would be eternally grateful for that, but it was likely the only thing he ever would grant to snow. Anything other than that one instance was evil incarnate. And that was saying something coming from a man who'd once worked at the very heart of the Galactic Empire.

The day had begun like any other at Echo Base. The techs still couldn't seem to adapt their speeders to Hoth's extreme cold, so patrols were still being carried out on tauntauns. Really, a lot of their tech was having trouble on this world. Even his own double-layer thermal gear was barely managing to keep out the cold. The persistent subzero temperatures had been creeping in on him all week and the conditions had been making his bad leg crankier than usual which, in turn, made him even crankier than his typical  uptight self, and he knew it showed.

Say what you will about Yavin IV. At least heat is manageable.

Draven had been on his case about the new supply line he'd been endeavoring to open up from an old Imperial contact who was just about fed up with Coruscant's precious New Order. It was a delicate process, though, so he was rather starting to wish the general would just take his less than subtle grumbling elsewhere. More than petty matters with Davitz Draven, there was also the fact that Cassian hadn't yet reported in from his latest assignment and Jyn and Bodhi were visibly beginning to worry, asking him if he'd heard anything. And he could understand their worry. Of course he could, but having to let down Cassian's odd little family every time one of them asked after the young Fulcrum agent was also beginning to wear on him. Today it seemed it was Bodhi's turn to receive the bad news as they passed through one of the supply corridors that connected the hangar bays with the storage areas.

"And there's really no emergency channels you might use?" the pilot pressed him as they walked.

"Believe me, Rook, I've tried all of them. At this point, it's up to Cassian himself," he responded with an exasperated sigh. "I promise you, I worry just as much as the rest of you. Cassian is my friend, too. But he wouldn't be a Fulcrum agent if he couldn't handle situations like this one. We just- have to trust him."

And as always, whenever he had to disappoint Bodhi Rook, Kallus felt as though he'd kicked the proverbial puppy at the silently despairing look in his fellow defector's large brown eyes. One just couldn't disappoint Bodhi Rook and walk away unscathed. It wasn't physically possible. And on top of that, his leg was really starting to twinge, causing him to bite down on a wince.

The day was barely half over and already he would've been quite happy to have done with it.

What else can go wrong?

He regretted thinking it almost the minute the poisonous thought had slithered through his brain. No situation is ever so bad it can't be kriffed up even further; and that fact was proven almost immediately by an ominous-sounding crack from overhead.

"What the-" Bodhi's voice started as they both looked overhead, but Kallus spotted the problem right away. A crack had indeed appeared in the ceiling over their heads, and already it was splintering and spidering outward from its initial break.

Kallus didn't stop to ask questions. The moment chunks of ice began to tumble into the corridor, he seized Bodhi's shoulder and threw them both free of the collapse.

The ex-Imperial felt his leg shriek in agony as they hit the permafrost floor of the tunnel, chips of broken ice flying overhead as a full section of the ceiling came down. Once debris had ceased spilling into the corridor, he began to hear voices from the next level up.

"Stars, what the kriff-"

"What happened?"

"What's-"

"Is everyone all right down there?"

Forcing himself up onto his knees through the pain, Kallus looked up, calling back. "We're fine! Just the two of us down below. Anyone above injured?"

"No," came the mostly even voice of General Rieekan in response. Oh, kriff. The command center.

"Though it might not be long before you're not all right," the just as distinct voice of Draven followed only a moment after. Within seconds, the head of Rebel Intelligence's pinched face appeared over the  edge of the hole in the ceiling. "Why is it I always seem to find an ex-Imperial around whenever something goes wrong?"

Kallus full-on glowered up at the man overhead. Partly to hide his own grimace of pain, but also because he really was just that pissed at this point.

"Yes, because obviously we plan for these things to happen," he snapped.

"I would be remiss in putting it past you. Fully trained ISB operative that your are, Agent ISB-021," the man taunted in a pointed voice.

That did it.

The frustration and physical pain that had been chipping away at his composure all week broke through his strict mental control. If he'd had his bo-rifle on him, he might've actually drawn it.

"Kriffing arrogant nerfherder!" he snarled up at the general. "If you think for one second I would ever endanger anyone in this base, then you've-"

"Kallus," Rieekan's now stern voice interrupted his imminent tirade as he joined Draven at the edge of the collapsed section. "I think it might be better if you took a walk. I know you said you weren't hurt, but you and Rook should probably take extra rest shifts, just to be certain."

"General, I-"

Whatever he might've said was quickly silenced by the Alderaanian's firm gaze. He scowled before going to help Bodhi up. Though he couldn't deny being the tiniest bit pleased to catch the tail end of Rieekan's next order.

"You and I will be having words later, Davitz. You can't keep going on like this."

"Th- thank you," Bodhi stuttered out. "You definitely saved my neck back there."

"No trouble," Kallus returned, though he didn't look at the younger man, as he knew he couldn't manage a smile just then. "I'm quite certain it would be more than just Draven angry with me if I allowed harm to come to you. About half the Alliance, likely...not to mention Cassian and Skywalker," he said before starting to head in the direction of his quarters, leaning heavily against the wall as he moved.

"Do you maybe need help?" Bodhi called after him.

"No," he ground out, even though he knew he was limping. He was on trajectory now and couldn't stop. If he did, his anger would dissipate and that, in turn, would allow the pain he was currently keeping at bay to overwhelm him. He kept his eyes forward and his teeth gritted the whole way back to his and Zeb's quarters.

He barely managed to make it to the bed before collapsing, body now racked with pain and mind swirling with frustration, anger, and more than a little guilt.

Agent ISB-021...

Most of the Alliance no longer held his past against him, but Draven was one who couldn't seem to let it go. He never missed an opportunity to remind Kallus of who he had been...of what he had done...

You are not that person anymore.

Maybe not...but that doesn't mean it didn't happen.

He had no idea how long he lay there, stewing in all that ugliness, before he heard the door to their quarters slide open. He looked over to see Zeb standing in the entryway.

"Rook told me what happened," he said without preamble as he entered, the door sliding shut behind him. "You okay?"

"As can be expected," he answered, though he couldn't quite keep back the tiny whimper of pain as he dragged himself into a sitting position. "Just the leg."

"You take anything?"

Kallus shook his head, rubbing faintly at his leg. "No. I wouldn't want to waste it. This will pass."

Zeb exhaled in frustration, and though Kallus wasn't looking at him, he could easily picture the way he would roll his luminous eyes. Before long, though, he found a slender thermal container thrust before his face.

"What...what's this?" he asked as he took the container.

"Little something Hera and I put together this morning from the Ghost's stores. Some of that spiced tea you loved so much. I was makin' it for you anyway, since the cold's been seepin' in on you all week, but now seemed like a good time to bring it to you."

Wordlessly, Kallus twisted the vessel open, inhaling the divine scent of the black tea in mild disbelief. It was no small thing...to be able to make something like this with the limited supplies they had. He may have moaned a little as he took the first sip of the warm, frothy drink.

They didn't speak after that. After all, Kallus was reasonably certain Zeb would've got the whole story from Bodhi. The Lasat sat down beside him on the small bed, large, skilled fingers beginning to work at the improperly healed joint, soothing away some of the ever-present stiffness and pain and bringing the hurts from the day's misadventures down from an insistent snarl to a dull ache. More than the massage, it was really just nice to have Zeb's sure, strong hands on him.

Not wanting to drink all of the tea right away, he sealed the thermal up when it was about half-empty and set it aside. Then Zeb drew him into a kiss, a slow, luxuriating press of lips that didn't presage anything further, simply connected the pair of them in that moment.

I'm here. I'm here for you. People can be as stupid as they like, but they can't take this away from us. I'll always be right here.

The kiss turned into a cuddle without much effort on their part. Almost before Kallus was aware of it, they were curled up together on their little bed, Zeb cradling him easily against the broad plane of his chest. Alex curled up tightly against him, languishing in the feel of his lover's arms around him, warm and strong, safe and caring. So much he had never expected to have in his life – never expected to be worthy of – all vested within one amazing person.

They would have to return to their tasks eventually. There was always more work to be done. But for now, just for now, they would accept the quiet gift of simply being with one another. When it came right down to it, that gift was all they really had in the face of a vicious galaxy.

But it was also all they needed.

[ambroseffxiv]

LFRP - Ambrose

special thanks to @crimsonfluidessence for the edited lfrp!  NOTES: most of initially mentioned notes on how Ambrose’s ability ties to Arcanima/works (in a simple sense) can be found on his Carrd profile found under the cut.

Overview

- Report from The Supreme Sacred Tribunal of Halonic Inquisitory Doctrine -

The Metaxas creature is a violation of not only the laws of Her Holy See of Ishgard, Her word within the Enchiridion, as well as the laws of the recently reclaimed Stone Vigil, Darkhold, and outposts of Camp Dragonhead, Whitebrim Front, Rosehouse and others, but a violation of nature herself. We are to do whatever within our power under Halone’s guidance to bring this creature to justice for the Greater Good.

NAME: Ambrose Metaxas PRONUNCIATION: Am-Bro-S Meh-Tax-Us RACE: J Tribe Miqo'te/Plainsfolk Lalafell Mix GENDER: Male (Trans, fully transitioned) AGE: 19 BIRTHPLACE: Ala Ghiri, Gyr Abania, Tailfeather, Dravania CURRENT RESIDENCE: Ren Huang’s Goblet apartment or personal apartment in the Lavender Beds PLACES THEY FREQUENT: Ul’dah, Gridania, Dravania DISCIPLINE: WAR/SMN(/DNC?) OCCUPATION: Retainer: gathering specialty in botany, combat specialty in WAR, botanist (specialized in seedkin)

SERVER:  RP MAIN: Balmung (Crystal) and MOSTLY CONTENT: Jenova (Aether) Different Data Centers=Different Universes, so treated as different instances

Personality

AT A GLANCE: Prickly, like a cactuar. Ambrose isn’t that hard to open up, but you have to be a certain type of person. He’s known to be stoic, cold and barely reacts to small attempts to garner his attention. BELOW THE SURFACE: A child at heart, he collects toys and dolls, and enjoys being able to play when he can in-between work. He’s also bubbly and energetic once past his initial walls, happy to lend a hand if needed. MOST DEFINING TRAITS: Extremely loyal to a fault, and when you do gain his trust, Ambrose will trust that person equally to a fault, unless proven otherwise with strong evidence, and even then, unless they are against his personal morals, he may follow without question anyway.

Motivations and Beliefs–––-

Worshipper of Shiva 

Dislikes the Twelve, but knows there’s a distinction between what the Twelve teach to how people may interpret it.

Seeks some revenge everything that happened to him. Passionately hates the Ward and Ishgard for everything that was done to him and the people he loves for years, and Garleans for robbing him of what he had and putting him in a prison when he tried to escape.

Despite everything that’s happened to him, Ambrose maintains a relatively kind and cheerful demeanor towards people, and despite his want for vengeance, wants to help make the world a better place through kindness as well.

Backstory–––-

- Further documentation from The Supreme Sacred Tribunal of the Halonic Inquisitory Doctrine -

The Metaxas creature is said to originate from the Dravanian Forelands, though it’s appearance begs a different origin for it. [Further investigation under way.] No hunter of Tailfeather has been suspected of heresy, however, the Metaxas creature has been reported in both the Dravanian Forelands and the Coerthan Western Highlands.  Following the initial sightings of the Order of Black Lotus, the Metaxas creature was first witnessed from a scouting group from Falcon’s Nest, seen making a large explosion of fire in what is believed to be a summoning of Ifrit. Other sightings were by other creatures similar to the Metaxas one, such as the Macelle creature, Clefier creature, and Gealionne creature.  After the elimination of the Order of the Black Lotus, the Metaxas creature was sighted in the Brume of our fair city, likely feeding on the innocent children of the poor. He went missing shortly after, sighted only years later.. Halone knows where or what he was doing before sightings resumed.

more under the cut!

Significant Relationships–––-

Vacho Vesucho - Father

J’nhakso ??? - Mother

Liloki Loki - Older Sister

Moh Ehs - Teacher and old friend

Oohr Seih - Old friend

Balmung

Esredes Rosemond - Adoptive father Leader and boss

Ren Huang - Boyfriend (? still complicated but not as much)

Akai Ikigomi - Friend

Additional Trivia

PATRON DEITY: Nymeia, the Spinner HOBBIES: Gardening, organizing, collecting dolls and toys to play with. Also collects miniature porcelain chocobo statues. ABILITIES: The ability to summon primals and aspects of primals into himself at a heavy physical cost, a higher level of aether within himself to manipulate and use. LANGUAGES: Dragonspeak, Old Elezen/Ishgardian/Landlord, Eorzean/Common (spoken only) FEARS: Excessive amounts of fresh blood, red on snow, large fires, the smell of burnt flesh, people who have an affinity with flames, excessive amounts of blood and gore on the color white, various other things that he won’t name. SEXUALITY: Homosexual HEIGHT: 4′11″ BUILD: Ambrose is a muscular yet soft looking man, trained to be a warrior, and be able to protect his fellow test subjects if necessary. The latter was fruitless, but gave Ambrose a routine to follow, and with how intensive retainer work can be, he kept himself in shape for a long time to be able to keep up with all of his clients. Nowadays, he’s much more soft, but still easily able to do heavy lifting and fighting, but for much less time. Otherwise, he has soft curves and larger than average thighs, and an overall curvaceous figure for a young man of his age. He is not uncomfortable with himself at this point in his life. (Reference NSFW) (See: Deviations from ig model ref for SFW references) DISTINGUISHING MARKS: Stripes, massive fangs that don’t seem to fit his mouth, but cleanly fit behind his lips, tiger ears, paws on his legs, unnatural eyes. COMMON ACCESSORIES: Cactuar earring on right ear, two rainbow colored earrings on his right hand. DEVIATIONS FROM IN-GAME MODEL: The paw legs, ears, teeth and much of his stripes, his tail is also much longer. Pupils are also white, and are less like slits, and moreso akin to plainsfolk eyes. (Reference art by elizastarkart, Reference)

Things you should know about my character: I play him how I play him. He might be an absolute ass to you, and walk out on a scene. I am not responsible for the trouble he gets into icly. Additionally, if you want to interact with him but want nothing to do with his primal side, I have no intentions to push anyone to have to be involved with anything with his primal side. That being said, if i make you uncomfortable, that’s different. Please say something so that I can fix it! I like to think I’m very adaptive to what I’m given, so don’t feel like you’re bothering me. But if him walking out because your character pisses him off and you get pissed off with me oocly for it, I’m gonna bring this up. Gets along with: Anyone kind to him initially. He’s immediately fond of people who will be willing to be nice right off the bat, and tends to favor them most. Otherwise, if you respect him and his ways, he’s inclined to like you more. Could go either way with: Anyone who doesn’t follow either extreme. He’s had to deal with other people most of his life, and most initial reactions are him being relatively shy or at least closed off, refusing to answer anything personal, even vague.  Unlikely to get along with: People who have no sense of morality whatsoever, people who treat him like a child simply due to size and age, and, of course, those who are aware of who and what he is, and intend to act because of it. 

possible hooks –––-

In Need of a Retainer/Interest in his ASSets

The last part is a joke- But he does have a nice ass. Ambrose is a retainer, and has many clients all over Hydaelyn, so long as it isn’t Ishgard/Coerthas. Ambrose serves adventurers, nobles, anyone who’s up to having a retainer, though non-adventurers will need to pay his salary themselves. He does not take ventures for his services at least, and accepts meals in return for work. Currently trying to save up for a place of his own.

Primal Summoning

Ambrose is a summoner, his brand is.. Complicated, but something definitely interesting to anyone who is invested in primals, Allagan summoning with egis, or arcanima in general. To summarize Ambrose’s summoning briefly, he has various etchings in arcane ink on his arms and legs, stemming the flow of primal energy when he summons them into himself. His summoning is akin to how both Shiva and Tsukuyomi were summoned, and so long as Ambrose can form an idea of what they look like, has the will for it, and is at his full aetherical capacity, can summon any primals that do not need a catalyst (Zantetsuken, the three kojin artifacts, and Tsukuyomi’s mirror, are all catalysts.) This would mean that you would need to know that Ambrose is.. Who he is, however. This hook means a lot more talking about meeting.

Botany help

If neither of those are your cup of tea, Ambrose is a botanist trained under Fufucha, guildmaster of the Botanist’s guild in Gridania. He originally picked up gardening as a hobby through his love of flowers, something he didn’t see for a long time after the Calamity hit Coerthas. His love for flowers eventually manifested in him caring for many once he was attempting to sign onto being a retainer, and was accepted into the Botanist’s guild in the meantime. He still is connected to them, and does some jobs for them if they request it.

Veteran of the Dragonsong War?

This one is a little complicated, but a hook I’ve been meaning to add. Ambrose was deeply steeped in the Dragonsong War for as long as he was able to- At least 4-6 years, depending on how long you see ARR and HW taking. He was not anywhere near Ishgard during Stormblood, instead being held in a cell in Ala Mhigo. Ambrose, being a heretic of Shiva and frequently taking on his own missions, could be a familiar face to anyone who slayed dragons for years, or simply served their time in the Ishgardian military. A strange Miqo’te with unnatural eyes said to cannibalize those who drew too close, and rode on dragonback. Subsequently, if you have any heretic background, you may know him simply as Ambrose by word of mouth or through some of his more distinct features.

Mystery Man

If this wasn’t already a little clear, Ambrose is appealing in more way than one. If you feel your character would have an interest in Ambrose simply because of his looks, I am not going to stop you from using that as a hook! If you do, however, you would hear some rumors about a mysterious pony-tailed retainer coming out of nowhere to rescue people from thugs in alleyways, before disappearing into the night without a word. Considering Ambrose is muscular, he somewhat fits the description.. But he’s a bit short, isn’t he?

what I’m looking for ––––

I’m looking for long term stuff! And no, that doesn’t just mean ships. I really want Ambrose to have more friends and connections, ships are just a nice bonus if they come too.  When it comes to friendships, the only real requirement there is is an ability to break past Ambrose’s prickly exterior, or have a desire to. It is relatively easy if you have the right personality, but does take determination for others. Ambrose has a habit of stalking as well, and being okay with that ooc is important to me, and if you need me to stop, I will.  For ships, I’m not picky, but we have to at least RP once before I’ll consider it. I also am picky with ERP, so if you’re going to come into things with the intention of just becoming Ambrose’s fuckbuddy, I have bad news. On Balmung/Crystal he is now in a monogamous relationship in canon, and they’re in the courting phase of things. I am open for AU romance and side timelines, but main timeline Ambrose is not up for romance. I am not looking for any ooc romance, and will stop talking to you if you make clear intents for it.

oocly, I am ––––

I am a perpetually sleepy 20 yr old trans dude with a boyfriend and likes coffee and drawing thighs. I have terrible handwriting and equally terrible taste in music, and I draw a lot. Throwing ideas with me is an invitation for my art. I prefer being explained a character than reading (ironic i know) or learning about them through rp. I get very distracted very easily, and on discord will either spam you forever or be too shy to talk initially! Please be patient with me.

you can contact me via ––

Twitter: @miqosabotender Tumblr (Main): @senorsabotender Discord: satan#9018 carrd: eikon.carrd.co <-also contains full background, more hooks and other information worth knowing In-Game: Ambrose Metaxas

[anorakofavalon]

The Beauty and the Geek: Why Brutasha Makes Sense

(AKA: An Open Letter of [Constructive] Criticism for Joss Whedon)

I wrote an essay in which I parse through my feelings on probably the most controversial pairing of the MCU. I settled on the relationship making sense, thematically, even though the execution was terrible. Sorry if it's a little long, but I'd love to have a discussion about this with any of you willing to take the time to read it.

---

Joss Whedon is great at his job. He’s flawed, like anyone else, but he’s a fantastic writer. I hardly need to remind you of his portfolio, after all. As a matter of fact, his portfolio is so very nearly spotless that his writing flaws come across, at least notably, in only one movie. Avengers: Age of Ultron. You might point out Justice League, but I’m discounting it because while there were flaws there, they weren’t all his, and not all of them were present in unison.

In Ultron, Whedon was pushed to his writerly limits. Understandable, considering that he was burdened with not only following up on the masterpiece that was The Avengers, but he had to do so while taking into account the events of the movies that took place between then and Ultron and where that left the characters. Not only that, he also had to setup the rest of the franchise and introduce a multitude of new characters. Doing any one of those three things is difficult, but doing all of them at the same time while also offering a coherent and enjoyable movie to fans is a monumental task. He did what he could.

One particular weakness of the movie, as pointed out by a large number of people after its release, was the relationship between Bruce Banner and Natasha Romanoff. Recently, people have warmed up to and adapted to it. But the damage is done. It left the impression on just about everyone that it was rushed and clumsily handled. I agree that it was clumsily handled, but I don’t think that it was necessarily rushed.

I’d like to make an argument for the relationship, and in doing so, maybe offer a critique to Mr. Whedon that might be helpful. My argument is the following: Bruce and Natasha’s relationship in the Marvel Cinematic Universe is thematically sound. It’s a natural step forward in both of their respective arcs, and I believe that Mr. Whedon made an excellent, and conscious, storytelling decision when creating the pairing. (He might even have had it in mind since The Avengers.)

But before I go any further on analyzing why I believe this, I think it’s important to dispel a few common and relatively superficial complaints about the couple. Firstly, some people prefer Natasha to have been with Clint, Steve, or even Bucky. I understand the general sentiment there, but I have contentions against any of these people because they don’t make sense in the context of the MCU. Clint is out of the picture because he has a family, and they are simply best friends, practically siblings to each other. Bucky and Natasha have very little screen time together in which they aren’t fighting by the time Age of Ultron happens. Steve is the most sensical of these options. But Steve and Natasha aren’t compatible people, at least not in the sense of a romantic relationship. Why? Because A.) She explicitly prefers more passive, “dorky” men, B.) Steve is still not over Peggy Carter, C.) Putting them together would be, aside from blindingly obvious, harmful to their wonderful friendship because D.) Steve and Natasha have, up to Ultron, had a very strictly professional relationship. They’re friends.

The other big complaint is simply that Bruce Banner seems to be too old for her. This is a, frankly, ridiculous complaint. Mark Ruffalo is one hot dude, and Black Widow is a fully grown woman perfectly capable of having emotions for whoever she damn well pleases. Somewhat older or not.

And speaking of those emotions, people have been quick to point out that they seemingly developed out of nowhere. I disagree, to a certain degree. The seeds of this have been rooted from the very beginning of The Avengers. Their first interaction was tense and interesting. Subtle things were present. Hints of flirtation (granted, at the time she was trying to manipulate and recruit him into helping SHIELD) were present, and there’s a few visual cues. Particularly when Banner says “I don’t always get what I want” while touching a crib. I recommend re-watching it.

And of course, there’s the entirety of Ultron, where they throw quick glances, outright flirt, and seem to have developed a close relationship via “the lullaby”. But the leap from Avengers to Ultron is quite wide, considering that a few things have happened, and besides, wasn’t she deathly afraid of the Hulk during Avengers? The answer to that is yes. And that’s why it was so jarring for practically everyone, including those of us who have embraced the ‘ship. Presumably, all of their bonding happened during Natasha’s stay in Avengers Tower between Winter Soldier and Ultron. The problem? We didn’t see that. We just saw that she could calm down the Hulk all of a sudden and had a good relationship with Banner.

I won’t defend the execution of this. It could have been smoother, without a doubt, but given the duress that Whedon was under with managing the storylines of literally every other character, I can forgive him. But what I can’t forgive him for is the execution of a few other things concerning the two. Namely, how he handled their conversation in the Barton household and the Ultron kidnapping.

The Barton Household conversation could have been positively wonderful. It was a little off-putting instead. I don’t think it’s a bad conversation mind you, it shows that Black Widow is willing to open up to Bruce Banner in a way she doesn’t usually do with others, and it really serves to humanize her further. The premise is this: Bruce Banner isn’t willing to be with her because he believes that he’s a monster and that he can’t give her a normal life (read: children). Natasha counters with the fact that in her view, she’s a monster because the Red Room made her one. And she can’t have children. The issue is clear: these are two separate, parallel, lines of conversation happening at once, and they get muddled, and viewers got confused accordingly. The way the dialogue was framed had disastrous consequences. Rather than achieving its goal the scene left us with the impression that she thought she was a monster because she couldn’t have children when really what she meant was that she was a monster because the Red Room dehumanized her and turned her into a weapon, and in the process, sterilized her.

While awkward, a lot of people later understood what was meant and the outrage died down. But it didn’t help that later in the movie, Widow was used as a literal damsel in distress when she was captured by Ultron for very little reason. Now, I’m a firm believer that strong female characters should be allowed to have love interests. Love isn’t a weakness. But this moment makes Black Widow seem like merely a love interest. She was helpless and a man had to rescue her. And it was, you guessed it, her love interest. This whole concept was a mistake. It could have been any other Avenger. Because if there’s one thing Black Widow is not -- it’s helpless. (And as a side note, that scene at the Avengers party where he fell on her chest? Ridiculous. Whedon pulled the same trick in Justice League and it was equally un-funny. It harmed his cause more than it helped. Comedy could have made the transition into the relationship less jarring for fans but he approached it in the single worst way possible. Also, the ass shots. What the hell Whedon? Like, I get it, but c'mon man. If you're gonna do it, at least be egalitarian and give us some Hulk booty too. Taika did it.)

All of these things combined gave people a less than spectacular impression of the couple at first, since it consumed both of their respective storylines for the entire movie, but I warmed up to it and so did others. Because despite the execution, I think it makes perfect sense thematically.

It begins in The Avengers. We’re going to briefly revisit the scene I mentioned earlier, where Natasha is recruiting Bruce. At this point we know a few things about them: Banner is relatively in control of the Hulk, but he doesn’t want to “Hulk out”, He is not afraid of Natasha, and finally, Natasha is very much afraid of him. At first she acts unfazed, but when he slams his hand on the table to test her there is genuine fear in her eyes and she pulls a gun faster than he can blink. He smiles away the tension, assuring her he was just testing her. But the power dynamic became clear. At first, Natasha believed she could manipulate him like she did Tony, but with Banner that wasn’t the case. He saw right through her. This remains a constant theme. He could read her like a book.

She’s weary of Bruce for the rest of the film, but it culminates when she faces the Hulk. Mr. Whedon lets the camera linger on her after her near death experience. Natasha Romanoff is shaken. This was incredibly humanizing for her because the Hulk is a force that she is truly powerless to do anything about, which must be an unfamiliar feeling for the world’s greatest assassin. Regardless, when Fury calls her to take down Barton, she walks it off. That encounter grew her character. A character that has remained fairly mysterious thus far except for one single moment, a truly wonderful scene where she manipulates the ultimate deceiver: Loki.

Loki thinks he’s got a read on her, likely because she was being very honest when she told Loki “I’ve got red on my ledger, and I’d like to have it clean.” Loki already knows, playing on her apparently emotional side by saying “Your ledger is dripping red, it’s gushing and you think saving a man no more virtuous than yourself will change anything?”

It’s all a trick, of course, because she pretends to let it affect her. But Black Widow knows how to compartmentalize emotions, and she handled the situation wonderfully. But I don’t doubt that what Loki said was true -- to a degree. That is Black Widow’s chief insecurity: that she is a monster, and she can never be a hero like the other Avengers because of her past.

A few scenes later, after the Hulk Out, Banner wakes up in a warehouse, where an old man is looking over him. The very first thing that he asked was “Did I hurt anyone?”. And that there is his chief insecurity: that he is a monster because he is a danger to everyone around him.

So you have two characters who both have terrible pasts that were forced on them by circumstances entirely out of their control. Both admire each other professionally as well as people. Let’s not forget that Natasha’s first interaction with Banner was of him living in an impoverished country in order to help people. Both are looking to become better than who they are, but I wouldn’t be surprised if Natasha was affected by this. Hulk has caused just as much harm as she has, but Banner is making up for it by healing others. She might feel she can’t do that because her skillset has always been to harm others. That’s why I think she’s one of the most compassionate of the Avengers, and always comforting her friends. Be it Steve at Peggy’s funeral, or Clint in Endgame when she’s the only family he has left. It makes total sense that Bruce and Natasha would turn to each other as friends and confidants. I don’t think anyone else in the group could understand their shared and unique type of trauma. And as Natasha said, “all [her] friends are fighters”. But Bruce is not. In her eyes, he’s a perfectly normal, mild-mannered gentleman. She’s not afraid of him or Hulk by the time Age of Ultron rolls around, but boy is he afraid of himself.

And they both want normality. So they propose running away. A bit on the dramatic side, but I can see why Whedon chose to use this idea. It makes the ending of the film more poignant, when she chooses to have Banner Hulk Out (and I suspect Banner understands why), thus sacrificing their fantasy of normality. Because they’re Avengers. The mission comes first. Still, it was far too melodramatic for my taste and out of character for both of them. Particularly Natasha. And again, it makes it seem like Natasha was Banner's love interest when it really ought to be the other way around, from a storytelling perspective and also because of the nature of the characters. That was a lapse in judgement from Whedon that weakened the presentation of their potential relationship.

I don’t think the relationship will remain completely intact by the time Endgame finishes, but I do think they’ll acknowledge it and give them a proper send off. It might not last, but their relationship helped them grow as characters. It allowed Banner to realize that he isn’t really a monster. That he is useful in his own right. And it helped Natasha get peace of mind. She isn’t a monster either, she’s a hero. And for better or worse, that means she has to do heroic things. Even sacrificing normalcy.

And plus, it's just adorable man.