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dragonthewriter · 3 years

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Six Months Later

https://archiveofourown.org/works/34321180

Six Months. That’s how long it had been. Of course, that wasn’t how long it was supposed to take, Beast Boy had original said he was going to be gone “A month, month and a half at most. Just need to get in tune with my animal nature.” As puberty began to hit him, and rather late, he was starting to show signs of his animal sides taking more control, and even he had to admit it was making him a liability. So he headed off, taking his part of the T-ship.

Raven had kept in contact with him. All the Titans did, but Raven was the only one who did everyday. A trend noticed by everyone excluding the empath herself. Their nighttime chats had often run so long, Raven would wake up to her communicator still out and still on. The first few times, Raven would apologize the next time they spoke, only for Beast Boy to tell it was fine. He wasn’t about to tell her how cute it was to hear her yawn and snore softly.

He started by heading to Africa, where he was raised. He had stayed with the tribe his parents had befriended, and who had taken him after his parents died and before the Doom Patrol showed up. He would tell her stories of going on hunts with the other men in the tribe. Even with his vegan sensibilities, he understood it was their way of life, and could respect that they took great care in only hunting for what they needed. It was around this time, she noticed his voice cracking a bit.

After two weeks there, he moved on, traveling to every biome on the planet he could reach. The arctic, deep in the amazon rainforest, the arid desert. He would regale Raven with what forms he learned, what unique things he gleaned from his time in their shapes. As it felt he had crossed off every location on his list, he told he was planning on coming home. “Just a week with the Doom Patrol, and I’ll be back in Jump City.”

But things kept coming up. At the six week mark, Mento fell sick, and he wanted to be there until his adoptive father felt better. The disease took longer to overcome than expected, and in that time, the Brotherhood had made a move in France. With Mento still down, Beast Boy joined the Patrol in their mission. Most of their time was just playing recon, Beast Boy and Negative Man doing the work of trying to track down their enemy.

When he wasn’t flying over the city, he was keeping in touch, talking when he could, texting when he couldn’t. After two weeks, Raven awoke to one last message. “Found Base, Going dark. I’ll message you.” The three days before she heard anything felt like the longest in her life.

Then she got his call. At first, she didn’t recognize his voice, puberty definitely coming hard for the changeling. His voice has already gotten past the random breaking and was deeper. She heard him tell about how the Brotherhood were all back in prison but she wasn’t listening, focusing less on what he was saying and how he was saying it. His regular scrawny form did not match the voice he now spoke with.

A week after returning from France, Mento was given the all clear, and Beast Boy was sent to return home… Until the Titans East had a problem and needed back up. Since Midway City was closer to Steel City, Beast Boy made the journey.

A group of rather B-list villains had made trouble for the East team, and an extra Titan was enough to begin balancing the scales in their favor. Raven and Beast Boy’s nightly chats remained, now the empath hearing how he had stopped Johnny Rancid by himself, and other exploits she had to wonder how much he was embellishing.

A message she did get from Bumblebee gave Raven pause. ‘Are you dating Beast Boy?’ followed by ‘Does he have a girlfriend or is he fair game?’ Raven ended up assuming Bumblebee just wanted a rebound after her and Cyborg broke up due to distance, and her only other choices were a civilian, which always had problems, one of the twins, who were way too young, and Speedy and Aqualad, who were comfortably in a relationship with each other.

Raven did begin to suspect something though, when Kitten used her one phone call after Titans East arrested her to ask Raven if ‘it was open season on the green guy, or do I have to fight another one of you titans for the privilege?’

Once all villains were in prison, and Titans East released Beast Boy from their service, he was finally on his way home.

Until a storm hit his ship and he crashed just outside of Gotham. A quick phone call to his mentor, and Robin secured a place for Beast Boy to crash at Wayne manor, and the use of the Batcave to repair the T ship. Of course with the watchful eyes of Alfred using schematics from Cyborg to make sure he did everything properly.

Just a day shy of the six month mark, his ship was airborne and headed back to Jump. Raven decided to use the couple of hours of flight time to mediate before their reunion, figuring six months apart had lower her defenses to Beast Boy’s abrasive personality. On the phone was one thing, but in person was a whole different thing.

On her way, Robin stopped her, and said Alfred wanted to forward a message to her. “Tell Miss Raven that Master Garfield was quite eager to discuss her at length, and is quite fond of her. Also, if she enjoys tea as much as he says she does, I would love to have her try my own, as it would be nice to have a hero who actually appreciates it come by for a cup or two at some point.” Being the two more emotional stunted titans, neither truly grasped the message, focusing more on the tea portion.

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“Really,” Cyborg asked. “No more vegan?”

“No, i’m still preferring to stick to that diet, but there were times I didn’t have the luxury. When in rome and all that.”

“So you don’t want to join us at the next Bbq and…

“Friend Raven!”

Raven barely noticed Starfire call out her name. She had entered the common room to greet Beast Boy, but stopped when she saw him in-between Cyborg and Starfire. Half a year ago, he barely came up to Cybrog’s waist, but now he was just about as tall as Starfire. His body was much more filled out, as well. While he wouldn’t been at Superman level of muscle, he was far past the almost stick figure he had been when leaving.

And then there was the hair…

It was long, coming down past his jawline on the side of his face, the rest gathered into a ponytail behind his head. With the way his head had been turned, she couldn’t see his face, but when Starfire called out her name, he turned to her.

His eyes sparkled when he saw her. There were still that familiar shade of green, but something in them shined, and Raven noticed his pupils were more cat like.

Even his face was different. Baby fat cheeks had become chiseled features, and his snaggletooth fang had found a home inside his mouth. But when he smiled at the sight of her, she could see the fangs were only sharper and longer.

And framing either side of his face was that hair. Raven was already back on it, unable to get past seeing it like that.

“Come over, and say hi to the new Beast Boy,” Cyborg said, patting him on the back. Raven floated over to them, as Cyborg continued. “Notice anything different?”

Raven was never one for being at a loss for words. Even when she answered with silence, it was always clear to the listener, that it was planned. Yet here she was, unable to speak for a moment.

“You hair,” she muttered out, making Beast Boy blush.

“Wow, I’m like a foot and 3/4 taller and you notice my hair first?” He brought a hand up to his head. “Yeah I never had a chance to get it cut, but first thing in the morning…”

“Don’t!” Raven said too quickly for even her own obliviousness to overcome. Everyone was now staring at her, Beast Boy’s transformation forgotten for her reaction to it. “I mean, you shouldn’t. It looks nice like that.”

It seemed to make Beast Boy relax, but Cyborg and Starfire just gave her a look.

“Well, if you think it looks good, I’ll keep it,” he said, giving her another warm smile that made Raven feel a bit weak in the knees. She could hear the words relay to her by the Batman’s butler. ‘Quite fond of her.’ Raven saw his eyes sparkle once more.

‘Oh.’

‘OH.’

#bbrae #teen titans

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chezzzie · 3 years

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Why Contemporary Women Artists Are Obsessed with the Grotesque

If artists are generally boundary-crossers, a younger generation of (mostly women) artists is going for full penetration—making artworks that speak to something deep in the body, producing responses that range from carnal attraction to disgust.Among the most potently grotesque examples are Tala Madani’s nightmarish babies and dystopian fantasies of voyeurism and violence, and Jala Wahid’s visceral, sculptural allusions to cuts of meat and dismembered organs and body parts. Or take Marianna Simnett’s unsettling, darkly comic videos that bring to life imagined narratives of bodily invasions—including a gruesome nasal operation and a fable about varicose veins and cockroaches-cum-cyborgs. Then there’s Maisie Cousins’s glossy, close-up images of a wet soup of food, decaying plants, and bodies, which recall the more appalling corners of Cindy Sherman’s imagination. In painting and drawing, too, the grotesque is rampant, with elastic, deformed, or monstrous bodies populating works by Christina Quarles, Ebecho Muslimova, Jana Euler, and Dana Schutz.

In recent exhibitions of work by older and historical artists, as well, we’ve seen the walls erupt in freakish, fleshy forms that have threatened the contained space of a room, as in Dorothea Tanning’s Chambre 202, Hôtel du Pavot, on view in her retrospective at the Museo Reina Sofia and traveling to the Tate Modern early this year. The ceilings of art spaces have dangled with multi-limbed, Medusa-like monsters and cyborgs (like the sci-fi-inflected psychic landscape of Lee Bul, who had a retrospective at London’s Hayward Gallery in 2018).

With much of these artists’ works, the feeling of deep dread is often a blade’s edge away from erotic desire. As the narrator of Simnett’s film The Needle and the Larynx (2016) says, as she fantasizes about having her vocal chords surgically altered: “So sharp were his knives, so appealing…this was an irrevocable invitation.” This expression of temptation suggests a calling to make art—to create—as much as it does an inclination toward self-regeneration and other forms of transgression. The possibility of metamorphosing one’s flesh and image—of permeating thresholds—is both intoxicating and anxiety-inducing.

The grotesque is inherently associated with the feminine, long having shaped depictions of the female body—prostitutes, femmes fatales, and sorceresses.

The grotesque, as art historian Frances S. Connelly writes in her book The Grotesque in Western Art and Culture (2012), is “a boundary creature” that “roams the borderland of all that is familiar and conventional.” It is desirous of transformation—an “open mouth that invites our descent into other worlds,” like the underground rooms of Nero’s Golden Palace, excavated in the 15th century, which turned up walls decorated with hybrid figures sprouting bits of plants and architecture, and birthed the term “grottoesche.” (Today, our general understanding of the “grotesque” has been boiled down to mean simply “comically or repulsively ugly or distorted,” but art historians and theorists read more complexity into the term.) It is, in many ways, inseparable from the body, which is the most fundamental of boundaries. “What is most regulated in any culture is the body, particularly women’s bodies,” Connelly said during a recent conversation.

The grotesque, she writes, is inherently associated with the feminine—bodied, earthy, changeful. That thinking has long shaped depictions of the female body, including archetypes of sexual or environmental threat, like prostitutes, femmes fatales, and sorceresses. Even centuries before the term emerged, the ancient Greek philosopher Aristotle “advanced the influential argument that a woman’s body is monstrous by nature, a deviation from that of the normative male,” she writes.The term is fertile, opening up a womb-like space for new ideas and ethical conundrums to accumulate—a conduit through which cultures can play with taboos and shift the parameters of mores and conventions. It is perhaps no wonder, then, that some of the artists touching the grotesque assume a childlike, fairytale language. A fable tells us what is right and wrong, Simnett pointed out when we met. It is also “a game that you can write the rules for,” she said, one through which you can distort or expand reality. The landscape of morality tales and childhood lessons is ripe territory for boundary-pushing perversions to take root.

Very dark fairytales

Children play a central role in several of Simnett’s films, whose absurdist, grotesque narratives are preoccupied with infection, augmentation, and altered states. In her opus Blood In My Milk (2018), the girl protagonist flirts with the outside world, even as adults warn of the risks that this external environment poses.In scenes that take place within an echoey pink space suggesting the inside of an organ, children receive a lesson about the prognosis and treatment of mastitis in cow udders, interspersed with shots of oozing teats being squeezed and dissected. While an officious farm hand dispenses information about how to keep one’s milk clean and pathogen-free, the children engage in playground dares and brinkmanship that include fantasizing about dismantling a girl “into a million bits so she can never be rebuilt.” The children lust after blood in their milk.

Tala Madani is another artist who, in a different way, explodes any veneer of female containment or childhood innocence, making infants and girls agents of the grotesque. In her painting Sunrise (2018), a baby wields a sharp knife at a naked woman’s groin. An infant’s first act, the painting reminded me, is one of violence.In other compositions populated by menacing babies on all fours, withering adults are left in the dust. Shafts (2017) depicts a group of monstrously overgrown tots crawling off into a void-like cyberspace, with beams of light projecting out of their assholes. An aged man in the foreground holds up a flaccid string of feces like a banner of mortality—the next generation might have evolved into light-shitting cyborgs, but we are still blood, matter, and excrement.

The children in Madani’s works also exercise sexual agency. In her animation Sex Ed by God (2017), a young girl with legs splayed is being studied by an older man, a boy, and God (the narrator of this lesson). She reaches out of the frame and grabs her male onlookers, shrinking them down to size and squeezing them into her vagina, along with the rest of the scene. The adolescent counterpart to a baby who explores the world with its mouth, this teenager-protagonist processes the world and corrects its distorted power balances through her sex. (Madani has a corollary of a kind in the work of Ebecho Muslimova, whose ink drawings feature a female alter-ego who fills and consumes the world with her vast and doughy naked body, luxuriantly covering and penetrating objects—a piano, patio furniture—with uncontrollable flesh and organ.)Madani’s universe is one whose grotesqueries seem shaped, at least to some degree, by the thrills and anxieties of sexuality, motherhood, mortality, and technological change. But it is also one in which children subvert the hierarchy between parent and progeny. The grotesque becomes a means to dissolve power structures.

Both familiar and alien

The contemporary grotesque is interested in underlining the way that bodies that are different from the (white, male) norm, or that, in deviating from impossible standards, are treated as aberrant or monstrous. Artists who touch the grotesque subvert and claim power in part by owning flesh and blood.When I visited Jala Wahid’s studio recently, one sculpture she showed me comprised a cast of the artist’s buttocks resting on a smooth liquid-like surface that is based on the shape of a natural oil well. The exposed position of Wahid’s dismembered rear is both “a provocation and a vulnerability at the same time,” she told me, its position on an oil slick alluding to the politics of Kurdistan, where her parents are from. In her work, she is often thinking about the contested Kurdish body, which is continually “under threat” but also resilient—a body that is both powerful and yet subject to power and control. Another in-progress sculpture in the studio, a thick wedge of slick red jesmonite, will eventually approximate the form of a bloody ox liver that Wahid encountered in a meat market in Kurdistan. (It brings to mind the work of Paul Thek, whom she cites as an influence.)

The contemporary grotesque is interested in how bodies that are different from the white, male norm are treated as aberrant or monstrous.

Wahid is drawn to the great diversity of textures and colors that exist in bodies (in flesh, organs, offal), as well as the relationship between butcher and animal. She wants, in some way, to approach her role as a sculptor like a meat handler—with both violence and reverence—and to create forms that are live and confrontational. To frame her work solely in terms of power dynamics is to simplify it, however. She is interested in bodies in states of transformation, in their formal nuances and their vast capacity for expression. (She showed me a picture of an Assyrian frieze at the British Museum, which features the form of a hunted lion, its upper body upright and fierce, its hind legs shot through and flaccid—a single body in which “you have something really strong but at the same time dead and limp,” she explained.) But she does want her sculptures to have autonomy and wield a certain affective power in the room.

When bodies spill out of their boundaries, or when parts are severed from the whole, they become something unsettlingly other. That forces viewers to renegotiate the borderlands between inside and outside, between themselves and the source of their disquiet. In Wahid’s work, body parts and unidentifiable cuts of meat force viewers into a visceral encounter with objects that are familiar, but also alien. “A human corpse is not in itself abject, but one’s encounter with it certainly is,” Connelly writes, describing an idea within the philosopher Julia Kristeva’s seminal 1982 essay on the abject in art. This recalibration of one’s relationship to the object engages the body as it tries to gauge whether the foreign article is a source of threat or attraction—perhaps both.In the work of sculptor Doreen Garner, we see this at play to profoundly disturbing effect. In some cases hung from meat hooks, her hulks of fleshy silicone are neither human nor meat—too dismembered and deformed to be human, too suggestive of the whole to be flesh alone. Upon inspection, the horrifying human steaks, pierced with pins, reveal the fingers of a hand, or a stray breast. Garner’s objects are intended to touch a nerve deep in the viewer’s own body—specifically, to register the trauma visited on the bodies of enslaved black women by members of the American medical industry. This is the grotesque as a means to produce shock and empathy—to expose the transformation of the body into something monstrous as a consequence of the abuse of power.

Garner’s work occasionally recalls the work of a historical pioneer of the grotesque in art—Robert Gober—in particular, works like the artist’s Untitled (1990), a slumped chest cast in wax that sprouts a female breast on one side, a hairy male pectoral on the other. This crumpled human fragment expresses the vulnerability of the human body, and insists on its gender hybridity, while also speaking to another abuse of power that simmers beneath his work—that of the U.S. government’s failure to respond to the AIDS crisis.

A fascination with monstrous bodies

The grotesque, of course, is not owned by women artists. It’s interesting, as well, to note how queer artists, in addition to Gober, have played in this terrain. In his latest show, at Ashes/Ashes, Ryan McNamara presented a sculptural showcase that included I Can’t Even Think Straight (2018), a sad, cartoonish figure practically melting off the wall. Faces dissolve into pools of liquid fish scales (Whispers, 2018); a series of gungey monsters with skin dripping from their brains joyfully snap selfies. The ghoulish group was in part conceived as a celebration of the queer nightclub in Phoenix, Arizona, where McNamara danced with other outcasts and misfits in his youth.But women, too, are deploying monstrous bodies in the world to empower the marginalized, or to satirize cultural norms and behaviors around age and gender. In two of artist Jana Euler’s latest paintings, she seems to offer biting commentary on our culture’s existential angst and exaltation of youth. Global warnings (people who are over 100 years old) (2018) is a mosaic of portraits of the elderly, each with a fantastically warped face. They are melted, pinched, and sunken, with cyclops eyes glaring from foreheads, and mouths swiveled 180 degrees.

In race against yourself (2018), a naked man rides an equine incarnation of himself, hands and feet turned into muscular hooves. This ghastly centaur and its rider are set against a fleshy backdrop composed of a snaking, human-faced colon, squeezed into the painting’s borders. The work speaks to something deeply perverse in human psychology—a propensity to hurtle through our lives at break-neck speed until our bodies crumple and we hit the grave. We can’t escape our own proclivities, much less our flesh and blood.Indeed, a profound awareness of human mortality is rarely far from the surface when it comes to the grotesque. When I asked Connelly about the common preoccupation with degrading flesh and food, she had this to say: “Life is constant change; we’re eating the world, the world eats us. We’re all mortal. We’re all human. We’re all meat. That’s seen as really traumatic.”

Other artists have created distorted, dismembered, and multi-limbed bodies to more optimistic effect. Christina Quarles paints bending tangles of limbs, bodies that insist on setting their own parameters and determining their own identities. Cindy Sherman continues to irreverently expand the possibilities of the grotesque, harnessing digital technologies to create fabulously idiosyncratic faces via her Instagram feed—ones that contort her visage in every direction except towards any convention of beauty; her fictional selfies are gloriously aging, sun-damaged, plastered in makeup, with features too big, too small, too gender-ambiguous.

Sherman expands the aesthetics of the (female, queer) body. In Maisie Cousins’s saturated close-ups of decaying messes of flesh, entrails, petals, prawns, and flies, too, something generative emerges. Cousins’s celebratory collisions of wet body parts, food remnants, and plants give the abject a facelift. Images of mild disgust find a place within the aesthetic of slick fashion magazine advertising. As such, they variously recall Sherman’s glossy, stomach-turning mixtures of waste, Marilyn Minter’s photorealistic renderings of gaudily made-up bodies and imperfections, and Gina Beaver’s paintings of bodies and fast food. (The latter artist will open an exhibition at MoMA PS1 in March.) Cousins’s photographs are full of innuendo, ripe, inviting us to find beauty in things spilling outside of their borders—to see our own bodies in the bounty of organic matter that the world has to offer.

It makes sense that among a generation increasingly comfortable with open, fluid approaches to identity—and fluent in the great toxic and transformational soup of the internet—artists value aesthetics rooted in states of change and hybridity. “I feel that is a constant, to be in a permanent state of transition,” Simnett told me. “In a sense, everyone is undergoing a mutation. It’s where I feel most natural. You get to meet a million more people, species, ideas. It’s like tendrils constantly reaching out, rather than staying put.” This hunger to explore and break down the boundaries of human experience, however anxious or unsettling—to deconstruct and reinvent the body—is generating some of the most vital and complex art being made today.

Tess Thackara

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popculturebuffet · 4 years

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Justice League: In Blackest Night Review: A Case Study in Why John Stewart is Awesome

Hello my Green Lantern Corps and happy black history month! And happy 40th Anniversary Year to John Stewart. And let’s get this out of the way now not the one replaced by trevor noah who handed Tucker Carlson his ass on television and got his show canceled, please do it again John i’d be greatful, and has a weird obession with how Pizza should be. No i’m of course talking about the Green Lantern, the third from earth and the second to headline the book itself, John Stewart. But to me.. he was my first Green Lantern and one that gave me a deep and abiding love of the Corps since all thanks to this very episode. It’s thanks to John I’m the green lantern loving nerd I am today and without him I probably wouldn’t of found Guy, Jessica, Simon, Alan, and Kyle not to mention got into the varoius other corps. It’s thanks to this episode I wanted to seek out these wonderful characters eventaully and in part why I got into JLI, one of my faviorite teams, among many ohter great things and books.

So quite obviously both this episode, which I haven’t seen in probably a decade, and John have a great place in my heart. And thus it warms said heart to FINALLY see John getting the recogntion he deserves: he’s going to be one of the starring roles in the upcoming HBO Max series, he was on Scott Snyder’s justice league, and he’s now going to be headlniing the main Green Lantern book going forward under writer Geoffry Throne, who like me was VERY sick of the Hal Jordan show the Green Lantern franchise could become at times, and also like me gave out about it a LOT. The fact DC hired him despite a very public and easily accesable record of him slagging of their use of Hal instead of him ESPECAILLY in the new 52 reboot aka why Cyborg is in the Justice League movie as Geoff kinda shoved hal in there despite John being a more sensible pick and doing so not only shoving the Martain Manhunter, who this show also gave me a deep lasting love for, out of the team but forcing Cyborg onto the team despite fitting with the titans better and, AGAIN there being a black green lantern and given the New 52 kept the history of there being multiple lanterns, no reason Hal could’ve been SECOND instead other than DanDiDio’s bitchy habit of EVERYTHING WAS BETTER ON MY EARTH that poisoined the company for a good decade before recently.

And yes I felt the need to rant about that, yes Green Lantern the animated series is still good mind you, I just got tired of bland white guy over “Really awesome, really layred especailly thanks to this series black guy”, “stubborn asshole white guy whose hilarious and has a heart underneath the layers of douchebag”, “creative and imaginative white guy who has as personality and really uses the ring in fun ways”, and more recently “A muslim superhero struggling with his past who’se also really energetic and fun and has an intresting family life” and “Latnix superheroine who struggles with anxiety and actually struggles with constructs and once she gets past that has very unique ones”. In other words, yeah I’m bitter because everyone else was more intresting than Hal, and it’s only in recent years with Jessica gaining promience and John regaining it that DC’s finally broke out of that and is actually using the intresting ones, and again without John I wouldn’t be a fan, so they had no real excuse to barely use him outside of the comics if at at all after a while.

So yeah as you can tell by that rant and by how specific it got for each lantern, this is one of my faviorite franchises, as said this episode is responsible and so for Black History Month I felt i’d be a huge mistake on my part if I DIDN’T cover my boy John and this episode and see how it held up. The fact it’s his 40th anniversary wasn’t something I was aware of, but now I am, expect more Johncentric episodes from Justice League sprinkled throughout the year to celebrate one of my first and possibly best GL.

Naturally before we get to the episode we have to get to the series itself. The series was launched as Batman Beyond was winding down. Bruce Timm wanted to keep the crew together, something I could empathize with since Owen Dennis and JG Quintel have ran into that same problem lately, with most of their crews drifting off during the gaps in production and Owen desperate to get the show renewed before he lost everybody. A good crew isn’t had to find in animation but KEEPING them for multiple shows or seasons can be. And there was one project the fans wanted more than anything: The Justice League. After all BOTH Batman and Superman had had tons of guest stars, especailly the latter, with Batman having Zantana show up and Superman having the Flash (Wally West), Green Lantern (Kyle Rayner) and Aquaman all show up. There were seeds there.. but Timm was relcutant as he had trouble ballancing 2 or 3 heroes in a fight scene, wanting to keep them al lin focus so fans didn’t wonder where they were and they didnt’ have to cut back and forth, the idea of juggling 7 was daunting. So as Beyond was finishing production a few things happened: The first is that they did the episode The Call, focusing on a future version of the League, and while only a two parter, it showed Timm his crew might be able to juggle a team of heroes after all, and second was the pitches Timm made BEFORE justice league. Since Kids WB had been hteir partner for a while now they tried pitching both a batman anime, he did not provide many details, and in his own words a “Kidified” justice league, basically the justice leagued mashed with the titans including a female version of cyborg. It was the latter pitch, which was rejected by Kids WB, that finally convinced Timm they could do this, but if they did it couldn’t be half assed or having compromises. it had to be what it SHOULD be. So they went to somewhere new, if in the same family and asked cartoon network, who said...

And here we are. They took their time to work out the characters, apparently taking a lot of delbiration, mostly on which GL to go with, and if they were going to do a hawk wether to go for hawkman or hawkgirl. In the end the roster was the iconic big 7 one, in large part thanks to Grant Morrison taking that concept and reviving it in his run on the team, but shaking it up slightly: Barry was naturally replaced with Wally West flash as he was THE flash in the comics, gave a slightly younger member for the others to play off of, and was more popular.. something Dan DiDio plugged his ears and went LALALALALALAL about for a decade before FINALLY leaving the company so he could stop screwing with a character he hated for reasons that can be summed up as ‘MY FLASH IS BETTER. YOU’LL LIKE MY FLASH.. YOU’LL SEE I JUST HAVE TO MAKE THE OTHER ONE A MASS MURDERER.. THAT’LL SHOW YOU FOR NOT LIKING WHAT I LIKE”... I still have maybe a smidge of lingering issues over how wally was treated the last few years after his return. I do not apologize for htem or for doing a little dance when I found out Didio was gone.

Point is it wasn’t the only subsitution as Hal Jordan was replaced by John, obviously and rather than use Aquaman, they went with Hawkgirl, though Arthur still got an episode focusing on him fairly early into the series which has the iconic moment of him cutting his hand off to save his son. I dare you to find something more badass. Bruce both liked her deisgn better and felt it helped with the gender ballance.

So with all that set and with some growing pains to get through they had their show so join me under the cut to see how it turned out. Spoilers: It good.

We open INNNNNN SPACCCEEEEEEE, as a coaltion of neat looking aliens wants justice and has gone to a space court lead by three weird alien faces, likely inspiried by the kryptoian tribunal in the donnerverse superman movies, with their prosecutor sending a group of mysterious robots known as the Manhunters to go fetch the accused for a trial: John Stewart. Given he’s voiced by Kurtwood “Red Forman” Smith, i’m very surpised he didn’t order them to also put their foots up his ass. Maybe he’s saving it for the trial.

After the titles we cut to John himself whose in shades and trenchant for reasons.. I mean it looks neat, but he’s in his old neighborhood not hunting down his exes killer or trying to hide the fact he’s a ninja turtle. Why is he all disguised. I mean sure WE know people are coming from him and given what he thinks he did he knows.. but he has no intention of running from what he did. It’s just a weird stylistic choice. That said we do get a cool sequence when while casually walking he notices a robbery, and stops it simply by first stopping the wheel then levitating the car.. and while he does get a little showy shaking the guy upside down to return the money.. it’s all very controlled. It shows off how John works. While we’ve seen him at work as Green Lantern before this this small sequence says volumes about john in the span of a few minutes, showing that shilw he HAS immense power, he only uses the amount he needs, knows when to hold back, and only shows off a tiny bit, and even then he’s likely still keeping the theif absolutely safe. It also provides excellent foreshadowing for later as to why the League takes his side even when he refuses to defend himself, as it shows that John really is a professional true and true.

He runs by a basketball court and fails to make a basket when throwing a ball back to a kid before meeting his old gym teacher, who turns out to be the kids uncle or something like that, and invites John to join them as they go to the barber shop. The kid wants John’s haircut, his granpa says the usual and i’m wondering why as John’s haircut isn’t that radical: it’s a miltiary style cut, belying the fact that for this series, while it dosen’t come up in the plot here, John was a former marine instead of an architect. Honestly.. this wasn’t a bad change, giving us the deciated and measured john we know, to the point the comics gladly retconned it in. Not that it’s really a huge deal given it meelrly adds shades to the guy and dosen’t prevent him from being an architect. It just adds lairs by giving a reaosn he’s so focused and driven. He had it drilled into him and carried it with him.

Meanwhile on the watchtower The Flash clumisly tries to get to know Hawkgirl better and maunver into asking her out, though it’s clear sh’es not intrested. Still even if he can’t help flirting, and it sometimes gets creepily obnoxious, it’s still better than I expected remembering this running subplot, as he DOES try to get to know her and what she does in her off time, even if it’s to set up asking her out, and is trying to ask her out instead of just hitting on her or doing anything far more creeptacular. It’s still not great mind you and hasn’t aged well at all.. but for the time it’s not TERRIBLE and again it goes away pretty quickly in favor of the much more intresting John and Shierya relationship.

Flash accidently shoots himself in the foot.. conversationally though given how Wally is at this point in the series I wouldn’t be suprised, by asking the Martian Manhunter, who gives Hakwgirl an easy exit if he’s ever felt alone.. you know the guy whose entire race including his wife and child died horribly. He quickly apologizes though and John understands he just stuck his foot in his mouth at lighting speed. And it’s not the MOST insensitive he’s been about Jonn’s dead wife.

But things are soon interupted as Jonn notes “We have an incursion!”

But the Avengers are dealing with all of that so they can instead focus on the Manhunters shooting toward earth. I really like this as the primary reason Batman set up this station was to monitor for alien threats, it just because the Leagues base because superman had the idea to stay as a team and it was a good un, and given earth JUST had an invasion, as this likely isn’t too long after that given it’s only the second set of episodes, it’s understandable they’d be on high alert.

So our heroes move to intercept. As the first episode after the pilot this one also sets up a recurring part of the show and a necessary one: only a handful of Leaguers would feature in each two-parter, as the episodes for the first two seasons were essentially one hourlong story split into two episodes. The only exceptions were the three part premire, the three part finales for each season, and the sole solo episode comfort and joy which is fucking awesome and my faviorite christmas episode period. But even with the extended run time the crew simply felt i’td be unwiedly to juggle 7 characters eveyr episode, feeling it’d eventually get to original series star trek leevels of having one just manning a console or something. So rather than try and cram them all into every episode, they choose who they needed and gave valid excuses for the rest when necessary. In this case Batman and Wonder Woman have solo missions their busy with , as does Superman whose adressing an earthquake. Our heroes try talking to the Manhunters.. who refuse to talk to them and then also say their coming for John, and aren’t explaning why. So naturally a brawl breaks out as the League SHOCKINGLY dosen’t want their friend who as far as they know has done nothing wrong taken by a brutish paramilitary force who won’t actual talk to the citzens their policing or try and be coporative. More on this in a second. The fight itself is pretty awesome as our heroes fight as evenly as they can.. but it’s clear their outgunned outplanned outnumbered and outmanned, as while their you know the justice league and do their best and Jonn is in Superman’s weight class the battle makes it VERY clear their barely holding in there and that the blast from the manhunters rods are just too potent for them to stand up against.

But help and hope arrives and things get a bit less lopsided when Superman shows up! Unfortunately it’s season 1 superman, and something a lot of fans noticed but I as a kid didn’t and the crew themslves did not until it was too late to course correct for the season, was that Superman came off as a bit of a wimp in this series. See they had the good intention of having him struck down to show a threat’s serious, something TV Tropes calls the “The Worf effect” after the fact that Worf on Star Trek TNG would get knocked on his ass a lot for the same reason, but it has the side effect of making a character look like their made of paper mache if done too often. To the crew’s credit they realized this and not only made sure this didn’t happen as much in season 2, but dedicated the first episode of Season 2, twilight, to showing Superman as a badass by having him try and cave Darkseid’s skull in. Granted they overcompensated in places in that episode, but that’s a story for another day. Point is he had a habit of getting knocked around and it varied between really effective and overselling it. Here it works as the manhunters had already knocked Jonn around a bit, knocking him into some poor kid’s apartment whose really wondering what the fuck just happened too much to enjoy meeting the martian manhunter, so him not being too on top of them simply sells this threat is equal, and possibly past the League.

Meanwhile John is talking to his former teacher who says the kid reminds him of John... it’s not only a nice bit of depth to show the restrained John used to be a bit of a hellraiser before the Marines.. but also shows John’s guilt as he hopes not.. but before he can unload, he notices the fight and suits up to his old mentors shock and the kids joy, I mean I would too if a guy suddenly because a green lantern in front of me, and dashes off.. to surrender and break up the fight, handing over his ring and going with them and telling the League not to interfere. Their response can be summed up thusly.

To John, he’s peacefully surrendering for a crime he comitted to a bruitsh and unfair police force but one who is duly deputized and as an officer himself, for the unaware the Green Lanterns are space cops and given the reason rightfuly reconing on the police I will certainly be discussing this as we go, is trying to coparate and prevent any collateral. While LIKELY Bruce pays for any that happens, as beneath his batdick demanour at times he’s a very good man and if he has the pockets for a space station, space craft, commuincators and all the good stuff a superhero team has on hand, he probably has a dedicated fund set up to paying for collateral since insurance might not cover it, and not only that would likely give any impacted extra to do any upgrades they coudln’t before because he’s a philanorphist .. one who dresses up like a bat to punch people in the face, but that itself is still philathophy in a way.

But to the League? Their friend was taken by a bunch of shady paramilitary robots who didn’t bother talking to them, is trying to keep them out of it and for all they know only surrendered to prevent a fight, and even if he had valid reasons, as his friends-ish and teammates, they have a right to answers. So while John sits in his cell completlating his apparent crimes.. the JL have taken off in the Javelin, the spaceship I mentioned batman funding. And of course Batman has both spaceship money and had a design for one so ready it likely took a month at most for him to get it up and running, if not less, and only didn’t have one in the batcave because he hadn’t neededed it yet and likely didn’t want to embezle more money than he has to from his company. Jonn uses the stars John saw, say that three times fast I dare you, to find a location and our heroes head there. Our heroes arrive.. and are attacked by the local security despite Superman geninely trying to hail them, the Javelin not firing back and our heros only going out to intercpet personally so they don’t die, and even then making careful certainty not to attack. So we get another thrilling battle, with our three flying heroes all pitching in, and the flash realizing he dosen’t know how to fly the thing and me cursing out bruce in my head for you know, not either forcing flash to learn the stuff, or having the forsight to put a manual on board for any members who forgot something, aka so when Wally inteivibly goofs off and eats candy instead of reading it the first time, he can speed read it and at least retain it long enough to land the thing in a crisis. If it were anyone else i’d be understanding but this is the guy who again, either had spaceship plans lying around or could get one together in the span of a month or so and while not thinking of the ship in terms of a team, still also paid for and likely created the commuincators they used, so he’d know his team well enough to know he needs this.

My nitpicking aside, our heroes land, make quick work of the locals, and then crash in on John’s trial after he’s escorted in, passing his fellow lanterns who rightfully treat him with disdain.. but for the wrong reasons as we’ll see. John gives groaning “oh no” , like he’s embarassed. When REALLY..

Seriously John, again you were as far as they knew kidnapped, and the way the manhunters acted, they had no reason to think they were legitamate, and you didn’t take five minutes to tell them, “They have every reason to be takning me” or “I blew up a planet I deserve this” . They still would’ve came mind you, they just might of realized this wasn’t a traditional rescue mission and actually tried to use some subtly. You also COULD have told the manhunters they might show up so the security wouldn’t attack them. They probably woudln’t o LISTEND or attacked themselves, so i’ts a damned if you do damned if you don’t situation, but you still did absolutely nothing. It’s the one mistep with John here and even then it has the justification of his self loathing at the moment being so high, he assumed they’d rightfully write him off without question.. not to mention given the team is mostly white guys, two aliens and a princess who woudln’t know better, he probably assumed like most white dumbasses they’d assume the police were correct and not give him the benifit of a doubt. To their credit, especially since you know one of them’s superman and the other one’s a professional dumbass, they didn’t think that for a second. Some would not be such a good person.

But Prosecutor Forman and the big giant heads aren’t much better than the manhunters, so Prosecutor Forman sends some orange guys to put foots up their asses.. and since unlike the manhunters their just... some ambigiously gendered aliens with no powers, they go down quick and before the manhunters enter, superman RIGHTFULLY calls them out, as he points out they just wanted to know what the hell was going on, didn’t throw the first punch, and have been under attack since, and the heads admit this IS a public trial, and they kinda overreacted so as long as the superfriends don’t do any other antics and watch like anyone else, their good. Superman has his team play it safe for now as they really don’t know what’s going on and given they could only stalemate the manhunters on even footing, they know they can’t take them on their home turf.

The trial is soon underway, and Prosecutor Forman calls the witnsees.. Kanjar Ro, also voiced by Smith. This is neat little bit as Ro was one of the first foes the League fought in the comics, a space pirate, and while he originally was just going to be some random asshole, someone brought up the idea of him being Ro and the crew really loved it. It’s a nice nod to the comics and honestly if you have a vast superhero universe with decades of continuity to draw from for your show, why NOT make the secondary villian of the episode be someone from the comics.

Ro is, like the comics, a pirate and seemingly came forward because what John did was so bad even he can’t stomach it and has to say something. So we FINALLY find out what John did.. well okay the audience as a whole does I remember this from being a kid. He and Ro had a routine cop and robber interaction, Ro was smuggling shit, and John was doing his job as GL of Sector 2814 and stopping him and cut out his engine.. but seemingly said engine drifted off, and destroyed a planet as result via chain reaction, and thus the debris right outside the planet John’s being tried on are apparently thsoe of the planet he accidently killed. The court takes a break and while the League, understandably, assume that the obviously shady man was lying John ends part one by confirming that no he did it. And this is why I put a pin in things... because the episode being about a space cop being arrested by worse space cops and dealing with his friends in the badge turning on him while some of his other friends try to prove he’s innocent, and the man in question being an african american... tackles some very loaded issues that, givent he writer and most of the staff, Dwayne McDuffie accepted, were very much white, i’m thinking they just kind of fell backward into and it only came out as good as it did either do to McDuffie or just blind luck that it didn’t turn out entirely awful in hindsight.

And if anyone is complaning: “Wait you dont’ need to get political leave politics out of this”.. please leave my fucking blog. For one, the recknoing with the police was long overdue, I feel ashamed for not having it sink in how fundementally broken the police were and not realizing it for my whole fucking life, I knew some cops were bad but I hadn’t realized the institution was inherently racist and bad and feel so much deep and lasting shame for that, and for another again it’s a story that at it’s core is a black police officer being arrested for doing something wrong, taking full responsiblity for his actions like a police officer SHOULD, and having friends of his try and prove he didn’t really do it, while his fellow officers, rather than find the act itself abohhrent, come out as either being loyal to john no matter what (kilowog) because fellow officer, or assholes who ONLY are upset because it makes them look bad, and are ONLY distancing themselves because of that, and not because you know JOHN MAY OF CAUSED A GENOCIDE BY INCOMPETNECE. So yeah, i’m not ignoring the real world implications, I couldn’t and wouldn’t if I wanted to, and i feel if done right ANY medium, animation, comics, what have you, for kids or not, can tackle such issues and should be able to.

So i’m not ignoring the elephant in the room, and as we get into part 2 we get the good and bad of this in full: Superman feels something’s off about this whole thing, a hunch admitely but given an engine falling in a crater seems a bit too convinent, he has a right to investigate and takes MM to do so, while he leaves Flash and Hakwgirl to stall. Both take diffrent approaches: Flash signs on as GL’s lawyer.. and it’s an awesome scene as we find out, in your standard evil lawyer joke, that the tribunal of faces solved this by simply having the lawyer share the punishment.. but it also shows Flash’s loyalty and faith that his friend did not do this and something worse is at work, as he still agrees after learning he’ll probably die if his other friends don’t fix this.

And now we have full context i can get into where this episode really does the issue justice for the most part: John is presented as the model of both what the GL Corps and what police should be: He’s professional, uses minimal force despite having a weapon that can do anything, and when he THINKS he did something horrible, he dosen’t run from his crime: the most he does is go back home to see it once last time, simply waiting for someone to come and get him for what it did wether it be his own brothers in arms or as we saw the manhunters and he doesn’t defend himself because he dosen’t feel he should as he screwed up, got an entire planet killed, and rightly thinks he should pay for it. He’s likely, as a black man in the early 2000′s, been falsely accused, pulueld over and fucked over by police and seen people in his community he knewe and care about die because of shit like this so when given the chance to take responsibility, even from a clearly broken system, he does. Because in the same situation a lot of officers back at home would not and would walk away clean and that’s not who John Stewart is, how he was raised, or what he or the corps stands for.

But the episode gets to have it’s cake and eat it too, as the League does belivie John didn’t do this on purpose.. and the blind faith they especially superman did come off as wince inducing.. until I realized it’s not because of some “brotherhood of the badge” bullshit.. but because it’s Superman. He belivies in the good of most people. In this very series despite Lex Luthor having tried to kill him dozens of times at this point, he STILL shows the guy empathy when he finds out Lex is dying of cancer. Lex spits at the notion of course and dosen’t take it seroiusly.. but Superman is just that good a person, so if he has a hunch somethings’ wrong.. it probably is. And even if he and Jonn found nothing... it’s the right thing to do. A crime should ALWAYS be properly investigated to make sure someone dosen’t hang for something they did not do. This is what I meant by have it’s cake and eat it too: the episode tackles police brutality.. but the accused is also the victim, and it thus tackles the unfairness in the us courts, how black people are often assumed guilty when that’s horribly racist and biased as fuck and how Police are assumed correct. Our heroes are assuming john is right based on optisim but are not wrong for wanting him to at LEAST get a fair trial and full investigation that clearly was not done. It also covers, again probably intetioanlly, how some are often not able to get proper representatin, with this court outright getting rid of it, which is wrong and bad, and the flash being the best John can do and not very good at it, mostly stalling for time. It shows the system’s brokena nd soemtimes you have to directly fight iht and can’t just take it , and even if your convinced your guilty and want to rightfuly take the blame for something your sure you did... you still deserve a fair trial and a compitent one.

It’s not all good: as said the gl’s are portrayed as bad for not wanting anything to do with john, and in order to make them unsympathetic they care more about their rep than the fact a friend may of comited genocide and kilowog showing up and providing character witness is seen as a good thing, even if he provides no actual character evidence other than “Johnny’s a good guy” and that’s not ideal. It’s not perfect and again it was writtne by an old white guy so of course it isn’t but the fact it gets so much right the more you dig in despitei t’s awwkardness and being written and aired 20 years ago... that is nothing to sneeze at.

We have more to dig into here too with the manhunters but first moreof the plot: While the other stuff mentioned happens, Superman and Jonn investigate as said.. and we find out WHY superman was supscious: while it was part hunch.. he did in fact have valid reason to suspect something was off, and as we saw actually heard the case against his friend first, and only went against it because the evidence was off.. in that the MOON of the planet is still there and should’ve flown off. He and Jonn soon find a MASSIVE device that John identifies as a bigger version of a toy he had as a kid, something that created images... and again shows whya PROPER investigation was needed. Had the court actually looked into it instead of presuming John guilty, they would’ve found this thing too. Naturally though Kanjar Ro has followed them and wants to kill them.. but with her subplot wrapped up Hawkgirl went to seei f they needed backup, stealing one of the guard ships which given they attacked people on ap lanet iwth a PUBLIC TRIAL going on without haling them yeah don’t blame her, and kicks his ass. Our heroes find out the truth as I mentioned earlier: Ro was paid to lie and be in on things for an assload of money.. byt he Manhutners.. who at the moment are plotting to strike while Oa, the home of the green lanterns is weak, as the Guardians who created them and monitor them mostly left to go to the trial.

As we catch up with them, THe guardians speak on each lantern being trusted with the ring and given little oversight.. because they pick wisely. The prosecutor just wants John to hang, calls for a sentence, which is death and John and Flash nearly die, in case you thought I was pulling those parallels out of my ass. But Superman rushes in, and in a small, subtle gag he and Jonn do so thorugh a small pain of glass put over where they enterted last time, fight off security and save them, and before prosecutor foot in the ass can harumph about it more.. Superman claims jonn’s innocent..a nd has Shiera smash the generator, showing he indeed is, getting John aquitted. John also attacks Ro, who they brought along as a witness, rightfully so, but the League get him to stop as they don’t have time for that: the Guardians are strangely leaving after that, the manhunters are clearly doing something given their asbent, so John retakes his ring, restored to who he was now knowing he truly WAS innocent and was simply set up.. and he wants to find out why.

We soon get the why as the Guardians explain the manhunters after the League won’t let them just.. brush by after they aburbtly tried to leave. They AREN’T behind the current attack.. but did create them, feeling robots would be better policeman. They were wrong, with the manhunters lacking empathy, being far too military in their job, and generally not being up for it so they simply gave them smaller jobs as bounty hunters, court balifs that sort of thing ans assumed they were fine because they didn’t say anything. As John puts it perfectly “Not outloud. “ And this itself is the other thing that makes the episode work as an allegory, if a very unteitonal one: The Manhunters are the police as they are now, violent brutes with way too much power, no restraint in using it and no ounce of mercy or sympathy for those they protect. And the Guardians rightfully removed this system, and replaced it with the corps. And while the Corps STILL have a lot of leway and power, being free to investigate on their own provided OA dosen’t call them to do someting specific, and given a ring that can do anything within corps guidelines, which basically means “don’t kill” and “don’t be a dick with it”, the guardians still watch them, do not interfere in trials and choose very wisely. not only that ther’es only one officer per sector, each sector being galaxies wide.. but that’s because that’s only what’s NEEDED. One Lantern with the power to take on entire fleets if needed, which is a fair amount of power given the scope of the job, and come in as requested by the people themselves, honestly isn’t a bad system. Granted the corps is wonky from time to time in the comics as are the guaridans depending on the writer, but at it’s core the corps really sounds like a more responsible versoin of the police: given just the gear necessary, the men necessary, and only called in when truly needed or if they spot a crime in process. THat’s what the people protecting us should be like and that’s why this episode still works.

Obviously though I was aware of none of this as a kid, and the real reason I loved this episode is this climax. The League arrives on Oa just in time to provide backup. Presumibly the guardians there and incoming with the league simply dont have the power to spare to call for reinforcments. Which is weird but fair enough drama wise and our heroes storm the planet , with the corpsmen from before all showing up to pitch in. But John gets there too late as the head manhunter drains the central power battery, the source of the lantern’s powers, and declares I AM THE POWER, refusing to accept he’s out of date.

And this, folks is the moment that made me love the lanterns for life. John is outgunned, the wise old wrinkled blue men who gave him his powers drained of there, starring down a massive monster planning to subjigate the universe... and he does not blink. See lanterns are picked for their willpower, their abliity to stare down things like this, and fight anyway, their very rings controlled by this, by their own force of personhood. It’s another reason besides logistics why theires only one per sector: it’s that hard to find one. Earth is so remarkable because , even if it’s simply so we could have more stars in the books over time in real world, we produced not ONE person capable of this.. but 7.. Alan Scott whose not in the corps but whose powers stll work on will and could probably use a regular corps ring very much included. John was chosen because he simply won’t give up. He gave up before.. but it was the right thing to do and ultimately biding his timea nd accepting his trial.. gave his friends time to aquit him and prove he was framed.

But now is not the time to back down.. now’s the time to stand.. so how does John win? By USING his will, by using the reason he was chosen coupled with ihs own personal dedication and concentration, he grabs his ring as it floats toward the guy, takes it back.. and starts reciting the lantern oath. And since the Manhunter is indeed “The power”.. it means he too can be controlled like any lantern energy. and thus with every bit of willpower he has, struggling all the while but not moving a damn inch, John recites his oath and shoves the monster that framed him, and the power he stole, back into the battery, all while saying an oath so badass it has been etched into my head since thanks to this episode. Say it with me now..

In Brightest Day, In Blackest Night No Evil Shall Escape My Sight Let Those Who Worship Evil’s Might BEWARE MY POWER, GREEN LANTERN’S LIGHT!

And the credit goes to phil lamarr, who delivers the oath with all the gravitas and awesomeness it’s first delivery in this continuty it deserves. It was this that made me a lifelong fan: one man with the power of anytihng using PURE MENTAL STRENGTH AND DETERMiINATION TO SHOVE AN EVIL ENERGY BEING IN A GIANT LANTERN WHILE RECITING A BADASS AND AWE INSPIRING OATH. And if that dosen’t sell you on the Green Lantern’s being awesome I can’t help you and don’t know why your here.

So wrapup time: The Guardians genuinely thank john, saying they choose well, and John brushes off his fellows corpspersons as they should’ve belivied him and thanks the League for having faith in him even when he didn’t. And while the former part has some.. bad implications we’ve gotten into already, I also can’t entirely blame him given they did it not because he might’ve killed someone but again, because

Precisley. So our heroes prepare to head home, cue the credits.

Final Thoughts:

So how does this episode hold up 20 years later? As should be obvious, damn well. It’s a good introduction for the corps, if showing them to be kinda assholes in places, and a good spotlight episdoe for John showing who he is what he stands for and again how TRULY MONUMENTALLY BADASS the man is. And lest you think the comics versoin is any LESS badass, he once got into a sniper duel in with Bedovian, a member of the Sinestro Corps and a crab person.. who was as I forgot till looking it up, THREE SECTORS, which i’ll remind you can comprise entire galaxies, away, with a ring made sniper rifle. In one shot no less. Point is even with some.. wonkier aspects, and ones that aren’t intetnional, it still works and is a shockingly relevant episode 19 years later and the fight scenes, as are standard for the series, are overwhelmingly awesome. Check this one out, and the series as a whole. With its great animation, character work and general badassery this one’s worth a few watches. And obviously given my love of this seires, and it’s 20th anniversay next year, and my love of John, check back here for more John-centric episodes throughout the year as we celebrate the guy. And I will also celebrate the green lantern NAMED guy eventually too, and jessica.. and all of them ebcause I love them all. Yes.. even Hal. As for which John episode i’m doing next? Easy, one that intorduces me to a character I love who dosen’t get used near enough, Metamorphisis. The when I can’t say QUITE yet as my March schedule is full and most of my ongoing projects are on the backburner so I can tackle two arcs of ducktales, which coincidentally happened to be in time for the finale. That wasn’t planned AT ALL mind you, it just ended up working out really well that way. For now though tommorow I begin my coverage of the final 4 episodes of ducktales with “Beaks in the Shell” and later this week finish up black history month with blacksad, continue my Lena retrospective with a money shark and some pr work, cover the second season of close enough, celebrate Tex Avery’s birthday and also celebrate the new Tom and Jerry movie.. with the OLD tom and jerry movie. Until then, see you next rainbow.

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a-square-minus-one · 4 years

Text

Honey 5

Sexual suggestiveness ahead. Please be aware that this story is Rated M and meant only for those 18 years and older.

“Your brother?” Nightwing asks, leaning back in his seat. Raven watches as his eyes glaze over. He’s running through plans in his head before she even gives him a full account of their opponent. Raven nods, although Nightwing isn’t fully paying attention at this point. She looks at all her teammates who are much more attentive.

“I will assume that you do not hold brotherly affection for this man?” Starfire asks. Raven nods again.

“Trigon has fathered hundreds of sons after me, but the six following me are the most powerful. Each of their powers coincide with the seven deadly sins.”

“But there are only six of them?” Garfield asks, his folded hands are supporting his chin as he leans in close.

“I’m the seventh,” Raven says. That stops the questions for a few moments.

“But you powers aren’t-” Cyborg pauses, rubbing his bald head. “Sinly?”

Raven quirks her eyebrows. “Shooting black energy from my fingertips not dark enough for you?”

“You know what I mean,” Cyborg grumbles. Raven nods.

“The pride within you is tangible to me; I can manipulate it,” Raven says, crossing her legs. The team looks at her with parted lips. It was like their questions hung like weights on their lower jaw. She sighs. “I can play with the levels of pride in you so that it obscures all other systems. Biological. Mental. Emotional.”

“Wait, so you can sense how proud we are?” Garfield asks. Raven nods. “You must have a joy ride with boy wonder over there.”

Nightwing scoffs. Garfield lifts his hands up, not even trying to erase his crooked smile.

“Why have you never used this power before?” Nightwing asks, finally escaping the wheel that’s turning in his head.

“Why haven’t I turned someone into something they’re not?” Raven asks, hoping that in asking the question, Nightwing already found his answer. Nightwing seems to understand her as he leans back in his seat. Raven still feels the need to answer as the rest of her team stares at her expectantly.

“The villains we face rarely have a deficiency in pride. Besides, pride is a tricky thing. Given too much you will become foolish and illogical, convinced you have the right answer to everything. But given just enough,” Raven lets her eyes linger over Nightwing. “You become a detail oriented, confident leader.” Nightwing bows his head gracefully.

“The thing is, there is no set amount of pride that divides the foolish people from the well adjusted. Most of us have momentary spikes in our pride. There is no telling whether these spikes are good or bad. It’s dependent on how people use it. I don’t have the foresight to tell you how someone will react if they’re made more proud.”

“‘Cept for Adonis,” Garfield says, then blushes when all eyes turn to him. “What? That guy is always one spike of pride away from falling on his own sword.” Raven ponders that and shrugs.

“I’m not in the occupation of guessing someone’s limits. Besides it’s different when he’s in animal form.”

“How?” Garfield asks, leaning into the conversation. Raven pauses.

“My ability to sense emotions works best on humans.”

“You are able to sense mine,” Starfire chimes in. Raven nods at her.

“Things like happiness and sadness essentially feel the same in all beings. Between full human beings, the difference in how they feel emotions is almost imperceptible. But your body is wired differently. You’re Tamaranean and I have not enough access to Tamaraneans to get any baseline data on what your emotions read like. For example, your powers are connected with your ability to feel happiness. You practice happiness constantly, therefore your happiness is more potent. Because your happiness is so loud, it can be difficult for me to register the extent of your sadness.”

“It must be difficult to sense what I’m feeling,” Garfield says in a thoughtful whisper. Raven looks at him. “Every animal I turn into has different motivations. Some of them can be very strong.”

“Your animal forms are never permanent. While you can rearrange your DNA, it’s never fully stable. Your body will always want to revert to your human form,” Raven says. When she thinks about it though, Raven knows there is another form always pulling at Garfield’s control. She purses her lips, pausing to figure out where she’s going with this. “No matter which form you take, there is always something essentially you that I can sense clearly because I know...well I know you.” Garfield looks at her. Raven clears her throat.

“And I know Star,” Raven says, moving her gaze from Garfield to Starfire. “I can sense what both of you are feeling but sometimes it can be a little harder for me to give it a name.”

“So the brother on the footage? Which is he?”

“Jesse. Envy.”

The team is silent for a while.

“Alone they’d be dangerous. Together, coupled with someone who understands centuries of mystical arts…” Raven trails off. Nightwing nods two times, evenly, militaristically. Every once and a while Raven has to marvel at how certain Nightwing can be about things completely out of his element.

“Why are your brothers attacking now?” Nightwing asks in a way that makes it clear to Raven that not knowing is not an option. She pauses.

“My brothers’ motivations are tied directly to my father’s.”

“Cool so we’re up against old ass magic dragon, sin and evil incarnate,” Garfield runs a hand through his hair, tugging at his roots a little.

“We need to cut this plan off at the roots,” Nightwing says, ignoring Garfield’s comment. “We start with Trigon.” Raven’s is rarely overcome with emotion but she has to fight to trap the sardonic chuckle bubbling from her chest behind her closed lips.

“Trigon is trapped in another dimension,” Raven says with a finality that would make anyone else drop the subject.

“So was Malchior,” Nightwing says quickly. His four teammates snap their heads to him. “Sorry,” he mumbles, looking to the floor.

“You’re not wrong,” Raven says after a moment, then shrugs one shoulder. “But Malchior’s escape is much easier than Trigon’s. Very few beings are able to traverse multiple planes of existence and even fewer are able to go where I put Trigon. Setting him free would be a marvelous feat indeed.”

“Never underestimate your enemies,” Nightwing says, pressing a fist into his palm.

“I don’t. I don’t deny that my brothers are more than likely searching for a way to free my father but he is not yet a part of the equation. We start with my brothers.”

“And if they manage to free your father?”

“Then at least we won’t have to deal with evil incarnate and sin and an old ass magical dragon,” Raven says. Garfield raises his hand for a high five. Raven looks at it before tapping away at the touchscreen in front of the team. Garfield grumbles.

“We need to get supplies to protect ourselves and the tower from sinful influe-”

“Hate to interrupt sister but you were all moving at such a snail’s pace.”

Raven pulls up a protective barrier around her friends before they can even register that someone else is in the room. The man in front of her doesn’t even blink as he plops down on the sofa. Nightwing moves forward purposefully but Raven pushes him back with her powers.

“Leave the barrier and he will play with you like a toy.”

“Now, now, pretty vessel you know we can only enhance people’s natural inclinations,” Jacob says, propping one leg on the back rest of their sofa while the other hangs limply off the edge of the seat. He is sprawled out like a Greek god. His head rolls back. “May I say, this is quite the incestuous little family you have. The lust was rampant when I walked in the room. Although I shouldn’t be surprised Malchior has spoken of your...appetite.”

“Why are you here?”

“Oh why don’t you just drop the barrier? It’s not like you can hold it for much longer anyways. Besides, playing with your friends is not why I am here.”

“You expect me to trust you?” Raven’s voice wavers under the strain of protecting her friends. Even now she can feel Jacob probing the weakest parts of her barrier.

“No I suppose not,” Jacob says, sending the group a crooked smile. He runs his hand slowly up his leg, over his muscular thigh, and drops it dangerously close to the bulge in his unitard. Then he chuckles.

“Our brothers have sent me to ask you to join our endeavours in freeing our father.” “I’d rather die.”

“Ah I said much the same to them. You are much too proud,” Jacob chuckles. It sounds like a bell.

“Original.”

“Ooh your sentences are getting much shorter. I bet I could push through this barrier of yours now,” Jacob says, rubbing his hands together enthusiastically and sitting up properly in one quick, smooth movement. He eyes Nightwing from head to feat. “I’ve pushed through my fair share of barriers in this lifetime.”

Jacob winks. Raven clenches her teeth.

“Alas, I don’t feel much like straining myself today although I can assure you my brothers do not know the same restraint. They wanted me to force you to join our side. But I think your high and noble friends wouldn’t let you turn yourself over to us even if I did say...peel their skin off in front of you,” Jacob says. He reaches for a lollipop in the candy basket they keep in the common room and peels off the wrapper. He swirls his tongue slowly over the confection. “Well, I will not waste my energy.”

Jacob eyes run over the Titans one by one, watching as their muscles twitch with the desire to hurt him. He feels like laughing.

“Protect your tower, conduit. Protect your friends. But as I tell all my lovers, be prepared for the full weight of us.”

Jacob moves to walk out their front door and Raven feels her barrier weaken significantly. Before he leaves Jacob looks over his shoulder with a lascivious smirk.

“And do try to lay with the green one at least once. Your thirst for each other is simply pathetic.”

Jacob leaves.

#bbrae

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midnightrooftops · 4 years

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Don’t Blame it on the Kids

Drabble #2

Story here

Summery: Shouta talks with All Might. Drabble.

Characters: Shouta Aizawa (Eraserhead), Yagi Toshinori (All Might)

MANGA SPOILERS: ch. 303 (well past season 4 of the anime) post-war arc

TW: mention/referenced abuse, mention/reference character death, canon-typical violence, PTSD, amputation, hospitals, panic/anxiety

“Oh, this is a cool one,” Mic says, holding out his phone for Shouta to see. “I think this is what Rumi is getting.”

Aizawa is ignoring him as he looks over the file in front of him.

“She’s getting an arm, not a leg.”

“Yeah, but I think this is the designer.” Mic goes back to browsing. “You think about that fake eye yet?”

“I’m not becoming a cyborg,” Aizawa says, too tired to put any malice in his voice. He rubs his eye from the mention of it and holds back a flinch at the image he sees. He’s getting used to blinking and seeing the fight, really, he is. It’s annoying as hell, though.

“But it’d be so cool,” Mic continues. “Matching glowing eyes. Tracking system to lock on your prey.”

“And yet, I still wouldn’t be able to see 3D movies,” Aizawa deadpans. He’s grateful for Mic, though. The first few days were tough, but Hizashi has gotten better about downplaying it all and Shouta is thankful for it. He can handle losing a leg and an eye. He can. But he didn’t have to weep about it.

“You don’t even go to movies,” Mic says and he’s back on his phone again.

There’s a soft knock on the door, so soft it doesn’t even register to Aizawa until he hears Mic get up.

“Hey there big guy,” he says in his friendly DJ voice. It’s still softer than normal but Aizawa owes that to it being a hospital more than Mic’s sense of comfort for his friend.

“Hello Hizashi,” All Might says and Aizawa looks up and past the curtain to see the skeleton of the man in the door frame. “Could I have a moment with Aizawa?”

“More secrets?” Mic presses but he’s only teasing the old man. All Might, for his worth, looks ashamed by it. Mic laughs, pats him on the shoulder and offers Shouta a wave. “I’m off to refresh the playlist,” he says. “Text me if you want anything from the cafeteria.”

“Thanks,” Aizawa says and watches Mic leave.

All Might closes the door. Not all the way, but enough to imply privacy. He shuffles slowly across the room to the chair next to Aizawa’s bed and sits gingerly.

“When are you getting out?” All Might asks.

“Tomorrow,” Aizawa says, pushing the papers back into the manilla folder.

All Might nods. “They expect Midoriya can leave by the end of the week.”

“That’s good.”

“Indeed.”

The silence settles between them. Aizawa let’s it.

“He hates the hospital,” All Might says and Aizawa almost lets out a real laugh. Of course he does. The poor kid spent more of his first year of high school in the hospital than actual classes. But the reason why that’s the case dries up Shouta’s amusement.

“He doesn’t say that, of course,” All Might continues. “He wouldn’t talk back to a nurse or doctor. He’s not like me. I fought them tooth and nail any time I ended up here.” A smile creeps onto his face. “No, but I can tell. He gets anxious as soon as he has energy back in his body. He’s desperate to leave, even now. After telling you, I could see how eager he was to go home.”

“Was it his decision?” Aizawa asks, knowing why All Might has come.

“Yes.” All Might looks at Aizawa and his eyes are heavy but honest. “It wasn’t that I didn’t trust you.”

“I know.”

“It’s a big responsibility.” It’s an excuse.

“Too much for a kid,” Aizawa says.

All Might nods. For his worth, he seems to sincerely agree. “In my retirement, I’m beginning to think it’s too much for anyone to bear.”

Aizawa sees the way his shoulders hunch, the way his spine, even through the suit, is still visible. He sees the skin pulling at the man’s face and hears the rattle of blood in his breath. For all the times All Might has been in his natural form around Aizawa, he never wanted to see the hero. It was a painful sight.

He thinks, for all Shouta’s criticism, he can agree with that. Which begs the question…

“Why him?”

Why Midoriya? Granted, he knew now he knew nothing of the kid. He’s been pouring through Midoriya’s records, trying to figure him out, trying to make sense of what he was just told.

A smile crosses All Might’s face and his eyes aren’t looking at anything in the present anymore, they’re seeing the past.

“He asked me, once, if a quirkless kid could be a hero. And for all my honor and duty, I told him no.”

Quirkless? Quirkless?!

“And then, when a villain was attacking his friend and no other heroes, including myself, could step up to save him, Midoriya ran straight into the fight.”

Aizawa knows about the sludge monster incident. Mostly from Bakaugou’s file but he knew Midoriya was involved. Jumping in without permission. It was a red mark against the kid.

But not in the version All Might told.

“Put simply, that boy reminded me why I was a hero. He has that power inside him, the one we can’t teach, the one that has nothing to do with One For All.”

Aizawa knows what he’s talking about. Usually, it’s the reason why Midoriya is the problem child of the problem class. But it’s a spirit he’s seen in the best heroes.

“I know you don’t agree,” All Might says. “I thought All For One was dead. I thought he had more time. Time to grow and develop...” All Might bows his head. “It’s no excuse.”

It’s not, but it explains some things.

“You said he was quirkless?”

All Might nods. “I should think that’s his part to tell,” he says and again, Aizawa can agree with that.

But…

Damn. Midoriya being quirkless makes sense. Aizawa remembers the beginning of the year. He remembered the entrance exam.

Midoriya wasn’t a lazy kid. He wasn’t just overusing his quirk to get attention or try to impress people, like Shouta originally assumed. He literally had no control.

“Who else knows?” All Might looks confused and Aizawa supposes this was one of the things he missed in the discussion earlier.

“Nedzu,” he says and Aizawa has to hold back a groan. Of course he did. At least All Might wasn’t the only one at the school to blame. “Chiyo. Mirai did. Detective Tsukauchi and young Bakugou.”

Aizawa nearly chokes on his own spit.

“Bakugou?”

“He’s been helping Midoriya train,” All Might says and… yeah. That makes a lot of sense. Aizawa can probably put a date on exactly when Bakugou learned.

“The after-hours fight?”

All Might nods and there’s a smile in his eyes.

Of course.

“He respects you,” All Might says. “It’s one of the reasons why he didn’t tell you. Not just because I asked him to keep my secret, but I suspect he didn’t want to influence how you saw him. From my time knowing him, he hasn’t shown the least interest in fame or admiration. He wants to be the best, but not for the title. He wouldn’t want you to judge him based on my quirk.”

“He’s going to have serious issues,” Aizawa says and All Might coughs, spitting blood. Aizawa doesn’t let go of his glare. “You gave a quirkless child the perhaps the most powerful quirk in the world and asked him to carry on your legacy. These kids are under enough pressure at school.”

All Might had the good sense to look ashamed but then he smiled.

“I know it’s unfair to ask it of Midoriya,” he says. “And, to be truthful, part of keeping the quirk a secret is so that he doesn’t have to carry on my legacy.” All Might’s eyes twinkle and Aizawa doesn’t know if it’s tears or just how he looks when he’s inspired. He’d believe either. “When I gifted young Midoriya my quirk, it was to give a quirkless child a chance to achieve his dreams. He was never supposed to face All For One. I thought I had ended that monster. On my life, I thought he was gone.”

It was the closest to hatred Aizawa had ever seen from All Might. The tone of his voice, while still constrained, seethed something Aizawa never heard from the hero. He couldn't tell if it was directed at the villain or the hero himself.

Shouta sighs, his head pounding with this new information. Not just that Midoriya was supposed to face this horrible threat but that Bakugou knew about it and that, perhaps, some of the other students. He wasn’t even focusing on Todoroki yet and all the news about his life out there.

“It’s not my business,” he says.

“I’m respecting Midoriya’s wishes,” All Might says. “He wants you to know. And I’m glad you do. Without you, I can’t imagine what would’ve happened to him.”

What would’ve happened to Midoriya? It was Midoriya, Bakugou and Todoroki who had saved Aizawa in the fight. For all the pro heroes there that day, those three showed up and beat the villain back. He could scold them. But when had that worked before? And, as he was currently down a leg and eye, he couldn’t fault them.

Even when it was Midoriya who, after identifying the threat, had run and led the villain away from civilians. While he could scold Midoriya for returning to the fight, Aizawa would be dead if the boy hadn’t returned. How do you explain that to an up-and-coming hero sworn to protect others?

Even so, all three of them had gotten so close to unlucky. That’s what it was, really. He could preach all he wanted about talent and skill. But in the end, sometimes it was pure luck. Sometimes, it was just him who got picked up over another hero and that’s how he’d survive. Sometimes it’s self-sacrifice, sometimes it’s just luck. Sometimes he thinks-

“Aizawa?”

Shouto looked up, unaware how long had passed since their last exchange. He couldn’t remember the last thing they spoke about.

“I suppose I should let you rest.” All Might moves to leave.

“All Might,” Aizawa says, then corrects himself. “Toshinori. Thank you for telling me. I’ll teach him everything I know.”

He doesn’t think he sounds desperate, he hopes he doesn’t. He doesn’t know why his heart is beating so fast. He doesn’t understand why he’s suddenly so upset.

But All Might, Toshinori, gives him a small, soft and warm smile and nods.

“I wouldn’t trust him to anyone else,” All Might, former number one hero, says. He leaves the room.

Aizawa doesn’t know why the room is spinning. He doesn’t hear when Hizachi comes back. He hears his ridiculous excuse of a joke bring him back to the present and settles back in.

#shouta aizawa #eraserhead #all might #yagi toshinori #bnha #bnha fanfic #drabble #manga spoilers

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aj-anime-blog · 3 years

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Deca-Dence - Review!

Wooooo Deca-Dence!

Deca-Dence was a summer 2020 anime, and that’s when I originally watched it! I've watched it about a dozen times since, as it landed itself right on my roster of my favorite animes, if not my favorite of all time.

Deca-Dence is an original piece, so no manga source material (whaaat!) and comes from the genius brain of Yuzuru Tachikawa, the director of other fan-favorites like Mob Psycho 100 and Death Parade (a review for Death Parade is in the making!). Original mangas are such a hit-or-miss recently, and I think that this one got the bullseye!

What's our concept?: Set in the future, the world is now plagued by monsters known as Gadolls. In an attempt to keep humans safe from them, mobile fortress Deca-Dence was constructed, where Gears, who live near the top, fight the Gadolls, and Tankers, who live at the bottom, provide support from inside Deca-Dence. Our protag, Natsume, is a Tanker who wants to fight with the Gears, but her prosthetic arm keeps her out of battle. That is until she meets Kaburagi, an older Tanker who seems to know his way around fighting and might have more to him than he lets on.

It's gonna be hard to go through this without spoilers, but I promise that I'll keep it spoiler-free until the section at the bottom!

So overall, what do I think?: 10/10! I've already said it, but Deca-Dence is one of my favorite animes of all time, and it deserves the spot! It has incredible characters, a story that keeps you hooked even through twists and turns, and a pace that manages to cram so much plot into only 12 episodes without feeling overwhelming or rushed! Deca-Dence presents ideas that, at the surface, may seem overused or old, but spins them in such a way that they're completely original. It follows through with character relationships, making them worthwhile and fulfilling.

Let's start with the story this time!: 10/10!! It's going to be really hard to explain the beauty of Deca-Dence's plot without spoiling it, but I'm doing my best! I really do recommend just giving the show a try, though, as it's really worth it! (Don't just drop it after episode 2, like a lot of people did :( That's just judging it wayyy too early!!)

Deca-Dence has a story that's thrilling and new. Everything that happens builds off of itself in a way that's natural and smooth. The elements of the story, no matter how different they may seem, play their part and work together well. The show isn't predictable either - don't go in thinking that you know what's going to become of it. Each twist feels surprising and new without feeling like they're coming out of left field.

I won't say much more in fear of ruining it, but Deca-Dence's story holds up well, and with its strong cast of characters supporting it, it becomes absolutely suburb. I think a lot of people fell into this pit of seeing only the beginning and tossing it aside, but no matter how strange the concepts in it may be, they wind together to form something really unique!

So those characters, huh?: 11/10, I love them so much! I'm a character nerd through and through, and Deca-Dence sends my little character-obsessed heart wild. The protags, Natsume and Kaburagi, are both fascinating, have incredible development, and engage in a character dynamic that is so natural and well-written that I never doubted it.

To be honest, Natsume doesn't have a personality that's anything new. She's young, determined to a fault, naive, and a complete sweetheart. She wants to fight the Gadoll and she'll do anything to achieve that dream. She's not a natural at fighting but her motivation to do so makes her believable and relatable. She's looked down upon because of her prosthetic arm and forced into a job that she doesn't like, but she never gives up on her goals. Even though she's so simple, her interactions and energy make her lovable and a wonderful protagonist.

Kaburagi follows the washed-out warrior trope, as he's an older man assigned to clean-up duty who keeps to himself and never shows too much emotion. While this type of character can sometimes get annoying, the show gives Kaburagi enough time to show his real feelings and explain how he got to his position. This proper development keeps him down-to-Earth and shows him as even more flawed than Natsume. Kaburagi's motivation, which I can't explain for spoiler reasons, is entirely believable and explains perfectly why he decides to put up with Natsume, even though she's his polar opposite.

The relationship between the two characters is balanced and beautiful. It's given the proper time to grow, mature, and ends up being extremely worthwhile. Natsume relies on Kaburagi, as he sees the potential in her and continues to support her in ways no one else ever has, and Kaburagi understands that Natsume is everything that he's trying to rebel against. Their relationship is emotional, runs deep, and leaves you wishing that there was more of them to watch, even after the show has ended.

The villain! The villain. I cannot talk all that much about the villain at the risk of spoiling. He is evil. I really really hated him, and that is a very good thing because it means that he's well-written. His motivation makes sense, his actions make you want to strangle him, his design was really really good! He's not the most interesting thing in the show, as his character is really only there to move the story along, but not every villain needs to be incredibly deep for a show to be good.

Lastly, our supporting characters! While none of them are as wonderful as Natsume or Kaburagi, they're still interesting and hold their own. They play important parts in the show and all of their interactions with the main two feel natural. Their conflicts make sense, their resolutions feel well-earned, and their personalities are all unique! For a 12-episode anime, there's a larger cast of supporting characters than you would think, and nearly all of them are memorable and loveable.

Time to shut up about characters, what about the art?: 9/10, ooooh yes the art! Deca-Dence is gorgeous! It's animated by studio Nut (bwahahhaha), who haven't done that much else in the anime world. Still, for a relatively new studio, it's absolutely amazing! The characters all have unique looks that make them stand out and the fight scenes are to die for. They lose a point on the CG, since it's a little bit less than amazing, but again, for a new studio, it's definitely not the worst I've seen!! (Admittedly, I also don't like CG much at all, so I'm always harsh towards it when it's used).

Deca-Dence switches between two styles that vastly contradict each other, one which is a colorful, happy-go-lucky style, and one that's the more typical anime style. I'll speak more about them in the spoilers section, but they do a wonderful job at maintaining the tone of the show, as to not let it get too dark, and forming a clear divide between the events of the two parts.

Oh goshhh the Gadolls look so cool. I'm so obsessed with cool monsters in anime and woah they look awesome!! They're original, with cool designs that I haven't seen elsewhere. The show could've so easily slapped in some pretty typical-looking dragons or wolves or whatever, but they instead spent time on these epic creatures, and it's so worth it! It makes the setting that much more unique and allows it to stand out from other animes.

Surely there's a flaw in this anime? The pacing, maybe?: 9/10. Yeah, I would argue that the pacing is Deca-Dence's weakest point. Not that the pacing is particularly bad compared to other shows! I still think that, for a 12-episode anime, it does a wonderful job of fitting in a large amount of plot into only about 5 hours! But, at some points, parts felt rushed or confusing, as the show would zoom into them. I never felt like I was truly lost, though. Even if I did wish that there was a break from the action, I never found myself really thinking that the show was leaving me behind in the dust. It's not the kind of show that you can turn on and leave running while you multitask, though. Blink for too long and you might miss something important, which can ruin some of the hard-hitting twists that the anime works so hard to build up.

OK! Time for spoilers! I beg you, go watch the anime before you read past this, because it's totally worth it!!

Woahh episode 2 am I right?? I thought that I clicked into the wrong anime when I began it, it took such a wild turn, and so soon in the anime too. This is what I really mean when I talk about a show not being what it appears to be! Again, I really encourage you to watch it for yourself, but if you're that stubborn on reading this through before you turn it on:

Deca-Dence is not about the heart-wrenching battles between Gears and their desperate attempts to keep humanity alive, because Gears are just avatars for cyborgs! You see, there's a civilization of cyborg people who are living above the Earth, who log in to fight in mobile fortress Deca-Dence as a game. So the Gadolls are genetically grown as prey for the Gears and the entire story surrounding Deca-Dence's battles are scripted. Crazy right!? The best part: the Tankers aren't in on this at all. You heard me: Natsume and her human friends have no idea that Deca-Dence is staged.

From here, Deca-Dence has two distinct parts: we'll call them "Natsume's half" and "Kaburagi's half". Natsume's half refers to the mobile fortress, the Tankers who live unaware of the cyborgs, and the art style that premiered in the first episode. Kaburagi's half is the Solid Quake organization, the Gears who are avatars of the cyborgs, and the goofy, stylized art style with big lines and bright colors.

The twist and the diverging sides of the story set this show up as not your typical sci-fi anime, but as something a little deeper. The stakes are the same, as humanity is in just as much peril as it was before - it becomes abundantly clear that the Gears and cyborgs don't care about them - but the name of the game completely changes as you realize that our so-called "heroes" aren't really all that heroic, and there's a lot more going on.

Kaburagi is, of course, one of these cyborgs, cursed to live among the Tankers because of a mistake he made while playing as a Gear. Now, he's in charge of eliminating "bugs", or mistakes that the system finds. He's upset with his life, frustrated at what he's doing, and contemplating suicide. But when Natsume walks into his life, a little girl that the system considers legally dead, Kaburagi sees a chance to rebel, even the slightest, against the system. He's supposed to kill Natsume, but instead, he takes her under his wing, determined to protect what he's been instructed to eliminate. This development gives their relationship a deeper meaning, even if Natsume doesn't know it.

Deca-Dence does a wonderful job at showing the watchers both sides of the story but keeping Natsume's side in the dark. Even though we see scenes from Kaburagi's side, Natsume knows nothing about them. When Kaburagi leaves after Hugin kills his avatar, Nastume doesn't know where he's gone and has no reason to believe that he hasn't run away. There's no way she could guess that Kaburagi's new form - his weird orange Gear avatar - is the mentor that she once knew. And when Kaburagi, back in his original form, is killed in front of her, she really believes that he is dead. When Natsume finds out about the truth of the Gadolls - that the world she knows is fake - her horror is palpable and realistic, because there's no way she could've known any better.

Kaburagi's world has a goofy style to it, with the cyborgs looking cartoonish rather than realistic. While it might initially seem off-putting, I think that it ends up balancing the tone of the story much better. Consider the hellscape that is the reform facility that Kaburagi visits. Imagine how dark it would've been if it was not in a silly style! By keeping the style cuter rather than realistic, the show doesn't dip too far into dark and gritty, and I really liked it!

It also set up this harsh divide between Kabruagi's half, where things are easygoing, done for pleasure and fun, and not nearly as harsh as Natsume's world (Look at the name of the series! Decadence literally means living in excessive luxury!). Even when the cyborgs are in their Gear forms, which are drawn in Natsume's style, they're still a lot more colorful and vivid, showing that their lives aren't as harsh as that of the Tankers. The art styles reflect the differences between the two halves and give them both distinct tones and personalities!

& finally, let's take an in-depth look at one scene!: I had a really hard time picking what I thought summed up the series in a single scene. In the end, I think that Natsume and Kaburagi's discussion at the end of episode 7 was the best. Here, we see a culmination of a lot of the character development going on. Kaburagi, in this scene, is in a Gears avatar that Natsume doesn't recognize, meeting her for the first time since his normal avatar was killed. Natsume's been working with the Tankers to protect them from Gadolls that infiltrated the fortress, and she's motivated them all to rise up and fix the hole in the fortress themselves.

Kaburagi has encouraged Natsume to be a stronger person, even though she had to be independent and not rely on him any longer. His pessimistic view on the world - that they'll never defeat the Gadolls - has rubbed off on her, but it's only made her more determined to be stronger to stand up to them. In this scene, we see her breaking down as she considers that Kaburagi might be right, and that she'll never kill them all, but that she needs to continue fighting.

Though Kaburagi previously doubted Natsume and her endless determination, he now feels filled with the same motivation. Natsume has convinced him, time and time again, that he can't give up, and so he decides that he's willing to do anything to make sure that she never loses that hope. He wants her dreams to come true, and he knows that she can't accomplish them alone.

This perfectly shows the effects that they have on one another. Natsume is now stronger than she's ever been: independent, able to take down Gadolls on her own, and determined enough to patch up the hole that no one else thought could be fixed. Kaburagi, in stark contrast to his suicidal thoughts from episode two, is now completely devoted to make the world a safe place for Natsume. Their relationship has shaped one another into being the best versions of themselves, and this isn't even the end! They still complete their growth in the last few episodes, but I've rambled about them enough.

We're done!: That's my review of Deca-Dence! I really believe that it's one of the masterpiece animes in recent years, and I wish it got more attention. I'm sure that there's plenty of anime out there like this one - forgotten diamonds in the rough - that I'd love to dig up and fawn over. Tell me if you know any! Or, if you disagree with my review, tell me where you think I'm wrong!

#time to go rewatch deca-dence #writing about it has made me miss it so much #its sooooo good #please check it out #it's so worth it #studio nut #bwahahah #studio NUT #lmaoooo #please tell them to get a better name #deca-dence #anime #anime review #summer 2020

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gofancyninjaworld · 4 years

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The Changing Structure of the OPM Story -- and the Challenge of Adaptation

I've been thinking a lot about the structure of OPM and how it's been changing as we get into the story. I really don't envy anyone who has the task of adapting OPM for screen, particularly as the story advances.

Something that Shingo Natsume says in his interview with AnimeLab Australia really brought it home for me. He says that it's not correct to call the characters around Saitama a 'supporting cast' as they all have their unique roles (start around 2:30). And that got me thinking.

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I think we can broadly divide OPM’s story so far into four phases (the divisions are arbitrary, but I hope useful)

Phase I: INDIVIDUALS

When OPM starts, it's all about the individual characters and there's little focus on the world in which they exist in. It's natural, because we're just being introduced to them. We start out, it's just Saitama, wandering around in splendid isolation. He’s in a world that’s bizarre with giant brothers and underground civilizations, but nothing is explained to us. He exists.

Then it's Saitama and Genos, and it all gets very cosy. Then we add another character. And a few more. We see how they do, we see what some of the people of the world make of them, but we have to take everything on face value, we don’t have a lot of history or context.

Still even at the end of the first phase, we've got not that much context other than that the Hero Association exists to deal with the monsters and threats we see, we've met the Class S heroes and the wider world isn't really in focus as to what their relationship to it means.

The alien invasion really marks the end of this phase as we can’t help but hear what the world makes of the world-shaking fact of having been contacted by aliens and the tragedy of the destruction of a major city.

To adapt it, Shingo Natsume decided to frame the story as a drama first and then a superhero story only secondarily. By doing so, he really made the best of the characters as individuals. We didn’t know why they were the way they were -- in fact, we still don’t entirely know -- but we could come to understand who they were and care about them and be bothered by their relations with the world. We see a lot of it from Saitama’s place and the inhabited world looks remote, fickle, difficult to understand and even hostile. And yet, we get lots to laugh about too.

Interview with Shingo Natsume - Animation Director [Episode 3]

It’s only a couple of minutes long, you’ll want to watch it all.

Phase II: INDIVIDUALS and the world

When King gets introduced, things change. Unlike all the other characters, we don’t get to know King himself, what he says, what he does. Rather, we get what other people around King see in him. What he means to them.

This is where I start not envying people. The first phase, if you’re doing an adaptation, you can largely get by by focusing on the individual characters and their interactions with each other. The second phase is a lot more balanced between the individuals and the world.

As Garou starts cutting a swathe through the heroes and the Monster Association makes life hell for people, the world shares importance with the individuals we're following.

I think that's where season 2's adaptation really struggled. It didn't do such a good job of portraying what all that strife meant to people, the terror and confusion they were feeling, and what a threat to the reputation of the Hero Association it was. Every corner JC Staff cut in not showing the crowds of people, in not showing the extent of destruction or public consternation, every last bit hurt the impact of the story.

When the Monster Association directly challenges the Hero Association, they’re not just out to destroy a group of heroes. We started this phase understanding how people have been able to trust that even in this chaotic world, there are heroes who can end the evil threatening them, or else save them from the danger. And that faith is what is very directly under attack now.

Of course, a certain teenage jerk thinks he’s got what it takes to be the most important individual in the world.

If I were thinking of a frame for this phase, it’d be the loss of innocence and really made the linkage between Amai Mask’s yelling at the heroes at the end of the last season, the faith we saw people have in King and the growing sense of dismay and even betrayal as monsters arose and heroes were nowhere to be found. It’s an increasingly urgent background against which to set the very personal struggles of the various characters we’re following in this part of the story. One that will have a lot of relevance later.

Phase III: Individuals in the World

Whoever takes OPM forward, that problem is only going to get worse. The story moves around ever more relentlessly from scene to scene, from individual to individual and along with it, the world does too. Where to place the weight of our attention is a matter of choice and mastery. Succeed, and we have an epic conflict. Fail and it’s ‘all these things are happening and I can’t keep anything straight.’

Some of that weight needs to be put on the world. Almost from the start, the story frames the individual actions in the context of what it means for the world. We've got the Monster Worship Party, the people so scared of what's happening that they'd rather limit the damage than risk being all destroyed. Garou’s dismay when he realises that he’s not going to be the biggest thing in the world is sobering.

reality, it bites

It’s in this phase that world-building gets serious. We learn about what monsterisation is, are introduced to the concept of a limiter and how individuals may gain power. The manga also builds out more in terms of just why the conflict is happening in City Z, linking together the apparently random dreams of Saitama to the location and the history of just why that part of the city was deserted.

The stakes are clearly drawn by the manga. We literally have two towers rising out of the ruins of a city opposing one another. The Tower of Justice built out of the ashes of City A and the Tower of Despair hauled up through the ruins of City Z. It’s not just the physical struggle between hero and monster that we get, there’s also the philosophical and even spiritual strife between them. A struggle seemingly for the well-being of humanity. All with bonus Garou going through both like a wrecking ball.

and of course, set against all the titans battling, the ordinary little man who has broken past the rules of the world

Phase IV: THE WORLD and its individuals

And now, after the Monster Association, we have the WORLD and the individuals are much smaller. It's become about the movers and shakers and the organisations that influence the world and the individuals are actors going about this changing world. The Hero Association has come in for a critical re-evaluation by the media and public. A rival organisation has arisen. Other organisations start to flex their muscles with varying degrees of covertness, all looking for power and influence.

The history of the world starts to come to view. We learn about the peculiar physical and human geography of this world and a lot more about the role monsters play in the world.

Individuals aren’t forgotten. We start too, to get more background on many characters whose behaviour had hitherto been rather difficult to understand.

It’s been interesting to see Garou’s actual impact. He never became the greatest monster the whole world knew and feared. Rather, he served to potentiate the resentment and strife between the various classes of heroes.

to be fair, this has been a long time coming

We started OPM with all these weird individuals and we loved them as the slightly crazy eccentrics they were. Now one by one, we're getting the contexts they come from and it's beginning to make sense.

all those crazy individuals -- the insecure and empire-building Fubuki, the needlessly antagonistic and over-possessive Tatsumaki, the obsessive ninjas -- all of them are starting to look a lot less crazy. even the cyborg ranting and raving about a mystery cyborg who devastated his life isn’t looking quite so far-fetched any longer. Their truths look to be sadder and wilder than we’d imagined.

The world of OPM is bigger and weirder than any one person within it is able to experience or understand. ONE so far is doing an interesting exercise in telling us about the world, but showing us what it means for the individuals affected by its various aspects.

How an adaptation will keep the story interesting and human and focused while bringing in the sense of scale and context is going to be a real challenge! I do not envy the director. But it's going to be so worth taking on.

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#OPM #meta #story structure #the changing emphasis on the individuals and the world in which they exist in is interesting to observe #ONE has permitted us to enjoy a lot while still keeping it human by focussing on what it means for the individual #but the world does matter -- how an adaptation keeps the balance is going to be good to see #30th #June #2020 #June 30th 2020

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albatross-tech · 4 years

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So I'm bored. Let's list every Au of my main 5 bois.

This is more for myself then anyone else.

Edwin:

Swap: History and Personality swapped with Nicolas. See previous posts.

Swap2.0: History and Personality flip flopped to a line with Carter. He is a shy artist bean that likes to keep to his small group of friends. Was bullied for his large glasses. Is Raised/Taken in by his gay Uncle Vex and Vex's husband Abaddon.

Eloise: Edwin but girl.

Regal!Edwin: Instead of raised by his adoptive human father, he is raised royal grandparents. He is much more serious, proper and reserved. Speaks in an old English accent.

Human!: Edwin but human and in a human world.

Evil!: Edwin but really Evil. Probably Raised by Loki. Very sadistic and manipulative. Not very caring and gets a kick out of suffering. He works with Reapers and manipulates humans to do his bidding. Gets into a lot of trouble.

Void!: Edwin but lonely and trapped in the void.

Nicolas:

Swap: History and personality swapped with Edwin. See a previous post.

Swap2.0: History and personality swapped with Takashi. His parents are alive but divorced. He was raised by his Mother. Although expected to take on her place in the Outer Library...he loves fashion. He has extensive knowledge on trends and new fashion. He makes his own clothes on the side and probably runs a cute blog and instagram where he poses in adorable pastel outfits he made along with his adoptive sister, Annabell.

Nicole: Nicolas but best girl.

Family!: Nicolas but his family is well and alive. He isn't a hunter but he wants to explore the universe to learn what's out there. Often this universe overlaps with the Regal!Edwin universe. He is a lot more calm and optimistic.

Evil!: Nicolas but he is a raging serial killer.

Human: Human Nicolas. Not a hunter and not a teacher. He is a genius but not that level of Genius.

Outer: Nicolas but raised with by Aunt in the Outer Library. Still doesn't like humans but he doesn't have as much murderous intent. Very adept in magic and is being trained to take his place among the council.

Takashi:

Swap: History and personality swapped with Carter. A burly and calm Oni that likes to draw manga. He has made a couple books. Born in Japan, after an accident His parents were Killed in a Crash. He was taken to be raised with an Aunt and Uncle when he was practically a newborn. During Middle school they went to America where he Met Nicky (Swap!Nicolas) who became his first friend in the new country.

Swap2.0: Personality and History swapped with Nicolas. His family was slaughtered by priests in Japan. Takashi was taken by the schooling system and put into protection in America. He ends up being an assistant Nurse in the school district because of his power. At night he hunts monster hunters. He is very adept in his BioKinesis. Even going as far as Necromancy. He is a very large and foreboding individual. Most fear this oni on sheer sight alone.

Tanbio: Takashi but Girl.

Evil: Takashi but he acts like an actual Oni. Cursing town and setting pestilence on a city for the hell of it. He is very chaotic and does this for entertainment.

Human: Takashi but Human. He is tall and buff. Probably wrestler. He gets along well with girls for his confidence. And isn't afraid to show his more sensitive side.

Foriegn: Takashi but he has never been out of Japan. Put him in any other setting and bumbles around like a doofus. Tripping on words and customs.

Carter:

Swap: History and Personality Swapped with Takashi. He is still a Chonky boy. His family is from Germany. His parents are alive but divorced and on good terms. His mother let him room with Nicky while going to an American academy, for the experience. He keeps in touch with them though along with his Adoptive sister, Suzie. Suzie is always willing to be a model for him when he makes clothing. This Carter is a body positive boi and very up beat. He thinks people can look good no matter what their size is, so he has a blog and Instagram where he shows off his creations for plus sized people.

Swap2.0: History and Personality swapped with Syris because It's a challenge. This Carter is thin and Malnourished. He has Amnesia, He has forgotten how to talk. He was kidnapped and held captive by Hunter due to his family's association with Monsters and demons. They have been trying to get him to talk but this Carter has been hit in the head a couple of times. If saved, he will become clingy to his savior.

Cathy: Carter but Thicc Girl.

Cyborg: In the human verse, Carter gets to be the special one. He is a cyborg among humans. His parents are government scientists. After an accident they worked hard to save their son from death...making him a Cyborg. His hides his Robotic parts with fake skin.

Hunter!: Carter in the Evil!Verse is a Hunter. He isn't friends with the others and could arguably be the only good one in the bunch. Was actually trained by a Reaper, Loki, to help control the evil population of monsters. He isn't overweight in this one but is mostly small but buff as hell. His parents were murdered by monsters. Kinda like a reverse Nicolas.

Monster!Carter: Carter is a monster among the others. Specifically he is a Fallen angel. He and his parents were kicked out of heaven for being a bit rebellious of the Rules. They were told they could come back if they help punish 200 criminals...but they're rebellious so they don't care. This Carter is still big but he had Black wings and a broken Halo on his head. He has some piercings as well. He becomes fast friends with demons because chubby little rebel in him. He is passive aggressive though.

Syris:

Swap2.0: History and Personality swaped with Edwin. This Syris is a lot more Social then Normal Syris. His parents only had him for cult reasons and wasn't treated well and only as a servant for his Eldritch father. Till his mother was chased out of town and the little monster was taken in by a Good!Loki. That Loki simply runs a line of burial services across the country. Caskets, Urns and other things. Anyway, this Syris likes to Wear Cyberpunk/Goth clothing in human form. He has his hair dyed brown with highlights of black. He loves to make techno remixes, music, synthwave and often Djs as Raves in his Teens. His best friend Edwin that he met in Middle school. They work on a lot of projects together. Syris often makes the music behind Edwin's Animations. Syris and Edwin often practiced Korean together in middle school. Nicolas in this universe is their other friend from France. He rooms with Syris in the Country side Villa they have. Syris has taken to helping Nicolas add to his style of clothing.

Sarah: Feminine Syris.

Human: Human Syris. Still a bit clingy by nature...he is in foster care and gets moved from home to home. So when he makes close friends he doesn't like leaving them.

Pure Evil: Syris is a borderline character in terms of Alignment. This one is pure Evil. He is very selfish and self absorbed. He runs a cult...based around himself where he brainwashes humans to worship him. He often has people sacrifice themselves to him...or their family for a favor.

Pure good: This Syris is a bean. He just wants to be loved. He isn't as pushy as normal Syris. He often tries his best to do good for others...even if people are afraid of his appearance. He is very protective of his friends and often goes into 'Papa bear's Mode.

Pet!: A mini version of Syris. He is a small chonky bean that likes being pet and held. He is about the height of a teddy bear. That is all.

Civil!: A civilized version of Syris without the problems that made Syris the way he is. He was raised like a normal kid. This Syris is not clingy. He enjoys attention but isn't going to actively go after someone. He is a gifted student in cosmic magic. He wants to work in NASA when he gets older. He enjoys cooking and writing. He particularly like to write fan fictions and horror novels. He can also be called School!Syris.

That's all for now. I'll probably put down more later. I mean I do have more... Like Animal and Mermaid versions but those are self explanatory.

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multiverseforger · 4 years

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Arcane is a scientist whose obsession with gaining immortality has led him to create monstrous creatures known as "Un-Men", as well as other monstrous biogenetic experimentations involving the dead. He was able to resurrect his deceased brother Gregori as the Patchwork Man. He is also a skilled magician, which he is able to channel through his horrific experiments.[2]

Living in the mountains of Europe with his niece Abigail, Arcane is introduced after he discovers and lures the plant-based hero to his castle home. Arcane sought to use his scientific and magical abilities to transform his body into the Swamp Thing's form, while changing the Swamp Thing back into Alec Holland. At first very grateful to be human again, Alec soon overheard Arcane discussing his evil intentions now that he could carry them out. Alec then succeeds in breaking the spell Arcane cast, and sacrifices his humanity, so Arcane becomes a frail old man again. Pursued by the Swamp Thing, Arcane fell to his death, only to be resurrected by his Un-Men in a new body. He then attacked the Swamp Thing twice more before truly dying, the first time as a hulking corpse-like Un-Man (only to be destroyed by the vengeful ghosts of African-American slaves who had possessed his Un-Men) and later as an insect-like cyborg piloting a massive dragonfly-like vehicle that is actually a tesseract (i.e., its interior is larger than its exterior). It is after his third death that his soul was consigned to Hell.

Arcane's soul later escaped from Hell and ultimately helped to summon the demon Monkey King into the world.

After a fight with Abigail that culminated in her leaving on foot to find the Swamp Thing, Matt Cable (Abigail's husband) had an attack of conscience and drove after her. He had been drinking heavily and wound up crashing his car, leaving him mortally wounded. Ultimately Arcane managed to possess Cable's body, and with it gained access to Cable's godlike power.

In this body, he masquerades as Cable, claiming that he has a new job at a company called Blackriver Recorporations and is buying a mansion for them to live. Arcane combined his own magic with Cable's inherent psychic powers to alter reality and the employees of Blackriver Recorporations were the resurrected souls of deceased serial killers returned from Hell. He finally revealed himself, tormenting his niece and causing havoc and insanity by altering reality on a massive scale. For miles around natural and unnatural disasters occurred, people succumbed to homicidal instincts and the resurrected serial killers returned to killing.

He once again battled the Swamp Thing, accompanied by monstrous forms resembling Un-Men, after killing Abigail and condemning her soul to Hell, all the while declaring Earth as his now.

It was during this battle that Arcane found that the Swamp Thing was a plant elemental and thus possessed semi-magical abilities, allowing the Swamp Thing to combat him on a more even ground. The battle was enough for Matthew Cable to regain control of his body, and Arcane was exorcised directly back to Hell. Cable used his awakened power to resurrect Abigail's body, but not having sufficient power to repair himself, became comatose and finally died, whereupon he became Matthew, a raven living within the Dreaming.

Arcane next appears as a demon, having been promoted to this status by the Lords of Hell. He attacks Swamp Thing yet again, only to be defeated. In a later episode, Arcane temporarily repents of his evil ways after having briefly found God, who eventually banishes him back to Hell. Arcane is tortured by the demon Josephine, whom he seduces into helping him escape. The Swamp Thing defeats the two demons, causing their forms to morph together, and when last seen, it is revealed that the Arcane/Josephine being is pregnant.

The New 52Edit

In the wake of The New 52 (a 2011 reboot of the DC Comics universe), Anton Arcane is a regular antagonist in the monthly Swamp Thing comics.[3] After Abigail was able to fight off the mental control of Sethe, Sethe revives Anton Arcane from the dead.[3] as the avatar of the Black (a.k.a. the Rot), after which he tries to take over the Red (colliding with Animal Man as well) and the Green. Anton also has a son named William Arcane and Abigail is his daughter in this timeline.[4][5]

During Animal Man and the Swamp Thing's one year in the Rot, Anton Arcane and the forces of the Rot were able to take over parts of Earth. It was mentioned by Frankenstein that Anton Arcane had imprisoned someone beneath Metropolis.[6] When the forces of the Red and the forces of the Green converge outside of Anton Arcane's castle, Anton Arcane unleashes corrupted versions of Maxine Baker and Abigail Arcane.[7] Anton Arcane and the Rot's conquest of Earth is thwarted and undone when Maxine breaks the hold of the remaining Hunter's Three on her.[8]

After being defeated by the Swamp Thing, Arcane is put in a Hell specifically made for him by the Parliament of Decay when nothing ever rots and all is forever pure. Abigail, as the new avatar of the Rot, comes to him demanding information about her mother. Arcane reveals that when she was a baby she already had power over the Rot and she accidentally killed her by 'filling' her with the Rot. To make him talk Abigail lets him feel rot, but she now says he will never escape his Hell and will never touch rot again. Arcane says that when he touched it when she gave it to him, he became stronger than he had been in ages and he will escape and take revenge on both her and Alec Holland. As she teleports away, Arcane rips out one of his eyes and throws it in the portal. On Earth, a boy is about to eat an apple when it turns rotten. He throws it away and Arcane's eye appears in it.[9]

In Swamp Thing (vol. 5) #36, when the Swamp Thing goes in the Rot to warn Abigail about the new realm of machines, she initially assumes that he is there because of Arcane, who has escaped.[10] It is eventually shown that he has returned to Earth, but since he is not the avatar of the Rot, he can only gain strength from consuming rotten items, like corpses and garbage, and as such is terribly weakened. He joins forces with the new realm of Metal, which promises him the power that he lost, and his power does grow greatly in this time. He later poisons the Green from within, when the Swamp Thing is weakened in an attempt to destroy it, but this fails when all the avatars of the Green are awakened and use their power to cleanse the Green to its original state. Abigail challenges Arcane in the final war against Metal, and while she has the upper hand, Arcane eventually escapes.

In Futures End, it is revealed that five years in the future, a series of events conspired to ensure that all avatars swore to stay off of Earth and within their own realms to prevent chaos. Arcane only agreed to this if he was allowed to bind himself to Abigail forever, as seen when his left hand and her right are completely fused in a twisted embrace and when he calls her his "daughter-wife". In doing so, he allowed himself to leech off her power, as the true avatar of the Rot, and ensuring that the Swamp Thing could not fight him, without risking harm or death to the one he loved. However, the Swamp Thing has made the decision to destroy the Rot, using the power of a Life through a White Lantern Ring. Arcane attempts to dissuade him, by citing the necessity of death and rot, but the Swamp Thing counters it by saying that fungi/the Grey and bacteria/the Divided have already decided to take over the role of rot, while Metal will keep them in check. Arcane then tries to give up Abigail, but the Swamp Thing believes that there is enough life in her to let her survive and in the worst case, death is better than the Hell that she lives in. Arcane briefly tries to fight back, but Abigail makes her move to distract him, long enough for the Swamp Thing to activate the White Lantern ring and bringing about the death of Anton Arcane.

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my-brodie999-fan · 4 years

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The Fats follows a evolved fox-rat family of 8 brothers and 1 sister as they fight a human mad scientist and other threats to humanity alongside their adaptive father/mentor, 2 human allies and other cross-animals in the distant future while trying to accept each other as family. Patriot Fat(voiced by James Arnold Taylor) is the “den-mother and leader of the team and is the most calm and experienced member, but hurt his family and he will hunt you down to the ends of the Earth. He is a hard-headed and serious cone, scolding his siblings when they don't follow orders. He is colored brown, blue pants, has a red belt, black gloves and boots and has blue eyes.

Wreck Fat(voiced by Nolan North) is the most angry and self-loathing loner of the group. He often argues with Patriot about who should be leader of the team. However, they will work together when the situation calls of it.He has intense arm firepower, wiping out enemies in a matter of seconds. He is coloured grey, speaks with a New Yorker accent, red pants, red belt and hazel eyes.

Engineer Fat(voiced by Yuri Lowenthal) is the kind-hearted, calm and gentle pacifist and inventor of the team. He is socially awkward and book smart so much so that his sibling cannot keep up with him. Even though he shows a greater interest in technology than his training, nevertheless, he will defend his family and fight his opponents when there is no other choice. He is also skeptical as he believes humans do not exist and that animals have always been the sole species of Earth. He has red eyes, has a mole on his right cheek, has a cyborg arm, has metallic yellow pants, a blue belt and is coloured silver.

Mischief Fat(Voiced by Mikey Kelley) is the most wild, funny, immature and party-loving surfer dude of the team. He loves riding on his hoverboards, fighting evil and is extremely creative with arts. He is also a member of the Prank Trio along with Runt and Bullsnark. He wants to be part of the human world and he will convince his family to do the same by any means necessary. He also serves as an unofficial second-in-command whenever he comes up with brilliant plans that save the day or gets the Fats out of life-threatening situations, becoming the closest thing a team has to a second leader.He also has a sad side as he borders on depression as a result of spending years with his siblings and father on a island. He is coloured Yellow, has freckles, dark blue pants, a gold belt, has a beard at 16 years old and has green eyes.

Angel Fat(Voiced by Colleen O'Shaughnessy) is the smart, tomboyish, arrogant and independent tech support of the team and bit of a narcissist and will often bring on about her intelligence. As the only female member of the family, she always has the best of intentions. She is coloured yellow, has a gap between two of her front teeth and has green eyes. She is a great mathematician as she can easily hack into any computer data base by correctly guessing their security codes, Unlike the rest of her family(who wear pants, gloves(except for Buster, Engineer and Growly), shoes and are shirtless), she has blond hair, wears a Fat shirt, is coloured mix-purple/Yellow as a result from a lab accident, has a pink belt and gloves and blue shorts with sockings.

Buster Fat(voiced by Steve Blum) is the biggest and most strongest member of the family. He loves training all day and he hates it when his sibling interrupt him. However, he has a good heart and will go by any means to protect them. He also cares for normal animals, fighting to his last breath to save them. He is coloured green, speaks with a Brooklyn accent, has dark green pants, yellow belt, black boots and has golden eyes.

Runt Fat(voiced by Josh Keaton) is the most dim-witted and dizy, yet lovable member of the team. He’s been part of the Prank Trio since Day One and is often made fun of his stupidity by siblings, however when the situation is necessary, it ultimately proves to be his greatest strength. He is also something of a womaniser as he tries to say something to cross-animal females, but can't bring out the exact words and he is the most gullible of the family, causing him believe whatever lies are told to him, even causing him to betray his family, only to rejoin them in one of the future games. Nonetheless, he is one of the most purest cross-animals, never truely joining evil and always finding out to know the truth about himself and his family. He is coloured red and has one red eye and one hazel eye.

Bullsnark Fat(voiced by Roger Craig Smith) is the adventure-loving everyman slacker, jester-like and thrill-seeker who wishes to travel the world. He is sarcastic, playful and completely devoid of cynicism. He is also one of the member of the Prank Trio along with Mischief and Runt. He’s very loyal to his family and always stands up for them and keeps his promises despite his impulsive and impatient nature. He can be sentimental when villains threaten the world and won't stop until they're defeated and can provide tactical strategies. He is coloured orange, has black boots and gloves, yellow pants, a blue belt and has purple eyes.

Growly Fat(voiced by Trevor Devall) is the strict and irritable, yet caring and kind-hearted powerhouse who breaks up fights between the family. He is prone to anger when someone pranks or tricks him, but deep down, he loves his family very much. He was born somewhere in Mississippi and he is also a history junkie as he collects every newspaper, article and art of the world's history. He isn't fond of humans too much until much later on in the game. He is coloured blue, speaks with a Southern accent, dark grey pants, green belt, black boots, and has blue eyes.

Hopper Frog(voiced by Billy West) is the mean, brash, cocky, militaristic and demanding yet kind-hearted father of the Fats, but as the game progresses, he becomes a more supportive, caring and wise parental figure. He has a soft spot for children and he will be a role model to them whenever he sees them. At the beginning of the game, he is overprotective of the Fats, fearing they could die if they go into the human world, but throughout the game, he accepts that his children are teenagers now and he says that he is proud of them. He wears a green military uniform with no pants, speaks like a mad scientist and has brown eyes.

Sarah Stewart(voiced by Jennifer Hale) is the most beautiful, kindhearted and attractive teenage girl the Fats have ever known. She was abused in school and she has recently graduated from high school to apply for science. She can also sense betrayal in strangers she doesn't know. She is also an orphan as she lives with her aunt, uncle and their daughter. She is a blond teenage girl with pink sleeveless shirt and blue jeans. She also has light freckles on her nose and baby blue eyes.

Peter Braxton(voiced by Ben Diskin) is the comedic, shy and loyal sports player whose life is forever changed when he meets the Fats. He is like a modern-day Prince Charming and he has a crush on Sarah Stewart when he first sees her, but does not kiss her until the end of the first game, He also becomes best friends with Wreck and Growly throughout the game as they play hologram games together. He is also a pacifist as he lost his father in a flying car accident and starts campaigns and TV ads to prevent anyone from suffering the same fate. He is a black haired teenage boy with orange eyes, a sports jumper and brown pants.

Dr. Otto Jekyll(voiced by Mike Pollock) is a highly selfish, insane, cocky and arrogant mad scientist and the main antagonist of the series. He wants to end peace and liberty on Earth and will do it by gaining control of the world's governments, police and money. He is also a deceptional liar as he constantly lies to the Fats and their friends, trying to convince them that he can help people have more improved lives until the end of the first game when he reveals his true motives. He is an mildly obese man with balding brown hair with a goatee and a lab coat with red clothing and black and white rubber gloves and boots. He also has yellow eyes. Gaming Mechanics:

1. The video game series will be an open-world where you can play side-missions and help people in addition to the main story. You can also visit other countries in free-roam in the game.

2. You can use multiplayer as 4 of the each titular 9 Fats with the ability to change between the 8 other Fats until all 9 are all dead and the game resets.

3. You can have collectibles, art and unlock new weapons throughout each level of the game.

4. You can also play as the human characters Sarah Stewart and Peter Braxton in stealth missions.

5. Once you’ve completed the game, you can revisit any of the levels. So you won't have to worry getting through 13 hours without completing the entire game 100%.

6. As I said, you can fire weapons with 2 of the Fats, Engineer and Angel who are the tech support of the team while the rest of the team fight hand to hand.

7. The game will have the feel of a Disney movie , Thomas Perkins-like art, the art of Ratchet & Clank and the backgrounds of Young Justice and The Super Hero Squad while still rendered as a 3D dimensional video game.

And lastly, here’s the title for the prequel tie-in novel: The Raoxs: Animals of Science.

Series Outline:Set in an utopian future where all war, problems and disease has been wiped out, the Fats live on a peaceful island with their adaptive Frog father, Hopper Frang, but they have never truly accepted each other as family or understood their father’s lectures, even starting a war with one another once. On their 16th birthday, they are allowed to leave the island and venture into the Human world. But when a scientist named Dr. Otto Jekyll(a pun on the Dr. Jekyll character from Dr. Jekyll and Mr. Hyde) becomes Dr. Peace-Destroyer and threatens to end the era of peace by conquering the world, the Fats are forced to come to term with their calling as a family and what it means to be heroes with the help of 17-year old science intern (smart blond) Sarah Stewart and 18-year old Sports player Peter Braxton.

This would be a Playstation 4 and Playstation 5-exclusive and would be rated E+10 for more cartoon, fantasy or mild violence, mild language, and/or minimal suggestive themes.

Do you want to see this video game series brought to life?

#playstation 5 #disney #insomniacgames #sony interactive entertainment #playstation4 #video games #fats ps5 #fatsps4

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alexswak · 4 years

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Studio Graviton

I have been researching Studio Graviton for a while, a small studio notable for its activities during the ‘80s, and I’ll articulate what I found in this post here. As for why this small studio is relevant, let’s say an individual with the name of Hideaki Anno was one of the founders, and it was there that he had his debut as a director.

So it all starts with Anno back in 1984, just after finishing his work on “Macross: Do You Remember Love?”. To get an idea about the nature of Studio Graviton we need to understand Anno’s situation back then, as he was still a newling in the industry, not even sure if he was going to continue in this line of work or not. It’s well-known that Anno moved to Tokyo based on an invitation from Miyazaki to work on Nausicaa, after dropping from university, but he moved with only his backpack and barely any money. It was a hard time for him, moving from one place to another, sleeping in the studio when he could, and so on. People might think the harsh working conditions of the anime industry are something recent, yet, while admittingly getting a bit worse recently, it’s always been like that, especially for newcomers.

A comic drawn by Anno detailing how he spent 1984. Translation here.

While working on Do You Remember Love he met with one young animator called Shoichi Masuo. They and two other friends, Kouji Itou and Katsuhiko Nishijima, decided to establish their own studio and called it Graviton. Exact date for establishing the studio is around June of that year, and Anno worked on Megazone 23 there.

I say studio because that is used to refer to Graviton, but let’s clarify the nature of this “studio” first. Studios in general are basically a place for creators to gather and work on the projects at hand, a place where they put their work material and tools and the like. The word “studio” might give off an impression of a place akin to a company or an organization of sorts, with representatives and management staff, yet this isn’t the case for most anime studios. The majority small studios exist mostly for the purpose of providing a place for creators to work in, with maybe one or two persons with management roles such as a producer to organize work and secure new contracts, but not always.

Graviton may be a bit special, but most small studios, which is to say most anime studios, are closer to Graviton than they are to larger studios like Bones or Toei. Graviton was just a rented apartment for the studio members to stay in whenever they pleased, with expenses shared among them. They didn’t have to work together on the same project, and they didn’t have any specific responsibilities or obligations, they could come and go whenever they wanted, really. Anno for example kept switching places between Graviton and Gainax a few times during those years. Another more recent example is Takafumi Hori, who works from Trigger on other studios’ projects, and him having his desk at Trigger is due to his good friendship with other studio members.

The benefits of having a shared working place like Graviton are obvious I believe, like sharing expenses or getting to work on other studio members’ projects if there is a vacancy, I’ll mention some examples on that in a moment. My examples are mainly related to Anno, because getting information on him and his career is much easier, but each one of the original studio members had a notable career of his own and is worth checking out.

So starting with the projects Anno worked on while being at Graviton we have the first part of Megazone-23 where he did some scenes. I guess he worked on the infamous Pop Chaser 4 while being at Graviton too, and then went back to Gainax to work on Wings of Honneamise, and then went back and forth between the two studios juggling different projects till around 1988, when he took over as the director of Gunbuster. He didn’t come back to Graviton after that, probably because his financial situation became much more stable and just settled at Gainax.

Among the things Anno worked on back then were ads, one of them was an ad for a music player from JVC, which he did at Gainax in 1987. The ad evidently has nothing to do with neither music nor electrical devices, which is what the company’s representatives said if I’m not mistaken, but it’s a good piece of animation. Another ad, the really interesting one, was a promotional video for a game on NES called “Mugen Senshi Valis”. This ad is by the way the first directorial (paid) work for Anno. He did it in the same year but this time at Graviton, and I’d have said by this point that the studio at which he worked was a mere difference in location no more, yet this ad was a rare collaboration between all of Studio Graviton members. Also, as a side note, Anno spent the money he got from this job on buying a cooler for the studio in place of the one that broke.

youtube

The promotional video was promoted in magazines and posters with focus on two points: The first is being directed by Hideaki Anno, a genius animator who played a major role in DAICON and Wings of Honneamise. The second is having Katsuhiko Nishijima, the director of Project A-Ko, as a character designer and animation director. I think that the target audience for this promotional video was obvious. The production company behind this was Sunrise, and I think they were the ones who reached out to Anno in one way or another to direct this, who in turn invited his friends from Graviton, so as a result Graviton was credited with the animation.

Director - Storyboard: Hideaki Anno

Character Designer - Animation Director: Katsuhiko Nishijima

Key Animation: Graviton

Backgrounds: Atelier Musa

Finishing: Studio Fantasia

Production: Hideoki Tomoika(Sunrise)

This is a great opportunity to talk about Nishijima, who was a key figure in the ‘80s. He wanted to become a mangaka at first, but wanting to make a living drove him to enter a university, which he left after his first year to join the anime industry. Applying for a place at Sunrise at first, after watching Gundam during his year at the university, he was referred to Studio Live because Sunrise didn’t accept new in-betweeners at the time. He passed the entry test there and had his first gig as an in-betweener on Cyborg 009 episode 27 I believe. His first key animation came shortly thereafter on episode 26 of Maeterlinck no Aoi Tori: Tyltyl Mytyl no Bōken Ryokō.

He started attracting attention due to his scenes in Urusei Yatsura, being a big fan of the manga to begin with he personally asked Toyo Ashida(Studio Live’s president) to work on the TV anime. There he started developing his own style, and although a hint of Kanadism was there, his style was pretty distinct even early on, which led to his scenes standing out from the rest. Even when Studio Live stopped working on Urusei Yatsura, Nishijima moved to Deen where he continued working on it. It can be said that the long time he spent working on Urusei Yatsura culminated in his magnum opus, Project A-Ko, but that’s a whole discussion of its own for another time. Before Nishijima left Studio Live he participated in a dozen of their shows, such as Minky Momo and Dr. Slump Arale-chan, and even after leaving he kept ties with them and worked on things like the Kyoufu no Bio Ningen Saishuu Kyoushi OVA.

There’re a lot of characteristics for his style. First there’s the way he draws bodies, as he was known for drawing girls with sexy bodies while keeping the faces simple and cute with large round eyes. No wonder such style was popular among otaku of the day, especially considering the “idol” status of Lum from Urusei Yatsura back then. His popularity only increased after Project A-Ko OVA, and the Valis PV came shortly after all of that.

Nishijima’s designs are pretty beautiful if you ask me, and this PV is one of the few works where you’ll find his designs. Aside from that his scenes are a joy to watch. I think he was capable of adding a sense of dynamism to his scenes without unnecessary or excessive movement, which not a lot of young animators could do giving his style a hint of “maturity” so to speak, all the while without losing attractiveness. He achieves this through his good use of perspective, for example, or his unique impact frames, which are a favourite of mine.

Some of his impact frames.

If we take a look at his scene in the PV we see how both characters exchange position relative to the camera, as if the camera is rotating around them as they exchange blows. It reminds of his scene in Outlanders OVA, one of his best overall. Just like a lot of other young animators of that generation, however, he sadly didn’t put out any work worthy of note after the ‘80s, especially after switching his focus to directing and participating in less projects overall.

As for people he works\worked regularly with there was Moriyama Yuuji, a friend of his since the ‘80s. I bet the person who introduced them to each other was Hideaki Anno, since Anno met Moriyama around the year 1984 while the latter was at Studio MIN, which is another small studio located not that far from Graviton. Again, the word “studio” isn’t to be taken at face value here, as MIN was akin to Graviton in being more or less an apartment for animators to work in, hinting at the fact that such studios weren’t all that rare.

MIN was founded in 1982 and dissolved in the year 1991, yet it was full of prolific creators throughout its short lifespan. Other than the aforementioned Moriyama we have Hiroyuki Kitakubo, Hideki Tamura and Yoshiharu Fukushima as the studio’s founders, while Nobuteru Yuuki joined them later on. You’re free to look up any of those names, no short post is enough to cover the career of any single one of them, and this short post has already been dragged beyond its original intended length. As a side note though, I now notice that most of the people behind the infamous Cream Lemon Pop Chaser were either form MIN or from Graviton, and it’s an amazing realisation that a few very young creators in their small apartments created one of the most memorable and striking episodes of the whole ‘80s.

Before I end this post I’ll add that the period in which Anno met Moriyama was when Moriyama was working on a manga by Mamoru Oshii (the acquaintance between them goes back to when Moriyama worked on Urusei Yatsura). The manga was named “In The End... “ (とどのつまり) and was published (or was to be published?) in a sub-magazine from Animage called Animage Comics (アニメージュコミックス). That caused Toshio Suzuki, who was still an editor at Animage, to visit MIN regularly and run into Anno, whom he probably knew due to his participation in Nausicaa 2 years prior.

#Graviton #MIN #Hideaki Anno #Katsuhiko Nishijima #Valis #Urusei Yatsura #Project A-Ko

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cartoonsliveon · 4 years

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Teen Titans Pokemon Rescue Team AU

So instead of going through what kind of Pokemon trainers all of the Titans would be and the Pokemon they have, what if our favorite heroes were Pokemon living in the Pokemon world and were a Pokemon Rescue Team.

Robin is a Hawlucha. Out of all the fighting types to pick from, Hawlucha is one of the only fighting types, other than maybe Riolu and Lucario that is designed to look like they are wearing a mask. And while it is tempting to make Robin a Riolu because everyone loves Riolu, how can Robin also not be the only flying fighting type? Hawlucha’s wings give it the illusion of a cape, and according to the Pokedex entry, “its proficient fighting skills enable it to keep up with big bruisers like Machamp and Hariyama” despite it’s small size. Despite Robin having no powers, he manages to keep up with all his super powered friends and kick some serious butt against villains loads more powerful than him.

Starfire is a Clefairy (though I do think she would be a powerful Deoxys). Because of her extraterrestial origins, Starfire definitely had to be one of the Pokemon that is believed to come from space, but she couldn’t be a legendary Pokemon otherwise she’d be like... super over powered. Clefairy made the most sense because of its cute appearance. Starfire always had a soft spot for cute things and did not look at all as powerful as she actually is. Clefairy is cute and, honestly, could be mistaken as a weak Pokemon. But it can be pretty tough and bulky.

Cyborg is a Metagross, because it’s so bulky and mechanical looking but also state of the art. Cyborg has always been a tough character who seemed capable of being able to take what he could put out. It was a difficult choice, because Metagross is steel and psychic, but he’s such a sleek and technological styled Pokemon. This is the type of Pokemon you expect to stop a bus, something Cyborg has actually done. And I think Cyborg, when he’s angry, cam be pretty intimidating just like a Metagross. And who says a Metagross can’t have a sense of humor either?

Beast Boy, is a shiny Ditto. Duh. It seems only right for a shapeshifter to become a Pokemon that is also a shapeshifter. The reason he is shiny though is because, well, Beast Boy is green. When he shapeshifts, most of the things he turns into stay green. They aren’t their normal coloring. And yeah... a shiny Ditto is more of a light blue than green, but Beast Boy the Ditto would be transforming into the shiny version of Pokemon. And some shiny Pokemon are super obviously shiny, and other’s aren’t that much. It fits with how his powers work and how sometimes, when he shapeshifts, he’s going to be the natural color of the animals he turns into like lizards and how most of the time he isn’t.

Raven is a Misdreavus. Although her name is Raven, and the obvious choice did genuinely feel like a Murkrow, ghost Pokemon are often shunned and avoided because of their creepy nature and origins. Most of them are supposedly the souls of actual people, specifically children. Raven has always felt like she didn’t belong among the Titans, that she was creepy. Those feelings feel like they would most emulate and match something that a ghost Pokemon might feel. Furthermore, Misdreavus’s red necklace drew my attention because it reminded me of her chakra stone.

Instead of being a group of super heroes, the five friends became a huge Pokemon Rescue Team known as Team Titan. They have a very strange base, it resides in this weird crevice cave that looks out over a cliff side and has a couple of tunnels leading deeper inside. Cyborg is convinced that the tunnels used to belong to an old colony of Digletts and Dugtrios. Theres a rock, cliffside path that they can take and a secret underground tunnel that is, unfortunately, not big enough for Cyborg. It’s a cozy little home, and the five of them make by. They aren’t particularly picky about the type of rescue adventures they go on, but if they have a chance to capture some crook that is causing trouble in the forest or in some other Pokemon community, they’ll prioritize that over anything. Especially Robin.

The Honorary Titans, their friends in the show who make up Titans East and such, they are Pokemon that they’ve come across on their adventures who have helped them or, having heard of them, wanted to become members of the exploration team. These Honorary Titans have their own branch of the Rescue Team organization so they can help other Pokemon in places the original Titans can’t get to.

Bumblebee is, obviously, a Beedrill. Mas y Menos are Plusle and Minun respectively. Aqualad is a Buizel. Speedy is an Aipom (there are no archer Pokemon. I figured, because Aipom’s tail is a hand and a really handy extra appendage, that might substitute the bow and arrows).

Terra is a Cubone, and there was a time where she was part of Team Titans, but she was manipulated by their arch nemesis into betraying them. Slade promised her revenge against whoever it was that killed her mother (Cubone wear the skull of their deceased mother, who was unjustly murdered [in the anime I think it’s Team Rocket but it’s been a minute]).

Slade, in this universe, is a Toxicroak. Toxicroak is a Poison Fighting type, which I think suits the villain very well because of how deadly he is. He’s a dangerous opponent in fighting, and he basically poisoned the other Titans to get Robin to be his apprentince. Technically it was nanobots, but they essentially had robots poisoning their bloodstream ready to kill them at the press of a button. It also makes him effective against all of the main Titans. Fighting types, Normal Types, and Steel types are weak against Fighting. Fairy is weak against Poison. And although Raven would be neutral or potentially have the advantage on him, any dark type moves she would have wouldn’t be effective against Slade.

#Teen Titans #headcanons #AUs #Pokemon

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buzzdixonwriter · 5 years

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Sci-Fi And The Sincerest Form Of Flattery

I know many of you prefer “science fiction” or “science fantasy” or “speculative fiction” or “sf” or even “stf” for short, but I ain’t that guy…

I’m a sci-fi kinda guy.

I prefer sci-fi because to me it evokes the nerdy playfulness the genre should embrace at some level (and, no we’re not gonna debate geek vs nerd as a descriptor; “geeky” implies biting heads off chickens no matter how benign and respectable the root has become).

. . .

A brief history of sci-fi films -- a very brief history.

Georges Melies’ 1898 short A Trip to The Moon is one of the earliest examples of the genre, and it arrived full blown at the dawn of cinema via its literary predecessors in Verne and Wells.

There were a lot of bona fide sci-fi films before WWII -- the Danes made a surprisingly large number in the silent era, Fritz Lang gave us Metropolis and Frau Im Mond, we saw the goofiness of Just Imagine and the spectacle of Things To Come and the space opera appeal of Flash Gordon and Buck Rogers.

And that’s not counting hundreds of other productions -- comedies and contemporary thrillers and westerns -- where a super-science mcguffin played a key part.

That came to a screeching halt in WWII primarily due to budget considerations and real world science easily overtaking screen fantasy. Still, there were a few bona fide sci-fi films and serials during the war and immediately thereafter, but it wasn’t until the flying saucer scare of the late forties that sci-fi became a popular movie genre again (and on TV as well).

Ground zero for 1950s sci-fi was George Pal’s Destination Moon, which was an attempt to show a plausible flight to the moon (it was actually beaten to the screens by a couple of other low budget movies that rushed into production to catch Pal’s PR wave for his film).

This led to the first 1950s sci-fi boom that lasted from 1949 to 1954, followed by a brief fallow period, then a larger but far less innovative second boom in the late 1950s to early 1960s.

BTW, let me heartily recommend the late Bill Warren’s magnificent overview of sci-fi films of that era, Keep Watching The Skies, a must have in any sci-fi film fan’s library.

Seriously, go get it.

Bill and I frequently discussed films of that and subsequent eras, and Bill agreed with my assessment of the difference between 1950s sci-fi and 1960s sci-fi: 1950s sci-fi most typically ends with the old order restored, while 1960s sci-fi typically ends with the realization things have changed irrevocably.

In other words, “What now, puny human?”

I judge the 1960s sci-fi boom to have started in 1963 (at least for the US and western Europe; behind the Iron Curtain they were already ahead of us) with the Outer Limits TV show, followed in 1964 by the films The Last Man On Earth (based on Richard Matheson’s I Am Legend), Robinson Crusoe On Mars, and The Time Travelers.

But what really triggered the 1960s sci-fi boom was Planet Of The Apes and 2001: A Space Odyssey. The former was shopped around every major Hollywood studio starting in 1963 until it finally found a home at 20th Century Fox (whose market research indicated there was an audience for well-made serious sci-fi film and hence put Fantastic Voyage into production). Kubrick, fresh off Lolita and Dr. Srangelove (another sci-fi film tho not presented as such), carried an enormous cache in Hollywood of that era, and if MGM was going to bankroll his big budget space movie, hey, maybe there was something to this genre after all.

From 1965 forward, the cinematic space race was on, with 1968 being a banner year for groundbreaking sci-fi movies: 2001: A Space Odyssey, Barbarella, Charly, Planet Of The Apes, The Power, Project X, and Wild In The Streets. (Star Trek premiering on TV in 1967 didn’t hurt, either.)

And, yeah, there were a number of duds and more than a few old school throwbacks during this era, but the point is the most interesting films were the most innovative ones.

Here’s a partial list of the most innovative sci-fi films from 1969 to 1977, nine-year period with some of the most original ideas ever presented in sci-fi films. Not all of these were box office successes, but damn, they got people’s attention in both the film making and sci-fi fandom communities.

=1969=

The Bed Sitting Room

Doppelganger (US title: Journey To The Far Side Of The Sun)

The Gladiators

The Monitors

Stereo

=1970=

Beneath The Planet Of The Apes [a]

Colossus: The Forbin Project

Crimes Of The Future

Gas-s-s-s

The Mind Of Mr. Soames

No Blade Of Grass

=1971=

The Andromeda Strain

A Clockwork Orange

Glen And Randa

The Hellstrom Chronicle

THX 1138

=1972=

Silent Running

Slaughterhouse Five

Solaris [b]

Z.P.G.

=1973=

Day Of The Dolphin

Fantastic Planet

The Final Programme (US title: The Last Days Of Man On Earth)

Idaho Transfer

=1974=

Dark Star

Phase IV

Space Is The Place

Zardoz

=1975=

A Boy And His Dog

Black Moon

Death Race 2000

Rollerball

Shivers (a.k.a. They Came From Within and The Parasite Murders) [c]

The Stepford Wives

=1976=

God Told Me To [a.k.a. Demon]

The Man Who Fell To Earth

=1977=

Wizards

[a] I include Beneath The Planet Of The Apes because it is the single most nihilistic major studio film released, a movie that posits Charlton Heston blowing up the entire planet is A Damn Good Idea; follow up films in the series took a far more conventional approach to the material. While successful, neither the studio nor mainstream audiences knew what to make of this film, so 20th Century Fox re-released it in a double bill with another problematic production, Russ Meyer’s Beyond The Valley Of The Dolls, and holy cow, if ever there was a more bugfuck double feature from a major studio I challenge you to name it.

[b] Other than Karel Zemen’s delightful animated films, Iron Curtain sci-fi films rarely screened in the US, with the exception of special effects stock shots strip mined to add production values to cheapjack American productions (looking at you, Roger Corman). Solaris is the exception.

[c] David Cronenberg made several other films in this time frame, but most of them were variations on the themes he used in Shivers, including his big break out, Scanners. Realizing he was repeating himself, Cronenberg reevaluated his goals and started making films with greater variety of theme and subject matter.

. . .

The astute reader will notice I bring my list to an end in 1977, a mere nine-year span instead of a full decade.

That’s because 1977 also saw the release of Close Encounters Of The Third Kind and Star Wars.

The effect was immediate, with knock-off films being released the same year.

1978 saw Dawn Of The Dead, a sequel to 1968’s Night Of The Living Dead, and Superman, the first non-campy superhero movie aimed at non-juvenile audiences.

1979 gave us Alien, Mad Max, and Star Trek: The Motion Picture.

These films were not just successful, they were blockbusters.

And none of them were original.

Close Encounters served as an excuse to do a Kubrick-style light show; plot and theme are about as deep as a Dixie cup, and of all the blockbusters of that era, it’s the one with no legs.

Alien’s pedigree can be traced back to It! Terror From Beyond Space (and It’s pedigree goes back to A.E. van Vogt’s “Black Destroyer” and “Discord In Scarlet” in the old Astounding Stories) and Demon Planet (US title: Planet Of The Vampires) by way of Dark Star (Dan O’Bannon writing the original screenplays for that film and Alien as well).

Mad Max, like 1981’s Escape From New York, differs from earlier post-apocalypse movies only insofar as their apocalypses of a social / cultural / political nature, not nuclear or biological weapons. Mad Max, in fact, can trace its lineage back to No Blade Of Grass, which featured it own caravan of refugees attacked by modern day visigoths on motorcycles, and the original Death Race 2000, as well as an odd little Australian non-sci-fi film, The Cars That Ate Paris.

Not only was Dawn Of The Dead a sequel, but it kickstarted a worldwide tsunami of zombie movies that continues to this day (no surprise as zombie films are easy to produce compared to other films listed here, and while there are a few big budget examples of the genre, the typical zombie movie is just actors in ragged clothes and crappy make-up).

Superman was…well…Superman. And Star Trek was Star Trek.

And the granddaddy of them all, Star Wars, was a cinematic throwback that threw so far back it made the old seem new again.

Not begrudging any of those films their success: They were well made and entertaining.

But while there had been plenty of sequels and remakes and plain ol’ knockoffs of successful sci-fi movies in the past, after these seven there was precious little room for anything really different or innovative.

1982’s E.T. was Spielberg’s unofficial follow-up to Close Encounters.

1984’s Terminator consciously harkened back to Harlan Elison’s Outer Limits episodes “Demon With A Glass Hand” and “Soldier” (not to mention 1966’s Cyborg 2087 which looks like a first draft of Cameron’s film)

All innovative movies are risky, and the mammoth success of the films cited above did little to encourage new ideas in sci-fi films but rather attempts to shoehorn material into one of several pre-existing genres.

Star Wars = space opera of the splashy Flash Gordon variety

Star Trek = crew on a mission (Star Trek: The Next Generation [+ 5 other series], Andromeda, Battlestar: Galactica [4 series], Buck Rogers In The 25th Century, Farscape, Firefly [+ movie], The Orville, Space Academy, Space Rangers, Space: Above And Beyond, plus more anime and syndicated shows than you can shake a stick at)

Superman = superheroes (nuff’ sed!)

Close Encounters / E.T. = cute aliens

Alien = not-so-cute aliens

Terminator = robots vs humans (and, yes, The Matrix movies fall into this category)

Escape From New York = urban post-apocalypse

Mad Max = vehicular post-apocalypse

Dawn Of The Dead = zombies

Mix and match ‘em and you’ve got a nearly limitless number of variations you know are based on proven popular concepts, none of that risky original stuff.

Small wonder that despite the huge number of new sci-fi films and programs available, little of it is memorable.

. . .

It shouldn’t be like this.

With ultra-cheap film making tools (there are theatrically released films shot on iPhones so there’s literally no barrier to entry) and copious venues for ultra-low / no-budget film makers to show their work (YouTube, Vimeo, Amazon Prime, etc.), there’s no excuse for there not to be a near limitless number of innovative films in all genres.

But there isn’t.

I watch a lot of independent features and short films on various channels and streaming services.

They’re either direct knock-offs of current big budget blockbusters (because often the film makers are hoping to impress the big studios into giving them lots of money to make one of their movies), or worse still, deliberately “bad” imitations of 1950s B-movies (and I get why there’s an appeal to do a bad version of a B-movie; if you screw up you can always say you did it deliberately).

Look, I understand the appeal of fan fic, written or filmed.

And I get it that sometimes it’s easier to do a knock-off where the conventions of the genre help with the final execution.

But let’s not make deliberate crap, okay?

Oscar Wilde is quoted as saying “Imitation is the sincerest form of flattery” but he was quoting somebody else, and that wasn’t the whole original quote.

Wilde was quoting Charles Caleb Colton, a dissolute English clergyman with a passion for gambling and a talent for bon mots.

Colton’s full quote: “Imitation is the sincerest form of flattery that mediocrity can pay to greatness.”

Don’t be mediocre.

Be great.

#science fiction #sci-fi #1960s #1970s #movies #Bill Warren #Keep Watching The Skies

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