#also i loved wakanda forever.. namor a real one.. i love that guy..

[rowrowronnie]

love disney going through it’s anti imperialist arc rn (andor, wakanda forever)

[maxwell-grant]

You’ll prob wait to answer this after Caped Crusader drops, but: Does making Penguin NOT a white guy drastically change the character? And if so, is that a good thing?

Anonymous asked: So... Thoughts on Oswalda from Batman: The Caped Crusader?

@jcogginsa asked: New Batman show is out, and with it is a new Penguin. Have any thoughts on Minnie Driver's take on the Penguin?

Regarding the first ask, I mean, it really ought to, right? That seems to be part of the point of doing this kind of thing, to change or recontextualize something big and important about a character in a new light. If it wasn't supposed to be some kind of big change, if it wasn't meant to at least be something new or say something slightly different, I'd ask what would be the point of doing it. Don't get me wrong, it's absolutely a thing to do just for fun / variety's sake, but it's not a choice that can just exist in a vacuum, it does matter how and why exactly you're doing it.

There's a couple of things that I'd say make or break this kind of stuff for me, besides like, you know, not removing existing meaningful elements of characters identities, like making Jewish or Romani characters generic caucasian Americans, real basic decency stuff y'know, not a lot to ask here. I think a change like this should at least bring questions to strengthen it, like: If this character is defined by certain traits or saying certain things, how is this interacting with those? Is this strengthening those existing traits and statements, is it providing new ones, or is it weakening them without offering much in return? Questions about how much can you redefine a character and still have that character be recognizable and all that, and of course the actual important questions of, Who is this for? What is being said here? Why was this decision made? And so on.

The example that comes to mind regarding that specificity, and how that can work wonders to breathe new life onto a character, is the MCU take on Namor, as Ritesh Babu elaborated on in a Patreon article

The reason I say I never truly cared for Namor is that while I thought him a great, compelling character in plenty of works I loved, I always felt a lack of emotional connection. He was enjoyable, but I didn't care about him, y'know? There was a connect. Watching Ryan Coogler's Wakanda Forever helped me bridge that disconnect. I finally realized what had been missing for me. It was Emotional Context.

Namor is historically an abrasive character. He's an angry character. He's got fury and rage, and he doesn't suffer fools. He's headstrong and unrelenting. He's an unyielding force. And he's great and fun that way, historically handled by mostly White writers (with rare exceptions, such as Greg Pak). But it was also, for me, an anger and rage and fury framed and constructed in such a way that it could be broad-strokes. It could be anything and everything from the pollution and climate ruination to perhaps some other tragic thing involving someone he cared about.

Ryan Coogler and Tenoch Huerta to me granted the character an emotional context here that clarifies everything he is, and all that shapes his thought. He's not angry at the surface world and its clownshit in abstract. It's not just the anger of a distant warrior-king of the oceans. It's the anger of the colonized, of the Othered.

What Ryan Coogler and Tenoch Huerta did is give him specificity. He's not just a broad-strokes figure in White hands, for White writers to write as an archetypal broad-strokes morally murky angry bastard guy. No, there's a specific history to this guy, there's a cultural specificity and context to his very existence.

And so Namor isn't some weird racially ambiguous/sorta white figure in largely White hands, but is instead an Indigenous Mexican hero and legend. He's a Mesoamerican figure and he's Mayan.

Coogler dispenses with the vagueries and broad-strokes thinking of the comics, and like any interesting creator should, asks good, rational questions. And that specificity, that's really what makes it for me. That's what I was missing. This is an attempt at using genre to speak to truth, to realities and real experiences, which are important to Black and Brown people. It's a far cry from some abstracted away thing to serve a primary White audience and its sensibilities or interests. - Ryan Coogler's Namor and Specificity

An example I'll give, as far as one reinvention that can make sense but I didn't find so interesting: The conception of Deadshot I like, from Suicide Squad (1987) and bits of Secret Six, is heavily informed by him being a privileged rich white man, a morally catatonic and emotionally rotten self-serving piece of shit in large part because of his privileged background and experiences, as well as a guy who's purposefully evoking the image of white western cowboys and providing commentary on their archetype. Deadshot, to me, is heavily informed by his whiteness, by his American elite background, and by his toxic masculinity, and thus the cocktail of what Deadshot is, comments on and speaks to comprises specific things that I think you'd have to approach very very differently if Floyd Lawton is a black man. I think the specificity of what that character is saying or tends to stand for is lost in adaptations that fudge those elements to make him more like the Will Smith version - you can definitely have another kind of meaningful and cool take on Deadshot, but it's a Deadshot who's gonna have to be saying different things, if he is to be saying anything at all - and most of the time, he isn't, and so to me, that context behind Deadshot is lost with not a lot gained in return. Under no circumstances does this mean you shouldn't be allowed to do it, but I feel like if you're dedicated to doing this to an existing character, there should be at least some commitment to what they are and do.

Getting back to that first question, it also really depends on what exactly are you changing. Like regarding the Penguin specifically, is it his race? His gender? His nationality? It's a very broad question to apply a single Yes or No to so I'm gonna say it's kind of both. On one hand, obviously some major aspects of his presentation and origin and defining traits would have to be altered to better correspond to that defining change. On the other hand, he is already extensively defined around his issues with his self-image and his surroundings and how people treat him, a person who is ostracized and Othered because of his looks or his background and where he stands in the city he grows up in. One of the consistent cornerstones of Oswald as a character is that he's trying extremely hard to overcompensate in wealth and class and power partially to override the ability of others to marginalize him over his weight or stature or poverty or disability and so on, in no small part that's what allowed him to take on protagonist status in recent years. If he was just a regular white guy, he'd be Rupert Thorne. Although, on the other other hand, I must stress here that treating marginalized traits as if they are equally interchangeable is how you get the X-Men school of representation, and we simply have do better than that.

I was very intrigued by the idea of turning Oswald into a woman. Fat men are very often shamed and ridiculed due to traits they are perceived to have in common with women, to be a fat man is to be dehumanized and stripped of masculinity and thus stripped of your worth of as man. To be accepted, fat men are forced to overperform masculinity just as fat women are forced to overperform femininity, and that element of overperformance is never not present in Oswald Cobblepot, who essentially lives in drag 24/7. A genderbend take on Oswald could certainly add a whole different meaning to his typical overreaction to jokes about his weight or looks, things that are commonly played as a joke. Fat women get consistently treated like absolute garbage by most people in ways that are different, more pervasive and frankly nastier than the ways fat men are also treated like garbage, and if people didn't treat him like garbage, The Penguin wouldn't be the person they are.

Penguin as a woman is a concept that could force a lot of his traits to demand renewed consideration, and in some ways you could argue he kinda already is feminized. He certainly doesn't get treated as a man the way Batman and the Joker and Bane and Gordon are. He overcompensates extremely hard in that regard, and it doesn't stick, he can act as tough and grizzled as he wants and he will never not be "the fat one", will never not get pushed around by the real man in Gotham, will never not be the unfit and bloated and squishy lesser-man hiding behind the umbrella because, why, he's not man enough to grit his teeth and hash it out with his fists. If we go back to Count Fosco from The Woman in White, we'll find this is something else they share in common:

"Fat as he is, and old as he is, his movements are astonishingly light and easy. He is as noiseless in a room as any of us women. With all his look of unmistakable mental firmness and power, he is as nervously sensitive as the weakest of us. He starts at chance noises as inveterately as Laura herself."

This passage holds the key to Marian’s complex attitude toward the Count; she is at once fascinated and threatened by him. As Marian’s description reveals, he is both alluring and dangerous, not merely because of his increasingly suspicious behavior throughout the narrative, but because he unnaturally exhibits the qualities of both sexes.

Even though Marian does not explicitly identify the Count’s androgyny as the reason for her discomfort with him, the novel’s keen preoccupation with identifying unknown figures by their sex illuminates the anxiety underlying Marian’s description of the Count. The Count complicates those binary categories, and, in true Victorian fashion, his deviance attracts simultaneous fascination and repulsion - Count Fosco and the Androgynous Mystique

He is Oswald Cobblepot, the pathetic little momma's boy, because even his personal tragedies are depicted as lesser, insignificant, not the right kind of cool cinematic masculine tragedy, and he is The Penguin, the eccentric oddly enthusiastic about worthless little things like his favorite animals and trinkets - things that the narrative deems worthless because Oswald is worthless in the literal term: he is worth less than Bruce Wayne, less than Batman, and we watch him as he fights tooth and nail to deny this, whether it's by beating Batman his own way or seeking power to avert his lot in life and stand above all the men that have put him down, or even just seeking villainy as a form of self-actualization, through that perseverance and ability to outmaneuver men so much bigger and scarier, who think they can nail the Penguin while their world is swiped from under them.

It's not for nothing that, in terms of where they stand in Batman's world nowadays, Penguin is practically sharing an apartment with Catwoman and the Riddler, the other 60s camp queens who won't leave banding together even when they can't stand each other. So, yeah, I was extremely curious as to what direction Caped Crusader was gonna lean into with the idea. Could it go wrong and be offensive garbage? Obviously, but I also thought it promised an intriguing new direction, of context that could add or rework so much about his existing traits. I didn't like the name Oswalda, no, but even besides all that I mentioned above, with The Penguin show coming out with it's new take on the character that's all about modernizing and grounding and twisting him around, I thought going big on Classic Penguin, with the top hat and monocle and sword-umbrella and existing in a Golden Age Gotham, and doing a genderflip, was a very solid idea to place opposite of it. So how did I feel about Oswalda Cobblepot?

...It sucked, guys, I'm sorry, I'm really not happy to say it. Caped Crusader's first episode was ASS, and 6 episodes in, while the rest of it has been better (not great, but tolerable, occasionally good even), that pilot was the most stone-faced I've ever been sitting through a Batman thing and frankly I don't even have anything to say about regarding Oswalda. There were tentative beginnings of a take but not actually anything that rounds out into one (and frankly I'd say this Harley Quinn also has that problem to a lesser degree, this show so far has been just really barebones across the board), and frankly I'm not asking for much, I've lived off breadcrumbs before when it comes to Penguin, I'd be good with something if there was something. She isn't remotely a threat to Batman and seems pretty damn dumb, and she gets dealt with on the pilot to make way for Rupert Thorne in a way that kinda really betrays the escalation theme they're shooting for here and it's, guys what else am I supposed to talk about here, seriously?

I don't even like the design that much, it feels like they started from Penguin's head and shoulders and then tried as hard as possible to cinch her waist and slim her down leaving a weird disproportion between her upper body and legs, it looks weird in some shots but I guess you could say that's just the animation being, uh, sub-par to be polite. I guess I like her ruthlessness and that scene where she murders one of her sons, even though that's her being really stupid not noticing the obvious snitch in the room, and it's more so because that was the only moment in the episode where something almost cool happened. I do like her being a cabaret singer, but, man she sounds way too boring for a character with such a distinct way of speaking, if she didn't look like the Penguin from the shoulders up you would never tell that's who this was supposed to be.

I'm sorry that she continues Penguin's bad streak from BTAS, man what a bummer. Still, I have been really enjoying The Batman Audio Adventures lately, it's not like I'm starved for a more classically flavored take on Penguin, so it's only a bummer. I'm open to the idea that she can come back in a later season for a better showing, and she was far from the worst thing about the episode, in fact by process of elimination she was overall the best, but she was the one part I had the most slight hopes for. Oh well.

[norcalbruja]

The Ocean Crew just coming up and freaking me out again

Around Thanksgiving / Colonizer-Celebration day, I had a dream where I was in the sequel to Black Panther: Wakanda Forever. Then me and Tenoch Huerta found out after a party that our shit-for-brains friends took both our cars to ferry the drunk folks home without asking first, so that means two POC got stranded at midnight in the suburbs, trying to walk an hour back to my place. (It wouldn’t be overtly dangerous, but my town DOES have a Ku Klux Klan history and only really tolerates the “good/respectable” minorities, so a Brown Mexican AND a Brown Asian may not have been able to flag down anyone for help.)

I didn't think much about it because I'm a writer who has REALLY coherent dreams, in which Dream-Me also can't seem to get her shit together (seriously, she gets into some escapades!). I laughed about it and I just thought it was me being bitter about my new day-job until Namor/Kukulkan showed up in one of my meditations going, "Hello, love. Did you like the dream?"

And I was like "uhhhhhhhhhhhh yes??? Hello sir—I mean Your Majesty! Or are you actually some form of Tenoch Huerta?"

As noted with the pop-culture spirits when Eric Draven came around on Undas, I never know whether these guys are the CHARACTERS or the ACTORS. I've actually encountered Marvel-Namor a couple of times, but he is extremely high-minded and insistent on getting his way, so while he’s usually pretty civil, he’s still exhausting for my introvert commoner self to deal with.

Long story short, he is not the Feathered Serpent, but he is Mexican/Mayan and is A FUCKING BIG SNAKE (like 40-foot Titanoboa levels of Big Snake!!!). Like most of the other colonized water-spirits, Kukulkan seems to know MY Water-Spirit/Giant-Squid from... you know, Spanish colonization.

Also I’ve noticed a small but distinct pattern where indigenous reptile spirits (Ulupong the spitting cobra, Lola Buwaya the crocodile, and now Namor/Kukulkan the goddamn Titanoboa) just don’t have any fucking chill. For species that are seen as cold-blooded/uncaring and often cowardly by Westerners, the difference is really surprising.

Insert “reptile spirits with metaphorical snake-tongues” jokes here.

--

So Kukulkan refused to leave and demanded of the Water-Spirit, "What have you been doing all this time?! Are you just her attack dog and a bedwarmer?! You act like a mortal now! As if you know nothing of our kinsmen! The only thing left of you is your eyes!"

The Water-Spirit kind of flinched like they’ve talked about it before, and he told Kukulkan, “I couldn’t grant wishes even at my peak. I don’t know how much you expect me to do now.”

Kukulkan just seethed and went, “You can do more than grant wishes. You do yourself and your wife evil to think otherwise. You act like the Spanish won, but she clings to the scraps of you like a starving creature. Perhaps she should be the water-spirit. And you the young man who knows nothing of your people.”

Dionysus came over and said, “Sir, trash-talking a traumatized guy about how he acts like a squishy human might not be that motivating. Maybe tone it down a little?”

Kukulkan then snapped at him, “GODLING, LEAVE THE WATER-SPIRITS TO OUR OWN MATTERS! Your power is from your father! My power is from myself!”

So Dionysus clearly got pissed and just... left entirely. This is the second time an Extremely Old nature-spirit brushed him off as a "godling," and I think the added jab of 'you only got a job at Mount Olympus because your daddy runs the place' was another issue.

This is why Kukulkan is exhausting for me. He essentially acts like Marvel's Kukulkan--he's very capable and cares deeply about people, but he also has unnecessary shit to say if he doesn't consider YOU capable. Active/feudalistic nobility: Fun to watch/read in stories, not fun to deal with in real life, especially with my commoner ass. :/

Anyway, he took a while to stop demanding that the Water-Spirit just Get Better Already, but this morning he finally came up and admitted, "I am no idiot. I know the Spanish broke your husband's spirit. He is not the first or the last of our kin to become so."

And I'm like, "Okay, sir. Thank you for chilling out. I wish you did that a LITTLE bit earlier."

And as for their relationship dynamics, this is another instance of "these marginalized spirits are clearly Not Straight." Kukulkan and the Water-Spirit are this weird blend of "friends who lost touch" and "ex-boyfriends who had a falling out," because Kukulkan is polite to me but WAY more intense with the Water-Spirit, who also gets distinctly hurt when Kukulkan goes on his "I remember you used to be on fucking beast-mode all the time" rants.

Also, "Otherworldly Terror that doesn't fit anywhere else" note: You know how the Water-Spirit can turn into water-shaped-like-a-man, a wave, or a waterspout? I can't remember if I posted this here, but he can use his water-form to "sprint" long distances or to dissipate through various non-waterproof things.

He doesn't do it a lot because it wears him out and it also tends to freak me out as a solid-bodied human, but Kukulkan does it ALL THE TIME. He just disintegrates into a stream of water that is much bigger than an Average Human Body could hold, and then he fucking flies/teleports(???) wherever he needs to go.