#and we still have so many loose threads in ADDITION to the new characters introduced

[note-boom]

Just noticed that the DoA arc is when we really started leaning into the Bungo and Stray and Dogs part of the Bungo Stray Dogs title. Big spoilers ahead, but...

My breakdown of it?

Bungo (I believe this just means literary) - Sigma and the Book

Stray - ADA guys displaced from their homes, the PM sorta scattered due to vampirism, Aya also kind of lost at the airport, most of the groups just thrown around and separated

Dogs - The Hunting Dogs literally being called dogs in their name

Do I have any big point with this? Not really...it was just something fun that randomly hit me

[littlepurinsesu]

V Watches MagiReco - Season 1 Review

*Spoilers for Magia Record Anime*

If you’ve been been following my weekly reviews on the Magia Record anime, you’ll know that my “reviews” are really more like general impressions, thoughts, and fangirling as I mentally recap the episode after my initial viewing.

For this final review of the season as a whole, however, I’m actually going to try and make it more like an actual “review" and discuss each aspect of the anime separately. I’ll be splitting my points of discussion into individual sections and giving each a score out of 10, before rounding it all off with an overall score/grade.

Oh, not sure if this needs to be emphasised, but these are just my opinions! You may agree and you may disagree, and either way is cool!  (・ω・)b

Before I begin, I just want to make it clear that one very, very important thing to keep in mind when watching and reviewing MagiReco is the fact that it isn’t a direct continuation of PMMM. So many people find themselves unable to enjoy the series because it’s “not the same” or “not the PMMM they know” etc. But it isn’t and was never intended to be. It’s a spin-off, not a sequel. To expect a spin-off to have the exact same impact and level of quality as the original is unrealistic to begin with, not to mention that although comparisons will be inevitable, the original PMMM anime has reached a legendary status where it isn’t really fair to compare anything with it xD

(And for the PMMM fans who are unhappy with MagiReco simply because it isn’t “dark enough” and there isn’t enough “suffering”, all I can say is that if a lack of darkness and suffering automatically means the show is bad, then this one just isn’t for you. Dark doesn’t equal good, and suffering isn’t essential. MagiReco is not intended to have the same tone as PMMM, and those elements do not entail everything that defined PMMM to begin with anyway.)

For these reasons, I’m going to try my best to review the MagiReco anime as a standalone piece and try not to make too many comparisons with PMMM, unless explicitly necessary. Also, as a game player, the inevitable curse of “expectations” was a major issue I needed to overcome when watching the anime. I will therefore also try my best to look past these expectations and try to see the anime as a story of its own. However, there will be discussions on the changes that the anime made and how I feel the anime did in adapting the game story for a television series.

Anyway, sorry for all the additional rambling. Let’s jump into the review before I lose everyone’s attention ^^;; 

Plot: 8/10

One thing I love about the MagiReco plot is that they take the original world and concepts of PMMM and actually come up with a whole new story. It’s familiar yet different, and a perfect way to please the nostalgic fans while also offering something fresh. The PMMM world always had a lot of potential to explore other girls’ stories, considering how many Magical Girls there are, and it’s nice to meet a whole new cast of characters with their own story that’s still set in the same world and uses the same concepts we’re familiar with.

I think my favourite thing about the MagiReco plot, which is the same both in the game and in the anime, is the idea of the Wings of Magius. Any story that involves Magical Girls somehow trying to undermine or overthrow the Incubators’ system always has a lot of potential, in my opinion, and it’s a creative way to delve even deeper into PMMM’s unique take on the magical girl genre without being repetitive. But the key to what makes the Wings of Magius so compelling and intriguing as antagonists is the moral issues it raises. The grey morality going on with the Wings of Magius is not too different from the issues presented by Kyubey, and these kinds of moral debates get the audience really thinking about what’s right and what’s wrong, what’s good and what’s evil. The Magius are presented as being very similar to the Incubators in many senses--sometimes even worse--and I always love a compelling villain or villain group that actually gets the audience pondering whether the bad guys really are that “wrong" after all. Plus the whole idea of salvation and liberation and the whole cult impression we get from the Wings of Magius really adds another layer of that dark and creepy atmosphere that PMMM does so well.

However, I do strongly feel that many of the important scenes and major plot points were presented much better in the game. As mentioned earlier, having played the game meant I was going in with expectations for how I wanted/hoped/expected certain things to be done, and this is a common issue that adaptations have when there’s an audience familiar with the source material. I’m okay with completely changing parts of the game’s story to create something new, but there were instances where the anime intended to replicate the scene as it was in the game but somehow fell short in its presentation. These cases of inadequate storytelling thus hinder the unfolding of the plot, ultimately creating problems with coherency and pacing. (I mean, if you think about it, the “main plot” doesn’t really even truly begin until all five main characters have been introduced.) I have dedicated a whole section to this pacing issue, so I’ll go into detail when we get there xD

Characterisation: 7/10

The anime’s presentation of the characters ranges from fantastic to extremely lacking. Iroha has moments where she’s extremely passive, but also times where she’s shown to be quite proactive and brave as well. I’m honestly not too sure what to make of Iroha’s characterisation so far due to this big range, but I’m hoping that she’ll show more growth and that her changes will be written in a way that actually makes sense, rather than abrupt shifts that make you question how and when she had it in her. Either way, she’s a lovely sweet girl and a very likable character, and I do like that even if she isn’t necessarily always doing anything or contributing to a fight, the sole reason she’s in Kamihama in the first place (to look for her sister) is a good sign that she knows what she’s doing and has taken the necessary measures to go about her quest.

Yachiyo didn’t seem to display much uniqueness until her past was unveiled, and that wasn’t until we were well into the second half of the first season. In my opinion, this took way too long. I find this to be a slight problem because of how central to the plot Yachiyo is, and while I understand that backstories being revealed later on can have a bigger impact (like Homura’s in Episode 10 of PMMM), the way they portray Yachiyo throughout the majority of the season doesn’t have that constant loose thread hanging. She almost seems too “normal” at times, blending into the cast, and only when certain things happen or when someone says something in particular do you actually remember that we still don’t know what her deal is yet. I guess what I mean is that a more looming sense of “mysteriousness” could have justified the late reveal a lot better. The reveal of her past and her wish were slightly underwhelming, too, seeing as we hardly got to know Kanae and Meru before they were killed off, making it difficult to connect with those characters and thus relate to Yachiyo’s grief at losing them. And as for the revelation of her wish, I’ve ranted enough about it in my review for Episode 13, so you can check that one out if you haven’t already xD

Tsuruno has it even worse than Yachiyo because they literally haven’t revealed or even teased anything about her. All we know is that she works at a Chinese restaurant, was already friends with Yachiyo in the past (this “mystery” was later explained in Yachiyo’s flashbacks), and is super cheerful and energetic. Her backstory is the only one that hasn’t been shown yet, and they never really even hinted at there being something deeper about her character. While I completely understand that they’re intending to leave all that for the Rumour Tsuruno arc (which will most likely be done next season), I feel that they really needed to give us at least something for now. Even in the game, we got a better sense of who Tsuruno was as a person before the Rumour Tsuruno arc revealed her hidden sadness. I guess I can’t really fault the anime for this, since they’re just going in chronological order, but a little more insight into Tsuruno’s character would have been a better decision so that we don’t get another round of “info-dumping” when we do get to Rumour Tsuruno, and the reveal about her inner emotional turmoil would actually be a slight twist that adds even more depth to her character, rather than random information that never seemed important because there were never any signs of it.

But while Yachiyo’s and Tsuruno’s characterisation could have been better, Felicia’s and Sana’s were handled superbly. The anime actually made me adore Felicia as a character when I merely “liked her enough” in the game. She’s so much more than just the spoiled and rowdy child who goes berserk when seeing a Witch, and her introductory episodes (namely Episode 7) actually managed to move me to tears. Her bond with Iroha is also portrayed even more nicely in the anime, and I have a newfound love for the friendship between these two, which is quite underrepresented in the game. Felicia manages to retain all the lovable traits she displayed in the game with just the right amount of brattiness so as to not seem too annoying, and the anime hasn’t even really touched upon the cruel reality behind her wish. Whether or not they venture into that territory at some point, I just hope they continue doing as amazingly as they’ve done with Felicia so far, because she really is super cute and a lot more likable in the anime version <3

As for Sana, she’s more or less the same as her game counterpart, but something about the way the anime unveils her past makes it even more tragic. We’ve always known of her terrible “family” and the unfortunate circumstances of her home life prior to joining Mikazuki Villa. But the episodes that detail her story did a stellar job at bringing out and actually showing the sheer horror of having a family like Sana’s, and just how deep and suffocating her sense of loneliness was. Her story is absolutely miserable, but the anime manages to present it in a way that doesn’t make it seem like they were “trying too hard” just to make it as sad as possible. The things happen for a reason, and the consequences it has on Sana as a character are all realistic and believable, and even a wish as extreme as hers made perfect sense after seeing everything she had to go through.

Other characters don’t seem to have as much of a presence to warrant a paragraph of their own, but I will give honourable mentions to Rena and Tsukuyo. Rena’s Magical Girl Story made me a sobbing mess when I first read it, and while the anime obviously couldn’t sidetrack and include all the details, I think they did a pretty good job considering the limited amount of time they could spend on a supporting character. The anime also did a really nice job at giving Tsukuyo that humanising moment during her conversation with Iroha at the cafe, emphasising the good inside of her despite being an antagonist, and also taking the chance to give her a sense of individuality so that she and her sister are not always seen as an identical and inseparable pair with no personal lives or traits, so props to them for that :) Mitama has hardly made many appearances and doesn’t even seem very story-relevant at this point, so I’m wondering how they’re going to build up her importance in the next season so that she doesn’t seem like the “token shopkeeper character” who’s there for no real purpose outside of gaming mechanics (because we all know that Mitama is so much more than that). And as for characters like Kaede, she’s been changed so much that I’ll reserve my judgment for now because I simply don’t know where they’re intending to take her character. Same goes for Kuroe and her still-unclear purpose in the plot lmao

I think it’s important to remember that a lot of characterisation we get in the game is from Magical Girl Stories and Event Stories, both of which are obviously not viable to delve into too much in the anime. As a result, I guess it’s “to be expected” that the anime will have to give up quite a bit of the details that make all these characters so real, likable, or relatable. I’m not an anime writer, nor do I know anything about adapting games into anime, but I do feel that it would have been so much better if they had come up with some other way of compensating for the lost characterisation moments that are only shown in the game’s side stories. Not sure how else they should have done it, but simply removing some of these vital bits of information does harm the portrayal of these characters, especially when they’re part of the main cast.

But yeah, mixed feelings because while some characters really needed more work in the characterisation department, others were handled amazingly well xD

Pacing: 4/10

Okay, let’s be real. The pacing was almost definitely the anime’s weakest point, and possibly one of the main reasons why someone would find the show hard to enjoy or even understand. I’ve seen people complain that the story is too fast, and I’ve also seen people complain that it moves way too slowly. In my opinion, it really is a combination of both, and I’m honestly quite fascinated at how the anime somehow manages to pull off being both too fast and too slow at the same time xD

The story is almost excruciatingly slow in that it takes a whole ten episodes before the main cast is fully assembled. I thought a bit about this and, to be fair, some classic magical girl shows also take many, many episodes before all the main characters are introduced, such as Sailor Moon taking a whopping 33 episodes before all five Inner Senshi have gathered. So I guess this slow episode-by-episode “collection” of team members really isn’t something new. But MagiReco isn’t really a long-running anime that has filler episodes back-to-back to justify the slow pace of the plot. The plot is moving every week, yet it still feels like it takes forever to get the main cast together, which is slow enough to make the viewer question what they had been sitting through all this time when it’s been ten episodes and the story is really only “actually beginning” now.

And at the same time the plot somehow manages to feel too fast at the same time. How is this even possible? My answer to this is simply the fact that they introduce conflicts and mysteries, only to quickly resolve them and then immediately jump to the next one before the audience has even had a chance to really process or understand what they just watched. We’re not given the time to really absorb the development of the story or the subtle changes the characters are undergoing before we’re immediately thrown into a new mini “arc” the next week. In some ways, it almost seems like the “Monster of the Week” formula that many magical girl series adopt, only instead of being aware that we’re seeing trivial conflicts that are intended to last for one episode with characters we are likely not going to see again, MagiReco is throwing out new ideas, new terms, and new plot-relevant characters almost every episode, vomiting out information in a way that viewers who haven’t played the game will find very difficult to keep up with.

And that brings me to one of the biggest problems I had with the anime: important terms and concepts are often thrown in as a “by the way”. (This is most apparent with anything to do with the Wings of Magius before Episode 10, most notably Alina’s introduction.) Game players will obviously know what they’re talking about, but anime-only viewers are left confused and lost as to what exactly is happening half the time. I’ve seen more than a few instances where a viewer who wasn’t familiar with the game needed extra clarification and explanation before they understood certain things, and honestly that isn’t a good sign. All the important stuff should be made crystal clear so that even anime-only viewers will be able to grasp all the concepts without game players to spell things out for them. The anime should be a standalone piece on its own, not a “supplement" to the game. And the consequence is that anime viewers are constantly raising their eyebrows and wondering what the heck just happened or when the heck something was ever established, because crucial information is thrown around with no emphasis and the fast pace doesn’t allow viewers to digest anything properly. This unclear storytelling wastes the opportunity to present mysteries that are intended to keep the audience invested; rather than continuing the series because you just have to find out what something means or why something is the way it is, you’re left with question marks popping up all around your head because you’re confused af and wondering if you forgot or missed some crucial information at some point.

Another issue I had with the anime was what I’ve decided to dub the “one-shot curse”. Witches and Rumours alike are one-shot-ed so quickly and fights resolved so suddenly that I was often left wondering what the point of that fight was. Not to mention that a lot of the battles lacked real “action”. Witches appear, get one-shot-ed, and the characters return to whatever it was they were doing before as though nothing had happened. So... what was the point? I guess they really wanted to emphasise just how many Witches there are in Kamihama and just how easy it is to come across one everyday? Or maybe it was just for the sake of including an obligatory battle in each episode so there’s at least some action each week? Either way, if you’re going to include Witch battles, you may as well do them properly. For crying out loud, InuCurry, the guy who designs the Witches, is the director of the MagiReco anime! You’d expect a bit more emphasis and flourish to highlight what he’s so good at! But to be fair, there were some good Witch battles, such as the ones in the first episode, the ones in Yachiyo’s flashbacks when Kanae and Meru died, and of course, the epic battle between Holy Mami and Sayaka in the final episode. So they’re not all that bad, but I just feel like there was a lot of wasted potential.

I find that the main problem is a lack of balance between the battles, the exposition, the plot, and the fluffy slice-of-life stuff. All these are crucial to a good anime, and a lot of these moments were done quite nicely as standalone scenes. But the way the MagiReco anime has packaged them together and tied a very unattractive Bad Pacing ribbon on top just doesn’t work. It’s like a giftbox that has some lovely things inside if you look carefully at them one by one, but the way the gift is presented just isn’t very appealing and ruins the goodness of the content inside.

I get that the anime probably has issues with pacing because it’s essentially adapting a mobile game. I’m not sure if the pacing would be better if this weren’t the case and the MagiReco story was scripted for an anime to begin with, but I really, really hope they fix these pacing issues next season.

Visuals and Animation: 8/10

To me, the visuals were nearly always top-notch, and definitely a huge improvement from the original series. They managed to retain the art style of PMMM while also updating it so that it looks a lot more sleek and polished. The characters looked great, the scenery is gorgeous, the labyrinths all unique and intricately designed, and there was a lot of clever visual symbolism going on in the still shots and subtle scene transitions. I’m not an expert on animation or visual arts, but I definitely think this series deserves a very high score for this section.

There were a few instances where we saw some wonky “meguca" shots, but those were rare and nowhere near bad enough to detract from my overall enjoyment of the series. I don’t really have much else to say because, like I said, this really isn’t my forte, but I genuinely loved most of the visuals we got.

Music and Soundtrack: 9/10

I know a lot of us were disappointed when we learned that Yuki Kajiura would not be returning to do the music for MagiReco. And we all knew that whoever they hired would have very, very, very large shoes to fill. And I can definitely say that I was not disappointed at all.

Guys, the music for this series is AMAZING. Takumi Ozawa managed to capture the style that Kajiura used for PMMM in a way that retains the original tone of the franchise without seeming like a mere carbon copy of her work. I don’t think there was a single musical piece in there that didn’t make me feel like,��“Ah, this is no doubt a PMMM anime!” And none of them gave me the impression that he was “trying too hard" to “rehash” Kajiura’s style. No, there’s familiarity and there’s originality, and it’s all packed together in a way that allows MagiReco to retain the charm of its predecessor while also standing strong as a work of art by itself.

I only docked one point because there were so many amazing tracks from the game and I don’t really understand why they didn’t use them when there were moments that seemed perfect for those tunes. It would be a nice sense of familiarity for game players, and it’s still considered “new stuff” for anime-only viewers too, so I really don’t get why xD Maybe they really wanted to separate the anime from the game? Which is also fair enough :)

I wasn’t so sure about “Gomakashi” as the OP when I first heard it in the trailer, but it’s definitely grown on me! While I still think “Kakawari” is superior and has a more catchy and iconic sound to it, “Gomakashi” is sweet and girly, very much like the kind of song you’d hear in a magical girl series. I don’t think this is an OP that will be legendary enough that everyone knows the tune (like the theme song for Sailor Moon, for example), but it’s a lovely song and I do like it a lot ^^

“Alicia” was beautiful from the very first time I heard it, and I’ve only grown more and more fond of it with each listen. Definitely one of my favourite EDs of all time, and perhaps my favourite OP/ED song out of the entire PMMM franchise.

And that ED song for the final episode? Gorgeous, too. Almost has a “Magia” kind of sound, and definitely sets a darker tone for the upcoming season where (I assume) sh*t starts getting real.

Overall: 7/10, B+ or A-

Despite my criticism and picking the anime apart in this review, overall I still genuinely enjoyed it a lot :D It’s far from perfect, but I was nowhere near as disappointed as I’ve been in the past with other anime adaptations, and while some parts could definitely have been handled a lot better, it was mostly still decent in my opinion. Get rid of the pacing issues and I’d probably give it a solid 9 (for context, I rate the original PMMM anime a 10/10, perhaps even higher if possible).

Again, I think my experience and knowledge as a game player definitely influenced my view on the anime as an adaptaion. For example, I already love the characters and know enough about them, and so I probably didn’t really feel the consequences caused by the anime’s sometimes lackluster characterisation. I also often have ideas of how I want or hope a part gets adapted, and then get disappointed when it’s done in a different and underwhelming way compared to what I imagined. I’m sure my impressions, comments, and scores would be very different if I were an anime-only viewer and had no idea how things went in the game. But alas, you can’t have both experiences to compare, so it is what it is xD

Anyway, no matter how much I nitpicked, I still love MagiReco a lot, both the game and the anime, and am really looking forward to Season 2! With the obvious changes they made in that last episode, I get the feeling that it’ll only diverge even further as the story unfolds. I’m okay with these new surprises and new takes on characters, but I do hope that they aren’t changing it all completely, because there’s a lot of good stuff in the later chapters that I really hope gets animated, e.g. Kanagi’s entrance, Rumour Tsuruno, Yachiyo vs. Holy Mami, basically everything that happens at Fenthope in Chapter 9, and of course, the big reveal about Ui, Touka, and Nemu’s wishes in the final chapter. Just imagining these things animated already gets me super excited, so hopefully we’ll at least still keep the core of the game’s story despite the changes (and hopefully these changes are all improvements!) ｡^‿^｡ 

~~~

And since the anime is taking a break, my reviews will also be going on a break ╥﹏╥ I’ll probably still pop up in the MagiReco tag every now and then if I can think of something to talk about, though? Depends on what I can come up with xD But yeah, I don’t really post updates about my gameplay here (unless it’s something major like pulling my favourite character lol), so if you’re interested in seeing any of that stuff, you can follow me on Twitter instead, since I’m much more active there nowadays. I’m always happy to discuss things and scream with fellow fans, so whether it’s here or on Twitter, please feel free to approach me anytime if you want someone to fangirl with (๑ゝڡ◕๑)

I’ll be ending this post here! Thank you so much for reading, and please continue to love and support MagiReco while we wait for the second season ღゝ◡╹)ノ♡

[bigskydreaming]

1) Hi! It’s a strange question, I know, but I’m curious: how much do you take what happens behind the scenes into account in your analysis of a character or a storyline? To make an example, the push and pull of Dick’s filial status in the narrative is a consistent and frustrating thread in the comics, but has probably roots in the fact that Dick’s arrangement made sense in the 40s in a way that it didn’t anymore by the 80s.

Its a good question, without a good answer. Best I can say is it varies and I kinda take things on a case by case basis. Sometimes behind the scenes stuff doesn’t really change much about what’s on the page one way or another, and sometimes its extremely relevant. 

For instance, your example of Dick’s status as ward vs adopted...I think its very much something where real world context and factors have a ton to do with it. I’d definitely agree that Dick as Bruce’s ward made total sense in the writers’ eyes and didn’t need changing or addressing until the 80s, which culturally is when adoption and blended families became a lot more....it feels weird to say mainstream in regards to that, but it kinda fits because the concept as a whole became more popularized and normalized and likely to have a presence in media in the 80s in ways it never really had before. 

Personally, I don’t think there’s really any issue with Dick not being adopted before then, and think it has more to do with the zeitgeist of those times rather than in character choices about Bruce not wanting to adopt Dick for whatever reason. So my own approach to this particular matter is for me, it only became an issue when an additional variable was added...Jason and his adoption....as especially once Dick himself was written asking Bruce why he never adopted him...even though the most relevant answer up until that point was likely just that it had never been a culturally significant issue for their characters to have until now......once writers DID introduce Dick’s own view/question on the matter into the canon, THAT’S when I personally view it was being more of an issue that Bruce waited so long after THAT point before actually adopting Dick.

So for my own take...whether in meta and discussions of canon or my own fic stuff....I don’t really put much emphasis or even focus any real attention on Bruce not adopting Dick before that point in canon stories OR the concurrent position in the timeline....by that I mean, the approximate age I think Dick was when he first asked Bruce about that, eighteen or nineteen. I think there are certainly stories that can be written that involve Bruce adopting Dick or raising the matter for discussion earlier in Dick’s life like when he was fourteen or fifteen....but I don’t personally feel much of an urge to write things with a negative slant towards Bruce not adopting Dick earlier than that because I AM aware that in terms of canon, it wasn’t really an option before that point due to the writers’ own cultural norms informing their character choices.

But once the writing introduced that angle and element...it became fair game in my opinion to question why Bruce would wait so long before acting on Dick’s pretty clearly expressed desire there...and yeah, I think its fair to have a bit of a judgmental eye towards Bruce character wise for still waiting so long when it could have changed so much for the better between them and spared Dick at least a few years of angsting and uncertainty about it.

All that said, when talking about fanfic deviations specifically, I think its entirely fair to consider character choices within the context of the fanfic as much as the original canon. So if a fic is already making significant departures from the canon events of Dick’s early years in order to write the author’s own take on Dick and Bruce’s early relationship....then in THAT context, specifically, regardless of what canon had to say about it and the behind the scenes reasons for that, its still valid IMO for characters or readers to wonder why in light of how much our cultural norms have shifted by now, why a fic about that time but written in the context of the modern day....like, IMO there Bruce doesn’t really have the same justification canon has for him not touching on Dick’s status as ward vs son earlier in Dick’s life.

If that makes sense?

Similarly in terms of recent years and canon, I think a TON of flip flopping and uncertainty in regards to how the Batboys’ relationships to Bruce are described or referenced is because DC or the various writers and editors just don’t like committing to the idea of Bruce Wayne: father of five (or six, depending on how one views Duke’s positioning in the family). 

Like, I’ve long had the sense that a lot of the powers that be over at DC just flat out don’t LIKE Dick, Jason, Tim and Cassandra’s legal adopted status and wish none of them had ever happened as they for whatever reason think it takes something away from Bruce’s character or premise and they’d rather Damian be the sole actual son and heir. Hence having not only Damian emphasize the blood son thing but also having the other kids like, when talking to Damian refer to Bruce as YOUR father (which is a little thing that bugs the SHIT out of me, lmao)....as well as being as vague and ambivalent as possible when having Dick, Jason, Tim and Cass reference Bruce to others or address him and put as little focus on them using an actual label for their relationships to him as possible. And its not just New 52 I mean here, I think this was an issue still well before Flashpoint.

I’m almost certain if some of DC’s editors and writers had their way, those other adoptions would never have happened and their official status would just be wards/foster kids/proteges. Which is annoying not just because I’m a fan of the family being a FAMILY, like, purely on a personal fannish level....but also just in terms of narrative....I think its fucking stupid to try and play fast and loose with those relationships when everyone knows damn well that each of those kids being Bruce’s KIDS has nevertheless very much been a thing that happened and exists in most fans’ minds. Like, that’s not a genie you can ever put back in the bottle. There’s no realistic chance of getting readers to just en masse forget that any of those characters were ever officially and legally Bruce’s children at some point. Like, you did that, or at least writers before you did that, just accept it and USE IT instead of pointlessly muddying the waters to obscure relationships most of us view as father/child regardless of what canon has to say about it now.

So for example, in THAT case, I fully believe the confusion about the kids’ various legal status and their view of Bruce and his view of them...like, I honestly believe the ambiguity of that at various times in canon is deliberate. And also, dumb. Thus I don’t feel any need to take canon’s current vagueness into account because I feel there the behind the scenes motivations are extremely relevant...and thus I’m completely content to just ignore them and keep them all as Bruce’s children in legality and heart, via whatever story context makes the most sense for my purposes.

Another example of when I personally feel behind the scenes motivations are hugely relevant and should be kept in perspective...is Jason’s death. Because I’ve read a ton of stories and meta that sometimes victim blames Jason and treats it like his fault he died, sometimes makes it Dick’s fault for not being closer with him and someone Jason feasibly could have turned to instead of going to Ethiopia on his own, and sometimes Bruce’s fault for the division his judgment after the Garzonas case had forged between him and Jason and with that basically driving Jason to go to Ethiopia in the first place.

And like, I personally hate each and every one of those takes because I think its never going to lead anywhere good, upholding Jason himself or either of his immediate family members as being in any way at FAULT for his death and everything he went through after it....but also I don’t like emphasizing narrative or character blame on any or multiple of those characters because IMO it disregards the MOST crucial factor in Jason’s death: editorial mandate.

Like, they held a freaking phone poll for whether he should live or die. Jason’s fate was decided by call-in votes, NOT by ANY character’s actual choices or actions or even lack thereof. There was no way any of those characters could have been written making different choices that avoided Jason dying, because they were deliberately written making choices that smoothed the way to Jason dying because it was going to happen not because it was where the STORY inevitably led, or any of their choices inevitably led there....but because the editors WANTED it led there and to end up where it ultimately ended up. 

IMO its pointless to point fingers at character choices when we KNOW for a FACT, like oftentimes we have to guess at writer motivations in order to have an opinion on that variable at all, but this is one of the rare occasions where we inarguably KNOW....it was going to happen one way or another because editorial decreed it had to happen. So I think its pretty pointless even in terms of meta analysis of the story and character motivations to ultimately point a finger at any of the character choices and assign blame for Jason’s death...when there was literally no chance of them ever being written making choices that allowed Jason to avoid dying.

Especially when you consider that literally the only narrative change that even needed to be made to avoid Jason dying, regardless of everything that led up to that point...is simply not having him die in the explosion. Come up with literally any explanation for a last minute save, escape or rescue. Like so many comics have managed so many other times.

Like, there are no rules with fanfic so obviously you can write fic of Jason’s death in any way, and make it the end result of any character choices you want and make it some character’s fault or not according to your own preferences and narrative choices....but in terms of canon events and choices, I think that’s one of the very rare stories where its both impossible and pointless to examine it on any level, without taking the behind the scenes context into consideration as well.

So like I said, it really just varies from story to story, depending on how much or how little writer or editor motivation, decisions or bias were likely to be a factor in any given story. *Shrugs* Thus for me, I don’t really see any way to go about that other than taking each story on a case by case basis.

[homenum-revelio-hq]

Welcome to the Order of the Phoenix, Charly!

You have been accepted for the role of non-biography character GIDEON PREWETT with the faceclaim of Sam Heughan! We really enjoyed your discussion of Gideon’s personality, especially in relationship in the differences between Gideon and Fabian! We think Gideon’s level-headed outlook will be a great addition to the Order. We are so excited to have you as part of this roleplay!

Please take a look at the new member checklist and send in your account within 24 hours! Thank you for joining the fight against Voldemort!

OUT OF CHARACTER:

NAME: Charly (he/him)

AGE: 27

TIMEZONE: GMT+1

ACTIVITY LEVEL: I will usually find time to be online and do replies once a day, or at least every other day. I work full time atm and sometimes have activities on the weekends but I always do my best to maintain a steady activity

ANYTHING ELSE: I’m not the biggest fan of images of hardcore gore. Descriptions are fine, I just don’t like to see it. Not really a trigger, though, more like a strong squick I guess.

CHARACTER DETAILS:

NAME: Gideon Prewett

AGE: 30 (which is I think what was put down by Fabian’s mun and which I’ll go with as well, considering they’re twins)

GENDER, PRONOUNS, and SEXUALITY: 

Cis-male, he/him, bisexual. – His own gender identity isn’t something Gideon thinks about a lot. He’s always felt comfortable as a man. He is aware of the imbalance of power and influence between genders that many in his society view as natural and even necessary.He’s aware that he has definitely won the privilege lottery and tries to be mindful of it. But he is very sure of his gender identity and very comfortable the way he is.

His sexuality isn’t exactly a secret, at least he’s never made an effort to hide it. However, he also never actually came out to anyone. He only assumed people knew and if they had an issue with who he chose to go out with, they’d tell him directly. He’s had very few relationships in his life – he’s dated exactly one woman and one man. Both were relatively long-term relationships and he never treated one of his partners differently than the other. It never occurred to him, that he should have to come out to his family first before introducing them to a partner that wasn’t a woman.

BLOOD STATUS: Pure-Blood

HOUSE ALUMNI: Gryffindor – Gideon ultimately ended up a Gryffindor, if only just because Fabian came first in the alphabet and was therefore sorted before him. When Gideon put on the hat, it took an awfully long time debating whether Gryffindor or Ravenclaw was the better fit for him. In the end, Gideon wasn’t going to be separated from his twin, and asked to be put in Gryffindor.  

ANY CHANGES: None

CHARACTER BACKGROUND:

PERSONALITY: 

Gideon has always been known as the clever one, the over-achiever, the workaholic. From the moment he was born he was told he was special. The first-born son, the heir. He was never just a child he was the projection of his father’s high expectations. And Gideon, in his eagerness to please, did everything he could to fulfil them all. He was expected to perform exceptionally in school – he did. He was expected to find a well-respected job right out of school and make his father proud – he did. He was expected to always be well-mannered and courteous – he was. Expectations are the common thread in his life and Gideon lives in constant fear of being unable to fulfil them.

If it weren’t for Fabian and his good influence, Gideon would likely be a tight-lipped bore who wouldn’t know fun if it punched him in the face. It was definitely growing up with Fab and his sometimes outrageous ideas that led to Gid not tightening up to become exactly what their father wanted him to be. He’s still the ‘somewhat more responsible twin’ and more level-headed than his brother. After all, someone has to make sure they get out of whatever his brother cooks up alive. But Gideon, too, can let loose. In fact, he himself has been the instigator of trouble more than once during their time at Hogwarts and he has always had quite a talent for pyrotechnics. Yet, he somehow mostly managed to escape the consequences of their trouble-making. After all, he was the good boy.

As the oldest of three taking responsibility for others comes naturally to Gid. He enjoys being a source of safety and comfort to his friends and family and will offer his care to anyone who might need it. Helping others is something he’s good at, accepting or asking for help himself not so much. He’d rather be someone elses anchor than admit that he, too, is struggling. In offering himself up like this, he often takes on more than he can handle and it’s only a matter of time until he has no energy left for himself and it will all become too much to bear.

A lot of Gideon’s personality is exclusively outwardly. He’s learned how to present himself, how to hold his head up high and smile just right so that people believed what he wanted them to. That he is sure of himself, that he has all the answers, that he is unafraid and doesn’t falter. Ever. Gideon has been taught to be a leader, that he should be someone others can look up to and trust. That’s all he wants to represent and yet, most of the time he doesn’t even trust himself.

While he’s generally warm and kind towards his friends, Gideon suffers from haphephobia and will never initiate touch himself. It isn’t something he advertises however so he will bear it and suffer through a hug or a hand touching his own simply for the sake of not appearing callous or impolite. The only people he freely allows and even welcomes touch from are his siblings, young children and occasionally, his father. Those who have known him for a few years now would know that he used to be different, used to freely hug people even if they were only fleeting acquaintances. This change in his demeanour is a more recent one. But whatever has caused it is likely something only Gideon knows.

Gideon is afraid. Afraid of failing, of losing control, of his own inadequacy. He hides it well behind reassuring words and carefree smiles and an off-hand joke or two. But the crippling anxiety keeps him up most nights, thoughts racing and reliving all those brief moments in which he might have made a mistake. Any mistake, small as it may be is a failure on Gideon’s part, a fuck-up that if not immediately resolved, will haunt him for weeks. Everything he does needs to be perfect he needs to be perfect or else everyone he loves will turn away from him.

Conflict and communication isn’t something Gideon is good at. He can be judgmental and rash at times, and has a habit of making other people’s issues his own to the point where he oversteps. And if he’s confronted about his mistakes he recoils and falls silent instead of facing the problem and fixing his mistake with an apology. This, too, comes from a place of fear. Rather than resolving an argument with a conversation, any criticism sends Gideon into another spiral of paralysing anxiety and obsessing over his mistakes. The fact that people are willing to forgive and move on after he finally got himself together enough to apologise baffles him every time.

BRIEF OVERVIEW OF FAMILY: 

Through everything he’s experienced he’s always had Fabian at his side and without him, Gideon is sure he would have drowned long ago. They’re a unity. Most people know them only as GidandFab, not as two separate people even though the twins couldn’t be more different. Fabian may be the only person who can see through all of Gideon’s bullshit and calls him out on it. He’s the only one Gideon will admit his fears too, will admit to being scared at all to. Fabian is the one person Gideon can stand being touched by without his stomach twisting into knots. He’s protective of both his siblings, but Fabian more than anyone else. He is after all his other half. It may be selfish, but Gideon would always put his twin’s safety and well-being before that of any other person no matter who they are. The idea of losing his brother is worse than anything he could ever imagine and with the war, that fear is ever-present.

He has nothing but respect for admiration for his little sister. Molly is the strongest person Gideon knows and oftentimes he wonders how she does it all – the war, being a mother and caring for so many others who need it all while maintaining an energy level that is almost superhuman. More than once he’s offered to move her and her family to a safe location out of the country, at least until the war is finished. But she always refuses. And he really cannot blame her knowing, that he himself would do the exact same thing if their roles were reversed. But it is another heavy load to carry to keep her and her family safe and out of harms way. Gideon knows however, that it would be pointless to argue with her and he respects her wishes.

His relationship with his parents has always been a complicated one. It was easier while his mother was still alive, but he could never shake the feeling that he was treated differently than his siblings. Was granted more privileges but at the same time judged much harsher. He never doubted the love his parents had for him, but especially with his father he often felt like he had a much harder time getting his approval than Fabian or Molly did. Oftentimes, his father’s affection towards him was tied to Gideon’s own achievements and as he grew older, the expectations also got higher and the praise grew sparse. And that, even now as a grown man of 30, is really all Gideon wants – his father’s praise and approval.

But maybe also because he was the oldest, and because his father, despite the glory days of the noble house of Prewett being long forgotten, still held on to those last shreds of their aristocratic origins, Gideon was privy to knowledge and insight into his family’s affairs his siblings weren’t. His father was always honest with him, answering all of Gideon’s many questions truthfully and never sugar-coating how badly their financial situation or the political climate were. While his siblings were blissfully ignorant, Gideon knew just how much harder it was with every passing year to maintain their old family seat. How much his mother worried about money and his father about the looming war.

Gideon wouldn’t have expected it in the least, but his mother’s death brought him and his father closer together. Both of them dealt with their grief on their own and in silence, preferring to look after Fabian and Molly than giving themselves time to heal. In a way, Gideon thinks, his father leaned on him during those first few months, letting Gideon deal with anything that had to be settled - the will, the belongings, even the funeral. They have a silent agreement nowadays, to protect Fabian and Molly first and see that they make it through the war. Even if it’s at the cost of their own lives.

OCCUPATION: 

Unspeakable and Magic Researcher at the Department for Mysteries – Back at Hogwarts Gideon was never satisfied to only repeat a spell until he knew it by heart and perfected the performance, he wanted to know what was underneath. How did it work, who had invented it, where did magic come from? Those were the questions that kept him up and in the library long after most other students had long retired to their common rooms. He wanted to know the origins and mechanics of magic so he could one day be one of the people who invented new spells. Already during his time at school, Gideon started to experiment with words and movements to see if he couldn’t invent some himself. Without the proper training and tutoring however, little of what he attempted was actually successful. Most of the time nothing ever happened. However, there was one incident in which the 6th year boys’ dormitory in the Gryffindor tower almost caught on fire after which Gideon was prohibited from any further unsupervised experimentation.

After graduating Gideon managed to get into a Ministry research program for experimental magic. The first couple of years barely paid him anything but he learned more than he ever had in all his years of Hogwarts together. After completing his training, Gideon worked on a team that created household spells for a while. Not exactly what he’d dreamed of, but it paid the bills. It wasn’t until a year ago that one of his former instructors approached him with an offer: there was to be a new division within the Department of Mysteries and Gideon was to be a part of it. When he heard what exactly this division was researching, Gideon was filled with unease. After all, by this time the war was already raging all around him. And what he was offered was nothing short of a placement as a researcher for the newly created Division for Experimental Magic Warfare. Gideon was uncertain but the higher-ups in the Order were quick to make the decision for him. Gideon was to accept the job. He was to do as he was told and keep his head down. And he was to report back with everything he worked on that appeared suspicious.

It’s a dangerous situation Gideon has gotten himself into. The smallest mistake could raise suspicion, and it’s almost certain that sooner or later he will encounter his own work in the battlefield fired right at him or someone he loves. He can only hope that when that happens, he will be one step ahead.

ROLE WITHIN THE ORDER/THOUGHTS ABOUT THE ORDER: 

Mid-Level - It wasn’t Gideon who was first approached to join the Order but his brother. Yet, wherever one twin went, the other would soon follow and so they joined together. Gideon was initially much more doubtful than his brother. Unlike Fabian, Gideon never had any dreams of heroism and adventure – he’s much too pragmatic for that. He joined because he was unsatisfied with how the Ministry handled the threat. He believed in a much more offensive and less careful approach and the Order seemed to have the same ideas.

He started out as a simple foot soldier, of little use off the battlefields due to his lack of influence and insight. Only recently has he felt like he’s truly been contributing to the cause as a spy within the Department of Mysteries with access to some of the Ministry’s most secret research. He’s in more danger than he’s ever been before, but it also fills him with a sense of pride. More than anything else he wants to contribute something meaningful, something that might change their outlook on the war.

As someone with a somewhat large family Gideon has everything to lose and he knows that with everything he does and every risk he takes he puts them at risk as well, especially his brother. It makes him only more determined to fight.

Gideon doesn’t mind being a criminal and a vigilante. His involvement in the Order is nothing he’d ever publicly advertise of course, and he keeps his true opinions about how he thinks this war should be fought carefully to himself. But in all honesty, as offensive as they are, they’re still not offensive enough. In these times law or honour don’t matter anymore, only survival and victory. An eye for an eye.

SURVIVAL: 

How is he still alive? Gideon doesn’t know. He shouldn’t be at this point. While he’s always thinking on his toes and carefully calculating his next three steps he’s not one to shy away from the frontlines or stick to the back on the battlefield. He should have died three battles ago. Sometimes he thinks it must be dumb luck. Or his unwillingness to die without his brother by his side. He refuses to go down without him and since Fab is somehow still alive so is he.

In public Gideon keeps his head down. Plays the role of loyal ministry employee and keeps his opinions to himself. It’s what’s wisest and what the Order asked of him to ensure he’d be able to keep this job.

Gideon has a small flat in Central London which he loves dearly as it’s been his first flat ever but he’s appeared on the Death Eaters’ radar one too many times and the longer he procrastinates moving somewhere safer the more dangerous it gets. Still, Gideon needs stability and the idea of moving every couple weeks isn’t one he finds too appealing. Yet he can’t put it off much longer if he wants to continue to stay alive.

RELATIONSHIPS: 

His brother has been and always will be the most important person in Gideon’s life. But neither of them can deny that their relationship has been strained for a while now. Sometimes Gid has a hard time reading his twin. Sometimes he can’t get a hold on him for days on end, throwing him into another spiral full of anxiety and panic and ‘what if something’ s happened’s. He’s well aware of his brother’s self-destructive habits but as of yet unable to take action without greatly invading Fabian’s privacy and breaking his trust. What he can do is to silently watch over him and hope to be able to prevent any greater damages in time. Gideon isn’t an idiot; he knows that he’s co-dependent to the point of potentially suffocating Fabian with his own inability to survive without his twin. And maybe, he tells himself, that inability is even what caused Fab’s drinking in the first place. Nevertheless, he’s determined to fix their relationship – and his brother – so they can go back to the way they had been before the war.

With the majority of his friends Gideon has taken the role of caretaker and substitute big brother. It’s what he knows, what he’s good at, what fuels him. He honestly enjoys being a shoulder to lean on and a source of strength and comfort. His door is always open, and he has an extra set of blankets and fresh sheets ready at all time just in case someone might need a place to stay for a night or more. He’s the kind of friend that will remember you mentioning your favourite brand of biscuits in an off-hand comment and then keep a pack in his cupboard just in case you might decide to visit. And at the same time, he’s the kind of person who knows everything about his friends but at the same time gives little information about himself. He’ll always answer ‘I’m great, thank you’ to a question after his well-being and make it sound honest enough. He rarely reveals more than superficial details of his personal life preferring to keep the focus away from himself in fear of someone digging a little too deep and realising that he is in fact far from the confident, charming man he pretends to be. People need him to be a rock and a safe haven, not just another construction side.

The war has forced them all both closer together and further apart it seems. Trust is dangerous these days, letting anyone too close could hurt you terribly in the best case scenario and get you killed if you’re not careful. And at the same time the trauma of the war has them huddling together and looking for comfort now more than ever. Gideon is almost obsessively cautious about letting new people into his life, but has made a habit of checking up on everyone of his friends and fellow Order members, even those who are just fleeting acquaintances, at least once a week. He keeps track of people, has to know where everyone is to sleep at least a few hours every night. As scattered as they are and with the lifes they’re living, someone has to see that no one’s left behind. It’s a reassurance for himself, and just maybe also for the others to know, that if someone fails to check in, if someone goes missing, he’ll notice.

OOC EXPLORATION:

SHIPS/ANTI-SHIPS: 

Difficult. Gideon isn’t someone who will just flirt and jump into bed with someone. He needs to feel secure and safe first before he can even start opening up to someone. His last relationships have always crumbled under his inability to share and express his true emotions very well. His aversion to being touched isn’t helping much either. A relationship and someone he can trust and confide in is something Gideon desperately craves. But any attempts at getting closer to someone have always failed in the past few years and it’s weighing hard on him.

In his day to day life Gideon is someone who needs to be in charge always. Not being in control is something that fills him with crippling anxiety. And yet, in a relationship, giving up that control is exactly what seeks. He want’s someone else to take charge and just let him float safely for a bit. But communicating those needs isn’t something he’s ever done before.

I don’t have any anti-ships for Gideon. I will literally ship anything if the chemistry is there and it makes sense. For some reason I do like the idea of him having a bit of a crush on Kingsley Shacklebolt, which is probably simply projecting because I have a crush on Kingsley. He has that calm aura. I think Gideon would be very attracted to that.

WHAT PRIVILEGES AND BIASES DOES YOUR CHARACTER HAVE? 

Gideon is a white cis-male pure-blood. He’s pretty much as privileged as they come in their society. And while his parents raised him and his siblings with constant reminders that their blood status isn’t worth anything and that it’s their character that defines them as people, they were far from perfect. Growing up Gideon couldn’t help but notice that at least his father treated him differently than his siblings and that being the oldest son but him under more scrutiny but also at a certain advantage. He often wondered if he was taken more seriously simply because he was the first-born.

It was mostly his sister Molly who taught him to think about his own privileges by sharing her own perspective with him and ridiculing him whenever she thought he was acting like a ‘typical man’. He’s grateful for it and tries to be more aware of his own actions and mannerisms but doesn’t always succeed.

He’s wary of werewolves and other shapechangers but only because he knows way too little about them. He doesn’t find them revolting or disgusting, he’s simply careful. If he were to find out about a friend of his being a werewolf, he’d be surprised if not shocked and have a million questions, but ultimately it wouldn’t change anything about them as a person.

Gideon has never had a long enough conversation with a muggle to have anything other than curiosity for their life-style. Again, he doesn’t know enough about them to form an informed opinion. But he knows that killing people simply because of their culture differing from your own is all kinds of wrong and horrible and he will not stand for it.

WHAT ARE YOU MOST LOOKING FORWARD TO? 

To be completely honest, I wasn’t actively looking for a roleplay. Amos, who currently plays Fabian, and I used to play the twins for a long time in other rpgs and somehow clicked from the very beginning. He very subtly advertised this rpg to me and told me how great it was which made me curious. After checking it out I really wanted to join because I love the concept a lot and also play Gideon again. What I’m especially looking forward to is the outlook. In Canon marauder rpgs the twins always due of course so you’re ultimately playing a doomed character. This can be great for those of us (and I’m definitely one of these people) who love nothing more than pain and angst. But I found that I’m really excited and curious about playing Gideon with a chance of a future. It gives the whole experience a sense of hope.

PLOT DROP IDEAS: 

My main goal is always character development through the differing relationships Gideon has with other characters. How are the people around him going to influence him, how is he going to influence them? This is very general of course. More specifically, I’d like to see people digging deeper and getting under Gideon’s skin, be it in a positive or negative way. I’d like to undo him.

I’d also like to see how the situation at the Department of Mysteries develops, if Gideon is able to withstand the pressure, if he’s able to continue flying under the radar and gather information without being found out. And I’d like the Order to put more pressure on him, maybe demand more of him as it continues. I want to see how long it takes before he breaks down.

ANYTHING ELSE? I hope you’re on board and want me because this is a really cool place J

EXTRA FOR NON-BIO CHARACTERS:

This section is only if you are applying for a character that does not yet have a biography written (i.e. a character not listed on the character page). Essentially, any Marauders Era character can be applied for, so long as they can realistically fit into the plot and add substance to the roleplay! It may be a good idea to send a message to the main before you do this so we are all on the same page.

PAST: Gideon never doubted that he was lucky. He had a happy childhood, a loving family and, most importantly, a twin. He never quite understood how singletons could function properly but then, they never knew what they were missing either. Growing up Gideon was, in most respects, the epitome of a good boy. He fulfilled most of his parents’ expectations – worked hard in school, got good grades and, as far as they knew, rarely got into trouble. Back then he was carefree, blissfully ignorant of the tension building and the looming war. As he grew older and more aware of the issues so deeply rooted within the society he called his own, he found that he couldn’t just turn his head and pretend not to see the injustice many of his classmates suffered through on a daily basis. Gideon knew he had to use his own privilege to take a stand, he just didn’t know how. As much as he tried to help out and speak up, nothing he did ever felt like it was enough. It wasn’t until his brother was recruited by the Order and simply dragged him along with him, that he found a way to truly make an impact.

PRESENT: After graduating, Gideon’s curiosity and dedication secured him a spot in a training program for magical research and from there on brought him further and deep into the Department of Mysteries where he researches new ways of magic currently unheard of. Every day brings new risks and challenges and the fear of being found out as a spy for the Order is his constant companion. It’s what he wanted, though, isn’t it? He makes a difference. The intelligence he’s gathering is valuable and the research he’s able to do with the resources he wouldn’t have anywhere else could potentially aid the Order in the war. At the same time, he never knows who he’s actually working for. He can feel the pressure of countless expectations and responsibilities piling up and he knows, it’s only a matter of time until he’ll break under the weight.

FC CHOICES: Top choice: Sam Heughan. Other choices: James McAvoy, Sam Claflin

[mooncaps]

Okay, so I've just finished reading this new Carmilla adaptation novel. I'm not sure if this will develop into a full-on review, but I have a few thoughts.

For the unfamiliar, the novel adapts Season 1 of the 2014 webseries, which itself was a loose adaptation in a modern setting of the 1872 novella written by J. Sheridan Le Fanu. To give a broad and succinct summary: It's about lesbians, mysteries, and vampires.

For the most part, this is a pretty straightforward adaptation of Season 1. It's told from Laura's perspective in a first-person, present tense narration. There's no: "I leaned in. We waltzed around the room. She was so close I could feel her breath." It's all: "I lean in. We waltz around the room. She's so close I can feel her breath." The present tense seemed like a curious choice at first, but it sort of works for keeping the reader with Laura from moment to moment.

The book begins as Laura arrives at Silas, giving a couple of short scenes that weren't in the webseries. This is probably the thing I wanted most from this adaptation: to really add detail to the story. In what ways can the story expand without the conceit that Laura's webcam has to be filming for the audience to see it? What potential is there for storytelling beyond the format of two-to-six minute episodes that are confined to one small set? On this front...I may have set my expectations too high.

With few exceptions, the book goes vlog update to vlog update. Episode to episode, following the webseries. There are a handful of small moments added here and there. Scenes that were only explained to the webcam after the fact now play out in Laura's first-person, present tense narration instead, which is a welcome change. Additional content is generally light, but what's there is appreciated by this reader. There are some extra moments for fans of both Hollence and Hollstein, as well as a few other bits and bobs.

This book still could have benefited from more though. LaF and Perry are still introduced after the blood in the milk container, but introduced as people Laura already knows, and present tense Laura has to explain that she met the two of them in between the moments that are presented to the reader. Danny is mentioned early by Betty, but then shows up later, again introduced as someone Laura already knows and the reader is caught up after the fact. There are so many things that could happen in between the vlog updates, and I feel this novelization by and large misses out on the potential to flesh out the story, opting in almost every instance to follow the webseries beat for beat.

Following the webseries is understandable, though I must say this book seems to rely on the webseries in some ways. There's less descriptive language for people and settings than I'm used to in a lot of the fiction I've read. A modest amount is said about how Laura is feeling from moment to moment, but somewhat less is said about what anyone or anything looks like. This could be a deliberate choice, since Laura is the narrator and the focus is on the things she notices, but it ultimately leaves this reader wishing for more. I know that there's something to be said for leaving things up to the reader's imagination. The descriptions don't necessarily need to go all the way to Lord of the Rings levels. What's here though could almost pass for a middle grade novel, were it not for the occasional "shit," "bitch," and "fuck off" sprinkled throughout.

I wouldn't say it's required, but knowing the webseries is definitely helpful in some ways. I don't know what kind of mental image a reader would conjure about the look of Laura's dorm room or of Laura herself based on the minimal information in this text. I think I did less imagining the scene based on the text and more just picturing the webseries...which I could just watch. In other ways, being so familiar with the webseries felt like a hindrance. I found myself thinking things like "why would they change that line?" or "wasn't there a bit more to that exchange?" It feels like this novelization can't make up its mind about whether it wants to stick strictly to only the established events from the webseries or adjust things and add in extra content. While I appreciate the few new things, they're kind of inconsequential; much of the new content doesn't really deepen the characterization or storytelling. The book does enough to avoid being entirely redundant, but I just can't help wishing it had done more to differentiate itself.

I recognize that many of my hangups are based on my own hopes and expectations. As the saying goes: Your mileage may vary. I'm gonna feel really embarassed if I'm entirely alone in all of these opinions though. For my mileage, I think I would've preferred a third-person omniscient narration that could really delve into the goings on around the Silas campus, with focus on what each of the principal characters were doing and thinking, both during the scenes from the webseries and between them. Another thing I would've liked to see is some acknowledgment of the transmedia content. None of it comes up. At all. Again, I feel like I set my expectations too high. I was kind of hoping that this could be a version of the story that unifies all of that content and threads it throughout the flow of the narrative in a more cohesive, natural way.

I don't want to be all negative and nitpicky here. This is a simple and straightforward adaptation of a story that I really love. Laura's character voice is generally quite strong in the dialgogue and narration. The novel is able to explore some things in thoughtshots and prose that wouldn't really come up in dialogue. The significance of some of the body language is given more prominence. There are areas where this book demonstrates some things that can be done in the text-based format that wouldn't have translated as well (if at all) to the screen. I just wanted it do even more of that.

I really love what this novelization has done for LaFontaine. Season 1 of the webseries leaves the audience to infer some things about LaF's identity, without doing much in the way of explaining or establishing. I know the webseries was trying to build a world where people just are lesbians, or bi, or genderqueer and no one makes a big deal out of it. Season 1 felt a bit too vague about LaFontaine though. I clocked one "them" for LaF in all of Season 1 and it might have even been a plural, referring to both LaF and Perry. The novel is much clearer about what it means that LaFontaine doesn't want to be called Susan. They, them, and their pronouns are used from the moment the character is introduced to the reader. The word genderqueer is used. LaFontaine directly states that they do not identify as male or female. Laura corrects Perry's use of improper pronouns. A lot of this didn't come up until Seasons 2 and 3 in the webseries version. I like that the novel gave clear and visible representation from the start.

That said, I really wish the editor had taken another pass at this, because I did notice three instances of she/her pronouns in the narration. As someone who also uses they/them pronouns, it pulled me all the way out of the story all three times. I'm very tempted to take a pen and mark up the typeset with my awful handwriting just to fix it. And there was one other quirk in the prose that repeated so often it became distracting. When a sentence refers to both Perry and LaFontaine, "her friend" is the go-to phrase. Over and over. A simple "them" or "their" would have been easy enough to follow in most instances. A "LaFontaine" or "LaF" could have been used if a sentence would have otherwise become unclear. "Her friend" made some of the sentences feel particularly clunky and the phrase was repeated enough times that it really started to stand out to me.

Again, I don't want to be all about negativity. This was an enjoyable reading experience. Truly, I hate to be anything but supportive of this, but I do feel that there was a fair amount of room for improvement here. It's good; I just wish it could have been even better.

This novel is a solid adaptation of a rare gem of a story. I feel certain that I'll want to reread this at some point, after some time passes and I can take it as it is, rather than focusing on whether or not it's what I expected or hoped it would be. I look forward to being able to do that as I'm sure I'll enjoy it even more. At the end of the day, I'm excited that this book exists and I'm very happy to have read it.

[aotopmha]

I really appreciate how Dragon Ball Super went back to being about Dragon Ball's original theme of self-improvement.

The original Dragon Ball series was about Goku's journey to becoming a master martial artist - about him above all learning patience and understanding of his limits and that no matter what, there will always be ways for him to improve.

These turning points happen in his fight against Jackie Chun and during his training with Kami, which are, in large part, rounded off during the 23rd World Martial Arts Tournament, but are revisited at various points in the story in various guises.

Along the way he spurs his antagonists and friends alike to improve and grow stronger and better, as well.

I've talked about how most of the thematic substance in the story is very loosely connected and more arc specific, especially in the Z portion of the story and I think it all has to do with very little effort being put into connecting any of the ideas of the story to each other.

The theme of self-improvement is slowly buried behind all the other ideas the story decides to focus on and as time goes on, even contradicted.

It still works when Goku is revealed to be an alien because he is established to be a low class warrior of his race - the theme is simply related to him not being bound by his birth status and being able to grow beyond it through hard work. We also have Krillin, Tenshinhan, Gohan, Piccolo, Yamcha and Yajirobe stepping up against the Saiyans and showing their growth through that - as much as I dislike that Yamcha's and Tenshinhan's character arcs are never highlighted.

They are treated like generic nobodies, rather than long-time members of the cast. You could argue it's to show how terrifying the Saiyans/Nappa is, but you can do that while respecting their characters.

Despite this issue I have with how their characters are treated, I don't think any of it shakes the story thematically yet in the big picture.

However, this arc does also introduce the Saiyans and their special race traits and through that the story's habit of throwing many of the other characters aside. This is something the prevails across the whole story and into much of Super, too.

The Freeza saga is about becoming stronger and better than you already are in much more vague ways. Only Gohan's and Piccolo's continued character journeys and the idea of the Super Saiyan adhere to it and Gohan and Piccolo are pretty clearly side characters in it.

They do matter in terms of several plot points, but the story doesn't really zoom in on the idea of their growth specifically - the arc is more about identity and racism, however basic way they are covered.

The most significant thematic part of the Freeza arc to me is Goku's Super Saiyan speech as the acceptance of his Saiyan heritage. He is one and makes peace with it - having questioned it before he let Vegeta go (this actually is much better executed in the anime because of Goku initially straight-up denying his relation to the Saiyans).

Self-acceptance can be part of self-improvement because it grants inner peace, but the story doesn't really connect or explore the two ideas in any meaningful way. There is never any substantial struggle for Goku about controlling Super Saiyan, either, so it's all a very surface-level representation of the theme of self-improvement.

On the other hand, the Cell arc really does seem to go back to this theme and actually even connect it's arc specific theme to it.

The Cell Saga is about Gohan finally stepping up. Goku's ultimate sacrifice and Vegeta growing to care and helping to defeat Cell by the end kind of count, too - bringing long-term arcs to their ahead.

As much as I love Piccolo's remerging with Kami from a symbolic POV, his actual substantial growth happened in the Saiyan Saga and was done by Namek. I feel like his actual principles and character didn't change in signficant ways through the mergings with Kami and Nail (the plot importance laid in Piccolo having to grow stronger), but they still were expressions of his growth in the Saiyan saga.

Cell doesn't actually really start off by being about Gohan's, Vegeta's or Goku's arcs - the Cell portion actually feels kind of disconnected from the rest of the arc.

The initial theme of the arc is actually "you can choose your fate". This is expressed through the Androids' rebellion against Gero and the very premise of the arc - Trunks came back so the fate of everyone could be changed.

You can connect this theme to being related to the idea of self-improvement - after all, how our lives go should be of our own choosing, but at the same time, we can choose to be good or bad people when we have the choice. Gohan brings it up in the battle against Cell. Add to that, as poorly as I think it's handled, Cell is supposed to be the manifestation of all the negative traits of the characters.

So, seemingly the only problem with the Cell arc thematically is that it's theme is confined to a select few characters - for a series talking about how anyone can achieve anything by working hard and can always be better than their current selves, it sure takes the chance from a lot of the cast to do so.

The problem I have with the Cell arc is that while I think it works thematically in isolation, it doesn't in context of the bigger picture.

After Cell comes the Buu arc, which I think is an absolute thematic disaster and my biggest example of how DB lost it's direction.

I love the direction it goes in tonally because it's the closest to how Dragon Ball originally felt, but it's a complete mess otherwise.

Yes, we have Vegeta's redemption and him willing to work together with Goku and we have good Buu's arc with Mr. Satan, but we also have Goten and Trunks being introduced and never learning anything or amounting to anything and Gohan's arc not getting any follow-up - his newly discovered flaw of arrogance and how his power influences him is never substantially addressed or resolved in any way. We see it again when he gets his Ultimate Gohan power-up, but nothing is really done with it.

Add to that, the power-up is the most unearned one of the whole arc - Goku's SSJ3 transformation and Trunks and Goten getting SSJ are bad, too, but Gohan's is extra bad because he has setup behind him. They all grow stronger, but it's not tied to any character growth.

The fusion is introduced as a means to have the characters learn to fight together, but by the end it isn't that effective and thus doesn't work that well thematically.

Goku's sacrifice means nothing not because he comes back, but because him taking responsibility isn't treated like it's part of his arc and followed through on. It represents the self-improvement theme just fine in isolation, but it's not something that is consistent.

EoZ even straight-up trivializes Goku's journey by just having him leave everyone - he says he'll visit, but the issue here isn't in the established details, it's the thematic significance of it and the connotation it decides to leave the story off on. Along with growing stronger character and strength-wise, his whole journey was about finding his place in society, too - how everyone around him shapes him and is important to him.

Even if it actually isn't the intention to trivialize this theme, it *feels* like it's just sort of thrown away within the span of a few chapters/episodes - the last chapters of the story at that.

It leaves you asking what the point of following these hundreds of episodes/manga chapters was. Maybe it was Toriyama's way of being subversive by saying "it doesn't really matter what it means, it only matters that we had fun", which is unique and certainly a twist in terms of storytelling conventions, but it's really frustrating and feels like being contrarian to the story's themes just for the sake of being contrarian.

There really isn't a single thematic thread that isn't contradicted in the Buu saga at some point, but there is also no consistent theme at all. It's a confused mess.

So I appreciate how Super kind of refocuses itself thematically.

In BoG, Beerus is introduced as lazy and uncaring, but by the end of Super changes for the better and starts caring just a little bit.

Goku is also reintroduced to the old lesson that there is always someone stronger than him out there. I don't particularly count him putting his selfish wishes aside to save everyone as new because he basically always ends up doing that in most of his fights.

I have a bunch of problems with RoF.

Whis spells out the ways in which Goku and Vegeta could improve themselves, but the ultimate thematic point of RoF doesn't work because Whis is the one who saves everyone - Goku and Vegeta didn't overcome any of the flaws Whis highlighted in any capacity. As much as I dislike that and how obtaining Blue wasn't connected to any shown character development, either, it was actually about Goku and Vegeta having to overcome their major flaws. In addition to that, Freeza is linked to the theme of self-improvement, too, which offers a new perspective on it because it's a villainous version of it, particularly come the ToP.

It's actual character substance that is actually connected to one of the main themes of the story.

The U6 arc has Cabba and Hit as the biggest examples.

You could argue that Cabba getting SSJ so quickly is annoying, but narratively SSJ hasn't been relevant for a long time, so I feel like it doesn't really matter. It was also established that the U6 are different from U7 Saiyans - not only because they are stated to have evolved differently, but also because they have different designs. They are clearly intended to be distinct from U7, only sharing basic traits.

The U6 arc's final battle is about surpassing limits in the most literal sense and also creates an arc for Hit - he learns to enjoy himself again and we later see him also softening up and learning to care.

However, later on, Botamo, Magetta and Frost get a share of this theme, too.

Botamo and Magetta learn to work together, something foreshadowed in the teamwork of the baseball episode.

Frost is shown to have grown stronger when he meets Hit again.

Going back a little bit, though, I think the FT arc is excellent when it comes to this theme. Zamasu's arc is a direct negative parallel to Goku's journey of learning patience - he has no patience for mortals because of all the negativity he sees in them and simple cynicism grows into hate. He is straight-up in a direct opposition to the idea that people could become better people, more specifically.

The ToP is the direct thematic follow-up to this.

Most major and some minor characters go through arcs.

I think they are not always perfectly written character arcs and Jiren specifically should've been set up across the arc, rather than just saved for the end, but I still also like most of them and I think most of them work out by the end.

I like Kale's arc and her standing on equal grounds with Caulifla by the end.

I like Ribrianne realizing her perspective on love isn't absolute and perfect.

I like that Jiren softens up by the end.

I like Cabba taking the lesson he learned from Vegeta to heart.

Going to the main cast, when looking at Goku and his role in this arc, Ultra Instinct is pretty much perfect as the pinnacle of his growth so far. It combines his lessons from Roshi, Korin, Kami and Whis and makes it into my favorite power-up of the series. It's not "new", but still a perfect representation of Goku's journey and the lessons he has learned.

I like that Gohan's arrogance was addressed, but also that his whole arc across the story was made about his indecisiveness. So, he was actually connected to the theme of self-improvement again.

17, 18 and Freeza actually feel like they have the most natural arcs of the ToP to me.

17's and 18's most signficant actions in the tournament are selfless actions that consider others. 18 saves 17 and 17 wishes the universes back. They have come a long way from being directionless jerkish brats.

Freeza is an extremely fascinating example thematically because his arc is a parallel to Goku's: learning patience, but also learning to work for what he wants. He simply uses these lessons for the sake of evil.

Krillin is also a great example of self-improvement: he faces his fears and decides to fight again.

The note the story decides to leave on is disapproving of Zamasu: all of these character arcs and 17's wish show that people can change.

Next, Broly is actually also a little more vague about this theme again, focusing more on the other main idea of the story - the value and importance of the connections with others to us and how the people around us shape us.

The most significant thematic parts are Goku telling Broly to not follow bad people and Broly's SSJ transformation - they bring the movie together thematically for me.

The change of Bardock from Minus does adhere to the self-improvement theme, though. It gives weight to Beerus's initial indifference because Bardock was a Saiyan we saw wanting to be better.

Perhaps if Beerus had given them time, they could've grown to be better? This is bolstered by how the U6 Saiyans actually did grow to be better.

Finally, I like Moro so far because he currently challanges the heroes by different means than they have been challanged so far, leading to a different kind of self-improvement being possible for the characters.

So, I think Super itself is an extremely thematically tight story because it has very few divergences and contradictions (most of them being in RoF).

Unlike the original story, I think it validates the struggles of most of the characters and makes the story directly about one of it's main themes again.

Now it's important that the story wouldn't go back on all these arcs and development because that would just repeat the Buu saga problem of leading to thematic contradiction and confusion.

[elizabethrobertajones]

Comparing Season 6 and Season 10 - which one do you think makes more sense as a whole, which one better pulls of seeming like what happened/was revealed at the end of the season is what was supposed to happen/was planned all along?

I may be biased, but for me, season 6 by miles. And almost all of that is Edlund desperately cramming everything that had happened so far into something that either made sense or handwaved why it didn’t make sense in an effectively emotional enough episode that by the end of TMWWBK you sort of feel like you’ve actually got your answers and Cas has been completely honest and open with YOU at least, making it that much easier to handle what was going on. 

I think for me season 10 was poorly handled in ways that weren’t particularly well addressed and the only offered explanation ever was “oh it was Amara after all” which in the context of season 11 gives us some more characterisation to begin to pull things together, though without addressing everything. Still if we’re dealing with things as a whole, season 10 doesn’t have an episode that scrapes everything together in the post-Edlund era and what we get only within the confines of season 10 is extremely unsatisfactory, even if later canon eases it a little bit, along with just… not being actively in SPN season 10 as it airs :P 

Going off my memories of being in the fandom at the time, we had a lot of issues with things like 

Dean’s incomplete demon reversal (so far as in 10x02, written by Dabb who invented the cure repeating the correct steps, then in 10x03 Buckleming not following through with them)

“the river ends at the source” “never mind I was screwing with you”

Did Cain still have the Mark after 9x11? lasting drama until 10x14, and still debated afterwards especially by people who had thought he didn’t have the Mark and had passed it entirely to Dean now being very confused  

What the fuck was this about Lucifer having the Mark and how did that last minute addition affect everything? 

the Colette parallel being wildly mis-applied by fandom but also issues with the show’s fear to explore it leading to “we are all the colette” episodes with lasting drama until 10x22, where Charlie, Sam and Cas all variously and persistently seemed to be suggested to be capable of being a team effort to pull Dean out of the darkness. 10x22 also wasn’t enough to stop Dean, and the final confrontation was with Sam, I think a general consensus was - especially again with season 11′s help - that the memory of Mary drew him back/unleashed Amara metaphorically who unleashed Mary literally - it wasn’t a great note to end on without season 11 context (as a whole, so, like, a whole YEAR later) that Sam had “won” the battle to bring Dean back from himself where Cas had failed, and the subtext and show and fandom most of all had made SUCH a huge deal out of Colette, after 9x11 over-told her story instead of retelling Cain & Abel, that it was set up with the expectation that saving Dean was a romantic quest, not a brotherly one. 10x14 sort of helped set things to rights with the list, but the fighting about what it all meant at the time was AWFUL, and though I think I was right and the show bore that out and these days I type it all with confidence, I’m pretty sure there’s a ton of buried wank about it that could be dragged out if we want >.>

the fact there wasn’t really an overarcing Mark of Cain plot except “Dean is suffering” with the only 3 actual plot points they could do with it being demon!Dean, kill Cain, and remove Mark. Because of that, everything else is literally set-dressing to fill the time and add drama in between, but these were played with poorly and there wasn’t any subterfuge we weren’t in on (i.e. sam stealing the book) vs Cas betraying both the Winchesters and US. The only retcon offered in the end was Death’s exposition about the Darkness.

people literally forgetting which order episodes came out in and being very confused about why Amara wasn’t released when Dean was 14 in 10x12 even though he didn’t kill Cain for 2 more episodes (like, within weeks of 10x14 airing, I swear)

the understandable disappearance of Cole but bizarre application of that hunter called Rudy who popped up in his place and featured in 10x23 along with Cas for Dean’s guilt trip. Even if Cole and TAW sucked ass, it’s much easier to understand the emotional impact of what happened to Rudy if you assume he has the exact same backstory as Cole and the same nonsense happened to Dean twice in the same year :P 

Pre-season hype about Rowena made a huge deal out of the Grand Coven, and for a brief moment it seemed like there might be a witch plotline, including new lore dumps about different types of witches in 10x07, characters like Olivette the Hamster, etc, but they squandered her first season and 10x19 was as close as we got to any pay off to her actual storyline

Then Oskaar happened and that was like ??? Okay just introduce him in the second to last episode and throw us into that emotional situation 

the entire cure coming out of nowhere as a random last minute macguffin instead of having been anything they put together over the season - even though the book of the damned thing showed up in 10x11 it changed substantially from the clue Charlie left with (a less than 100 year old book with a library reference number found on an antique rare book website, based on a real book, which we all picked over and were left wondering if the plot was to be about some sort of occultism thing as a result) to a much different lore. Then there were a few episodes dealing with it and the codex, the actual spell had no real struggle, and Crowley delivered all the pieces while Cas stood around scowling and Rowena stood around in chains eye-rolling. Compare season 13′s pacing with Sam and Dean cobbling together what they needed from halfway through the season, and being on the mission to get to the AU from episode 9, with relatively little of the endless sitting around googling and being frustrated of past seasons but ESPECIALLY season 10 where Sam was futilely trawling the results of googling “mark of cain” from mid-late season 9 through to like, 10x18 when an actual brief plot appeared around it directly. 

I think all of it points to a problem of working forwards from where they were instead of backwards to tidy up what was left. In season 6 Edlund took as many loose plot threads, from how Sam lost his soul, what was up with Crowley and Cas, the angel war, explanations for Sam and Samuel working together, why eve happened, everything, and put it all together to explain the elements of the season so far in a new light. Despite how disastrous that season was, PRETENDING you knew like you meant to do it all along glosses over inconsistencies in Samuel’s story or Cas and Crowley’s 6x10 interactions, and makes them relatively inconsequential when most of the details add up. 

The same thing works with the Lucifer as Sam’s vessel storyline, in the sense that while Azazel’s plan is fucking ridiculous in its over-complex bizarre attempt to find a worthy true vessel that Heaven had fated, comparing season 1-2 to season 5 head on is bad, each season explains itself from the last in enough of a way and with enough knowledge of what already happened that really despite vast inconsistencies in the lore, by 5x22 we are pretty much all on board to accept the way it all played out because they use what was previously written to build up Sam’s arc, and little details thrown in towards the end like Brady and then Lucifer revealing ALL of Sam’s closer rando peeps had been demons, tidy up more and more loose ends and there’s left with plausible deniability about a lot of the issues.

In season 10 they kept on introducing elements instead of working with what they had already established, and also discarded what seemed like major plot hooks for Rowena and Cole, one annoyingly, one completely metatextually understandably and fuck TAW, I’m glad the show never brought Cole back as soon as rumours of him groping fans appeared, and it makes me genuinely trust that the SPN set is a safe place. But yeah. 

Things they set up and could have worked with, were the Cas’s grace arc, which was resolved to a small personal satisfaction to Cas without any major plot impact except we could stop worrying about when Cas would get sick and die from bad grace, or steal more. 

The demon!Dean issue was bad writing from Buckleming re: was he still a demon or not, but given Dean was supposed to be struggling with succumbing to darkness the season actually kept him almost completely level without any significant relapses, even after killing Cain. The sense of needing a functional Dean Winchester to keep hunting monsters and prop up the show as both the carrier of the mytharc, the emotional core, and the go-between between Sam and Cas even when the show was trying to figure out if Sam and Cas could function without Dean, it was all still so much about Dean that in 10x21 when they’re doing the cringeworthy “for Dean” thing and Rowena rolls her eyes like “I barely know the man”, I was actually applauding Buckleming snark thinking they maybe briefly had a handle on how ridiculous Dean’s position in the narrative was. (Listen, this was the last 10 minutes of my innocence about how awful Buckleming could be, leave past!me alone. She’s sweet and precious and not bitter :P) In any case, a more effective season would have utilised him more to slip and slide between light and dark and explore it in much deeper detail, but balancing that with a procedural formula doesn’t work as well and they were lacking enough philosophers on staff. I think the Dabb era writing team could handle it, because Yockey, Perez, and Glynn especially, who seems to have a psychology background based on her writing, all have a sharp attention to the exact things in emotional arcs that would have made it work better, even just as it was. Since this was a weaker writing team where Robbie, Bobo and Dabb episodes were little islands of excellence and the motw were fun but more shallow even with strong foreshadowing themes, it just didn’t pay off. 

I think the biggest waste of time was “the river ends at the source” which was either Buckleming trying to introduce a concept and hoping someone else dealt with it, or an agreed plot hook which never materialised, or Metatron literally spoke the truth, that the line had only ever been written to mess with us. However 10x23 could have actually included more of a “river ends at the source” sort of slant and had Death confirm it in so many words because Amara really did sort of seem to be the answer to the question. In 10x10 it seemed like they knew where the season was going, but by 10x17 it was obvious they DIDN’T, and it was during 10x18 that the plot actually got hashed out and Robbie was handed heavy revisions to make to change the Stynes to end of season villains and the Book of the Damned was going to be used how it was. I think this is really weak plotting, as someone who always puts in fun lines and then attempts like crazy to pay off on them. My first novel has the line “you can’t talk to me yet” and I play through that the whole book until they CAN talk and make it a major motif, goal and in the end try to explain it as best I can about how it’s all plot relevant and why using that for tension to put off the explanations and such was a valid thing to throw at my main character, and then the springboard to more adventure when she was ready for it. I literally do not understand putting a portentous line into your story, and not becoming desperately eager to answer it or twist something into revealing how it all fits at the end, if not basing your entire story off of it. Sam and Dean seemed wildly uncurious about how to apply that or what it means. 

In season 6 one of the more frustrating things is the “it’s all about the souls” line because Dean fails to investigate until someone or other rolls their eyes and makes it all clear to him. But we get a few more reminders in Cas’s presence, until we find out his plan, and Crowley repeats that line in 6x20 when making his sales pitch to Cas, if I’m remembering rightly (I hope so :/) and so despite Dean’s infuriating lack of investigation (not that he had a great deal of leads, but still - you could build a plot around it by GIVING him a lead, he’s the fictional character and you’re the writer :P) at the very least they repeat the motif in at least 6x17 and 6x20 to my memory, before the souls thing becomes a lot more obvious about Cas taking the purgatory souls and we’re allowed to actually discuss what he’s up to instead of the vague hints Atropos and Rachel give that they know his plans. 6x07 also hints early on that Purgatory is full of monster souls if you add it all up - the writers knew they were doing SOMETHING with this even if it took to the end of the season for it to all come together. (And that’s something that’s clearly and overarcing plot that Gamble oversaw because she wrote 6x11 and the line then appears in multiple episodes around the place, so that’s not just something Edlund tidied up but an actual effort to write the season well.)

Throwing aside the “river ends at the source” line is wildly frustrating because it wouldn’t have been too hard to apply it thematically and even keep Metatron being a douche while giving the viewer a pay off anyway for our own satisfaction, by showing it had been a theme all along anyway. You CAN squint at season 10 and analyse it through that lens but it’s exhausting when the show doesn’t give us the themes on a platter. It also shows that the plotting is careless and they’re experimenting, and rather than working with what they have, this is in a path of episodes where they’re discarding some plotlines, and we’re beginning to have end of season plotlines hastily pasted onto the end of the season, but they make very little of any of the work already done to build up the season as we’d seen it so far.

Add onto that Charlie being murdered for manpain to motivate some things into action and all the random elements being used, and the sense that Crowley, Cas and Rowena all abruptly ran out of a plotline that had been intended to utilise them and put on a side character duty away from Sam and Dean, the season is extremely messily and carelessly written, and without any real attention to detail to its own themes and characters and plotlines. Even if they’d gone into the season not particularly expecting where to go, they brought a lot to the table early on but then quickly wiped a lot of it off, and brought a lot more stuff to the table instead, which makes season 10 a really wonky, unfinished feeling product as a thing on its own, and the overall story is scrappy and carelessly plotted.

And that is speaking just about the easy plot stuff without getting into the absolute mess of speculation from the Destiel side of fandom wondering wtf was going on with the seeming build up to crypt scenes, colette, the grace cure, etc, that made up the bulk of the speculation but makes actually analysing expectations vs presented product completely impossible to evaluate on that side of things because as always Destiel speculation really overshoots what is expected and was really running wild at that point. I mean, not being judgemental because that was the year I was right in the thick of it. 3 years clear of it now, some of it seems really silly, but those 3 things all seemed clearly built up to our eyes, and we got the reverse crypt scene we’d been expecting since before the season started, and we got the Colette reference which slotted Cas firmly into place as a reminder of how Cain’s peeps lined up against Dean’s, as well as Cas asking Dean to stop, which satisfied the terms and conditions of Dean resisting walking in Cain’s footsteps with the overall set up of the scene. With the way Cas got his grace back and then some other rando cure popped up where Rowena of all people made the sacrifice, I really can’t help feeling like the conspiracy theorist who knows they were right but with the way it all shook out, only people who knew the conspiracy would understand how it didn’t happen and it’s very hard for me to look at that and say that some non-Cas-related cure was coming all along, given the conspicuous dropping of one plotline sort of day of picking up the next >.> But I’ll cede that from my position I might be a bit compromised on that one. 

Anyways. To me season 10 is a disaster that only season 11 really justifies, while season 6 has some truly low points but in the end the actual writing skill hauls it through so that it creates the illusion that there was consistency, if you ignore everything outside of the text suggesting it may have been as poorly planned as season 10. Planning isn’t everything - it’s what you do when confronted with the unplanned wire tangle in front of you that really marks how well they were written, and just shoving it under the table and putting a new wire tangle down vs actually unpicking it and making them as neat as possible? Gamble slam dunks Carver :P

[robedisimo]

The Last Jedi: six observations and four questions [MAJOR SPOILERS]

[WARNING: the following contains HUGE PLOT SPOILERS for Star Wars: The Last Jedi. Please proceed at your own discretion.]

It has been a strange, busy year for franchise sequels. Between Alien: Covenant, Blade Runner 2049, Thor: Ragnarok and now The Last Jedi, a lot of what has graced our screens has been saddled with a lot of different expectations, and with more than a little anxiety concerning its relationship to vast pre-established canon. In my opinion, all four films handled that task well; however, each of them approached the matter in a very different way.

Denis Villeneuve’s Blade Runner sequel embraced and expanded its predecessor’s style and themes, for example, while Ragnarok upended pretty much everything in its franchise so far with maniacal glee and an irrevent attitude bordering on outright mockery. Covenant also played fast and loose with established lore, but unlike the third Thor it did so without acknowledging it, “pretending” – thanks to original creator Ridley Scott being at its helm – to perfectly fit into everything that preceded it.

At its heart, The Last Jedi has more than a little in common with the latter two. It – literally, in certain cases – sets fire to certain aspects of the Star Wars canon to make room for a newer iteration of the franchise, but it does so with respect and love, pruning selected parts of the property to allow it to flourish. Its mockery seems instead aimed at its direct predecessor, The Force Awakens, which director Rian Johnson appears to retroactively adjust in order to steer the saga towards his own vision.

That attitude is nowhere more apparent than in the outright derision of Kylo Ren’s mask, which “makes him look like an idiot”. The meta-textual jab at J.J. Abrams’s aesthetic sensibilities betrays a ballsiness bordering on arrogance, as does the U-turn on Snoke’s characterisation, going from grave, sombre Palpatine wannabe to sneering, opulent Bond villain.

Whatever the reasoning behind The Last Jedi’s changes to the franchise, in my eyes the overwhelming majority of them was for the best. But did Johnson’s film really change everything, or was it more of a balanced mix of old and new? Following is a brief list of things that didn’t go as we might have expected and things that most certainly did, as well as some that still may or may not in the near future.

1. Subverted expectations

Leia’s death Given historic Star Wars precedent, it was very reasonable to expect Leia to not survive Episode VIII’s events: Kylo Ren was on a stated mission to forcibly (har har) eradicate his family ties, “mentor”-like characters have a track record of not surviving long into a new trilogy and, well, Carrie Fisher won’t be around for Episode IX. And indeed, The Last Jedi does give Leia a swift and dramatic death scene... only to reverse it immediately by virtue of a plot twist hinging on the character’s previously-undisclosed Jedi training, in a textbook example of a trope which I’m sure must be already defined somewhere on the Internet but which I’m personally more than willing to dub “Secretly Jesus”. It’s a stunning sequence and one that’s proving quite controversial with fans, setting the scene for the no-holds-barred approach to storytelling showcased throughout the movie.

Finn’s sacrifice I’ve written at length about how Finn is the best candidate for Sequel-Trilogy replacement to Han Solo, and so there was good reason to believe that, as he threw himself into a First Order super-weapon, we were in for a rerun of Han’s heroic surrender to frozen doom – I don’t think anyone was expecting Finn to actually die, but by that point The Last Jedi had certainly demonstrated that it was down for pretty much anything – at the end of The Empire Strikes Back. Once again, that didn’t end up happening but the spirit was certainly there: just like Han, Finn had spent the whole film – and the whole franchise up to that point – torn between his own good heart and an individualistic penchant for self-preservation; by the end of their respective second chapters, both characters finally embrace their heroic streak. Ironically, whereas Han sacrificed himself to save Leia – culminating in the saga’s first explicitly-stated romance – here it’s the girl who ends up in suspended animation instead, after saving the day and declaring her love.

Rey’s parentage The most (apparently) outrage-introducing aspect of Johnson’s film is also the most interestingly handled. After two years of speculation regarding Rey’s true parents, and a number of increasingly far-fetched theories – Rey is Luke’s, Obi-Wan’s, Qui-Gon’s, Palpatine’s daughter – in The Last Jedi she was finally revealed to have been just a regular Jane Doe all along, an outsider to the Skywalker family saga. Some fans have met this with outcry, partly because they don’t seem to understand that the Sequel Trilogy is still part of the Skywalker arc through Kylo Ren, and partly because of precedent. The reveal of Luke’s parentage in The Empire Strikes Back is the single most iconic moment in the entire franchise, and quite a few people were expecting a direct retread of that. Except a direct retread is precisely what they got. Even without getting into the fact that Kylo could’ve simply been lying, the scene plays exactly how you’d expect: the bad guy extends his hand to the hero, offering a place beside them on the Galaxy’s throne after dropping the unexpected bombshell about their parents’ identity. The scene is almost exactly the same, but in reverse: for starters, the hero has just been in a fight involving the film’s villain; but unlike in Empire, Rey comes out of the fight victorious and having fought on the same side as the villain, not against him. Similarly, the biggest reversal comes in the fact that the bombshell shock doesn’t come in the shape of a twist reveal but rather in the absence of one. The Last Jedi – something it has in common with another piece of oft-maligned fiction that I happen to love, but that’s a story for another time – trades a twist for an anti-twist: “I am your father” becomes “Nobody is your father”. Which isn’t just poetic, it also works on a number of levels. Rey doesn’t have to be connected to everything else in the saga, just like Finn doesn’t have to be Lando’s or Mace Windu’s secret son. In The Last Jedi we finally get to know and love these characters for who they are, not for who they could be. This moment in which the saga is freed from the weight of its own legacy is as earth-shattering and franchise-changing as the ending to Empire was; if not more, because this time around we were prepared for it but were still surprised. We were prepared for anything, and they surprised us with nothing. You can call that cheating. I call that clever.

2. Confirmed tropes

Luke’s goodbye While Luke’s final act of heroism in The Last Jedi is breathtaking in its unexpectedness, his ultimate fate is as traditional as they come. Right after re-enacting Obi-Wan’s “strike me down” scene, Luke pulls a Yoda and peacefully joins the Force. It’s something that by all logic should’ve been reserved for the first half of Episode IX – just as Yoda’s death signalled the beginning of act 2 for Return of the Jedi –, but then again I did mention in my review that The Last Jedi is a bit of an episode-and-a-half kind of deal. Narratively speaking, the film could’ve ended on an Empire-like note right as Rey manages to escape after her lightsabre-breaking, parentage-revealing confrontation with Ben. Instead, Johnson took things one giant step beyond. And that’s a good thing, fortunately: had this movie closed on yet another cliffhanger, we wouldn’t have had the chance to conveniently explain away Leia’s departure from the franchise by means of a – all but inevitable, now – time skip between Episodes VIII and IX.

Snoke’s death Unexpected as it was in its timing, Snoke’s demise was anything but in terms of pure narrative structure: he was set up to be defeated, and he most certainly was. Not just that, but he was defeated in what’s arguably the most traditional way to be found in Star Wars canon: an apprentice turning on his own master when he’s instead supposed to finish an incapacitated opponent. It happened to Palpatine in the Original Trilogy, and it happened to Mace Windu – in a direct reversal of that same scene – in the Prequels. Snoke may not have been an actual member of the Sith order, but his fate certainly conformed to that of historic Dark Side practitioners. What’s more, his efforts to turn Ben Solo into a new Vader definitely paid off... perhaps even too much for his liking.

DJ’s betrayal Benicio Del Toro’s character is more a walking, talking plot device than anything, but he’s an undeniably charming addition to the franchise. Still, for anyone who thought he didn’t get enough development on his first time on the Star Wars scene, his return is pretty much a given. His potential for a face-turn in Episode IX, combined with his introduction as a shifty but useful ally to our heroes, only to grievously betray them while maintaining a measure of relatability, paints a very clear picture: DJ is, quite simply, the Sequel Trilogy’s Lando. There’s probably no easier cross-trilogy comparison in all of The Last Jedi, in my opinion. And to be frank, it’s a pretty entertaining one.

3. Still-dangling plot threads

What role do Luke’s relics play? The Last Jedi includes more than a few deep-lore easter eggs, many of them hidden on its characters. Snoke, for example, wears a golden ring whose stone – as one can read in the Visual Dictionary companion book – comes directly from the Dark Side pit originally lying beneath Vader’s fortress first glimpsed in Rogue One. Luke carries not one but two of these significant relics. The first is a Jedi compass, a MacGuffin introduced in the recently-released Battlefront II video game whose exact purpose wasn’t really disclosed, although one might speculate that it’s through it that Luke managed to find the ancient Jedi planet of Ahch-To. The second is Luke’s pendant, apparently housing a red crystal of unspecified origins. This particular object became the centrepiece of a fascinating fan theory in the months preceding the film’s release, and while that specific scenario didn’t pan out, the pendant itself did get a suspicious close-up shot which went entirely unexplained. The Visual Dictionary lists it as an ancient “Jedi Crusader” trophy, sparking rumours about the renewed canonicity of fan-favourite Knights of the Old Republic character Darth Revan. Could that be it, or is there more to Luke’s story between trilogies that we have yet to see? And if so, will that be addressed in Episode IX, or is it something that’s bound to be left to exploration in New Expanded Universe material?

Who was Snoke, exactly? Easily the second most controversial bit in the movie, Snoke’s sudden death left a lot of questions hanging. Who exactly was this guy? Where did he come from? Why was he so strong in the Force, and how did he know so much about everyone involved in the previous two thirds of the saga? The fans’ frustration about these unresolved plot points is understandable, and it’s undeniable that Johnson has left quite the hot potato in Abrams’s hands. Still, one must never forget that Emperor Palpatine was just as much of an unknown quantity in the Original Trilogy: character-wise, he was very little more than a cackling, mugging “evil incarnate” trope, blandly intimidating up to the point where his right-hand man killed him by essentially pushing him down a flight of stairs. It wasn’t until the oft-maligned Prequels that good ol’ Sheev took on a personality all his own. On the other hand, that sort of undefined mystery just isn’t viable in the franchise’s current state. After forty years of accumulated, obsessive exploration of the narrative universe’s every nook and cranny, fans are no longer willing to put up with not knowing. And, to be completely fair, relegating Snoke’s backstory to Expanded Universe novels or comic-book series would be a disservice to the portion of the audience that only watches the film instalments – whereas Phasma’s mostly-perfunctory role in the movies is more acceptable, vis-à-vis her much more in-depth characterisation in ancillary material – and a general faux pas from a narrative standpoint.

What about the Knights of Ren? Speaking of dubious narrative choices, another unexpected element in The Last Jedi’s standalone-but-not-standalone structure – the movie works extremely well in isolation, but it’s also perhaps the most interconnected to previous lore that Star Wars has ever been – was the total absence of Kylo Ren’s eponymous Knights, teased in Rey’s “Force Vision” sequence halfway through The Force Awakens. From a purely in-universe standpoint, their uninvolvement with the film’s proceedings makes sense: Episode VIII takes place over a short period of time immediately on VII’s heels, and as such it would’ve been strange for the Knights to come running as a sort of bad-guy cavalry, especially if it were for the sole purpose of being anticlimactically slaughtered barely halfway through the trilogy at the hands of a still-inexperienced Rey. Narratively speaking, however, what we got was a full movie – and two more years of endless wait – going by without the characters being addressed, which is pretty frustrating. So much so, in fact, that some fans have already begun speculating that the Knights actually were featured in The Last Jedi as none other than Snoke’s Praetorian Guards, a truly awful theory that presupposes a shockingly appalling grasp of storytelling on Rian Johnson’s part. One can only hope that with Kylo now positioned as the trilogy’s Big Bad, they’ll serve as the mid-boss-level characters our heroes will have to get through if they want to face the ultimate evil... potentially resulting in the most spectacular lightsabre battle ever witnessed in Star Wars canon.

Where are the other Force ghosts? The question of where Yoda’s Force ghost has been all these days as Luke – and the Galaxy – needed his guidance is easily answered by The Force Awakens, in both title and dialogues: there has been an “awakening” in the Force, at least the Cosmic side of it, with Rey’s and Kylo’s mounting powers. So it’s not hard to imagine that the world of spirits has been a lot less in touch with that of the living over the past thirty years. Nonetheless, that dry spell is now decidedly broken. Obi-Wan whispered in Rey’s ear at least once in Episode VII, and Yoda’s appearance in The Last Jedi showed us a Force ghost with more power and influence over the physical world than ever before – although that may have to do with the peculiar Force-attuned nature of the planet Ahch-To –, and that’s a pretty hard can of worms to re-seal. So the big, looming question right now is: where is Anakin Skywalker’s ghost, and why isn’t he giving his grandson a piece of his mind about his hare-brained scheme for galactic annihilation? Should we expect Hayden Christensen to make a Vader-y return in Episode IX, or will Abrams’s apparent loathing for the Prequels rob us of that long-delayed rehabilitation of his take on the character?

Other questions loom large over the next (and final) episode in the Skywalker saga, of course. Did Kylo lie about Rey’s parents? Will Snoke still exert some sort of influence on the Galaxy’s fate, even after death? How exactly will Leia die? How will the Resistance turn things around to win the day? Will Rey and Poe start a surprise romance? And how will Phasma have ludicrously survived this time?

We’ll just have to wait, I guess. In the meantime, I’m sure Solo: A Star Wars Story will give people a lot more to complain about.

[eddycurrents]

For the week of 13 November 2017

Quick Bits:

Babyteeth #6 opens the floodgates of story after getting through the initial hurdle of getting Sadie and Clark out of imminent danger. Donny Cates gives us more depth as to what’s going on broader picture of the world and introduces us to the cult geared to protecting and raising Clark.

| Published by AfterShock

Black Science #33 has the shit hit the fan as the confrontation between Grant and Kadir reaches its peak and then reality breaks. The mix of mad science and philosophy from Rick Remender on display here is wonderful, seeing a representation of Platonic ideals mapped onto quantum realities in a kind of unfurling of Gnostic cosmology is impressive. So too is Matteo Scalera’s art. He and Moreno Diniso really get to cut loose this issue and it looks wonderful.

| Published by Image / Giant Generator

Bloodshot Salvation #3 gives a revelation to the “soon” timeline of what’s happened to Ray, while in the “now” we get a confrontation between Ray and Daddy, Colin King helping out Magic, and Project Omen causing complications. I probably sound like a broken record, but Jeff Lemire, Lewis LaRosa, and Mico Suayan are doing some great things with this series.

| Published by Valiant

Brilliant Trash #1 is an interesting take on superheroes. It’s a mix of government conspiracy and potentially mad science, told from the perspective of a journalist looking for a story in the appearance of a V-like figure, Lady Lastword’s, final speech and death. Tim Seely’s got something interesting here. Priscilla Petraites’ art is also quite nice, kind of a mix between Jamie McKelvie and Phil Hester.

| Published by AfterShock

Dark Fang #1 continues the trend of not naming the protagonist in the body of the first issue. The solicitation copy and end piece are what’s needed to piece together the full premise of the series and name of the protagonist. That said, Miles Gunter does have a decent story here. It’s environmentalism through the lens of a centenarian vampire, Valla, who was friends with a fish until modern industry destroyed her ecosystem. But first, earning money as a cam girl and getting caught up in society’s obsession with cell phones and the internet. The art from Kelsey Shannon is a definite plus.

| Published by Image

Deadpool vs. Old Man Logan #2 is every bit as fun, humorous, and action-packed as the first issue. Declan Shalvey has a great feel for both Wade and Logan and Mike Henderson’s art is truly wonderful. Only two issues in and this is just a fun, must-have wild ride.

| Published by Marvel

Evolution #1 is a very strong debut issue with multiple voices brought together by the singular visuals of Joe Infurnari. Infurnari has a style that is a bit Tom Mandrake and a bit Bill Sienkiewicz and it is absolutely perfect. If you like David Cronenberg’s early horror films, even just a little bit, you owe it to yourself to at least check this out.

| Published by Image / Skybound

The Family Trade #2 continues Jessa’s investigations into Berghardt and Mikkaelsen despite the protestation and outright prohibition by her Family. Her technique of getting close by blending in as a simple cleaning woman is a nice touch. The end, though, suffers a bit in who exactly Jessa is speaking to. I think it’s supposed to be her uncle, but I’m not sure.

| Published by Image

Fence #1 gives me the impression that everyone, even the protagonist, involved in competitive fencing is an asshole. That’s not necessarily a good impression of the sport, and gives a poor outlook on who to “cheer” for in the endeavour, but it may be an accurate depiction. Especially since many sports seem to be populated by jerks.

| Published by BOOM! Entertainment / Boom! Box

Generation Gone #5 is a suitably insane conclusion to the first arc of this series. It’s violent, angry, and explosive - kind of like how you’d expect kids to react when they find out that the world is designed to see them fail. André Lima Araújo’s art has just been fantastic on this series.

| Published by Image

Hawkeye #12 is a team-up issue between Kate and Laura (All-New Wolverine) with Gabby and Jonathan in tow as well, illustrated by guest artist Michael Walsh who is easily proving he’s a force to contend with. This issue looks great and is fun as hell.

| Published by Marvel

Jenny Finn #1 now in colour. If you haven’t read this masterpiece of Lovecraftian lit from Mike Mignola and Troy Nixey before, now’s a good time to do so. If you have, especially since this has been reprinted and repackaged a few times before, you’ll have to decide whether or not you want Dave Stewart’s colour. There was something to be said for the original black and white, although the colour version’s not bad.

| Published by Dark Horse

Kill the Minotaur #6 is both an expected and unexpected conclusion to the series. Ariadne and Theseus’ confrontation of the Minotaur is suitably epic. I can’t say much more than that because they’d be massive spoilers, so enjoy this amazing artwork from Lukas Ketner.

| Published by Image / Skybound

Killer Instinct #2 does what I was afraid the first issue was going to do and dumps a lot of characters with intricate backstories from the game on us in one go. Where the first issue mainly focused on one character to ease us into the world, this issue gives us more of the Coven, a bunch of characters fighting over the Killer Instinct Tournament, and Jago. While the Jago and Tsar bits are fairly well executed, the central bit over Ultratech is a bit of sludge. As I said in response to the first issue, I’ve never played the game and know little about the world, so this felt a bit like being dropped right in the deep end. The art from Cam Adams is still nice, though.

| Published by Dynamite

Maestros #2 quickly installs Will as the new Maestro and he begins making sweeping changes to the multiverse’s society, trying to bring concepts like equality and freedom to a world that only seems to know subjugation under magical will. It’s an interesting exploration of sociopolitical ideas from Steve Skroce and naturally it brings about severe pushback from those previously in charge. And betrayal.

| Published by Image

Mech Cadet Yu #4 features the cadets first full on confrontation with the Sharg and it’s about as exciting as you would expect. Takeshi Miyazawa’s art is just wonderful and it’s really nice to see Yu thinking on his feet during the battle to ensure the continued survival of the entire team.

| Published by BOOM! Studios

Minky Woodcock: The Girl Who Handcuffed Houdini #1 is interesting. The relationship between Harry Houdini and Sir Arthur Conan Doyle has certainly been in the zeitgeist lately, this one doing something different and focusing on the end of Houdini’s career, long since the two had their falling out. Cynthia von Buhler sets up Minky looking into Houdini debunking spiritualists at the request of Doyle fairly well, but the main enticement is von Buhler’s art. She has a style that reminds me a bit of Melinda Gebbie and it works incredibly well for the smoky, pulpy atmosphere of the story.

| Published by Titan / Hard Case Crime

Misfit City #7 lines up the dominoes in this penultimate issue. Overall this has been a great series and I’m excited to see how it ends. That being said, I wish there were more. The world needs more girl adventurer books and this one has been excellent.

| Published by BOOM! Entertainment / Boom! Box

Ninja-K #1 is a damn fine new direction for Colin King, looking deep into the past of the Programme, dealing with the history of Ninjas A through L, and putting forth a mystery as to who killed Ninja-D and appears to be targeting the other remaining operatives. Christos Gage gives us a compelling mix of mystery and spy thriller that’s only topped by Tomás Giorello’s incredible artwork. Damn fine work.

| Published by Valiant

Rasputin: The Voice of the Dragon #1 begins another pre-Hellboy, pre-BPRD series tying numerous disparate threads together and giving more backstory on the world. This first issue focuses more on Trevor Bruttenholm tracking down a decrypted Nazi message, but it could be about a talking head describing how to prepare an avocado because Christopher Mitten makes everything look amazing. Thankfully, though, the story isn’t bad either.

| Published by Dark Horse

The Realm #3 reveals some chinks in the baddies’ armour as strong personalities clash. The artwork from Jeremy Haun is again one of the main drawing factors. This series just looks great.

| Published by Image

Retcon #3 finally gets around to the premise that Matt Nixon and Toby Cypress were on about in the interview in the first issue. I’m thinking maybe for a storytelling point, they should have led with this, but it does give the series a better cohesion and purpose. This was the make or break issue for me and Crowley ripped from time to tattoo a baby won me over.

| Published by Image

Star Wars: Darth Vader #8 continues Jocasta Nu’s infiltration of the Jedi Archive to retrieve an artifact from under the nose of the Grand Inquisitor. This issue gets a little...explosive.

| Published by Marvel

Star Wars: Doctor Aphra #14 is Emilio Laiso’s debut on the comic and the artwork looks gorgeous. He did a great job on the Rogue One adaptation and it’s nice to see him back on a Star Wars title. Even if I’m going to miss the hell out of Kev Walker’s art.

| Published by Marvel

Teenage Mutant Ninja Turtles #76 allows no rest for the turtles as they return home from Dimension X, also after the brief excursion with the Ghostbusters. Damian Courciero looks like he’s handling the art chores for this arc and it’s a welcome addition. He has a darker, somewhat more realistic style and it suits the chaos and destruction going on with the Earth Protection Force’s first contact with the Triceratons.

| Published by IDW

Unholy Grail #4 continues this dark and twisted retelling of the Arthurian legend. Part of what really works about this series, though, is that it really isn’t that far removed from the other stories of glorious knights and magic, just given a different context,

| Published by AfterShock

Other Highlights: Adrift, Alien Bounty Hunter #2, Amazing Spider-Man #791, Ben Reilly: Scarlet Spider #10, Bolivar, Champions #14, Curse Words #10, Defenders #7, Descender #26, Doctor Strange #381, Dreadful Beauty: The Art of Providence, East of West #33, Guardians of the Galaxy #147, Horizon #16, Incidentals #4, Incredible Hulk #710, James Bond: Kill Chain #5, Mage: The Hero Denied #4, Mighty Thor #701, Not Brand Echh #14, Peter Parker: The Spectacular Spider-Man #297, Postal #24, Punisher #218, Ringside #13, Secret Warriors #8, Sheena: Queen of the Jungle #3, TMNT/Ghostbusters 2 #3, The Wicked & The Divine #33, X-Men Blue #15, Zojaqan #2

Recommended Collections: Ab Irato, Goldie Vance - Volume 3, James Bond - Volume 1: Vargr, Journey to Star Wars: The Last Jedi - Star Wars: Captain Phasma, Luke Cage - Volume 1: Sins of the Father, Nancy Drew & The Hardy Boys: The Big Lie, Regression - Volume 1: Way Down Deep, Rough Riders - Volume 2: Riders on the Storm, Star Wars: Poe Dameron - Volume 3: Legends Lost, World Reader - Volume 1

d. emerson eddy knows that evolution is a mystery, full of change that no one sees. He sees the line in the sand.

[aion-rsa]

The Most Anticipated Movies Of 2017

2016 was another year that proved the geek shall inherit the Earth. Marvel Studios changed their entire landscape by splitting the Avengers apart in “Captain America: Civil War” while introducing magic via “Doctor Strange.” DC fans got their first tastes of Batman and Joker in “Batman V Superman: Dawn of Justice” and “Suicide Squad,” respectively, while Fox had a hit and miss kind of year through the highly-acclaimed “Deadpool” and the disappointing “X-Men: Apocalypse.”

RELATED: 15 Comics To Look Forward To In 2017

This year’s shaping up to be even bigger, not only building on the groundwork laid down by these studios, but also by others aiming to achieve success by adapting comic, manga, anime and original properties for the big-screen. With the Justice League set to make waves, more cosmic drama is in the air due to Thanos’ impending arrival and, of course, the tale of the Skywalkers being set to continue, we decided to look at 2017’s most anticipated flicks.

SPOILER WARNING: Major spoilers ahead for several comic book movie franchises.

THE DARK TOWER (JULY 28)

“The Dark Tower” isn’t the easiest movie to get off the ground. This Stephen King story is one of his strongest adventures to date and mixes quite a few genres together. Danish director, Nikolaj Arcel, is charged with blending science, fantasy, western and horror into an epic wasteland sprawl that ends up being a battle for the very fabric of the book’s universe. What calms our nerves is the fact that Arcel has two of Hollywood’s biggest and most talented stars involved in Idris Elba and Matthew McConaughey.

Elba will be starring as Roland Deschain, a mysterious sharpshooter and loner, who encounters young Jake (played by Tom Taylor), transported to this dimension called Mid-World. Both become embroiled in a quest to reach this Dark Tower so that Deschain can save Mid-World from extinction. However, McConaughey’s Randall Flagg won’t be making that journey so easy, being an evil sorcerer aiming to hijack the duo’s mission for his own nefarious purposes. The scope of this movie’s quite grand and fans knew to be patient in their demands because once it’s done right, there’s no limit to how jaw-dropping it can be.

THOR: RAGNAROK (NOVEMBER 3)

A buddy-cop movie on another planet where one’s a god and the other’s a… well, Hulk? Sold! That’s what we’re in for when “Thor: Ragnarok” rolls around. What makes this film so interesting are the various Marvel Studios threads being picked up. First, Thor has to deal with his wicked brother, Loki who, at the end of “Thor: The Dark World,” faked death to masquerade as their father and king, Odin.

With Odin apparently exiled as a homeless man in New York City, another plot point revolves around the mid-credits scene from “Doctor Strange,” which saw the mystical master being asked by Thor to help find his brother. Speculation’s rife that Strange will provide the doorway for (arguably the film’s biggest draw) an adaptation of the “Planet Hulk” storyline that would sees both Avengers going up as gladiators against aliens (in the comics, this was just the Hulk). How did Hulk end up there after “Age of Ultron?” How does Thor know what happened with his family? Director Taika Waititi has a lot to accomplish, not just to tie in his movie as a prelude (alongside 2018’s “Black Panther”) for  “Avengers: Infinity War”, but also for those eager to see how his first Hollywood blockbuster pans out.

LOGAN (MARCH 3)

If an unrestrained, violent R-rated “Logan” isn’t enough to put Wolverine fans in cinema seats, then we don’t know what is. There’s a lot of pressure on Fox and James Mangold’s follow-up to 2013’s “The Wolverine,” but looking at the trailers released thus far, everything from the score (especially that wicked Johnny Cash cover of “Hurt”) to the overall neo-Western vibe that the movie gives off have given fans have every reason to be very optimistic. Reassurance has also come via the positive buzz from the early few who’ve sampled it.

Several things have us pumped for this movie. We’re getting to see Logan cut loose in a bloodier way than the Berserker mode we were teased with in “Apocalypse,” albeit with a waning healing factor in a loose adaptation of Mark Millar’s “Old Man Logan.” We’re also seeing what appears to be a dying Professor Xavier and, of course, everyone’s favorite Wolverine clone, X-23. Given that this post-apocalyptic wasteland looks quite barren for mutants and that Hugh Jackman’s set for his final hurrah as the title character, comic purists can’t wait to see him go out on a clawing bang against Donald Pierce and his Reavers.

TRANSFORMERS: THE LAST KNIGHT (JUNE 23)

Michael Bay’s said that “Transformers: The Last Knight” will be his final movie in the franchise. If he stays true, then we can expect the most explosive spectacle of them all. His fifth chapter will be focusing once more on Optimus Prime, last seen heading off into space to meet the Creators, the alien beings that placed the bounty on his head in 2014’s “Transformers: Age of Extinction.”

However, from the trailers, Optimus appears to be corrupted on return, with a pivotal scene depicting him assaulting Bumblebee. Fans are speculating that this dark take on the Autobots’ leader could be tied to a subverted heritage as a Prime or to the villainous world-eating planet, Unicron. Also, hyping the excitement is the addition of cult-favorite Autobot, Hot Rod, as well as an expanded role for the beloved Dinobot, Grimlock. Megatron’s set to return as the evil Decepticon leader wreaking havoc, with Hollywood stars Mark Wahlberg, Tyrese Gibson, Josh Duhamel, John Turturro and Stanley Tucci also reprising their roles. Lastly, we’re salivating over the film’s King Arthur tie-in, especially with fan-favorite actor, Anthony Hopkins, added to the cast.

FULLMETAL ALCHEMIST (DECEMBER)

“Fullmetal Alchemist” is a manga and anime that really sets the bar high. It focuses on brothers Edward and Alphonse Elric in a world where alchemy is a form of science and State Alchemists (the only ones licensed to practice it) are employed by the government. While still children, they attempt to perform the forbidden act of human transmutation to resurrect their dead mother, but  plans backfire, destroying Alphonse’s entire body, forcing his brother to bind Alphonse’s soul to a suit of armor, while also taking Edward’s arm and leg. Afterwards, Edward becomes a State Alchemist himself and both undertake a quest to find the Philosopher’s Stone in order to restore their bodies.

Sounds like quite a dramatic blast, right? Fumihiko Sori (best known for 2002’s “Ping Pong”) will be bringing the story to life, starring Ryosuke Yamada as Edward Elric, aged from 15 to 20 for the movie. As it ambitiously tries to condense the entire story into one film, several names from the original series will appear such as Winry Rockbell, Colonel Roy Mustang, and fan-favorite, Shou Tucker. This adaptation of Hiromu Arakawa’s popular action-fantasy manga has been anxiously awaited for months now, so expect a passionate response when it drops.

BATMAN VS. TWO-FACE (TO BE ANNOUNCED)

“Batman: Return of the Caped Crusaders” was a wonderful, campy trip down memory lane that really paid homage to fans of the original ’60s television series. The reception of this hammed-up animated film was so good that a sequel was green-lit with William Shatner (Two-Face/Harvey Dent) joining the legendary dynamic duo, Adam West (Batman) and Burt Ward (Robin). Fans lapped up last year’s nostalgic experience, which focused on the corrupted Dark Knight as he fended off the combined threat of Joker, Penguin and the Riddler; all with the help of Robin and Catwoman, played by another icon in Julie Newmar.

Details are sparse regarding the plot and release date, but theories are already abound. The television series featured many prominent rogues but Dent never made the cut. However, writer Harlan Ellison did a story with the villain, though the episode never aired, supposedly because he was too gruesome for kids to see. The story, “The Two-Way Crimes of Two-Face,” was eventually adapted in 2014 as a one-shot comic, “Batman ’66: The Lost Episode” #1.

KINGSMAN: THE GOLDEN CIRCLE (OCTOBER 6)

Matthew Vaughn has a knack for adapting comic book scripts for the big screen, directing amazing movies based off them and then not returning for the sequels, as per “Kick-Ass” and “X-Men: First Class.” Fortunately, he’s back for “Kingsman: The Golden Circle,” continuing the excitement he first started when he brought Mark Millar’s “The Secret Service” to theaters with Fox. Details are scarce, but theories are that the Kingsmen will be aiding their American counterparts, the Statesmen, in pursuit of a dangerous adversary named Poppy, who destroys the Brits’ headquarters.

The first film was praised for its intense action sequences, elements of comedy, and unique reinterpretation of the spy-fiction genre, and hopes are that this movie follows suit. Taron Egerton returns as the lead, Galahad, with Mark Strong back as Merlin. The star-studded cast also includes Channing Tatum, Julianne Moore, Halle Berry, Jeff Bridges, Vinnie Jones and Elton John. Most of all, Colin Firth’s character, super-spy Harry Hart, who was presumed dead after the events of the original movie, is somehow back. With no comic lore to feed from, we can’t wait to see this new screenplay that Vaughn’s cooked up with Jane Goldman.

INHUMANS (SEPTEMBER 4)

“Inhumans” is a pioneer move for Marvel in the realm of cinema and television. The first two episodes, detailing the exploits of Black Bolt, Medusa and their Inhuman contingent, will premiere on Labor Day across IMAX screens as an 80-minute feature for two weeks before later heading to ABC, which will then show the series’ full run from September 26.

It’s not being regarded as a spinoff of “Agents of S.H.I.E.L.D.” (which has already used Inhumans in its storyline). Its two-part premiere also obviously won’t have the same production values as the MCU films do, but the fact that the cinematic premiere was specifically shot in the IMAX format builds intrigue that makes us want to see how cinematic their start will feel and how “network TV” things will get thereafter. If you’re like us, then no matter what, you want to see Karnak, Gorgon, Maximus and hopefully Lockjaw the teleporting dog, have a role in the cosmic plot that’s unraveling due to Thanos’ hunt for the Infinity Stones. With no plot details yet, the possibilities are endless.

GHOST IN THE SHELL (MARCH 31)

Since Scarlett Johansson was announced in Rupert Sanders (“Snow White and the Huntsman”)’s live-action adaptation of the classic anime/manga property, “Ghost in the Shell,” it’s been blasted with stark criticism of Hollywood “white-washing” of yet another Asian property. However, from the badass trailers alone, it looks like this film’s ready to live up to the high expectations set by Mamoru Oshii, who directed the iconic anime film based on Masamune Shirow’s cyberpunk manga. Furthermore, it appears to be very loyal to the source material with Oshii himself already giving his seal of approval.

Sanders’ movie focuses on Johansson as The Major, a special ops, one-of-a-kind human-cyborg hybrid, who leads Section 9. This task force is devoted to stopping the most dangerous criminals and extremists but finds itself facing a huge challenge when a new enemy emerges with a singular goal of destroying the world’s artificial intelligence technology and robotic advancements. The movie’s visual tone, the riveting action sequences that have been teased and the alluring score all seem to be within the same vein of the original lore and once it stays faithful, even the biggest of doubters, will find themselves silenced.

THE LEGO BATMAN MOVIE (FEBRUARY 10)

“The LEGO Batman Movie” is a spinoff of the Academy-Award nominated 2014 flick, “The LEGO Movie.” Such was the appeal of the Brick Knight, that it was decided he needed his own film, further capitalizing on the affinity for comic book characters at the moment. Chris McKay, who rose to prominence as a director of “Robot Chicken,” has been tasked with taking the helm with Will Arnett reprising his role as Bruce Wayne. Our hero will be squaring off against a bunch of iconic rogues, with McKay’s vision really packing in that Hollywood star power for good measure.

Michael Cera (Robin), Rosario Dawson (Batgirl), Ralph Fiennes (Alfred), Mariah Carey (Gotham’s mayor) and Zach Galifianakis (Joker) are all part of the ensemble cast. This time around, Batman realizes that if he wants to stop Joker’s hostile attack on his city, he’ll need to switch it up from his typical lone vigilante shtick and enlist some help. From what we’ve seen so far, the movie’s creators are well on their way to capturing the same upbeat tempo, musically and tonally, hamming it up like its predecessor. Since they’re stick to this, we’re certain that everything will be awesome.

SPIDER-MAN: HOMECOMING (JULY 7)

“Spider-Man: Homecoming” is hopefully the start of greater things to come from Marvel Studios and Sony’s partnership. Fans are beyond stoked for this, yet another reboot of the franchise, due to quite a few factors. Despite the character (played by Tom Holland) being in high-school once more, he’s already made waves with the Avengers in “Civil War” and this film continues that arc with the genius Peter Parker as Tony Stark’s protege.

If that doesn’t whet your appetite, then surely Spidey tussling with the likes of new villains, such as the Vulture (played by Michael Keaton) and Shocker, will. In what’s shaping up to be quite a technology-heavy film, hopefully this leads to a scene with the infamous Iron Spider suit Stark gifted him in the comics. Wishful thinking aside, we’ve already seen Spidey’s charisma and the chemistry with Iron Man, so as long they don’t overdo it on making him a sidekick and focus on his coming-of-age, not just as a youngster, but rather as an aspiring superhero, then we can expect a lot of magic from this Marvel movie. Fingers are crossed that this sets him up to be included in “Infinity War.”

GUARDIANS OF THE GALAXY VOL. 2 (MAY 5)

Director, James Gunn, has a high standard to live up to with “Guardians of the Galaxy Vol.2.” His blend of humor and action made the original an epic space opera and from what we’ve seen so far, he definitely believes that if it ain’t broke, don’t fix it. We’re eager to see how Peter Quill (Star-Lord) and his band of ragtag, galactic misfits evolve and function as a family. The movie still seems like a Quill-centric film (not that we have a problem with that), with Drax, Rocket Racoon and Baby Groot being sure to draw just as many laughs.

Quill’s interactions with Thanos’ daughters, romantically with Gamora and as an antagonist to Nebula, will most likely to take front and center as part of his journey. His self-discovery will also cross paths with new characters, such as Ego The Living Planet (his father in the comics),  the empath Mantis, and lastly, Ayesha, The High Priestess. It may seem like a crowded cast, as Yondu (Michael Rooker) and the Nova Corps are also returning, but finding out just how Quill was able to harness the Power Stone the last time around should be key to how this cosmic film informs “Ragnarok,” “Inhumans” and eventually, Thanos’ arrival to Earth.

WONDER WOMAN (JUNE 2)

Director, Patty Jenkins, looks very much up to the challenge when it comes to crafting the inspirational and universally resonating tale that is “Wonder Woman.” The trailers have fans chomping at the bit due to how effective the movie looks as a period piece, set in a World War-era, with the relentless nature of its action sequences appearing nothing short of spectacular. Gal Gadot, as the titular character, and Chris Pine (Steve Trevor) are perched to steal our geek hearts due to how organic their on-screen relationship looks as well.

Expectations are definitely high as this film’s being viewed as the first major female comic book movie of the modern era, but after seeing how Wonder Woman handled herself in “BvS,” there shouldn’t be much to worry about. Watching her origins unfold on Themyscira and how she arms herself and leaves her Amazonian family behind  to enter the world of man, has us shaking with anticipation. Another plus is how vague they’ve kept the plot’s villains, with Ares rumored to be suiting up. Either way, we can’t wait to see her fight for justice to the backdrop of that badass Amazonian heavy-metal theme song.

STAR WARS: EPISODE VIII (DECEMBER 15)

Following J.J. Abrams taking a lightsaber stab at things, Rian Johnson (“Looper”) steps into the director’s chair. On the heels of “Star Wars: The Force Awakens” and the standalone “Rogue One,” the pressure will be even higher to move forward and tell this tale of the reclusive Luke Skywalker, former Jedi Master. We’ll be glued to our seats as we bask in what happened between him and his murderous nephew/former student, Kylo Ren.

The fallout of Ren killing his father, Han Solo, and rebounding as Snoke’s right-hand man to the Dark Side, will also be on the table, as well as the truth of Rey’s Force-sensitive origins. There are so many answers we want while we feast on the adventures of galactic bros, Poe Dameron and Finn, too. The last movie, despite script criticisms of being too similar to “A New Hope,” was visually majestic and, plot issues aside, we’re looking for Johnson to continue raising the bar and to deliver a truly immersive experience. Finally, on a bittersweet note, cinemas will be packed to see Carrie Fisher in her final role, as General Leia, helping save the galaxy, with a poise and style that only she could pull off.

JUSTICE LEAGUE (NOVEMBER 17)

Many comic book movie fans believe that the future of the DC filmverse hinges on how well “Justice League” will do on the big screen. While DC Entertainment’s direction has come into question with movies like “Man of Steel,” “BvS” and “Suicide Squad,” they’ve all raked in big box-office bucks and done their part to push Zack Snyder’s initial vision forward. Hater or not, you know you’re going to be lining up to see Batman, Wonder Woman, Flash, Aquaman and Cyborg stave off Darkseid’s first wave of attack via his general, Steppenwolf.

With the seeds already sewn for the invasion from Apokolips, fans are also excited to see how Superman will be resurrected following his death at the hands of Doomsday in the previous film. Indeed, there’s a lot riding on this, but Snyder’s passion, that of his cast’s, and what seems to possibly be a storyline inspired by Geoff Johns’ “Darkseid War,” are all ingredients to deliver a winner for comic purists. The trailer promises tons of bombastic action, without even giving away too much, and while the pressure’s on for Snyder and his squad, even if it’s a temporary pleasure, we’ll be basking in that glorious moment when the League assembles in full.

What movies are you looking forward to this year? Let us know in the comments below! 

The post The Most Anticipated Movies Of 2017 appeared first on CBR.com.

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[eddycurrents]

For the week of 3 September 2018

Quick Bits:

Ant Man & The Wasp #5 concludes what has been a fun series from Mark Waid, Javier Garrón, Israel Silva, and Joe Caramagna. The artwork from Garrón and Silva has been excellent and this final issue allows them to show off some more incredible and strange ideas.

| Published by Marvel

Asgardians of the Galaxy #1 adds another fun little wrinkle to the current expansion and exploration of Marvel’s Asgardian characters, spinning out of the current Thor series, the Infinity Wars crossover, and other reclaimed threads from the past few years. You needn’t have read any of that, though, as this still serves as a good introduction on its own, the rest just adds flavour. Cullen Bunn adds some nice touches of humour to the story, while a large part of this story rests in the action depicted by Matteo Lolli and Federico Blee. This is off to a good start.

| Published by Marvel

Avengers #7 is a single issue story expanding upon the first Ghost Rider from Jason Aaron, Sara Pichelli, Elisabetta D’Amico, Justin Ponsor, and Cory Petit. I like the 1 Million BC Avengers, so this is a welcome exploration, especially when coupled with this beautiful art.

| Published by Marvel

Black Science #38 gives a very interesting perspective on the book’s reality, and the purpose of all of the different realities, as we reach the prime reality. Phenomenal art as always from Matteo Scalera and Moreno Dinisio.

| Published by Image / Giant Generator

Bully Wars #1 isn’t a bad debut, filling in a similar-but not quite as extreme-humour place as Skottie Young’s recently concluded I Hate Fairyland. Nice art from Aaron Conley and Jean-Francois Beaulieu.

| Published by Image

Call of Duty: Zombies 2 #1 serves as a prequel to the forthcoming co-op portion of Activision/Treyarch’s Black Ops 4 video game, introducing some of the characters who will be featured in that story. It’s very much a kind of Indiana Jones pseudoarchaeology type story so far, but it’s good. Nice work from Justin Jordan, Andres Ponce, Mauro Vargas, Dan Jackson, and Nate Piekos. 

| Published by Dark Horse

Captain America #3 teases out a bit more of the conspiracy of a group behind the Nuke terrorists and an attempt to take control of America in the void left by Hydra’s demise. It continues to be a slowburn, with Ta-Nehisi Coates leaving a lot of the moral and ethical decisions up to the readers themselves as to whether or not what’s occurring is a “good” thing, even if being a byproduct of potentially nefarious ends.

| Published by Marvel

Clankillers #3 is more gorgeous artwork from Antonio Fuso and Stefano Simeone as they bring the darker aspects of Irish mythology to life. I quite enjoy how Sean Lewis is constructing how incredibly messed up this family has become.

| Published by AfterShock

Cloak & Dagger #4 starts pushing us closer towards the endgame as Ty goes on the offensive to find and rescue Tandy. Marvel’s digital originals have really been delivering some high quality stories lately and this one from Dennis Hopeless, David Messina, Elisabetta D’Amico, Giada Marchisio, and Travis Lanham has helped lead the charge. I know this one’s only supposed to be a limited series, with a couple more issue left, but the story and art have been top notch and I’d really like to see more.

| Published by Marvel

Cosmic Ghost Rider #3 brings the ultraviolence as Donny Cates, Dylan Burnett, Antonio Fabela, and Clayton Cowles give us what amounts to an issue long battle between our time-spun, deranged Frank Castle and a seemingly infinite army of Guardians of the Galaxy led by Cable. It’s fun. 

| Published by Marvel

Dark Ark #10 concludes this arc in fairly spectacular fashion, including a very impressive double-page spread from Juan Doe of the confrontation with Echidna.

| Published by AfterShock

The Dead Hand #6 is the conclusion to the first arc in this series and it is rather good. It ties up the events throughout the series so far and gives us a very interesting change to what happens next. I can’t say it’s unexpected because pretty much every issue has given us a surprise revelation or twist in the story, but it’s very well done. Kyle Higgins, Stephen Mooney, Jordie Bellaire, and Clayton Cowles have told a very compelling story of intrigue and spycraft here.

| Published by Image

Deadpool #4 is a fun single issue story dropping Deadpool into Weirdworld and just kind of running wild with it. It allows Scott Hepburn (with colours by Ian Herring) to really cut loose with some of the designs and layouts, and taps into the zany, bizarre humour and fantasy that Skottie Young has become known for.

| Published by Marvel

Death of the Inhumans #3 continues the slow, surgical excision of the Inhumans and much of their supporting cast from the cosmic Marvel scene. There’s some fight left in them, but I wonder if Donny Cates is setting us up for disappointment. I really quite like what he’s carving out for himself with this, Cosmic Ghost Rider, and Thanos Legacy. Also, beautiful artwork from Ariel Olivetti and Jordie Bellaire.

| Published by Marvel

Eclipse #10 makes me really quite appreciate Giovanni Timpano’s artwork more, especially finding out that he’s developing the layouts and panel progressions himself. Not only are they visually interesting, but it elevates the level of collaborative storytelling that he and Zack Kaplan are accomplishing here.

| Published by Image / Top Cow

Giant Days #42 complicates things a bit between Ed and Esther, continuing to navigate the tricky relationships between the characters. The humour and heart are at an all time high this issue.

| Published by Boom Entertainment / Boom! Box

Immortal Hulk #5 gets pretty heavy as the issue drops a few bombs in regards to Sasquatch and on whatever it is that keeps bringing the Hulk back to life. Five issues in and this is already on part to me with much of Peter David’s run, particularly the Dale Keown, Liam Sharp, and Gary Frank eras that I greatly cherish. Al Ewing, Joe Bennett, Ruy José, Paul Mounts, and Cory Petit are crafting an enthralling horror story, while greatly developing and embellishing upon Banner’s history. This is damn good.

| Published by Marvel

James Bond: Origin #1 is quite good, spotlighting a young James Bond, still in school, set during World War 2. It’s pretty straightforward in its action, but the artwork from Bob Q is quite a draw. He’s got a style that reminds me a bit of Peter Gross and Patrick Olliffe and it works really well for this kind of story.

| Published by Dynamite

The Last Siege #4 attempts to shift fates again this issue as Lady Cathryn and the stranger try to free themselves from Feist. The intrigue and shifting tension to the story are palpable, with Landry Q. Walker and Justin Greenwood keeping us on the edge of our seat with the action. 

| Published by Image

Leviathan #2 is not quite as over-the-top insane as the first issue, as it starts to fill in the details of what’s going on, but it still tries really hard to throw as many crazy ideas at you at once. Especially Hollow Earth dinosaurs in addition to the rest of the madness going on. Another satisfying outing from John Layman, Nick Pitarra, and Michael Garland.

| Published by Image

Old Man Logan Annual #1 introduces us to the Punisher of the wastelands, with two stories centring around Old Man Frank. The lead from Ed Brisson, Simone Di Meo, Dono Sánchez-Almara, and Cory Petit is an interesting story about legacy, actions and consequences, as interpreted through the lens of this destroyed and crumbling world. After the start of the new Hillbilly mini, it’s nice to see Di Meo’s art again here.

The back-up goes further in to developing Old Man Frank himself with a “Punisher Wastelands Journal” story from Ryan Cady, Hayden Sherman,  Dono Sánchez-Almara, and Cory Petit. I want more of this story.

| Published by Marvel

Optimus Prime #23 is a bit scattered, delivering overlapping narrative points of view, while a larger conflict erupts on Earth between two factions of Cybertronians and a contingent of GI Joe operatives. It’s chaotic, which is part of the point, but it’s made more so in that you’re probably going to need to read it a couple of times to get the most out of who’s presenting what at any given time.

| Published by IDW

Outpost Zero #3 really starts to turn things up as interpersonal conflicts start coming to the fore and the colonists being politicking amongst themselves in the face of oncoming doom. I quite like it. Sean McKeever has really fleshed out the characters’ motivations and voices, engaging you to see how the pieces fit into the overall narrative.

| Published Image / Skybound

Paradiso #7 gives more insight into the dwellers underground, Jack, and the city itself, but as it does so more and more questions are raised. It’s very interesting how this story is being constructed and embellished, the world-building doesn’t ever seem to stop in favour of just following a singular narrative path.

| Published by Image

Pestilence: A Story of Satan #4 delivers a few revelations and some more nasty twists for our valiant knights. As usual, the artwork from Oleg Okunev (with colours this issue by Guy Major) really makes the series shine. The designs for the advanced stages of the plague are very impressive. 

| Published by AfterShock

Predator: Hunters II #2 has some really nice artwork from Agustin Padilla and Neeraj Menon. It’s interesting how Chris Warner is weaving some of the geopolitical strife in Afghanistan into the story and how it colours the Hunters’ hunt.

| Published by Dark Horse

Project Superpowers #2 is good. I’m sure that if I had read more than the original Alex Ross/Jim Krueger series, I’d get more depth out of this, but Rob Williams is making this story enjoyable for those of us that haven’t been following the broader story all along. Great art from Sergio Davila and Felideus.  

| Published by Dynamite

Quicksilver: No Surrender #5 leaves us a fairly interesting place after this character study, and quasi-redemption arc, of Pietro. While I’m really interested to see where this goes next, this has been an excellent series from Saladin Ahmed, Eric Nguyen, Rico Renzi, and Clayton Cowles. I’ve really enjoyed how this series has used colour to enhance the storytelling and this issue is no different.

| Published by Marvel

Relay #3 gets weirder. I’m getting even more David Cronenberg and Philip K. Dick vibes off of the story now, as it shifts even further into the mystery of the nature of the Relay and what exactly is going on with reality. There are some very interesting sci-fi ideas being played with here.

| Published by AfterShock

Shadow Roads #3 is another wonderful issue, giving us a bit of Henry’s history, and a lot of action. AC & Carlos Zamudio are really doing a great job with the artwork.

| Published by Oni Press

Silver Surfer Annual #1 is a pretty straightforward morality tale about the conflict the Surfer has with fulfilling his role as Galactus’ herald and the hidden beauty and value of worlds that he’s serving up to his master. It’s a decent story, but what really elevates it is the beautiful artwork from André Lima Araújo and Chris O’Halloran. It’s unsurprising that this issue was dedicated to Moebius, because that who I immediately thought of when I saw this book.

| Published by Marvel

Spawn #289 lays out some of the steps in Spawn’s plans to stop the shadowy evil elements seeking to control humanity, incorporating some old characters and plot ideas back into the overall story. It’s kind of what you’d expect from a Todd McFarlane-penned story and it is fairly entertaining, especially for longtime readers, even if a bit stilted at times. What takes it a peg above the norm, though, is still the artwork from Jason Shawn Alexander (with colours from McFarlane, Brian Haberlin, and Lee Loughridge).

| Published by Image

Star Wars: Doctor Aphra Annual #2 is easily one of the best Star Wars stories I’ve read this year, telling a humorous and exciting archaeological adventure story of Winloss and Nokk attempting to capture a legendary beast. Si Spurrier is great at humour, subtle winks to deadpan black humour, and it comes off in spades throughout the dialogue here. Winloss and Nokk’s banter is just perfect. To add to that, we’ve got Caspar Wijngaard’s first interiors for Marvel and he just knocks it out of the park. His creator owned work is phenomenal, beautiful, atmospheric art and he brings all that care, attention, and wonder to Star Wars. This is a great comic.

| Published by Marvel

Thanos Legacy #1 serves as a capstone to the recent Thanos series from Donny Cates and Geoff Shaw, while also being a companion piece to Cosmic Ghost Rider and being enmeshed in the current goings-on with Infinity Wars. The lead story written by Cates, with great art from Brian Level and Jordan Boyd gives Thanos’ perspective for the Infinity Wars events and is fairly essential in what looks like is coming next in Marvel’s cosmic realm. Like his work on the recent Avengers: Back to Basics digital original series, Level’s panel compositions, transitions, and page layouts are phenomenal. The craft that goes into his storytelling is impeccable. 

There’s also a silent back-up from Gerry Duggan, Cory Smith, and Ruth Redmond of Thanos training Gamora that highlights his sadism.

| Published by Marvel

Transformers: Lost Light #23 continues to tie up threads and drop huge revelations as we approach the end. James Roberts, Jack Lawrence, Joana Lafuente, and Tom B. Long are going out on a high note.

| Published by IDW

Transformers: Unicron #4 continues the systematic destruction of IDW’s Hasbroverse. It’s never looked so good with stunning art from Alex Milne, Sebastian Cheng, and David Garcia Cruz.

| Published by IDW

War Bears #1 is an interesting comic from Margaret Atwood and Ken Steacy, blending World War 2 working conditions, Canadian comics history, and propaganda comics into this tale. Great art from Steacy, especially as he incorporates the in-story comics pages into the work. I love when comics do that.

| Published by Dark Horse

Other Highlights: Aphrodite IX: Ares #1, Astonishing X-Men #15, Breathless #4, Come Into Me #3, Ghostbusters: Crossing Over #6, Invader Zim #34, The Long Con #2, Noble #11, Paper Girls #24, Secret Agent Deadpool #1, Spider-Man/Deadpool #38, Star Wars #53, Thief of Thieves #40, TMNT: Urban Legends #5, Unnatural #3, Vampironica #3, Venom: First Host #2, Weapon X #23

Recommended Collections: Brigands - Volume 2: Ruin of Thieves, Fear Agent - Volume 3, The Fix - Volume 3, The Further Adventures of Nick Wilson - Volume 1, Monstress - Volume 3, Monstro Mechanica - Volume 1, Old Man Logan - Volume 8: To Kill For, Prism Stalker, TMNT - Volume 20: Kingdom of Rats, Twisted Romance, X-Men Red - Volume 1: Hate Machine

d. emerson eddy does not have a brain slug attached to his skull. Why do you ask?